Mapping of the Creative and Cultural Industries of CISNET Regions
Creative Industries Support Network
CISNET is led by Mayo County Council, Ireland, in partnership with WestBIC, Ireland; University of Wales Trinity Saint David, Wales; Eurocei, Spain; Technopole Quimper-Cornouaille, France and Adist, Portugal.
CISNET is supported by the European Regional Development Fund through the Atlantic Area Transnational Programme.
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Contents Introduction: .............................................................................................................................. 4 Methodology.............................................................................................................................. 6 Limitations.................................................................................................................................. 8 Overall Regional Information ..................................................................................................... 9 Trends: ..................................................................................................................................... 17 Portugal- Trend Identification .................................................................................................... 17 Andalusia- Local, Regional and National Trend Identification ................................................... 19 Wales – Trends Identification ..................................................................................................... 21 West of Ireland – Trends Identification ...................................................................................... 22
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Introduction: The CISNET project is a support service to the creative and cultural industries that involves five regions across the Atlantic Area. In each region the work of CISNET is conducted by regional partners, of whom there are six in total: Mayo County Council and WestBIC in Ireland, EuroceiCentro Europeo de Empresas e Innovación in Spain, Technopole Quimper-Cornouaille in France, University of Wales Trinity Saint David in Wales and Adist in Portugal. It should be noted that Adist replaced the previous Portuguese partner, CPIN, in October 2011 and the data included in this report was collated prior to this change. The lead partner in the project is Mayo County Council and the work is coordinated by The European Consulting Company, TECC.
The Project is supported by the European Regional Development Fund, ERDF, with further support from each of the regional partners. CISNET is an INTERREG IVB project that sits within the Atlantic Area Transnational Programme; in particular it is founded within this programme’s priority one Innovation Networks.
The objective of the CISNET project is to “promote economic conversion and diversification by promoting regional endogenous potential”1 Removing the jargon, this means exploiting the existing assets of the regions to support business growth. In order to achieve this goal it is crucial that the project is based on research and intelligence.
One of the key building blocks in this intelligence gathering is understanding the existing constitution of the Atlantic Area’s creative and cultural industries, CCI. This report “will involve a mapping of industrial structure”2 of the CCI in the CISNET partner regions of Andalusia, West of Ireland and Wales. This report is an amalgamation of three previous regional mapping reports, which were carried out on an individual level in each of the CISNET project’s regions.3 Each individual report examined the current situation of the CCI in an individual CISNET partner region; this report brings these findings together in order to map key comparable statistics on organisation size and structure, and workforce size and structure. This report aims to identify clusters, synergies and ultimately opportunities to promote the CISNET regions endogenous potential. This report should be read in conjunction with the CISNET transnational SWOT analysis,4 which examined the strengths, weakness, opportunities and threats of the CISNET region’s CCI. The SWOT analysis also identified regional and transnational priority CCI sub-sectors; therefore it is useful to have an understanding of these when reviewing this report.
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The structure of this report is as follows: initially, there will be a brief overview of the methodology used in compiling and conducting the regional mapping.
This will be followed by an
acknowledgment of the research’s limitations. The next section will present the findings of this report at an overall level, compiling the information on the CCI individual sub-sectors. The report will conclude with a region by region prediction of future trends.
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Methodology Across the CISNET regions the level of existing research into the CCI varies dramatically: within Wales there exists a reasonably large amount of primary and secondary research into the constitution of the CCI, yet for other regions this report is the first of its kind. There are also regional differences in the scope of research into individual CCI sub-sectors, some are heavily investigated whilst others remain un-monitored or in some cases not even fully recognised as a CCI sub-sector. Therefore, for this report, the information that was lacking was comparable data.
As a consequence, this
transnational mapping focuses on compiling and correlating information from a mixture of secondary sources from across the CISNET regions to enable a detailed and fair understanding of CISNET’s CCI sub-sectors.
The CCI sub-sectors included in this report are shown in figure 1. This list also distinguishes the subsectors that displayed the strongest commonality in CISNET’s transnational SWOT research subsectors.5
Sub-sectors identified as Potential Clusters in CISNET's Transnational SWOT Research
Other Sub-sectors Included in this Transnational Mapping
Film & Video [including animation]
Advertising
TV & Radio
Crafts
Books & Press
Design & Fashion
Cultural Management
Music
Performing Arts
Architecture & Interior Design
Visual Arts
Software & Video Games
Figure 1: Sub-sectors included in Transnational Mapping.
The CCI sub-sectors included in this report originate from the sub-sectors listed in the original CISNET application6 with some slight variations. These variations are based on the additional background knowledge of the CISNET officers carrying out the research in each region as well as an effort to ensure fair comparable analysis.
These variations allowed greater flexibility for the
researchers to capitalise on available regional research and their own knowledge. That said, at a
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In compiling the detailed sub-sector Information, every effort was made to find relevant sources of data, in terms of context and date, with 2005 set as a crude date limit. Wherever this has not been possible, it has been clearly identified and accurate information about the differences and applicable sub-sectors has been provided. In a further effort to ensure comparable data, the sources referred to have been minimised. There are two major interrelated reasons behind this: firstly, different research bodies [data providers] have their own categorisation of the CCI sub-sectors; secondly, they also have different methods in acquiring and analysing the data. As a consequence if too many sources are referred to the information produced would be potentially distorted. Resultantly the principal statistics referred to in this report stem from Skillset7 and Creative and Cultural Skills, [CCskills]8 for Welsh information; the Western Development Commission 9 and the Oxford Economics for the Western Development Commission
10
for the West of Ireland region; the Andalusian
Employment Agency for Andalusia; in the separate Portuguese report the principal resources are the Instituto Nacional de Estatística [INE] and the OAC Estatísticas Culturais – Observatório das Actividades Culturais, Ministério da Cultura [GPEARI]. These and all other sources referred to have been listed appropriately in the original CISNET regional reports; all the data used in this report originate from these original regional reports.
In compiling the overall CCI sector information, the detailed sub-sector data was brought together and compiled in Microsoft Excel. The results were then manipulated into various graphics to fully demonstrate the findings.
The background research and collation of information for the regional mapping research was conducted primarily between June and July 2011. After this initial period, the regional reports were compiled in August 2011 and the trans-national report completed in December 2011.
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Limitations One of the most crucial limitations facing this and other reports on the CCI is the lack of a universally accepted definition of the sub-sectors within the CCI. To counteract this challenge the research tried to be far-reaching and include an as wide array of CCI sub-sectors as accurately possible. Subsequently, the strength of this particular report is that it helps brings together previously disjointed and disbanded information on the CCI sector.
This breadth also posed its own challenge, as the sub-sector delineations included in this report inevitably cut across delineations used in other research. Therefore, effort had to be made to carefully scrutinise the data sources referred to and ensure only comparable information was included. As mentioned previously, in a further attempt to create unity and enable comparison, a set of guidelines were drawn up that indicated examples of what each sub-sector included. A copy of these guidelines can be found in appendix 1. Unfortunately, even with this comparison matrix it was necessary to exclude certain sub-sectors from this report because information was not available uniformly across the regions; without this step this report would have produced an inaccurate analysis. As a consequence, Architecture and Interior Design, Crafts, Cultural Management, Music, and Software and Games are listed only when comparable data is available. Nevertheless, more information can be found on these sub-sectors on a region by region basis in the Regional Mapping Reports11
The depth of research was affected by the time restrictions placed on carrying out the research and the production of the final report. The research itself has no limit; the CCI and the factors affecting them are continuously developing. Nevertheless, a cut off point had to be implemented in order to ensure a manageable amount of information as well as a timely outcome. That said one of the final recommendations of this report is for the research to be reviewed as and when new statistical information becomes available.
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Overall Regional Information As listed in the Methodology section the sub-sectors included in this report are:
Sub-sectors identified as Potential Clusters in CISNET's Transnational SWOT Research
Other Sub-sectors Included in this Transnational Mapping
Film & Video [including animation]
Advertising
TV & Radio Crafts
Books & Press Design & Fashion
Cultural Management
Music
Performing Arts
Architecture & Interior Design Visual Arts
Software & Video Games
Figure 1: Sub-sectors included in Transnational Mapping
Workforce Size: According to this categorisation, the CCI across the CISNET regions employ 12,6495 individuals. The distribution of this workforce across the sub-sectors is shown in figures 2 and 3.12
CISNET Regions: comparable CCIs workforce size Advertising 5%
Visual Arts 21% Performing Arts 11% Film & Video 25%
Book & Press 22%
TV & Radio 9% Design and Fashion 7%
Figure 2: Pie chart illustrating comparable CCI workforce size.
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CISNET Regions: comparable workforce size 35000
Number of Workers
30000 25000 20000
comparable workforce size
15000 10000 5000
Visual Arts
Performing Arts
Film & Video
Design and Fashion
TV & Radio
Advertising
Book & Press
0
Creative & Cultural Industries
Figure 3: Column chart illustrating comparable CCI workforce size.
What these graphics illustrate are the vast differences of in terms of employment size, Film and Video, Books and Press and Visual Arts account for 68% of all employment in the included regions CCI. What is particularly interesting about these results is that they do not directly mirror the findings of the transnational SWOT analysis,13 In the transnational SWOT analysis although the subsectors of Film and Video and Books and Press were identified as possessing high and medium potential respectively, the potential of the Visual Arts sub-sectors was found to be relatively poor. Subsequently, these results show us that the existing size of a sub-sector does not directly correspond with its market potential. Nevertheless, for the aims of the CISNET project of capitalising on endogenous potential these figures provide a useful signposting in identifying which sub-sectors to target.
Workforce Demographics:
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Creative Industries Support Network It is not possible to provide accurate comparable data on the overall demographics of the CCI workforce.
Where data is available it has been included in the individual regional mapping
documents.
Freelancers: Within the CCI the number of freelancers varies dramatically. As specific data is not available for all of the sub-sectors, it is not possible to give an overall figure on the percentage of freelance workers across the CCI. However, Table 1 lists what information is available and this is further illustrated in Figure 4. These figures are a mean average based on the percentage of freelancers in each participating CISNET region.
CCI Sub-sectors
Percentage of freelancers
Advertising
27
Book & Press
15
TV & Radio
11
Crafts
33
Design and Fashion
40
Film & Video
35
Music
39
Performing Arts
45
Visual Arts
50
Table 1: Percentage of freelance workers per CCI sub-sectors
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CISNET Regions: Number of freelancers 60
% of Freelancers
50 40 30 20 10 % of freelancers
0
Creative & Cultural Industry Figure 4: Percentage of freelancers per CCI sub-sector
Organisations - Quantity: In terms of business numbers there are three sub-sectors that stand out as having the largest number of enterprises across the region: these are Books and Press, Film and Video, and Visual Arts.
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CISNET Regions: comparable number of enterprises Advertising 8%
Visual Arts 25% Book & Press 23% Performing Arts 14%
Film & Video 23%
TV & Radio 5% Design and Fashion 2% 14
Figure 5: CCI by number of enterprises in sub-sector.
From the workforce data discussed above, see figure 2 and 3, these sub-sectors were also identified as being the largest employers, so these results are perhaps unsurprising. However, these overall figures mask some very large differences between the regions; For instance, in nearly all of the comparable sub-sectors the numbers of firms in the Andalusia region are wildly higher than the numbers found in the West of Ireland region or Wales, see Figure 5 and Table 2 below.
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CISNET Regions: Number of CCI enterprises Number of Enterprises
12000 10000 8000 6000 4000 Andalusia
2000
Wales
0
Western Ireland
CCI Sub-sector Figure 5: Number of organisations per CCI sub-sector
Figure 5 illustrates this disparity to some extent; although as comparable data is not available for all of the sub-sectors this graphic should be viewed in conjunction with Table 2 below, which clearly demonstrates the available data for each region. Sub-sector
CISNET Region
Advertising
Wales West of Ireland Andalusia Total Wales West of Ireland Andalusia Total Wales West of Ireland Andalusia Total Wales West of Ireland
Architecture & Interior Design
Book & Press
TV & Radio
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Comparable number of organisations 250 18 2744 3012 Not Available 207 10305 Not Available 300 29 8815 9144 150 45
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Crafts
Design and Fashion
Film & Video [including animation]
Cultural Management
Music
Software & Video Games [including digital media]
Performing Arts
Visual Arts
Andalusia Total Wales West of Ireland Andalusia Total Wales West of Ireland Andalusia Total Wales West of Ireland Andalusia Total Wales West of Ireland Andalusia Total Wales West of Ireland Andalusia Total Wales West of Ireland Andalusia Total Wales West of Ireland Andalusia Total Wales West of Ireland Andalusia Total
1808 2003 460 606 Not Available Not Available 348 260 335 943 150 313 8524 8987 270 Not Available 521 Not Available 190 1055 Not Available Not Available 325 137 Not Available Not Available 230 1055 4042 5327 100 1055 8403 9558
Table 2: Detailed list of number of enterprises in each CCI sub-sector across CISNET regions
What is particularly interesting about this phenomenon is that this large disparity is not directly mirrored in these sub-sectors workforce size. For instance, in the sub-sector of Advertising there are 1250 Welsh firms and 2744 Andalusian firms; yet, the Welsh workforce size is 2800 and the Andalusian workforce size is 3801. What this indicates is that the size of enterprises in these subsectors, i.e. how many each enterprise employs, is likely to be very different across the CISNET regions
Organisations – Size
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Creative Industries Support Network The creative and cultural sub-sectors are an industry long characterised by small sale businesses and a high number of freelancers. In all the regional CISNET reports this statement has been reinforced and testified. In Andalusia the average CCI business size is an enterprise employing 2.33 people, In the West of Ireland region 39% of the CCI are self employed and a further 49% of the industry is made up of enterprises employing between 2-10 people. In Wales 93% of the CCI enterprises, for which data was available, were found to employ less than 10 people.
The CCI sub-sectors are not entirely homogenous and these figures do mask some of the intricacies of the CCI sub-sectors. Within the CCI there are some sub-sectors that do herald a larger workforce size. In Andalusia, the average workforce size ranges from 1.39 for Architecture, Advertising and Design to 3.31 for TV and Radio and Film and Video. In The West of Ireland region, less than 3% of enterprises within the sub-sectors of Advertising, Digital Media and Design employ more than 10 people; whereas 80% of enterprises within the Fashion sub-sector employ more than 10 workers. In Wales, the figures for enterprise size remain relatively steady; the only noticeable exceptions are Books and Press in which 12% of enterprises employ more than 10 people and Cultural Management in which 10% of enterprises employ more than 10 staff. However, it should be noted than in the case of Wales comparable data was not available for all of the sub-sectors. As a consequence, TV & radio, Film & Video, Digital Media and Video Games have all been excluded from this comparison.15
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Trends: The remainder of this document will focus on providing an overview of the predicted trends in each of the regions; this section also includes information provided from the Portuguese CISNET partner.
Portugal- Trend Identification Public Administration
Widening of central administration’s cultural policies Great emphasis on e-government and general dematerialization of processes Increased in regional budgets targeted to culture Development laws to follow the paradigm of increased dematerialization of administrative processes. Webization of public announcements and interaction with citizens Co-financing to private initiatives (activities or organizations, thought to be decreased after 2011 budget) Promotion and participation in big events (expo Shanghai, NATO council, Tall ships tournaments), following initiatives to promote the brand Portugal Regarding local administrations, it is considered that providing more funding to culture relates to the improved well-being for citizens, which in turn, translate into more diversified budget use in creative industries Most of the expenditure on cultural activities still goes to requalification of cultural equipment’s and patrimony Within the region, communities try to overcome and copy the facilities and initiatives of the capital city. Although it translates, to some extent, to a waste, it also opens opportunities for creative activities.
Private/Public initiatives Promotion of a regular program Additional and frequent ephemeral and regular events, both national and international with a dual benefit in the promotion of fine arts and as an educational source for the populations, with obvious impact on both cultural economy and professional specialization. Increase market of modern art (more galleries and artists), many seeking to preserve patrimony in digital supports. According to Statistics from 2008 (INE, Estatísticas da Cultura, 2008) there were 840 galleries and exhibition places that promoted 6859 exhibitions with 304850 pieces of 37250 artists, with a total visitors of 8 million an average of 1173 visitors per exhibition. More museum structures and initiatives promoting historical heritage (Casa-museu) Globalization Lisbon has steadily increased the cultural tourism: more interaction and street activities are welcome by visitors. Street theater and street happenings are becoming more visible, many with multimedia support. Digital media, software, fashion and multimedia companies are penetrating in external markets like Spain, UK, USA, China and the Middle East, fixing an anchor to other companies. Education Adequacy of art school programs with the current artistic and cultural context (use of high technology devices, promotion of modern and creative ways of using culture
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Creative Industries Support Network Development of more qualified professionals with training in other disciplines such as management. The Region has significant potential to promote the existence of a technology pole where creativity and culture are developed along with new technologies and new businesses (J. Lopes da Silva, 2009, presentation document for the preparation of the Strategic Letter for the City of Lisbon 2010-2024) New Social Behaviors More indoors activities affected by new gadgets and home consumption technologies (DVDs, Wii, Play Station) and increased interest for cinema, theaters and live shows offer (in 2008 there were 182 cinema with a total of 572 screens and 113792 seats) (INE –Estatísticas da Cultura 2008) Culture and cultural offer seen with a new relevance for the development of countries and communities and Culture is understood as transversal, contributing to the economy, tourism, employment, education, image, social and territorial cohesion with softer borders as traditional cultural creation, production and broadcasting. Reinforcement of cultural and business values of the Creative Industries with an impact on the reinforcement of the territorial identity (Estudo Macro-Económico para o desenvolvimento de um cluster das indústrias criativas na Região Norte, Relatório Final 2009) Innovation Development of intangible resources and creativity, along with the substitution of the consumption paradigm by the production and creativity paradigm, within the cultural panorama. As the creative production has the ability to attract businesses and individuals from the cultural sector. (Estudo Macro-Económico para o desenvolvimento de um cluster das industrias criativas na Região Norte, Relatório Final 2009)
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Andalusia- Local, Regional and National Trend Identification National Scheme (Nat): Spain. Regional Scheme (Reg): Andalusia. Local Scheme (Loc): Atlantic Andalusia (Seville, Cádiz and Huelva). Public Administration Reduced government budget to support cultural industries due to the current economic situation (Nat)(Reg)(Loc). Development of sectorial clustering as a tool for global competitiveness (Nat)(Reg). Promotion of associations and collective initiatives in sectors with a traditionally individualistic culture (Reg). Efforts to provide a more business-alike profile to artisans and artists, so they can compete properly (Reg). Enhanced synergies with other strategic sectors (tourism) to create synergies and offer new customer experiences and comprehensive services (Reg). Private/Public initiatives Development and implementation of comprehensive public sector plans to promote specific cultural sectors (Nat)(Reg). Creation and support of public-private hybrid institutions devoted to promoting cultural activities of high economic interest (Reg). The emergence of popular cultural activities as a result of Internet interaction (Nat)(Reg)(Loc). Raise awareness on flexibility and business networking as a stimulus to competitiveness for SMEs (Reg). Globalization World is the Market now (Nat)(Reg)(Loc). Business ideas should be designed with an international focus to maximize its viability (Reg). Promotion of international projects (audiovisual) to gain competitiveness and increase the impact of joint productions (Nat). Public agencies to promote internationalization have a greater weight and increased demand by enterprises (Nat)(Reg). Education Rising of new professions: the adaptation of journalism in the digital environment, multimedia specialists with extensive knowledge of Internet and online media, etc. (Nat)(Reg)(Loc) Disappearance of traditional crafts due to lack of generational relief and inadequate adaptation to current market conditions (Nat)(Reg)(Loc). Creation of a private, highly specialized, training offer around the existing demand, rapidly changing and segmented (Nat)(Reg)(Loc). New Social Behaviors Digital media consumption vs. traditional media consumption (Nat)(Reg)(Loc). New recommendation and opinion channels are gaining strength regarding usual marketing and promotion (Nat)(Reg)(Loc). Need for interactive experiences in all cultural sectors, as a demand of a permanently 'connected' society (Nat)(Reg)(Loc). Innovation Dissemination of good practices from some companies to spread the use of technology (social media, e-commerce) as a source of business and access to new markets worldwide (Nat)(Reg). The meaning of innovation, formerly closely related to technology, became a richer term (management, products, process, etc.) (Nat)(Reg).
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Integration of new media and channels in the heritage sector activity, both for researchers and general public (Reg).
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Wales – Trends Identification Specific Trends In relation to content, a growing trend is for content to be created, developed and defined by the audience rather than being the sole domain of an organisation
At the same time that the European Union is attempting to tighten IP rights, there is a pushing demand from within sector, audience, and political bodies16 for content to be more accessible and reusable, with ‘future commercial revenue being sidelined for current public value.’17 Therefore, one potential area of growth is not necessarily the creation of content but tools and skills to make it more accessible.
A further opportunity may be found in ‘follow-up’ services. For instance, if rights are relaxed and assets reproduced according to the DCMS best practice guidelines of ‘brand protection, reciprocal web-links and the sharing of any subsequent revenue’18 then a follow-up service or product that ensures these agreements are being maintained could be beneficial; not to mention acting as a reassurance to any pre-agreement concerns.
Similarly, there is a push for existing web usage analysis to be expanded into sharing assets and metrics across sectors, at the same time the metrics collated should be expanded to focus on: ‘number of new users’ ‘engagement’ ‘Revenue/profit/cost/value [quality] of visit per user’19
General Trends The push for increased collaboration across the sectors, especially across sectors that are not seen as ‘natural’ partners;20 Shift from traditional provision of tried and tested methods to experimental projects with uncertain results;21 Shift from organisations from perceiving digital services as an add-on IT service, to an integral part of provision;22 Technological advances are creating a shift away from previous cross sector collaborations as create technology is becoming more user friendly it is easier for non specialists to produce material. For instance, audio guides and their handsets, now being produced inhouse and gradually being replaced by mobile phones;23 With increased access to and dispersion of information, via developing digital services/products, ‘project management and editorial leadership will come from outside an organisation, either by the public or other organisations.’24 Further Links For access to linked [semantic web] online data sets and archived information see: ‘Open Platform: Build applications with The Guardian, see: http://www.guardian.co.uk/openplatform. Also see: ‘Opening up Government at www.data.gov.uk See: Zooniverse’s interactive public science projects, at http://www.zooniverse.org/about For information on the re-use of public sector information see http://www.nationalarchives.gov.uk/information-management/ See: Creative commons licenses that offer a range of copyright licenses and tools to offer increased access to and sharing of information, culture via the internet to “maximizes digital creativity, sharing, and innovation.” See http://creativecommons.org/about
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West of Ireland – Trends Identification Public Administration Initiatives to support the creative industries sectors have been introduced nationally including the development of the Digital Hub in Dublin, and the Centre for Design Innovation in Sligo; tax incentives for film and video production, and a range of grants specific to the arts and theatre. Support for design is increasingly a feature of State company development supports.
Mayo County Council Arts Service provides support to artists, writers, musicians, dramatists, dancers, community arts workers and arts organisations working in the region. The Arts Service responds to identified needs of those who make and present art, together with those who are involved in the numerous other capacities within the arts sector.
A significant level of investment has occurred in the past ten years into infrastructure to support culture and the arts in the region. However, budgets for arts and culture have diminished over the past two years and it is felt that this decline will continue for the next number of years
“Forfas, Ireland’s policy advisory board for enterprise, trade, science, technology and innovation has recommended that a national Creative Alliance network be established, with membership from government, industry, education, State Agencies and the not-for-profit sector” (From: Forfas – Making it happen, Growing Enterprise for Ireland, Oct 2010). The key objectives of the Creative Alliance should be to: o Facilitate networking and collaborations across the creative industry sub-sectors, such as digital media (including audiovisual content creation) and design, particularly across MNCs, SMEs, sole traders and academia; o Promote greater linkages between creative design companies with software and manufacturing companies, particularly in relation to product design and development; o Develop/promote education and training initiatives to increase capacity and skills in the areas of design and innovation; and o Develop the capacity of companies in the creative sector to engage in international trade through exporting and greater involvement in the tourism sector - Department of Enterprise, Trade and Innovation/ Department of Tourism, Culture and Sport/ Culture Ireland
Private/Public initiatives The Digital Hub project is an Irish Government initiative to create an international centre of excellence for knowledge, innovation and creativity focused on digital content and technology enterprises. It is a Dublin based community of people, artists, researchers, educators, technologists, entrepreneurs and consumers, all working together to create innovative and successful digital media products and services which support their future (From: www.thedigitalhub.ie)
In the Mayo Region, a number of public private developments have occurred over the past number of years including: o
Purpose built arts and cultural venues developed such as:
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o
Áisleann Bhéal an Mhuirthead, a multi-purpose arts and innovation centre developed by a collaboration of public and private organisations in conjunction with the local community in North West Mayo; Ballina Arts Centre, which has been developed to provide an arts service for the community in North East Mayo.
Cultural and spiritual tourism initiatives have been developed in the West of Ireland in conjunction with local enterprise and national tourism development agency, Fáilte Ireland
Globalization Globally, the creative industries sector is experiencing rapid growth, which is driven in part by continuous advances in digital technologies and ICTs. Ireland has strong and internationally recognised capabilities in many of the creative industries, particularly in: o o o o o
Digital media, audiovisual media and advertising services (both digitally based and traditional) Design and creative services Industrial, graphic and fashion design and ‘arts and crafts’ Architecture and interior design Visual and performing arts: dance, music, painting, sculpture, theatre, photography.
(Source: Forfas – Making it happen, Growing Enterprise for Ireland, Oct 2010)
There is a strong Film & TV sector nationally, and especially in the West of Ireland. In the Mayo region this sector is still small but growing, and beginning to gain international recognition.
The availability of a skilled workforce has been a key factor in the growth of the digital sector nationally with games companies also citing the availability of supports and access to EU markets as influencers in their decision to locate here (Source: Forfas – Making it happen, Growing Enterprise for Ireland, Oct 2010). This sector is still very small in the Mayo region.
A relatively high number of world renowned visual artists are located in the Mayo region due, in part, to the unique natural environment and availability of relatively low cost housing
Education Creative, design and innovation skills have been recognised by the Management Development Council as integral to the successful management of companies. There is a need, therefore, to ensure that management development programmes incorporate modules into their offerings that enhance the creative, design and innovation capabilities of Irish managers. (From: Forfas: Skills in Creativity, Design & Innovation, Nov 2009)
Conversely, management and business skills can be weak amongst those involved in the creative sectors and this has been identified by the Western Development Commission as an area requiring support (Source: Creative West report, 2009)
Problems have been identified in the way in which second level education impacts on the creativity and innovation capability of Irish student, because of the influence of public examinations (From: Forfas: Skills in Creativity, Design & Innovation, Nov 2009)
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A number of intiatives have been developed in the Mayo region to support the creative industries sector as follows: o o o o
B.A. in Heritage Studies and B.A. in Art & Design introduced in the Castlebar campus of G.M.I.T. Institute of Technology Creative Thinking Module developed for Pre-School Children through Mayo County Childcare Committee Entrepreneurship in Education module (the nurture tree) recently adapted from Portuguese pilot project, and being trialed in Co. Mayo North West Mayo Digital Media Training initiative, bringing introductory and professional training in digital media skills to rural locations
New Social Behaviors Increased use of social media and other technologies in everyday life. Broader understanding of the nature and importance of creativity and innovation, and increased engagement with creative activities, in particular through new technologies e.g. video, blogging, graphic design etc.
What is distinctive to this sector is the fact that it often relies on flexible networks of companies and independent artists coming together to work for relatively short periods of time on specific initiatives. Networks and alliances can play a strong role in supporting the creative industries in terms of bringing relevant companies and individuals together and for accessing appropriate supports in relation to protection and exploitation of intellectual property. (From: Forfas – Making it happen, Growing Enterprise for Ireland, Oct 2010)
Innovation There is a strong tradition, in Ireland and internationally, of associating innovation with disciplines in science, engineering and technology, to the exclusion of other disciplines. However, there is an increasing international acceptance that this oversimplifies matters, and that disciplines in the arts, humanities and social sciences also have important roles to play”. (From: Forfas: Skills in Creativity, Design & Innovation, Nov 2009)
For a fuller list of organisations in Ireland providing support to the Creative & Cultural Industries see the individual ‘Regional Mapping of the Creative and Cultural Industries of the West of Ireland and Mayo’ report.
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Creative Industries Support Network
1
CISNET, n.d., Project Application for CISNET, Second call for proposals [6 April to 5 June 2009], [internal document], p1. 2 CISNET, n.d., Project Application for CISNET, Second call for proposals [6 April to 5 Jun e 2009], [internal document], p30. 3 This report covers all of the partner regions except for Brittany and Lisbon. Brittany will supply their information at a later date and the Lisbon region have provided a separate overview of the CCI for Portugal as a whole; at present there is not comparable market data available in Portugal and Brittany, therefore, a decision was made to present these partner reports separately rather than delay the production of this report. 4 University of Wales, Trinity Saint David, 2011, SWOT Research into the Creative and Cultural Industries of the CISNET Partner Regions, [internal document], August 2011. 5 Ibid, p24. 6 CISNET, n.d., Project Application for CISNET, Second call for proposals [6 April to 5 June 2009], [internal document], p24. 7 See Skillset, 2011, Sector skills Assesment for the Creative Media Industries in the UK, 2011, [online report: Alliance], accessed via http://www.skillset.org/uploads/pdf/asset_16297.pdf?3, accessed on 16/06/2011. 8 See Creative & Cultural Skills, at http://www.ccskills.org.uk, [website], no update date, accessed on 20/06/2011. 9
Western Development Commission, 2009, The Creative Sector in the Western Region cited in Regional Mapping of the Creative and Cultural Industries of the West of Ireland, [internal document], August 2011. 10
Oxford Economics for the Western Development Commission, 2008, Baseline Research on the Creative Industries Sector in the Western Region cited in Regional Mapping of the Creative and Cultural Industries of the West of Ireland, [internal document], August 2011. 11 See: University of Wales, Trinity Saint David, 2011, Regional Mapping of the Creative and Cultural Industries of Wales, [internal document], August 2011. Mayo County Council, 2011, Regional Mapping of the Creative and Cultural Industries of the West of Ireland & Mayo, [internal document], August 2011. Eurocei, 2011, Regional Mapping of the Creative and Cultural Industries of Andalusia, [internal document], August 2011. 12 The percentages for Music, Visual Arts & Performing Arts include a crude calculation of the West of Ireland’s data; this is because there is no isolated data available for these sub-sectors. The total employed across these sectors is 3264 according to “Baseline Research on the Creative Industries Sector in the Western Region” Report – By Oxford Economics for the Western Development Commission – October 2008, accessed via http://www.wdc.ie/wp-content/uploads/reports_CreativeSector_baselineresearch.pdf , last accessed 22/03/2012. 13 University of Wales, Trinity Saint David, Op. Cit., p13. 14 The percentages for Music, Visual Arts & Performing Arts include a crude calculation of the West of Ireland’s data; this is because there is no isolated data available for these sub-sectors. The total employed across these sectors is 3264 according to “Baseline Research on the Creative Industries Sector in the Western Region” Report – By Oxford Economics for the Western Development Commission – October 2008, accessed via http://www.wdc.ie/wp-content/uploads/reports_CreativeSector_baselineresearch.pdf , last accessed 22/03/2012. 15
In most of these sub-sectors alternative un-comparable was available and this has been included in the detailed sub-sector information in the individual Welsh Regional Mapping document. 16
Department for Culture, Media and Sport, 2010, Encouraging Digital Access to Culture, March 2010, Accessed via http://fm.typepad.com/files/dcms_encouraging_digital_access_to_culture.pdf, last accessed 10/01/2011, p26 17 Ibid 18 Ibid 19 Ibid p33 20 Ibid 21 Ibid 22 Ibid p25 23 Ibid p29 24 Ibid p31
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