Priority Sector Report:
Creative and Cultural Industries
Dominic Power, Uppsala University
Tobias Nielsén, Volante QNB Research
March 2010 – deliverable D9-1
Executive summary
In 2006 European creative and cultural industries firms employed a total of 6.5 million persons.
Regions with high concentrations of creative and cultural industries have Europe’s highest
prosperity levels.
Large urban areas and capital city regions dominate the creative and cultural industries, but some
city regions do better than others. The super clusters London and Paris stand out, followed by
Milan and Amsterdam.
The creative and cultural industries are significant generators of intellectual property, in particular
copyrights, and the largest creative and cultural industries regions are also among the largest
employment centres for copyright-based industries.
Among the regions of Europe which rank among the top 25 either by population or creative and
cultural industries employment the following have a disproportionally large creative and cultural
sector: Athens, Berlin, Budapest, Denmark, Frankfurt, Helsinki, Ireland, Inner London, Outer
London, Maastricht, Madrid, Munich, Nijmegen, Oxford, Rome, Stockholm, and Stuttgart.
As a share of the regional labour market, creative and cultural industries account for the largest
shares in Inner London (5.95%), Stockholm (5.87%), Prague (5.81%), and Bratislava (5.01%).
Most of the regions in the top 25 highest cultural and creative growth regions are small and
medium sized regions. However, the following regions with labour markets over 1 million people
were in the top 25 for annual employment growth: Seville (7.78%), Southampton (7.22%), Valencia
(6.25%), Bilbao (6.51%), Galicia (5.45%), Lithuania (5.79%).
The highest annual employment growth rates in the period 2001-2006 are found in Austria (6.2%),
Lithuania (5.79%), Estonia (4.02%), Slovakia (3.88%), Latvia (3.87%), and Slovenia (3.76%).
Creative and cultural industries manufacturing and production activities are the most regionally
concentrated, and consumer oriented activities such as retail the least regionally concentrated.
Further statistical work is needed to measure the true size of the creative and cultural industries.
The data used in this report covers employees but not sole traders (i.e. firms with no employees
but one active owner) or freelancers.
2
Introduction
The European cultural and creative industries (CCI) represent a significant set of industries. Social,
cultural and technological changes have helped fuel our thirst and demand for cultural products, new
forms of entertainment, distraction, and inspiration. Driven by these changes entirely new industries
have emerged (e.g. computer games, web design), older cultural industries have gone from being the
preserve of the elite to mass market global industries (e.g. books, high fashion, designer goods), and
traditional consumer industries have tried to redesign and repackage what they have always done to
suit consumers’ insatiable desire for culture and creativity.
Europe’s creative and cultural industries are global leaders and competitive exporters in a wide range
of fields. They are the heart of creating Europe’s culture and identity, and central to promoting
Europe’s identity around the world. Moreover they are an aggregate group of industries that in 2006
employed a total of 6,576,558 persons or 2.71% of the European labour market.
This report presents regionalised data and trends for these 6.5 million employees in 30 European
countries. The report rests upon a methodology that has aimed at caution, minimalism and accuracy
1
above all . It is important to note at the outset then that, the number of people working in Europe’s
creative and cultural industries is likely much higher. The data used in this report covers employees
but does not include sole traders: i.e. it excludes firms with no employees but one active owner. The
cultural and creative industries are fields where many micro-businesses and freelancers are active
and it is important to note they may account for a significant number of people actively engaged in the
European creative and cultural economy. Taking Sweden as an example, the number of
establishments with no employees in Sweden is presently 73,150 out of a total of 88,372 creative and
cultural industries establishments: i.e. Sweden 82.7% of establishments are not covered by
employment statistics compared to 73.2% in the overall Swedish economy.
1 Creative and cultural industries and prosperity
The creation of employment opportunities is crucial to economic and social well-being. There is a
strong relationship between the presence of creative and cultural industries and regional prosperity.
2
Figure 1 shows that those regions with above average concentrations of Europe’s creative and
cultural industries employees are generally those where economic prosperity is highest.
1
An extensive methodological appendix to this report goes into detail in how we have defined creative and cultural industries
and the various measures and data we have used in this report.
2
Measured by location quotients. Location quotients measure the level of regional specialisation. Values over 1 indicate aboveaverage levels of concentration.
3
Figure 1: Creative and cultural industries concentration and regional prosperity.
If we take into account no other factors, regional creative and cultural specialisation explains 60% of
the variance in GDP per capita. Europe’s wealthiest regions are home to disproportionate levels of
creative and cultural industries concentration. It is likely that creative and cultural firms and employees
are drawn to the markets represented by prosperous regions but also that the creative and cultural
industries are themselves important components of and contributors to the economies of Europe’s
wealthiest regions.
2 Principal labour markets
The largest concentrations of creative and cultural industries employees in Europe are major urban
areas. This confirms academic research findings and literature that suggests that creative and cultural
activities that become industrialised are concentrated in and attracted to large urban areas. Creativity
and cultural innovation, of course, happen in many different types of region across Europe but it
seems that large scale industrialisation of these activities occurs in large urban areas.
4
Table 1. Europe’s Top 25 regions for creative and cultural industries employment clusters.
Region
CCI Rank
Employment
LQ
Île de France (Paris), FR
1
301,895
1.53
Inner London, UK
2
235,327
2.19
Lombardia (Milan), IT
3
195,848
1.28
West-Nederland (Amsterdam), NL
4
195,646
1.56
Madrid, ES
5
172,800
1.58
Cataluña (Barcelona), ES
6
153,202
1.30
Danmark, DK
7
124,352
1.28
Lazio (Rome), IT
8
118,047
1.51
Oberbayern (München), DE
9
97,050
1.59
Stockholm, SE
10
86,239
2.16
Kozep-Magyarorszag (Budapest), HU
11
82,429
1.73
Outer London, UK
12
80,845
1.28
Berks, Bucks and Oxon (Oxford), UK
13
80,628
1.82
Attiki (Athens), GR
14
78,920
1.26
Oost-Nederland (Nijmegen), NL
15
74,064
1.39
Andalucía (Sevilla), ES
16
71,843
0.74
Ireland, IE
17
70,602
1.18
Zuid-Nederland (Maastricht), NL
18
70,543
1.28
Darmstadt (Frankfurt am Main), DE
19
68,238
1.23
Piemonte (Turin), IT
20
66,291
1.04
Köln, DE
21
65,341
1.28
Etelä-Suomi (Helsinki), FI
22
64,500
1.43
Veneto (Venice), IT
23
63,024
0.89
Stuttgart, DE
24
61,626
1.17
Berlin, DE
25
60,736
1.53
Note: LQ is an indicator of CCI employment relative to the total employment of the region, where LQ>1 indicates an overrepresentation of CCI employment.
Most of the largest employment clusters have higher than average levels of CCI concentration. This
can be seen from location quotients listed in the Table 1 above. However, two of the top 25 clusters
have lower than average shares of CCI employment: Seville and Venice.
5
Table 2. Regions which rank in the top 25 either by regional population size or creative and
cultural industries employment.
Region
Largest City
Population Rank
CCI Rank
Île de France (FR)
Paris
1
1
Lombardia (IT)
Milan
2
3
Andalucía (ES)
Sevilla
3
16
West-Nederland (NL)
Amsterdam
4
4
Cataluña (ES)
Barcelona
5
6
Vlaams Gewest (BE)
Antwerpen
6
31
Rhône-Alpes (FR)
Lyon
7
37
Campania (IT)
Naples
8
39
Madrid (ES)
Madrid
9
5
Danmark (DK)
-
10
7
Düsseldorf (DE)
Düsseldorf
11
26
Lazio (IT)
Rome
12
8
Mazowieckie (PL)
Warszawa
13
42
Sicilia (IT)
Palermo
14
58
Provence-Alpes-Côte d'Azur (FR)
Marseille
15
50
Slaskie (PL)
Katowice
16
160
Veneto (IT)
Venice
17
23
Outer London (UK)
Outer London
18
12
Valencia (ES)
Valencia
19
27
Köln (DE)
Köln
20
21
Piemonte (IT)
Turin
21
20
Oberbayern (DE)
München
22
9
Emilia-Romagna (IT)
Bologna
23
28
Ireland (IE)
-
24
17
Puglia (IT)
Bari
25
72
Stuttgart (DE)
Stuttgart
27
24
Attiki (GR)
Athens
28
14
Darmstadt (DE)
Frankfurt am Main
30
19
Zuid-Nederland (NL)
Maastricht
35
18
Oost-Nederland (NL)
Nijmegen
36
15
Berlin (DE)
Berlin
39
25
Inner London (UK)
Inner London
46
2
Kozep-Magyarorszag (HU)
Budapest
49
11
Etelä-Suomi (FI)
Helsinki
60
22
Berks, Bucks and Oxon (UK)
Oxford
82
13
Stockholm (SE)
Stockholm
98
10
Note: CCI rank is the rank in CCI employment
Whilst there is a relationship between CCI and large urban areas this is not always so. Though many
of Europe’s most populous regions are home to highly ranked CCI clusters, some of the largest
regions are lagging in CCI employment.
6
Among the regions of Europe which rank among the top 25 either by population or CCI employment
the following cities host an over-representation of the creative and cultural sector: Athens, Berlin,
Budapest, Denmark, Frankfurt, Helsinki, Ireland, Inner London, Outer London, Maastricht, Madrid,
Munich, Nijmegen, Oxford, Rome, Stockholm, and Stuttgart.
Of the regions with 25 largest populations the following have a far lower than expected representation
of creative and cultural industries: Antwerp, Bari, Bologna, Düsseldorf, Katowice, Lyon, Marseille,
Naples, Palermo, Seville, Valencia, Venice, Warszawa.
As with many industrial sectors, firms and labour are unequally distributed and this indicates the
existence of regional industrial and innovation systems and clusters underpinned by favourable
regional conditions. Employment and competitiveness in the creative and cultural industries is not
directly related to labour market size or population and cannot be considered a simple by-product of
human habitation. Creative and culture activities are knowledge driven industries that are drawn to
specialised labour markets and to clusters. Clusters and large labour markets support organisational
and project-base scale and scope.
3 Regional specialisation and focus
Regional creative and cultural industries specialisation is not limited to the largest urban areas but
capital city regions and certain of the largest cities exhibit strong CCI Focuses. The table and map
below show the share of a region’s labour force employed by creative and cultural industries.
7
Figure 2. CCI Focus: Creative and cultural industries share of regional labour force 2006
Of the 15 regions with the highest CCI Focus most are capital city regions. In all but two countries
capital city regions have the highest national CCI Focus: Germany where Hamburg is the city with the
highest CCI Focus and Munich is the largest employment centre; and Switzerland where Basel the city
with the highest CCI Focus and Zurich is the largest employment centre.
Of the Top 15 CCI Focus regions, three are in Central and Eastern Europe: Prague, Bratislava, and
Budapest. The creative and cultural industries have almost the same share of the entire regional
labour market in Prague as is the case in Inner London.
8
Table 3. Top 15 regions by CCI Focus.
CCI Focus
Employment
CCI Rank
Inner London, UK
5.95%
235,327
2
Stockholm, SE
5.87%
86,239
10
Praha, CZ
5.81%
53,461
35
Bratislavsky kraj (Bratislava), SK
5.01%
21,776
87
Berks, Bucks and Oxon (Oxford), UK
4.94%
80,628
13
Hamburg, DE
4.75%
54,867
32
Kozep-Magyarorszag (Budapest), HU
4.69%
82,429
11
Oslo og Akershus, NO
4.61%
39,778
44
Oberbayern (München), DE
4.32%
97,050
9
Karlsruhe, DE
4.30%
55,794
30
Madrid, ES
4.30%
172,800
5
West-Nederland (Amsterdam), NL
4.23%
195,646
4
Berlin, DE
4.15%
60,736
25
Île de France (Paris), FR
4.15%
301,895
1
Lazio (Rome), IT
4.11%
118,047
8
Note: Focus indicates how large share of the region’s total employment the CCI sector constitutes.
Creative and cultural industries command unusually high share of regional employment in Bratislava.
This demonstrates that relatively small European regions can also score highly on specialisation and
focus measures, even if the opposite is more common.
4 Growth
3
The creative and cultural industries are a sector of the European economy that exhibit strong growth .
However, as the map below shows that growth is not evenly spread over Europe. As can be seen
higher levels of growth was broadly concentrated in areas of central Europe, areas of France, Spain,
UK and the Baltic States. In Germany and Scandinavia there is a mixed picture with certain regions
showing higher growth rates whilst others suffered CCI employment decline in the period.
3
Time series data was not available for the following countries: Bulgaria, Cyprus, Greece, Italy,
Netherlands, Poland, Portugal, Romania.
9
Figure 3. Creative and cultural industries average annual growth 2001-2006.
Note: Growth is measured using compound annual growth rates (CAGR).
In 24 of the top 25 CCI growth regions the creative and cultural industries grew at a faster rate than
the rest of the labour market.
10
Table 4. Regions with the highest average annual growth in CCI employment 2001-2006.
CCI
Growth
Rest of the
economy
CCI
LQ
CCI
Rank
CCI
Employment
Niederösterreich (St. Pölten), AT
16.63%
7.60%
Salzburg, AT
10.00%
6.32%
1.07
84
22,593
1.08
161
10,434
Oberösterreich (Linz), AT
8.99%
6.97%
0.73
126
14,506
Asturias (Oviedo), ES
8.42%
3.05%
0.85
146
11,399
Zapadne Slovensko (Nitra), SK
8.35%
1.96%
0.68
106
17,728
Cumbria (Carlisle), UK
8.31%
2.47%
0.84
220
5,087
La Rioja (Logroño), ES
7.99%
5.64%
0.70
237
3,217
Andalucía (Sevilla), ES
7.78%
5.27%
0.74
16
71,843
Hants and Isle of Wight (Southampton), UK
7.22%
1.18%
1.27
45
38,851
Castilla-La Mancha (Toledo), ES
6.87%
4.79%
0.67
109
16,528
Jihovychod (Brno), CZ
6.65%
0.39%
0.86
89
21,606
País Vasco (Bilbao), ES
6.51%
2.52%
1.12
51
36,539
Murcia, ES
6.35%
5.25%
0.61
152
10,906
Valencia, ES
6.25%
4.48%
0.86
27
59,901
Kärnten (Klagenfurt), AT
6.13%
4.55%
0.73
222
4,950
Lietuva, LT
5.79%
3.63%
0.88
68
26,102
Galicia (A Coruña), ES
5.45%
2.71%
0.78
60
29,294
Picardie (Amiens), FR
5.41%
1.31%
0.55
181
8,934
Nyugat-Dunantul (Györ), HU
5.33%
-0.51%
0.65
180
9,002
Extremadura (Mérida), ES
5.32%
3.11%
0.66
188
8,022
Canarias (Tenerife), ES
4.97%
4.16%
0.79
88
21,765
Steiermark (Graz), AT
4.87%
5.63%
0.76
144
11,479
Corse (Ajaccio), FR
4.72%
4.08%
0.45
247
1,092
Heref, Worcs and Warws (Hereford), UK
4.67%
0.84%
1.12
91
21,115
E Riding and N Lincs, UK
4.55%
1.61%
0.75
177
9,104
Note: LQ is an indicator of CCI employment relative to the total employment of the region, where LQ>1 indicates
an over-representation of CCI employment. Growth is measured using compound annual growth rates (CAGR).
It is striking that 15 of the top 25 growth regions between 2001 and 2006 were in either Austria or
Spain. Austria accounts for 5 of the top CCI Growth regions and Spain 10 top CCI Growth regions.
Indeed growth and contraction are highly regionalised in Europe. This can be seen for instance in the
United Kingdom where certain regions had high annual growth rates - Cumbria (Carlisle) 8.31%;
Hampshire and Isle of Wight (Southampton) 7.22%; Hereford, Worcester and Warwickshire (Hereford)
4.67%; East Riding and North Lincolnshire 4.55 - whilst the 6 regions with the largest labour markets
suffered decline – Inner London -1.29%, Outer London -3.42%; Berkshire, Buckinghamshire and
Oxfordshire (Oxford) -1.6%; East and West Surrey (Brighton) -3.17%; Greater Manchester -1.4%;
West Midlands (Birmingham) -1.64%.
11
Many of the fastest growing regions are relatively small and are growing from a lower than average
baseline. Indeed 20 of the top 25 growth regions have CCI shares of regional employment below or
well below the average European region. Higher than average growth in certain of these regions may
reflect lower base lines as well as the quickening pace of catch-up.
Most of the regions in the top 25 highest cultural and creative growth regions are small and medium
sized regions. However, the following regions with labour markets over 1 million people were in the top
25 for annual employment growth: Seville (7.78%), Southampton (7.22%), Valencia (6.25%), Bilbao
(6.51%), Galicia (5.45%), Lithuania (5.79%).
For those European regions we have growth data for, almost as many regions suffered declines in
CCI employment as there were regions that experienced growth: 92 regions grew versus 89 declined
(66 regions with no growth data).
From the data at our disposal it is difficult to draw any conclusions about why there is such a mixed
growth picture. One possible explanation, for which there is some evidence, is that CCI growth/decline
is linked to cycles in the rest of the regional labour market and that CCI will grow where there is growth
and decline where there is general decline. This would indicate that creative and cultural industries are
embedded and interdependent with the surrounding economy; rather than independent of the region
as entirely export oriented industries may be.
An alternative explanation is that the data only concentrates on employment trends and it may be that
declines in employment are due to, or compensated for, by increases in sole-trading and other
entrepreneurial activity that would not appear in our statistics. Certainly many sectors within the
creative and cultural industries have come under pressure from digital transitions which have created
new opportunities and threats as well as leading to productivity gains and changing organisational
forms that may have led to employment decreases.
Regionalised patterns of growth and change seem to be a strong feature of the creative and cultural
industries.
5 National perspectives on growth and size
In most cases, employment in the creative and cultural industries seems largely to reflect growth rates
in the entire economy. For many countries creative and cultural industries employment growth was an
amplified version of general growth: if employment was going up it went up faster in creative and
cultural industries and vice versa.
As can be seen from Table 5, the general pattern is that overall employment increases in the country
are equalled or bettered by creative and cultural industries, whilst negative overall growth is coupled
by higher levels of decline in the creative and cultural industries. For example in Austria and Lithuania
overall employment growth was strong in the period 2001-2006 and creative and cultural industries
12
employment reflected and bettered this positive upturn. In Norway and Germany the opposite was the
case: as employment in the overall economy turned negative, employment in the creative and cultural
industries fell even faster. Spain, Ireland, and France are notable exceptions to this tendency: in these
countries positive annual growth rates for the entire economy were significantly above CCI growth
rates.
Table 5. Average annual employment growth 2001-2006 in creative and cultural industries and
in all sectors of the economy.
Country
CCI Growth
All Growth
Austria
6.20%
5.42%
Lithuania
5.79%
3.63%
Estonia
4.02%
2.71%
Slovakia
3.88%
0.63%
Latvia
3.87%
3.89%
Slovenia
3.76%
0.78%
Spain
2.78%
3.86%
Hungary
1.45%
0.08%
Czech Republic
0.80%
0.30%
Luxembourg
0.72%
1.55%
Ireland
0.55%
3.75%
France
-0.14%
1.40%
Iceland
-0.22%
0.10%
Finland
-0.47%
-0.10%
United Kingdom
-0.55%
0.32%
Belgium
-0.82%
0.07%
Sweden
-0.97%
-0.32%
Switzerland
-1.47%
-0.13%
Denmark
-1.99%
-1.07%
Germany
-2.08%
-1.39%
Norway
-2.41%
-0.28%
Note: Growth is calculated here as a Compound Annual Growth Rate (CAGR) over the period.
Small countries tend to have a higher CCI Focus than large countries. As Table 6 shows, of the 12
countries with the highest CCI Focus only two have a population of over 10 million: the Netherlands
and the UK. The lower share of total employment that CCI account for in larger countries may be due
to the ability to exploit greater economies of scale in creative and cultural product provision. It may
also be that smaller countries own language, cultural heritage and specificity mean that substitutes are
harder to import, or demand more labour to tailor to local conditions and demands. All countries big or
small need a foundation of cultural and media institutions and it can be assumed that all need an
indigenous basic provision: something that cannot be imported from outside.
13
Table 6. National labour markets and CCI Focus.
Country
CCI Focus
CCI Rank
CCI Employment
Iceland
4.01%
28
8,633
Netherlands
3.94%
6
377,903
Sweden
3.76%
7
205,831
Denmark
3.48%
15
124,352
Switzerland
3.40%
8
167,479
Finland
3.25%
18
96,511
Ireland
3.20%
20
70,602
Estonia
3.14%
26
23,965
United Kingdom
3.12%
1
1,131,697
Norway
2.96%
19
81,874
Malta
2.94%
29
5,765
Slovenia
2.87%
24
29,151
Austria
2.83%
12
131,015
Germany
2.79%
2
956,668
Spain
2.74%
4
655,042
Hungary
2.73%
11
134,921
Italy
2.66%
3
767,521
Czech Republic
2.64%
10
156,272
Latvia
2.60%
23
31,720
Cyprus
2.52%
27
10,794
France
2.52%
5
634,251
Lithuania
2.38%
25
26,102
Slovakia
2.30%
22
61,777
Greece
2.28%
13
128,421
Belgium
2.26%
16
101,646
Portugal
2.13%
17
96,741
Luxembourg
2.08%
30
5,273
Poland
1.69%
9
162,408
Bulgaria
1.63%
21
65,587
Romania
1.18%
14
126,637
Europe
2.71%
6,576,558
Note: Focus indicates how large share of the nation’s total employment the CCI sector constitutes.
Table 6 clearly demonstrates the need to take a regional and cluster approach to these industries. For
example whilst Romania has the lowest share of its total employment in creative and cultural
th
th
industries, as a nation it ranks 14 in Europe and the capital region of Bucharest ranks 34 of all
European regions whilst being home to 42.6% of the nation’s creative and cultural industries
employees.
6 Innovation
The Lisbon Treaty as well as a significant academic literature posits a relation between regional
innovation and the presence of creative and cultural industries. Since creative and cultural industries
operate in fast moving and often fashion oriented markets continual innovation and creativity is core to
14
competitive advantage. Regional clusters must innovate in order to survive or grow and innovation is
likely to be reflected in employment growth.
Equally one might expect to see knowledge and innovation spill-over from creative and cultural
industries to other areas of the economy. There is a relationship between CCI employment and
traditional innovation indicators such as patent applications but as can be seen in the Figure below it is
not a definite or direct relationship. Thus the thesis that creative and cultural industries and workers
are interlinked to other types of ‘creative’ and innovative industries is not definitely provable.
Figure 4. Creative and cultural industries concentration and patent applications.
Note: LQ is an indicator of CCI employment relative to the total employment of the region, where LQ>1 indicates
an over-representation of CCI employment.
Similarly it is not possible to draw direct relationships between standard regional innovation
performance measures and creative industries growth. With the exceptions of Gothenburg, Malmoe
Prague and Vienna, those regions with the 20 highest Regional Innovation Scoreboard value (RIS)
4
4
Regional Innovation Scoreboard 2006 conducted by Maastricht Economic and social Research and training centre on
Innovation and Technology (MERIT): 2006 European Regional Innovation Scoreboard, MERIT, 2006.
15
all suffered negative creative and cultural industries growth. RIS is therefore not an adequate
predicator of growth in this area.
Table 7. Top 20 regions on the Regional Innovation Scoreboard (RIS) and average annual
growth in creative and cultural industries.
RIS 2006
Annual CCI Growth
(CAGR)
Stockholm, SE
0.895
-2.07%
Västsverige (Gothenburg), SE
0.828
1.07%
Oberbayern (München), DE
0.791
-1.84%
Etelä-Suomi (Helsinki), FI
0.782
-0.38%
Karlsruhe, DE
0.775
-0.55%
Region
Stuttgart, DE
0.768
-1.52%
Braunschweig, DE
0.759
-0.98%
Sydsverige (Malmö), SE
0.758
0.39%
Île de France (Paris), FR
0.746
-0.85%
Östra Mellansverige (Uppsala), SE
0.742
-1.93%
Berlin, DE
0.737
-1.74%
Tübingen, DE
0.718
-0.85%
Praha, CZ
0.698
1.37%
Darmstadt (Frankfurt am Main), DE
0.693
-3.11%
Dresden, DE
0.687
-0.49%
Köln, DE
0.686
-2.31%
Danmark, DK
0.681
-1.99%
Pohjois-Suomi (Oulu), FI
0.679
-0.33%
Mittelfranken (Nürnberg), DE
0.676
-3.12%
Wien, AT
0.675
2.36%
The mixed results above likely point to the difficulty of using standard innovation performance
indicators – such as RIS and patent data – to measure innovation levels and conditions in creative and
cultural industries. Many of the types of knowledge, goods, services and business models produced
by the creative and cultural industries simply cannot be protected by patents. Other types of
intellectual property appropriation and exploitation regimes are much more central to the creative and
cultural industries. In particular copyright is a more prevalent form of intellectual property appropriation
in creative and cultural industries than patent. Regional innovation measures tend to stress a region’s
science and high technology emphasis and it is not clear that all of the creative and cultural industries
are reliant upon such types of ‘innovation’ system to maintain their own creativity and innovation.
Innovation performance indicators better attuned to the innovation dynamics (and likely spill over
areas) of the creative and cultural industries are needed in order to make more definite conclusions
about their impact on and role in regional innovation.
16
7 Intellectual property
The creative and cultural industries are significant generators of intellectual property in particular
copyrights. Using the World Intellectual Property Organization (WIPO) definition for Copyright-Based
5
Industries , it can be seen that the largest creative and cultural industries regions are generally also
the largest employment centres for copyright-based industries.
Table 8. Top 10 regions by employees in CCI and Copyright-based Industries.
CCI
WIPO
1
Île de France (Paris)
301,895
1
Île de France (Paris)
2
Inner London
235,327
2
Inner London
371,400
212,479
3
Lombardia (Milan)
195,848
3
Madrid
209,784
4
West-Nederland (Amsterdam)
195,646
4
West-Nederland (Amsterdam)
193,344
5
Madrid
172,800
5
Lombardia (Milan)
182,503
6
Cataluña (Barcelona)
153,202
6
Cataluña (Barcelona)
151,286
7
Danmark
124,352
7
Lazio (Rome)
123,822
8
Lazio (Rome)
118,047
8
Danmark
122,189
9
Oberbayern (München)
97,050
9
Oberbayern (München)
101,417
10
Stockholm
86,239
10
Zuid-Nederland (Maastricht)
86,830
Regions with a high creative and cultural industries focus – the share of a region’s labour force
employed by creative and cultural industries – also have a high focus on copyright-based industries.
Table 9. Top 10 regions by CCI Focus and Copyright-based Industries Focus.
Region
CCI Focus
Employment
WIPO Focus
Employment
Inner London, UK
5.95%
235,327
5.64%
212,479
Stockholm, SE
5.87%
86,239
5.48%
76,601
Praha, CZ
5.81%
53,461
6.48%
57,113
Bratislavsky kraj (Bratislava), SK
5.01%
21,776
5.10%
21,287
Berks, Bucks and Oxon (Oxford), UK
4.94%
80,628
4.36%
68,148
Hamburg, DE
4.75%
54,867
4.60%
51,170
Kozep-Magyarorszag (Budapest), HU
4.69%
82,429
4.34%
73,615
Oslo og Akershus, NO
4.61%
39,778
4.62%
38,250
Oberbayern (München), DE
4.32%
97,050
4.68%
101,417
Karlsruhe, DE
4.30%
55,794
3.71%
46,270
Note: Focus indicates how large share of the region’s total employment the CCI sector constitutes.
5
See Methodological Appendix for details and comparison of the WIPO definition to the Cluster Observatory definition.
17
8 Breaking down the creative and cultural industries
There has been considerable debate over the idea that the industries we suggest comprise the
creative and cultural industries can in fact be aggregated. We agree that despite many similarities and
interdependencies the activities gathered under the umbrella of creative and cultural industries need
also to be understood as separate industries in their own rights. The knowledge requirements, working
methods, business and organisational models and consumer interfaces that define competitiveness in
computer games are, for instance, very different to those that shape competitiveness in performance
arts.
It is necessary to understand the creative and cultural industries not as a unified category but as an
aggregate category. It is necessary to understand that the industries that make up the European
creative and cultural industries competitiveness share much but also exhibit unique and different
cluster dynamics.
The creative and cultural industries are a term that includes a variety of different related industries.
Our definition includes not just ‘cultural’ industries but also ‘creative’ industries such as certain types of
software work (e.g. publishing of software, software consultancy and supply, new media and computer
games). These are industries that are defined by their creative working and by the intellectual property
they create. Together they employ 1,471,915 Europeans in 30 countries: 22.3% of creative and
cultural industries employees work with software publishing, consultancy or supply.
Table 10. Top 15 employment centres for software.
Region
Software Employment
Île de France (Paris), FR
63,617
West-Nederland (Amsterdam), NL
47,843
Inner London, UK
44,081
Berks, Bucks and Oxon (Oxford), UK
41,955
Lombardia (Milan), IT
41,857
Madrid, ES
37,145
Lazio (Rome), IT
33,486
Stockholm, SE
33,239
Danmark, DK
31,525
Oberbayern (München), DE
31,074
Cataluña (Barcelona), ES
28,741
Karlsruhe, DE
28,332
Darmstadt (Frankfurt am Main), DE
26,785
Surrey, E and W Sussex (Brighton), UK
24,173
Outer London, UK
23,833
The following maps show employment concentrations for four activity areas within the creative and
cultural industries: Artistic creation and literary interpretation; Advertising; Radio and television
activities; Museum activities and preservation of historical sites and buildings.
18
The maps indicate that for these parts of the creative and cultural industries clustering is a prominent
feature. In particular Inner London and its surrounding regions and the Paris region are the largest
centres in each of the four industries. Amsterdam, Madrid and Milan are also important centres.
However despite the existence of prominent clusters in each of the industries many other centres
exist.
Figure 5. Artistic creation and literary interpretation
19
Figure 6. Advertising
Figure 7. Radio and television activities
20
Figure 8. Museum activities and preservation of historical sites and buildings
The Table below lists the top 15 clusters (defined by employment and share of total European
employment in that category) in the four fields illustrated above: Artistic creation and literary
interpretation; Advertising; Radio and television activities; Museum activities and preservation of
historical sites and buildings. These figures clearly show the role of Paris, London, Milan, Amsterdam
and Madrid as Europe’s most important employment centres for creative and cultural industries. Of
these the super clusters London and Paris stand out.
21
Table 11: Top 15 regions by number of employees and share of European employment in four
sectors of the creative and cultural industries.
Employment
European
share
Radio and television activities
Employment
European
share
Advertising
1
Inner London
31,231
8.08%
Île de France (Paris)
52,202
7.56%
2
Île de France (Paris)
24,472
6.33%
Lombardia (Milan)
30,020
4.35%
3
Madrid
19,105
4.95%
Inner London
24,348
3.53%
4
Cataluña (Barcelona)
10,756
2.78%
West-Nederland (Amsterdam)
19,876
2.88%
5
Köln
10,317
2.67%
Madrid
18,738
2.71%
6
Bucuresti – Ilfov
10,122
2.62%
Danmark
17,343
2.51%
7
Oberbayern (München)
10,037
2.60%
Cataluña (Barcelona)
12,410
1.80%
8
West-Nederland
(Amsterdam)
7,647
1.98%
Düsseldorf
11,653
1.69%
9
Lazio (Rome)
7,516
1.95%
Stockholm
11,230
1.63%
1.95%
Darmstadt
Main)
10,053
1.46%
7,515
(Frankfurt
am
10
Outer London
11
Andalucía (Sevilla)
7,385
1.91%
Hamburg
9,664
1.40%
12
Attiki (Athens)
7,100
1.84%
Attiki (Athens)
9,266
1.34%
13
Danmark
6,648
1.72%
Lazio (Rome)
9,246
1.34%
14
Rheinhessen-Pfalz (Mainz)
6,644
1.72%
Lisboa
9,217
1.33%
15
E Scotland (Edinburgh)
6,351
1.64%
Zuid-Nederland (Maastricht)
8,970
1.30%
Museum activities and preservation of historical sites
and buildings
Artistic and literary creation and interpretation
1
Île de France (Paris)
20,113
6.80%
Île de France (Paris)
10,675
6.24%
2
Inner London
18,434
6.23%
3
West-Nederland
(Amsterdam)
Inner London
6,993
4.09%
5,774
1.95%
Danmark
5,162
3.02%
4
Outer London
5,357
1.81%
West-Nederland (Amsterdam)
4,525
2.64%
5
6
Danmark
5,156
1.74%
E Scotland (Edinburgh),
3,370
1.97%
Stockholm
4,983
1.68%
Vlaams Gewest (Antwerpen),
2,850
1.66%
7
Etelä-Suomi (Helsinki)
8
Lombardia (Milan)
4,549
1.54%
Lazio (Rome)
2,720
1.59%
4,448
1.50%
Stockholm
2,648
1.55%
9
Rhône-Alpes (Lyon)
4,165
1.41%
Ireland
2,631
1.54%
10
11
Slovenija
4,119
1.39%
Latvija
2,497
1.46%
Lazio (Rome)
4,000
1.35%
Madrid
2,240
1.31%
12
Provence-Alpes-Côte d'Azur
(Marseille)
3,767
1.27%
Kozep-Magyarorszag
(Budapest)
2,120
1.24%
13
Surrey, E and W Sussex
(Brighton)
3,714
1.26%
Cataluña (Barcelona)
2,102
1.23%
14
Cataluña (Barcelona)
3,539
1.20%
Malopolskie (Kraków)
2,040
1.19%
15
Kozep-Magyarorszag
(Budapest)
3,533
1.19%
Oost-Nederland (Nijmegen)
2,010
1.17%
Not all parts of the creative and cultural industries, however, are so dominated by a couple of large
cities. As the Table and Map below clearly show in Print Media there is a much more even spread of
activities over Europe. This may be explained by the fact that print media employs large numbers of
employees in production and distribution and it may not be necessary or desirable to locate these
employees in the largest urban areas. The print media employs 2,285,744 people or 34.8% of all the
22
creative and cultural industries and is thus central to the contribution of this sector to Europe
competitiveness.
Table 12. Top 15 regions by number of employees and share of European employment in Print
Media.
Rank
Employment
European share
1
Île de France (Paris)
81,696
3.57%
2
Lombardia (Milan)
68,582
3.00%
3
Inner London
64,323
2.81%
4
Cataluña (Barcelona)
62,015
2.71%
5
West-Nederland (Amsterdam)
55,884
2.44%
6
Madrid
53,244
2.33%
7
Attiki (Athens)
38,271
1.67%
8
Danmark
36,121
1.58%
9
Oberbayern (München)
30,313
1.33%
10
Andalucía (Sevilla)
28,753
1.26%
11
Mazowieckie (Warszawa)
28,720
1.26%
12
Lazio (Rome)
28,420
1.24%
13
Oost-Nederland (Nijmegen)
26,580
1.16%
14
Kozep-Magyarorszag (Budapest)
24,523
1.07%
15
Bucuresti – Ilfov
24,222
1.06%
Note: Print media is an aggregate of the following NACE codes: 22.11, 22.12, 22.13, 22.21, 22.22, 22.23, 22.24,
22.25, 52.47.
Figure 9. Print media employment.
23
8 Clustering and value chains
Whilst there are different cluster and location tendencies for different sectors of the creative and
cultural industries it is interesting to note that different stages in the CCI value chain also exhibit
different cluster tendencies. Manufacturing activities are the most regionally concentrated, and
consumer oriented activities the least regionally concentrated.
Concentration measures clearly show that the most concentrated creative and cultural industries are
those involved in specialised manufacture: recorded media and musical instruments. There is
considerable evidence from other industries that specialised manufacturing benefits from, and is
drawn to, industry clusters; it seems this is also the case in creative and cultural industries. A similar
pattern can be found for production related activities such as publishing of software and music, news
agencies, and film production.
The least concentrated activities are those in the value chain that are nearest the consumer: such as
bookshops, cinemas, and exhibition spaces. Such activities do exhibit some cluster tendencies at a
European level but locational concentration is likely more apparent within regions: e.g. at the level of
shopping or theatre districts.
Employees in firms focused on advertising and in artistic and literary creation and interpretation are
also less likely to be concentrated in dominant centres. This is likely due to the need to locally tailor
advertising campaigns or artistic and literary products to local conditions: something that is most
efficiently done in proximity to end users. Nonetheless as was shown earlier a degree of clustering on
a European level can be found in both of these activities and several large urban areas are home to
disproportionate concentrations of these activities.
24
6
Table 13. The most concentrated and clustered creative and cultural industries sub-sectors .
NACE Category
Gini
Krugman
Theil
Reproduction of computer media
0.88
(1)
1.46
(1)
2.05
(1)
Reproduction of sound recording
0.85
(2)
1.40
(2)
1.71
(2)
Reproduction of video recording
0.80
(3)
1.25
(3)
1.39
(3)
Manufacture of prepared unrecorded media
0.76
(4)
1.24
(4)
1.17
(5)
Manufacture of musical instruments
0.73
(5)
1.11
(7)
1.30
(4)
Publishing of software
0.73
(6)
1.15
(5)
1.00
(7)
Publishing of sound recordings
0.72
(7)
1.14
(6)
1.01
(6)
Motion picture and video distribution
0.66
(8)
1.05
(8)
0.83
(8)
News agency activities
0.65
(9)
1.02
(9)
0.81
(9)
Motion picture and video production
0.61
(10)
0.92
(10)
0.74
(10)
Other publishing
0.60
(11)
0.86
(12)
0.73
(11)
Printing of newspapers
0.59
(12)
0.89
(11)
0.62
(12)
Radio and television activities
0.55
(13)
0.84
(13)
0.56
(13)
Publishing of books
0.53
(14)
0.80
(14)
0.48
(17)
Bookbinding
0.52
(15)
0.76
(16)
0.49
(14)
Publishing of journals and periodicals
0.51
(16)
0.76
(15)
0.48
(15)
Ancillary activities related to printing
0.51
(17)
0.72
(18)
0.48
(16)
Pre-press activities
0.48
(18)
0.69
(19)
0.43
(18)
Library and archives activities
0.48
(19)
0.74
(17)
0.40
(19)
Other entertainment activities n.e.c.
0.47
(20)
0.68
(20)
0.39
(20)
Operation of arts facilities
0.45
(21)
0.65
(21)
0.34
(21)
Other software consultancy and supply
0.44
(22)
0.63
(22)
0.32
(22)
Publishing of newspapers
0.40
(23)
0.57
(24)
0.27
(23)
Museums activities, etc.
0.39
(24)
0.58
(23)
0.25
(25)
Artistic and literary creation and interpretation
0.39
(25)
0.55
(25)
0.25
(24)
Advertising
0.37
(26)
0.53
(26)
0.23
(26)
Printing n.e.c.
0.30
(27)
0.42
(27)
0.15
(28)
Photographic activities
0.29
(28)
0.41
(29)
0.17
(27)
Motion picture projection
0.29
(29)
0.41
(28)
0.15
(29)
Retail sale of books, newspapers and stationery
0.25
(30)
0.36
(30)
0.12
(30)
6
Based on data for 2006 for 16 countries where 4-digit NACE data was available at a regional level. The countries are: BE, BG,
CH, DK, DE, FI, FR, IE, IS, LT LV, NL, NO, RO, SE and UK.
‘Gini’, ‘Krugman’ and ‘Thiel’ are statistical measures of regional inequality or coefficients of variation.
25
About the European Cluster Observatory
The European Cluster Observatory, launched in June 2007, is the most comprehensive database on
clusters, cluster organisations, and cluster reports in Europe. It is managed by the Center for Strategy
and Competitiveness (CSC) at the Stockholm School of Economics and funded by the European
Commission's Directorate General for Enterprise and Industry.
The European Cluster Observatory website provides a wide variety of data on clusters in Europe, and
is focused on the following issues:
Cluster Mapping providing information on 38 cluster categories in 259 NUTS II regions
Information, maps and lists of regional or local private-public partnerships focused on cluster
improvements
Providing reports on national and regional cluster policies and programmes
Providing detailed knowledge thorough publishing Observatory reports, cluster case studies
and other cluster-related documents
In 2009, the Observatory entered the second phase of development bringing new features and
introducing a collaboration platform for cluster organisations and SMEs.
Please visit the European Cluster Observatory at www.clusterobservatory.eu.
26
Priority Sector Report:
Creative and Cultural Industries –
Methodological Appendix
Dominic Power, Uppsala University
Tobias Nielsén, Volante QNB Research
March 2010 – deliverable D9-1
Conceptual definition
This report is about both the „creative industries‟ and the „cultural industries‟ over which there has
been considerable debate. This report will not try to summarize or repeat these debates. There is an
extensive literature that gives more detailed accounts of the various terms and debates related to
creative and cultural industries: (Caves 2000; Scott 2000; Hesmondhalgh 2002; Power 2002; Power
and Scott 2004; Pratt 2005; Fleming 2007; Galloway and Dunlop 2007; Kolmodin, Pelli, Bager-Sjögren
et al. 2008; Nielsen 2008; Jeffcutt and Pratt 2009; Mato 2009; Miller 2009; Power 2009). However,
whilst each term has a separate heritage and legacy they share much. In industrial policy and analysis
both these terms share a common concern with industries that have often been marginalized from
economic and industrial analysis and policy. In particular both terms share a focus on industries such
as film, art, design, music etc. that have largely been treated as issues for cultural policy and debate
but are now recognized as important economic fields in their own right. The terms have been used in
many ways but are usually thought to signify industries that deal with the following activity areas:
Advertising
Broadcast media
Gaming software, new media
Architecture
Design - Fashion design, graphic design, interior design, product design
Film
The “finer” arts – literary, visual and performance arts
Libraries, museums, heritage
Music
Print media
Photography
Object d‟art - Glass, ceramics, cutlery, crafts, jewelry
Moreover these industries, rightly or wrongly, are suggested to share something that makes treating
them as interlinked or similar meaningful and worthwhile. Both terms attempt to group together diverse
sectors or industries that (a) have previously been seen as marginal to economic and industrial
concerns or primarily cultural, and (b) that despite their obvious diversity seem to be similar,
interlinked or interdependent.
The main difference between different concepts within this area is that they tend to either place
importance on outputs or on inputs and process.
Concepts such as „cultural industries‟, „copyright industries‟ and „content industries‟ tend to define
industries for inclusion by reference to their principal outputs or core products. Definitions of this type
emphasis the idea that industries for inclusion are those concerned in one way or another with the
creation of products whose value rests primarily on their symbolic or aesthetic content and the ways in
which the products stimulate the experiential reactions of consumers. In many cases the outputs of
these industries are partly defined by the fact that they are intellectual property and in particular
intellectual property subject to copyright. Copyright is one of the main branches of intellectual property
and applies to “every production in the literary, scientific and artistic domain, whatever may be the
mode or form of its expression” (Article 2, Berne Convention for the Protection of Literary and Artistic
Works). Literary and artistic works are outputs based on original work of authorship and include books,
music, plays, choreography, photography, films, paintings, sculptures, compute programs and
databases (WIPO 2003).
Concepts such as „creative industries‟ define industries for inclusion on the basis of the types of inputs
and generative processes that characterize their core value creation. The idea of creative industries
stresses the centrality of creativity - mental and social processes involving the discovery of new ideas,
concepts or associations – to how firms and workers come up with and commercialize products. The
types of products offered by creative industries can be both valued in their own right or valued as
knowledge-based services. The range of industries, inputs and outputs of these activities makes
viewing them as either a service sector or a producer sector impossible. Indeed firms in certain of
these industries might be simultaneously engaged in both service provision and their own proprietary
products. The stress on creative inputs and working processes means that the term can be interpreted
as wider in scope than terms that stress cultural outputs: culture need not be particularly new to have
profound value. However, as the Lisbon Treaty recognizes, culture as crucially related to and often an
essential catalyst for creativity.
It is fair to say that there has been considerable conceptual confusion and debate over these terms.
Equally it is also fair to say that despite differences there is considerable overlap when considering
2
which industries are involved with creative and cultural outputs and those that are concerned with
creative inputs and processes. In this sector priority report we have counted on a certain level of
interchangeability between the two terms. This means that we use the terms interchangeably but also
that we see them as conceptually linked and similar. Indeed given policy and academic debates in the
area it is practical to talk of „creative and cultural industries‟.
For the purposes of this report we use the following definition of creative and cultural industries: those
concerned with the creation and provision of marketable outputs (goods, services and activities) that
depend on creative and cultural inputs for their value.
This definition shares much in common with the combination of creative and cultural industries certain
European countries have adopted:
“The Conference of German Ministers of Economic Affairs has defined culture and creative
industries in the following way: Culture and creative industries comprise of all cultural and
creative enterprises that are mainly market-oriented and deal with the creation, production,
distribution and/or dissemination through the media of cultural/creative goods and services.
The most important defining criterion is the market-orientation of the enterprises. This set of
enterprises includes all market-oriented companies that are financed through the market,
liable to pay turnover taxes or simply all those that want to earn money with art, culture and
creativity.” (Söndermann, Backes, Arndt et al. 2009, p. 20)
Lastly we take an industrial and innovation systems perspective to these industries. Inspired by the
work of Michael Porter (Porter 1990) we include not just core creative or cultural talent but also
broader supporting and related industries that are essential to the commercialization of creative and
cultural products. For example in our definition the competitiveness of the book industry is not just
defined by the creative talent of the author but also by the printers, accountants, publishers and
specialist book shops involved in a book‟s value chain. Since this report is focused on clusters and
competitiveness in the creative and cultural industries we use an industrial systems approach and do
not only concentrate on the act of creation itself.
Statistical definition
For the purposes of this Cluster Observatory report we have developed a new statistical definition of
creative and cultural industries. As discussed above this new reflects both the creative industries idea
as well cultural industries ideas. Our original intention was not to develop a new definition or add to the
long list of available alternative methodologies. Our original intention was to use one of the existing
approaches and apply it to the data and regions the Cluster Observatory includes. However, it became
apparent that none of the available methodologies was suitable for use with cross-national
comparative data. Using an off-the-shelf definition originally designed for specific national contexts
may give unreliable results when used for all European countries. Additionally there are transparency
issues with certain definitions meaning that we could not fully verify and replicate their methodologies.
3
In developing a new statistical definition our ambition has not been to reinvent the wheel but rather to
develop a statistically operational definition that builds on the work and ideas of existing definitions
whilst erring on the side of caution and not attempting to include everything.
Considerable work has gone into finding a definition of the creative and cultural industries that is
statistically operational at a pan-European level. Existing definitions are seldom appropriate to cross
national or comparative levels of analysis since they tend to utilize more specific national statistical
measures and contexts. Thus the primary definition used in the report is one developed by the authors
for the purposes of cross-national comparison, with a specific view to analysis at NUTS2 regional
levels using four digit level standard industrial classifications. The definition was informed by our
conceptual understanding of the cultural and creative industries (see above). Moreover the definition
attempts to incorporate common elements of other prominent definitions. This means that the
definition builds upon comparison of the statistical categories used in a number of prominent
international measures for creative, content and cultural industries.
The operational definition we developed was - largely due to data collection issues - based on
standard industrial classifications: in particular the standard industrial Classification of Economic
Activities in the European Community NACE Revision 1.1. It is essential note that we use NACE
Revision 1.1 only in this report due to the time series of the data we aimed to treat. NACE coding has
been revised since and the new revision includes new codes and classifications that allow for much
more accurate definition of creative and cultural industries: codes that will be used in future analyses.
In the statistical definition used for this report we started out by only including those codes that several
other definitions included: i.e. NACE Rev.1.1 and equivalent codes that several other definitions use.
In other words we tried to find a minimal commonly held definition that reflected available definitions
whilst remaining true to the concept of creative and cultural industries we hold. The other statistical
definitions and code classifications we primarily used and compared in designing our own operational
definition were:
Department Culture Media and Sport [UK] (1998). Creative industries mapping document.
London, DCMS.
Department for Culture, Media and Sport and Department of Environment Transport and
Regions, [UK] (2000). Creative Industries: the regional dimension. The report of the Regional
Issues Working Group. London, DCMS.
Department Culture Media and Sport [UK] (2009). Creative Industries Economic Estimates
Statistical Bulletin January 2009. London, DCMS.
European Commission Directorate-General for Education and Culture (2006). The Economy of
Culture in Europe. Report prepared by KEA European Affairs, Media Group - Turku School of
Economic and Business Administration, MKW Wirtschaftsforschung GMbH. Brussels.
Frontier Economics (2007). Creative industry performance. A statistical analysis for the
DCMS. London, Frontier Economics Ltd.
4
Geppert, J. and P. Geppert (2008). La Valeur Economique de la Culture dans la Province du
Limbourg et ses Régions Voisines - Rapport 2008. Maastricht, MKW Wirtschaftsforschung
GmbH, Sarrebruck comissioned by Gouvernement de la Province du Limbourg (Pays-Bas).
Heng, T., A. Choo, T. Ho (2003). Economic Contributions of Singapore’s Creative Industries.
Economic Survey Of Singapore First Quarter 2003. Singapore, Creative Industries Strategy
Group Ministry of Information, Communications and the Arts, Economics Division Ministry of
Trade and Industry.
Myndigheten för tillväxtpolitiska utvärderingar och analyser [Swedish Agency for Growth Policy
Evaluations and Analyses] (2009). Kulturnäringar i svensk statistik Dnr 2009/054. Östersund,
Myndigheten för tillväxtpolitiska utvärderingar och analyser.
Ministry of Culture and Communication [France] (2008). Expert Report on Sources - The
Collection of Cultural Statistics in Europe. Call for tenders 2006/S 143-153056 – Contract n°
34100 2006 Power, D. (2002). ""Cultural industries" in Sweden: An assessment of their place
in the Swedish economy." Economic Geography 78(2): 103-127.
National Office for the Information Economy and Department of Communications Information
Technology and the Arts [Australia] (2002). Creative Industries Cluster Study - Stage One
Report. Canberra.
Power, D. (2003). "The Nordic 'Cultural Industries': a cross-national assessment of the place
of the cultural industries in Denmark, Finland, Norway and Sweden." Geografiska Annaler B
85(3): 167-180.
Pratt, A. (1997). "The cultural industries production system: a case study of employment
change in Britain 1984-91." Environment and Planning A 29: 1953-1974.
Söndermann, M., C. Backes, O. Arndt and D. Brünink (2009). Culture and Creative Industries
in Germany - Research Report. Initiative Culture and Creative Industries of the German
Federal Government. Cologne, Bremen, Berlin, Federal Ministry of Economics and
Technology and Federal Government Commissioner for Culture and the Media.
Söndermann, M., C. Backes, O. Arndt and D. Brünink (2009). Final Report: Culture and
Creative Industries in Germany Defining the Common Characteristics of the Heterogeneous
Core Branches of the "Cultural Industries" from a Macro-economic Perspective. Cologne,
Bremen, Berlin, Bundesministerium für Wirtschaft und Technologie.
UNESCO Institute for Statistics (2008). The 2009 UNESCO Framework For Cultural Statistics:
Draft. Montreal, UNESCO Institute for Statistics.
WIPO (2003). Guide on Surveying the Economic Contribution of the Copyright-Based
Industries. Geneva, World Intellectual Property Organisation.
A pilot statistical definition was developed and all the measures and operations presented in this
report were produced in preliminary form using the pilot definition. The preliminary results and
methodology were presented at the expert workshop entitled “Towards a Pan-European initiative in
support of innovative creative industries in Europe” organized by the European Commission‟s
Enterprise and Industry Directorate General in cooperation with the City of Amsterdam, the European
5
Design Centre, the Association of Dutch Designers and IIP Create in Amsterdam, 4–5 February 2010.
Detailed was obtained during the workshop from prominent European experts in the field. In addition
to the workshop a small working group gave very detailed feedback on the statistical methodology,
they included:
Hasan Bakshi, National Endowment for Science, Technology and the Arts (NESTA), London
Maya Jolles, DG ENTR.B4 - Economic Analysis and Evaluation
Rahel Falk, WIFO – Austrian Institute for Economic Research, Vienna
Mette Koefoed Quinn, DG ENTR.D2 - Support for Innovation
Carsten Schierenbeck, DG ENTR.D2 - Support for Innovation
Michael Söndermann, Office of Cultural Industries Research, Cologne
The valuable feedback and recommendations from this group and workshop resulted in direct
changes to our methodology.
It is important to note that whilst in theory we would like to have developed a definition that included all
stages of the value and commodity chains that characterize these industries we have opted to largely
exclude retail and related manufacturing activities. Statistics based on NACE Rev.1.1 are not
sufficiently disaggregated to distinguish, for instance, cultural industries retail outlets from other types
of retail, or to separate the related manufacturing processes behind fashion clothing from the general
clothing and textile industries.
In our selection of codes we have erred on the side of caution and minimalism. In particular we have
not included a number of codes that other definitions include a proportion or part of. Whilst many of
these codes include firms that are undoubtedly central to the creative and cultural industries it is
difficult to use them accurately for cross-national comparison. For example we did not include code
74.20 (Architectural and engineering activities and related technical consultancy). We agree that
architecture as a service industry is undoubtedly a core part of the creative and cultural industries but
the code in this revision of NACE covers architecture as well as a wide variety of engineering and
construction industry firms. Some studies that have used this code have only used a proportion of
those firms involved – for instance, the UK DCMS studies included only 16.1% of firms registered
under code 74.20. However, it is extremely problematic to suggest that the same percentage applies
in all 30 countries in our study: in some countries it may be substantially more or less.
In order to avoid inaccuracies we have excluded a number of codes that are commonly included on a
proportional basis even though many reports have suggested as being core to definitions:
17.7
Manufacture of knitted and crocheted articles
18.1
Manufacture of leather clothes
18.10
Manufacture of leather clothes
18.2
Manufacture of other wearing apparel and accessories
18.22
Manufacture of other outerwear
6
18.23
Manufacture of underwear
18.24
Manufacture of other wearing apparel and accessories n.e.c.
18.30
Dressing and dyeing of fur; manufacture of articles of fur
19.30
Manufacture of footwear
74.87
Other business activities n.e.c.
52.48
Other retail sale in specialized stores
52.50
Retail sale of second-hand goods in stores
71.40
Renting of personal and household goods n.e.c.
74.20
Architectural and engineering activities and related technical consultancy
92.72
Other recreational activities n.e.c.
The exclusion of the above codes means in particular that the fashion industry is significantly underrepresented in our study; despite the fact that fashion industry‟s competitive advantage rests upon
products defined by their creative and cultural content.
In order to ground our definition and to show how important the exact definition used can be we also
prepared figures for two other definitions that have attracted considerable attention in the field. The
first of these was developed for the European Commission (Directorate-General for Education and
Culture) 2006 report „The Cultural Economy of Europe‟ (CEOE); the authors of that report were KEA
European Affairs, Media Group - Turku School of Economic and Business Administration, and MKW
Wirtschaftsforschung GMbH. The NACE codes used for the „Cultural Economy of Europe‟ (CEOE)
definition are from pages 308-311 of that report.
The other definition we use is that developed by the World Intellectual Property Organization (WIPO
2003). In particular we used the coding and definition contained in “ANNEX III European Classification
Codes, Corresponding to some of the Copyright-Based Industries” (p. 91). This sets out the NACE
Rev.1.1 codes which WIPO suggests best approximates what they call „core and interdependent
copyright industries‟:
Press and literature
Motion picture and video
Photography
Visual and graphic arts
Music, theatrical productions, operas
Radio and television
Software and databases
Advertising services
Copyright collective management societies
The following table shows the NACE Rev.1.1 codes used in each definition and used in our analysis.
The codes we have used in this report are labeled „CCI‟.
7
Code
Description
CCI
17.1
Preparation and spinning of textile fibres
17.11
Preparation and spinning of cotton-type fibres
17.12
Preparation and spinning of woollen-type fibres
17.13
Preparation and spinning of worsted-type fibres
17.14
Preparation and spinning of flax-type fibres
17.15
Throwing and preparation of silk, including from noils, and throwing
and texturing of synthetic or artificial filament yarns
17.16
Manufacture of sewing threads
17.17
Preparation and spinning of other textile fibres
17.2
Textile weaving
17.21
Cotton-type weaving
17.22
Woollen-type weaving
17.23
Worsted-type weaving
17.24
Silk-type weaving
17.25
Other textile weaving
17.3
Finishing of textiles
17.30
Finishing of textiles
17.4
Manufacture of made-up textile articles, except apparel
17.40
Manufacture of made-up textile articles, except apparel
17.5
Manufacture of other textiles
17.51
Manufacture of carpets and rugs
17.52
Manufacture of cordage, rope, twine and netting
17.53
Manufacture of non-wovens and articles made from non-wovens,
except apparel
17.54
Manufacture of other textiles n.e.c.
17.6
Manufacture of knitted and crocheted fabrics
17.60
Manufacture of knitted and crocheted fabrics
17.7
Manufacture of knitted and crocheted articles
17.71
Manufacture of knitted and crocheted hosiery
17.72
Manufacture of knitted and crocheted pullovers, cardigans and similar
articles
18.1
Manufacture of leather clothes
18.10
Manufacture of leather clothes
18.2
Manufacture of other wearing apparel and accessories
18.21
Manufacture of workwear
18.22
Manufacture of other outerwear
18.23
Manufacture of underwear
18.24
Manufacture of other wearing apparel and accessories n.e.c.
18.3
Dressing and dyeing of fur; manufacture of articles of fur
18.30
Dressing and dyeing of fur; manufacture of articles of fur
19.3
Manufacture of footwear
19.30
Manufacture of footwear
22.11
Publishing of books
22.12
Publishing of newspapers
22.13
Publishing of journals and periodicals
22.14
Publishing of sound recordings
22.15
Other publishing
CEOE
WIPO
8
22.21
Printing of newspapers
22.22
Printing n.e.c.
22.23
Bookbinding
22.24
Pre-press activities
22.25
Ancillary activities related to printing
22.31
Reproduction of sound recording
22.32
Reproduction of video recording
22.33
Reproduction of computer media
24.65
Manufacture of prepared unrecorded media
26.24
Manufacture of other technical ceramic products
30.02
Manufacture of computers and other information processing equipment
32.30
Manufacture of television and radio receivers, sound or video recording
or reproducing apparatus and associated goods
33.20
Manufacture of instruments and appliances for measuring, checking,
testing, navigating and other purposes, except industrial process
control equipment
36.30
Manufacture of musical instruments
51.16
Agents involved in the sale of textiles, clothing, footwear and leather
goods
51.41
Wholesale of textiles
51.42
Wholesale of clothing and footwear
51.47
Wholesale of other household goods
52.12
Other retail sale in non-specialized stores
52.47
Retail sale of books, newspapers and stationery
52.48
Other retail sale in specialized stores
52.61
Retail sale via mail order houses
64.20
Telecommunications
70.20
Letting of own property
71.40
Renting of personal and household goods n.e.c.
72.21
Publishing of software
72.22
Other software consultancy and supply
72.3
Data processing
72.40
Database activities
74.20
Architectural
consultancy
74.40
Advertising
74.81
Photographic activities
74.87
Other business activities n.e.c.
92.11
Motion picture and video production
92.12
Motion picture and video distribution
92.13
Motion picture projection
92.20
Radio and television activities
92.31
Artistic and literary creation and interpretation
92.32
Operation of arts facilities
92.33
Fair and amusement park activities
92.34
Other entertainment activities n.e.c.
92.40
News agency activities
92.51
Library and archives activities
92.52
Museums activities and preservation of historical sites and buildings
93.05
Other service activities n.e.c.
and
engineering
activities
and
related
technical
9
The importance of definitions can be seen in the Table below which shows how employment figures
and focus measures for Europe look for each definition.
CCI
Europe
CEOE unfiltered
WIPO
Employment
Focus
Employment
Focus
Employment
Focus
6,576,558
2.71%
17,921,109
7.56%
6,805,181
2.87%
The figure of nearly 18 million employees the CEOE definition generates is in stark contrast to the
figure of 5.8 million employees in 2003 the CEOE report presented. The figures presented in the
CEOE report were based on NACE codes but data was heavily filtered using supplementary business
register data.
Thus it is important to understand that: different operationalizations of similar
conceptual terms can generate very different figures; the methods by which data is treated and filtered
have crucial implications. For these reasons we have chosen to err on the side of caution with the
operational definition used in this report and avoid the inclusion of codes where significant levels of
proportional and supplementary data filtering is needed.
Data
The data used for this report came from The European Cluster Observatory Cluster Mapping
Database. The Cluster Mapping database is built in the intersection of regions and sectors in Europe.
By combining the two dimensions of geography and industry it is possible to statistically trace regional
agglomerations of employment, defined as statistical regional clusters, across Europe.
The geographical dimension is operationalised through 259 regions, predominantly NUTS 2 regions,
which the EU has uses to subdivide member countries for statistical purposes. We use NUTS 1
regions for Belgium, Greece, Netherlands and Turkey so that the size of the regions both in terms of
land area and employment are reasonably comparable. NUTS 1 is also used for Ireland due to data
availability.
On the sectoral side employment data on the 4-digit industry level (and in a few cases 3-digit data) is
used. Unfortunately, no comparable data exists for wages, value added, or productivity at the level of
regions and detailed industries. Instead we have used Regional Innovation Statistics (not separated by
cluster category) to differentiate between regional clusters in high innovation environments from
clusters in low innovation environments. Added to this, we have used national export data classified by
cluster category (not separated by region) to separate out regional clusters in high export national
environments from clusters in low export national environments.
It is important to note that the employment data used in the report is exactly that: data on employees.
The resulting numbers do not therefore include sole-traders or freelancers who are not also full-time
10
employed. Given that there are extremely high rates of sole trader activity the numbers underrepresent the true numbers of people actively working in creative and cultural industries. However,
concentrating on employees (rather than all „workers‟) is important since firms‟ taking on employees is
central to the spread of economic growth and knowledge.
The data used was collected between December 2006 and June 2007. Each data point is coded by
the “batch number” for traceability (e.g. to determine the name of the person who supplied the data,
contact information and date of transfer) and “source code” for methodological purposes (data
collection methodology, measurements explanations, reference period, etc). The following table lists
the sources for the data used in this report:
Country
Institution
Method
NACE
Level
Austria
Eurostat, Luxembourg
Labour Force Survey
3
Austria
Statistics Austria
Structural Business Survey
4
Belgium
National Office of Social Security, Belgium
Business survey
4
Bulgaria
National Statistical Institute, Bulgaria
Enterprise survey
4
Croatia
Eurostat, Luxembourg
Labour Force Survey
3
Cyprus
Statistical Service of Cyprus
Business Register Survey
3
Czech Republic
Eurostat, Luxembourg
Labour Force Survey
Denmark
Statistics Denmark
Register-based
statistics
Estonia
Eurostat, Luxembourg
Labour Force Survey
3
Estonia
Eurostat, Luxembourg
Structural Business Statistics
4
Finland
Statistic Finland
Labour Force Survey
4
France
INSEE, France
DADS
4
Germany
Statistik der Bundesagentur fur Arbeit, Germany
Employment statistics
4
Greece
National Statistical Service of Greece
Labour Force Survey
3
Hungary
Eurostat, Luxembourg
Labour Force Survey
3
Iceland
Statistics Iceland
Pay As You Earn register
4
Ireland
Central Statistics Office, Ireland
Quarterly National
Survey
2
Ireland
Eurostat, Luxembourg
Structural Business Statistics
Italy
Eurostat, Luxembourg
Labour Force Survey
Latvia
Central Statistical Bureau of Latvia
Survey of
institutions
Lithuania
Statistics Lithuania
Structural Business Survey
4
Luxembourg
Eurostat, Luxembourg
Labour Force Survey
3
Malta
Eurostat, Luxembourg
Labour Force Survey
3
Netherlands
Eurostat, Luxembourg
Labour Force Survey
3
Norway
Statistics Norway
Structural Business Statistics
4
Poland
Central Statistical Office of Poland
Form Z6
4
Portugal
Statistics Portugal
Integrated
system
Romania
Eurostat, Luxembourg
Labour Force Survey
3
Slovakia
Eurostat, Luxembourg
Labour Force Survey
3
Slovenia
Statistical Office of Slovenia
Enterprise survey
4
Spain
Eurostat, Luxembourg
Labour Force Survey
3
11
3
labour
force
Household
4
3
enterprises
business
4
and
accounts
4
4
Sweden
Statistiska Centralbyran, Sweden
Register-based Labour Market
Statistics
4
Switzlerland
Swiss Statistics
Census of Swiss enterprises
4
Turkey
Turkish Statistical Institute
General Census of Industry and
Business Establishments
4
United Kingdom
Department of Enterprise, Trade and Innovation
of Northern Ireland
Census of Employment
4
United Kingdom
Office for National Statistics of United Kingdom
Annual Business Inquiry
4
EU employment data is collected from two different sources: from the Labour Force Survey (LFS) and
from the Structural Business Statistics (SBS), both administrated by Eurostat. LFS is a quarterly
survey given to a sample of the population living in private households. The LFS includes data on at
most 3-digit NACE level for most, but not all, NUTS 2 regions. SBS statistics is mainly sourced from
business registers and includes structural data over the economy. On NUTS 2 regional level Eurostat
only administers data on NACE 2 digit level. 4 digit level data are collected on national level, but not
for all NACE categories. The 4 digit level is in turn available for NUTS 1 regions (countries) but not for
NUTS 2 regions. In many cases more detailed data has been obtained from National Statistical
Offices, but Eurostat still remains the main source for Italy, Spain, Czech Republic and Romania.
In the countries where more than one source was used (Austria, Estonia and Ireland), the different
sources were used only for different sections of the NACE classification, i.e. a code from one
classification could not have a parent from another. This was done to combine the data from Structural
Business Statistics, which is available on NACE 4-digit level, with 3-digit data from Labour Force
Survey for the sections not covered in SBS (e.g. agriculture, public sector, education). There also are
two sources in the United Kingdom because Northern Ireland has a separate statistical office.
Due to heterogeneity of the data a number of steps were required to harmonize the data to the level
where it can be matched with cluster definitions. The main portion of this process was bringing the
whole dataset to NACE 4-digit level by splitting the data from higher levels of aggregation when not
available.
It is important to note that despite every effort being made to ensure accuracy, time series data is not
fully reliable for every region. This is mainly due to changes to collection methodologies during the
time series but also to artifacts from the processing of data in countries where only 3-digit data was
available.
Industry splitting algorithm
The data were processed on the same regional division level as they were reported, which
corresponds to NUTS 2 regions for all countries except for Ireland, where the data were only available
for Ireland as a whole (Ireland is composed of two NUTS 2 regions). Initial processing was also done
only for the years for which the data were reported.
12
The algorithm used for data harmonization works in the following way:
1. The script checks for availability of employment data for each combination of year, region and
NACE 4-digit industry (for years/regions where at least some data was available).
2. If the data is present, it moves to the next combination.
3. If the data cell is blank, it searches for all the parent industries of the one that is missing until it finds
a value. If all the parent industries are missing, the cell is left blank.
4. When a value is found, the script goes on to determine all the children (and sub-children) of the
parent industry that are at the cluster definition level (i.e. NACE 4-digit) and have no intermediate
industries that are available. The script than calculates the sum of all the cells that are already
available within the given parent, deducts this sum from the value of the parent cell and then splits the
result equally between the children determined previously.
This method helped us not only to transform the data that we had only on NACE 3-digit level but also
allowed us to use the data on multiple levels for the same country. This was particularly valuable with
countries like United Kingdom that provides data on all NACE levels but the less aggregated the data
is the more values are withheld due to confidentiality.
There are certainly drawbacks to this method. One drawback lies in the fact that the splits are done
equally among all the target industries. However, in most of the cases the split is close to reality,
especially in the countries with NACE 4-digit coverage where normally only very small values are
withheld (e.g. when less than ten people are employed in the industry). Some clusters, especially
small ones that are composed of NACE 4-digit industries from different sections, are more prone to
errors than the others.
Regional Units and Aggregation
Geographic regional data is used in the report and is reliant on geographical units defined according to
the NUTS system, a nomenclature of territorial units for statistics. As a hierarchical classification, the
NUTS system subdivides each EU member country into NUTS 1 regions, each of which is in turn
subdivided into NUTS 2 regions. The EU has been divided into a total of 254 NUTS 2 regions. The
different criteria used for subdividing national territory into regions are normally split by normative and
analytical criteria. Normative regions are the expression of a political will: their limits are fixed
according to the tasks allocated to the territorial communities, according to the sizes of population
necessary to carry out these tasks efficiently and economically, and according to historical, cultural
and other factors. Analytical (or functional) regions are defined according to analytical requirements;
they group together zones using geographical criteria (e.g., altitude or type of soil) or using socioeconomic criteria (e.g., homogeneity, complementarity or polarity of regional economies).
13
NUTS2 regions have been used throughout the study. In certain cases it was necessary to make
regional aggregations. This table depicts the way in which aggregations have been made in certain
cases and the reasons for aggregation in each particular case.
Original Region
Original Region Name
Modified Region
Modified Region Name
Belgium - Aggregated to NUTS1 due to very small land area of NUTS2 regions
NUTS-BE10
Brussels
NUTS-BE1
Brussels
NUTS-BE21
Prov. Antwerpen
NUTS-BE2
Vlaams Gewest
NUTS-BE22
Prov. Limburg (B)
NUTS-BE2
Vlaams Gewest
NUTS-BE23
Prov. Oost-Vlaanderen
NUTS-BE2
Vlaams Gewest
NUTS-BE24
Prov. Vlaams-Brabant
NUTS-BE2
Vlaams Gewest
NUTS-BE25
Prov. West-Vlaanderen
NUTS-BE2
Vlaams Gewest
NUTS-BE31
Prov. Brabant Wallon
NUTS-BE3
Région Wallonne
NUTS-BE32
Prov. Hainaut
NUTS-BE3
Région Wallonne
NUTS-BE33
Prov. Liège
NUTS-BE3
Région Wallonne
NUTS-BE34
Prov. Luxembourg (B)
NUTS-BE3
Région Wallonne
NUTS-BE35
Prov. Namur
NUTS-BE3
Région Wallonne
Germany - NUTS2 codes changes in 2004
NUTS-DE40
Brandenburg
NUTS-DE4
Brandenburg
NUTS-DE41
Brandenburg - Nordost
NUTS-DE4
Brandenburg
NUTS-DE42
Brandenburg - Südwest
NUTS-DE4
Brandenburg
Spain - African territories merged with the mainland
NUTS-ES63
Ciudad Autónoma de Ceuta
NUTS-ES61
Andalucía
NUTS-ES64
Ciudad Autónoma de Melilla
NUTS-ES61
Andalucía
NUTS-FI18
Etelä-Suomi
Finland - Minor islands merged with the mainland
NUTS-FI20
Åland
France - Overseas possessions removed
NUTS-FR91
Guadeloupe
NUTS-FR92
Martinique
NUTS-FR93
Guyane
NUTS-FR94
Réunion
Greece - Aggregated to NUTS1 due to very small population of NUTS2 regions
NUTS-GR11
Anatoliki Makedonia, Thraki
NUTS-GR1
Voreia Ellada
NUTS-GR12
Kentriki Makedonia
NUTS-GR1
Voreia Ellada
NUTS-GR13
Dytiki Makedonia
NUTS-GR1
Voreia Ellada
NUTS-GR14
Thessalia
NUTS-GR1
Voreia Ellada
NUTS-GR21
Ipeiros
NUTS-GR2
Kentriki Ellada
NUTS-GR22
Ionia Nisia
NUTS-GR2
Kentriki Ellada
NUTS-GR23
Dytiki Ellada
NUTS-GR2
Kentriki Ellada
NUTS-GR24
Sterea Ellada
NUTS-GR2
Kentriki Ellada
NUTS-GR25
Peloponnisos
NUTS-GR2
Kentriki Ellada
NUTS-GR30
Attiki
NUTS-GR3
Attiki
NUTS-GR41
Voreio Aigaio
NUTS-GR4
Nisia Aigaiou, Kriti
NUTS-GR42
Notio Aigaio
NUTS-GR4
Nisia Aigaiou, Kriti
NUTS-GR43
Kriti
NUTS-GR4
Nisia Aigaiou, Kriti
Ireland - Aggregated to NUTS1 due to unavailability of data for NUTS2
NUTS-IE01
Border, Midland and Western
NUTS-IE0
Ireland
NUTS-IE02
Southern and Eastern
NUTS-IE0
Ireland
14
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Industries in Germany Defining the Common Characteristics of the Heterogeneous Core
Branches of the "Cultural Industries" from a Macro-economic Perspective. Cologne, Bremen,
Berlin, Bundesministerium für Wirtschaft und Technologie.
WIPO (2003). Guide on Surveying the Economic Contribution of the Copyright-Based Industries.
Geneva, World Intellectual Property Organisation.
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About the European Cluster Observatory
The European Cluster Observatory, launched in June 2007, is the most comprehensive database on
clusters, cluster organisations, and cluster reports in Europe. It is managed by the Center for Strategy
and Competitiveness (CSC) at the Stockholm School of Economics and funded by the European
Commission's Directorate General for Enterprise and Industry.
The European Cluster Observatory website provides a wide variety of data on clusters in Europe, and
is focused on the following issues:
Cluster Mapping providing information on 38 cluster categories in 259 NUTS II regions
Information, maps and lists of regional or local private-public partnerships focused on cluster
improvements
Providing reports on national and regional cluster policies and programmes;
Providing detailed knowledge thorough publishing Observatory reports, cluster case studies
and other cluster-related documents
In 2009, the Observatory entered the second phase of development bringing new features and
introducing a collaboration platform for cluster organisations and SMEs.
Please visit the European Cluster Observatory at www.clusterobservatory.eu.
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