This note is part of a series of Solutions for Youth Employment (S4YE) knowledge briefs focused on the Orange Economy or creative sectors. This third note discusses the film industry and its potential to be a source of jobs for youth. It highlights the contribution of the film industry to employment generation, economic growth, the formation of cultural and social values, and identity. The note also delves into emerging labor market trends in the film industry and analyzes the sector’s workforce composition by gender, education, and age. In addition, the note reviews current investment trends and near-term prospects in the industry.
The pandemic has had dramatic effects in the cultural and creative industries (CCI) in MERCOSUR countries and Latin America. This sector, traditionally linked to the freelance workforce with limited social and economic protection, is experiencing the accelerated digitization of face-to-face activities and business models. Up-to-date and systematized data is therefore vital to assess and respond to the disruptive impact of the pandemic through evidence-based public policies. Policymakers and government technical teams, economists of the culture sector, artists and cultural workers, entrepreneurs, private investors and researchers will find reliable data and useful in-depth analysis of findings and trends. Sharing data with a regional perspective is key to identify new opportunities and strengthen cooperation in culture at the regional level.
Carnivals and Festivals: Digital Trends and Strategies is part of the IDB’s editorial series, Art, Culture and New Technologies in Latin America and the Caribbean, intended to point out the impact of digitization and the adoption of new technologies by cultural and creative industries from the region, and how this can catalyze innovation, social cohesion, and change. The publication is divided into four chapters, beginning with an explanation of the social, political, and economic implications of festivals and carnivals, pointing towards the outcome of the pandemic on this type of event. In the second chapter, the main changes, challenges and innovations arising from the adoption of new technologies at carnivals and festivals are discussed. The third section highlights emblematic cases of technological innovation, Finally, several recovery strategies to foster development in the virtual sphere are enlisted, aiming at helping consolidate the path of economic reactivation and sustainable development in LAC.
The report examines the role of the creative economy in delivering a robust and inclusive post-pandemic recovery in developing Asia and the Pacific and explores how the postCOVID-19 revival of the creative economy could advance the realization of the SDGs, setting the stage for possible action during Indonesia’s G20 presidency in 2022.
The notion of creativity and creative economy is evolving. The definition of creativity builds on the interplay between human creativity, ideas, intellectual property, knowledge, and technology, while creative economy encompasses all the industries relying on creative activities. The concept of the creative economy is closely linked with the “knowledge economy,” a key driver of endogenous growth through investment in human capital.
In response to a brief from UKRI India, the task we set ourselves with this research was to capture and present a comprehensive overview of the creative industries sector in India, the industry ecosystem which supports it, and the policy frameworks within which it operates. In seeking to distill a significant amount of data and information, our aim was to provide a clear understanding of where the opportunities and possible barriers lie for future India-UK creative industries research and innovation collaboration.
This report looks at the implications for the Creative Economy of the rapid changes in automated technology and advanced internet communication that came to be known as Industry 4.0. Among the many observations that this report makes, ones that are important from the perspective of sustainable and inclusive development especially that of small developing countries are that: (1) Creative Industry 4.0 can speed-up the transfer of technology; (2) the size of the domestic market will no longer be a limit when it comes to developing a product; (3) new niche market opportunities are emerging. Another key observation is that the availability of adequate technology is not sufficient; it must be made available to stakeholders. The report highlights a series of policy options aimed at harnessing the potential of Creative Industry 4.0 for economic and social development.
The cultural and creative industries are among the most rapidly growing economic sectors. They generate almost 50 million jobs worldwide and offer employment for women and youth. Apart from their economic value, CCIs create identity, bring people into dialogue, and contribute to democracy. To nurture this potential, the Federal Ministry for Economic Cooperation and Development (BMZ) launched a supra-regional project that focuses on cultural and creative work as a vehicle for sustainable development. Aiming to improve income and employment opportunities for creative professionals, the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Goethe-Institut jointly implement the CCI project in six partner countries: Kenya, Senegal, South Africa, Jordan, Lebanon, and Iraq. Activities focus on the the following subsectors; design, music, animation, and fashion. In addition to promoting the development of entrepreneurial, digital, and creative skills through training, the project aims to strengthen the framework conditions and the CCI ecosystem.
Colombia’s Orange Economy policy framework puts culture and creativity at the centre of its development agenda Colombia’s National Development Plan (PND) 2018-2022 embeds the creative (Orange) economy within broader development objectives. The Orange Economy policy recognises culture and creativity not only for their intrinsic value, but also for their contribution to job creation, income and wealth generation and as a tool to foster local development, social cohesion and well-being. A comprehensive Orange Economy policy approach, designed and implemented through a whole-of-government effort, is structured around seven pillars: Information and knowledge – to inform better decisions; Institutions – institutional strengthening and coordination, financing and incentives; Infrastructure – (territorial) infrastructure for the deployment of creative processes; Industry – sustainable start-ups and companies; Integration – networks and market development; Inclusion – tackling inequalities through capacity building; and Inspiration – audience development, intellectual property and innovation.
Cultural and creative sectors are a significant driver of local development through job creation and income generation, spurring innovation across the economy. Beyond their economic impacts, they also have significant social impacts, from supporting health and well-being to promoting social inclusion and local social capital. This paper offers a review of cultural and creative sectors in the Emilia-Romagna region, Italy, highlighting issues and trends in regards to employment, business, entrepreneurship and financing in cultural and creative sectors. It also reviews issues and trends relating to cultural participation and offers in-depth analysis on the role of museums in supporting local development. The paper provides analysis and recommendations to support the region in strengthening the local cultural and creative ecosystem.
Cultural and creative sectors are a significant driver of local development through job creation and income generation, spurring innovation across the economy. Beyond their economic impacts, they also have significant social impacts, from supporting health and well-being to promoting social inclusion and local social capital. Glasgow City Region in Scotland, United Kingdom has a long history of transformative cultural policy. Cultural and creative sectors are now one of the region’s strengths. This paper provides an overview of cultural and creative sectors in the Glasgow City Region, highlighting trends in employment, business dynamics, entrepreneurship and financing as well as cultural participation. It offers analysis and recommendations to support the region in continuing to build on its local cultural and creative ecosystem.
Culture in Times of COVID-19: Resilience, Recovery and Revival offers key insights on trends and structural transformations that can boost the culture sector as a cornerstone of an economy built on sustainability and well-being.A set of strategic development considerations are put forward for governments and their partners, in both the public and private sectors, to promote the value of culture as a public good, encourage cross-sector collaboration and holistically address the essential needs of the sector, while supporting cultural professionals in adapting to a changing world and providing equal access and opportunities across the culturalvalue chain.
On the following pages we will study the potential of edutainment, focusing mainly on those tools, methods, and content from Cultural and Creative Industries (ICC) that foster innovation. Edutainment: Trends and Digital Strategies is part of the IDB editorial series, Art, Culture and New Technologies in Latin America and the Caribbean, intended to point out the impact of digitization, the adoption of technologies by cultural and creative industries from the region, and how this can catalyze innovation, social cohesion, and change.
The British Council together with the Jogja Festivals Study Centre joined forces to study the landscape and key players of festivals in Yogyakarta, Indonesia and South East Asia. Particularly for the South East Asian Region, this has become one scope to study due to the key role that the Indonesian government played in initiating the ASEAN Working Group of Creative Economy, the World Conference on Creative Economy and the fact that there are many international festivals.
It is well-established that bringing more women into the formal labor force is critical for economic development. One strategy often cited is further integrating developing countries into global trade, particularly global value chains (GVCs), to contribute to female labor market outcomes through the expansion of female-intensive industries. As a result, a big question frequently debated, is whether the apparel industry – which is the most female-intensive and globally engaged manufacturing industry – can be a key player in this regard. In recent decades, the apparel industry has shifted its production to low-wage developing countries, increasing the demand for women, closing male-female wage gaps, and bringing women into the formal labor force. Indeed, the benefits of apparel exports have reached the female population, but is an apparel-led export strategy sufficient to induce the transition from jobs to careers? This Report provides an answer by focusing on seven countries where the apparel industry plays an important role in its export basket – Bangladesh, Cambodia, Egypt, Pakistan, Sri Lanka, Turkey, and Vietnam. The Report’s key finding is that countries should take advantage of the apparel industry as a launching platform to overcome the fixed costs of introducing more women into the labor market. However, for this approach to work, there needs to be complementary policies that tackle the barriers that hinder women in their pursuit of long-term participation in the labor force and better-paid occupations.
Using quantitative and qualitative data tailored for this research, we will review the main challenges the food industry is currently facing. We will discuss its growth and the ways in which LAC restaurants can be strengthened as a core center where other creative industries can converge. Gastronomy: Trends and Digital Strategies is part of the IDB editorial series, Art, Culture and New Technologies in Latin America and the Caribbean, intended to point out the impact of digitization and the adoption of technologies by cultural and creative industries from the region, and how this can catalyze innovation, social cohesion and change.
The Work Plan for Culture 2019-2022 selects gender equality as one of the five sectoral priorities for EU action. The purpose of this study is to provide background information and context on the specific challenges faced by women in the cultural and creative sectors for the OMC Working Group. The main focus of the report is on understanding the current state of affairs concerning women in the CCSs, the gender gaps at work, and the underlying drivers of those gender gaps. Available quantitative data has been mapped for the different sub-sectors within the CCSs, and has been combined with information from qualitative literature and expert interviews to establish the state of affairs regarding women in these sectors, along with the drivers leading to this state of affairs. The report provides an overall analysis of gender gaps in the CCSs as a whole and presents examples of the types of initiatives which have been implemented to address these gender gaps.
What does it mean to be a creative entrepreneur and how can you establish yourself in the market as a creator? The perFORM Music Incubator is a music business and artist development project in Kenya initiated as part of the project Cultural and Creative Industries to support music creators in building sustainable careers.
This discussion paper was prepared by the OECD at the request of Indonesia G20 Presidency to support the discussions in the G20 Tourism Working Group on 23 September 2022, and the G20 Tourism Ministers Meeting on 26 September 2022. The paper i) provides an overview of the links between tourism and cultural and creative sectors, ii) outlines the importance of cultural and creative sectors internationally, iii) discusses the benefits and challenges of creating a more integrated approach to cultural and creative tourism policy, and iv) suggests issues for discussion and areas for further G20 cooperation.
Based on new quantitative and qualitative data tailored for this research, we suggest different ways in which museums in LAC—at the core of a network formed by other creative industries—can resume and enhance growth. Here we consider a museum a space for innovation, social transformation, digital disruption and economic development. In addition, we intend to look at their paramount and yet not sufficiently explored opportunities, their challenges, and their ongoing and future strategies, especially in the context of their relation to new technologies, since the onset of COVID-19. Museums: Trends and Digital Strategies is part of the IDB’s editorial series, Art, Culture and New Technologies in Latin America and the Caribbean, intended to point out the impact of digitization and the adoption of technologies by cultural and creative industries from the region, and how this can catalyze innovation, social cohesion and change.
