High Level Seminar on the Creative Economy and Copyright as Pathways to Sustainable Development UN-ESCAP/ WIPO, Bangkok December 6, 2017 Edna dos Santos-Duisenberg creative.edna@gmail.com Policy Advisor on Creative Economy and Development Advisor, United Nations Institute for Training and Research, UNITAR Founder and Former Chief, Creative Economy Programme, UNCTAD
Transition towards a knowledge-based era World economy out of recession but growth remains fragile Strucutural, technological, social and cultural changes Highly endebted public and private sectors Rise of unemployment particularly for the youth Big imbalances, inequality and social instability Geo-political tensions, terrorism, migration and corruption Need to address new policy challenges
Cultural assets and human creativity are intangible resources with both cultural and economic value Globalization brought new patterns of world cultural consumption in a world dominated by images, sounds, texts and symbols Connectivity is influencing society life-style and the way creative products are created, reproduced and commercialized The power of social networks helped to inform, connect, mobilize and give voice to the civil society Better grasp the interface between economics, culture and technology A holistic approach to development 3
First UN multi-agency report on Creative Economy Report 2008 UNCTAD, UNDP, UNESCO, WIPO and ITC Conceptual, institutional and policy framework Analytical tools for informed policy-making Shared vision, evidence-based and comparative analysis The English version of the 390-pages studies (2008 and 2010) can be downloaded by internet at http://unctad.org/creative-economy Assessing the creative economy for development 4
Conceptual framework : development dimension, prosperity Policy context: Millennium Development Goals, 2000 Institutional framework: policies, regulations and institutions Multiple aspects: economic, cultural, social and ecological Multi-disciplinary nature: need for concerted inter-ministerial policies and dialogue with all stakeholders from civil society Main drivers: technology, intellectual property and tourism A dynamic sector that can foster income, jobs and trade while promoting social inclusion, cultural diversity and human development 5
Is a set of knowledge-based economic activities with cross-cutting linkages to the overall economy Creative Industries Are tangible goods and intangible services with creative content, economic value and market objectives (UNCTAD, E. DOS SANTOS) 6
A lesson from the financial crisis pointed to the need for a more balanced role between policy interventions and market mechanisms It is time to take a step back from the global and look more at the local identifying specificities, identities, cultural and economical differences The financial crisis provoked a reality check recalling that emerging countries are no longer outsiders and survived the crisis South-South regional trade and investments were vital for mitigating the negative impact of the global recession Knowledge-based creative sectors were more resilient to external shocks Economic recovery remains fragile despite the mitigating policies
Creative economy : a feasible development option
UN Agenda for Sustainable Development - 2030 Culture and creative economy can be used for : - poverty reduction (Goal 1) - improve quality education (Goal 4) - promote gender equality and the talent of the youth (Goal 5) - generate decent work and economic growth (Goal 8) - stimulate industry innovation and infrastructure ( Goal 9) - reduce inequalities (Goal 10) - support sustainable cities and communities (Goal 11) - create opportunties for business and partnerships (Goal 17) Creative economy can foster sustainable development and socio-economic transformation
The scope of the creative industries
Caracteristics of creative industries Each segment of the creative industries has : - wide range of processes and products - its own structural dynamics, IPRs - specific supply and demand aspects - different value-added chain - distinct market structure and business models - trade barriers, competition and regulations Different classifications and distinct ways of interpreting the structure of creative production
Contemporary creative products from developing countries are gaining ground in world markets Difficult to survive as full-time artists or creatives Lack of seed-money, financing, facilities, training Growing engagement of local communities Need to retain traditional knowledge while improving the competitiveness of new products There is abundance of creative talents in developing countries but the potential of the creative economy is under-utilized
- Government as facilitator - Policy process : objectives, tools, implementation - Policy directions : strategic and long-term vision - Policy measures: concerted and cross-cutting actions Tailoring policies at national and global levels
Policy-making for creative economy is not confined to a single ministry It should be cross-cutting involving several policy areas : Economic Development and Finance Culture and Arts Trade and Industry Labour and Youth Education, Science and R&D Technology and Communications Urban and National Planning Social and Gender issues Tourism and Cities Foreign Affairs Domestic and Foreign Investment Reconcile national cultural, educational and social policies with international trade, tourism and technology
Technology Entrepreneurship Investment Trade Source: UNCTAD (Dos Santos, 2007)
/ Creativity and innovation driving socio-economic transformation - Provision of infrastructure (physical, digital, ICT, logistics) - Provision of finance & investment (private venture-capital, co-finance) - Creation of institutional mechanisms (Creative Economy Committee) - Regulatory framework and legislation ( IPRs, fiscal and labour laws) - Development of export markets (brands, trade facilitation, market access) - Stimulate creative entrepreneurship (incubators, skills training) - Establishment of creative clusters (districts, networks, sharing know-how) - Tools for effective data-collection measures (reliable/consistent data) Innovative policy responses needed to boost the creative economies in developing countries
Creative capacity Education Skills & Creativity Life learning Connectivity & network ICT infrastructure broadband, mobility public access Enterprises & markets Business, supporting services, marketing financing (Dos Santos, 2015)
Diversify the range of exportable creative goods and services Upgrade quality and competitiveness of creative products Seek a distinctive image or stories for creative products Develop creative capacities for artisans/artists Support SMEs and micro creative business and start-ups Create brands, advertising and marketing strategies Put in place investment /financing measures for creative industries Forge public/private partnerships involving creatives/investors Reinforce intellectual property mechanisms and competition law Bring the informal creative sector to the formal economy Increase the use of e-commerce and internet tools Review policies and implement reforms for enhancing the creative economy
UNCTAD XI- 2004 : Creative Industries mandates introduced in the international economic and development agenda - 153 countries WTO Development Agenda : inconclusive, market access (Mode 4) WIPO 2005: Development Agenda to ensure the interests of developing countries on IPRs issues UNESCO 2007 : Convention on Cultural Diversity preserve diversity, promote plurality of cultural offer OECD, ASEAN, ACP, G-20 directives, Bilateral agreements etc. Global processes play a role in formulation of national and international policies
- Role of governments: to articulate a conducive climate and policies for nurturing the creative economy for development - Role of the creative community: to reinforce skills and continuous learning to support linkages between arts, creations and business - Role of the civil society: forging strategic alliances to facilitate interactions and networking among stakeholders - Role of the UN: to assist governments in policy-making and capacity-building through technical cooperation projects Open, inclusive and participatory approach
Thank you for your attention Reproduction or quotes authorized with acknowledgements E. dos Santos-Duisenberg