Mapping the Creative Industries: a Toolkit

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

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. project, the toolkit sets out seven steps This wider web is often referred to as which need to be considered. the creative economy. On its own, the project is unlikely to achieve all its goals – it The terms ‘creative industries’ and Section 3 of the toolkit addresses How can momentum be needs to be part of an ongoing effort to raise the profile of ‘creative economy’ are both relatively each of these seven steps in turn, maintained? the creative industries. new and do not yet have fully settled illustrated by case studies. definitions.S ometimes they are used interchangeably, sometimes they refer Notes ⁄ to related but separate concepts. 1. See, for instance, Flew, T. and Cunningham, S. (2010) This toolkit uses the term ‘creative Creative Industries After the First Decade of Debate, The industries’ for the sake of simplicity, Information Society, 26(2).

12 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 13 2 ⁄ The Creative Industries

Before exploring the toolkit in detail, the The adoption of the creative creative industries/creative economy industries concept was very much concept will be discussed, and the associated with the election of the reasons why it has become increasingly New Labour government in 1997 and prominent in economic debates the creation of the, then Department examined. for Culture, Media and Sport (DCMS), now Department for Culture, Olympics, 2.1 The Creative Industries in Britain Media and Sport (DCOMS), which The term ‘creative industries’ originated built upon the functions of the earlier in the mid-to-late 1990s and was Department of National Heritage. One first taken up at a national level by of the new department’s first acts was the UK’s government. The concept to set up the Creative Industries Task was an attempt to change the terms Force, which was responsible for the of the debate about the value of landmark Creative Industries Mapping arts and culture. While the arts were Document in 1998 and a follow-up supported to some degree or other report in 2001. by most governments, they tended The 1998 mapping document to be seen as marginal to economic was the first systematic attempt to life and dependent on public subsidy. define and measure the creative Advocates of the creative industries industries. It was designed both to idea believed that this was too narrow collect data on the industries and to a view – the totality of economic promote a deeper understanding of activity stemming from creativity and the sector by telling its story in a way culture, including their commercial that politicians, journalists, investors, forms, needed to be considered to academics and government officials understand their true contribution. This could immediately understand. It activity included not just the traditional revealed, to the surprise of some, art forms, such as theatre, music and just how economically significant the film, but service businesses such as creative industries were. It calculated advertising (which sell their creative that they accounted for almost a million skills mostly to other businesses), jobs and 4 per cent of GDP in Britain, manufacturing processes that feed and earned £7.5bn from exports. It into cultural production, and the retail also showed, though, that the sector of creative goods. It was argued that was polarised between a myriad of the industries with their roots in culture very small firms and sole traders and a and creativity were an important and handful of very large, often multinational growing source of jobs and wealth companies. creation.

14 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 15 The idea of the creative paintings, sculpture, furniture, maps, • Interactive leisure software services. It covers the creation, industries soon started to catch on as it drawings and prints. In Britain, most This sub-sector principally consists production and supply of tools was seen as encapsulating a truth about such businesses are small but some, of computer and video games, but and applications and of software Britain’s changing economic landscape. notably Sotheby’s and Christie’s, are also includes some educational and products, including web design. The In particular, the definition adopted internationally important. reference material. British gaming large majority of employment in this by the DCMS and the list of creative • Crafts firms have a reputation for innovation, sub-sector is based outside London. industries derived from it soon became The DCMS includes textiles, ceramics, but many of the games they develop American multinationals tend to influential. wood, metal, glass, graphic and leather are sold by foreign-owned software dominate in this field, but some British The DCMS regards the creative crafts in this category. Businesses publishers. DMA Design, a Scottish firm companies do well in niche markets, industries as: ‘those activities which in this field are mostly tiny: 75 per responsible for the initial development including Autonomy and Sage in have their origin in individual creativity, cent are sole traders. The majority of of the Grand Theft Auto series of business software. skill and talent and which have a craftworkers are women and, perhaps games, is now ultimately owned by • Television and radio potential for wealth and job creation surprisingly, are mainly based in urban Take-Two, an American publisher. This sub-sector covers all public through the generation and exploitation areas. • Music service, commercial, cable and satellite of intellectual property1.’ • Design This includes both live and recorded TV and radio, including the production In its first mapping document in This sub-sector is hard to assess music, music publishing and the and broadcasting of programmes. The 1998, the DCMS went on to define the as much of it is hidden within other administration of music copyright. BBC dominates the British market, but following industries as creative: industries. The DCMS therefore looked Britain excels in most forms of music, many independent companies have • Advertising at design consultancies and designers from rock and pop to classical, and its devised formats which have been In Britain, employment in advertising, working in industry. It found that 70 per consumers spend more per head on successfully sold abroad. Who Wants which includes marketing and some cent of British design companies were music than almost any other country. to Be A Millionaire?, which has been public relations activities, is dominated active abroad. London in particular has EMI, one of the music industry’s ‘majors’, shown in more than 100 countries, by multinational agencies, and is heavily a strong reputation in this field, based is based in London. was developed by the independent centred on London: it and New York are on its excellent design schools. • Performing Arts company, Celador. widely regarded as the capitals of the • Designer Fashion Theatre, dance, ballet, musicals and advertising world. The London-based Fashion design is a relatively small opera performances all fall into this The DCMS’s definition and list of communications group, WPP, is the sub-sector, but is highly integrated into category. These art forms usually the creative industries both provoked world’s largest by revenue, employing the international market – even small depend on a mix of public subsidy and considerable debate. It has been almost 140,000 people in more than fashion businesses look to export their private ticket sales and funding. Some argued, for example, that almost all new 100 countries. products. Britain’s fashion schools have parts of the sub-sector are nonetheless products have elements of creativity • Architecture helped train numerous internationally big revenue earners: London’s West End and intellectual property embedded Like many creative industries, the renowned designers, from John Galliano theatre, with its wide variety of musicals within them. Separating off a handful architecture sub-sector is made up of to Stella McCartney. and plays, is a major tourist attraction. of industries and labelling them as a handful of big firms and a very large • Film and video • Publishing ‘creative’ is, according to this view, number of small ones. The sub-sector’s This sub-sector includes film The publishing of books, newspapers, rather arbitrary. fortunes are closely linked to those of production, distribution and exhibition. magazines and electronic information More specific criticisms of the the construction industry. A number Although the UK has a number of is one of the largest employers among list have also been made. The inclusion of British architects have achieved successful home-grown producers, the creative industries. The widespread of the computer software sub-sector international reputations, including such as Working Title, the Hollywood use of English internationally means has often been questioned. It is a large Norman Foster, Richard Rogers and studios dominate the British market. that book publishing in particular is a employer in many parts of Britain, yet David Chipperfield. The number of films produced in Britain, globally connected industry. much of it consists of conventional • Art and antiques market and their box-office returns, fluctuates • Software and Computer Services business software and consultancy This sub-sector includes dealers considerably from year to year. The biggest creative industry of all rather than the more creative elements and auctioneers of antique jewellery, in the UK is software and computer such as computer games development

16 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 17 or interactive media. The presence of ‘knowledge economy’ – that part of Key events in the evolution of the creative industries concept and policies the antiques trade on the DCMS list has the economy which employs graduate also been challenged, on the grounds talent that there is no fresh act of creation • contributing to the regeneration of Creative Industries Creative Britain report 2008 involved, merely the retail of pre- towns and cities Economic Estimates first existing ones. • connecting and working with further published 2002 Although some minor and higher education 2nd DCMS Creative Industries Mapping Creative Economy adjustments have been made to the • bringing communities and people Document 2001 Programme 2005-07 list in response to these and other together through shared experiences. criticisms, the 1998 definition is British Council’s Creative still essentially the one used by the In 2006, the UK government Industries (now Economy) Creative London Digital Britain DCMS today. It is often used by other formally adopted the term ‘creative Unit set up 1999 launched 2004 report 2009 countries as the basis for developing economy’ to capture this sense of their own definition. the wider contribution of the creative The idea of the creative industries to economic and social life. 1997 DCMS established 2001 2005 industries as set out in the DCMS This toolkit is concerned with mapping mapping documents was quickly the creative industries themselves, so embraced not just by Britain’s national many of these broader connections 1st DCMS Creative (London) Mayor’s UN’s Creative Economy Industries Mapping Commission on Creative government but also by its cities, and relationships fall outside its scope. Report 2008 regions and local government, partly Nevertheless, these connections are Document 1998 Industries 2002 encouraged by the work of the DCMS’s significant, and might well be the Establishment of ‘Creative economy’ term 3 Creative Industries Task Regional Issues Working Group . A subject of further research once an Force 1998 formally adopted by UK 4 host of initiatives and programmes was initial mapping exercise is complete . WIPO establishes government 2006 launched by many public bodies, and The timeline on the right gives a DCMS Regional Issues Creative Industries ‘creative’ became a new economic sense of the way in which the creative Working Group set up Division 2005 development buzzword. At one time or industries concept has developed and 1999 other in the last decade, for instance, been translated into evidence and the creative industries have been policy in the UK since 1997. a priority sector for all of England’s regions. This enthusiasm coincided The decision to produce the first with sharp rises in employment in the Creative Industries Mapping Document Department for Culture, Olympics, Media and Sport (previously dcms) creative industries in Britain in the late in 1998 turned out to be a momentous 1990s, which lent weight to the new one. It was the first systematic attempt Since the publication of the mapping documents in 1998 and 2001, the model. anywhere to measure the creative Department for Culture has continued to carry out research into the creative As time has gone on, however, it industries on a national scale. It drew industries. From 2002 onwards it has produced annual Creative Industries has increasingly been recognised that attention to a sector which, with its mix Economic Estimates bulletins, which provide a detailed analysis of the creative the creative industries cannot be seen of technology and a long and complex industries in Britain and are available online. The most recent figures show that in isolation. They have a number of cultural heritage, is unlike any other the creative industries in Britain employed more than 1.1 million people (in important, wider dimensions, including: sector of the economy. 2008), and accounted for £16.6bn of exports and 6.2% of GVA (in 2007). The • adding value to other industries, Although the mapping document DCOMS has built up considerable expertise in mapping, and is happy to share notably through design, advertising and focused just on the creative industries, its knowledge with other countries. It is particularly interested in encouraging branding it was the trigger for a series of more accurate comparisons between countries. If you want to learn more about • being major employers of highly developments which have rippled out the DCOMS’s work, or wish to explore the idea of collaborating on developing skilled people, thus being part of the across the British economy, leading to comparative data, the British Council can help facilitate such discussions.

18 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 19 2.2 The Creative Industries: Creative industries mapping International Context exercises have now been carried out The UK’s decision to produce the first in many parts of the world. The British Creative Industry Mapping Document Council has been involved in such work in 1998 turned out to be an important in Colombia, Estonia, Indonesia and milestone internationally too. The South Africa, among others. definition and list of industries it International agencies, contained were soon noticed and taken too, have adopted the idea of the up, particularly in East Asia. Hong Kong, creative industries or the creative Singapore, Taiwan, Korea and China all economy. UNCTAD (the UN’s trade and developed analyses of their creative development body) has led the way, industries, based to a greater or lesser being the lead agency responsible extent on the UK model. In most cases, for the UN’s Creative Economy Report the model has been adapted to fit local 2008 7. a greater recognition of the importance economic performance of the creative needs. Singapore, for instance, has UNCTAD notes in its report that of creativity across the economy and industries. Between 2005 and 2007 produced a classification framework ‘the creative economy has become society as a whole. It has led to a richer the DCMS launched a major research which groups the creative industries a topical issue of the international understanding of the creative sector project, the Creative Economy under three broad headings: arts and economic and development agenda, and has helped to shape policy both in Programme, which resulted in 2008 in culture, design, and media. calling for informed policy responses the UK and internationally. Creative Britain 5, a report which set out Other parts of the world, notably in both developed and developing The work of the Regional Issues a support programme for the creative Australia, New Zealand and Scandinavia, countries 8’ . UNCTAD statistics reveal it Working Group helped encourage sector that touched on education, skills, took up the notion too, though accounts for a significant and growing lower-level tiers of government in innovation and intellectual property. A sometimes with significant differences slice of the world’s economy. The Britain to take up the idea early on. further landmark was the publication of from the UK’s approach. Sweden, for Creative Economy Report 2008 quotes In 2002 London’s then mayor, Ken Digital Britain 6 in 2009, which sets out example, talks about the ‘experience some impressive figures for the size of Livingstone, established a Commission the country’s ambitions for the digital economy’ which, while including the the creative industries. It calculates they on the creative industries, to assess age. One striking aspect of the Digital creative industries, also embraces the account for: their value and potential contribution Britain report is its focus on the creative likes of the restaurant business. In India, • 3.4 per cent of world trade (in 2005) to the city’s economy. As a world industries: it is evidence of the extent the definition includes lifestyle products • $424 billion of exports (in 2005), city, London’s creative industries are to which the digital and creative sectors and services, like yoga and Ayurvedic growing at an average annual rate of unusually strong; in 2001 they were are merging due to technological medicine. 8.7 per cent between 2000 and 2005. found to be second only to the financial change. Indeed, many public bodies Source: UN Creative Economy Report 2008, p5 sector in importance to London’s in Britain now refer to these two as a economy. The Commission led to the single economic grouping. Singapore’s classification framework for the creative industries establishment of Creative London, Britain’s example, then, as the which aimed both to promote the city’s first country to take up the idea of the Arts and culture Design Media creative industries and to use them to creative industries, is a helpful one to pursue the mayor’s broader ambitions explore. It has a wealth of experience • Photography • Software • Publishing of regenerating some of the more run- on which to draw. However, it is by • Visual arts • Advertising • TV & radio down parts of the city and enhancing no means the only country to have • Performing arts • Architecture • Digital media London’s brand. adopted the concept. The following • Arts and antiques • Interior design • Film and video More recently, government section discusses the creative industries trade, Crafts • Graphic design strategies have increasingly been in their international context. • Industrial design concerned with strengthening the • Fashion

20 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 21 The creative industries are Foundation argues that for many of its Organisation (WIPO), which has devised important both to developed nations smaller members in particular, which a ‘copyright’ model that divides the and developing ones. They matter to lack the capacity to exploit economies creative industries up into three richer countries because they depend of scale, the creative industries offer categories: core, interdependent and for their success on the creativity of better prospects for growth than many partial copyright industries. This model their workforces and, as such, their other sectors 9 . seeks to include all the industries competitiveness relies less on price involved in the creation, manufacture, than on the quality and imagination of production, broadcast and distribution their work. In turn, this suggests that and consumption of copyrighted works, they are less likely to lose out to the and thus results in a rather different list price-led competition which has caused from the DCMS’s. many manufacturing and service jobs to Initiatives like these have helped be outsourced to emerging economies. make governments more aware of However, the creative industries the value of the creative industries also offer potential benefits to emerging and intellectual property to the global economies. These countries also often economy. wish to move away from competing solely on price, and are looking to UNESCO, the UN’s cultural arm, For more general information on the creative industries and creative economy, please refer identify new sources of competitive has taken a more cautious approach to to the British Council’s Creative and Cultural advantage and cultural recognition. the idea of the creative industries, but Economy series/1 publication. Creative businesses, driven as they the most recent revision of its cultural are by ideas and creativity, do not statistics framework in 2009 has taken necessarily need access to large more account of them10. Notes ⁄ 2. DCMS (1998) Creative Industries Mapping Document sums of capital or natural resources. Other organisations have put 1998, Department for Culture, Media and Sport, p3. For countries with rich cultures and forward alternative models of the 3. DCMS (2000) Creative Industries: The Regional a pool of local creative talent, the creative industries. Perhaps the most Dimension, The Report of the Regional Issues Working creative economy offers a way to build interesting of these is one produced Group, DCMS, London 4. For an interesting attempt at measuring the creative economic value. The Commonwealth by the World Intellectual Property economy in Britain, see Higgs, P., Cunningham, S., and Bakhshi, H. (2009) Beyond the creative industries: mapping the creative economy in the United Kingdom, NESTA, London. WIPO’s copyright model of the creative industries 5. DCMS (2008), Creative Britain: New Talents for the New Economy, DCMS/BERR/DIUS, London. Core copyright Interdependent Partial copyright 6. Department for Business, Innovation & Skills (2009), industries copyright industries industries Digital Britain, Norwich, TSO. 7. United Nations (2008) Creative Economy Report • Advertising • Blank recording • Architecture 2008: The Challenge of Assessing the Creative Economy: towards Informed Policy-making, United Nations, Geneva. • Collecting societies material • Clothing, footwear 8. Ibid., p4. • Film and video • Consumer electronics • Design 9. Commonwealth Foundation (2008) Putting Culture • Music • Musical instruments • Fashion First: Commonwealth perspectives on culture and • Performing arts • Paper • Household goods development • Publishing • Photocopiers, • Toys 10. UNESCO Institute of Statistics (2009), 2009 UNESCO Framework for Cultural Statistics, UNESCO Institute of • Software photographic, Statistics, Montreal. • TV and radio equipment • Visual and graphic art

Source: UN Creative Economy Report 2008, p5 22 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 23 3 ⁄ The Mapping Toolkit

The creative industries, then, is a It should be made clear that concept which is rising in prominence. ‘mapping’ extends well beyond However, the fast-changing and cross- the production of actual maps. It is cutting nature of the industries poses shorthand for a whole series of analytic challenges both for private investors, methods for collecting and presenting who may not fully grasp the ways in information on the range and scope of which the industries are evolving, and the creative industries (or a particular governments, which need to better part of them). This toolkit describes understand the sector if they are to these techniques and assesses their release the full potential of their creative strengths and limitations. economies and develop appropriate However, the mapping research policies. In many places, very little is itself cannot be considered in isolation. known about the creative industries’ It lies at the centre of a series of other location and size, or what their needs issues – political, managerial, practical might be. Mapping is designed to be a – which shape the success or failure first step in addressing this. of a project. We have identified seven steps which have to be addressed if the mapping is to achieve its desired results.

24 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 25 STEP 1 ⁄ Why do mapping? Beyond simply raising their profile, agendas, such as urban regeneration, If such people are to be mapping can give insights into the rural development or social cohesion. persuaded, though, the project To begin at the beginning: why do a structure of the creative industries. Making the creative industries’ needs to be credible. The sponsor mapping exercise at all? They are a varied and fast-changing contribution more visible through therefore needs to give some thought A mapping exercise seeks to assess group. Evidence from Britain and other mapping can help policymakers see to the feasibility of the project, the value of the creative industries countries suggests that they sometimes how the industries could play a role and in particular the availability to the wider economy. This might be cluster together in certain places, in these other areas. In turn, this may of information. All countries have demonstrated through measures such and each industry faces its own set of allow some of the creative industries’ national statistics agencies, either as as employment, the number and size issues. Mapping projects can reveal needs to be addressed as part of wider part of their governmental structures of creative businesses, exports, gross some of these patterns and how they initiatives. or sometimes as semi-independent value added, or the composition of the are changing. This in turn is important bodies. In some places, there are also workforce (by gender or ethnicity, for for the third consideration – planning Who is it for? regional or city-based ‘observatories’ instance). for future growth. The idea for a mapping project that collect information on labour There are five main reasons why 3 ⁄ To plan for future growth. may arise from any of a number of markets, businesses and employment. someone might want to carry out such Understanding where you are now is sources: a senior civil servant or a If a mapping exercise can adapt such an exercise. essential to being able to plan sensibly. creative entrepreneur, for instance. statistics to reflect the circumstances The creative industries often face However, if a project proposal is to and character of the creative industries, 1 ⁄ To raise the profile of the creative particular challenges, such as finding be taken forward, a sponsor has to it is likely to help the credibility of the industries. affordable workspace, getting access be found – someone who can secure mapping project considerably. It is A mapping project is first and foremost to high-speed broadband services, and financial and political backing for the therefore important to check if these an exercise in getting the creative access to skilled labour. Mapping can project. British (and international) agencies have reasonably reliable industries noticed and recognised. The help identify the needs of the creative experience suggests this person is figures, and effective methods for sector is an unusual one, cutting across industries and suggest ways in which likely to be a politician. He or she collecting and analysing the data. traditional industrial classifications and they might be addressed. will have become interested in the It is worth noting that, even changing rapidly as technology evolves. 4 ⁄ To engage leaders in the policy creative industries and wants to raise in countries which have generally As such, it often has a comparatively issues affecting creative industries. the industries’ profile by getting their good statistical services, certain low profile compared with, say, financial By raising the profile of the creative economic value recognised and individual surveys may be less reliable services, manufacturing, or industries industries and providing an evidence understood. than others. Factors that have to be based around the exploitation of natural base on their size and location, The sponsor needs to start considered are the size of the sample, resources. A mapping project can raise mapping provides a platform on which thinking early on about who the project the geography at which the data awareness of the economic value of the to build policy arguments. It encourages is ultimately for – who is he or she was collected, and the availability of industries, which is often substantial. It politicians to take the sector seriously hoping to influence?I s the ambition comparator years. There is inevitably can also help create common frames and to develop policies to push the to get officials in government or also a time lag in compiling statistics, of reference for talking about the creative industries agenda forward. national statistics agencies to pay more which can be a problem in the fast- creative industries. This in turn can be Mapping can also help persuade other attention to the quality of data on the changing environment of the creative useful in increasing their political clout, potentially influential groups, such as creative industries? Is it to persuade sector. so allowing them to get their needs journalists or civil servants, of the need politicians to make policy changes? Or If reliable data is not available, as taken more seriously. It can also help to support the creative sector. is it to get the creative sector itself to is the case in some emerging (and even creative businesspeople in the different 5 ⁄ To support wider political or think more deeply about its strengths developed) economies, the suitability industries to see what they have in economic objectives. and weaknesses? This decision has of non-governmental statistics needs common. Sometimes the interest in the creative implications for the conduct of the to be explored. This might be data 2 ⁄ To learn more about the sector – industries lies not so much in the mapping exercise, as the later steps in collected by trade associations or what is happening and where is it taking industries themselves but in their the process will show. industry bodies, by trade publications place? potential contribution to other pressing or online networks, or by NGOs, private

26 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 27 businesses or universities. By patching Case study: Vietnam – Binh Duong Province such data together it may be possible to create workable datasets for a Vietnam’s economy has grown very quickly in recent years, and creative mapping exercise. businesses are being established, especially in the largest city, Ho Chi Minh City If even these are not available, (HCMC). National networks are beginning to develop, too, notably Viet Craft, the project researchers are going to which has 450 members. As wage costs rise in the wake of economic growth, have to compile their own data. The Vietnam is starting to think about ways of encouraging businesses to move up project sponsor needs to think through the value chain. the feasibility of this – how much might Vietnam has just begun to explore the concept of the creative industries. The it cost, and what level of coverage British Council recently undertook an exploratory visit to Binh Duong Province, might be achieved. a district just to the north of HCMC. The provincial government sees the creative It may be that there is too industries as a potential source of growth. Binh Duong Province already has little data from any source to run a a number of firms making good-quality ‘creative’ goods – principally crafts – mapping project. If the sponsor still for export, but these tend to use imported designs. It also has several media wants to raise the profile of the creative companies. industries, there are other strategies that can be adopted. One alternative is The consultant representing the British Council sought to assess the strengths to hold a series of events or seminars and weaknesses of the province’s creative industries, especially in the design designed to encourage understanding and crafts sub-sectors, and to examine the possibilities of a mapping project. She and debate. These might involve the spoke to businesspeople, creative entrepreneurs, higher education institutions creative sector itself, wider interests in and government officials.A seminar was also held in Ho Chi Minh City, to the business world, and government encourage debate about the creative industries. officials in departments such as trade The conclusions stemming from the visit were mixed. There is some local and investment, culture, education, enthusiasm for the creative industries on which to build, but doubts were exports and economics. The British expressed by officials about the quality of available statistics and there was little Council supports a number of such evidence of relevant expertise in the local universities. programmes (see appendix 1). In a case like this, therefore, a full-scale mapping project at this stage would be premature. Instead, the reliability of local and national statistics needs to be further investigated, sources of creative industry expertise have to be identified, and an assessment has to be made of which industries it would be useful to map. It might make more sense in this case to provide a broad overview of the creative sector followed by detailed work on a handful of industries: design, crafts and media. In the meantime, awareness could be raised by holding seminars on topics of interest to local firms, such as branding and innovation, and strengthening creative networks.

28 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 29 STEP 2 ⁄ Which policy questions Areas of policy interest Urban regeneration in the UK can mapping address? Creative industries mapping or In a number of British cities clusters of creative industries have contributed Mapping projects are rarely undertaken evidence-gathering exercises have to urban economic revival. Sometimes this has been unplanned: artists and simply out of intellectual curiosity. Most shaped the UK’s policy approach in creative people have moved to certain city neighbourhoods and have built a project organisers have ambitions to all three of these policy areas. The new economy there. In other cases, local government has made a conscious influence the future development of the following case studies look at examples effort to strengthen the creative industries in a locality by providing assistance, creative industries. To do this, though, from across the country sometimes by designating the district a creative or cultural ‘quarter’. they need to understand which policy An example of the first isS horeditch, a neighbourhood in east-central London, areas mapping projects can realistically Local (place-based) economic which has been transformed by the creative industries over the last 15 years. hope to influence.A research report development The decline in manufacturing in London throughout the twentieth century commissioned as part of the DCMS’s Regions and cities are often most saw Shoreditch’s traditional industries, notably furniture and textiles, virtually 11 Creative Economy Programme interested in the contribution of the disappear, leaving the area poor and economically depressed. However, it also suggested there were three that are creative industries to local economic left warehouse space behind. London as a whole has a large population of art particularly important (see table below). development. The creative industries and design students and working artists, who are always looking for cheap, have a tendency to cluster together, flexible workspace in the inner city.I n the 1990s Shoreditch thus began to be often in city districts that have been colonised by artists, a trend which was symbolised by the establishment of the abandoned by traditional manufacturing White Cube gallery in Hoxton Square, the spiritual home of the Young British industries. Creative businesses are Artists (YBAs), such as Damien Hirst. also often very small in size, strongly rooted in their local communities, and As more and more artists moved to the area Shoreditch acquired a more employers of highly skilled people. As fashionable image. This attracted more mainstream creative businesses, in fields such, they can help to regenerate run- such as advertising, architecture, photography and, especially, design. This wave down areas, help a place to diversify of affluent professionals in turn attracted bars, restaurants and clubs to the area, its local economy and allow an area to leading to it becoming one of the centres of London nightlife with a reputation ‘rebrand’ itself. for being on the cutting edge of London style. Shoreditch has become a classic example of inner-city gentrification. More recent developments have included an upmarket hotel and a major new gallery for multicultural art, Rivington Place. The rising rents and a tendency for warehouses to be converted into residential space have started to push out the artists responsible for the area’s revival; they Areas of policy interest have begun to move further east. The Shoreditch cluster was largely unplanned, but it was soon noticed by Local (place-based) National Cultural policy local and city-wide government bodies. A number of mapping exercises were economic development industrial policy undertaken, and policies devised to support the growth of creative industries • City or regional growth • Innovation • Architecture in the area. There were also some unexpected knock-on effects: Westminster, • Regeneration • International • Cultural co-operation the traditional centre of creative industries in London, commissioned a mapping • Local and regional competitiveness • Cultural diversity study to help it understand why some of its businesses were moving to cluster development • Cultural exchange Shoreditch.

• Regional economic • Cultural identity The creative industries are a large and dynamic sector in London. In other diversification • New cultural forms places in Britain the creative industries make up a relatively smaller share of the

• Place-making/ city and economy. Local government in such areas have often made more systematic regional branding attempts to encourage Shoreditch-style creative clusters.

Source: BOP Consulting, 2006

30 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 31 In Manchester, for instance, the city has built on the growth of the creative industries in the Northern Quarter district of the city centre. As in Shoreditch, its traditional industries had declined, leaving cheap space behind that proved attractive to creative industries, especially in fashion, galleries, and music. Affleck’sP alace, an indoor market that is something of a Manchester institution, embodies the bohemian culture which has taken root in the area with its many small creative retailers. When it became clear that the city centre was attracting creative industries the city council took an active role in supporting and promoting them. As a result of a mapping and research study, it set up CIDS (the Creative Industries Development Service), an organisation based in the Northern Quarter that provided support and information to creative businesses across the city. The growth of the creative industries has been credited in part with reversing the longstanding decline in the residential population of the city centre. Birmingham is attempting to do something similar in Digbeth, which lies just south of its city centre. The district has been identified by the city council as a potential hub for the creative industries in that city. Like Shoreditch and the Northern Quarter, Digbeth has largely been abandoned by manufacturing and wholesaling businesses, leaving potentially usable space behind. Private developers have taken note and have converted a number of buildings in the area for use by creative industries. The first of these was the Custard Factory, a former food-processing facility, which is now home to 250 small creative businesses. Its success has been repeated nearby at Fazeley Studios, a former chapel, and at The Bond, a converted Victorian warehouse. Birmingham City Council is looking to build on these successes to establish a creative cluster. It has plans to upgrade broadband connections in the area to create a digital hub and has supported a new campus of the South Birmingham College in the area, which offers a number of courses related to the creative industries. Together with public realm improvements, and the area’s strong reputation for live music, it is hoped that a ‘buzz’ can be created in Digbeth to attract new businesses and residents.

32 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 33 National industrial policy Cultural policy allowing them to re-invent themselves in new forms. At a national level, policymakers are The third area of interest is cultural often more interested in the creative policy. The creative industries have industries as a source of international their roots in longstanding cultural competitiveness and as a key part of traditions. Indeed, for many creative the debate on national industrial policy businesspeople the cultural value of in the fields of innovation, technology their work is at least as important as and intellectual property. The digital its economic value. In a globalised, revolution (or ‘digital shift’ as it is connected world many places are sometimes known) has put creative wrestling with the question of how to businesses, especially in media, on maintain their cultural identity without the front line of these issues. Their becoming ‘living museums’. Commercial experience has lessons for other parts culture can be a way of ensuring the of the economy which are facing similar survival of cultural traditions by giving challenges. them a new value and importance or by

Digital Britain The European Capital of Culture programme British government ministers have for some years now identified the creative The European Capital (or City) of Culture programme (ECoC) is an example of industries as a particular strength of Britain’s economy, and have declared an the way in which culture can be used to change the image of a place and spur ambition to see the UK become the world’s creative hub. This is reflected in the the development of the creative sector. ECoC was the brainchild of the Greek focus of government bodies; both the Technology Strategy Board and UK Trade actress turned politician, Melina Mercouri, who wanted to raise culture’s profile and Investment (UKTI) have identified the creative industries as a priority area for in the European Union. Although it was launched in 1986, it wasn’t until 1990, their activities. This thinking has also helped shape recent policy and legislation. when Glasgow was the host city, that the idea really began to have an impact. As a study of the ECoC hosts observed, ‘Glasgow was a turning point … in that The Digital Britain report, published by the government in 2009, was Britain’s the city set multiple aims with specific reference to cultural, economic and social 12 most serious attempt to date to come to grips with the new digital age . goals. Almost all cities that followed have taken a similar approach’13. These goals Stephen Carter, the Minister for Communications, Technology and Broadcasting included boosting tourism, improving the city’s image, revitalising the city and at the time (the report’s author), described it as ‘an overdue recognition of increasing the number of creative industries and jobs. the industrial importance of the creative industries’. The report frequently mentions the challenge posed by other nations’ plans for digital technology Glasgow’s year as ECoC was part of a 25 year-long effort to use culture to build and infrastructure, in particular the high levels of public and private investment up its identity. Although Glasgow had been one of the great trading centres of in broadband infrastructure in countries such as the United States, Japan and the Victorian era ¬– it was known as the second city of the British Empire – by Australia. the 1970s and ‘80s it had lost much of its manufacturing base and had acquired a reputation for poverty and violence. In the words of a city official, it was The report had three broad themes: increasing digital participation; building perceived as ‘the worst corner of Britain’14 . In the ‘80s, the city council decided a new communications infrastructure; and modernising the relevant legal and to give culture and creativity a prominent role in its regeneration efforts. regulatory frameworks. Many of the proposals in it deal with the production and trade of creative goods and services, the role of intellectual property, and the These began with the Glasgow’s Miles Better publicity campaign, which stressed relationship between the public and private sectors. In particular, the report the city’s cultural assets, including the then recently opened Burrell Collection, saw piracy as a major threat to the future health of the creative industries and and the city’s hosting of a Garden Festival in 1988. Things took a big step put forward proposals for dealing with it. A number of these policy proposals forward in 1990, when the city’s year as European Capital of Culture helped it became law with the passing of the Digital Economy Bill in April 2010. become a presence on the international stage. It improved the image of the city

34 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 35 and its attractiveness to businesses of all kinds, and also helped raise the profile of cultural activity. As the report observes ‘over the 1990s, there was a very significant increase in jobs within the cultural and creative industries including music production, film production, book publishing and design trades’15. The creative industries have thus become part of a new cultural identity for the city, which has helped displace the older images. Glasgow was UK City of Architecture and Design in 1999, and has recently been declared a City of Music by UNESCO. In 2014, it will host the Commonwealth Games. Glasgow has maintained this momentum with a programme of its own festivals and events and new and redeveloped cultural facilities. It now has the highest per capita spend on culture and sport of any British city. Projects over the last 25 years have ranged from the St Mungo Museum of Religious Life and Art to the revitalisation of the Merchant City district. The city’s Head of Arts and Museums has noted that the city’s economic development department doesn’t always look for direct economic benefits – it sees ‘quality of life’ projects as providing important indirect benefits to the city16. In 2008 the European Capital of Culture honour, which rotates around Europe, returned to the UK, to Liverpool. The city has long had a strong and diverse culture, stemming partly from its position as an Atlantic port. Its contributions to British (and international) cultural life range from the Beatles and the Mersey poets to playwrights like Alan Bleasdale and Willy Russell. Despite this, though, the city is also one of the poorest in Britain, with a range of social problems and a troubled political history. In the last decade, Liverpool’s economy has staged a partial recovery, and there has been an effort to move away from the political controversies of the 1980s and 1990s. Liverpool’s year as ECoC was (at least in part) an attempt to use its cultural strengths to make outsiders more aware of these changes and to achieve wider benefits, such as increasing cultural participation and tourism. Liverpool has commissioned a research team to measure and map the impacts of the programme over a five-year time period. While it is too early to measure the longer term effects, the short-term results are promising. Liverpool received ten million additional visits in 2008 thanks to ECoC, with an estimated economic impact of more than £750m17. Businesses in the tourism sector were extremely positive about the year, while by early 2009, just over half of the arts representatives spoken to thought that the city had achieved its aspiration to become a world-class city. Nearly three-quarters of creative industries businesses surveyed also felt that the longer-term impacts of ECoC on their businesses would be beneficial, while media coverage presented a much more positive image of the city than usual. For both Glasgow and Liverpool, then, the creative industries are not simply economically beneficial; their cultural and reputational impact is at least as important. The industries are helping to re-shape the way that the rest of Britain and the wider world see the two places. 36 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 37 STEP 3 ⁄ how are the creative appear on all four lists. Comparison of four countries; definitions of the creative/cultural industries industries defined? Drawing up a list of industries is only the start of the process, however. Having decided that a mapping exercise The list has to be ‘translated’ into a form UK Germany Spain France would help with achieving certain that is compatible with the data sources Culture and creative Term used Creative industries Culture industries Cultural sector economic or political goals, the next that the mapping exercise will use. industries step is to focus on the practicalities In Britain, for example, an analysis of the process. The following sections of Standard Industrial Classification Architecture of the toolkit (steps 3 to 5) deal with (SIC) code data (the British equivalent Audio-visual this, but in reality there is some overlap of ISIC data, the International Standard (film,TV , radio) between them: decisions in one area Industrial Classification) underpins any Performing have implications for the others. serious creative industries strategy. The arts The first of these practical steps is list of creative industries is converted Libraries to agree a definition of the creative into a detailed group of SIC codes, industries. Deciding what is in and what which are used to analyse data from Design is out will help clarify the scope of the official government surveys such as the work. Annual Business Inquiry or the Labour Art market/ Visual arts As has been seen already, there Force Survey. is no standard definition of the creative However, for historical reasons – Publishing industries in use – most countries SIC codes were established long before adapt the concept to meet their own some of the creative industries had Fashion needs. In most mapping exercises a evolved into their current form, and are Software/ definition is chosen that reflects the updated infrequently – the codes often multimedia particular characteristics of each don’t reflect the creative industries very Museums/ country’s industrial, cultural and social well. As a result, any British researcher cultural heritage development. This can be drawn up in has to think about weighting certain Music consultation with experts either in the codes to allow for the fact that they country or abroad. Issues that may have combine a mix of creative and ‘non- Crafts to be taken into account include the creative’ activities. size of the informal sector, and the rural- To give just one example, the Advertising urban split within a country – the more 1992 and 2003 SIC codes include a commercial creative industries tend to class called ‘74.20: Architecture and Source: Adapted from Hölzl, K. (2006) Creative Industries in Europe and Austria: Definition and Potential,and Söndermann, M.et al (2009) Culture and Creative Industries in Germany. be based in the larger cities. engineering activities and related It should be noted, though, that technical consultancy’. This covers a as time has gone on a consensus has wide range of activities including the started to develop over what should likes of mechanical, mining and nuclear typically be included. There is now engineering, building and quantity considerable common ground between surveying, and technical writing and many of these frameworks. illustration, as well as architecture and The figure to the right, for its related professions. Some way needs instance, shows the definitions adopted to be found to separate out the creative for the creative industries in Britain, industries from the ‘non-creative’ ones. Germany, Spain and France. As the The DCMS’s approach is to apply table shows, many of the industries standard weightings (developed from

38 its research) to the SIC codes it uses to While this classification is simple Creative Business Models Framework prepare its annual Creative Industries to understand, and has often been Economic Estimates. The industries, the used at sub-national level in Britain, SIC codes and the weightings used by it is not the only way to interpret the the DCMS are shown in Appendix 2. creative sector. A number of alternative If the geographical unit is small, approaches have been put forward. Services the robustness of the data will present One such is the Creative Business further challenges. The creative Models approach (NESTA, 2006)18. PR, Marketing Architecture industries typically account for around This gathers creative industries into Design 3-4 per cent of employment in Britain four circles, according to the business Advertising on measures derived from the DCMS models and supply chains they have Post-production facilities list. At the level of the city or the in common. These circles – Creative Web/mobile development region this can translate into relatively Content, Creative Services, Creative Photography Heritage & tourism services small absolute numbers of creative Originals and Creative Experiences – Content TV & Radio production Games development Exhibitions, attractions businesses. One way to ensure that seek to draw attention to the similarities Contract publishing (design & build) you still have reliable results is to group between the practices of, say, an Publishing Agents the creative industries together in architect and an advertising agency: Recorded music Cinemas Experiences TV/Radio broadcast Live music broader categories according to some both are essentially selling their skills & distribution Performing arts underlying principle. and time (rather than an end product) Games publishers Festivals In 2004, for example, the DCMS to other businesses, not to consumers. Film studios/distribution Museums Galleries proposed the DCMS Evidence Toolkit Merchandise Historic sites/buildings (DET) for use at regional level. It groups Designer fashion creative industries together into four ‘domains’, based on their nature of their final outputs: Books &P ress, Audio- Antiques Visual, Performance and Visual Arts & Designer - making Originals Design. Crafts Visual arts

DCMS Evidence Toolkit (DET) creative industries domains

Audio-visual (AV) Audio-visual (AV) Manufacturing Dissemination

• TV & radio • Publishing (books, magazines, newspapers) • Equipment & capital goods • Wholesale • Film & video • Literature • Means of reproduction • Retail • Photography • Printing • Rental • Advertising • Music • Interactive digital media (games,web, mobile etc) • Computer software

Performance (P) Visual Arts & Design (VA)

• Theatre • Design (inc. fashion design) • Dance • Architecture • Circus • Fine arts • Carnival • Crafts • Puppetry • Art & Antiques

40 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 41 step 4 ⁄ Who is in charge? Who project. The leader will be in overall step 5 ⁄ Which research can give guidance drawn from the does the work? charge of recruiting and management approach should be adopted? experiences of others. It can also help of the project team, drawing up a to avoid duplication and may identify The idea for a mapping project may detailed budget, and supervising the The research approach chosen will gaps in knowledge about the creative arise from any of a number of sources: research and the production of the vary according to the particular industries which the current project a senior civil servant or a creative final document.T he leader has to circumstances of a project, especially could address. A literature review is entrepreneur, for instance. However, if a understand the wider political, cultural the reliability of available data. There are almost always a precursor to the main project proposal is to be taken forward, and economic landscape in which the six basic building blocks from which a part of the research. a sponsor has to be found – someone project is being conducted and make mapping exercise can be constructed. who can secure financial and political sure what is being produced meets the They are not mutually exclusive, and an Statistical analysis of official backing for the project. British (and sponsor and the sector’s needs. This exercise may well combine a number of government data international) experience suggests this person might typically be a government them. This approach offers the most person is likely to be a politician. He official or civil servant. Researchers can use a range of comprehensive overview of a locality’s or she will have become interested in • The project leader has to find a quantitative and qualitative research creative industries and is the only the creative industries and wants to chief researcher will lead the team tools across these blocks, including option which allows for meaningful raise the industries’ profile by getting responsible for the quantitative and statistical analysis, surveys, interviews, comparisons between countries. On their economic value recognised and qualitative research work. Mapping focus groups and web-based cost grounds, it is also the only method understood. the creative industries is ultimately research. While it is often assumed which can be used to produce a However, to take the idea an exercise in economic analysis. that quantitative methods are more nationwide assessment of the creative further some more concrete action It is probably desirable therefore to robust – they can be used to establish industries, unless the nation concerned is needed. It has to be decided who have an economist or an economic trends over time, for instance, and to is very small. will run the project, and who will do geographer in the team. Such people compare the creative sector to the rest Official government statistics the work. Careful thought needs to be will typically be drawn from academia, of the economy – they cannot provide can be used to assess the creative given to this. The project sponsor is not although private-sector researchers a comprehensive picture of the creative industries’ contribution to employment, necessarily the one who should lead on or consultants may also have the skills industries. Qualitative work can give business numbers, exports, or GVA the actual research work. required. In practice, a project leader further details and more nuance, which among other measures. There is a There are in essence three might look to identify the economics or help to make sense of the statistical range of international classification distinct roles in a mapping project. cultural department of a local university evidence. A mapping exercise is likely systems used in most countries from Sometimes these will be filled by three as a research partner in the project. to mix the two sets of tools. which creative industry data can be people or organisations, sometimes one The six building blocks are: derived. These include the International person may combine two (or more) of It is useful for these three to • literature review Standard Industrial Classifications ISI( C), the roles: meet regularly throughout the mapping • analysis of official government data the Central Product Classifications • The project sponsor will bring process to review progress. • industry-specific studies (CPC) and the International Standard high-level power and influence and • analysis of non-governmental data Classification ofO ccupations (ISCO). will champion the project, securing • directories of businesses The UN’s Creative Economy Report financial and political backing to • case studies. 2008 explores the uses of these enable the mapping to go ahead. He statistics in more depth. or she may well use the mapping to Literature review The data used may either be develop policies and activities, often at It is always helpful to review standard government data adapted government level. The sponsor is likely previous work before carrying out to the circumstances of the creative to be a politician or someone with good new research. Exploring work that was sector, as is the case in the UK, or political connections. completed earlier or which was done in some cases may be collected • The sponsor in turn will identify for nearby areas can provide a useful specifically for the creative or cultural a project leader to administer the context for the mapping project and sector, as happens in Canada.

42 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 43 Industry-specific studies The West Midlands Analysis of non-governmental data Case study – Gauteng, South Sometimes the project sponsor In many countries, government Africa is particularly interested in specific sub- The West Midlands region of England statistics may not be detailed or sectors of the economy, either because has identified theS creen, Image and reliable enough to be a sensible choice The British Council helped to sponsor the local economy is strong in that area Sound industries (which include TV, for a mapping exercise. If so, other a creative industries mapping project or because the industries are politically film, video and computer games) approaches have to be considered. One in South Africa in 2008, in Gauteng important: TV broadcasting often falls as a priority sector. In 2007, a possibility is to compile statistics from province. A team was brought 19 into this second category. In such cases mapping study found that it was a alternative sources. In many countries together that included the Gauteng it may be possible to carry out surveys dynamic sector with strong growth private sector businesses produce provincial government, a local of individual industries. in business formation and high levels databases of firms for marketing or consultancy with previous experience of innovation. Computer games were other purposes. Trade associations and of creative industry research, and the found to be a particular strength industry bodies too may have registers University of the Witwatersrand. of the region. In all, the cluster of of members which could be drawn Between them, the team came up industries employed at least 15,000 upon. Trade newspapers and magazines people across the West Midlands. with a working definition of the can also be sources of information. creative industries that reflected the Research may have been carried out circumstances of the province. It by universities, trade unions or NGOs focused on ten industries: visual arts, which could be drawn upon. The ever- performing arts, cultural tourism and widening spread of the internet means heritage, multi-media, music, crafts, that online social and professional print media and publishing, audio- networks for creative workers and visual, design and fashion. This option will probably have businesses may also be useful sources an element of statistical analysis of of information. The process began with a two-day government or other data, as the workshop to raise awareness of project team attempts to assess the the issues a mapping project might size of the sub-sector as a whole, but encounter. The team concluded that it is likely to be supplemented with a official data inS outh Africa would not range of qualitative methods, such be sufficient to support a mapping as interviews with businesses. These exercise. They decided instead to would allow the researchers to explore create a bespoke dataset drawing issues in the sub-sector in more depth. on a range of non-governmental In Britain, for example, the digital sources. While this approach was media sub-sector has often been the thought unlikely to pick up every subject of industry-specific mappings, creative business in the province, it as it is felt to be particularly important was felt that it could be used to make economically, but is also changing estimates of the aggregate size of rapidly. the business population. It also had the advantage of being able to reach into the province’s sizeable informal sector. To augment this work, the research team also carried out a large number of interviews with creative

44 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 45 practitioners. In all, 540 were Community Radio Forum (www.ncrf. Directories spoken to by phone, with a further org.za), Gauteng Film Commission If there is no reliable non-governmental 190 interviewed face-to-face. The (www.gautengfilmdirectory.org.za) data to draw on, then the research team research found 11,320 creative firms will have to carry out primary research. in the province, employing 182,000 Print media and publishing: Audit The best place to start mapping in such people. The cultural tourism and Bureau of Circulations members list, a case may be to attempt to create heritage and design sub-sectors were Publishers’ Association of South Africa a directory of creative businesses in the two largest employers. (PASA) members list the locality. Researchers can draw on a number of sources, including their The data sources on which the Design: Design Educators’ Forum SA members list, www.BizCommunity. own knowledge and contacts within mapping project in Gauteng province the sector, to help compile such a list. 20 co.za in South Africa drew were : These can then be used in a ‘snowball’ Across sub-sectors: Funding Fashion: Sanlam SA Fashion Week survey, where the businesses known database from National Department database, www.ifashion.co.za to the researchers are asked to name of Arts and Culture, Grants in Aid any other creative businesses they provided by Gauteng Arts and Culture know, which in turn are asked for the Council names of other businesses, and so on. This can also be carried out online. This Visual arts: Visual Arts Network South method may also be able to reach into Africa (VANSA) members list, the the informal sector, which government 2007 South African Art Information statistics are unlikely to include. Directory One advantage of this approach is that it can be initiated by the creative Performing arts: Performing Arts sector itself. Network of South Africa (PANSA) members list, Theatre Management SA Cultural tourism and heritage: Museums Online SA (www.museums. org.za), Gauteng Tourism Authority Case Study – Iaşi, Romania (www.gauteng.net), South African Iaşi in Romania was identified in 2005 as a potential ‘creative city’ by a Heritage Resources Agency multinational project funded by the British Council in South-Eastern Europe. A Multimedia: Animation SA (www. conference and workshops were held in the region to agree plans of action to AnimationSA.org) develop this idea further. It was decided that the most appropriate mapping exercise for Iaşi would be to create a single directory of creative businesses Music: Midi Trust Book, The South for the city. This project took several months to complete and involved local African Roadies Association, Technical businesses, institutions and the city’s British Council Centre. Production Services Association The aim of the project was to demonstrate the economic value of the creative Craft: Ceramics SA members list, sector to potential partners and to lay the ground for future partnerships. Iaşi Craftwise Magazine also hopes to be a trailblazer for other Romanian cities in understanding the role of the creative industries. The group which organised the directory has since Audio-visual: National Association of been able to secure funding from an international investor to start setting up a Broadcasters members list, National development agency for the creative industries in the city.

46 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 47 Case Studies Case Study – São Paulo STEP 6 ⁄ hOW can the project’s for example, may have to adopt a more In some cases, budgetary findings connect with key restrained, technical style than a piece constraints or a lack of political support Although São Paulo is the business audiences and policy agendas? of work aimed at persuading a city’s can limit the scope of a project. One capital of a large, fast-growing and mayor. The project leader therefore option in such a case is to supplement sophisticated economy, its creative Completing the research phase of needs to think carefully about the style a broad overview of the creative industries have not been recognised the project is not the end of the story. and message of the reporting of the industries with a series of case studies, as a distinct entity until now. An Consideration needs to be given to how project, and the style of writing and selecting a handful of projects or ongoing project is aiming to remedy best to raise awareness of, and debate presentational skills available within the organisations working in the creative this. A small team, headed by an about, the project, and how its findings team. The research also needs to look sector and subjecting them to a economist, made an initial research might be communicated. It is important ahead, perhaps by putting forward a detailed analysis of their economic and trip to London to discuss issues to think about the message that is plan for future action and by making social impacts. This can provide useful around mapping. They are now conveyed – how can the report tell the links to policy. information about the organisations carrying out a statistical mapping story of the creative industries locally? concerned and help persuade based on the UK methodology. This is There are ways of presenting Engaging with the creative industries policymakers to consider the economic to be supplemented by assessments findings which make them more likely themselves value of culture. of the impacts of two creative to be understood and acted upon. In many places the creative industries industry activities in the city: São Part of this is simply a matter of the do not yet see themselves as a Paulo Fashion Week (which is actually presentation of the report (if that is the coherent group. Even if the mapping the ‘front end’ of a much larger year- actual output of the mapping process). exercise is aimed primarily at round project developing skills in the A well-written, attractively-designed influencing government officials, fashion and textile industries), and report which presents data in arresting it therefore represents a great a music-based community centre, ways may well receive more attention opportunity to engage the creative which is training local amateur than one which does not have these industries in a debate about the sector’s musicians to become semi- or fully qualities. Opportunities to disseminate prospects. This can be done through professional acts. The research team findings more widely, such as posting promotional events around the report’s aims to produce detailed case studies them on the web, issuing press releases launch, seminars or workshops to of the impacts of these organisations. or holding seminars and events, should explore issues raised in the report The team hopes to build on this work also be explored fully. or online forums to open up the in the future to encourage São Paulo’s Beyond this, though, the discussion. politicians to see the value of the researchers need to think about creative industries. There is a strong connecting their findings to the wider Making links to policy sense, therefore, that this mapping policy agenda they wish to influence The mapping research is an evidence exercise is only the first step in raising (see step 2). There are four main areas base on which sound policy for the the profile of the creative industries’ to which attention should be given. creative industries can be built. The contribution to São Paulo’s life. research team may therefore want to Telling the story make suggestions or recommendations The mapping needs to draw out a clear for courses of action in these story about the creative industries from areas, based on the findings of the the evidence that has been collected. research. Step 2 identified three This can then be tailored towards the broad policy agendas to which the audience at which the project is aimed. creative industries can contribute. A report which is intended to influence International evidence suggests that civil servants in a national statistics there are a number of specific policy agency or a country’s finance ministry, recommendations that are often seen

48 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 49 under these agendas21. These can give Education and skills initiatives: relentless growth of the internet have nation’s culture is protected. France’s a sense of the type of intervention that The creative industries often employ brought the question of intellectual Centre National de la Cinematographie the mapping project might recommend. highly skilled people, but the small property law to the fore. How best to (CNC) charges a levy of around 50 size of many creative firms limits the protect the rights of creators, without pence per ticket on cinema box- Local economic development amount of time and money they can stamping down on new forms of office sales, which is held in a fund Possible policy recommendations spend developing such skills. The collaboration? for the individual producer for use on include: fast-changing nature of the industries Production quotas: These aim subsequent films.I t thus aims to give Workspace: Creative creates further challenges in keeping to support the domestic industry filmmakers a financial platform on which entrepreneurs benefit greatly from up with the latest technologies. In by limiting imports, thus giving local to secure further funding. the chance to network to develop such situations, the role of higher producers a protected share of the their ideas and find buyers for their education institutions becomes domestic market (though international Designing and evaluating policy products. This can be encouraged by particularly important. In 2000, the trade rules can affect such restrictions). recommendations allowing small creative firms to share Korean Ministry of Culture and Tourism As such, they potentially allow firms to Recommendations such as those space with other such businesses. opened the Game Institute in Seoul develop the critical mass necessary to described above need to be carefully Older industrial buildings often provide to train professionals for its domestic develop competitive products. China is planned and based on sound evidence. suitable premises for conversion into video games industry, as part of its aim developing its own animation films for It is therefore important that options are such facilities. 401 Richmond in Toronto of transforming the industry into one of broadcast by setting a quota for the considered by the researchers during is a historic printing factory (built in the world’s top three by 2007. import of non-Chinese productions. the mapping research and incorporated 1899) which has been converted into the work – for instance, by into workspace for more than 150 National industrial policy Cultural policy discussing the possible need for them artists and small creative businesses. Possible policy recommendations Possible policy recommendations with businesspeople in interviews. If this It combines public spaces (including include: include: is done, the mapping exercise should a roof garden) with education facilities Intellectual property protection: Export promotion: The small be able to offer guidance on where and and offices. Rapid changes in technology and the size of many creative firms limits their how to best take action. The creative ability to reach international markets, sector itself ideally needs to be involved yet creative and cultural products are in the subsequent design of the policy, often among the most distinctive parts probably through networks such as of a country’s image, as the example of trade associations. Jamaican music shows. Many countries Some thought should also be address this by promoting their creative given to how any policy initiative is to products and culture on an international be evaluated. In Britain, considerable stage through branding and efforts have been made in the last few showcasing. Scotland promotes a very years to devise ways of measuring the successful annual ‘Tartan Week’ in New economic, social and cultural impact York, featuring Scottish-made products of policy initiatives. This is underpinned ranging from new fashion designs and by the belief that it is only by gathering performing arts to whisky. evidence all the way through a process Targeted investment: Some that the true merit of policies can be countries offer loans or assistance to assessed and communicated, and the specific industries and in a few cases to lessons learned. the creative industries as a whole, often with the aim of protecting culturally sensitive industries. Such an approach aims to ensure that the diversity of a

50 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 51 STEP 7 ⁄ hOW can momentum be years to achieve significant changes in and regions have different mixes of the to make sure the creative sector is maintained? policy. With this in mind, here are five industries. A better understanding of engaged in the mapping process. They recommendations: this variation will help to make a more can help ‘sense check’ the research’s So, the mapping work has been persuasive case to policymakers. findings and provide interesting case completed, a report has been produced Take a long-term view The researchers should also studies. If there are no intermediary or and the findings have been explained The British experience suggests that strive to publish their research representative agencies in place, the to key audiences. How, then, can a new concept such as the creative where possible. This will help to raise mapping exercise could be a first step momentum be maintained to stop the industries will take some while to be the profile of the work, and allow in establishing these so that the sector mapping exercise becoming a ‘one-off’ embraced. It will encounter scepticism future researchers to draw on their can continue to raise the profile of the that is left gathering dust on a shelf? in some quarters, and policymakers experiences. It may be possible to creative industries. The secret is persistence. may have more urgent priorities at any create public repositories for such work: Raising the profile of the creative given time. Sponsors and researchers City University in London has just set up industries takes time. Even in Britain, need to take the long view. the Researching Cultural and Creative Notes ⁄ where the term has been in use for Industries in London (RCCIL) database 11. BOP Consulting (2006) Creative Economy more than a decade, it is still quite Keep collecting information and to make summaries of mapping and Programme: the International Perspective. 12. Department for Business, Innovation & Skills (2009), common to come across public- publish it widely other research reports on creative Digital Britain, Norwich, TSO. sector officials or private-sector The more data that is collected, the industries in the city freely available. 13. Palmer/Rae Associates (2004), European Cities and businesspeople who are unfamiliar with more accurate can be the picture that is Capitals of Culture, European Commission, Brussels, p47. it. A mapping exercise is only the start painted. The creative industries cluster Ensure creative industries stay in the 14. BOP Consulting (2009) Creative Clusters Conference of a process which may take many in certain places, and different cities news Report 2009, Creative Clusters. Celebrating the successes of the 15. Palmer/Rae Associates (2004), Op. cit., p167. creative industries is an important part 16. Rose, C. (2009) Arts Professional, ‘The Art of Politics’ 21 Sept. of maintaining interest in them. This can 17. Impacts ’08 (2010) Creating an impact: Liverpool’s be done in a number of ways, ranging experience as European Capital of Culture, Impacts ‘08, from festivals to award ceremonies to Liverpool. hosting international cultural events. 18. BOP Consulting, MIPC and NESTA (2006) Creating growth: how the UK can develop world class creative businesses Engage with international creative 19. BOP Consulting (2007), Screen, Image and Sound economy expertise Cluster – Impact Study, Advantage West Midlands. The creative economy’s value has been 20. AMERU (Wits University) and CAJ (2008) Gauteng’s recognised by international agencies Creative Industries: An Analysis, Gauteng Department of Sports, Arts, Culture and Recreation, Johannesburg, from the United Nations to the (British) p182. Commonwealth. There are also a host 21. BOP Consulting (2006) Creative Economy of public bodies – not least, of course, Programme: the International Perspective. the British Council – and informal (and online) networks to plug into. Researchers can draw on these wider international connections for support and advice.

Engage the sector Use networks and intermediary agencies such as trade associations and creative business incubators

52 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 53 Landry, Charles (2000) The Creative Selected organisations 4 ⁄ Where Next? City: A Toolkit for Urban Innovators, London, Earthscan The list below gives links to a number Exploration of the role of creativity in of government and non-governmental urban innovation and regeneration. organisations from the UK and across the world which are particularly interested in Ministry of Culture – Republic of We hope this toolkit has provided Evans, Graeme and Gertler, Meric the creative industries/economy. Colombia (2007), Guide to Producing a useful overview of the purposes, (2006), Strategies for Creative Spaces, Regional Mappings of the Creative challenges and opportunities of a London Development Agency/ • British-based organisations Industries, Ministry of Culture, Bogotá mapping project. It is, however, only a Governments of the city of Toronto Detailed guide to conducting a regional guide, and anyone thinking about such and the province of Ontario British Council’s Creative Economy Unit: creative industries mapping, drawing on an exercise should read more deeply on Wide-ranging study of six cities in www.creativeeconomy.org.uk Colombian experience. the subject and consult organisations Europe and North America that aimed Commonwealth Secretariat: with relevant expertise. to identify strategies for enhancing the UNESCO Institute of Statistics (2009), www.thecommonwealth.org This section of the toolkit therefore growth and development of creative 2009 UNESCO Framework for Cultural includes lists of suggested further industries at city level. Statistics, UNESCO Institute of Department for Culture, Media and Sport reading and organisations with Statistics, Montreal (DCMS): www.culture.gov.uk Florida, Richard (2002), The Rise of specialist knowledge of the creative Revision of UNESCO’s cultural statistics the Creative Class, Basic Books, National Endowment for Science, industries/economy. framework – the first such since 1986 New York Technology and the Arts (NESTA): – to reflect the changing nature of the While Florida uses the term ‘creative’ www.nesta.org.uk Further reading cultural and creative sectors. rather differently from the DCMS – he UK Trade & Investment: refers to workers who have some United Nations (2008), Creative DCMS, Creative Industries Economic www.uktradeinvest.gov.uk autonomy to make their own decisions Economy Report 2008: The Challenge Estimates, published annually since about what they do and how they do of Assessing the Creative Economy: 2002, available online at • International organisations it – his work has nonetheless become towards informed Policy-making, www.culture.gov.uk mixed-up with the arguments around United Nations, Geneva Detailed analysis of the economic United Nations Conference on Trade and the role of the creative economy, and in More than 300 pages of definitions, performance of the creative industries Development (UNCTAD): www.unctad.org particular have affected the discussions statistics and analysis of the global in Britain, with data series going back to around ‘creative cities’. creative economy – probably the most United Nations Educational, Scientific and 1997. detailed study yet carried out at a Cultural Organisation (UNESCO): Howkins, John (2001), The Creative DCMS (1998), Creative Industries global level. www.unesco.org Economy, Penguin, London Mapping Document 1998, DCMS, Influential early study of the creative World Intellectual Property Organisation London economy, which did much to draw (WIPO): www.wipo.int DCMS (2001), Creative Industries attention to the growing economic Mapping Document 2001, DCMS, importance of intellectual property. London KEA European Affairs (2006), The These two studies provided the Economy of Culture in Europe, first detailed guides to the creative European Commission industries in Britain, and have shaped First Europe-wide study of the creative much of the subsequent debate around economy carried out on behalf of the the creative industries both in Britain Commission. and internationally.

54 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 55 56 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 57 2. Skills and Infrastructure • UK Young Creative Entrepreneur (UKYCE) Appendix 1 - The BRITISH COUNCIL’s Creative awards’ scheme: an annual programme of Skills and infrastructure are essential to nurture awards for British young creative entrepreneurs. the creative economy’s growth and sustainability. Economy Unit Groups of finalists travel overseas to an emerging The programme of activities includes: economy to take part in a study tour of their • Media training: developing the skills and sector, and compete for the title in the UK in The British Council is the UK’s international The Creative and Cultural Economy Programme understanding of journalists so that they can front a judging panel. Argentina, Poland, India, organisation for cultural relations and educational works in the following five primary strands: better report on the business of the creative Indonesia, South Africa, China and Turkey have all opportunities and is represented in 110 countries economy. hosted award groups so far. worldwide. The British Council connects people 1. Policy and mapping • Infrastructure: assisting the development worldwide with creative ideas and learning 4. Leadership and Cultural Relations Effective policy-making is essential for the of intermediary agencies that seek to provide opportunities from the UK and builds lasting development of a sustainable and competitive tailored information and support to creative As a cultural relations agency, the British Council relationships between Britain and other countries. creative economy. The structure around which the businesses. seeks to engage the new generation of cultural The Creative Economy Unit was established in creative economy develops is shaped by a series leaders with key stakeholders around the world 1999 as part of the Arts Department to work • Business Skills: delivery of training programmes of government interventions, from IP regulations in the discussion and development of common with the UK’s creative sectors and to develop for young creative business owners that seek to to tax regimes and education policies. strategies to tackle global cultural issues. The a programme of work that would share the develop their business and sector-specific skills. This is also the framework in which cultural aim is to renew the role of the cultural sector in UK’s experience of developing the creative addressing global issues. The programme will relations take place. 3. Creative entrepreneurship and networks economy and the wider impact of this process also integrate practitioners from a wide spectrum in terms of education, social inclusion, economic Through this strand of work, the British Council Creative entrepreneurs are pivotal figures for the of sectors outside the arts (science, education, regeneration, and international engagement. seeks to promote the global discussion creative economy: by bridging the gap between sports, etc.) in order to create cross-sectoral and sharing of appropriate policy initiatives artists and consumers, they drive forward the collaborations. and perspectives, in recognition that the economic and cultural development of societies. creative economy is both a global and a local This strand of the programme seeks to raise 5. Insight and Intelligence phenomenon. their profile, celebrate their achievements, and Development of a platform for the collection and recognise their importance in informing policy- Initiatives so far have included: discussion of issues around the creative economy, making for the creative sector. This strand’s stimulated by the information and interaction • International Issues seminars: a global seminar initiatives include: programme that revolves around specific policy generated by the British Council’s creative issues (IP, education, etc.), running discussions at • Young Creative Entrepreneur (YCE) Clubs and economy activities and networks. networks: development of local and regional several places during a year. During 2010, a series For more information on these activities, please Clubs of creative entrepreneurs and cultural of seminars on the status and future of copyright visit www.creativeconomy.org.uk will take place in the UK, China, Colombia, India, leaders – mainly identified through the Young Poland, and South Africa. Creative Entrepreneur awards’ scheme’s

selection process. Club and network activities • Mapping: an awareness raising programme include seminars, dialogues with policy-makers, on the importance of mapping exercises for the masterclasses, and networking events to share better understanding of the policy needs for information, discuss pressing issues and business different creative sectors. The programme also opportunities. supports mapping exercises in consultation with UK and international experts. • International Young Creative Entrepreneur

(IYCE) awards’ scheme: an annual programme • Toolkits: development and distribution of of awards, which sees groups of young creative resources on creative economy-related issues entrepreneurs from emerging economies visit around the world. the UK for a study tour of their industry, taking part in a major trade event, and compete for the title. Over 50 countries have taken part in the programme so far.

58 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 59 Proportion of Appendix 2 - Creative Industry SIC Codes Sub-sector SIC code Description code taken 22.11 Publishing of books All

22.12 Publishing of newspapers All Proportion of Sub-sector SIC code Description code taken 22.13 Publishing of journals and All 74.40 Advertising Publishing periodicals Advertising All 22.15 Other publishing 25% 74.20 Architecture and engineering 25% activities and related technical Architecture consultancy 92.40 News agency activities All

22.33 Reproduction of computer 25% 52.48 Other retail sale in specialised 5% media Software, stores Publishing of software Art and Antiques Computer Games 72.21 All 52.50 Retail sale of second-hand 5% & Electronic goods in store Publishing 72.22 Other software consultancy All Majority of businesses too small to be picked up in business surveys and supply Crafts 92.20 Radio and television All No codes match this sector Radio and TV activities Design

Nine codes Clothing manufacture 0.5%

Designer Fashion 74.87 Other business activities not 2.5% elsewhere classified 22.32 Reproduction of video 25% recording 74.81 Photographic activities 25%

Video, Film and 92.11 Motion picture and video All Photography production 92.12 Motion picture and video All distribution 92.13 Motion picture projection All

22.14 Publishing of sound All recordings 22.31 Reproduction of sound 25% recording 92.31 Artistic and literary creation All Music and the Visual and interpretation & Performing Arts 92.32 Operation of arts facilities All

92.34 Other entertainment activities 50% not elsewhere classified 92.72 Other recreational activities 25% not elsewhere classified

60 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 61 62 All around the world, the ‘creative economy’ is talked about as an important and growing part of the global economy. Governments and creative sectors across the world are increasingly recognising its importance as a generator of jobs, wealth and cultural engagement. 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. This booklet (and the series it is part of) is a contribution to our shared knowledge and expertise for this emergent and valuable sector.

This item is not for sale.