Despite recent progress in promoting gender equality in the cultural and creative industries, as well as the renewed attention generated by the both the pandemic and the #MeToo movement, much work remains if we are to achieve gender equality in this sector. Impediments to gender equality in the cultural and creative sectors are numerous, and include unequal access to decent employment, fair remuneration, and leadership positions, as well as barriers to seniority. Opportunities for women to participate fully in the cultural sectors and benefit from the creative economy, notably in the digital environment, require increased support. Gender equality is fundamental to ensuring a genuine diversity of cultural content and equal opportunities in artistic work and cultural employment. It is high time that the culture sector grasps the extent of these inequalities and the structural issues that remain to be addressed. Culture and creativity are unfortunately not immune to gender inequality. This report comes at an opportune moment, as we celebrate the International Year of Creative Economy for Sustainable Development. For a truly inclusive and prosperous creative economy to take shape, we must step up our efforts to promote gender equality in this sector. The UNESCO 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions and the 1980 Recommendation concerning the Status of the Artist both call for such a commitment and can serve as inspiration for States to embark on this path. 

This report aims to inspire and inform a conversation about how we might reimagine and intentionally design a truly just and sustainable fashion system. The circular fashion industry offers environmental benefits, but also has the potential to negatively impact jobs. While some jobs might disappear due to automation, new opportunities will emerge in areas like repair and resale. These new jobs will require different skillsets compared to traditional garment industry jobs.

The cultural sector has been severely and persistently affected by the COVID-19 pandemic, with museums particularly hard hit: the 2020 UNESCO report estimated that nearly 90%, or an estimated 85,000 institutions, had been closed for varying lengths of time. The role of museums in society is essential, as they are responsible not only for preserving heritage for future generations but also as central actors for promoting lifelong learning and equal access to culture and the dissemination of values on which humanity is based. In this particularly difficult context, UNESCO has launched a 2021 study to reassess the impact of the COVID-19 pandemic on museum attendance, budgets and activities in order to analyze the threats to the sector and its evolution in the next few years.  

The European Grouping of Societies of Authors and Composers (GESAC) commissioned EY teams to produce a report on the state of the cultural and creative industries (CCIs) in Europe. What was their economic situation before the COVID-19 crisis? What impact has the crisis had on activity and employment? And what are the main priorities for the sector to protect itself from the most serious consequences, to recover growth and enhance its value in the European economy? This study follows a report of the same type, entitled Creating Growth, published in December 2014.

This report focuses on the needs of civil society, the main challenges facing the cultural sectors in the region such as artistic freedom, dialogue with governments, gender equality, cultural policies and the treatment of culture in trade agreements. Due to the vastness of the Asia-Pacific region and the time allotted for the study, not all countries and regions in AsiaPacific are represented in this report. While some challenges and needs may be recurrent in a majority of countries, most are specific to local contexts and particular histories. It is therefore important to keep in mind that the findings of this research cannot be applied to the whole region and that further cooperation will be needed to reach out to civil society organisations that have not been included in this project. Finally, the dynamic and often fragile nature of the cultural sectors requires continuous dialogue with local civil society organisations, as new challenges constantly arise. In this respect, the long-term impacts of the COVID-19 pandemic cannot yet be known, especially considering that in most Asia-Pacific countries the fight against the Coronavirus is still ongoing.

The production and distribution of film and audiovisual works is one of the most dynamic growth sectors in the world. Thanks to digital technologies, production has been growing rapidly in Africa in recent years. The case of "Nollywood", with about 2,500 films made each year, is emblematic in this respect. It has enabled the emergence of a local industry of production and distribution with its own economic model. Yet across most of the continent, the economic potential of the film and audiovisual sectors remains largely untapped. It is estimated that these sectors account for US$5 billion in revenues in Africa and employ 5 million people.For the first time, a complete mapping of the film and audiovisual industry in 54 States of the African continent is available, including quantitative and qualitative data and an analysis of their strengths and weaknesses at the continental and regional levels.The report proposes strategic recommendations for the development of the film and audiovisual sectors in Africa and invites policymakers, professional organizations, firms, filmmakers and artists to implement them in a concerted manner.

The creative sector is an important source of growth in the global economy, and digital creative trade has increased sharply in recent years and particularly in the context of COVID-19. Digital content is replacing physical goods in the sector, for example, in music, books and gaming. Digital aggregators like Amazon, Apple, Netflix, Spotify, TikTok and YouTube have fuelled rapid growth and diversified earnings towards streaming, ad-supported income and data monetization. Copyright revenues are also rising, and the share of digital collections is the fastest growth segment. Participation in the sector by developing countries appears to be increasing, although data availability is poor. To reap the potential benefits of the digital creative economy, developing countries should support a shift from the typical low value-added, stand-alone practitioner industry model to a strategic collaborative approach that facilitates higher levels of creative and digital entrepreneurship. This will require a stronger legal and institutional framework to improve leverage and monetize copyright, financial support for the commercialization of creative activities, government involvement in business support services (e.g. training, incubators, innovation labs, market incubators, cluster development and market development programmes), the creation of enabling institutions to represent the interests of creative workers and firms, and the harmonization of government  policies towards the sector. 

Over the longer term, the creative economy is likely to be a key driver of economic growth as governments around the world look to rebuild their economies in the wake of the downturn associated with Covid-19. It is reasonable to expect that the sector will return to its long-term trend of growing faster than the wider economy as, for example, advertising is likely to recover strongly with the wider economy and other sources of income have been more resilient. The fundamental driver of creative economy growth remains that when consumers have more to spend, and have increasingly sated their demand for other goods and services, they are more likely to spend that additional income on outputs of the creative economy. The importance of the creative economy for overall economic performance is therefore likely to grow. This means its importance for policymaking is also likely to continue to grow, with countries more or less well-positioned to take advantage of that underlying growth in global demand. While this study focuses on developed economies, middle-income countries are likely to show even stronger growth to the extent their overall national income grows faster.

This booklet contains the collected recommendations of the OMC expert group report ‘Towards Gender Equality in the Cultural and Creative Sectors’ (2021). All recommendations are based on practical experience and good practise case studies. They highlight the importance of political commitment to improving gender equality in the cultural and creative sectors (CCS). It should also be stressed that gender equality strategies without targets or gender equality targets without monitoring are less effective and artistic quality and artistic freedom remain the primary selection criteria for any of the proposed measures. The following recommendations correspond to all the recommendations of the OMC report and include general recommendations addressing all policy makers and persons in positions of power, as well as the cultural and creative sectors, the media, and the education sector. The key challenges in this area are gender stereotypes, sexual harassment, access to the labour market and the gender pay gap, access to resources, access to leadership positions, and female entrepreneurship.

The report contains six in-depth country profiles, where specific data and strategic analyses help present the voiced concerns and hopes of stakeholders on the ground. The country profiles are followed by extensive recommendations for Covid-19 response actions organized around the themes of Space, Community, Training and Funding. Both chapters give attention to non-Western expertise on the cultural and creative industries’ needs as well as their stakeholders’ aspirations for development and, thus, broaden the perspectives for more effective and holistic problem solving. 

The COVID-19 pandemic has underlined the importance of the media and culture sector in uplifting people during difficult times. As hundreds of millions of people were confined to their homes during the pandemic, many turned to music, films, television and other art forms for entertainment, education and cultural enrichment, leading to a surge in streaming and online services. Yet, at the same time, it was extremely difficult to continue cultural production, from live performance to recorded media, under lockdown and confinement measures, with the sector hit hard by unemployment and closed productions. 

The cultural and creative industries (CCIs) are one of the fastest growing sectors globally. Many local governments across the world have also recognised how the CCIs can directly and indirectly contribute to place-based revitalisation efforts, helping to regenerate declining and depressed urban infrastructure, working with – rather than against – the grain of existing local heritage. However, the role of the CCIs and heritage in creating dynamic places, driving local economic development and innovation, and improving social cohesion remains under appreciated in many Latin American cities to-date. Based on a set of in-depth international case studies, expert interviews, and a broad literature review of empirical evidence from projects around the word, this Handbook analyses what makes for success in CCI-led urban revitalisation. It details how CCI-led revitalisation projects can address specific socio-economic needs related to declining historic city centre areas and analyses how projects have achieved their success (as well as outlining what continuing challenges they face). The Handbook distils the lessons from this extensive body of practice and policy development, to provide guiding principles and advice for policymakers interested in how to integrate cultural and creative development within wider urban sustainability efforts.

This report outlines trends in the world trade of creative goods and, for the first time, services by country for the period 2005 to 2014, and provides an outlook on the global creative economy for the period 2002 to 2015.

Through this guide, UNESCO provides practical guidance to policymakers as they fight for the inclusion of the cultural and creative industries in social and economic recovery plans. In order to comply with health and safety measures, and to adapt to new business models, both financial and technical support has been and will continue to be necessary. However, it is important to recognize the support mobilized thus far has been multifaceted. This guide is an attempt to provide a comprehensive overview of the range of emergency measures adopted by States in support of cultural workers, institutions and industries and a tool for strengthening the resilience of the sector. 

Cultural and creative sectors are important in their own right in terms of their economic footprint and employment. They also spur innovation across the economy, as well as contribute to numerous other channels for positive social impact (well-being and health, education, inclusion, urban regeneration, etc.). They are among the hardest hit by the pandemic, with large cities often containing the greatest share of jobs at risk. The dynamics vary across sub-sectors, with venue-based activities and the related supply chains most affected. Policies to support firms and workers during the pandemic can be ill-adapted to the non-traditional business models and forms of employment in the sector. In addition to short-term support for artists and firms, which comes from both the public and private sector, policies can also leverage the economic and social impacts of culture in their broader recovery packages and efforts to transform local economies. Culture shock: COVID-19 and the cultural and creative sectors

Digitisation is a must rather than an option and lately digitalised collections have proved themselves to be valuable resources in a crisis. However, the digitisation process often comes with persistent financial difficulties, several legal uncertainties and a clear need of adequate skill development. Based on its survey findings, NEMO and its Working Group Digitalisation and IPR offer recommendations to EU policy makers on the one hand, and to national museum organisations and museums on the other hand, to help museums on their way to digitalised collections. In order to gain an overview from different institutional perspectives in Europe, the study surveyed three different target groups; national museum organisations, national ministries in charge of museums and individual museums.

Empty cultural places, drastically reduced mobility and tourism blockade as an effect of COVID-19 confinement measures not only generate an evident economic damage to cultural institutions, companies and workers but also create a strong economic and social discomfort at city level. Although many EU member states are now entering into a de-confinement phase, many cultural places remain closed or subject to stringent physical-distancing measures. In these new circumstances, one main condition for the sustainability of most cultural and creative sectors (CCS) has been almost entirely disrupted: the possibility to have a public ‘live’ as a source of revenues to meet operating costs, putting more than seven million jobs at risk in Europe. Using cultural jobs statistics from Eurostat and the JRC’s Cultural and Creative Cities Monitor, this report identifies highly vulnerable cultural jobs and creative cities. Despite the unprecedented challenges raised by the COVID-19 pandemic, some cities are already experimenting new event formats to better reach local inhabitants and nearby communities, while ensuring the financial sustainability of cultural activities. Both national and city governments have issued a wide range of policy measures (from compensatory grants to tax reliefs) to maintain alive Europe’s cultural capital, while giving cultural institutions, companies and workers the time to get prepared to post-COVID times. Proximity tourism could indeed help compensate losses from international tourism, while new cultural services that meet societal needs (educational, health, environmental...) would help restore the European social fabric and people’s well-being.

This report, produced with the support of the Swedish International Development Cooperation Agency, is the result of research carried out before the current health crisis. Nevertheless, it reveals flaws in artistic freedom that this crisis will only exacerbate, and progress that may be built upon. While legislative efforts are still needed for better protection of artistic freedom, recent years have seen the emergence of a body of case law from which States can draw, as well as a diversification of mechanisms for the protection of artists at risk. Despite the increased awareness of the specificities of artistic work in terms of social protection, equitable remuneration and taxation observed throughout the world, it is clear that the calls for an integrated approach to legislation on the status of the artist have not yet been heard by a majority of States. In the governments' responses to the profound repercussions of the global pandemic on employment, the rights of artists to be seen as workers with their own specificities must not be overlooked. May this report serve to show that in the absence of appropriate legal frameworks, the culture sector will not be better equipped than it is today to respond to future crises.

The Taskforce identified a real risk that Ireland will emerge from COVID-19 to find its arts, culture and events sectors decimated, with some venues closed for good, many businesses folded, large numbers of skilled and talented performers and workers gone to other careers, and much of the experience and creativity of the sectors gone. It could take years to rebuild these essential sectors. And so the Taskforce’s recommendations are underpinned by the conviction that it is both urgent and important that Ireland’s cultural life - subsidised and commercial - is protected and sustained so that it can survive and adapt to these changed circumstances, recover its equilibrium and contribute to the renewal of our collective sense of wellbeing and purpose. Supporting Ireland’s creative and cultural industries is both an economic priority and a social imperative.