UNESCO INSTITUTE for STATISTICS Statistics and Cultural Policy Simon Ellis Head of Culture Science and Communications

UNESCOINSTITUTE for STATISTICS

Statistics and Cultural Policy

Simon EllisHead of Culture Science and Communications


What is culture?

Some UNESCO views Heritage including non-material

Preserve and promote Cultural and linguistic diversity

Support and strengthen


National policy requirements

Measuring the value of culture Economic and social

Maintaining and growing diversity Eg. measures of variability and

distribution Adaptation of national statistics to

be culturally sensitive (NZ)


Sectoral definitions

Creative industries (UK) includes Advertising, Architecture, ICTs May include sport

Intellectual Property Includes all with IPR

Cultural industries Does not include Advertising, Architecture UNESCO favoured


Traditional statistics 1

Participation Tourism Visits to

»Museums»events


Traditional Statistics 2

Trade in goods More information on copyrights,

craft, e-commerce, audiovisual (trade features films not accurately measured)


A new approach??

Use/social impact of culture Economic impact of culture Surveys with cultural values (NZ)


Defining and capturing the flows of global cultural trade

Music, books, crafts, films and many other cultural goods and services move across international borders, creating a complex picture of cultural trade flows.

Cultural and creative industries alone are estimated to account for over 7% of the world’s Gross Domestic Product (GDP).

INTERNATIONAL FLOWS OF SELECTED CULTURAL GOODS AND SERVICES, 1994-2003: Joint UIS, culture sector publication, available September 2005


Some results for LAC

LAC share of world trade in core cultural goods gained one percentage point between 1994 and 2002, though quite low at 3%.

MERCOSUR decline in exports 1994-2004» from US$ 229.3 million in 1994 to US$ 167.3 million

in 2002. » explained by shrinkage in exports of books,

newspapers and periodicals. » Countries such as Argentina and Chile, which were

key producers in books until the early 1990s, faced a substantial drop in their exports from 2000 onwards.


Exports by region of core cultural goods, 2002

Eastern Asia, 15.6%

South Central Asia, 0.5%

Western Asia,0.5%

South Eastern Asia,4.1%

Other Europe, 6.2%

Africa, 0.4%

Oceania, 0.6%

Asia, 20.8%

LAC, 3.0%

EU15, 51.8%

North America, 16.9%


Imports by region of core cultural goods, 2002

Asia, 14.7%

Africa, 1.0%

Oceania, 2.5%

Other Europe, 7.5%

Eastern Asia,10.9%

South Central Asia,1.3%

South Eastern Asia,1.5%

Western Asia,1.0%

North America, 30.1%

LAC, 3.6%

EU15, 40.6%


Total trade partners of Brazilian imports of core cultural goods, 2003

Chile, 2.5%

Uruguay, 3.2%

Peru, 3.3%

Argentina, 5.2%

Sweden, 1.0%

Italy, 2.4%

Hong Kong, China, 2.9%

Portugal, 2.9%

Japan, 3.6%Germany, 4.0%

France, 4.0%

China, 5.2%

Rest of available countries, 6.6%

Spain, 8.2%

United Kingdom, 16.3%

U.S.A., 28.8%

LAC, 14.0%


Total trade partners - Brazilian exports of core cultural goods, 2003

South Africa, 1.1%Angola, 1.1%

Italy, 1.1%

Germany, 0.8%

United Kingdom, 0.8%

France, 1.9%Rest of available countries, 5.9%

Colombia, 4.4%

Chile, 4.3%

Argentina, 4.0%

Mexico, 3.8%

Spain, 3.3%

Peru, 0.7%

Japan, 11.9%

U.S.A., 25.9%

Portugal, 28.9%

LAC, 21.0%


Cultural goods issues

‘antiques’ whose culture? Varying customs regulations

Limit or encourage trade? Definition of ‘craft’


Some strategies for cultural statistics

Finding a way to open up the puzzle Cultural goods > craft production

> assessing cultural and economic value

Participation > tourists > domestic visitors > local producers

Standards; cultural, creative or IPR?


Asia-Pacific Creative Communities study

Module I Economic Impact - Value Added of Core-Copyright Industries [Relevant industries include: Press and Literature, Music,

Theatrical Production and Operas, Motion Picture and Video, Radio and Television, Photography, Visual and Graphic Arts, Advertising Services]

Module II Economic Indicators for Manufacturing Cultural industries [Relevant industries include: Design and Craft]Module III Socio-Economic Impact - Employment in the Cultural sectorModule IV Social Impact Cultural Consumption, Cultural Participation


Cultural Goods Crafts – their contribution to culture and growth

Standard Industry Classification systems group manufactured goods and crafts together without regard to cultural value (e.g. furniture or apparel).

Crafts are culturally significant and like design activities, they

» add value to goods whose primary function is not aesthetic. also

» draw on traditional cultural assets. » given rise to specific intellectual property regimes

and labeling tools such as “appellation of origin” and “geographical indication”.


Social impact and participation

Tourist visitors > domestic visitors Events

Tourists Domestic Local producers > crafts

Collection problems Different ministries organise sites/events

and collect visitor revenue Private sector


Standards

Capturing recent changes in culture and creativity

Eg ICTs, and Internet > creativity and technology

Globalisation – making it an opportunity ‘Resolving’ creativity v. culture debate Addressing ‘quality’ values in a

quantitative framework (eg CV approach)


Questions

Which policy drivers? Measuring economic/social value Diversity Making stats/services culturally sensitive

Which strategy? Cultural goods and crafts Participation and social impact Modernising standards



Methodological issues Paucity of trade data on cultural

services Classification issues. In this regard, the

identification of cultural products within the international classifications system would be of great value.

Due to the special nature of cultural products, need to look beyond the current customs or balance of payments data. More information on copyrights, craft, e-commerce, audiovisual (trade features films not accurately measured)

Documents

UNESCO INSTITUTE for STATISTICS Statistics and Cultural Policy Simon Ellis Head of Culture Science and Communications