Museums have been particularly affected by the COVID-19 pandemic, with nearly 90% of them, or more than 85,000 institutions worldwide, having closed their doors during the crisis. The impact of these closures is not only economic, but also social. Museums play a vital role in our societies. They not only preserve our common heritage, but also provide spaces that promote education, inspira-tion and dialogue. Based on values of respect and cultural diversity, museums strengthen social cohesion, foster creativity and are conveyors of collective memory. Moreover, their role in the pro-motion of tourism is a key driver of sustainable economic development, both locally and nationally, which will be essential to overcoming the crisis in the coming months and years.
The orange economy contributes to creating approximately 30 million jobs in the world. During the COVID-19 crisis, arts and creative activities have helped support people in isolation and confinement. This thematic note brings in several concrete examples of projects that have used the creative sectors to support job creation. It discusses five main types of interventions: nurturing human capital, providing access to finance, expanding access to markets, building networks and clusters, and harnessing digital technology to support the sector.
This report, after clearly defining what is “freedom of expression” and the crucial social and political roles of artists, proposes an overview of existing international texts protecting and supporting freedom of (artistic) expression, which many countries have ratified and committed to respect. Then, the report delves into the monitoring of the commitment made by national governments when ratifying an international text defending freedom of expression for artists. The report highlights that many countries do not respect their commitments, giving concrete and recent examples. The report also lists the different challenges to artistic freedom in Europe, regrouping them by categories: mis-use of anti-terrorism legislation, discrimination and persecution of minorities, religion, political interest or insult to state and its symbols. For instance, of all censorhip actions they observed, 39% of them concerned music. Music is the artform the most targeted by censorship, and musicians have their freedom of expression the most threatened. The report puts forward how, in music, certain genres are more threatened of censorship than others: rap music is disproportionally subject to punitive action. The report then lists a series of recommendations to ensure freedom of expression for artists, targeted at all governments, the European Parliament, the European Commission and Council, the European Agency for Fundamental Rights, International bodies and Civil Society organisations.
This report explores trends, challenges and responses that affect the cultural value chain and its main actors; it also acknowledges the need to develop well-calibrated strategies that place people at the centre of our thinking and consider the whole cultural ecosystem. It identifies a recurring set of themes that could inform how public agencies – in different contexts worldwide, with varied opportunities, challenges and barriers – might approach supporting culture in the digital age. The extended version of the report for National Members of the Federation also includes further insights into the experiences of public agencies, as well a series of recommendations to consider when designing national digital culture plans, based on insights from successful case studies and international best practice.
In October 2018, the South African government held a high-profile Jobs Summit. In addition to acknowledging the challenges of the high South African unemployment rates overall, President Ramaphosa mentioned the importance of job creation for youth (15 – 34 years old) and women specifically. Statistics South Africa Quarterly Labour Force Survey (2018) showed that unemployment rates amongst young people have reached 39.3%. The figure is even higher for young black African women who are attempting to enter the labour market (45.9%).
The UNESCO Creative Cities Network (UCCN) joins together cities from across the world around the common objective of harnessing the potential of culture and creativity for a sustainable future. The COVID-19 pandemic is affecting people everywhere, and the culture sector has in many ways come to a standstill – cultural events, cinema, theatre and music performances have been cancelled, international tourism has largely ceased, restaurants and markets have closed, amongst others. This has not only impacted the sectors concerned, but also the public, which tends to turn to cultural products and services for education, entertainment, leisure, personal development, or social engagement. While this undoubtably has a serious impact on the economic viability of the cultural sector, the sector's fundamental creativity and ability to inspire social connection remains intact. The information submitted by over 90 Creative Cities from 44 UNESCO Member States shows how cities have come together to nurture new ideas and projects by connecting people to culture and creativity during the pandemic.
At the heart of the cultural and creative industries are people. Artists and creators who innovate, challenge norms, inspire and entertain. Their works generate new social energy, confidence and engagement that can improve the everyday lives of people. Their innovations and creative expressions drive development processes that can widen people’s choices and inspire them to imagine alternative futures. As such, the cultural and creative industries can contribute to the promotion of peace, democracy, human rights, fundamental freedoms, gender equality and the rule of law.
This Guide provides a roadmap for local governments, communities and museums on how to define together a local development agenda. It considers five dimensions: 1. Leverage the power of museums for local economic development, 2. Build on the role of museums for urban regeneration and community development, 3. Catalyse culturally aware and creative societies, 4. Promote museums as spaces for inclusion, health and well-being, 5. Mainstream the role of museums in local development.
Unlocking the transformative potential of culture for sustainable development is our common ambition and this process is already underway. Culture is firmly anchored in the 2030 Agenda for SustainableDevelopment, and Member States themselves are giving it an increasingly important place in the international development programmes, in the fields of education, economic development, development and social inclusion. Over the past twenty years, UNESCO’s Cultural Conventions and programmes have adapted their approaches and instruments to enhance their impact on sustainable development, resulting in new tools to support Member States in their cultural policies. A variety of actors and networks have contributed to enriching and reinforcing cultural policies. Cities, as levers of innovation, have become important actors in harnessing culture to revitalize public spaces, support education for sustainable development, nurture intercultural dialogue and facilitate the integration of vulnerable populations. The increasing involvement of civil society in sustainable development also lays the foundation for more inclusive policies.
The study begins by outlining the EPA’s key provisions in the field of culture. It then examines the institutional landscape and focuses in particular on measures taken by EPA Parties to implement its culture-related provisions. The overall performance of the EPA so far is evaluated with data, practices and other pieces of anecdotal evidence that may reveal the extent to which the EPA has had an impact on cultural activities and actors. It also identifies gaps or missed opportunities that can be addressed in future implementation strategies. Policy recommendations conclude this study. This includes short- to long-term measures to support the implementation of the EPA in the future. They have been formulated to renew hope that trade commitments and cultural policies can be reconciled and can live up to the promises of the 2005 UNESCO Convention and the 2030 Agenda for Sustainable Development.
Statistical data confirm the continued rise in the contribution of culture and art to the economy and employment in the EU and worldwide. The number of cultural professionals and artists is growing steadily, while their employment conditions become more and more unstable. This situation spreads to other sectors and needs to be addressed both in terms of social security and benefits, and revenues and taxation aspects. The EU competence in cultural, social and employment policies is limited, consisting of guidance and coordination without any possibility of harmonisation. However, since cultural professionals' EU mobility is sought after and considered important for the preservation of Europe's cultural diversity, the above-mentioned problems need to be addressed at EU level. Cultural education policy could help strengthen the demand for cultural services, contributing to better employment and training of professionals in the sector.
Many countries around the world have large populations of impoverished people and high unemployment rates. In order to improve conditions in these countries, national governments must develop effective economic growth strategies with strengthening the creative industries at the forefront. The international community is only just beginning to recognize the socioeconomic potential of creative and cultural industries (CCIs), such as film, fashion, and music. The creative economy represents the trade of creative goods and services and grew at an average rate of 14 percent between 2002 and 2008, even during the 2008 global financial crisis. CCIs are more resilient to economic shocks and were not damaged by the 12 percent drop in global trade to the same degree as other sectors, such as manufacturing. Creative industries also produce non-rival goods that can be consumed locally or exported. Developing and developed countries around the world should invest further in creative industries to diversify their economies, reduce poverty, and create jobs for young people.
The OECD-ICOM Guide for Local Governments, Communities and Museums provides a self-assessment framework for i) Local and regional governments to assess and improve their approaches to maximise the social and economic value of cultural heritage as part of sustainable local development; and ii) museums to assess and strengthen their existing and potential linkages with the local economy and social fabric. This document is a case study report presenting the results of the application of the self-assessment framework in Poland undertaken with the support of Ministry of Investment and Economic Development and in co-operation with ICOM and ICOM Poland National Committee.
This case study considers the role of the MUSE network of museums for local development in the Autonomous Province of Trento, Italy. It considers the dimensions of local development featured in the OECD-ICOM Guide for Local Governments, Communities and Museums. The Guide provides a self-assessment framework for i) local and regional governments to assess and improve their approaches to maximise the social and economic value of cultural heritage as part of sustainable local development; and ii) museums to assess and strengthen their existing and potential linkages with the local economy and social fabric.
The present study analyses the 2016 Statistics South Africa Labour Market Dynamics Survey (LMDS), using the UNESCO Framework for Cultural Statistics (2009) to identify cultural occupations and cultural industries.
The objective of this study, carried out by the IDB, is to promote and give visibility to one of the sectors of the creative economy with the greatest potential, not only for the entertainment and software industries, but also for others such as health and education. This study will explore how the industry is not only capable of generating wealth, but also of creating more sophisticated jobs as new technologies develop along with the creative sectors. This presentation will highlight the region’s 50 most prominent video game studios, as well as the challenges facing the industry in Latin America. This industry has the potential not only to trigger new future jobs for the younger generations that grew up playing, but also to become an instrument for a new types of learning.
This paper presents the findings of a joint project, conducted by the World Economic Forum and McKinsey & Company, which studied the impact of emerging technologies – artificial intelligence, augmented reality, virtual reality and blockchain – on the creative economy. The project team conducted more than 50 interviews with experts from Asia, Europe and North America, as well as three workshops in China and the United States with World Economic Forum constituents. Given the varying maturity of the different technologies, it is too early to definitively state how they will change the creative economy. This paper outlines opportunities and concerns for each technology and presents suggestions for where attention could be concentrated if the benefits are to be realized.
Cultural and creative sectors (CCS) constitute a vibrant economic activity and source of jobs, enterprise turnover and tax revenues. However, the role of culture for local development is more than these direct outputs. Smartly managed culture-led urban regeneration can breathe new life into decaying neighbourhoods. CCS also contribute to increasing levels of regional innovation and productivity, through new product design, new production techniques, new business models, innovative ways of reaching audiences and consumers, and emerging forms of co-production. Cross-sectoral “contamination” can spread innovation into the wider economy. Moreover, there is growing evidence that increased levels of cultural participation have positive effects on well-being and health as well as encourage social cohesion by supporting the integration and inclusion of marginalised groups.
This Short Note aimed to develop a more comprehensive UN approach, tackling issues like human rights and ethical labor practices within the fashion sector. Essentially, the event focused on how the UN can work together to create a more sustainable future for fashion.
In order to learn how a creative entrepreneurship can flourish in Latin America and the Caribbean, first it is necessary to know the talent that will develop the projects. Launching an Orange Future, you will not only get to know what the creative entrepreneurs in the region are like, you will also get to know their perceptions, failures, successes as well as the health of their entrepreneurships. This study will help you understand that those who take big risks achieve even higher rewards. Are you ready to be a creative entrepreneur?
