unesco institute for statistics statistics and cultural policy simon ellis head of culture science...
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UNESCOINSTITUTE for STATISTICS
Statistics and Cultural Policy
Simon EllisHead of Culture Science and Communications
UNESCOINSTITUTE for STATISTICS
What is culture?
Some UNESCO views Heritage including non-material
Preserve and promote Cultural and linguistic diversity
Support and strengthen
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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)
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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
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Traditional statistics 1
Participation Tourism Visits to
»Museums»events
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Traditional Statistics 2
Trade in goods More information on copyrights,
craft, e-commerce, audiovisual (trade features films not accurately measured)
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A new approach??
Use/social impact of culture Economic impact of culture Surveys with cultural values (NZ)
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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
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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.
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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%
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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%
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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%
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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%
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Cultural goods issues
‘antiques’ whose culture? Varying customs regulations
Limit or encourage trade? Definition of ‘craft’
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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?
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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
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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”.
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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
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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)
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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
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UNESCOINSTITUTE for STATISTICS
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)