he creative industrieslie at the frontier ofthe economy and ofculture, the creative

industries are considered to be one of the engine of the know-ledge economy. The concept is widespread in the support policies for major internationalcities and these industries arecurrently identified as a prioritysector by the Île-de-France (ParisRegion).

The creative industrieswhere the economy andculture meetTwo complementary approachesmake it possible to define crea-tive industries. The concept of acreative class, developed byRichard Florida, is very extensiveand often controversial. He high-lights the simultaneous presenceof innovative businesses and astrong community, the creativeclass, which includes scientists,

engineers and artists, in the mostdynamic cities in North America.He implies a direct link betweentheir presence and economicgrowth. Another approach, one that hasguided the analyses developedbelow, is interested in the waythe creative metropolis functions,its ecosystem, through the studyof jobs, sectors of activity, thelogic of geographical location,creative clusters...

A sector that createsemployment With 309,000 jobs in 2007, thecreative industries of the Parisregion are overwhelmingly thelargest in France: the region hasa 45% concentration of jobs inthe creative industries, represen-ting 5.5% of employment in the

region, as opposed to only 1.9%in the provinces. This is as manyas in the construction or hospi-tality and catering sector. The“cinema/audio-visual/photogra-phy/music” and “live perfor-mances” provide more than fourjobs out of ten in the creativeindustries in the Île-de-France.

One job out of two in thecreative industries is helddown by a “creative”Of those actively involved in thecreative industries, 53% are“creatives”, doing a creative jobspecific to their field. This sharevaries considerably from onesub-sector to another. It repre-sents 6% in publishing videogames and software up to 68%in architecture and 69% in liveperformances. The active crea-tive are mostly journalists, gra-phic designers, stylists, techni-cal assistants behind the scenesfor live and audio-visual perfor-mances, actors, people involvedin publicity and advertising,architects, painters and sculp-tors, musicians, photographers,writers, etc. Where the job is nota creative one (47%), the wor-kers are mainly engineers andsenior researchers, working incomputer R&D, administrationand secretarial jobs. Further-more, 144,000 active creative dotheir work outside the creativeindustries (for example, a des-igner in the car industry). Intotal, more than 453,000 activecreatives are in a creative occu-pation and/or work in the crea-

Noterapide

The diversity of creative jobs: the value of the Paris Region

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Representing 45% of jobs throughout the country,the creative industries constitute a strategic andemblematic sector for the Île-de-France and makea massive contribution to its internationalattraction. Its activities are organized around anatypical labour market and are centred in theheart of the Parisian metropolis.

N° 589 - February 2012www.iau-idf.fr

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Noterapide

Note Rapide - N° 589The diversity of creative jobs: the value of the Paris Region

tive industries sector in the Île-de-France.

Younger and better qualifiedemployees than average Jobs in the creative industries arefilled by active people, creative orotherwise, who are younger thanaverage in comparison with allother sectors in the job market.This is very much the case invideo games and computer publi-shing where almost half of thoseemployed are under thirty-five.They are also better qualified. Asmany as 44% have a bachelor’s,masters or doctoral degree incomparison with the average of27%. The most highly qualifiedwork in architecture (71%). Onthe other hand, one employeeout of four does not possess evena baccalaureate in live perfor-mances and advertising/PR. Theirshare is well below that of theaverage for the region (39%). Asin most sectors, women are repre-

sented to a smaller degree thanmen in the creative industries;they have a strong presence inbook publishing and the press(56%) and in advertising/PR(51%) but are only 28% in video-software publishing.

A sector that requires amore flexible jobmarketplaceThe creative industries oftenwork on a project-by-projectbasis. A network is created forthe purpose of producing a film,a video game, a stage play, thenbreaks up only to come togetheragain subsequently. As a result,the part played by freelancers inthe creative industries is threetimes higher on average than inother sectors. Consequently, jobsare less secure, since employ-ment flexibility is a strong cha-racteristic in the creative indus-tries sector: only 62% of thoseactive in the job market have a

contract of employment for anunlimited term, as opposed to80% of jobs on average in theregion.

Strong duality betweentemporary employment andthose that are qualifiedThe creative industries are avaried field and the individualsituations of those currentlyemployed are highly diversified.Short-term contracts are particu-larly common in jobs connectedwith live performances (28%)and in audio-visual productions(23%). These are also sectors, inwhich temporary workers, oneof the French features of the cul-tural sector, are the most evident.Short-term contracts are less fre-quent in video game and soft-ware publishing (3%) and inadvertising/PR (7%). Jobs in thecreative industries are often part-time (20% as against an averageof 14%), so that employment in

the creative industries is moreprecarious than in other sectors.This is especially true of live per-formance where almost one wor-ker in three is not in full, regularemployment; many are on short-term contracts (28%) and areworking part-time (35%). On ave-rage, the temporary nature ofcreative jobs has worsened inrecent years through growingrecourse to outsourcing.

Workers who live close tothe workplace…One of the notable features ofthe sector is that manyemployees live close to the work-place. As many as 34% live andwork in the same community, asoppose to 26% throughout thework force. This proximity bet-ween home and workplacemakes it easier to access part-ners and those who commissionthe work. The work-life border-line for these workers is often

Source: Insee, population census for 2007 additional usage of work place, processing IAU îdF.

Creative All sectorsindus tries combined

Number of jobs 309,000 5,570,300Share of them that are creative (creative occupations) 53.1 5.5Women 44.3 47.9Under 35 41.4 36.7Most qualified (masters’ and doctoral degrees) 43.9 27.2Self-employed 20.5 7.7Workers on permanent contracts 62.5 80.3Part–time workers 19.6 14.1Share of stable employment (workers living and working in the same commune - Paris = 20 communes) 33.7 26.1

Occupations and Creative Jobs in the Paris region

CI(Creative Industries)

Crea

tives

308,400creative occupations

309,000 employees in the creative industries (CI)

Outside CI(Outside Creative Industries)

Non-

crea

tives

Sectors

Occu

patio

ns

164,200 144,200

144,800

+

+

=

=

Sectors

Non-

crea

tives

Crea

tives

Occu

patio

ns

Non-

crea

tives

(Outside Creative Industries)Outside CI

Crea

tives

(Creative Industries)CI

+

+

+

+

144,800

164,200 144,200

Sectors

(Outside Creative Industries)

creative occupations308,400=

Non-

crea

tives

Non-

crea

tives

employees in the creative industries (CI)309,000==

144,800

employees in the creative industries (CI)

Source: method and processing IAU îdF, from census 2007 / Insee (French Institute of Statistics).

Note for readers: of the 309,000 jobs in the creativeindustries, 164,200 are creative (e.g.: a television journalist)and 144,800 are non-creative (e.g.: a book-keeper in apublishing house). Outside the creative industries, 144,200are creative jobs (e.g.: a designer in the car industry).

Specifically French – temporary workers Temporary work is covered by the unemployment insurance scheme foremployees in schedules 8 and 10 of the Unedic agreement. It covers jobsthat are “normally on short-term contracts” given to performers and tech-nicians for live performances and who are registered and enables them toalternate between periods of working and “resting”. During the latter theyget unemployment benefit. It constitutes an exception since in other coun-tries the more traditional forms of the job market predominate. AccordingAudiens and the Commission du film d’Île-de-France, the region had 117,400temporary workers in 2009, employed in audio-visual and cinematographicproduction. Most of their income is similar to that of walk-ons or extras –66% of them earn less than 3,500 euros a year. In 2009, only 14% ear-ned more than 18,500 euros.

Characteristics of workers in the Paris region (in %)

© IAU îdF

Distribution of jobs in the creative industries by sub-sector

23%

22%

18%

16%

15%

6%

34%

16%13%

13%

12%

12%

Live performance Advertising/Public Relation

ArchitectureVideo game and softwarePublishing

Publishing (books, press)

Cinema, audio-visual,photography, music

Other sectors not available in the current list of French classification of activities (art and antiques, fashion, arts and crafts, design).

(art and antiques, fashion, arts and crafts, design).Other sectors not available in the current list of French classification of activities

PublishingVideo game and software

Live performance

(art and antiques, fashion, arts and crafts, design).Other sectors not available in the current list of French classification of activities

photography, musicCinema, audio-visual,

Publishing

Architecture

Public Relation Advertising/

Other sectors not available in the current list of French classification of activities

photography, musicCinema, audio-visual,

g (books, press)

Source : method and processing IAU îdF, from census 2007 / Insee.

376,600 in the provinces309,000 in the Paris region

© IAU îdF

Note Rapide - N° 589The diversity of creative jobs: the value of the Paris Region

Melun

Créteil

BobignyNanterreNanterre

PParis

VersaillesVersailles

CergyCergy

Évry

Boulogne-Billancourt

Antony

Palaiseau

Étampes

Rambouillet

Pontoise

ArgenteuilSaint-Germain-

en-Laye

Mantes-la-Jolie

Nanterre

P

Versailles

Cergy

Paris

Hauts-de-Seine

Seine-Saint-Denis

Val-de-Marne

YvelinesEssonne

Seine-et-MarneVal-d’Oise

Pontoise

Cergy

* Field: communes of more than 500 jobs and more than 25 of whom work in the creative industries

Typology of the creative territoriesof the Île-de-France

Source : method and processing IAU îdF, from census 2007 / Insee.

Distribution of jobs in the creative industriesby département

2%

3%

3%

4%5%

7%

25%

51%

woods and forests

main hydrography

communal boundary

departemental boundary

prefecture

sub-prefecture

very creative territories

territories that are predominantly technological

territories that are predominantly advertising

territories that are predominantly live performances

Out of the field*

The creative territories in the P

MelunMelun

CréteilCréteil

BobignyBobignyNanterre

ParisParis

Versailles

Cergy

ÉvryÉvry

Meaux

Torcy

Provins

Fontainebleau

L’Haÿ-les-Roses

Nogent-sur-Marne

St-Denis

Le Raincy

Corbeil-Essonnes

Montmorency

Melun

Créteil

Bobigny

Paris

Évry

Sources : IAU îdF, census 2007 / Insee© IAU îdF 2012

10 km0

Note Rapide - N° 589 The diversity of creative jobs: the value of the Paris Region

Paris region: proven centralityThe typology shows the centre of Greater Paris: the city ofParis along the banks of the Seine in continuity with Issy-les-Moulineaux and Boulogne-Billancourt and in the central arron-dissements of the Right Bank in continuity with Levallois-Per-ret, Neuilly-sur-Seine and the communes of La Défense.

East of Paris, communes such as Vincennes, Montreuil, Join-ville and the historic Bry-sur-Marne centre stand out. North ofParis, Clichy, Saint-Ouen and Saint-Denis are prominent. Inthe heart of the metropolis, all the activities of the creativeindustries are to be found. The simultaneous presence of a spe-cialist labour force, consumers and producers of content,those who commission the work, specialist schools, institutionsand financial bodies create synergies and provide the identityfor the cluster of creative industries in the Île-de-France.

Note Rapide - N° 589The diversity of creative jobs: the value of the Paris Region

porous and this closeness is oftenbehind the artists’ colonies thathave sprung up. In fact, the cityis a true resource for the creativeeconomy that tends to be terri-torial, to choose favourite spacesin the big cities in which to flou-rish where it can build networksand benefit from being in a cen-tral location.

… and who work mainly inthe heart of Greater ParisMore than three-quarters of crea-tive industry jobs are concentra-ted in Paris and in the Hauts-de-Seine département. With 7% ofthe jobs, the Seine-Saint-Denishas for several years benefitedfrom a strong dynamic, stimula-ted by political will and an attrac-tive area of land at the gates ofParis.

Specialist creativeterritoriesA typological analysis of the crea-tive territories makes it possible toidentify a certain consistency inthis heterogeneous area. In fact,the creative parts of the countryshare certain characteristics thatare dependent on the jobs thatare done there. There are fourfamilies of territory that can bedistinguished:

Very creative territoriesThese are represented by thetwenty Parisian arrondissements,as well as the adjoining com-munes and a few more isolatedcommunes, some of which hostemblematic centres of creativity(such as Disneyland in Chessy).In this class, employment in thecreative industries represents 9%

of all jobs and 57% of workers arein a creative occupation. Whileall the sectors of the creativeindustries are well represented,publishing (books and the press)and the cinema, audio-visual andmusic are particularly stronglyentrenched. The heart of the Île-de-France’s creative cluster canbe found here, with territoriescharacterised by their historicheritage. These include bookpublishing in the sixth arrondisse-ment, cinema production in Bou-logne, the technical cinemato-graphic industries at Bry-sur-Marne, as well as more recentintroductions linked to politicsor windfall effects such as theprice of land close to Paris (themedia in Issy-les-Moulineaux,advertising at Levallois-Perret,recording studios in the PlaineSaint-Denis).This class of employment reflectsthe contradictions inherent in thecreative industries and brings toge-ther all of the problematic issuesfor the sector, especially the dua-lities of the highly qualified/poorlyqualified, permanent staff/tempo-

rary staff and freelancers/salariedemployees. The way the job mar-ket works in the creative indus-tries is specific: there is recourse toa highly qualified and motivatedwork force, there is flexibility,importance of social networks,local job markets, coexistence ofthe conglomerates with micro-businesses. These complex mar-kets enable the diversity of quali-fications and skills, that are alwaysaccompanied by unconventionalworkers – freelancers, temporaryworkers, the self-employed. In Paris, the proximity betweenworkplace and home is even grea-ter. As many as 42% of workers inthe creative industries live andwork in the same arrondissement,as against 28% if all sectors aretaken together. In the adjacentcommunes, the creative activitiesare also present, but in a smallerproportion, and the share of thoseworking in the creative industrieswho work and live in the samecommunity is much lower thanthe Île-de-France average. Thecapital city has plenty of suitableplaces for meeting and working

ParisHauts-

de-Seine

75,80025%

Seine-Saint-Denis

20,7007%

Val-de-Marne

16,8005%

Yvelines

13,6004%

Essonne

9,0003% Seine-et-Marne

8,7003%

Val-d'Oise

6,9002%

© IAU îdF

157,600 CI jobs51% of CI jobs

Live performance

Advertising/PR

Architecture

Video game and softwarePublishing

Publishing (books, press)

Cinema, audio-visual, photography,music

51% of CI jobs157,60051% of CI jobs

CI jobs157,600

%52,80057

PublishingVideo game and software

Architecture

Advertising/PR

Live performance

Video game and software

nninn

e

%

%2,9006

siO'd-laV

4,60031

ilYiiii-

ees

eSS-edtsttuuuaaH

en

80800,80,80s

,8%5,8

a s

6666

aa

1

%7,70002

ineD-tainSS-enieS

n

iraP

musicCinema, audio-visual, photography,

Publishing (books, press)

Cinema, audio-visual, photography,

Publishing (books, press)

s

9

sE

enilevYr e 3%

3%

e ,7008

enraM-te-enieS

e

00000,9

ennoss

rnnrraaaddd M-edl-laV

© IAU îdF© IAU îdF

Source : method and processing IAU îdF,

from census 2007 / Insee.

DefinitionsThe knowledge economy revolves around knowledge, innovation and creati-vity. As an expression of the political will of the European Union, the Lisbon stra-tegy adopted in 2000 affirms the knowledge economy as being a priority for deve-lopment in the member states. The new Europe 2020 strategy is developing itscontinuity by promoting “intelligent, sustainable and inclusive” growth.The creative industries: the creative industries were defined for the first timein 1998 by the British Minister of Culture, the Media and Sport and involves “theindustrial sectors whose origin lies in individual creativity, skills and talent andthat offers the potential for wealth and job creation through supporting andexploiting intellectual property”.The IAU Île-de-France has relied on this definition in order to transpose it to theregion. The creative industries consist of several sectors of economic activity*:architecture; cinema, audio-visual, photography, music; video game and soft-ware publishing; book publishing and the press; advertising and PR; live perfor-mances. This definition of the creative industries is nevertheless restrictive. It doesnot take into account the arts and antiques sector, fashion, crafts and design,all of which are imperfectly assessed in the statistics. The creative occupations: the definition of creative occupations is based ona selection method consisting of a measurement of occupational creativity (PCS2003), in order to distinguish the creative professions from those that are notvery creative or not at all creative.Creative cluster: concentration of companies and assets in the creative sec-tor that are geographically close to each other.

* Based on the French classification of activities (NAF rev 2).

Number of jobs in the départements per sub-sector of the creativeindustries

Note Rapide - N° 589The diversity of creative jobs: the value of the Paris Region

For more information• CALZADA C., “Les territoires de la créa-

tivité”, Insee Lorraine, n°231-232,

Aug., 2010.

• CAMORS C., SOULARD O., OMONT L. “La

diversité des emplois créatifs : une

richesse pour l’Île-de-France”, Note

rapide, n°573, IAU îdF, Sept. 2011.

• CAMORS C., SOULARD O., “Creativity and

Economic Development in the Paris

Region: a Propitious Synergy”, Note

rapide, n°533, IAU îdF, Jan. 2011.

• CAMORS C., SOULARD O., “Créativité et

développement économique: une

synergie prometteuse”, Note rapide,

n°523, IAU îdF, Nov. 2010.

• CAMORS C., SOULARD O., Les industries

créative en Île-de-France, un nouveau

regard sur la métropole, IAU îdF,

March 2010.

• FLORIDA R., Who’s Your City?: How the

Creative Economy Is Making Where

You Live the Most Important Decision

of Your Life, New York, Basic Books,

2008.

• FLORIDA R., The Rise of the Creative

Class. And How It’s Transforming

Work, Leisure, and Everyday Life,

New York, Basic Books, 2002.

Publishing Director François DugenyPublishing Manager Frédéric TheuléEditor-in-chief Marie-Anne PortierLayoutsVay OllivierMapsPascale Guery------------------------Distribution through subscriptionE80 annually (40 issues) - E3 per issueDistribution and salesTel.: +33 (0) 1 77 49 79 38www.iau-idf.frLibrary of Île-de-France15, rue Falguière 75015 Paris Tel.: +33 (0) 1 77 49 77 40 ISSN 1967 - 2144

(cultural services, bars, restau-rants, etc.). There is consequentlya strong polarisation around Paris.For these reasons, the heart of themetropolis is very attractive forthe movers-and-shakers in thecreative industries: 44% of theinhabitants of the Île-de-France ina creative occupation live in Paris. The three other categories consistof communities in which the crea-tive industries have a limited pre-sence, but in which certain activi-ties predominate.

Areas in which “high-tech” isprominentThis category consists of com-munes most of which lie in thewest of the region and the formernew towns, such as Evry, Cergy-Pontoise and Saint-Quentin-en-Yvelines. The map shows how thepreferred locations are linked toexecutive positions in metropo-litan jobs, such as design andresearch, management and intel-lectual services. In this family ofcommunes, the presence of crea-tive industries is close to the regio-nal average but creative occupa-tions are less in evidence. Thesoftware and video games publi-shing sector which employs fewcreative people but those that areemployed have considerable

technological skills, is very muchin evidence. In these territories,those active in the creative indus-tries are mostly male, highly qua-lified, permanent, full-timeemployees.

The areas in which“advertising/PR” predominatesThis family contains communesin the region that have no geo-graphical continuity. The crea-tive sectors and those workingin creative occupations have lessof a presence than the averagefor the region. The advertisingsector nevertheless has a strongpresence in this class. On theother hand, the film and audio-visual industries and publishingare almost absent. Those wor-king in the creative industries aremainly men in full-time occupa-tion, but they are less highly qua-lified than the average for thecreative industries (33% asagainst 19% did not take the bac-calaureate exam); the mosthighly qualified only represent28% of workers (as against 44%for the region).

The territories in which “liveperformance” predominatesThis category contains few jobsin the creative industries sector

and few in creative occupations.The share of the creative indus-tries is fairly important in live per-formance production. Thesecommunes contain theatres andvenues that create employmentin these industries. Thoseemployed in the sector havefewer qualifications than average,31% did not take the baccalau-reate exam. The jobs offered arealso the most temporary innature. Those who work in thesector are generally self-employedand other are in temporary andpart-time employment. This flexi-bility is often accompanied bymultiple activities, it is quite com-mon in the theatre to hold downmore than one job, to be workingfor several employers at once.The average employee is olderand less often unmarried. In thisindustry, there are many peoplewho live and work in the samecommune (38% as against 27%taking all sectors together). This isespecially true along the banksof the river Marne. In Alfortville,for example, one out of two resi-dents in this class works locally.

Carine Camors and Odile Soulard (IAU îdF),

Laure Omont (Insee Île-de-France)

The typology of creative territories

The analysis covers the communes of the Île-de-France offering a minimum of 500 jobs in the workplace of which at least25 are in the creative industries. The purpose of the typology, performed with the help of “an hierarchical ascending clas-sification” is to create homogeneous groups of communes with respect to the creative people who work there and whichcreative sectors are to be found in which territories. This method is implemented through the successive aggregation ofcommunes. The communes that most closely resemble each other are the most closely grouped together, while main-taining a maximum of differences between the groups. The “hierarchical ascending classification” was achieved by takingas the following indicators as active variables: share in the creative industries in the workplace, share in creative occu-pations in the workplace, share of each sub-sector (book publishing and the press, cinema-audio-visual-photography-music, live performances, video games and software publishing, architecture, advertising/PR) in the creative industries.

METHODOLOGY