The Cultural Industries in CARICOM: Trade, Investment ... · The Cultural Industries in CARICOM:...
Transcript of The Cultural Industries in CARICOM: Trade, Investment ... · The Cultural Industries in CARICOM:...
The Cultural Industries in CARICOM:Trade, Investment & Development Challenges
Dr. Keith NurseSenior Lecturer, Institute of International Relations, UWI.Coordinator, Arts and Cultural Enterprise Management Programme, Director, bloom: creative industries exchange
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Key Elements of the EU Proinvest - CRNM Study
• Phase 1 - Global & Regional Situational Analysis
• Phase 2 - Economic Impact Assessment and Competitiveness Analysis
• Phase 3 - Trade & Industrial Policies• Phase 4 - Strategic Industrial Action Plan
Synergies between theCreative Economy & Other Sectors
CREATIVE ARTS
CREATIVE INDUSTRIES
CREATIVE ECONOMY
ICTs
Intellectual Property
Tourism
Ecommerce
Services
Media
Arts Education
Manufacturing
The Creators
Composers/Songwriters Performing artistsAuthors
Secondary Investors
Facilitators
Primary Investors
Manufacturers (CDs, DVDs, Print)Distribution (Import/export, wholesale) Retailers, Venue operators, Broadcasters
ManagersBooking agentsTicket agentsLawyers/accountantsPromotion/advertisingTechnical services
• Purchases of (CDs, books, videos)• Audience at public performance
venues/exhibitions• Live performance (club, concert,
theatre)
• listeners to broadcast (radio, TV, Internet)
• subscribers to online services
Consumer(The Audience)
The Value – Chain in the Creative Industries
Publishers Record CompaniesPromotersDirectors
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Typology of Creative Industries
Creative Core
Interdependent CI
Partial Copyright Industries
MusicBook
publishingAudio-visualFestivalsPerforming
artsVisual artsCopyright
collective mgt
Music instruments man’f
Music & video players
Fashion designJewelry designCostume productionAdvertisingArchitecture
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Income Streams in the Creative Industries
Goods
Visible EarningsBooksCDsDVDsPaintingsMusic
instrumentsGarments &
jewelry
Services
Invisible EarningsLive
performancesDesign servicesRecord
engineeringLegal services
Intellectual property
Invisible EarningsRoyalty incomeLicensing feesCollective
administrationDigital rights
management
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Global Trends
Global estimates forecast that the creative industries
will grow by 33% in the next four years (PWC, Entertainment & Media Report, 2005 - 2009).
Consumer demand for creative content is driving the
new sales (30 - 50%) in computers, broadband, cell phones, ecommerce (IFPI Music & Internet, 2006).
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Regional Context for the Creative Industries
The Caribbean has significant capability and untapped potential in the creative industries.
The global demand for Caribbean creative industries is growing and provides good returns on investment.
The Caribbean can improve its competitiveness once the human resources, innovation pathways, industry institutions and governmental agencies are upgraded and harmonized.
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Growth in T&T Carnival Visitor Expenditures, 1997 - 2004
• Arrivals have grown from 27,414 (1997) to 40,555 (2005).
• Visitor expenditures have grown from TT$ 64.3 mn in 1997 to an estimated TT$173.2 mn in 2004. 1997
19981999
20002001
20022003
2004
0
20
40
60
80
100
120
140
160
180
TT$
(mill
ions
)
Top Selling Caribbean Artists in the US Market
24
12
8.5
6.5 6.5 6
4 3.5 32.5 2 2
0
5
10
15
20
25U
nits
(in
milli
ons)
Bob M
arley
Shagg
yBilly
Oce
anBah
a Men
Wyc
lef Je
anSea
n Pau
l
Juan
Luis
Guerra
Celia C
ruz
Harry B
elafon
teRiha
nna
Peter T
osh
Eddy G
rant
Source: RIAA.com* The RIAA®'s certification levels are based on unit shipments (minus returns) from manufacturers to a wide range of accounts, including non-retail record clubs, mail order houses, specialty stores, units shipped for Internet fulfilment or direct marketing sales, such as TV-advertised albums.
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Reggae Sales in the UK,1991 - 2002
source: BPI
0.0
10.0
20.0
30.0
40.0
50.0
60.0
1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002
Year
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ECONOMIC IMPACT OFCARIBBEAN MUSIC INDUSTRY
•Festival tourism•Live performance•Recording industry
•$20 - 25mEastern Caribbean
•Live performance•Festival tourism•Recording industry
•$20 - 25mBarbados
•Festival tourism•Live performance•Recording industry
•$50 - 60mTrinidad & Tobago
•Recording industry•Live performance•Festival tourism
• $80 - 100m•15,000 persons
Jamaica
Key sub-sectorsFEX (US$m)Employment
Countries
Caribbean Exports & Imports of Books for 2002
1.3
169.4
0.2 2.59.6
64.5
7.92.7
0
20
40
60
80
100
120
140
160
180
Exp
orts
(U
S$
000'
s)
Anguil
laBarb
ados
Belize
Domini
caGren
ada
Guyan
aJa
maica
St. Luc
ia
St. Vinc
ent &
Gren
adine
s
7,479.10
38,202.00
0
5000
10000
15000
20000
25000
30000
35000
40000
Impo
rts
(US$
000
's)
Anguil
laBarb
ados
Belize
Domini
caGren
ada
Guyan
aJa
maica
St. Luc
ia
St. Vinc
ent &
Gre
nadin
es
Source: Adapted from UNESCO (2005) Study on International Flows of Cultural Goods between 1998–2002.
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Comparing the Caribbean with other Countries
-60000
-40000
-20000
0
20000
40000
60000
Barbados Fiji Jamaica Mauritius
Cultural Merchandise Trade, Selected SIDS, 2002
ExportsImportsBalance
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REALITIES OF THE MARKETPLACE
• Strong capabilities in artistic/creative production but weak entrepreneurial/industrial context.
• A small but lucrative domestic market dominated to a great extent by foreign firms, imports and broadcasts.
• Small companies that are reliant on external firms and agents for distribution and export marketing.
• Increased contribution to exports, employment, GDP and the tourism sector.
• Harmonization & internationalization of copyright regulations (WTO-TRIPs, WIPO copyright & digital treaties).
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BUSINESS & TECHNOLOGY PARADIGM
• Outdated production and artistic facilities.• Reliance on external manufacturing, distribution,
promotions and export marketing.
• Rapid transformations in products, production and distribution processes (e.g. Internet, MP3, ecommerce, iPod, iTunes, youtube).
• Concentration of firms and convergence of media in the various cultural industries (e.g. multimedia).
• Copyright protection and enforcement being challenged by new technologies (e.g. P2P file sharing).
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THE OPERATING ENVIRONMENT
• Under-developed infrastructure in terms of trade, industrial and intellectual property policy.
• Weak institutional capacity and advocacy capability.
• Shortage of training and upgrading in the artistic & entrepreneurial aspects.
• The role of government in funding & investing in the cultural industries is largely under-developed.
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RATIONALE FOR REGIONAL TRADE/INDUSTRIAL/INNOVATION
POLICY
• To address the problem of market failure.• To assist resource reallocation from declining
to rising sectors. • To correct externalities associated with
specific industries. • To enhanced the competitiveness of regional
firms in globally oligopolistic markets.
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SPECIFIC NEEDS OF THE CULTURAL INDUSTRIES
• Investment in human capital development is a critical area because the cultural industries start with the creativity of the artist.
• Intellectual property protection & administration is essential to stymie copyright infringement and recoup investment
• Heavy marketing (e.g. media access) and brandingbased on genre is required to build audience loyalty and create hits.
• Innovation and technological upgrading is vital to boost global competitiveness.
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STRATEGIC REGIONAL GOALS
• Improve institutional capacity, networking and advocacy capability of industry (e.g CCL, CME, CAPNET).
• Upgrade training in the artistic & entrepreneurial aspects (e.g. UWI-ACEM).
• Advocate for trade policy in services and intellectual property (e.g. CRNM, Min of Trade, IPOs).
• Align government funding & investment with the goals of the cultural industries (JAMPRO, BDC,TIDCO, OECS-EDU).
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STRATEGIC REGIONAL GOALS
• Boost competitiveness & export capabilities through business support services, trade fairs (Caribbean Export, JAMPRO, TIDCO, OECS-EDU).
• Identify benchmarks and document sector’s performance (GDP, exports, employment).
• Continuous strategic planning for each of the sectors.
• Establish institutional capacity to conduct research and marketing intelligence (UWI).