Slides containing charts and other material to the 2007 Creative Industries Update

1. 2007 Creative Industries
Update
Alan Freeman

2. The story so far
Culture Strategy – Mayoral statutory responsibility
Cultural Strategy document 2004
Requires an evidence base
Creativity: London’s Core Business
2004 update
2005 local area study
A reputation for robust regional research data
‘London has built one of the most rigorous evidence
bases for the importance of the creative industries’
- Stuart Cunningham, report to Australia Council 2004
 2006 update delayed till 2007 to double-check








3. Definitions: cultural and creative
 ‘Cultural Industries’ defines culture as ‘inherently
public’
– Adorno/Horkheimer Dialectic of Enlightenment 1947
– Commodification derogatory: leads to ‘sameness’
– ‘High Art’ seen as superior
 1980s reversal: market in culture seen as positive
– Garnham 1983 defines GLC strategy endorsing CI
– ‘Popular commercial’ culture as anti-elite
– a tool for economic regeneration/development
 1996 DCMS defines ‘creative industries’
– Profitability/intellectual property the defining feature
– Strategically central to national economic development
 2006-07 some reconsideration
– Emphasis on infrastructural character of culture
– Move towards ‘Cultural and Creative’

4. In Adorno and Horkheimer’s view, culture had entirely lost its
capacity to act as utopian critique because it had become
commodified – a thing to be bought and sold. Culture and
Industry were supposed, in their view, to be opposites but in
modern capitalist democracy, the two had collapsed together.
Hence, Culture Industry
-Hesmondhalgh, The Cultural Industries
There is that general tradition…which regards culture and the
market as inherently inimical.
In terms of the relationship between consumers, distributors and
producers of cultural goods and services, the market has much
to recommend it, provided that consumers enter that market with
equal endowments.
It must be stressed that even within the capitalist mode of
production the market has, at crucial historical junctures, acted
as a liberating cultural force

5. How ‘new’ are the cultural and
creative industries?
 Theatre
 The Book and Print
 Cotton, Textiles, and the Industrial
Revolution
 The Jacquard Loom, Babbage
 Colours, Aniline, and the modern chemical
industry
 The Film
 The Gramophone
 Modern Times

6. DCMS definition
 Adopted as world standard (OECD, European LEG)
 UK seen as leading and defining
– Canada, Australia very active in operationalising
– South-East Asia (notably HK, Singapore, China) very active
– France and Germany followed on
 DCMS method described as ‘Trident’ (Cunningham)
– Production of cultural products by creative workers
– Production of cultural products by non-creative workers
– Production of non-cultural products by creative workers
 EG
– Musicians in the music industry
– Stage technicians in the music industry
– Musicians outside the music industry (eg schools)

7. Where creative jobs locate
London
15%
Rest of Great
Britain
42%
London
32%
Rest of the
South East
26%
Rest of Great
Britain
62%
Rest of the
South East
23%

8. Total creative jobs
700
2400
650
2100
f o
o j
s
b
600
550
1800
500
1500
d
n
a
s
u
o
h
T
450
400
1200
350
300
900
1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005
GB (right scale)
London
GB excluding London (right scale)
Source: ABI, LFS, GLA Economics, Trends Business Research
Total Creative Employment = workforce employment in the creative industries +
creative occupations outside the creative industries

9. Creative and total employment in
London
125
120
115
0
=
7
9
1
0
110
105
100
95
London jobs total
90
London creative employment
85
80
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005

10. Private sector employment is
more volatile in London

11. Public and private sector
employment in London
130
0
125
ce mplo ment, 1
e
y
0
=
7
9
120
115
110
105
100
f
k
r
o
W
Public
Private
All
95
90
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005

12. Private sector employment in other
parts of Britain
0
115
110
lo
0
=
7
9
1
,
t
n
e
m
y
105
Wo
p
m
e
c
o
f
k
r
100
95
Britain (Total)
London
Rest of Britain
Rest Of South East
90
1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005

13. Creative industries are more volatile
still
130
125
120
0
115
110
0
=
7
9
1
105
100
London mainly private sectors
95
London Creative Industries
90
Private Sectors containing Creative Industries
85
80
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005

14. To whom do the creative industries
sell their products?
Other
Government
Busi-
and non-
nesses
profit
15%
73%
1%
0%
11%
100%
Consumer-led (All
other creative)
3%
26%
0%
61%
10%
100%
All Creative
Industries
8%
47%
0%
34%
11%
100%
These creative
Sell their
Investindustry groups product to: ment
Business-led
(Advertising,
Software and
Households
Exports
Total
Demand
Architecture)
Source: Office for National Statistics input-output
tables 2004

15. Business-led creative industries
make 42% of creative output
Sales by broad creative industry groups
42%
58%
Business-Led
Consumer-led

16. How have individual sectors fared?
90
60
14
50
12
70
60
10
40
50
8
30
40
10
20
Advertising
Music
10
Publishing
Film and Video
2
Radio and TV
0
0
4
0
Architecture
Arts and Antiques
Fashion
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
20
Leisure Software
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
30
6
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
Thousands of workforce jobs
80

17. Gender
Arts and Antiques
Radio and TV
Publishing
Fashion
Total workforce
Advertising
Music
Creative Industries
Film and Video
Architecture
Leisure Software
0%
10%
20%
30%
40%
50%
Female employment as percentage of workforce employment in London
60%

18. Ethnicity
Arts and Antiques
Fashion
Total workforce
Leisure S
oftware
Film and Video
Creative Industries
Publishing
Radio and TV
Architecture
Advertising
Music
0%
5%
10%
15%
20%
25%
30%
35%
Black and Minority Ethnic as percentage of workforce employment in London
40%

19. Further Research
 DCMS Creative Economy Programme
 (web reference)
 LDA Cultural and creative research
–
–
–
–
–
Cultural Audit of London
Music venues
Fashion Industries
Film?
New Media?