Mapping the Creative Industries: a Toolkit
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Creative and Cultural Economy series ⁄ 2 MAPPING THE CREATIVE INDUSTRIES: A TOOLKIT 2 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 3 Creative and Cultural Economy series ⁄ 2 MAPPING THE CREATIVE INDUSTRIES: A TOOLKIT by BOP Consulting British Council’s Creative And Cultural Economy Series ⁄ CONTENTS Published by The British Council 10 Spring Gardens, London SW1A 2BN, England 07 – PREFACE www.britishcouncil.org 09 – 1 ⁄ MAPPING THE CREATIVE INDUSTRIES All rights reserved ISBN 978-086355-640-1 13 – 2 ⁄ THE CREATIVE INDUSTRIES Author: BOP Consulting ⁄ 23 – 3 ⁄ THE MAPPING TOOLKIT 24 – STEP 1 ⁄ WHY DO MAPPING? BOP Consulting is an independent research and 28 – STEP 2 ⁄ WHICH POLIcy QUESTIONS CAN MAPPING ADDRESS? strategy consultancy specialising in culture and 36 – STEP 3 ⁄ HOW ARE THE CREATIVE INDUSTRIES DEFINED? the creative industries. They are based in London. 40 – STEP 4 ⁄ WHO IS IN CHARGE? WHO DOES THE WORK? www.bop.co.uk 41 – STEP 5 ⁄ WHICH RESEARCH APPROACH SHOULD BE ADOPTED? 47 – STEP 6 ⁄ HOW CAN THE PROJECT’S FINDINGS CONNECT WITH KEY AUDIENCES AND POLIcy AGENDAS? 50 – STEP 7 ⁄ HOW CAN MOMENTUM BE MAINTAINED? Editors ⁄ Pablo Rosselló 52 – 4 ⁄ WHERE NEXT? Shelagh Wright 56 – APPENDIX 1 - THE BRITISH COUNCIL’S CREATIVE EcONOmy UNIT Publication Design ⁄ 58 – APPENDIX 2 - CREATIVE INDUSTRY SIC CODES YCE Brand guidelines by BB Saunders Design by Érika Muller Photo Credits ⁄ © Aldeguer, Jay: page 56a © Burns, Josephine: page 26 © DCMS/BIS: page 32 © Gauteng Provincial Government: page 43 © Noon, Frank: pages 56b, 57 © Rossello, Pablo: pages 1, 2-3, 8, 12, 18, 20, 22, 31, 33, 35, 38, 48, 50, 54-55 © Slade, Jon: page 42 © Szynkarczuk, Olga: pages 60-61 © Vaz, Gaurav Joshua: page 6 © Zetu, Dragos: page 45 © British Council 2010 Creative Economy Unit The United Kingdom’s international organisation for educational opportunities and cultural relations. We are registered in England as a charity. PREFACE In our interdependent contemporary Shelagh Wright world at the start of the 21st century we Advisor, Creative and Cultural Economy face complex challenges, polarisation Programme and inequality within and between nations. Development strategies British Council are needed to unleash the creative The British Council is committed to potential of all to respond to the far- working in partnership to help shape reaching cultural, economic, social the contours of our shared creative and and technological shifts that we are cultural economy through its values of living through. In this context the equity, freedom of expression, mutuality concept of ‘the creative and cultural and sustainability. economy’ is growing around the globe as the interface between culture, economics and technology. Our world is increasingly dominated by images, sounds, symbols and ideas that are creating new jobs, wealth and new culture. The UK has been a leader in the development of this agenda, not just as a driver of the economy but also promoting social inclusion, diversity and development. No-one can claim a monopoly on wisdom as innovative creative people all over the world are changing the way we make and exchange goods, services and culture. This booklet (and the series it is part of) is a contribution to our shared knowledge and expertise for this emergent and valuable sector. We hope you find it both stimulating and useful. 8 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 9 1 ⁄ MAPPING THE CREATIVE INDUSTRIES The products of the creative industries Thinking the steps through at this pervade contemporary life. Watching stage will help researchers and other television, going to the cinema, reading interested parties understand the newspapers, listening to music, playing challenges they are likely to face. This computer games or socialising online report also briefly discusses the place occupy many of the waking hours of of the creative industries within broader the world’s citizens. This is not simply economic and historical contexts. confined to the old industrial heartlands If you would like to explore the of Europe and the United States: from feasibility of a mapping project in the telenovelas of Latin America and more depth, lists of suggested further Bollywood films to the design flair of reading and organisations which can Korea’s Samsung, the creative industries provide more information are provided are a global phenomenon. Yet 15 years in section 4. ago, the term ‘creative industries’ was barely known. How, then, can this 1.1 Introduction phenomenon be understood and its The desire to create things whose economic value quantified? value is not purely practical – things that are beautiful, that communicate One method that has been developed cultural value through music, drama, to help countries, regions or cities start entertainment and the visual arts, thinking about the value of the creative or that communicate social position industries is ‘mapping’. Pioneered in through style and fashion – is as old as Britain in the late 1990s, mapping human society itself. There have always extends well beyond the production been, and always will be, people with of actual maps. It is shorthand for a the imagination and talent to make and whole series of analytic methods for do these things. Their products and collecting and presenting information services are said to have an ‘expressive on the range and scope of the creative value’, a cultural significance that may industries. Mapping is intended bear little relationship to how much they especially to give an overview of the cost to make. industries’ economic value, particularly In the twentieth century, these ancient in places where relatively little is known traditions of cultural work – designing, about them. This toolkit explores the making, decorating and performing practicalities of using such methods. – began to be woven together with a The toolkit draws on the experience of range of modern economic activities the British Council and its consultants to such as advertising, design, fashion set out the seven steps of a successful and moving image media to create creative industries mapping project. new forms of commercial culture. In 10 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 11 the first decade of this new century as it is the activity of these industries these developments have been hugely which is being measured here. These Those who will be organising the mapping need to start amplified by the power and reach of days, though, ‘creative economy’ is by clearly thinking through why they want to do it and WHY do MappinG? who they want to persuade. digital technology. probably the more widely used term. In WHO is IT FOR? The industries responsible for these any case it is likely that each country or products are a varied bunch, yet they region will adapt the creative industries/ have certain things in common. Such economy concept to suit its own needs. industries earn their profits from the It should also be noted that some Creative industries mapping is rarely undertaken simply out creative skills of their workforce and organisations, such as the European WHicH poLicY QuesTions of intellectual curiosity: it is intended to have an impact on can MappinG be used TO policy. Which areas is it likely to have most effect on? the generation of intellectual property Union and UNESCO, have generally addRess? (IP), and collectively have come to be favoured an older term, the ‘cultural known as the creative industries. industries’. There is a substantial Intellectual property law is the catalyst academic literature debating the Deciding what is included in the study and what is not is 1 that transforms creative activity into finer points of these distinctions , central to a successful mapping. A project may choose to creative industry. It protects the and people should be aware that the How ARE THE CReaTIVE assess all the creative industries or concentrate on just a creator’s ownership of ideas in the terminology used in this toolkit is not indusTRies deFined? few sub-sectors. same way that other laws protect the uncontroversial. right to the ownership of goods, land However, this toolkit is intended to be a or buildings. It allows the inventors of practical guide to mapping – one that Who will manage the mapping project and ensure the work new products and processes to benefit explores how to do it, which approach WHO is in CHARGE? is of high quality? There are a number of distinct roles that from their creativity by providing a would be best in any given context, and WHO does THE woRK? have to be filled. framework within which they can work. how to maximise the policy impact of It also enables them to make choices the work. It aims to help researchers, about what they protect and what they policymakers and creative practitioners choose to give away. to understand the creative industries There are a range of approaches available to the research team. Thought needs to be given to which would be most The creative industries do not, however, better by setting out ways in which WHicH ReseaRCH appropriate in the circumstances. operate in isolation. They sit at the evidence can be gathered. It draws on appRoacH SHouLD be centre of a web of connections with both the UK’s experience and a number adopTed? other industrial sectors, and are a of mapping projects from around the source of innovation for the wider world that have been supported by the How can the research team increase the likelihood of the How can THE PROJecT’S economy, particularly through design, British Council’s Creative Economy Unit. mapping findings being noticed and acted upon?H ow do branding and advertising. They also To help make sense of the process of FindinGS connecT wiTH KEY audiences and poLicY they connect with key audiences and affect policy agendas? have an important role to play in urban running a successful creative industries AGendas? regeneration and community cohesion.