How are the creative industries made up

September 21, 2009

Government Sharpens Focus on Creative Exports
A new public-private partnership to help boost Britain’s £4 billion ‘invisible’ exports of creative work has been formed today.

The Creative Exports Group (CEG) is a new partnership between the key trade associations and Government to provide the best possible channel for communication between creative Britain and its market.

Made up of representatives of the copyright based Creative Industries in the UK, the CEG aims to make a significant contribution towards boosting the industry’s economic potential at home, while raising awareness of the UK’s role at the heart of worldwide creativity and innovation.

Newspaper, book and magazine publishing, computer software and services, interactive media, music publishing and recording, broadcasting and the film industry will all be covered by the group’s work.

The Chairman of the new Creative Exports Group is Andrew Yeates, Director General of the British Phonographic Industry Ltd. Commenting he said:
“The economic and cultural impact of the UK’s creative sector is far-reaching but has the potential to be even greater. The Creative Exports Group provides a necessary focus to drive our export agenda forward and I welcome this opportunity to work with our partners.”

The CEG will provide a national forum for copyright based Creative Industries and Government to examine issues affecting the export of goods and services and consider ways of enhancing export performance.

Over the next 12 months the Group aims to:

monitor current research on the “content” sector and make it readily available to the Group and its constituent members and to see where the Group can work with Government to act on this research;
work with industry and Government in order to make best use of funding programmes for the content sector and help steer the Government’s export agenda for the sector;
enable specific Industry working groups including those concerned with music; radio; publishing; film; and television to look at issues affecting their sector and make recommendations to the Group; and
act as an effective lobby on issues of finance and regulation affecting the “content” sector.
The Department for Culture, Media and Sport (DCMS) and Trade Partners UK (the Government Organisation set up to help UK companies trade internationally) will provide joint secretariat to CEG.

The Group will be working with three other Creative Industry Export Groups (Performing Arts International Development; Design Partners; and Cultural Heritage and Tourism) and with the Digital Content Forum to share best practice, inform and drive the Governments support for exporting the Creative Industries.

The CEG is due to meet for the first time on 27 June 2002 then again in October and December.

Notes for Editors

1. Many of the relevant Industries’ principal trade associations and strategic bodies are represented on the Group such as the British Phonographic Industry (BPI); the Producers Alliance for Cinema & Television (PACT); the Commercial Radio Companies Association; the Advertising Producers Association (APA); the Publishers Association; the Periodical Publishers Association (PPA); the Film Council; the BBC; the British Television Distributors Association (BTDA); the Music Publishers Association (MPA); and the British Council, along with Government representation from the Department for Culture, Media and Sport (DCMS); Trade Partners UK (TPUK); and the Department of Trade and Industry (DTI). A list of the current membership can be found attached to this press release.

how do the sectors link together

September 21, 2009

creative exports

DCMS and partners support the work of industry-led export groups, helping to develop the strategy for the export of goods and services from the creative industries.

These groups bring together a unique degree of expertise from public and private sectors and trade bodies. They develop policies, programmes and activities – specifically focused on the creative industries – to help Government assist new and established exporters to develop overseas trade capability and new opportunities abroad.

Creative Exports Group | Design Partners

The Creative Exports Group (CEG)
A partnership between the key trade associations and Government to provide the best possible channel for communication between creative Britain and its markets. The CEG:

Aims to make a significant contribution towards boosting the industry’s economic potential at home, while raising awareness of the UK’s role at the heart of worldwide creativity and innovation.
Provides a national forum for copyright-based Creative Industries and Government to examine issues affecting the export of good and services and consider ways of enhancing export performance.
Formed in 2002, it is made up of representatives of the copyright-based Creative Industries in the UK as well as Government partners including the Department for Culture Media and Sport (DCMS), UK Trade and Investment (UKTI), British Council and the London Development Agency (LDA).

The CEG meets quarterly.

Minutes of Creative Export Group Meeting, 8 November 2007 – updated 25/01/08 PDF (70kb)
Minutes of Creative Export Group Meeting, 13 February 2007 PDF (57kb)
Minutes of Creative Exports Group meeting, 7 December 2006 PDF (56 kb)
Minutes of Creative Exports Group meeting, 27 September 2006 PDF (51 kb)
Creative Exports Group Members:

Andrew Yeates – Chairman
Andrew is a senior-level copyright and media rights specialist within the television and music industries. He was formerly Head of Business Affairs and Head of Rights at Channel 4, and Director General of the British Phonographic Industry (BPI). He is currently Intellectual Property Adviser to the Periodical Publishers Association and General Counsel to the Educational Recording Agency.
Andrew Thomas – Department for Culture, Media and Sport
Matthew Mee – Department for Culture, Media and Sport
Gillian Baker – UK Trade and Investment
Keith Moses – UK Trade and Investment London
Phil Patterson – UK Trade and Investment
Sarah Mckenzie – UK Film Council
Carol Comley – UK Film Council
Sarah McKenzie – UK Film Council
Clare Wise – UK Film Council
Neil Berry – London Development Agency
Paul Howson – British Council
Nick Mazur – Periodical Publishers Association
Christine Losecaat – Industry Adviser
Kate Bostock – Publishers Association
Simon Bell- Publishers Association
Michael Rawlinson – Entertainment and Leisure Software Association
Andrew Baxter – BBC Worldwide
Fred Hasson – The Independent Games Developers Association
Doug D’arcy – Songlines
Richard Mollet – British Phonographic Industry
Adam Minns – PACT
Matt Bird – Digital Content Forum
Andrew Jenner – UK-IPO
Charlie Bloye – Film Export
Janet Hull – IPA
Livia Li – Creative Connexions
Simon Saunston – Digital Content Forum

For further information on the CEG please contact either:

Andy Thomas at the Department for Culture, Media and Sport on +44(0) 7211 6448 or Andrew.Thomas@culture.gsi.gov.uk
Gillian Baker at UK Trade and Investment on +44 (0)20 7215 4028 or Gillian.Baker@dti.gsi.gov.uk

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Design Partners
This group aims to help design exporters develop overseas trade and identify new opportunities and target markets abroad, so increasing design export potential.

To do this, it seeks to coordinate the activities of design industry bodies, Government agencies and departments.
Plans for more than 5,000 new jobs in culture, music and creative industries unveiled by Andy Burnham and James Purnell
Government plans to create between five and ten thousand new jobs for young people in the culture and creative industries sectors were set out today by Work and Pensions Secretary James Purnell and Culture Secretary Andy Burnham.

Local councils, third sector groups, arts organisations and creative industry bodies will be able to bid for Government funding for new, innovative jobs.

The new jobs are being created as part of the £1.1bn Future Jobs Fund announced in the Budget last month. Plans for the culture and creative sectors will include working with orchestras, arts organisations, heritage bodies and the music industry. The Culture Department is already working with key stakeholders in the cultural sector to put together partnerships that include music and arts leaders; the Heritage Lottery Fund; Arts Council England; the National Museums Directors Conference; the Museums, Libraries and Archives Council and many others.

Already UK Music has been working with Government to explore how creative industries can help get young people into work. Following negotiations with the live music industry, UK Music has developed a programme, working with Jobcentre Plus, to offer 200 jobs to young unemployed people around this summer’s music festivals.

The Future Jobs Fund is the next step of this support and will help to deliver the opportunity of work or training for every 18 to 24 year old job seeker who has been out of work for up to a year. The music industry proposals would ensure that all young people involved would receive relevant skills-based training from some of the UK’s largest promoters of live music.

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Speaking at the launch of Lifting People, Lifting Places, the Government’s vision for how culture, media and sport can play a part in helping the economy recover, Andy Burnham said:

“It’s a fact that the UK punches well above its weight in the cultural and creative industries. International recognition and awards for British talent and content show what we’re really good at. But getting in to these sectors can be hard, especially for young people and those coming from disadvantaged groups and deprived communities. The Budget announcement of a £1 billion jobs fund provides a real chance to help put this right.

“It’s great that music festival organisers are keen to bid for investment as early as this summer, and we are in active discussions across the cultural and creative industries. I know that many others in our sectors will be keen to join in too.

Today’s announcement of more than 5,000 jobs in the culture and creative industries builds on the enthusiastic response we have already seen from sports organisations of 5,000 jobs for a new young generation of coaches. This investment is a golden opportunity to create real jobs for Britain’s young talent of the future.”
At the same event, James Purnell added:

“It’s fantastic that the whole arts world is getting behind the Future Jobs Fund – together we can make a real difference.

“We want this fund to create real jobs in interesting and socially worthwhile industries so people can get the skills and qualifications they need for jobs for the future. Jobs for young people in the culture and creative industries will do just that.

“In past recessions, young people were written off – working together we can make sure that doesn’t happen again.”

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Notes to Editors

The £1bn Future Jobs Fund will provide funding for 150,000 jobs that will come on line from the autumn, and will be paid at least at National Minimum Wage. These will be targeted primarily at 18-24 year olds, but some will also be available for other disadvantaged groups and unemployment hotspots.

In addition, 100,000 jobs will be set aside in growing sectors, again primarily for long term unemployed young people. The jobs will include 50,000 jobs with pre-employment training and £2000 recruitment subsidy that will be dedicated to certain sectors, such as creative industries. This will be a flexible fund so we can help stimulate demand for jobs and give young people a start in careers that will expand in the future.

The guarantee, which will be fully in place by early 2010, will include training places lasting up to six months plus community work placements for those who don’t take up the other options, so no one is left to languish on benefits without real help to improve their skills and employment prospects.

Today’s announcement builds on the announcement on 28 April that national sports organisations have already pledged to bid for at least 5,000 jobs for young people, including sports coaches, swimming and fitness instructors, and other active leisure posts.

Organisations can visit http://www.dwp.gov.uk/campaigns/futurejobsfund to express interest in bidding for jobs.

Proposals for cultural activity are also being developed in partnership with the New Deal of the Mind, a coalition of entrepreneurs, teachers and individuals working in the creative industries who believe we must act immediately and imaginatively to innovate our way out of the current economic crisis. New Deal of the Mind began life as an article in the New Statesman by Martin Bright in January 2009, which argued that Britain should learn the lessons of Franklin D. Roosevelt’s 1930s New Deal and apply them, where appropriate, to the recession we face in Britain today.

the cultural well being of the creative industries

September 21, 2009

Margaret Hodge’s speech to the Arts and Philanthropy City Breakfast
20 February 2008

Thanks to the Corporation for addressing this hugely important issue.

Much of London’s greatness stems from its enormously rich cultural infrastructure. Those of us that our Londoners are both privileged and truly lucky to live in a place where there is such a range of truly excellent institutions offering such a wide variety of artistic and cultural experiences.

Indeed we all know in this room that the cultural ecology of the Capital does not only enhance and enrich our individual lives but helps to promote the Capital as a place where people choose to come and live and work, thus contributing to the economic prosperity of which we are so proud.

So ensuring continuing world standards in our cultural institutions is not just vital to raise our spirits and transform our lives but also important if London is to maintain its competitive edge in the increasingly competitive global environment.

That symbiosis of corporate and cultural excellence is one of the things that makes Britain, and London in particular, so great.
And from the work I am doing on the creative industries – which are contributing more and more to GVA, growing at double the rate of other sectors of the economy, – we know that success in the creative industries often springs from excellence in culture and the arts.

So the arts and culture matter. They matter because of their intrinsic value and they matter because of their contribution to the well-being of our communities and our economy.
It is because we recognise the importance of the Arts that we have so substantially increased our public investment from the taxpayer in the Arts.

Over the last decade there has been a 73% real terms increase in the investment in the Arts in Britain.

And even in this current very tight spending environment ministers at DCMS have secured a real terms increase in investment, yet again, in the Arts whilst many other areas of public expenditure are facing financial cuts.

I am delighted, that this, for example, has enabled the Arts Council for the first time to provide some funding for the Barbican, to complement, I hope – not substitute – the very generous funding the Barbican receives from the City Corporation.

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And the Treasury are trying to respond and to provide reassurance and clarification on their proposals for amending the tax arrangements for non domiciles to ensure that it will continue to be possible to bring art works into the UK without incurring a charge to tax.
It is however important to recognise that reliance on public subsidy alone won’t secure the long-term health of our arts infrastructure.

And whilst there are an enormous number of exemplars of generous giving by private philanthropists (John Studynski who is sharing the platform is just one) there are some worrying statistics which convince me that we do need a real step change in private giving to the Arts if we are to ensure over time our international pre-eminent place as a centre of artistic and cultural excellence.
I am not saying this because I am predicting future cuts in public spending on the Arts. But the global nature of taxation means that dramatic increases in public spending are highly unlikely and indeed whatever the level of public funding we commit to the Arts, by itself it will never be enough to maintain our position as an international leader in culture.

So a mixed economy in arts funding is the best way to secure long-term sustainability in the Arts.

Furthermore it is my view that a culture of dependency on public funding actually inhibits arts institutions from taking the risks which are so important if we are to maintain a vibrant, relevant and inspirational cultural offer.

And actually it’s not just the money that individuals can bring to the table, it’s their time, their expertise and their experience which can do so much to enhance the quality of the artistic offer of many of our cultural institutions. A diverse group of people with varying backgrounds and experience can, by working together in an institution, massively add value to and enhance the offer to the public from our major arts bodies.

So I do want to see a step change in private giving to culture and I believe the City is well-placed to spearhead such a change.
The City has a long tradition of charitable support, from the earliest Guild to the continuing good work supported by the livery companies today.

And increasingly companies choose to demonstrate their corporate social responsibility through charitable giving.
But the statistics suggest we can and we should do more. In the field of private giving we fall way behind the USA, where charitable giving is nearly 1.7% of GDP whilst in the UK it is under 0.75% of GDP. The Americans give twice as much as we do and although we don’t want to go down their road of minimal public investment in the Arts we do want to learn from them as to how we can create a culture where private giving – by both the wealthy and the less well off, the multi-national companies and the SMEs, by women and men, is not seen as an exception but is seen as a normal part of our everyday lives.

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And let me share another statistic with you. In the last 5 years, the City’s share of the national wealth has doubled. Just imagine what that could have meant for the ecology of the Arts if the City’s contribution to our cultural heritage had also doubled.
But in fact the figures for corporate giving have remained pretty static so the actual value, measured in terms of the proportion of the pot of corporate monies available, has halved in the last five years.
A change in culture is required and that demands a change in approach by all the key partners, the Government, the arts institutions, the corporations and individuals.

For our part, we have to reflect on the taxation regime to ensure not only that we have no unintended consequences from our tax proposals, but also that despite the tight fiscal constraints we provide an environment which encourages a culture of giving.
We have already introduced substantial incentives, from Gift Aid relief to the Acceptance in Lieu scheme, but I am conscious that there are other recommendations in Nicholas Goodison’s thorough review that have yet to be addressed. There is never a good time for doing this, but we need to give it a try.

But my view from talking to a range of private donors is that it’s recognition and acknowledgement of their contribution which matters as much, if not more than further tax concessions.
And we are bad in Britain at being generous with our thank yous. Our instinctive coyness makes us reluctant to express gratitude and appreciation, and recognition. And we need to change that.

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But we also need to change and to transform the culture of our institutions so that they do not see themselves as charitable institutions totally dependent on public funding, and that they develop the entrepreneurial skills to attract the diversity of funding which will bring them longer term security and will ensure greater artistic freedom.

And finally we need to transform our attitudes as individuals or as members of corporations or companies, both to philanthropic giving in general and giving to the Arts in particular. At present only just over 4% of total charitable giving finds its way into our cultural institutions and we have a long way to go to match American citizens in their philanthropic contributions to society.

That in part is about developing a culture where those who have done well in life through their own efforts and supported by the society in which they live, see it as a given and a benefit to put something back into their community and to support those public institutions which they feel passionately about.
And giving to the arts needs to be accepted for what it is – not as an investment which will only bring benefit to an elitist few in our society – but a contribution which will enhance the lives of each and everyone of us, which will enrich our communities so that they are better places in which to live and work and which will strengthen our economies and our societies in positive and transformational ways.

I am confident that we can achieve much more if we work together in pursuit of our common purpose. To ensure that we do all we can in partnership to strengthen private giving so that we continue to enjoy the very best cultural heritage in the world.

the economic role of the creative industries

September 21, 2009

Creative Industries Economic Estimates
Statistical Bulletin October 2007
Introduction
This is the sixth annual Creative Industries Economic Estimates bulletin. The series is the result of development work on official data sources, following a commitment in the 2001 Creative Industries Mapping Document1 to consider how to provide more timely and consistent data on the activity of the Creative Industries. The Mapping Document, and the previous version in 1998, outlined the sectors comprising the Creative Industries and it is this structure which forms the basis of these bulletins.
The classifications used by international convention for official statistics do not accurately reflect the structure of the Creative Industries and as such it is difficult to capture the full extent of activity. Due to these constraints the figures throughout the bulletin are estimates and are not classed as National Statistics.
Headline Findings
1. Contribution to the economy – Gross Value Added (Tables 1a and 1b)
• The Creative Industries, excluding Crafts and Design, accounted for 7.3% of Gross Value Added (GVA) in 20052.
• The Creative Industries grew by an average of 6% per annum between 1997 and 20053. This compares to an average of 3% for the whole of the economy over this period.
• Two sectors showed growth above the average across all the Creative Industries: Software, Computer Games & Electronic Publishing (10% p.a.) and Radio & TV (8% p.a.).
2. Exports of services (Table 2)
• Exports of services by the Creative Industries totalled £14.6 billion in 2005. This equated to 4.5% of all goods and services exported.
1 DCMS, Creative Industries Mapping Document 2001.
2 Crafts and Design cannot be included in the total GVA figure as only turnover estimates are available for these sectors.
3 Based on the 11 of the 13 creative industries for which trend data is available (i.e. excluding Crafts and Design).
• A third (33%) of the total Creative Industries exports was contributed by the Software, Computer Games & Electronic Publishing sector.
3. Employment (Table 3)
• In the summer quarter of 2006, creative employment totalled 1.9 million jobs. This comprised just over 1.1 million jobs in the Creative Industries and almost 800,000 further creative jobs within businesses outside these industries.
• Total creative employment increased from 1.6m in 1997 to 1.9m in 2006, an average growth rate of 2% per annum, compared to 1% for the whole of the economy over this period.
• Software, Computer Games & Electronic Publishing showed the largest increase in employment between 1997 and 2006 with an average growth rate of 6% per annum. The Design sector, including Designer Fashion, also showed an increase above the overall average for the Creative Industries over the period (4% per annum).
4. Numbers of businesses (Table 4)
• In 2006, there were an estimated 120,700 businesses in the Creative Industries on the Inter-Departmental Business Register (IDBR). This represents 7.3% of all companies on the IDBR, although the true proportion of enterprises that are in the Creative Industries is likely to be higher as certain sectors such as Crafts contain predominantly small businesses – see Annex C for further detail.
• Around two-thirds of the businesses in the Creative Industries are contained within two sectors; Software, Computer Games and Electronic Publishing (53,500 companies) and Music and the Visual & Performing Arts (28,300 companies).

what are different sectors of creative industries

September 21, 2009

Department for Culture, Media and Sport
Creative Industries Division Developing Entrepreneurship for the Creative Industries Making the case for Public Investment
2 Developing Entrepreneurship for the Creative Industries
Foreword by James Purnell MP, Minister for Creative Industries and Tourism and Chair of the Creative Industries Higher and Further Education Forum
In 1998 and again in 2001, the Department published a Creative Industries Mapping Document which allowed for the first time the size, scope and impact of the sector to be fully appreciated. Since then, the significance of this dynamic sector to the growth of the UK economy and the importance of ensuring its sustained development have become increasingly recognised. One of the key factors behind the success of the sector is the role played by our educational institutions in developing a constant supply of creative and innovative graduates who form the backbone of the sector and help consistently to re-invent it. We know that the Creative Industries is one of the most highly qualified sectors with around 43% educated to degree level or above, and the figure is even higher for some sub-sectors.
The Creative Industries are characterised by large numbers of small, micro businesses and sole traders with a relatively small number of larger organisations and self-employment, entrepreneurship and business start-up are significant career choices for many of those working in the sector. Similarly, many will develop ‘portfolio’ careers, juggling several part-time positions along with freelance work. So it’s important that graduates leave creative arts, design and media courses in further and higher education with the skills, attitudes and competencies that will allow them to successfully forge a career in the sector.
The Entrepreneurship Task Group, chaired by Dr Marilyn Wedgwood, has put forward a set of recommendations for action to increase the capacity and improve opportunities for entrepreneurial learning in HE and FE and I am pleased to announce that these recommendations will be taken forward by the National Council for Graduate Entrepreneurship and the Department’s Creative Economy Programme. The Programme aims to create the best framework to support the innovation, growth and productivity of the creative industries, so that Britain may become the world’s creative hub.
I would like to thank Marilyn and her team for their thorough and extensive work on this important agenda and for delivering these clear, focused and timely recommendations which will be used to inform future policy development.
The role of Higher and Further Education 3
Department for Culture, Media and Sport
Creative Industries Entrepreneurship Task Group
CHAIR
Dr Marilyn Wedgwood Manchester Metropolitan University (MMU) Pro Vice Chancellor and Director of External Relations
SECRETARY
Gaynor Richards Department for Culture, Media & Sport (DCMS) Higher and Further Education Development Manager
MEMBERS
Patricia Ambrose
Standing Conference of Principals (SCoP)
Executive Secretary
John Baker
Department of Trade and Industry (DTI)
Assistant Director, Management
Leadership & Skills Unit
Stuart Bartholomew
The Arts Institute at Bournemouth
Principal
Prof Ron Cook
University of Salford
Associate Dean, Academic Enterprise,
Faculty of Arts, Media & Social Science
John Cowan
Department for Education & Skills (DfES)
Higher Education Directorate
Amy Donnison
Department for Culture, Media & Sport
Project Officer, Creative
Industries Division
Owen Fernandez
Department for Education and Skills
Higher Education Directorate
Michael Harris
National Endowment for Science, Technology
Research Manager
and the Arts (NESTA)
Prof Lee Harvey
Sheffield Hallam University
Director, Centre for Research & Evaluation
Kirsty Leith
Department for Culture, Media & Sport
Education & Skills Manager,
Creative Industries Division
Andy Lovatt
North West Development Agency (NWDA)
Creative Industries Manager
Paula Moses
Skillset
Interactive Media & Animation Manager
Kate O’Connor
Skillset
Director of Policy & Development
Gail Robinson
Department for Culture, Media & Sport
Head of Export, Education and
Policy Co-ordination
Ian Robertson
National Council for Graduate
Chief Executive
Entrepreneurship (NCGE)
Richard Smith-Bingham
NESTA
Head of Policy & Research
Prof Flavia Swann
University of Sunderland
Dean, School of Arts, Design,
Media & Culture
Prof Maureen Wayman
Manchester Metropolitan University
Dean, Faculty of Art & Design
Anamaria Wills
Creative Industries Development Agency (CIDA)
Chief Executive
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