This presentation was given to staff and doctoral students at the Department of Telecommunications, Indiana University, May 2, 2008. It uses recent studies on the creative industries workforce in Australia to consider how the debate over creative industries has evolved over a decade since it first emerged in Britain in 1998

Flew, Terry

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Queensland University of Technology ePrints Archive

               QUT Digital Repository:  http;;//eprints.qut.edu.au  Flew, Terry (2008) Creative Industries after a Decade: An Australian Perspective.            © Copyright 2008 Terry Flew Creative Industries after aDecade:An Australian PerspectiveAssociate Professor Terry FlewCreative Industries Faculty, Q.U.T.,Brisbane, AustraliaPresentation to Department ofTelecommunications, Indiana University,Friday May 2, 20082UK DCMS 13 CI sectors Advertising Interactive leisure software Architecture Music Arts and antique markets Performing arts Crafts Publishing Design Software and computer services Designer fashion Television and radio Film and video   Source: DCMS 19983US: Copyright and CreativeIndustriesCOPYRIGHTINDUSTRIES6% of GDPCREATIVE (ARTS)INDUSTRIES2.9% of GDP?Source: IIPA 2006; Americans for the Arts 20084Economic contribution of UKCreative Industries, 2004Industry Contribution to UK GVA (%) Annual Rate of Growth 1997-2004 Value of Exports (  million)  Number of People Employed Advertising 0.7 3% 1,100 223,400 Architecture 0.5 2% 570 108,200 Art and Antiques 0.06 7% 2,200 22,900 Crafts n/a n/a n/a 95,500 Design 0.5 n/a 550 n/a Designer Fashion 0.05 2% n/a 115,500 Video, Film & Photography 0.3 0% 940 63,800 Music and the Visual and Performing Arts 0.5 2% 150 236,300 Publishing 1.2 2% 1,500 253,300 Software, Computer Games and Electronic Publishing 2.7 9% 4,700 596,800 Radio and Television 0.9 8% 1,300 108,700 Total 7.3 5% average 13,000 1,824,400  Source: DCMS 20065Cultural and Creative Industries  Source: Flew 2002. 6NESTA: Creative sectorsSource: NESTA 20067Work Foundation: ‘concentric circles’Source: The Work Foundation 20078‘Queensland Model’ of CIs• Advertising, Graphic Design andMarketing;• Architecture, Visual Arts and Design;• Film, Television and EntertainmentSoftware;• Music Composition and Publishing;• Performing Arts;• Writing, Publishing and Print Media.10Arts and Cultural Policy under theHoward Liberal Govt. 1996-2007 11New Zealand: The ‘Lord of theRings’ effect NZ Screen Production Investment 1994-200512Uneven Development:CIs as % oftotal workforce• AUSTRALIANCITIES• Sydney: 3.9%• Melbourne: 2.9%• Brisbane: 2.4%• Perth: 2.2%• Adelaide: 2.1%• NATIONAL AVE:2.35%• NEW ZEALANDCITIES• Auckland: 5.1%• Wellington: 4.1%• Christchurch: 2%• NATIONALAVERAGE: 3.1%13Drivers of Creative IndustriesDemand (UNCTAD)• Deregulation of media an cultural policies• Rising average incomes– DEMAND: ‘discretionary’ goods & services withhigher cultural/symbolic content– SUPPLY: younger people identifying non-monetary as well as monetary motivations• Technological change• Rise of the service economy• International trade14Market Features of theCreative Industries (Caves)1. Demand uncertainty for ‘experience goods’2. Mix of non-monetary motivations and needfor ‘humdrum’ activities3. Collective production - creative teams withdiverse skills4. Infinite variety of creative products5. Vertically differentiated skills (‘A list’/ ‘B list’)6. Need to coordinate diverse creativeactivities in limited time frame7. Durability of cultural products and scope foreconomic rents over time (copyright value)15Clustering Dynamics  in theCreative Industries• Allen Scott: five clustering drivers1. Importance of specific labor inputs and tacitknowledge2. Dense SME networks3. Intermittent project-based work4. Synergistic benefits of collective learning5. Development of associated services andinfrastructure; supportive government policies• Charles Landry: soft infrastructure of creativecities• Richard Florida: power of place and value oftolerance, diversity and openness16Mapping the creativeindustries workforce• First iteration– Industries– occupations17Problems• Disaggregation across value chain– Creation– Manufacturing– Distribution– Retailing– Archiving & institutional support (e.g. libraies,museums, galleries)– Education & infrastructural support• Problems with use of SIC data• Over-reach between ‘core’ and ‘support’activities• Under-stating of ‘embedded’ creatives18Creative Trident• Specialist creatives(culturaloccupation/culturalindustry• Embedded creatives(cultural occupation/non-cultural industry• Support activities (non-cultural occupation/culturalindustry19Australian creative workforce -using creative tridentSource: Higgs, Cunningham and Pagan 2007. 20Value of Australian CIs -using creative tridentSource: Higgs, Cunningham and Pagan 2007.2122Sectoral composition-employmentSource: Higgs, Cunningham and Pagan 200723Sectoral composition-earningsSource: Higgs, Cunningham and Pagan 200724Time series data25Density (no. per 100,000workers)26Digital creative/culturalindustries workforce27Australian industry growthrates over time28Further issues: incomevariations29Further issues: self-employment30Further issues: first andsecond jobs - UK data31Key Australian findings onCreative Industries• CIs accounted for 5.4% of Australianworkforce in 2001• CIs accounted for 7% of employment incomein 2001• 31.3% of CI workforce are ‘embedded’ inother industries• Average CI incomes are 34% above ave.Australian incomes, but with wider variation• 8.7% of registered businesses in Australia arein CI sector– 6.6% of GST-registered businesses–  10.8% of non-GST-registered businesses32Key Australian findings onCreative Industries• CI sector experienced 3% annualemployment growth over 1996-2006 -double national average over this period• Fastest growth in Advertising &marketing and Software & DigitalContent• Previous studies understated growth increative occupations (SICs,‘embeddeds’, first/second jobs)33Wider implications of the riseof creative industries1. The size and significance of the creative industriesis greater than we have previously acknowledged,although its exact size and significance remains hard topin down;2. Definitional frameworks are being clarified, albeitslowly and unevenly;3. The sector is heterogeneous, and is difficult to self-represent as a sector;4. Wider trends in the economy and labour marketare reflected in the creative industries;5. Creative industries is a policy discourse, andmarks a turn from critique to policy orientations incritical humanities scholarship;34Wider implications of the riseof creative industries6. Policies to develop creative industries will not bethe same in different places;7. Creative industries are not a universal policypanacea;8. Creative industries are not a proxy category forthe arts;9. Creative industries education points tointerdisciplinarity e.g. business and legalknowledge as well as creative and contextual;10. Creative industries education needs to payattention to the ‘embedded’ as well as the‘specialist’ creatives.35Further references• Australian Research Council Centre of Excellence for CreativeIndustries and Innovation < http://www.cci.edu.au/>.• Caves, Richard (2001) Creative Industries: Contracts BetweenArt and Commerce. Harvard University Press.• Cunningham, Stuart, and Higgs, Peter (2008) CreativeIndustries Mapping: Where have we come from and where arewe going? Creative Industries Journal 1(1), pp. 7-30.• Florida, Richard (2002) The Rise of the Creative Class. NewYork: Basic Books.• Higgs, Peter, Cunningham, Stuart and Pagan, Janet (2007) Australia’screative economy: Basic evidence on size, growth, income andemployment. Technical Report, Faculty Research Office, CCI.• Higgs, Peter, Cunningham, Stuart and Bakhshi, Hasan (2008)Beyond the Creative Industries: Mapping the Creative Economyin the United Kingdom. Technical Report. NESTA. February.36Further references• Scott, Allen (2004) Cultural-Products Industries and UrbanEconomic Development: Prospect for Growth and MarketContestation in Global Context. Urban Affairs Review 39(1), pp.461-90.• Siwek, Stephen (2006) Copyright Industries in the U.S.Economy – The 2006 Report. International Intellectual PropertyAlliance. November.• The Work Foundation (2007) Staying Ahead: The EconomicPerformance of the UK’s Creative Industries.<www.theworkfoundation.com/products/publications/azpublications/creativeindustries.aspx>. Accessed 1 May 2008.• United Nations Commission for Trade, Aid and Development(2008) Creative Economy Report 2008. United Nations:Geneva.

Creative Industries after a Decade: An Australian Perspective

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