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.
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.
