First Creative Industries Report South Tyrol

First Creative Industries Report South Tyrol Final Report Commissioned by IDM Creative Industries

Eurac Research - Institute for Regional Development

Bozen/Bolzano 07/2020

First Creative Industries Report South Tyrol

Purpose The present report brings together various outputs and information gathered during the years 2018 and 2019 through the Creative Industries Strategy South Tyrol project commissioned by IDM Creative Industries. It is a collection of qualitative and quantitative data that shall serve for further investigation and which was enabled through the active participation of professionals of the cultural and creative sectors of the territory and coordinated and managed by a dedicated working group including two research partners, Eurac Research and the Free University of Bolzano. The aim of the final report, at end of the overall inquiry, is to establish the foundation for the development of future strategic measures and sustainable policy recommendations regarding the cultural and creative sectors in South Tyrol that are in line with a participatory and comprehensive regional development approach.

Please use the following reference for citation: Psenner, E. (2020) “First Creative Industries Report South Tyrol – IDM Creative Industries. Final Report”, Eurac Research Bolzano-Bozen.

Contributors to Final Report/ Research Partners: Eleonora Psenner, Eurac Research (author of chapters 1-4 and 6-10) Chapter 5 – Main source “A survey report on the Cultural and Creative Industries in South Tyrol (2019)” realized by the project partners Federica Viganò and Giorgio Tavano Blessi of the Faculty of Education – Free University of Bolzano-Bozen, summarized by Valentina Cattivelli.

Eurac Research Project team: Eleonora Psenner (coordination and project management, roundtables and qualitative data analyses, explorative online survey, intermediate and final reporting) Mariangela Dalfovo (literature review and qualitative research support) Sergio Cuadros Hernández (technical- and language support for online survey) Valentina Cattivelli (quantitative data analysis and summary of partner report) Francesca Gori (quantitative data analysis support and graphic design) Peter Laner (GIS mapping) Elisa Ravazzoli and Thomas Streifeneder (scientific supervision) Eurac Research Service departments involved for continuous assistance and support: Science Communication, ICT, Statistics and Legal Office as well as the Institute for Applied Linguistics.

IDM Project team: Renate Ranzi Valentina Cramerotti Luisa Marangon, Magdalena Pfeifer, Anna Magdalena Wenter

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First Creative Industries Report South Tyrol

Acknowledgments: Special thanks to the dedicated professionals, stakeholders and representatives of relevant Provincial institutions who supported and contributed to a fruitful collaboration throughout the project together with the precious involvement of Renate Ranzi and Valentina Cramerotti, as well as the project and research partners of RCIA and of the Free University of Bolzano.

CONTACTS: Eleonora.Psenner@eurac.edu Valentina.Cramerotti@idm-suedtirol.com Federica.Vigano@unibz.it

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First Creative Industries Report South Tyrol

Contents List of Acronyms ................................................................................................................5 List of Figures & Maps ........................................................................................................... 5 List of Tables & Graphs .............................................................................................................. 5 1. Introduction ...............................................................................................................8 1.1 Rationale 8 1.2 Objectives of the Investigation 2.

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Regions take action to shape the Cultural and Creative Industries ............................. 14 2.1 The beginnings of CCI positioning and the Italian context 15 2.2 Austria and Emilia-Romagna – Examples of neighbouring regions

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2.3 The CCI background of South Tyrol

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Methodology ........................................................................................................... 29 3.1 Explorative research approach 29 3.2 Preparation and implementation of roundtables

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3.3 Designing the online survey: step by step procedure

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Results of roundtables and qualitative analyses in South Tyrol .................................. 35 Summary of results of the quantitative analysis of CCI South Tyrol ............................ 49 Results of the explorative online survey ...................................................................... 55 Outlook and limitations of the research..................................................................... 141 Conclusions ............................................................................................................ 143 Bibliography........................................................................................................... 149 ANNEX 1............................................................................................................. 153

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First Creative Industries Report South Tyrol

List of Acronyms CI – Creative Industries sector CCI – Cultural and Creative Industries sector IDM CI - IDM Creative Industries Eurac Research – Eurac Research Institute for Regional Development Unibz – Free University of Bozen/Bolzano - Faculty of Education The working group – IDM CI, Eurac Research, Unibz

List of Figures & Maps Figure 1: The CCI categories presented in the MBWFW report (2016, 2018) ............................................ 19 Figure 2: The CCI categories presented by ERVET, Economica Arancione, Emilia-Romagna (2018) 20 Figure 3: The two dimensions reported by Symbola (2017, 2018): cultural core and creative driven. 23 Figure 4: Recommendations to overcome structural barriers of CCI at European level........................ 25 Figure 5: The three pillars of culture-led regional development (2012) ........................................................ 27 Figure 6: Explorative research: from the roundtables to the online survey .......................................... 33 Figure 7: Outline of survey: a) Introduction and conclusion with socio-demographic profiling .............34 Figure 8: Outline of survey: b) Core questions organized in three parts and dimensions .......................35 Figure 9: Overview of results from the SWOT analysis based on the roundtable-discussions................36 Figure 10: A comparison of weight of each sub-category on total CCIs in 2011 and 2017....................... 50 Map 1: Mapping of CCI in South Tyrol. Distribution of survey respondents ............................................56

List of Tables & Graphs Table T1: Italian Review of empirical studies .............................................................................................17 Table T2: Extract from the European Manifesto on Supporting Innovation in CCI (2018) ........................ 25 Table T3: Composition of IDM CI contact-database used for the online survey invitation. ....................30 Table T5.1: Economic data related to Architecture, Communication & Branding, Design. .....................50 Table T5.2: Economic data related to Films, Video, Radio & TV and Software & Videogames...............51 Table T5.3: Economic data related to Music .................................................................................................. 52 Table T5.4: Economic data related to Books & Press and Performing & Visual Arts ............................. 52 Table T5.5: Economic data related to historical and cultural heritage .....................................................53 Table T6.0.1: Number of survey respondents for each subsector of CCI considered for the analysis.. 58 Graph G6.0.2: Composition of survey sample organized by subsectors of CCI ......................................... 58 Graph G6.0.3: Indicative turnover of each CCI subsector ..........................................................................59 Table T6.0.2: Distribution of investment within CCI according to the survey respondents ....................60 Table T6.0.3: Business areas in which respondents of CCI need support/advice ...................................... 61 Graph G6.0.4: Typologies of enterprises within the sample group “other”............................................... 63 Graph G6.1.1: Typologies of enterprises within the subsector Design. ....................................................65 Graph G6.1.2: Professional profiles and types of organisations within the subsector of Design.

66 Graph G6.1.3: Business areas in which respondents of Design tend to allocate financial resources... 67 Table T6.1.1: Business areas in which respondents of Design indicate the need for support/advice.. 68 Table T6.1.2: Business impactsfrom external collaborations as perceived by respondents of Design. 69 Graph G6.1.4: Collaboration within CCI as perceived by respondents of Design. ...................................70 Graph G6.2.1: Typologies of enterprises within the subsector of Film .................................................. 73 Graph G6.2.2: Turnover class of the survey participants belonging to the subsector of Film ................. 74

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First Creative Industries Report South Tyrol

Graph G6.2.3: Business areas in which respondents of Film tend to allocate financial resources ........... 75 Table T6.2: Business areas in which respondents of Film need support/advice ...................................... 76 Graph G6.2.4: Most popular qualification among respondents of Film................................................... 76 Graph G6.2.5: Collaboration within the CCI from the Film´s perspective .................................................. 78 Graph G6.3.1: Typologies of enterprises within the subsector of Architecture ......................................... 81 Graph G6.3.2: Professional- and structural profiles within the subsector of Architecture ....................... 82 Graph G6.3.3: Turnover trend during the last three years of survey participants of Architecture........... 83 Graph G6.3.4: Turnover class of the survey participants of Architecture................................................... 83 Graph G6.3.5: Areas in which the survey participants of Architecture allocate financial resources... 84 Table T6.3: Business areas in which respondents of Architecture need support/advice .......................... 85 Graph G6.3.6: Most popular qualification among respondents of Architecture ........................................ 85 Graph G6.3.7: Frequency of collaborations with sectors outside CCI for Architecture´s perspective.. 86 Graph G6.3.8: Collaboration within CCI as perceived by respondents of Architecture .............................. 87 Graph G6.4.1: Typologies of enterprises within the subsector of Film.................................................... 90 Graph G6.4.2: Professional- and structural profiles within the subsector of Music ................................ 91 Graph G6.4.3: Business areas in which respondents of Music tend to allocate financial resources ....... 92 Table T6.4: Business areas in which respondents of Music need support/advice ....................................... 93 Graph G6.4.4: Collaboration within the CCI from the Music’s perspective.................................................. 94 Graph G6.5.1: Typology of enterprises within the subsector of Radio & TV .............................................. 96 Graph G6.5.2: Professional- and structural profiles within the subsector of Radio & TV ......................... 97 G6.5.3: Business areas in which respondents of Performing Arts allocate financial resources ................ 98 Table T6.5: Business areas in which respondents of Radio & TV need for support/advice...................... 99 Graph G6.5.4: Collaboration within CCI as perceived by respondents of Radio & TV ............................. 100 Graph G6.6.1.: Typologies of enterprises within the subsector of Advertising ........................................ 102 Graph G6.6.2: Professional- and structural profiles within the subsector of Advertising ....................... 103 Graph G6.6.3: Turnover class of the respondents belonging to the subsector of Advertising ............... 104 Graph G6.6.4: Business areas in which respondents of Advertising allocate financial resources ......... 105 Table T6.6: Business areas in which respondents of Advertising need support/advice .......................... 106 Graph G6.6.5: Most popular qualification among respondents of Advertising........................................ 106 Graph G6.6.6: Frequency of collaboration with sectors outside CCI for Advertising’s perspective... 107 Graph G6.6.7: Collaboration within CCI as perceived by respondents of Advertising ............................. 108 Graph G6.7.1: Typologies of enterprises within the subsector of Handicraft .......................................... 110 Graph G6.7.2: Professional- and structural profiles within the subsector of Handicraft ........................ 111 Graph G6.7.3: Business areas in which respondents of Handicraft allocate financial resources............ 112 Table T6.7: Business areas in which respondents of Handicraft need support/advice............................ 113 Graph G6.7.4: Most popular qualification among respondents of Handicraft ......................................... 113 Graph G6.7.5: Collaboration within CCI as perceived by respondents of Handicraft .............................. 115 Graph G6.8.1: Typologies of enterprises within the subsector of Publishing & Press ............................. 117 Graph G6.8.2: Professional- and structural profiles within the subsector of Publishing & Press.......... 118 Graph G6.8.3: Turnover trend during the last 3 years of survey participants of Publishing & Press.. 119 Graph G6.8.4: Turnover class of respondents of Publishing & Press ........................................................ 119 Graph G6.8.5: Business areas in which Publishing & Press allocate financial resources ......................... 120 Table T6.8.1: Business areas in which respondents of Publishing & Press need support/advice ........... 121 Graph G6.8.6: Most popular qualification among respondents of Publishing & Press ............................ 121 Graph G6.8.7: Frequency of collaboration with sectors outside CCI for Publishing & Press................... 122

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First Creative Industries Report South Tyrol

Table T6.8.2: Business impacts from external collaborations perceived by Publishing & Press ............. 123 Graph G6.8.8: Collaboration within CCI as perceived by respondents of Publishing & Press ................. 124 Graph 6.9.1: Typologies of enterprises within the subsector of Performing Arts.................................. 126 Graph G6.9.2: Professional- and structural profiles within Performing Arts ......................................... 127 Graph G6.9.3: Turnover class of the survey participants of Performing Arts ........................................ 128 Graph G6.9.4: Business areas in which Performing Arts allocate financial resources ............................. 128 Table T6.9: Business areas in which respondents of Performing Arts need support/advice .................. 130 Graph G6.9.5: Collaboration within CCI as perceived by respondents of Performing Arts ................... 131 Graph G6.10.1: Typologies of enterprises within the subsector of Visual Art ....................................... 133 Graph G6.10.2: Professional- and structural profiles within the subsector of Visual Arts .................... 134 Graph G6.10.3: Turnover trend during the last three years of respondents of Visual Arts ................... 135 Graph G6.10.4: Turnover class of respondents of Visual Arts ............................................................... 135 Graph 6.10.5: Business areas in which respondents of Visual Arts allocate financial resources .......... 136 Table T6.10: Business areas in which respondents of Visual Arts need support/advice .......................... 137 Graph G6.10.6: Collaboration within CCI as perceived by respondents of Performing Arts.................. 138

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First Creative Industries Report South Tyrol

1. Introduction 1.1 Rationale This report aims to describe the research activities of the “Creative Industries Strategy South Tyrol” project conducted between July 2018 and July 2019 by Eurac Research along with other partners of the working group. The project was commissioned by IDM Creative Industries (hereinafter referredto as IDM CI) and carried out in cooperation with Eurac Research - Institute for Regional Development, the Free University of Bozen/Bolzano – Faculty of Education, with the supportiveadviceand guidance of the Department and Offices in charge of Innovation and Research of the Autonomous Province of Bolzano1 and of other sector-specific public administrations who remained available for information exchange.2 The Development of IDM Creative Industries In response to the European Commission´s request to all member states and regions concerning the establishment of a Smart Specialisation Strategy (RIS 3) 3, the AutonomousProvince of Bozen/Bolzano sees the potential of the Creative Industries sector as an emerging market and transversal force for regional innovation processes in South Tyrol 4. The Smart Specialisation Strategy RIS 3 establishes the basis for the future economic development of the entire territory. According to the European Commission´s guidelines in 20105, the RIS 3 is meant to promote measures to enhanceentrepreneurial skills and business-related processes of innovation throughout the territory, which rely on political support and investments in research and innovation to integrate into the territory´s economy. The most characteristic assets of the territory need to be identified to make it competitive, to promote principal competences, and to favour those processes within the territory’s innovation system from which the whole economy can profit.

The programming period of 2014 – 2020 is coming to an end, and the Autonomous Province of Bozen/Bolzano, with its respective departments, is elaborating and adapting the framework and guidelines for the future programming of RIS 3.

At the same time IDM Creative Industries has been working on the development of a specific strategy for the Creative Industries sector in South Tyrol through the project RCIA – Regional Creative

1 There arefour institutional bodies in chargeof the ambit Innovation and Research in the Autonomous Province

of Bozen/Bolzano: http://www.provincia.bz.it/innovazione-ricerca/contatti.asp 2 Throughout the report the indication of “Working Group” will refer to the core group behind the investigation, including theproject commissioner IDM CI and the two research partners, Eurac Research (Institute for Regional Development) and the Free University of Bozen/Bolzano (Faculty of Education).

3 The setting up of a Smart Specialisation Strategy counts as a prerequisitefor being eligibleto financial support of the European Commission offered to regions and member states through the European Regional Development Fund – ERDF among others. The European Regional Development Fund ERDF programme 2014-2020 is described in German and Italian under the following link: http://www.provinz.bz.it/politik-rechtaussenbeziehungen/europa/eu-foerderungen/efre-2014-2020.asp 4 Besides the cultural and creative industries the RIS Smart Specialisation Platform in South Tyrol includes the ambits of Green Technologies, ICT and Automation, Natural Treatments and Medical Technologies, Food Technologies and Alpine Technologies.

5 Further details about the priorities and guidelines linked to smart specialisation are outlined in the European Commission´s communication COM (2010) 553 on Regional Policy contributing to smart growth: https://www.eumonitor.eu/9353000/1/j9vvik7m1c3gyxp/vikqhop04wco

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First Creative Industries Report South Tyrol

Alliance 6,

Industries financedby the Interreg Europe programme,for the Creative Industries sector in South Tyrol. RCIA was launched in 2017 and will be concluded in 2021. The project seeks to introduce and optimize regional policies that work towards a modern business ecosystem using the transformative power of small and medium sized creative enterprises (SMEs) as a key competitive factor. It aims to strengthen the competitiveness of SMEs in the Cultural and Creative Industries sector (CCI) by improving their competences (development/execution of business plans, interaction with investors, mentoring programmes) and supporting their growth in global markets; to adapt various funding mechanismsto the particularities of CCI (including the possibility of capacitybuilding measures for banks); to increase awareness of the transformative power (added-value) of creative SMEs in the wider economy for their own competitiveness; and to develop, adapt, and improve the eco-system from a classic spatial cross-collaboration into a holistic approach. As a final outcome, IDM Creative Industries will propose an action plan to set the frame for future developments of the CCI sector in South Tyrol.

The preparatory work for the new RIS 3 by the Provincial Offices in charge of Innovation and Research on the one hand, and the inputs and ongoing collaboration linked to the RCIA project on the other hand, triggered IDM to pay special attention to the development of the Creative Industries in South Tyrol. The RCIA´s objective, to improve the Structural Funds policy instruments related to the SME competitiveness, to some extent, meet the efforts and reflections concerning the future development of the RIS 3. As the following list of objectives provided by the RCIA project shows, the project consortium - including IDM Creative Industries- follows a clear vision regarding the potential of the Cultural and Creative Industries sector and the role it could play for innovation processes and regional economic development:   

position Cultural and Creative Industries (CCI) as “the missing link” between sectors and disciplines regarding innovation and competitiveness increase the attractiveness and innovative image of a city/region/country (attract talent, create & retain jobs in the territory) position CCI as a pillarof the competitiveness policy

The topicality and convergence of activities linked to the strategic development of regional innovation systems and the Cultural and Creative Industries sector lead IDM to form a working group that could follow up on topic-relatedissues and trendswhilesimultaneously creatinga reference point for interested stakeholders and professionals from the CCI ambit as well as from the public administration.

In 2018, the “IDM Ecosystem Film and Creative Industries“ was officiallyannounced, putting the film sector in the centre of activities and extending its interestsand resources to the rest of the CCI subsectors, following a model similar to a satellite system. As of 2019, the ecosystem changed into today´s IDM Creative Industries and positioned itself as a specific reference point forall cultural and creative sectors in South Tyrol, with a special focus on innovationin terms of cross-sectorial synergies, knowledge transfer and international co-operations. (date of reference December 2019)

6 Besides IDM South Tyrol, the RCIA partner consortium includes Austria Wirtschaftsservice Gesellschaft, Public

Service of Wallonia (Belgium), North-West Regional Development Agency (Romania), Region of Central Greece (Sterea Ellada), Joint Stock Company «Development finance institution Altum» (Latvia), City of Lublin (Poland), Barcelona Official Chamber of Commerce, Industry, Services and Navigation (Spain), Creative Business Cup Foundation (Denmark). For more information visit: https://www.interregeurope.eu/rcia/

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First Creative Industries Report South Tyrol

As for the time being IDM Creative Industries aims to strengthen the local creative economy and raise the competitiveness of freelancers and SMEs belonging to the cultural and creative sectors.

It offers roundtables and events for professionals to meet and exchange ideas and information, while introducing them to market trends and novelties from insidetheregion and beyond. It aims to facilitate networking between companies from different sectors and academia in order to stimulate the realization of new and innovative ideas, products and services. IDM Creative Industries seeks to explore the potential of the creative minds in the region and to bring it to the surface by making it accessible to other sectors and ambits of the local economy, who could potentiallyprofit.

The project “Creative Industries Strategy South Tyrol” The “Creative Industries Strategy South Tyrol” project was launched by IDM CI with the aim to bring together interest groups and stakeholders from different cultural and creative sectors and give a picture of the current creative scene in South Tyrol. The collaboration between the Eurac Research – Institute for Regional Development and the Free University of Bozen/Bolzano – Faculty of Education originated from an informal cooperation that developed into a working group and plan based on a shared set of interests, strong personal motivation, and the complementary competences of the partners involved.

In the next chapter, the structure of the report will be introduced in detail. It reflects, to some extent, the procedure and methodology that the IDMCreative Industries South Tyrol project adopted from the initial project-design phases up to implementation. This is in part due to the fact that the overall project and various activities carried out follow a collaborative, participative and explorative approach. This was agreed upon amongIDMCI and its research partnersat the beginning of theproject and should be taken into consideration when consulting the present report and the research methods and analyses it describes.

Knowledge Transfer, Product Development and Networking are key priorities of IDM CI. Concerning the research themes to be analysed, the following paragraphs shall helpthe reader to get oriented and be prepared for the overall content and mission of this report.

The report is built around theaspects and issues that IDMCI seeks to investigate inpreparation of the design of an action plan for RCIA and, potentially, in preparation for potential future strategic measures which shall be proposed to institutional bodies at convenient times. Having said that, the investigation aims to offera current picture of Cultural and Creative Industries in South Tyrol; it aims to understand the perception of professionals working in the CCI sector; it aims to identify opportunities that promoteand develop the CCI sector, especiallyby facilitating local and international cooperation and exchange among professionals,enterprises, key stakeholders, and interest groups to enable future innovation processes and regional development measures; finally, cross-sectorial synergies and needs shall be identified, which can be followed up at the regional cultural policy level.

Following the aims of IDMCI mentioned above, it is possible to distinguish three main strands of research themes. The next section introduces the main research questions behindthe investigation and briefly outlines the set of dimension used for reference.

1.2 Objectives of the Investigation The impact that CCI has on the territory and its development is determined by thefact that the analysis of CCI reveals the real needs and challenges of a specific market sector, in a specific historic moment,

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First Creative Industries Report South Tyrol

and within a specificterritorialcontext. Demographicchanges,socialand culturaltraits of the territory, and its economic situation are intrinsic to every creative output, expression, production, and consumption and can, thus, serve as a reference for broader analyses on the level of wellbeing of a community, the economichealth of a territory, and its responsiveness to progress through innovative and competitiveassets and resources.

CCI can support local development by identifying and promoting innovativeapproaches in the production, distribution and communication of products, services and business models. They can give an added value to traditional industries and their organisational and structural system by leveraging innovative ideas and processes. They potentially offer a wide palette of opportunities to young professionals to findtheir own niche, create theirown professional profile and set up their own canvas of expertise. These are the presuppositions behind the present analysis and will be discussed in more detail throughout the document.

The motivation behind theinvestigationis to understandhow CCI relates to localdevelopment, starting at concepts of creativity and innovation and potentially reaching thediscourseabout individual and community wellbeing. The objective of theinvestigation is to trigger a discussion about theimpact and influence of CCI on other sectors and the territory in general.

Who is meant with “creative community” in South Tyrol?

The following definition of CCI has been selected by IDMCI and adopted by the project partners during the project´s activities and for the analysis of the present report: “CCIs include those cultural and creative enterprises with a commercial focus that are engaged in the creation, production and physicalor media distribution of creativeand culturalgoods and services.

The commercial-connected focus of every cultural and creative economic activity is the so called “creative act”, concerning all content, works, products, productions or artistic, literary, cultural, architectural or creative services that are the basis of the eleven sub-markets.”

In this report, freelancers, organisations, and small- to medium-sized enterprises working in the cultural and creative sectors are referred to as the “creative community” in SouthTyrol. For thespecific analysis of data reported in this document, the subsectors being examined are below: 1. Design 2. Film 3. Architecture 4. Music 5. Radio & TV 6. Advertising 7. Handicraft 8. Publishing & Press 9. Performing Arts 10. Visual Arts 11. Software & Videogames For the survey and for general communication purposes (for instance with the promotional post-card used for awareness raising and for survey invitation), IDMCI refers to the eleven subsectors by indicating “Design” as a comprehensive discipline and Advertising as a distinct subsector. During

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First Creative Industries Report South Tyrol

the roundtable discussion, the categories of Design and Advertising were organized slightly different for practical reasons.7 Background of the subsectors’ selection: IDM CI examined thedifferent Creative Industries sectorsof various Europeancountries and compared them, paying a special attention to the CCI sector´s composition in Italy, Austria, Germany and Switzerland.The results show that everycountry follows different schemes and has different priorities around different groups of subsectors. After comparing the situation of neighbouring regions, the working group decided to focus the present investigation and analysis in South Tyrol on the eleven subsectors mentioned above. The working group undertook this selection by taking into account the general lines of CCI in Europe and the specificities of the South Tyrolean context. In contrast to the general structure of Creative Industriesadoptedin Italy,“Handicraft” was included as a subsector. This decision was based on the long tradition of woodcraft in the Grödnertal/ Val Gardena, which turned Handicraft into a very popular art form, identity trait, and business niche for South Tyrol. Another difference between the national and regional composition of CCI is IDM CI’s strategic decision to include “fashion” among the subsectors related to Design.

What is the overall research about?

The present investigationoffers a general overviewof the issues relevant to the ambit of CCI in Europe and gives a specific insight into the current situation of the South Tyrol CCI context.

A set of primary data, combined and compared with secondarydata from literature and related studies, provides the basis for further investigations. It also offers aset of inputs to facilitate IDMCI in identifying recommendations and making the first steps towards a strategic plan for the future development of CCI in South Tyrol.

The results of twelve roundtable discussions with representatives of the local CCI sector are described using the SWOT analysis, and they reflect the CCI representatives’ perception of the strengths, weaknesses, opportunities and threats of the sector. In a second step, further data are collected by means of an explorative online survey, also used as a tool for awareness among the general publicand professionals about cultural and creative sectors within the region. The analysisof the online survey focuses specifically on eleven subsectors inSouth Tyrol,as mentioned in theprevious pages. For the overall investigation, a mixed method approach was adopted to provide primary qualitative data together with an integrative statistics covering the time frame from 2012 to 2018, presented by the second research partner, the Free University of Bozen/Bolzano.

In order to avoid confusion, it is important to advise the reader that for the literature review and the research linked to the roundtablediscussions, the analysis istargeted towardsactors operating in both the Cultural and Creative Industries. For the second part of the analysis, that is, the online survey, the target group is limited to representatives of the Creative Industries (specifically private enterprises and freelancers in the eleven subsectors in South Tyrol), thus focusing on the main target audience of IDM CI. Further details regarding labels and definitions in CCI will be discussed at a later stage of this report.

7 Specifically for theroundtables which have been organized during the investigation, stakeholders of the Design

sector have been organized according to their activities by distinguishing Graphic Design from Product Design.

Stakeholders of Design have been invited respectively either to the roundtable together with stakeholder from Advertising or to the one shared with professionals of the Fashion sector.

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First Creative Industries Report South Tyrol

DIMENSION ONE: PROFILING THE SECTOR The analysis offers an overviewof the actors and some topical issues featuring the CCI sector in South Tyrol, with a special insight into aspects and concerns linked to representatives of the Creative Industries; that is, SMEs and freelancers operating in the eleven subsectors. This general dimension can be compared to a sort of socio-demographic profiling and is structured into the following main research questions:  

What are the needs of local professionals in the Creative Industries in South Tyrol?

How can the Creative Industries be supported in order to be recognised as an integral, accepted and visible part of local socio-economic development in South Tyrol?

DIMENSION TWO: ACTIONS AND POLICY RECOMMENDATIONS The analysis seeks to contribute to the development of policy recommendations that are contentspecific, realistic, and achievable by comparing different models and examples of CCI strategic planning at national and international levels. At the same time, it advocates the importance of keeping in mind the long-term vision of IDMCI in South Tyrol and itsinterrelation with the Smart Specialisation Strategy RIS 3 at the regional level. Policy recommendations and strategic documents are a helpful tool in envisioning the current situation of a determined sector and setting goals in collaboration with all the actors who are involved in the ambit and the process design.

The dimension regarding actions and policy recommendations is tackled through the following research questions: 

What issues are relevant for the future development of the Creative Industries to create a positive impact on the territory from a governance point of view?

DIMENSION THREE: CROSS-SECTORIAL SYNERGIES AND SPILL-OVER EFFECTS This dimension outlines elements that are elements that become important when discussing the CCI development at the broader level. It mainly focuses on the characteristics and impacts that CCI have on the local regional development, linked to the networking among professionals and enterprises as well as opportunities given through spill-over effects, cross-sectorial collaborations, internationalisation and specific competences that the cultural and creative sectors offerto the local economy and could be further supported, withthe support of a sustainablestrategyat the policy level.

Only by knowing the specificities of the sector is it possible to identify effective solutions for the economic development of the territory and to take action in a sustainable and comprehensive manner.

This dimension shows the essence of CCI in the following research question:  Are there interrelations between the ambits of the Creative Industries and between the CI sector and other sectors (traditional industries) in South Tyrol?

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First Creative Industries Report South Tyrol

OVERALL GOALS OF ANALYSIS Overall, the analysis presented in this report seeks to add to the goals of IDM CI with the following: 1. To analyse the local creative community’s perception of the strengths, weaknesses, opportunities, and threats of CCI in general.

2. To outline challenges and opportunities at the regional level to strengthen the Creative Industries in future.

3. To identify and promote collaborative approaches among different stakeholders in South Tyrol to support IDM CI increase visibility of the Creative Industries within the region and beyond.

Purpose and structure of this report The challenge of the overall IDM Creative Industries Strategy South Tyrol project consists of giving space and voice to the variety of professionals, stakeholders and interest groups involved in the ambit, and promoting a participative decision-making process, working at both the community level and at the policy level. The aim is to give an overview of the CCI in South Tyrol (with a focus on the eleven CI subsectors8) and to prepare the ground for future strategic measures that are significant and feasible.

Concerning the outputs of this report, it is the authors’ intention to make the reader familiar with the context of the creative and cultural sectors and to outline some models and strategic development approaches adoptedby the CCI sectors at the European leveland, specifically,by regions close to South Tyrol. The concepts of creativity and innovation linked to the context of South Tyrol and their potential impact in socio-economic terms are introduced, followed by a brief description of the concept of culture-led local development providing a model for sustainable and socially inclusive regional development based on the Creative Industries sector.

2. Regions take action to shape the Cultural and Creative Industries According to the Creative Europe Report 2018 9 “Culture and creativity play a crucial role in our societies today and in shaping our European future, because of their dual cultural and economic role, triggering positive impact in other sectors of society, such as education, innovation or healthcare.” As the report states, the CCI not only helps to connect people through shared narratives, but also strengthens the image of Europe as a “creative continent” by promoting European values. The market analysis of the Cultural and Creative Sectors in Europe (European Investment Fund) shows that they represent a significant share of the EU’s economy (over 4% of EU GDP), providing 6.7 million jobs. 10 The cultural and creative sectors provide opportunities for employment, especially for young people, as well as giving a space for new, professional profiles to unfold. The Creative Europe Reports highlight that the numberof companies in the cultural and creative sectors has been growing by 4.3% annually, accounting today forat least 10% of the service sector in most countries. In the audio-visual and media sector the employment rate has been growing by 3% annually since 2008. The global

8 The eleven CI subsectors identified for the present investigation are: Design, Film, Music, Performing Arts,

Visual Arts, Handicraft, Radio & TV, Advertising, Architecture, Publishing & Press, Software & Videogames.

9 Creative Europe Report: https://ec.europa.eu/programmes/creative-europe/sites/creativeeurope/files/library/creative-europe-monitoring-report-2018.pdf, page 8.

10 Ibid.

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demand for EU cultural goods has been increasing, and European companies are amongst the leading world brands.11 What is especially interestingfor the present investigation of Creative Industriesdevelopment in South Tyrol is the fact that cultural and creative sectors have a positive impact outside their own sector: cultural and creative sectors support other industries that depend on their creative content. As stated in the Creative Europe Report, this is especially true for industries like consumer electronics, telecom services and tourism. This is in line with Fesel (2018), who argues that creativity can be the driver of local development, being closely connected to the attraction of talent and resources, as well as with innovation processes inside the creative sector and beyond. He adds that besides bringing added value to the economy, these sectors strategically contribute to social cohesion and general wellbeing.12

2.1 The beginnings of CCI positioning and the Italian context Interest in the cultural and creative sectors´ impacts and effects started in the late 1990s with initial mapping exercises in UK. The aim was to assess the sector and inform policy makers about the potential of the creative industries.13 Afterwards, a wave of similar exercises reached over to other European countries.14 Approximately a decade later, the Green Paper - Unlocking the potential of cultural and creative industries by the European Commission (2010) 15 provided an important contribution to the developmentof the sector, as did the White Paper on Creativity. Towardsan Italian model of development by Santagata (2009) 16.

With regard to the Italian context, special mention goes to the following reports and private and public bodies engaged with the documentation and development of CCI: the Rapporto Annuale

11 Ibid.

12 Fesel, B., Keynote speech at SACCI 18 – Summer Academy on Cultural and Creative Industries and local

development, June 2018, Trento and Bolzano. See also: Richards, G., Marques, L., “Creating Synergies between cultural policy and tourism for permanent and temporary citizens”, UCLG Committee: Leading City of Agenda 21 for culture United Cities and Local Governments (UCLG), 2018. Richards, G, “Eventfulness and the quality of life”, paper presented at the ATLAS Conference, Budapest, October 2014.

13 Foreword of DCMS’ Creative Industries

Mapping Documents, 2011, see also related documents on https://www.gov.uk/government/publications/creative-industries-mapping-documents-2001 14 Among the references that can be found in connection to the promotion of CCI at European level, a variety of tools and formats can be found: a) concept papers and guidelines that vary from manifesto-like declamations to hands-on, pragmatic strategic documents and calls to action; b) academic debates and literature, often focusing on processes, trends and the conceptual level rather than mapping exercises offering a concrete picture of the country´s situation; c) ad-hoc projects and documents, such as the Creative Cities Monitor (2017) commissioned by the European Commission adopting specific indicators to collect data through time; d) reports and analyses, including scientific ones, describing specific local contexts and being characterised by either continuity or oneshot/pilot projects.

15 https://publications.europa.eu/en/publication-detail/-/publication/1cb6f484-074b-4913-87b3-

344ccf020eef/language-en 16 https://www.fondazionesantagata.it/en/pubblicazioni/white-paper-creativity-towards-an-italian-model-ofdevelopment-2009/

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Federculture (Annual Report Federculture)17 has been published on a semi-regular basis since 2002.

Several issues provide a valuable source of data and analyses regarding the CCI at the national level.

Through essays, databases, indicators and surveys the reports describe the evolution of cultural consumption, supply and demand trends, policies and strategic plans. Thanks to these documents, it is possible to get an insight and overviewof the challengesof the CCI over time. In recent years,private research groups and promoters, such as Italia Creativa 18 and Io sono cultura, 19 have made additional documentation and reports of the sector at the national level and enriched the pool of information.

Some Italian regions set up observatories on culture and creativity through permanent monitoring bodies, withthe aimof gathering consistent data to inform localpolicy makers. For example, theregion of Piemonte created a Cultural Observatory– OCP20. Additionally, the Autonomous Provinceof Trento developed the Informative System of Culture - SIC 21 and the Provincial Observatory on Cultural Activities - OPAC. Further insights into the development and strategic setting of CCI throughout the Italian context are introduced by Blessi and Viganó (2019) 22 and reported in the following abstract.

17 Founded in 1997, Federculture is the Italian federation of privateand public bodies and businesses that deal

with the management of culture, tourism and sport.

18 Creative Italy: Study on the industry of culture and creativity in Italy, EY (2014 and 2016), see http://www.italiacreativa.eu/ 19 Io Sono Cultura, Fondazione Symbola: http://www.symbola.net/ricerca/io-sono-cultura-2019/ 20 http://www.ocp.piemonte.it/ 21 See

the guidelines of UNESCO Cultural Heritage: https://en.unesco.org/creativity/policy-monitoringplatform/culture-information-system 22 Blessi, T., Viganó, F.: A survey report on the Cultural and Creative Industries in South Tyrol, commissioned by IDM CI as part of the present investigation; 2019:9

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Table T1: Italian Review of empirical studies.

Italian Review of empirical studies “… (in our report) we provide a brief review of the most recent and significant studies, in line with the present investigation in South Tyrol.

Starting with the Umbria Region, in 2015 a research has defined the dimension of the CCIs within the local economy (2014) 23 The study offers also an interesting perspective concerning the CCI’s density at city level, which allows to definethe weight of each category within the local economy.

Lombardy Region in 2011 has also realized an evaluation concerning the CCIs within the regional administrative border (Fondazione Iulm, 2011) 24. The report depicts that the Cultural and Creative Industries are consistently interacting with other local productive sectors and suggests to develop specific policy regulations and actions in order to foster the further development of the sector as possible leveragefor competitiveadvantages forthe whole regionaleconomy.

The Puglia Region has commissioned ACUME 25 for the analysis of the creative and cultural environment at regional level. The analysis undertaken in 2016 further confirms the function of the CCIs at local level, by emphasizing thecorrelationand impact as input factor forother local economic sectors, such as tourism. (…)

The Campania Region has provided a study on the cultural and creative sectors at regional scale in 2017. The study underlines the importance of the CCIs within the Campania border (2017) 26. The report also promotes a qualitative analysis of two cases, thanks to whose it is described how the strong correlation between the cultural idiosyncratic characteristics of the local territory and the presence of a stock of social capital and traditions have driven a sort of specialization in relation to well established industrialmanufacturing sectors (e.g. Gragnano and pasta). (…)”

Source: Blessi, T., Viganó, F.: A survey report on the Cultural and Creative Industries in South Tyrol, commissioned by IDM CI as part of the present investigation, section 1.1.1. Italian Review on empirical studies

2.2 Austria and Emilia-Romagna – Examples of neighbouring regions To develop a strategy for the creative sector in South Tyrol, the working group decided to investigate some possible examples of regional Creative Industries strategy models to use as reference. They

23 Orlando, A., & Santagati, M. E. (2014) Le industrieculturali ecreative: una mappatura quantitativa. Available

at: www. aur-umbria. it/public/images/res_2014_287-324_Orlandi.pdf) 24 Fondazione Iulm (2011) Il sistema delle Industrie Culturali e Creative in Lombardia: elementi per un nuovo modello di competitività territoriale.

25 ACUME (2016). See http://www.acume.net/wp-content/uploads/2016/05/ICC-in-Puglia.pdf.

26 Marrelli, M., & Del Monte (2017) Reti delle industrie culturali e creative in Campania: il contributo delle

politichepubbliche. FrancoAngeli.

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selected the Creative Strategy for Austria (2019) 27 and the Report on the Orange Economy in EmiliaRomagna (2018) 28 because of their existing analogies and geographical proximity to South Tyrol. 29 The working group also picked these two models to guide with the establishment of clear measures and goals. For the development of the Creative Industries in South Tyrol, it is relevant to focus on leveraging the collaboration among stakeholders and identifying clear objectives that suit the territory and facilitate the growth of the ecosystem by allowing creativityto emerge, consolidate,and generate positive impact and externalities.

A look at Austria IDM CI counts on an already existing and solid collaboration with partners involved in the regional strategic development of Creative Industries in Austria thanks to the Interreg Project RCIA which was introduced in the first chapter.30 Among the international partner consortium, there is the Austrian partner that could offer important insights and idea-exchangesbased on the experience withAustria’s Kreativwirtschaft model. A set of clear-cut report offer the general approach and specific insights to the model, which builds on well-defined outputs: twenty-two practical, sector-wide measures divided in eight specific fields of action referring to three different pillars. All these elements were derived from the sector´s knowledge (statistical data from past analysis) and ad-hoc research and interviews of recent times. The four main objectives are intended to strengthen 1) the innovation system; 2) the competitiveness of and within CIs; 3) the transformative effects of CI on other sectors; 4) Austria’s internationalimageas creative country of culture and innovation. The Austrian report focuses strongly on what has been identified as common features among CIs, which are essential for spill-over effects (namely: innovation, internationality, networking and cooperation, creativity, resilience, knowledge intensity & transfer, clientorientation, affinity with technology) and which have been summarised in three keywords: empowerment, transformation, innovation.

27 Creative Strategy for Austria, BMWFW, Kreativwirtschaft 2019 See https://www.kreativwirtschaft.at/en/ and

https://www.kreativwirtschaft.at/achter-oesterreichischer-kreativwirtschaftsbericht/ 28 ERVET, Cultura e creatività: ricchezza per l’Emilia Romagna, 2012 and ERVET, Economia Arancione in EmiliaRomagna, See http://www.ervet.it/wp-content/uploads/2013/09/Abstract_Economia-Arancione_completo.pdf 29 Both refer to territories with limited surface areas (quite small if compared to Italy, 301.338 km²): Austria 83.879 km²; Emilia Romagna 22.451 km², relatively closeto the Provinceof South Tyrol.

30 The RCIA Interreg Europe project seeks to introduceand optimizeregional policies towards a modern business ecosystem using the transformative power of creative small and medium sized enterprises (SMEs) as a key competitiveness factor. The partner consortium is composed by Austria Wirtschaftsservice Gesellschaft, Public Service of Wallonia (Belgium), North-West Regional Development Agency (Romania), Region of Central Greece (Sterea Ellada), Joint Stock Company «Development finance institution Altum» (Latvia), City of Lublin (Poland), Barcelona Official Chamber of Commerce, Industry, Services and Navigation (Spain), Creative Business Cup Foundation (Denmark) and IDM South Tyrol (Italy). For more information visit: https://www.interregeurope.eu /rcia/

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Figure 1: The CCI categories presented in the MBWFW report (2016, 2018).

(Source: own elaboration, 2019) A glance to Emilia-Romagna Another model of reference is provided by the region of Emilia-Romagna with its “Economia Arancione”. In this case, the region has worked on the promotion and strategic development of the CCI sectors by means of the in-housestock companyERVET SpA in charge of the“economic valorisation of the territory”. The Region published two exhaustive reports about creativity in 2012 and 2018. 31 Emilia-Romagna has a Regional Observatory on the Live Arts and is planning to establish a further one concerning the wider realm of creativity. The sector-mapping of the Emilia-Romagna studies (Ervet, 2012 and 2018) outlines a model that aligns with other Italian studies(eg.,Io sono cultura, Santagata’s White Book on Creativity, 2009). Some differences from the original scheme resulted when it was adapted to the local context, tradition and methodological choice. Some examples include intentionally highlighting of the Handicraft dimension within the CCI sector by separating distribution from production, positioning of digital elements in “creative services” rather than with media and recognising the “Made in Italy” within the creative ecosystem.

The model identifies fivecore-areas as well as another additional area: 1) Cultural, artistic and entertaining activities (live arts and other artistic activities, entertaining activities, historic, artistic and cultural heritage); 2) Media and cultural industries (film and video, publishing, press and related activities, music [publishing], radio-TV broadcast); 3) Creative services (architecture, design, photography, software, consultancy and gaming, advertising and communication); 4) Distribution of cultural industries products; 5) Arts and crafts/Handicraft (craftsmanship, arts and antiques dealing) and Material culture (furniture, household goods and fashion including distribution; food, excluding industrial production and restaurants). The most recent edition, published in 2018, provides

31 ERVET, Cultura e creatività: ricchezza per l’Emilia Romagna, 2012 and ERVET, Economia Arancione in Emilia-

Romagna, 2018

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recommendations for the future development of the CCI sector and has also been a valuable source of information for the present investigation.

Figure 2: The CCI categories presented by ERVET, Economica Arancione, Emilia-Romagna (2018)

(Source: own elaboration 2019)

IDM’s mission and South Tyrol’s territorial specificities have several familiarities with the Austrian strategy setting. The consultation of the Report of Economia Arancione in Emilia-Romagna adds a set of elements that offer a fruitful intermixture of approaches and goals. It does so by counterbalancing the predominantlyeconomy-oriented Austrian work and considering both economy and society, as equally important spheres for local creative development. The research undertaken in Emilia-Romagna reflects the desire of working together with local stakeholders to interpret data in a dynamic way, to understandhow theterritory can becomean ecosystem that not only allows creativity to emerge but also allows it to consolidate and generate positive impact and externalities. The final picture, drawn through multiple essays and analyses, stresses how fertile the combination of public policies, individual action and social awareness and responsibility can be.

Despite the different approaches of the two strategic models, theyboth share one aspect that serves as a blueprint: both ongoing initiatives follow up on previous efforts. Austria involved partners with long-term knowledge and data on the sector while Emilia-Romagna built on an older report and counts on a consistent system of cultural production and policy involvement to start with. Besides showing a continuation in their activities, a perseverance of efforts and a focus on making synergies grow over time, both models also give evidence on how fruitful it is to involve different levels of the ecosystem: producers, policy makers and researchers. This conformswith the intentions of IDMCI and the working group that are dedicated to establishing a sustainablenetwork and strategic development for the local CCI sector.

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2.3 The CCI background of South Tyrol The Autonomous Province of Bozen/Bolzano invested in the cultural sector in the past decade by experimenting with new and innovative ways to promote the territory. It has especially focused its efforts on the policies and initiatives linked to the youth. This included finding sustainablesolutionsto improve the working conditions within the cultural and creative sector for the next generation. At the same time, it was also enhancing social cohesion through cultural and creative initiatives in places of the territory which are less connected or suffer from social fragmentation. The Province has placed special attention on the professional opportunities that the region is offering to young professionals in the CCI sector and it has been exploring approaches to facilitate and optimise the communication between the young CCI professionalsand the public administration. In this sense, thecultural policy of the region tends to encourage a flat hierarchy of decision-making processes and promotes bottom-up approaches to leverage social and cultural innovations throughout the territory.

In a previous study commissioned by the Autonomous Province of Bozen/Bolzano and presented in 2012, there were 1,259 firms operating in the sector with a total of 4,371 employees and an average of 4.17 employees per company. An update of this first investigation has been subsequently realised through a Fondo Sociale Europeo (FSE) funding project and was commissioned to Confcooperative Bolzano.”32 This past investigation provides a useful set of data that helps give continuity and a basis for comparison with present and future data evaluations.

Blessi and Viganò (2019) 33 referto the KEA Report (2006) 34, which states that culture plays a strategic role in supplying new and innovativecontent, which may play a role towards the generation of economic and social competitiveness and new development models. Their report, which offers a complementary pool of content to the present investigation on the Creative Industries in South Tyrol, includes a brief excursion through the issue of transformation that affects the contemporary market, also in South Tyrol. The authors link the discourse to elements connected to globalisation processes and technologies. Their report provides a brief excursion through theories and policies related to the role of the cultural and creative sectors as fundamental drivers in promoting social and economic growth, as well as aset of theoretical and interpretative models related to innovation(e.g., Triple Helix Model, National and Regional Innovation System). The report of Blessi and Viganò offers further background information of CCI in general, besides adding specific data related to the CCI context in South Tyrol, which will be described in a dedicated section at a later stage of this report.

As we have seen, although fundamental, definitions are not always clearly outlined nor definitive for all times. Consequently, the models also change from situation to situation and can be based on the most diverse organisational and conceptual systems. To wrap it up in a paragraph: commonly, systems identify around ten different cultural and creative sub-sectors (also called industries or areas); sometimes, the distinction is made between creative industries and cultural industries, and core culturalorganisations (institutions and/or businesses) are kept separate from the cultural and creative industries. There is no best or worst model: in the end, the division into subsectors really depends on what, where and when it is needed and for what purpose.

32 Blessi, T, Viganò, F: A survey report on the Cultural and Creative Industries in South Tyrol, commissioned by

IDM CI as part of the present investigation; 2019:11 33 Blessi, T, Viganò, F: A survey report on the Cultural and Creative Industries in South Tyrol, commissioned by IDM CI as part of the present investigation; 2019:1-3 34 KEA European Affairs. (2006). The Economy of Culture in Europe: A Study Prepared for the European

Commission, Directorate-General for Education and Culture

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2.4 The theoretical framework behind the investigation Overcoming labels and definitions Ever since the late 1990s when the term first came about, Creative Industries has been a controversial topic in economic literature and debate.35 From the alleged added value they bring to the economy, to their potential for social or urban regeneration, to the much more nuanced concept of local development, the debatetouches on many aspects, including definitions and rhetoric. There has been several attempts of measuring and defining the value of cultural and creative industries. Trying to measure the value, effect and impact of this implies a preliminary definition of the subject. The very distinction of cultureand creativity, the boundaries and internalsegmentationof the sector combined with the phenomena of “hybridisation” of businessesand of multi-skilled professionals pose numerous challenges up till now. Although necessary, labels per se are often ambiguous and boundaries are becoming more flexible, especially in a world that increasingly calls for liquidity, resilience and adaptability. The boxes that define cultural and creative industries (CCI) are set by the legislative system of the countries and are crucial to manage and organise the sector, for instance,whenit comes to set eligibility criteria forresource distribution.

The definition of related Industries of the British Department for Culture, Media and Sport (DCMS, last update in 2015) recognises nine creative sectors: 1) Advertising and marketing; 2) Architecture; 3) Crafts; 4) Design: product, graphic and fashion design; 5) Film, TV, video, radio and photography; 6) IT, software and computer services; 7) Publishing; 8) Museums,galleries and libraries; 9) Music, performing and visual arts. The DCMS list has proven to be influential as many other nations have formally adopted it. However, this list is also being criticised.For instance, it has beenargued that the division into sectors obscures a divide between lifestyle business, non-profits, and larger businesses, and even between those who receive state subsidies and those who do not.

The Italian Symbola reports Io sono cultura (2017 and 2018) identifies creative industries as belonging to a wider “cultural and creative production system”, openly following KEA’s view of a new and modern ideaof culture, if compared to Italian standards and traditions. The analysis looks at two dimensions: cultural core and creative driven. The dimension cultural core comprises of four subdimensions: 1) Creative industries (architecture, design and communication); 2) Cultural industries (film, music, radio,TV, software and videogames, publishing, media); 3) Culturalandhistoricalheritage (museums, libraries, archives, monuments); and 4) Performing arts and visual arts – (live arts, visual arts). The dimension creative driven, on theother hand,is constituted by economic activitiesthat don’t strictly belong to the cultural dimension but are characterised by close synergies with the sector and are subject to “culturalisation”. This allowed Symbola to draw a matrix that shows how not only cultural and creative activities (cultural core) but also other activities (creative driven) entail cultural and creative resources and other professions. Additional insights on the contents of the Symbola report are provided by the report of the Free University of Bozen/Bolzano.36

35 For the first time in 1998 the term “creativeindustries” was used by the British Department for Culture, Media

and Sport (DCMS) to define “those industries that have their origin in individual creativity, skill, and talent and that have a potential for wealth and job creation through the generation and exploitation of intellectual property” (DCMS, 1998, 2001). The process that led to the definition and recognition of Creative Industries is linked to the older concept of “cultural industries” dating back to the 1960-70s in both UK and US. 36 Blessi, T., Viganò, F.: A survey report on the Cultural and Creative Industries in South Tyrol, commissioned by IDM CI as part of the present investigation; 2019

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Figure 3: The two dimensions reported by Symbola (2017, 2018): cultural core and creative driven.

Cultural Core

Cultural industries Film

Cultural and historical heritage

Music Radio and TV

Museums

Software and videogames

Archives

Publishing Media

Monuments

Performing arts and visual arts

Libraries

Live arts Visual arts

Creative driven Economic activities with close synergies to the sectors of the cultural core but not belonging to the specific cultural sectors

Activities which are subject to "culturalization"

(Source: own elaboration, 2019) The Symbola model, together with the one described in the KEA report and mentioned earlier, raises the issue of distinguishing between culture and creativity and differentiating between their respective spheres and assets. According to cultural economist Pier Luigi Sacco37 the peculiarityof the culturalsphere is to produce content that only has the aim of being experiencedand appreciated, with no added purpose. For example,this includes watchinga film, listening to musicor reading a novel. On the other hand, the creative sphere applies cultural content to areas in order to achieve other aims and produce products, services, experiences. Design objects need not only be innovative and aesthetically pleasing but also functional. Moreover, the cultural sphere usually produces less added value (in economic terms) than the creative sphere. Nevertheless, a major part of the added value of the creative sphere is the result of content and stimuli coming from the cultural sphere, which increasingly affects other elements of the traditional production system (the culturalisation of the economy). This leads to reasoning in terms of Creative Ecosystems, where cultural, creative and even traditional sectors are intertwined, rather than kept apart based on their economic performance or ability to generate economicvalue.

Altogether, the definition that resulted to best suit the South Tyrol context analysis based on previous and current experience in the field, can be seen as a combination of DCMS’ definition of CCIs (cit. “those industries that have their origin in individualcreativity, skill, and talent,andthat have a potential for wealth and job creation through the generation and exploitation of intellectual property”, DCMS, 1998, 2001), and the definition used for the development of the strategy for Austria’s creative sector 37 Le industrieculturali ecreativee l’Italia: una potenzialità inespressa su cui scommettere (2013), Il sole 24 ore.

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(cit. “The creative industries comprise commercial enterprises that are engaged in the creation, production and (media) distribution of creative and cultural goods and services”, BMWFW Federal Ministry of Science, Research and Economy, 2019).

Additional information regarding the issues concerning labels and definitions of the Cultural and Creative Industries, with a specific focus on the context of South Tyrol, is provided by the report delivered by the Free University of Bozen/Bolzano withinthe project Creative Industries Strategy South Tyrol. The authors explain thestatus quo about settingthe framework ofanalysis in thefollowing way: “In order to provide the framework and the operative definition of the CCIs, it is necessary to abandon the traditional approach that refers to the artistic areas, such as the performing arts, visual arts, literature and to widen the perimeter of the cultural and creative sector to other productive sectors normally considered more industrial rather than cultural, such as design, fashion and Handicraft.

Additionally, it will be necessary to consider activities which are not strictly related to the culturaland creative realm, but benefit from the presence of the previous activities to generate socio-economic outcomes, as is the case e.g. of food and wine products, tourism and craftwork.”38 Specificities of the CCI sector at European level In October 2018, representatives of the CCI sector gathered at the book fair in Frankfurt am Main39 and discussed about the current situation and future challenges of the sector at regional, national and European level. As a result, the European Manifesto on Supporting Innovation for CCI Sector 40 was released shortly afterwards. It outlines the most crucial issues currently impacting on the CCI sector and includes a list of main barriers that obstruct the CCI from a potential unfolding.

The list of six main structural barriersfor innovationin CCI reported in the European Manifesto on Supporting Innovation for Cultural and Creative Sectors is outlined in the following page and gives a general picture of the sector´s current features and challenges at regional, national and European level. (See Table T2)

38 Blessi, T., Viganó, F.: A survey report on the Cultural and Creative Industries in South Tyrol, commissioned by

IDM CI as part of the present investigation; 2019:4 39 https://www.buchmesse.de/en/highlights/all-highlights/theartsplus 40 http://www.ilgiornaledellefondazioni.com/content/un-manifesto-europeo-sostenere-linnovazione-i-settoriculturali-e-creativi (Italian press release). https://artlab.fitzcarraldo.it/sites/default/files/3_ARTS+_Summit_Manifesto_working%20paper.pdf

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Table T2: Extract from the European Manifesto on Supporting Innovation in CCI (2018).

The six main structural barriers of CCI: High fragmentation (micro-enterprises, “silo-thinking”, mind-set) Lack of investment, funding and financing Specific characteristics of the cultural and creative sectors (knowledge and labour intensive, intangible assets, extensive regulations, hardly any support structures for innovation) Lack of integration of technical and entrepreneurial skills (loss of traditional values and know-how) Change of value chains (capacity loss due to digital shift, eg. Media: for-free-culture on the internet, not-paid-content business models) 6. Global context (urge for internationalapproach and cooperation) (Source: own elaboration, extract from European Manifesto) As the European Manifesto on Supporting Innovation for cultural and creative sectors shows, there are specific recommendations,that in the eyes of CCI representatives throughout Europeappear as relevant for the futuredevelopment of thesector alsoin connection with an overall regional cultureled development.

Figure 4: Recommendations to overcome structural barriers of CCI at European level.

Acknowledgethe converging and “hybrid“ structures of the cultural and creative sectors, which operate at the intersection between culture, business, technology and politics Raise publicinvestment in the cultural and creative sectors to a level which befits their relevance as akey sector, and tailor funding programmes to theirneeds Make it easier and more attractive to invest in Innovation for the cultural and creative sectors Strengthen the dialoguebetween policy, culture, technology and business/industry stakeholders, as well as intermediaries, research actors and civil society, with respect to innovation in the CCI sectors Promote a broader definition of innovation that goes beyond just “hard” technological innovation

Increase the international character of the cultural and creative sector

(Source: extract from the European Manifesto on Supporting Innovation for cultural and creative, Frankfurt am Main, October 2018)

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Culture-led regional development Following the OECD Innovation Strategy, the concept of innovation can be referred not only by the realisation of the product/service or implementation but also by the realisation of new processes/approaches41. With regards to soft-innovation it can also include cultural,socialand content innovations, newprocesses and business model innovation.42 In any case, as widely discussed among scholars, innovation requires creativeprocesses, which also requires interaction among people. Spaces where ideas can unfold and which are suitable for cultural production and consumption are thus to be considered in a further investigation.

We have so far outlined theissues at stake at Europeanlevelaffecting today´s CCI and CI sector in terms of regional development and innovation potential. We discussed someof the existing models and approaches that are being adopted by neighbouring regions and offer examples to followfor IDM CI in the attempt to set recommendations for a future strategic development of the CI sector in South Tyrol. Being informed about the features and concepts of creativity and innovation, as discussed in recent literature, we want to now briefly describe the culture-leddevelopment modelby Ferilli, Sacco and Tavano Blessi (201243), exploring a further approach in which culture can bring about substantial effects at a regional policy level. The authors identify three “pillars” of culture-led local development as shown in the following figure.

41 Damanpour, F. (1996) Organizational Complexity and Innovation: Developing and Testing Multiple Contingency

Models. Management Science, 42, 694; see also OECD Innovation Strategy: Product-/process/marketing-/organisational innovation. https://www.oecd.org/site/innovationstrategy/defininginnovation.htm 42 European Manifesto on Supporting Innovation for CCI Sector, Frankfurt, 2018 43 Sacco, P.L., Ferilli, G., Blessi, G.: Sviluppo localea baseculturale: quando funziona eperché? Alla ricerca di un

framework di riferimento in PRISMA Economia - Società – Lavoro, fascicolo 1. Franco Angeli. Editore, 2012. See also Sacco, P.L., Ferilli, G., Blessi, G. (a cura di): Cultura e sviluppo locale: verso il Distretto culturale evoluto, Il Mulino, 2015.

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Figure 5: The three pillars of culture-led regional development (2012).

Attraction of talent and resources

Innovation Cultural prouction or cultural and creative industries

(Source: own elaboration, 2019) 

The first pillar relates to the attraction of talent. The effect of culture on the attraction of talent, firms and resources has been widely explored in academic literature, and it interplays with several elements, among which knowledge base, quality of life, diversity, accessibility, social equity, industry structure or scale. These factors interact in complex ways, far more intricate than Richard Florida’s “3T formula” (Technology-Talent-Tolerance)44 .



The second pillarof localdevelopment is the linkbetween culture andinnovation. This appears to be more subtle than the one about attractionof talent,as the concept of innovationis quite subtle per se. The connection resides in the idea that the present culture, which includes production, consumption and “socialisation” (the transmission of culture through social interaction), prepares the ground for innovation waves to arise. An effective local innovation strategy should follow a horizontal integration model based in firms or people’s common stakes in the development of such strategy (versus vertical integration typical of traditional clusters or districts).



The third fundamental pillar of culture-led local development is, quite reasonably, the production of culture itself. The importance of cultural production, the cultural and creative

44 Florida, R. (2002): The Rise of the Creative Class. And How It's Transforming Work, Leisure and Everyday Life.

Basic books. In the wake of the publication of Florida’s 2002 best seller, “creativity” and “creativeclass” became very popular concepts. According to Florida theory, making cities more attractive for creative people (the “creative class”) would lead to their economic growth. These observations have since informed a wave of technical solutions. Florida´s original concept suggested city mayors around the world to make cities become a “hip” placewhere creative people want to live. He referred to this as being more important and effective than investing in infrastructure.

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industries for culture-led development is unquestionable, especially in current times when CCIs have reached a significant volume and economic value and their impact on the socioeconomic context at largeis increasingly relevant (the “culturalisation ofthe economy”45). Not only the number but also the variety of cultural production centres spanning the whole realm of culture and creativity can foster the creative development of places. This is not only limited to creative professionals, cultural and creative enterprises and institutions, but also extends to include individual creativity and society and the introduction of creative thinking and processes in the traditional economy.

According to the three pillars of culture-led development, the shift in the perspectivefrom “creative class” to “creative community” appears fundamental for any further step. This necessary operation challenges the counterproductive dualisticview creative versus non-creative and allows the rise of individual creativity on an informal and societal level (bottom-up effect). It also makes room for wider strategies for culture-led local development, considering the potential effects on innovation and culturalproduction supported by policy makers and stakeholders of diverse sectors (top-down effect). As an overall point of discussion, it appears that on one hand local government and administrations have put too much emphasis to the economic importance of the CI sector in past. For instance, focusing on added value, multiplier effects for economicgrowth and impact in purely economic terms. On the other hand, there has been less emphasis on the local territory, its characteristics and assets, which may offer a further opportunity for investigation and further developments towards sustainablenetworks and actions.

45 As theorized by George Yúdice in 2003, the ‘culturalisation of the economy’ refers to the fact that the use of

culturein different types of economic system has far extended beyond the initial boundary of creative industries such as art or design.

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3. Methodology Working on the creative community requires thinking and considering the whole local community.

According to the working group, it is fundamental to combine bottom-up and top-down tools and adopt a participatory approach in order to work effectively on community aspects. In the following chapter, we will introduce the methods adopted during the investigation on the CCI sector of South Tyrol.

The present outline of this report refers to the so far carried out research activities by Eurac Research Institute for Regional Development and IDM CI. In parallel, the Free University of Bozen/Bolzano – Faculty of Education carried out a quantitative analysis based on statistical data provided by the Chamber of Commerce in Bozen/Bolzano. The overall investigation has thus been discussed and carried out among thevarious partnersby setting up a dedicated working group. Further details on adopted methodologies and preliminary outcomes are reported, respectively, by Eurac Research in the following sections, and by the Free University of Bozen/Bolzano in the distinct report “A survey report on the Cultural and Creative Industries in South Tyrol”, commissioned by IDM CI as part of the present investigation.46

3.1 Explorative research approach The methodology employed to investigate the research questions and to achieve the final objectives includes both qualitative and quantitativemethods for data collection and analysis. The approach used to collect information and define an overall creative strategy follows clear steps, which often overlap (especially in time) but are interlinked and essential to one another.

First, the working group conductedan accurate desk research comprising of a literature review and content analysis, useful to collect information on the socio-economic context of South Tyrol, on existing definitions and models of CCIs, and examples relating to the CCIs sectorincluding theoretical approaches. As a preliminary decision, it was agreed on carrying out an explorative research.

Then, IDM CI organised twelve roundtables involving different types of stakeholders (freelancers, small and medium enterprises, large companies) following its specific selection criteria.

The purpose of these meetings consisted of investigating what professionals of the CCI perceived to be present and future challenges, doubts, and trends. They invited them to brainstorm about trajectories for further developments. These meetings also included discussion about the needs and the characteristics of each specific sub-sector. The roundtables were organisedaround the various CCI sub-sectors of analysis, meaning that each roundtable included stakeholders of onespecific sub-sector (except for the sub-sector of Design which comprehended both, Product Design and Fashion Design and an additional roundtable composed by cultural operators including public administration in general terms). The working group was represented by researchers of Eurac Research, who attended some of the roundtables in the role of observers and collected inputs and notes regarding the general atmosphere during the discussion while assisting IDM CI in the initial setting up of the roundtables´ program. The content and outcome of discussion during the roundtables was intended to serve for basic information in the view of a SWOTanalysis and an explorativesurvey to a broader sample within the local CCI.

46 Blessi, T., Viganó, F.: A survey report on the Cultural and Creative Industries in South Tyrol, commissioned by

IDM CI as part of the present investigation; 2019

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Thirdly, the working group set up the outline and timing regarding the quantitative analysis carried out by the Free University of Bozen/Bolzano and regarding the explorative online survey carried out by Eurac Research. The online survey consisted in a bilingual online questionnaire structured in three content parts based on the research questions originally set up by the working group. The elaboration of the surveyfollowed a participatory approach leading to aset of revised final versions of the survey to take account of and integrate importantinputs and requestsby externalproject partners, public institutions and policy makers that IDMCI regarded to be significant for the overall purpose and outcome of the investigation. The online survey was promoted through postcards, e-mail invitation and social media channels and was made accessible for nine weeks. The main target of the survey was to be considered for the data analysis included SMEs and freelancers working in the eleven sub-sectors of CCI in South Tyrol. Further details about the survey are provided in the analysis described in the Final Report. The criteria used for the selection of contacts and setting up of contact-database are reported in the following table: Table T3: Composition of IDM CI contact-database used for the online survey invitation.

IDM Creative Industriesset up a database that currently accounts of 2,700 contacts including organisations, freelancers and enterprises belonging to the eleven subsectors of Creative Industries in South Tyrol: Design, Film, Architecture, Music, Radio & TV, Advertising, Handicraft, Publishing & Press, Performing Arts, Visual Arts, Software & Videogames. 47 IDM CI structured its dataset of contacts accordingly and added further entries to its existing mailing list by using the following sources: The Chamber of Commerce of Bozen/Bolzano (+909 contacts) The Chamber of Architects of Bozen/Bolzano (+958 contacts) The IDM Film Fund & Commission Directory (+177 contacts) The various contacts of the database have been invited by IDM CI to participate at the explorative online survey of the project “Creative Industries Strategy South Tyrol” via e-mail, post card and through a dedicated Facebook site which wasopento the publicand aimed to raise awarenessabout the initiative. Everyone who felt to belong to the target group of analysis as indicated in the survey introduction was free to join. Furthermore, a series of testimonial videos published on YouTube helped to promote the activities and mission of IDMCI. (Source: IDM CI, 2019)

Finally, the research background, the theoretical and conceptual framework, the description of the methodology and the results of the data analysis is reported in written form. The intermediate 47 On the occasion of the roundtables which have been organised during the investigation in summer 2018,

stakeholders of the Design sector have been organised according to their specific activity distinguishing Graphic Design from Product Design. Stakeholders of Graphic Design have been invited in the same discussion group as representatives of Advertising, while stakeholders of Product Design were grouped with representatives of Fashion Design for the roundtable discussion. For the survey and in general communication (as for instance the promotional post-card) IDM CI refers to the eleven subsectors by indicating “Design” as comprehensive discipline(including Graphic-Product- and Fashion Design) and Advertising as separatesubsector.

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report presents the outcomes of the SWOT analysis referring to the roundtable-discussions as well as the main outcomes of the quantitative study carried out by the second research partner, the Free University of Bolzano/Bolzano. The Final Report also offers a descriptiveanalysis of the data collected through the explorative online surveyfocused on the eleven subsectors of the CI South Tyrol.

The methodology adopted for this investigation has been chosen to collect and confront qualitative and quantitative empirical data with the state of the art discussed in academic literature.

The overall mixed method of collecting and analysing qualitative and quantitativedata will potentially enable the working group to draw key findings and detect trends on which IDM CI can rely on when outlining future strategic development measures for the CCI sector in South Tyrol. The next sections will provide a more detailed explanation of the four methodological steps adopted during the investigation on CCI in South Tyrol by IDM CI and Eurac Research.

3.2 Preparation and implementation of roundtables This paragraph provides a concise description of the activities undertaken for the preparation and implementation of the roundtable-discussions as well as the preparatory work for the SWOT analysis (analysis of strengths, weaknesses, opportunities, threats) referring to the data collected during the roundtables.

The whole series of roundtables discussions took place in June and July 2018 in the NOI Techpark of Bozen/Bolzano.The roundtableswere moderated and facilitatedspecifically for each subsector and organized in the following groups: Fashion and Product Design, Film, Architecture, Music, Radio & TV, Graphic Design & Advertising, Handicraft, Publishing & Press, Performing Arts, Visual Arts, Software & Videogames. They were enriched by an additional roundtable of cultural operators and representatives of the public administration (i.e. the Ripartizione Cultura Italiana and the Ufficio delle Politiche Giovanili - Ripartizione Cultura of the Autonomous Province of Bozen/Bolzano, the Centro Servizi Cultura e Volontariato; IRECOOP - Cooperative Association for education and development for the local economy). The Design sector results are to be relevant for the South Tyrol region due to the established network of professionals and the specificeducational course offeredby the Free University of Bozen/Bolzano. This motivated the Working Group to give attention to the various ambits of the sector, namely the Fashion, Product, and Graphic Design areas, and to additionally invite stakeholders of each ambit respectively. Stakeholders of Product Design were thus invited together with Fashion Designers, and stakeholders of Graphic Design were invited to the roundtable of Advertising, as many of these stakeholders resulted to be operating in both ambits anyway.

The idea behind the roundtable format was to invite groups of 10-15 people representing different typologies of local CCI enterprises, from start-ups to established institutions, small and medium sized companies as well as freelancers and to encourage them to:  Reflect on the current CCI situation of South Tyrol, its strengths, weaknesses, opportunities and threats  Get informed about IDMCI and its objectives  Facilitate an exchange of ideas, information and concerns among the participants while enforcing the network The preparation phase (first step) was characterised by an intensive brainstorming activity, necessary to define the structure and schedule of the roundtables, the main objectives to be reached

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and the approaches to be adopted. Following this preparation work, IDM CI started with the participation selection, setting the appointments and sending out the invitation via phone and email.

The implementation phase (second step) consisted of carrying out the roundtable discussions and successivelyperforminga SWOT analysis by collecting, comparing and evaluating the perspectives and perceptions of the participants regarding the strengths, weaknesses, opportunities and threats linked to the CCI in South Tyrol.

For the implementation of roundtables Eurac Research undertook the actions below:   

Participate as an “observer” Interact with participants and give assistance Occasionally take note of the general “atmosphere” and issues raised in between discussions as part of an observational study

The roundtables were structured by following a specific scheme: after a short round of presentation including the “ice-breaker” thought of what makes each of the guests and their enterprises “creative”, the moderator started to collect inputs for the SWOT analysis. The moderator introduced each activity and explainedthe purpose behindas well as thedefinition ofseveralconcepts, for example, what the “strength, weaknesses, opportunity and threat” refers to. The moderator asked the participants to write their thoughts and comments on a post-it and attached them to the pin wall, after letting each participant explain what he orshe had formulated.

Finally, the documentation phase (third step) consisted in documenting the information retrieved during the roundtable discussions. The roundtable initiative was accurately documented by IDM CI and some contents and pictures have been shared via IDM CI´s social media channels and dedicated website.

After clustering the statementsand theirmeaningsof all roundtablediscussions and organising them in accordance with the roundtable´s program section (SWOT – strengths, weaknesses, opportunities, threats) in which they had been expressed by the participants, it was possible to count the topicality of issues reported in the literature by observing the frequency of terms used during the discussion. At the same time the results derivedfrom the SWOT analyses couldexplain some patterns and give insight to the perception of the participants and offer a first reference for further investigations of the CCI in South Tyrol.

3.3 Designing the online survey: step by step procedure This section describes the research processimplementedto design and develop the explorativeonline survey. Based on the literature review that comprised all important issues at stake for the CCI sector at regional, nationaland international level, the working group set up a first draft of questions. IDMCI provided the stakeholder with the basis for the questionnaire to receive feedback and integrate or modify it accordingly until reaching the final design and structure. The questionnaire was then translated and transferredto the onlinetool OPINIO. Following a participatoryapproach, a continuous feedback loop for updates and changes among project partners was created. After several testing phases the online survey was finally published and made availableto the target audience.

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Figure 6: Explorative research: from the roundtables to the online survey.

(Source: own elaboration, 2019)

The design of the online survey has started in connection with the roundtables discussion and developed further over half a year of ongoing adaptation and re-modelling in accordance with the various stakeholder and interest groups that got involved during the process of survey design prior to finalisation. The cooperationacross the actors in finalising the onlinesurvey was in linewith the multisectorial, multi-leveland collaborative research approach that the project team had decided to follow since the beginning of the research activities.

Due to previous comparisons with methods and tools related to similar investigations on CI at regional and national level in the past48 the most critical and essential issues at stake in the ambit of creative and cultural sectors could be detected for further evaluation through the online survey. This previous desk research, together with the inputs collected from the roundtable discussions on site, enabled Eurac Research to provide an initial set of questions and a general overall survey structure to be taken as a basis for discussion and further development during the various stages of survey design.

The roundtable discussions provided valuable hints on the real needs and perceptions of local actors in the specific CI sector of South Tyrol and offered a fruitful starting point for the survey core content and general set up. Some of the results of these roundtables were thereforeintegratedto the survey. During the roundtable discussions some questions could already be tested before being finetuned and included in the online survey. In all of this, the overall collaborative, multi-sectorial and multi-layer approach of the project was kept in consideration which allowed further developments, modifications and integration of the survey at later stages of its completion.

Once the content had been discussed,it was translated intothe two languagesand transferred to a specific software: the online survey tool OPINIO. Eurac Research adopted the online survey tool OPINIO to create a tailor-made onlinesurvey for the investigation to access and apply the tool’s specific features which are described in the following paragraphs.

48 The questionnaires considered for the comparison were:

• CI Strategy Austria (First draft IDM), Istat survey of the no-profit sector, “Da start up a scaleup” Umbria Region, the survey conducted by FVG Region within AR.CO project.

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OPINIO provides pre-defined and customisable survey templates, enables the entry of both quantitative and qualitative data and allows the entering of open-ended data (text) in case of openended questions. The program provides different sets of question types and reply types including ratings, multiplechoicequestions, and dropdown lists. This offered the possibilityto modifyand adapt the typology of questions and answers also during the testing phase giving – within certain technical limits – enough freedom and flexibilityfor changes and supporting a collaborativeapproach during the survey design process.49 After completing the design stage of the surveys, the tool offers the possibility to publish the survey link directly on a website, or as it was the case for our investigation, to send the survey link directly to participants via email. IDM CI opted for an additional dissemination of the survey link through social media (Facebook) and viaevent post-card to send via regular mail.

The tool allows you to keep control over the response rate at any time and facilitates thisway the monitoring of surveys completed, while guiding the recall procedurefor participantswho have not finished to fill out and submit. Testimonial videos were produced to give voice to the sector´s representatives and increase attention towards the ongoing research activities, especially the online survey.50 In terms of anonymity and privacy issues, the initial page of the survey provided detailed information to all participants asking to click the check box to give consensus for the elaboration and conservation of personal data prior to start the survey.

The target audience for the onlinesurvey included everyonewho fulfilled the criteria indicated in the initialpage, that is,representatives of small- and medium-sized enterprises as wellas freelancers operating within the CI sector, specifically in the 11 selected sub-sectors of the analysis. The sample size consists of 2,700 contacts of IDM CI‘s database, which has been mentioned earlier in this report (see page 29) and includes enterprisesand freelancers in linewiththe criteria of the established target audience. The data collection is open for two months during which the survey remains accessible to the general public via official survey link: “idm-ci.eurac.edu”. The survey is available in German and Italian and it is possible for the participant to switch between languages while completing the survey.

The general content and structure of the survey is outlined in the following figures.

Figure 7: Outline of survey: a) Introduction and conclusion with socio-demographic profiling.

Introduction/Profile A

Conclusion/Profile B

•Name of the organisation, type of organisation, main ambit of CI, subsectors of CI

•ATECO code, how many employees, location of company, personal hints and suggestions for future activities by IDM CI

(Source: own elaboration, 2019)

49 Some more technical features include the options of adding skip logic (conditional branching) and text

insertion (piping).

50 For further details please visit the IDM Facebook site: https://www.facebook.com/CreativeIndustriesSuedtirol/

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Figure 8: Outline of survey: b) Core questions organized in three parts and dimensions.

PART 1: •Existing collaboration within CI (last 3years), perception of territorial strength for CI, perception of what impact measures could hae in future, what kind of support needed in CI

PART 2:

PART 3:

•Perception on what role specific aspects of a company play for promoting innovation, where do clients come from, existing collaborations outside CI (past 3 yrs), perception on how external collaboration impact CI, what kind of external collaboration are beneficial to promote innvoation in future, perception on how specific measures can optimise such collaboration in future.

•Economic situation (financial trends for past 3 years), what kind of financial support, how much and for what purposes, which role plays research and development forthe company (what kind of financial resources are applied for it, amount, what purpose), what kind of public incentives could be beneficialin future, what is the most frequent title of studies within the company.

(Source: own elaboration, 2019)

As displayed by the two previous figures, the survey´s overall structure was organised around three “content parts” of questions and two “profile parts” of questions to set the frame. The profile parts was intended to gain socio-demographic core data of the participant while also, respectively, introducing the participants to the survey´s mission and technical features and helping him/her to navigate through the survey up to the conclusive section. Here, the participant could leave their personal contact and hints for the future IDM CI activities. The three central parts of content tackled issues related to the cognitivedimension of CI, the socio-economic dimension of CI and the dimension of research, development and innovation.

4. Results of roundtables and qualitative analyses in South Tyrol The following chapter presents and discusses the results of the SWOT analysis that was carried out afterthe roundtable discussions with the stakeholder groups of the Creative Industries in South Tyrol.

This analysis sheds light onto the perception of the participants, as well as the context in which they expressed their opinion.

The transcripts of all roundtables are previously scrutinised before being evaluated.51 The various statements expressed during the roundtable discussions were assembled and organised in

51 For the overall SWOT reflecting the results of all roundtables, the original statements (in German and Italian

language) are highlighted and assembled in a table to give a preliminary overview. According to the context of each roundtable’s discussion, the participants’ statements are assembled and organised by their meaning allowing overarching themes to emerge. The overarching themes are displayed according to the section in which they were expressed distinguishing between the sections S for strength, W for weaknesses, O for opportunities and T for threats.

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conceptual clusters of themes as for instance “territory”, “market position”, or “space and infrastructures”.

The frequency in which each themewas used by participants of each roundtable, and whether it was perceived as strength, weakness, opportunity or threat, was relevant to get a taste of the most important issues of today’s CCI sector in South Tyrol. Furthermore, the analysisoffered an overview of how the territory of South Tyrol is perceived to favourorhinderthe development and unfolding of the creative and cultural sectors.

The themes identified and associated mostfrequently to strengths, weaknesses, opportunities and threats are visible in the figure on the following page. The numbers indicated in brackets refer to the number of roundtablesin which the respective themewas discussedand associatedto the specific category, namely as representing either a strength, weakness,opportunity or weakness in the context of CCI in South Tyrol.

Figure 9: Overview of results from the SWOT analysis based on the roundtable-discussions.

(Source: own elaboration, June 2018)

As reported in Figure 9 participants perceived the themeof “territory” as being a strength for the CCI sector. The terms is used intending the composition of specific and unique cultural, social, economic and geographical features of the territory. This theme was suggested as a strength for CCI by ten roundtable-groups out of 12 as indicated in the brackets next to the term (see figure above).

Another set of themes resonatedin the context of strengths almost as much among roundtablegroups referring to engagement and genius loci, network, diversity, market opportunities and creativity – each of these themes was mentioned, respectively, by eight roundtable groups out of 12. With engagement and genius loci they intended especially the mind-set and motivated attitude of locals working in South Tyrol and in the CCI sector; with network they spoke in positive terms about the connections among local enterprises and the fact that due to the relative small size of the region and accordingly of the market, the internal business networkbuilds on tightbounds with thevarious actors

For the single SWOT analysis of each roundtable, every statement expressed by a roundtable participant during the SWOT exercise is reported in the specific overview table and organized according to the sections S for strength, W for weaknesses, O for opportunities and T for threats.

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being in personal contact and reactive to changes by collaborating for common goals and giving hands when needed. The multi-cultural or tri-lingual background of inhabitants is regarded to enrich the mind-set, life style as well as production of goods and services with regards to diversity reflecting also on the fact that market opportunities and creativity are triggered by the border position and commercial and cultural exchange and transit between Italy, Austria, Germany and Switzerland.

Furthermore, the theme spill-over effect was indicated as a strength of the local CCI sector by an overall number of seven roundtable groups out of 12.

Among the themes associated with points of weakness for the local CCI sector there are: network as suggested by eight of the roundtable groups, followed by themes like public administration, expertise, space and infrastructure and the internal market situation. All of them had been mentioned by seven roundtable groups overall in the context of the local CCI sector´s weaknesses. This time the network was perceived as a weak point when referred to the relationship between professionals of the CCI sectors and the public administration and stakeholders who could give support to the ambit in terms of financial and legal advice or even when it comes to give more voice and visibility to the CCI sector inside and outside the region.

With regards to the opportunities of the local CCI sector, the themes that most frequently were considered include: the quality brand Südtirol – Alto Adige as indicated by seven roundtable groups out of 12, the theme of spill-over effects as supported by six roundtable groups out of 12, followed by the theme of community attitude as well as network and cooperation as expressed, respectively, by five roundtable groups out of 12 and finally the theme of creativity and the one of internationalisation each mentioned by respectively four roundtable groups out of 12 in the context of opportunities for the local CCI sector.

When confronted with theidea of future threats of the local CCI sector, the roundtablegroups predominantly referred to the theme of market and positioning because of feeling isolated due the cultural and geographical matters. Ten roundtable groups out of 12 shared this common vision and feeling. Six of the roundtable groups regarded cultural policy-framework to be a major theme while five roundtables referred, respectively, to resources and competencies as well as public funding as theme having a potential negativeimpact on the local CCI sector´s future and development.

The following pages give more insight to the roundtable-discussions referring to the SWOT analysis, that is, the strengths, weaknesses, opportunities and threats of the CCI sectors in South Tyrol as perceived by the stakeholder of the various groups. The participants of the roundtables are representatives of each subsector referring to the following ambits: Fashion and Product Design, Film, Architecture, Music, Radio & TV, Graphic Design & Advertising, Handicraft, Publishing & Press, Performing Arts, Visual Arts, Software & Videogames. An additional roundtable was organised for Cultural Operators and representatives of the Public Administration. The outcomeof each roundtable discussion and SWOT analysis is reported by following the chronological order of the gatherings.

Furthermore, there a graphic illustration of each roundtable SWOT are reported in the Annex 1 of this report.

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Radio & TV Date and location: 15.06.2018, Noi Techpark The results from the discussionwith stakeholders of the roundtableof Radio and TV demonstrate that the territory of South Tyrol offers a great potential for creativity and market expansion, thanks to its linguistic and cultural diversity. The public funding is seen as a strength. Collaboration is seen both, as strength and weakness: some participants argue that there is littlecollaboration between radio and TV stations, others claim that collaboration within the subsector is positive and cite theexampleof the well-functioning DAB consortium. A critical view is given to the diversity within the mediascenario in South Tyrol, as everything is concentrated around one big player. The differences between the public and private service sector are also pointed out. In terms of opportunities and challenges for the future of the sector the internet has been mentioned. The ever-changing technical standards and the need to always be accessibleand visibleis perceivedas a great challenge.These are, however, features that appear essential for the Radio and TV sector and cannot be bypassed or ignored.

The participants of Radio and TV perceive regionalism as being one of the factors that offer great opportunities to the sector, just like the internet.

For an optimisation of the sector they suggest consultancy and support in the scope of moderation, redaction as well as with regards to legal advice. Especiallyfor private serviceoperators, a special concern goes to film rights. In their opinion, film rights should be supported by IDMor public bodies in future. Within the South Tyroleancontext,a progressive market concentration, broad band and a DVB T2 consortium are referred to be of importance when it comes to developing the sector further. From an international perspective, the participants suggest the setting up and management of an international platform and a convergence between TV and internet.

All the participants agree on the need of leveraging and facilitating the exchange of information and knowledge among professionals of the same sector. They regard this aspect as fundamental and helpful for the future development of the area.

See Annex 1 for further details on the SWOT analysis: Roundtable of Radio & TV.

Performing Arts Date and location: 25.06.18, NOI Techpark The discussion among stakeholders of the roundtable of Performing Arts brought up the following aspects regarded to be a strength for the subsector of Performing Arts in South Tyrol: high quality of life and the proactive attitude of the local community (intended as citizens of the region) as well as the presence of many creative people throughout the territory. Another positive factor presently is the accessibility, in the sense that the territory´s dimension is compact, the distances between sites and facilities are short and manageable and because of the various and efficient transport services provided throughout the territory. The participant points out that having such possibilities of moving easily from one place to the other, also helps to let ideas and inputs flow and unfold, as well as making the audience circulate. They argue that in contrast to other places, South Tyrol has invested intensively in the development of contemporary art in the past years. This not only helped to keep up with the current trends and standards of the art scene but also attract a younger audience to the cultural offers on the territory.

Another aspect that should not be neglected, according to the stakeholders of Performing Arts, is the complementarity between small- and medium-sized enterprises. Although the geographical

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position of the territory could allow a glance beyond the borders, towards the German, Austrian and Italian context, the sector’s communication outside the region appears to be completely missing. A lack of openness and auto-referential attitudes are also mentioned by some among the weak points of South Tyrol which are affecting the Performing Arts sector. Bilingualism is regarded to be both, a strength and a weakness: one the onehand it facilitates local enterprises and public offices to expand their networks and reach actors who are outside Italy. On the other hand, the audience is split into two distinct language groups.

Some of the participants also critically argue that tourists are as involved in cultural activities.

Currently the Performing Arts sector enjoys the financial support of the public hand. This could however change in future and lack of third party’s financial resources and of expertise in private and self-financing strategies could present a threat. Along with this, the lack of an explicit cultural policy and the difficulties linked to the accessibility of the territory from outside present risk factors for the future development of the sector. Another critical aspect identified by some of the participants is the lack of specific media specialised in the area. Some argue that without a selection of expert critics, the sector will have serious difficulties to evolveand get established.Another critical aspect is the lack of specific media specialised in the area. The participants argue that without a selection of expert critics, the sector will have serious difficulties to evolve and get established.

In the future, they wish to find a reference point and support service dedicated to the sector´s needs and concerns. A place of exchange is missing, where creative workshops can be held in order to experiment new formats and compare content. For the time being, a list of available spaces and facilities could already be beneficial. Regarding the area of human resources, participants point out that theatre technicians are most necessary. It is worth putting effort to make South Tyrol become more attractive for professionals and audience alike, by promoting the regional as a cultural destination by making use of – through including the – of the natural resources, the landscape and touristic attractions which are already well positioned on the market. Nevertheless, the participants acknowledge that attention should not only be placed on the economic impact but also to the social and cultural dimension linked to the Performing Arts as part of the CCI in South Tyrol.

See Annex 1 for further details on the SWOT analysis: Roundtable of Performing Arts.

Music Date and location: 26.08.19, NOI Techpark The participants of the Music roundtable highlightedthe followingaspects as some of the strengths of South Tyrol for the development of the CCI sector: the geographical position, the various cultural influences and the multitude of locations and sites throughout the region where people can host music events and create a special atmosphere for the audience. Accordingly, the local audience is curious and active, which presents another positive factor. Additionally, so called “off-locations” are available and give an added-value: public squares, sites and venues like castles and abandoned and remote buildings offer ideal conditions for music performances.

Due to red tape issues and the lack of communication between the public administration and the private sectors, sometimes events do not take place. Although the public is giving great support to the music sector, this still happens. The participants argue that financialresources from the private sector and specifically from the Creative Industries are lacking behind at regional level. Another weakness is the logistics: having no airport for one of the most important masses, tourists, does not

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favour the music sector. Thus, increasing the visibility, positioning, as well as marketing of the music sector are claimed to be major challenges for the future development of the CCI in South Tyrol.

The participants claim that other regions have been more efficient in the past and are now more competitive. It is worth to put effort in finding a solution to keep talent in the region as well as promote the local cultural activities to establish a European network. Indeed, participants of the music roundtable see great opportunities through internationalisation. To facilitate internationalisation processes, public offices should refrain from setting up strict requirements and guidelines which might obstruct the flow and implementation of ideas. The financial dependency of Provincial support is seen as a threat for the future development of the sector, although it is also of vital importance for the existing enterprises.

For the future of the Creative Industries in South Tyrol, the stakeholders of the music sector wish to improve the general attitude and orient it towards problem-solving approaches when interacting with event organisations. They also believe in the importance of raising awareness about the music sector´s impact and possibilities among private enterprises and are convinced of the need to give special attention to the development of the public transport. According to them, there should be more flexibility regarding the time schedule of event staging and office hours in line with the demand. In terms of human resources, the high living costs are mentioned as being a critical aspect when compared to the standards of income. The ideaof establishing an institutionalbody or office of reference that also gives administrative support to the music sector is welcomed among the participants. This service point should be helpful for the elaboration of European tenders and to promote internationalisation processes. At the same time, it should give updates on the digital developments affecting the music sector as to stay informed. The participants agree among themselves that although the digital transformation plays a certain role in the future development of CCI, the “live experience� of a musicevent will never be beaten by the digital world.

See Annex 1 for further details about the SWOT analysis: Roundtable of Music.

Publishing and Press Date and location: 28.06.18, NOI Techpark The discussion with stakeholders invited for the roundtable of Publishing and Press offered insights into how the participants perceive the territory of South Tyrol relative to the CCI development. They point out that although the press and publishing market issmall, there is still great potential to exploit.

From an educational point of view, the offer and the creative community specialised in the press and publishing area are limited. This hinders the expansion of the market. The aspect of bilingualism is regarded as strength and weakness. Bilingualism makes the distribution of publications more complex, however, the linguistic diversity also triggers the unfolding of ideas and contributes to more openness thanks to the mixed cultural background.

The participants mention the existing wealth as a strength of the region; it creates positive conditions for implementing creative projects. The public attention by the creative scene as well as the public support in terms of administration and financing, are both regarded as positive factors. At the same time, they do not counteract the conservative attitude and lack of open mindedness of the local populations towards innovation and creativity. Some participantsseea positiveinfluenceon the creative scene coming from the tourism, which is becoming moreinternational,which may contribute to opening the local mind-set.

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First Creative Industries Report South Tyrol

According to the participants, the Publishing and Press sector of South Tyrol is threatened by the dependency of public funding which could be cut in future. Furthermore, the competition from the online enterprises creates difficulties for smaller editors and book shops. Participants see a solution to be found through major valorisation of local production and distribution paths. Another solution could be to attract and include more young professionals.In this case a stronger cooperation with universities could be helpful. Some opportunities are provided by expanding the market throughout the Alpine region, beyond the Euregio area, as well as trying to make strict structure of enterprises more by allowing more freedom and dynamics. The sector of press and publishing could profit from a broader offer of training, specialisation courses and initiatives linked to the topic of publishing.

According to the participants, a critical mass of players needs to be established, tourism should be further developed and establishing university-sector cooperation couldpositively contribute to the sector in the future. They hope to gain more international access to and through European platform and business models linked to journalism. Education, language and personnel financing all play a role with regards to human resources. The sector of press and publishing could profit from a reference partner or administrative support office in charge of consultancy and international marketing and networking. The digital shift is an essential aspect that must be considered for future developments of the press and publishing sector. Some stakeholders regard the print and digital market as two distinct entities, others refer to them as being valid alternativesto be integrated among each other. Although the digital world may facilitate some procedures linked to production and distribution, it does not automatically grant for an increase in quality and professionalism. In general, it is not perceived to cause direct negativeimpact on traditional publishing methods.

See Annex 1 for further details on the SWOT analysis: Roundtable of Publishing and Press.

Graphic Design and Advertising Date and location: 5.07.18, NOI Techpark The participants of the roundtable Graphic Design and Advertising argued that South Tyrol offers a dense network of diverse creative producers and operators. It offers space for creative production and design. However, there are no design platforms available and only few fix creative enterprises do exist within the territory. The participants claim that the reason behind this is an excessive concentration on tourism and tradition, coming from outside and from inside the region respectively.

The ideation of being multicultural, multilingual and multi-facetted region is regarded as strength.

However, the participants argue that themerefact to speak differentlanguages does not automatically mean to know different cultures. Financial resources and support coming from the public offices, is regarded as a positive factor for the graphic design and Advertising sector.

The stakeholders perceive there is a trustful, close relationship between the sector and the administrative bodies. There is opportunity present already due to the demand by many sectors for design and conceptualisation.

For the future the stakeholder of Graphic Design and Advertising hopes that the high standard work is not sold for little profit. The competition is increasing due to the availability of tools that are accessible by anyone. They argue that design should be regarded as a booster for economy, culture and place branding, which can counterbalance the traditional image of South Tyrol of being merely a “peaceful holiday destination.� Another opportunity to develop the Creative Industries in the region can be granted a continuous exchange of information and establishing a network.

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An institutional and political reference point for the Graphic Design and Advertising sector is lacking. This could be helpful in avoiding dispersion and leveraging the dialogue among stakeholders to trigger business exchanges. Some participants suggest that the sector would profit from the establishment of a design centre, a Gallery of visual communication and a design conference at regional level. This kind of networking is also mentioned in connection with the prospect of internationalisation: internationalfairs and events are suggested as opportunity for the development of the sector in orderto present and position itselfon the market. The lack of visibility is raised as one of the major threats as small-sized enterprises feel to be left out and risk to remain unknown.

The participants of the roundtable in graphic design and Advertising welcome the idea of having a future reference point/office in charge of mediating between the graphic design sector and the commercial sectors, as well as between the enterprises and the young audience. A central power that can coordinate and manage the local network composed by businesses and creative minds is necessary.

See Annex 1 for further details on the SWOT analysis: Roundtable of Graphic Design and Advertising.

Software and Videogames Date and location: 25.06.18, NOI Techpark The participants of the roundtable of Software and Videogames perceivethe region of South Tyrol as a promising place for the development of enterprises and institutionsof the Software and Videogames sector. This is due to the sector´s mind set is focused around anticipation of technologies and opportunities. A well-functioning network of experts and the high interest to develop further and accept challenges characterises the sector in a positive way. The strength of the sector is thus seen in its ability of anticipating technologies and to apply them to daily errands in different areas while offering a continuous education to the audience. This leads to another feature of the sector, which is to always show a high degree of flexibility and availability. One person is not enough to grant the service; it needs to be ateam composed by professionalswith differentcompetences who also knows all the languages of the place. In this sense the participants lament the lack of suitable human resources in the territory.

The tide relationship between the sector and the Free University of Bolzano, thanks to existing courses offered by the Faculty of Design and ICT, is seen as a great opportunity for the future development. Nevertheless,this does not solve the problem of brain drain; the participants argue that talents are often recognised when it is already too late. The young professionals would have already moved abroad to receive the recognition they deserve. An attempt to solve the threat of brain drain was made in 2018, by establishing and institutionalising a praxis-oriented training path (Lehrberuf).

However, living costs are another weakness, which does not positively contribute to this aspect.

Among the challenges, the participants mention the urge to increase the market attractiveness, as there are not many attractive projects for talented professionals on the market. Natural resources, landscape and culture are regarded to be positive factors and an opportunity to attract people from outside. Another strength of the region are the public support programs which allow to invest in development.

Marketing and sales are important aspects wherethe sector hopes to get more support in the near future. At the same time, stakeholders of Software and Videogames suggest considering new education programs by integrating modules on technical skills and comprehension in the lower grades. This would also help to raise awareness for the sector and familiarise the young generation

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First Creative Industries Report South Tyrol

with the technical language. As a practical suggestion the participants mention the advantages of having a database of local enterprises as a tool to leverage exchanges and gatherings among professionals of the Software and Videogames sector.

See Annex 1 for further details on the SWOT analysis: Roundtable of Software & Videogames.

Architecture Date and location: 09.07.18, NOI Techpark The participants of the roundtable of Architectureclaim that South Tyrol offers space for action to the professionals of architecture and moves on high quality standards. Among the main strengths they mention the intercultural background that enables interdisciplinary practices and visions; the landscape as rich context of inspiration; the general public attention through public structures and institutions; a well-functioning network between artisans and companies; and last but not least the wages that are higherin average than in other Italian regions.

Among the weaknesses participants mention the red tape issue, referring to a series of administrative and practical obstacles but also to the overall mindset and attitude deriving from it.

Many of the stakeholders find it difficult to be recognised as drivers of change and innovation.

Regionalism is regarded as a concept that createssomedebates as it isperceived to bea limiting factor.

There is the urge to gain attention from a vaster audience, beyond the sectorialone.

The geographical position is regarded as a weak point by the stakeholders of Architecture; they perceive the region to be isolated and the mobilityin terms of public transport as lacking behind.

Also the lack of educational programs is mentioned and connects to the threat of an increasing fragmentation within the profession. Local wages are low if compared to European standards and participants argue that public authorities miss out in setting up a master plan linked to urban planning policies. Some stakeholders also report about inconveniences caused by the lack of a master plan, since decision-making processes last too long and publicbodies´ reactivity with regards to projects is too slow.

The stakeholdersof Architecture point out the need of an economic stability as well as a more informed awareness of public institutions and of society about the topics related to architecture.

A question is raised in terms of the identityof the place. Participants argue that it can be linked to the regional context but at the same time also to the Central European work of architects living in South Tyrol. In this sensethe participantswishmore visibility and an international positioning for the future.

The optimization of the internal and external network through international fairs and initiatives are regarded as opportunities for the sector. A more accurate support is required in the expansion of technical and administrative know-how, especially for the employees’ perspective.

See Annex 1 for further details on the SWOT analysis: Roundtable of Architecture.

Film Date and location: 9.07.18, NOI Techpark The participants of the Film roundtable expressed enthusiasm about the region, as they regard South Tyrol to be a fertile place for the development of the film sector. The availability of resources and the dense network facilitate the collaboration between actors of the sector. Another strength is the

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educational offer provided by the ZeLIG School for documentary film, new media and tv. The region offers the possibility to access multi-faceted teams and the choice between small and medium sized enterprises which are characterised by a high degree of flexibility. Besides the well-functioning collaboration and ex-change between institutions, there is another set of strengths that the stakeholders of filmliketo point out: the geographical position leveraging contacts towards the North of Europe, the attractive landscape and the availability of numerous locations which help to attract important production companies from abroad.

Among the weaknesses, the participants list the limited distribution market, long lasting production processes, a strict red tape system and - in contrast to mayor production centres - the decentralisation of services. Another set of weak points impacting the competitiveness of the sector in South Tyrol, include strong dependency on tourism and scarce communication flow among enterprises. The stakeholders agree that a less individualistic point of view among the professionals of the sector could be of help. During the discussion, the scarce infrastructure is also mentioned, especially referringto studies and specific services dedicated to media and formats. Thereare still too many technical skills and functions for which professionals are forced to go abroad for study and experience. In general, there is a lack of specialised personnel on different levels.

For the future development the stakeholders of the film sector suggest that the sector needs to open to the international market and to expand to other production formats and in connection with the TV industry and Advertising.

They see potential cuts in the public financing programs as a major threat for the future and they express doubts about the sector´s ability to work along sustainable policies and long-term planning. A practical note is given by the stakeholders of film in relation to the digital shift and new technologies: there is the need to elaborate innovative ways through mobile formats in the postproduction.

See Annex 1 for further details on the SWOT analysis: Roundtable of Film.

Handicraft Date and location: 10.07.18, NOI Techpark The participants of the roundtable of Handicraft regard various features of the region of South Tyrol as a promising pre-requisite of the sector´s establishment and development: a sound basis of knowledge and artisanal culture rooted in the territory, a nearly intact nature, a well-functioning economy and a good connection between Handicraft and industry.

However, the call for tradition causes the stakeholders to question the brand “South Tyrol” and whether it is over-estimated within the sector of Handicraft. They argue that the uniqueness, which the brand stands for, is always a grant for quality or if it rather presents a limit for research and innovation.

Among the weaknesses of the sector the participants list: a general lack of interest towards novelties, input from outside, international openness; a lack of visibility outside the provincial borders; a strong red tape context and little collaboration between local producers. The participants also report on the difficulty to form and train eclectic and hybrid professionals who are prepared to operate between Handicraft and other ambits. They argue that the educational system is in crisis; the school programs appear unattractive for the next generation and there is a lack of suitable work integration programs for young people. Many of the young professionals decide to remain abroad.

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First Creative Industries Report South Tyrol

They also referto a crisis of the Handicraftintended as profession, the scarce awareness of its meaning and purpose in society and the confusionrelated to the distinctionbetween Handicraft, art and design.

This conceptual confusion is something that still distinguishes South Tyrol from the North of Europe.

Some aspects representthreats for the future development of the sector: the standardisation of technical know-how, the predominance of individualism among producers and administrative barriers also in relation to European standards. The sector, thus, needs to overcome these challenges by enforcing the network among producers, enterprises and the institutions in charge.

The stakeholders of Handicraft see opportunities for the future development in the internationalisation and receptivity of ideas and methods coming from outside the region. This could help update the current production on different levels and renew the South Tyrol image with regards to Handicraft, worldwide. Isolation would be a major threat and shall be avoided by putting effort in the positioning of the South Tyrolean Handicraft on the international market. The stakeholders agree that it is time to overcome narrow-minded value settings and to enforce education in order to motivate the next generation for the Handicraft in future.

See Annex 1 for further details on the SWOT analysis: Roundtable of Handicraft.

Fashion and Product Design Date and location: 10.07.2018, NOI Techpark The participants of the roundtable of Fashion and Product Design list a series of aspects regarding the region of South Tyrolwhich they perceive to positively contribute for the development of their sectors: rich traditions, the natural landscape as a source of inspiration and know-how, a high quality of life, a general income that is higher than the Italian average, the University with a specific Faculty of Design that helps attract and inspire young talent and last but not least, a dense network of communication between actors. The stakeholders mention some of the weaknesses of the regions to include the development of the CCI sectors, backdrop in the development of the South Tyrol brand and the delay of local institutions to pick out CCI as a central theme.

Further critical points are: the lack of a “territorial culture” with regards to the fashion sector; the fact that product design is still quite oriented towards the sector only; mass tourism, creating high demand and causing high quality products to sink; the scarce connection to the history and to the promotion of “Made in Italy”; the limited exchange of experiences among enterprises; a scarce communication to the outside world, that is beyond the regional borders; and a strong red tape mentality.

The participants argue that the knowledge and awareness about the sector and the support of banks, incubators and business angels are both missing. Regarding the clients and the market, there seems to be the riskof a splitting within the sector due to the niche products which are gaining overhand. Some stakeholderspoint out that there is a need fora precise and realistic market analysis which includes also the consumer behaviour. They also express their interest in being more involved in distribution chains of the “Made in Italy” and, thus, strengthen the connection towards the Italian fashion scene.

As a general threat, the participants perceive the tendency of the sector to focus in depth on regionalism and to invest greatly in the origins (linked to tradition and nature) of the region, which might be disadvantageous for the development of a global vision and innovative trends.

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First Creative Industries Report South Tyrol

In the discussion, an excessive rationalisation and standardisation are mentioned, while specific skills are perceived to be left behind. This causes the sectors to connect to contemporary trends which are introduced by the industrial and product-design. The participants wish however for the future to find a solution in order to get back to their “old job� which also include artisanal skills and the experimentation with traditional materials, from wood to metals, when referring to productdesign.

A bridge from identity to contemporary elements also needs to be built but presents a challenge for the sectors of the roundtable. Yet they do agree that this will be a necessary step for the future development in order to overcome provincialism and to assure the renewal of the South Tyrol brand.

See Annex 1 for further details on the SWOT: Roundtable of Fashion & Product Design.

Visual Arts Date and location: 12.07.18, NOI Techpark The participants of the roundtable of Visual Arts regard South Tyrol as a region that offers a satisfying amount of possibilities for the sector; it provides dynamic concept procedures which allows for the implementation of artistic projects. Some other strengths are given by the quality standards of production tools and measures, as well as the specific expertise that exists on the territory. Another positive feature is the network among the artists and the areas of production, including the Handicraft sector. A vast diversity of professional profiles and experiences is present on the territory and is to be found among the stakeholders of the roundtable. This helped movethe discussion straight to the weaknesses of the region as it is perceived from the various points of view: the stakeholders point out that generally sponsors and the whole economic systems underestimates the sector and hinder from setting up long-term strategies and the positioning of the sector in the global market.

The participants explainthat a small part of the capital that circulates through the visual arts scene remains within the sector and is thus usable to produce enough visible effects and virtuous circles for the sector itself. There is a lack of partners who take action to directly support the sector in financial terms. Participants lament the lack of international symposiaand seminars, which could be organised to boostthe visibility of local actors and foster investments in the sector. Participantsargue that the local politics do not support the sector actively, although some concrete efforts are shown especially by determined public offices, by some more than by others, even though treating the same subject area.

Another weak point considered is the communication. Some stakeholders argue that the local editorial offices do not have efficient strategies and there is a big difference in the promotion of the sector when compared to Austria and other larger Italian cities like Milan.

For the future development of the sector, the participants hope to reach a better market positioning at national and international level. They see a great opportunity in transforming South Tyrol to the destination par excellence dedicated to Visual Arts in the whole Alpinearea. They stress the urge of establishing strategic measures of coordination for the actors involved in the sector and with proper support at policy level.

See Annex 1 for further details on the SWOT analysis: Roundtable of Visual Art.

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First Creative Industries Report South Tyrol

Cultural Operators and Public Administration Date and location: 12.07.18, NOI Techpark The participants of the Cultural Operators and Public Administration roundtable provided a detailed overview of what advantages creative professionals could gain from the South Tyrolean context in terms of an “ecosystem”. Allthe stakeholders taking part in the discussion are either part of the public administration or in direct contact with it.

As a main strength, participants mention the availability of financial resources and the geographic location with regards to Central Europe, the combination of tradition and innovation as a trigger for new practices and the presence of educational institutions like the Free University of Bozen/Bolzano and the ZeLIGSchool for documentary film, new media and TV. They argue that these institutions contribute to the promotion of multilingualism and multiculturalism in the region. Other advantages are the small size of the territory, which facilitates the work of cultural operators and public administration officers, by focusing on this specific context which is articulated and complex.

Another positive aspect is provided by the various networks created among professionals in the cultural field. This helps to trigger interdisciplinary exchange. Several architecture awards are offered in the region, and collecting agents as well as enterprises are available and willing to invest in art is therefore augmented. Another positive aspect contributing the South Tyrolean cultural sector is the existence of the Film Commission and other diverse cooperatives which are contribute significantly to cultural production. The territory also offers great diversity and a number of locations which are suitable for hosting and staging events. The music sector is perceived to be especially active in this sense.

The stakeholdersagree that South Tyrol is perceived,from the outside,as aplace of wellbeing and of development and innovation. However, they express some criticism with regards to this facade. They point out some risks and threats that hide in the background and also show complex situations and some contradictions.

Among the weak points they mention: the presupposition of the concept of “small and nice” which can be a double-edged sword; the issue of brain-drain; the financial support of cultural initiatives in future, as 90% are currently covered by public funding which also affects the overall structure of the market segment; the split of cultural programs into two language groups, which feeds conservative tendencies and makes synergies sometimes difficult to resolve and evolve.

The stakeholders argue that for those players who are not covered by the South Tyrolean brand, it can become difficult due to the lack of financial support. They alsoclaim that an independent cultural scene and respective initiatives miss out. The rather traditional mindset of private people investing in the cultural sector is perceived as being disadvantageous for the future development of the sector.

Some of the participants report that in their opinion public support is not equally provided among the cultural sector and other sectors. It appears that the public administration is not aware of the changes and issues at stake concerning cultural domains. A strategy of the system is lacking and the fragmentation of the sector results in a weakening in its development ata regional level.

The participants agree that too extensive an intervention of the public administration in creative businesses and processesrisks to harm the flow of ideas and the free unfolding of innovative strategies. They perceive the vertical system of the public administration in charge of cultural policies to be restrictive. The participants point out that the present situationrequires a lot of work which still needs to be done by cultural operators and public administration in terms of cultural policy making.

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They perceivean increase in responsibility giventhe fact that cultural policy also has an important role to play in the production of values which are not only of economic nature.

For the future, the stakeholders seea great opportunity in leveraging collaboration with the adjacent regions of Tyrol and Trentino. They see a major goal in elaborating cultural projects and initiatives that are close to the citizens and their needs. They are overly conscious of the threat of institutionalising processes within the cultural sector and of limiting the importance of culture to the mere business-management purposes. At the same time, they highlight the importance of also beingaware of the political context by making sure to not lose the necessary visibility and priority of the cultural sector in the regional agenda.

See Annex 1 for further details on the SWOT analysis: Roundtable of Cultural Operators & Public Administration.

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5. Summary of results of the quantitative analysis of CCI South Tyrol This chapter is a summary by V. Cattivelli showcasing the main finding of the project partner’s quantitative report written by G.T. Blessiand F. Viganòon behalfof the Free Universityof Bolzano. The original quantitative report is entitled “A survey report on the Culturaland Creative Industries in South Tyrol (2019)” and forms part of the overall documentation on CCI in South Tyrol as commissioned by IDM CI in conjunction with the present Final Report, which covers all stages and results of the investigation. This chapter includes a short introduction to the methodology adopted for the quantitative analysis by the project partner followed by a short description of economic highlights including a comparison to related data of 2011 as well as a comparison to the national level.

5.1

Methodology

The quantitative analysis of Cultural and Creative Industries in South Tyrol was based on the KEA model that distinguishes three types of organization, such as Cultural Core, Cultural Industries and Creative Industries.

More specifically, we have selected the cultural and creative industries according to the macroclassification of the KEA model through the ATECO codes codified by UNIONCAMERE in Italy, and we have followed thesame ratioof Symbola, the Italian non profit organization which provides yearly data on the CCIs. The only exception was made for the Handicraft sub-sector, was included by Symbola and excluded in the present research. The main reason forthis choiceis that the ATECO codes used for the handicraft sector presentseveral issues of a clear identification of what are creative activities and what are traditional ones. Each type of organization is further detailed in sub-categories, like Design, Architecture, Communicationand Branding (the Creative ones); Music, Video & Film& Radio-TV, Visual Arts – Performing Arts, Book and Press,Historical Heritage, Software& Videogames (the Cultural ones).

Based on this categorization, the analysis filtered all organisations operating in South Tyrol.

As part of the methodology, it is worth declaring the limits of the quantitative analysis, as some industries and local subjects (including those of the handicraft sector and the freelancers), which are not coded with the ATECO, are not traceable and do not result in the quantitative evidence.

The analysis relied on two surveys´ results collected in 2011 and 2017 and explored data related to major economic information, such us the total number of employees, the gross value and the value of output.

As the organisations are not required to providethis informationmandatorily,the analysis considered data for each dimension only in the case of presence of information with a cut off of >50%.

The current synthesis is structured as follows. The second subparagraph includes a comprehensive analysis, the third an analysis of economic data for each sub-category, the last a comparison with national data.

5.2

A comprehensive analysis

The current analysis only considers the Creative and Cultural Industries. It does not include any reference to cultural core companies.

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Figure 10: A comparison of weight of each sub-category on total CCIs in 2011 and 2017.

CCIs in South Tyrol Weigth of each sub-category on total CCIs A comparison 2011-2017 60 50 40 30 20 10 0

2017

(Source: own elaboration 2012, 2018, based on CCIAA data 2011, 2017)

Comparing the two years, we can observe that some subsectors have changed significantly: Books and Press has diminished from 49% to 26%; Software & Videogames has increased from 17% to 25%; Architecture increased 1.87% to 7.44%, design, film and video have also increased.

5.3

Economic highlights 5.3.1

The evaluation of the creative sector I

This section includes the sub-categories of Architecture, Communication & Branding, Design.

Table T5.1: Economic data related to Architecture, Communication & Branding, Design.

Data

Architecture 2011 2017

Design 2011

2017

Average number of 5.33 3.66 2.99 3.1 employees Total number 53.25 216 494 35 3 of employees Average of 454.043 571.377 5.097.733 1.039 .959 the output Total value of 5.902.547 29.711.617 203.909.318 42.638.259 the output Average gross 452.505 469.684 4.518.906 831. 071 revenue Total gross 5.882.563 24.423.557 180.756.231 34.073.907 revenue Number of 28 91 185 13 1 companies (Source: own elaboration 2012, 2018, based on CCIAA data 2011, 2017

2011

2017

2.44

1.69

182.67

158

430.87 6

492.575

7.755.77 5

10.836.646

417.32 7

483.181

7.522.88 7

10.629.986

90

112

Architecture only includes the professional firms coded with 71110, 71121, 71122 ATECO, as they are detectable through the data of Chamber of Commerce, thus it excludes freelancers. It is possible to observe that in the period from 2011 to 2017 the number of firms and employees has increased

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considerably; the average of the gross revenue remains almost stable and the average number of employees decreases. The last piece of informationmay indicate that evenif the sizeof the companies declined, the gross revenue generated has increased, showing a higher economic efficiency (2011 â‚Ź 84,897 per employee; 2017 â‚Ź 128,328 per employee).

The advertising and communication sector includes firms operating in public relations and communication, creation of advertising campaigns, advertising agency activities and sectors coded with 70210, 73110, 73120 ATECO codes. In our timeline from 2011 to 2017 the Communication and Branding sub-sector shows a loss of value, not only in economicterms but also in the number of firms.

We can observe a 30% reduction in the number of firms operating in the Autonomous Province of Bolzano and consequently of their employees, though the average number of employees for companies remained almost stable. In economicterms, the gross revenue and the value of the output decreased considerably.

Design includes firms related to the ATECO codes: 74100, 74101, 74102, 74103, 74109. We can see that in the period between 2011 and 2017 Design increased both in quantitative and qualitative dimensions. In absolute terms, the number of firms of this sector rose from 90% to 112% (+24.5%), and similarly the economic dimension in terms of value of output and gross revenue has risen as well.

However, the numberof employees,has decreased.

5.3.2

The evaluation of the creative sector II

This section includes the sub-categoriesof Film, Video, Radio and TV, Software & Videogames, Music, Performing- and Visual Arts, Books & Press, Cultural Heritage.

Cultural Heritage, which is less relevant for the current analysis, has been included for the sake of entirety of the whole picture.

Table T5.2: Economic data related to Films, Video, Radio & TV and Software & Videogames.

Data

Average number of employees Total number of employees Average of the output Total value of the output Average gross revenue Total gross revenue Number of companies (Source: own elaboration

mes

Film, Video, Radio and TV 2011

2017

2011

2017

2.86

3.58

3.68

5.3

205,75

305

717.42

1300

1.216.633

618.534

1.483.883

1.1 18.035

13.382.633

18.556.023

117.222.846

146. 462.521

1.128.629

463.578

1.483.883

1.0 69.007

12.414.921

13.907.341

114.497.113

140. 039.891

86

103

262

315

2012, 2018, based on CCIAA data 2011, 2017)

Film, Video, Radio and TV include firms are coded as follows: 59110, 59120, 59130, 59140, 26400, 60100, 60200, 62010, and 62090. This sector shows an interesting evolution in the period between 2011 and 2017. In this respect, all elements reported -employees, gross revenue and value of the output - increase. There are several elements which may have had a positive effect on the dynamics

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depicted, e.g. the new strategy concerning the movie industry, where several products (movies, TV series) have been produced in the last 10 years in the Autonomous Province of Bolzano. These have boosted a fertile ecosystem for the establishment of new companies operating in the sector. Last but not least, the launch of the Film Commission and the establishment of the Innovation Department of the Autonomous Province of Bolzano, have driven the attraction and location of TV and video productions, also bringing interesting opportunities in terms of funding and support for start-ups of new firms.

The sub-category of Software & Videogames includes firms coded as follows: 582000, 58210, 62010, 6209, 620901, 620909, 582900, 32401.

Thanks to the data above, it is possible to observe, that during the timeline of 2011 and 2017, there has been considerable growth.Even though the number of companies has risenalmost 20%, it is more important to note that the number of employees has increased to 86%. In addition, the indicator considering the average number of employees per company, registers an increase, which might be explained by the probable growth in the size of the firms operating in this sector.

Table T5.3: Economic data related to Music.

Data

Music 2011

2017

Average number 1,25 1 of employees Total number of 15 18 employees Number of 23 20 companies (Source: own elaboration 2012, 2018, based on CCIAA data 2011, 2017)

The Music subcategory includes firms that operate under the following ATECO codes: 59200, 59201, 59202, 59203, 18200. Given the number of companies operating in the Autonomous Province of Bolzano, it has only been possibleto collect data in relationto employees and number of organisations working in the area. The information depicts a ‘niche’ sector in relation to the Cultural Industry environment. It is difficult to comment or evaluate differences and changes in their status quo.

Table T5.4: Economic data related to Books & Press and Performing & Visual Arts.

Data

Average number of employees Total number of employees Average of the output Total value of the output Average gross revenue Total gross revenue

Books and Press

Performing & Visual arts

2011

2017

2011

2017

5.61

5.84

3.52

7.61

2.382,34

1743

246,25

701

3.663.652

2.961.755

695.596

852.859

212.491.823

186.590.573

15.998.717

26.438.644

3.416.416

2.768.039

649.472

800.807

198.152.121

174.386.444

14.937.858

24.827.179

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First Creative Industries Report South Tyrol Number 469 323 of companies (Source: own elaboration 2012, 2018, based on CCIAA data 2011, 2017)

86

112

The Book and Press sub-category includes firmsthat operate under the following ATECO codes: 74202, 90030, 18120, 47610, 18130, 58140, 58110, 58130, 17230, 63910, 18140, 58190, 82992, and 18110.

Data demonstrates, that the number of companies operating in the sector within the Autonomous Province of Bolzano fell quite considerably, a dynamicwhich has characterized this specific market not only at national levelbut also at a worldwideone. In the economic dimension, the valueof the output and the gross revenue also decrease. It is interesting to observe however, that the average number of employees per company, had developed a counterintuitive dynamic, compared to the changes in the number of firms operating.

Performing and Visual Arts sub-categories include firms that operate with the following ATECO codes: 90000, 90010, 90020, 93299, 90040, 91020. A relevant growth in the timeline between2011 and 2017 can be observed. In this respect, it is possible to notice a relevant expansion not only in terms of number of firms, but also and more importantly, in employees. The total number of employees recorded in 2017 is almost 3 times higher than in 2011, and the average number of employees per firm has also raised consistently.

Table T5.5: Economic data related to historical and cultural heritage.

Data

Historical and Cultural Heritage 2011

2017

2.67 10,67

4 36

Average of the output

220.391

189.163

Total value of the output Average gross revenue

661.174 145.068

945.813 131.931

Total gross revenue

435.205

655.57

Average number of employees Total number of employees

Number of companies 4 (Source: own elaboration 2012, 2018, based on CCIAA data 2011, 2017)

11

As noted in the presentation of this dimension, the quantity of firms operating in the Autonomous Province of Bolzano is small, with only slight changes in absolute terms in the timeline between 2011 and 2017. However, it is possible to underline, that in the Historical and Cultural Heritage sector, the number of employees has risen from 11 to 36 during this time.

5.4

A comparison with the national level

The first level of evaluation is devoted to the difference between CCIs at local level. In this respect, it is possible to observethat the total number of firms operating in the Autonomous Province of Bolzano in 2011 were 1,257, and in 2017 1,276, with a differenceof +1.5% in the years under investigation. The number of employees also increased from 4,713 of 2011 to 4,989 of 2017, and in this dimension the difference is +4.8%.

The second level of analysis refers to the relation between the whole productive dimension of the Autonomous Province of Bolzano and the CCIs in 2011 and 2017. Thanks to the data, it is possible to observe that in 2011 the total number of firms operating in the Province was 56.733, with a total number of employees of 262.549. In 2017 the number of companies operating in the Bolzano area grew (58.390), with a small reduction of the number of employees to 258.268. The comparison with the CCIs operating during the same time period shows that in 2011 the percentage of firms belonging

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to the Cultural and Creative Industries was 2.21% of the total number of firms, and for the employees this percentage was 1.79%.

In 2017, data shows that almost nothing changed proportion-wise, specifically the percentageof CCIs in relation to the whole local productive sector was 2.19%, and for the employees it was 1.91%.

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6. Results of the explorative online survey This sub-chapter presents the results of the explorative survey carried out in spring-summer 2019 in South Tyrol by IDM CI and Eurac Research.

The key findings are described in the following pages and give some details regarding the current situation of representatives from the eleven sub-sectors considered for analysis: Design, Film, Architecture, Music, Radio & TV, Advertising, Handicraft, Publishing & Press, Performing Arts, Visual Arts, Software & Videogames. The criteria of selection for these subsectors has been explained in previous chapters.

The survey was designed and used as a tool for awareness raising and community building among the creative professionals of the region and, accordingly, the invitation to participate was also opened to stakeholders of publicentities and representatives of the Cultural Industries in order to include them in the initiativeand establish a first contact between IDMCCI and the target audience in general.The descriptive data analysis resulting from the online survey, exclusively takes into account the participants responding to the selection criteria, set at the beginning of the investigation, namely: private enterprises and freelancers operating in the eleven sub-sectors within the region of South Tyrol. The descriptive analysis offers, in this sense, a current general picture of the players within the CCI based on the definition of IDMCI´s main target group of investigation for the time being. Evidence deduced from this up-to-date set of data shall give the first imprint of the situation of specific subsectors of CCI in South Tyrol.

6.1

Main features of the core sample of analysis

The total of survey responses amounts to 400. Of the overall responses, 38 were eliminated prior to data evaluation due to either inappropriate or incomplete responses or in the case of double submissions provided by the same entity 52.

Among the 400 valid responses, there were 339 private bodies and 23 publicbodies.

Mapping the CCI representatives of our explorative survey in South Tyrol 166 respondents out of the 339 private bodies included in our sample, indicated the municipality in which their activity or establishment is located within the region. Accordingly, the following GIS map provides an overview of the physical distribution of the CCI representatives who participated in the explorativesurvey within the region.

52 Only one response per company was allowed for the purpose of the analysis. In the event of double entries,

meaning that two different employees of the same company had submitted a survey, only one response was kept for data evaluation.

The criteria of selection among such double entries were previously agreed upon among the working group members and consisted in giving priority to the reply that was a) completed more thoroughly; b) was submitted earlier.

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Map 1: Mapping of CCI in South Tyrol. Distribution of survey respondents.

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As we can see from the illustrated map of South Tyrol, the CCI representativesthat participated in the explorative survey and who gave some indication regarding the geographical position of their operational office,seemto cluster in and around urban areas, like Bolzano-Bozen, Merano-Meran and Brunico-Bruneck. However, they are at the same time also spread all over the region also covering remote places in rural areas.

As mentioned in the introduction, the present descriptive analysis focuses on the respondents that indicated being privatebodies and associated themselves withone ofthe 11 CCI subsectors highlighted in this report. It was shown that among the respondents of the 339 private (or “non-public�) entities, some subsectors were more frequent than others.53 The following table and graph illustrate how the survey sample, based on the results, is composed and subdivided in terms of CCI subsectors.

53 The subsectors indicated in the survey were slightly different to the ones organized for the roundtable

discussions, namely, in thesurvey, the ambit of Design comprehends both, Product- and Fashion Design, without further distinction. The ambit of Advertising, on the other hand, is kept as category on its own without the addition of Graphic Design.

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Table T6.0.1: Number of survey respondents for each subsector of CCI considered for the analysis.

Subsector Design Film Architecture Music Radio and TV Advertising Handicraft Publishing and Press Performing Arts Visual Arts Software and Videogames Other TOTAL

Respondents 47 33 77 10 6 30 28 17 6 13 1 71 339

Graph G6.0.2: Composition of survey sample organized by subsectors of CCI. Design 14%

Film Architecture

21% 10% 4%

Music Radio and TV

2%

Advertising

5% 8%

22% 9%

21% 0, 3%

Handicraft Publishing & Press Performing Arts Visual Arts Software & Videogames Other

(Source: own elaboration, October 2019)

As shown in the table T6.0.1 and graph G6.0.2, the largest group of survey respondents operatein the CCI subsector of Architecture with 77 survey participants, followed by Design with 47 survey participants, Film with 33, Advertising with 30 and Handicraft with 28. Regarding the subsector of Publishing & Press the respondents amount to 17, followed by the group of respondents from Visual Arts with 13 participants, the group of Music with 10, the group of Performing Arts as well as the group of Radio & TV with 6 survey participants each. Finally, there is one survey completed by a representative of the Software & Videogame subsector providing some insight to the ambit.

Sketching the financial situation of the CCI representatives based on the survey From the data of the respondents who provided some (optional) information about their turnover class as referred to their last balance sheet (up to June 2019), it can be seen that the turnover varies

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among CCI subsectors. However,the sampleis too small and the data too little to justify or outline any specific trends in these regards. The following graph gives an indicative overview of the survey outcomes related to the turnover class as referred to each CCI subsector.

Graph G6.0.3: Indicative turnover of each CCI subsector.

Data referring to the latest balance sheet by July 2019 and collected through the survey Optional response.

350000 300000 250000 200000 â‚Ź 150000 100000 50000 0

(Source: own elaboration, Eurac October 2019)

As shown in the graph G6.0.3 and as referred to the turnover class of some CCI representatives who participated in the survey and opted to provide a response, there is a turnover between 300.000 and 400.000 Euros with respect to the Publishing & Press subsector and between 200.000 and 300.000 Euros with respect to the two subsectors of Radio & TV and Advertising. For the remaining subsectors the data provided by the respondents indicate a turnover below 200.000 Euros while for the Videogames & Software subsector no data was provided.

Sketching investment patterns and requirement of the CCI in South Tyrol From the data collected through the explorative survey it is possible to approximately delineate investment patterns of CCI enterprises (freelancers) and observetheir preferences and/or possibilities of investment. The table T6.0.2 gives an overviewof the business areas in which representatives of CCI assembled in their respective 11 subsectors most frequently to invest in.

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Table T6.0.2: Distribution of investmentwithin CCI according to the survey respondents.

Indication based on frequency of respondents.

Human resources

Service Development

Internationalisation

Equipment

7 8

12 13

3 4

7 6

Hardware & Software 8 5

Architecture 13 12 Music 0 4 Radio & TV 1 1 Advertising 6 7 Handicraft 1 5 Publishing & 7 7 Press Performing 1 2 Arts Visual Arts 2 4 Software & 0 1 Videogames Total 46 68 (Source: own elaboration, Eurac 2019)

2 0 0 1 5

8 3 2 6 10

3

Design Film

Research & Development

Other

9 3

6 4

17 3 1 7 4

9 1 0 2 4

18 4 0 1 1

3

6

2

1

0

0

0

0

1

1

5

4

2

3

0

0

0

0

0

19

50

55

32

39

According to the total indications providedby the survey sample it appears that representatives of CCI invest in service development (68 respondents) and in hardware & software (55 respondents) most frequently. The priorities of investment vary according to the CCI subsector. Forinstance, it is evident that respondents of Design frequently invest in service development (12) followed by research & development (9) and hardware & software (8) while respondents of Film mainly invest in service development (13) and hardly invest in research & development (3). Handicraft respondents, on the other hand, tend to invest in equipment (10).

As the table T6.0.3 shows there are some ambits of the business in which the enterprises (or freelancers) of CCI in South Tyrol indicate a necessity for support and advice. The respondents were given the chance to indicate how much they would welcome support and advice in determined business areas by using a scale from 0-4 (0=not at all, 1=just, 2=enough, 3=some bit, 4=very much).

The table T6.0.3 shows which value of the scale the respondents of each subsector selected and the respective weighted mean for each business area provided for selection.

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Marketing & Administration promotion

Financial & facilities

Specific & Internationalization technical skills

Networking

Sales & customer mgmt.

Other

1,2

1,2

1,9

1,8

2,1

2,8

2,5

2,2

2,7

2,2

Film

1,7

2,1

1,8

2,3

2,7

2,5

2,3

2,7

1,8

0,4

Architecture

1,5

2,6

2,0

2,5

2,3

2,1

2,4

2,7

2,1

0,3

Music

1,9

2,9

2,9

3,3

3,5

2,9

3,0

2,9

2,4

2,0

Radio & TV

1,7

1,7

2,3

3,7

3,0

1,0

2,0

3,3

3,7

0,0

Advertising

1,8

2,0

1,9

2,4

2,8

2,2

2,6

2,9

2,2

0,8

Handicraft

1,3

1,8

1,2

2,9

2,2

2,1

2,1

2,4

2,8

0,6

Publishing & Press

1,9

1,1

1,1

2,3

3,1

2,6

1,6

2,6

2,4

0,3

Performing Arts

1,0

2,2

2,2

2,8

2,8

2,0

1,6

1,8

2,8

0,0

Visual Arts

1,9

1,6

2,2

3,6

2,4

3,0

1,8

3,1

2,1

0,2

Software & Videogames

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

MEAN

1,6

1,9

1,9

2,7

2,7

2,3

2,2

2,7

2,5

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Design

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Table T6.0.3: Business areas in which respondents of CCI indicate to need more support and advice.

Weighted mean with scale 0-4 (0= not at all, 1= a little, 2= enough, 3= a lot, 4= very much)

(Source: own elaboration, Eurac 2019)

HR

Legal affairs

When asked how useful it would befortheir organization to receiveadviceand/or support inthe areas of business listed, respondents could choose between a values scale of 0 to 4 (0=not at all, 1=a little, 2=enough, 3=a lot, 4=very much). As the table T6.0.3 shows, respondents of Radio & TV attributed their highest values to “sales and customer management” and to “marketing and promotion”, both with a weighted mean of 3,7 (corresponding to a value between “a lot” and “very much”) . Likewise, a high value is attributed to “marketing and promotion” by the subsector of Visual Arts with a weighted mean of 3,6. According to the survey it r, thus results that these specific subsectors would welcome advice and support mostly in these business ambits. Whenreading these values, it shall be considered that the weighted average is calculated by taking into account the sample size for each subsector. The final line showing the average for each business area, puts together the data of all subsectors and indicates that most support and advice from the CCI in general is perceived by survey respondents to be needed in the ambit of marketing and promotion, financial aspects and facilities and networking (each with a value of 2,7).

Sketching the results regarding the subsample of “public entities” Out of the 24 respondents who answered as a “public body”, ten indicate not operating in one of the eleven subsectors listed, while the others selected various options, including five claiming to operate with Design, three with Film, two with Visual Arts, one with the Performing Arts, one with Handicraft and another one with Advertising.

The collaboration that these respondents undertake with the CCI sectors occurs with their main activity, which includes sectors like public administration, ticket sales with bank institutes, services of general interest, the food industry, the tourism sector, non-profit initiatives in the cultural and youth sector, Municipalities and territorial entities, photography services for the hospitality sector and building industry, software development and sports.

6.2 Main features of the respondent group who indicated “other” CCI activities Those survey participants that replied with “other” when asked to specify their main professional ambit indicated that they carry out activities that are not evident among the list of eleven sub-sectors.

By analysing their response, it appeared that they preferred to term and identify their professional activity with different labels or to explicitly point out a specific ambit within a sub-sector, as for instance: “Animation, 3D Visualization, Communication, Congress industry, Craftsman/Carpenter, Cultural events, Cultural projects, Dance lessons and event organizer, Editing and service, Graphic/Illustrations, Industry, Interior design, Interior print, IT, Joiner, Landscape Architecture, Multimedia design, Online marketing, Museum, Musical theatre, Photo & Design, Photography, Print shop, Programming website, Promotional items, Territorial marketing through reportage, Press and collaboration with touristic institutions and web designer, Textile architecture, Textile handicraft, Fashion, Textile ecology, Theatre, Trade, Venue, Virtual Reality, Web design. Experience design.”

For some respondents that had chosen “other” it can be seen that they did indeed belong to a sector which was not mentioned explicitly in the list of eleven subsectors and were not even clearly related to the CCI ambits. This was the case for the respondents indicating for instance: “Construction, Education, Consulting, Enabler, Food sale, Furniture joiner, Real estate portal, Research, Sale Service reading, Space energetics.”

Few simply missed out on selecting the appropriate option in the list of sub-sectors and preferred to indicate it as such under “other”. This was the case for an insertion reading “Handicraft” for instance.

In general, among the survey participants that chose the option “other” to describetheirmain activity’s ambit, it would be possible to refer their indication back to one of the established options among the eleven sub-sectors. However, in this analysis theyshall not be mixedwith the set of data of respondents who did identify and select agiven option of the list in order to avoid any bias. It is to be regarded as a matter of fact, that there are respondents who apparently feel more comfortable by indicating to be operating in anything “other” than what had been listed.

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The graph G6.0.4 gives a general overview of the typologyorganisations that were included in the group of respondents selecting “other” as main ambit of activity, which altogether accounts 71 respondents. It is possible to distinguish 28 “societies as for example Srl, Sas, Snc, Spa”, 19 “individual enterprises”, 11 “independent contractors/freelance professionals” and five “cooperatives” followed by two “associations”. Some of the respondents of the group “other” elaborated their response manually and added further categories as, for instance, referring to a “collective”, a “family company”, a “foundation” oran “in-house.”

Graph G6.0.4: Typologies of enterprises within the sample group “other”.

6

Independent contractor/Freelance professional

11

Individual enterprise

5

Association

19

Society ( Srl, Sas, Snc, Spa)

28 Cooperative 2 Other

(Source: own elaboration, Eurac October 2019)

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6.3 Description of each subsector-sample of CCI The situation of the CCI sector in South Tyrol will be further illuminated by providing an insight to each of the eleven subsectors being part of the target group of the data analysis linked to the survey.

We would like to remind the reader that this descriptive analysis will be done in the light of three thematic dimensions used to structure the questionnaire and overall investigation: A. Profiling the subsector  total of respondents  types of enterprises  types of professions  geographical distribution  approximate turnover pattern  financial and investment habits B. Strategic measures and policy recommendations  weak points of the system  educational background  development potentialities C. Cross-sectorial linkages and spill-over effects  collaborations with sectors outside CCI  collaborations within CCI sectors Additionally, there are the responses to two open questions that will be reported as quotes in specific text boxes along each section. The two questions taken from the questionnaire are as follows:  Thinking about the next three years, what elements can help to develop the competitiveness of CCI in South Tyrol? 

How can the future development of your company or freelance activity referring to the subsector be enhanced and facilitated?

The respondents described in the following pages are those that have been selected according to the following criteria: a) they are all private enterprises and/or freelancers, b) they selected one of the eleven subsectors of the list as being their main ambit of activity. These respondents were, as such considered for the investigation as they correspond to the target sample’s features that had been defined at the beginning of the research by the members of the project’s Working Group.

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6.3.1 Subsector: DESIGN A. Profiling the subsector A total of 47 survey participants operate in the Design subsector which they regard to be their main ambit of activity.

Types of enterprises: the survey respondents belonging to the Design subsector are most frequently small firms or individual freelancers. 18 of them are active as “individual enterprises”, followed by 12 “independent contractors” and 12 who referred to be a “society (for example Srl, Sas, Snc, Spa)”.

Besides three cooperatives therewere also two participants that indicated “other” including one that specified being an “association of freelancers”, as shown in the graph G6.1.1.

Graph G6.1.1: Typologies of enterprises within the subsector Design.

3

Independent contractor/Freelance professional

2 12

Individual enterprise

Society ( Srl, Sas, Snc, Spa)

12

Cooperative

18

Other

(Source: own elaboration, Eurac October 2019)

Types of professions: given the multiple-choice options it is possible to see how multifaceted the professional activities of respondents in the ambit of Design can be. The results show that, out of the 47 representatives of the Design subsector, 31 survey participants are graphic designers, artists, architect/interior designers, planners, etc. indicated as “design operators”, 27 indicate to also operate also as “design studios” including those of graphic-, product- and fashion design, etc. while there are also various participants who indicated being active as “event organisers” (2 responses), “training institution” (3 responses) and/or as “atelier/laboratory” (6 responses). Some respondents selected working in “other” main fields of activity as listed by specifying to be a “communication agency” (1 response), “media designer” (1 response) or to be in charge of “space optimization” (1 response). Noneof the respondents indicated operating as a cultural space or cultural centre. See the graph G6.1.2 for further details.

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Graph G6.1.2: Professional profiles and types of organisations within the subsector of Design.

35

Number of responses

30 25 20 15 10 5 0 Design operator

Event organiser

Design studio

Training institution

Cultural centre

Atelier

Other

Professional - and structural profile (Source: own elaboration, Eurac October 2019)

Geographical distribution: among those respondents of Design that provided information, including companies or freelancers, ten operate in Bolzano-Bozen some also run a branch office outside the region, in Munich and Prato. Two respondents operate in Merano-Meran, another two in BrunicoBruneck and one in Bressanone-Brixen, while the remaining nine respondents that gave an indication in these regards are distributed throughout the region and outside the centres: Appiano-Eppan, San Leonardo in Passiria-St. Leonhard in Passeier,Ortisei – St. Ulrich in Gröden, Perca-Percha, CampoTures – Sand in Taufers, Terlano-Terlan, Varna-Vahrn. Last but not least there is one respondent that operates inside the region, in Val Passiria, and outside Europe, namely in Los Angeles.

Approximate turnover pattern: among the survey participants referring to the subsector of Design the turnover trend during the last three years has been increasing for 14 respondents out of 47. For eight it has been more or less stationary in the past three years. There is a relevant amount of missing responses to be considered in this outline, namely 20 missing responses altogether out of 47. Among those that provided an indication the turnover trend appears to have, on average, most frequently moved between 75,000 and 250,000 Euros when compared with the last balance sheet (up to July 2019).

Financial and investment habits: among the sample,own resources appearmost frequentlyto be the financial means of enterprises within the Design subsector. The respondents of the Design subsector do not revert to financial resources deriving from contributions or donations.

When asked about how the participants of Design use publicor private funding, and given a multiple choice, it can be seen that respondentsallocatetheir financialresources mainly to service and product development as well as to research and development and hardware and software as shown in graph G6.1.3. With regards to investments reserved specifically to “Research and Development”, respondents of Design tend to apply such investment as part of their free time investments.

Frequently these R&D investments targeted products and services.

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Graph G6.1.3: Business areas in which respondents of Design tend to allocate financial resources.

Multiple choice 14

Number of responses

12 10 8 6 4 2 0

Area of investment (Source: own elaboration, Eurac October 2019)

B. Strategic measures and policy recommendations Weak points of the system: as reported in the table T6.1.1. it is evident that the representatives of Design that participated at the survey especially need advice on internationalisation with a weighted mean of 2,8 (corresponding to a value between “enough” and “a lot”), followed by support in sales and customer management (2,7) and specific technical skills (2,5). They seem to need less support in legal affairs or human resources. Furthermore, as retrieved from an additional survey question, they specify that their organization (company or freelance activity) would profit from support in education/formation and communication in order to develop and unfold.

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Table T6.1.1: Business areas in which respondents of Design indicate the need for support/advice.

Weighted mean with scale 0-4 (0=not at all, 1=a little, 2=enough, 3=a lot, 4=very much) How much does the subsector need support/advice in the following business areas?

A Very Not at all Enough A lot little much Human resources 12 11 7 3 2 Legal affairs 9 4 10 7 5 Administrativefields 8 6 11 6 4 Marketing/promotion 3 12 5 7 8 Financial issues/facilities 3 6 2 9 15 Internationalisation 4 4 8 9 10 Specific/technical skills 6 5 7 9 8 Networking 3 5 5 7 15 Sales/customer management 5 6 7 10 7 Other 33 N/A 1 N/A 1 (Source: own elaboration, Eurac October 2019)

Answers Total 35 35 35 35 35 35 35 35 35 35

Missing

Mean

12 12 12 12 12 12 12 12 12 12

Educational background: within the survey sample, the most frequent qualification within the organization (company or freelance activity) referred to the subsector Design was a second level university degree as indicated by 12 respondents (out of 47). There is, however, a relevant amount of missing responses, namely 20 out of 47 responses, which needs to be considered in this attempt to outline any background regarding qualification.

Development potentialities: from the sample it can be seen that the competitiveness of the organisation (company or freelance activity) among respondents of the subsector Design, is mainly associated with “business know-how” and hardly perceived to be linked with factors such as “shared offices” or“innovation” as such.

C. Cross-sectorial synergies and spill-over effects Collaboration with sectors outside CCI: despite the relevant amount of missing data (equal to 34% of respondents), there are 17 respondents of the subsector Design that agree to having collaborated with companies and freelancers of sectors outside the Creative Industries in the past three years. This is compared to 14 respondents who, on the other hand, indicate to not have had any collaborations at all during the last three years with players outside CCI. Which sectors? Among those that did collaborate with sectors outside CCI, the indication of which specific external sector they refer to varies. Respondents mention municipalities, museums, tourism, industry as well as ambits that actually result in being part of the eleven sectors listed for CCI but seem not to be regarded as such by some of the representatives (for instance “handicraft, textile industry and architecture”).

What impact? The collaboration most frequently perceived to affect the “product- and service realization” in very positive terms. As shows table T6.1.2 they frequently agree on the fact that the external collaboration has a positive impact on the “visibility”. However, in general the respondents of Design remain rather neutral when defining whether the collaboration with sectors outside CCI has impacted on their own activity and on which specific business area; many of them assign a neutral value to the impact of external collaboration when it comes to “distribution” and “human resources”.

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1,2 1,2 1,9 1,8 2,1 2,8 2,5 2,2 2,7 2,2

First Creative Industries Report South Tyrol

Table T6.1.2: Business impactsfrom external collaborations as perceived by respondents of Design.

Value scale: - - = in a very negative way, -= in a negative way, 0= neutral, += in a positive way, ++= in a very positive way How does the collaboration with sectors outside CCI impact on the following business areas?

-Product/servicerealization N/A Distribution 1 Sale 1 Research & Development 2 Skills Visibility Human resources 3 Corporate cultureand business 1 model Internationalisation 3 Other N/A (Source: own elaboration, Eurac October 2019)

N/A 1 1 2

Answers

1 1

0 N/A 9 7 4 7 3 9

+ 8 4 6 5 7 11 4

++ 9 2 2 4 3 2 N/A

Total 17 17 17 17 17 17 17

Missing 30 30 30 30 30 30 30

2

6

8

N/A

17

30

7 10

3 7

4 N/A

N/A N/A

17 17

30 30

Any future potential? It can be seen that for respondents of Design there are some elements that could be beneficial for the future development of collaborations with companies and individuals outside the CCI. The elements perceived to be most beneficial to the subsector are related to the organizational and financial ambit, specifically what the respondents refer to “calls for proposals/competitions of ideas for cross-sectorial projects” and the “organization of training courses”. Among the elements that are perceived less influential “business accelerators, incubators” or the “mentoring for cross-sectorial projects” were cited.

Collaboration among subsectors within CCI: when asked about the collaboration with other CCI subsectors referring to the past three years, the respondents of Design claimed to have frequently collaborated with professionals (firms and individuals) in their own subsector, namely Design. Given a multiple choice, this option of “Design” was selected 33 times as is shown in graph G6.1.4.

Representatives of Designalso indicateda frequent collaboration withprofessionals of Publishing and Press (23 responses) as wellas Advertising (20 responses) and Architecture (20 responses). Theyhave also been collaborating withcolleagues from the subsector Film (14 responses), and the collaboration with organisations belonging to Performing Arts is as frequent as with Visual Arts, Handicraft and Radio and TV (that is, 11 responses for each). A bit less popular among the survey respondents of Design was the collaboration with Music (9 responses) and with Software and Videogames (7 responses). Finally, four claim to only be working with companies outside the CCI and two claim to work with other CCI subsectors which were not listed among the 11 subsectors of analysis.54 How does the CCI collaborate? The collaboration between survey respondentsof Designand other CCI subsectors appears to have occurred mainly through projects but to some extent also through associate activities.

From the survey it can be seen that among representatives of Design the greatest potential for collaboration within CCI in thefutureis seenwithhandicraft and with regardsto collaborations outside the CCI sector with the “industry” as is indicated by the subsector’s survey participants.

54 Just for a reminder, the eleven CCI subsectors of analysis are: Design, Film, Music, Performing Arts, Visual

Arts, Handicraft, Radio & TV, Advertising, Architecture, Publishing & Press, Software & Videogames.

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Graph G6.1.4: Collaboration within CCI as perceived by respondents of Design.

Multiple choice 35

Number of responses

30 25 20 15 10 5 0

Subsector (Source. Own elaboration, Eurac October 2019)

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Thinking about the next three years, what elements can help to develop the competitiveness of CCI in South Tyrol?

Not only recognizing tourism as potential but also other branches.

International network, making the creative industry visible (independent design centre), forming a community of interest between designers and defining common guidelines (e.g. fee guidelines, competition guidelines), public/privatesupport of new ideas.

Cheaper internet. Lower rents. Support newcomers/international interns.

International graphic design exhibitions at Museion. Give preference to local applications at university.

Find solutions to the housing problem, accessibility, createconsciousness in the population.

With public customers: reduction of bureaucracy, revision of awards and modification of tenders. I find in South Tyrol it is needed to have a public discussion to payment approaches. I see this in connection to large differences to customers in Austria or Germany.

Networking and product promotion support.

Events for the creativeindustries, meetings or get-togethers for the creative industries.

A spaceto make the activity or products known.

Creativity. Stronger cross-linking with the private economy. Synergies with the individual participants of the creative economy (platform), cross-linking with university and academies, more non-profit and free space initiatives around creativity and multidisciplinary approaches need to be promoted.

International marketing, lectures and experts from outside.

Networking among professionals, raising awareness of potential customers on thesubject of communication, trade association that promotes creativeactivities, continuous updating, increasing their skills.

Develop major international cultural events.

More cohesion and cooperation. Appreciation and promotion of the people in their own country.

Promoting network (2) Greater contact with the outside world.

Measures to strengthen identification, visibility, possibly via a common platform or actions. Access to calls for tenders of the public hand which areprimarily given abroad gladly.

Don't only give interesting public projectsto foreign companies.

Bureaucracy simplification, humans in the centre, reducing bureaucracy so that you can work creatively instead of filling out forms.

In general, there is a lack of development aid from public bodies for small creative realities.

Courses/workshops, consulting etc. would be needed.

Less competitive thinking, more cooperation, well-trained trilingual employees need it.

*translated quotes from the explorative survey.

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How can the future development of your company or freelance activity referring to DESIGN be enhanced and facilitated?

Like in the ambit of Film, more commitment on the part of the public sector can bebrought to other ambits too.

Stronger cross-linkages and opening of the enterprises.

It would be ideal to create a big event where creative professionals can showcasetheir work every year.

More visibility for creative services, more networking with the private sector, more non-profit initiatives, greater platform and synergy effects.

Support from the central government and networking of existing companies in South Tyrol.

Create a platform for the development and promotion of the design and communication sector, bring together professionals of the sector in a network, awareness raising and mediation activities between potential customers, institutions and network members.

*translated quotes from the explorative survey

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6.3.2. Subsector: FILM A. Profiling the subsector: A total of 33 survey participants operate in the subsector Film which they regard as being theirmain ambit of activity.

Types of enterprises: 13 respondents of 33 operate as independent contractors or freelance professionals, 12 are societies (e.g. Srl, Sas, Snc, Spa). As shown in the graph G.6.2.1 four respondents indicated being individual enterprises, three are associations and one single respondent indicated being something different, “other” than what was listed in the selection but without further specification.

Graph G6.2.1: Typologies of enterprises within the subsector of Film.

3

Independent contractor/Freelance professional

1

Individual enterprise 13 Society (, Srl, Sas, Snc, Spa) 12

Association

4

Other

(Source: own elaboration, Eurac October 2019)

Types of professions: 17 respondents out of 33 belonging to the subsector Film work as “film operators (e.g. director, actor/actress, make-up artist, etc.)”, and/or as “production companies” (15 responses).

Given the multiple choice, a group of 8 respondents also operate as “service provider for film production” and in connection with “cinema” (5 responses). There are two who operate as “event organisers” and another two who chose to select “other” types of profession, specifying respectively to working with “animation and explanatory videos” and with “virtual reality”. None of the respondents of subsector of Film operate in a cultural space or cultural centre or indicated being a training institution.

Geographical distribution: Among thosethat provided information,ten of the organisations,including companies and freelancers, operate in Bolzano-Bozen, two in Merano-Meran, one in Brunico-Bruneck.

The remaining three that provided a response are distributed throughout the region including Campo Tures – Sand in Taufers, Val di Vizze-Pfitsch.

Approximate turnover pattern: the turnover trend during the last three years, among survey participants belonging to the subsectorof Film, have been more or less stationary for 11 respondents out of 33. Besides the fact that two respondents have been active for less than three years and that the number of missing responses accounting 13 is relatively high, there are another six respondents that claim to have had an increasing turnover in the past years. Among those that did provide an answer, five indicate to have had a turnoverof over 500,000 Euros, four indicate between 75,000 and 250,000 Euros and another four between 15,000 and 28,000 Euros. As the graph G6.2.2. shows, yet

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the same number of representatives claim to have had a turnover of less than 15,000 Euros. According to this mini-samplethe subsector seems, thusly, to be very variegated whenit comes to their financial situation (date: July 2019).

Graph G6.2.2: Turnover class of the survey participants belonging to the subsector of Film.

14

Number of responses

12 10 8 6 4 2 0

Turnover class (Source: own elaboration, Eurac October 2019)

Financial and investment habits: from thesurveyit appears that own resources are the most frequent sources of financing and that a third of the respondents of the subsector Film do not use financial resources from public institutions.

When asked about how respondents of Film use public or private funding, and given the multiple choice, one can see that frequently they frequently invest in service/product development (13 responses) or eventually in human resources (8 responses). As shown in the graph G6.2.3 there are several that indicated alsohaving invested in equipment/ machinery and infrastructure (5 responses) and internationalisation. With regards to Research and Development onlyfiveout of 13 respondents of the Film subsector indicate allocating their financial resources in Research and Development. In general terms, a bit less than half of the respondents indicated not having invested in Research and Development, whilethe other half did not provide any answer at all.

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Graph G6.2.3: Business areas in which respondents of Film tend to allocate financial resources.

Multiple choice 14

Number of responses

12 10 8 6 4 2 0

Area of investment (Source: own elaboration, Eurac October 2019)

With regards to Research and Development, a freelancer points out that “research and development does not really take place outside the personalframework; it is more about e-learning and experimentation”. The data collected through the explorative survey confirms that research and development takes place mainly insidethe sector.

B. Strategic measures and policy recommendations Weak points of the system: as reported in the table T6.2 one can see that the representatives of Film that participated in the survey especially need support for networking, financial aspects and facilities with a weighted mean of 2,7 (corresponding to a value between “enough” and “a lot” in a scale of 0=not at all, 1=a little, 2=enough, 3=a lot, 4=very much). They are, on the other hand, rather satisfied about the current situation of sales and customer management. Apart from this, some respondents specify that their organisationwould profit from support in education/formation and communication, as well as from financial and public support.

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Table T6.2: Business areas in which respondents of Film need support/advice.

Weighted mean with scale 0-4 (0=not at all, 1=a little, 2=enough, 3=a lot, 4=very much) How much does the subsector need support/advice in the following business areas?

Not at A Very Enough A lot all much little Human resources 8 9 2 5 5

Answers Total

Missing

Mean

29

4

1,7

Legal affairs

4

6

7

6

6

29

4

2,1

Administration

6

8

7

3

5

29

4

1,8

Marketing/promotion

3

5

9

5

7

29

4

2,3

Financial issues/facilities

2

3

7

6

11

29

4

2,7

Internationalisation Specific s/technical skills

3 4

3 5

9 5

5 8

9 7

29 29

4 4

2,5 2,3

Networking

2

5

4

7

11

29

4

2,7

8

3

10

2

6

29

4

1,8

24

1

3

1

29

4

0,4

Sales/customer management Other

N/A

(Source: own elaboration, Eurac October 2019)

Educational background: the most popular qualification within the organization (or among freelancers) of the subsector Filmis a second leveluniversity degree as indicated by eight respondents out of 33 and reported in graph G.6.2.4.

Graph G6.2.4: Most popular qualification among respondents of Film.

16

Number of responses

14 12 10 8 6 4 2 0 No answer

PhD

Master´s degree

Bachelor´s High school Vocational degree degree school degree

Other

Qualification (Source: own elaboration, Eurac October 2019)

Development potentialities: it is evident that the competitiveness of the organisation (company or individualactivity) is mainly associated with “business know-how”, their “products and services” and thanks to their degree of “internalization”. Respondents of the Film subsector do not regard “shared offices (e.g. coworking spaces, open spaces)” as being as relevant when referred to how to boost

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competitiveness. They attribute positive values to criteria like the “way of thinking and attitude, flexibility in the face of market changes, foresight”, “networking/events/workhops”, “and specialised human resources” or the “use of new technologies”.At the same time, they remain rather neutral when attributing any relevance to the “company structure” or “multidisciplinarity/interdisciplinarity in the company”. Finally, “innovation” as such is perceived to have a slightly positiveinfluence on business competitiveness. It does, however,not appear to be the most salient criteria.

C. Cross-sectorial synergies and spill-over effects Collaboration with sectors outside CCI: despite the significant amount of missing responses (10 out of 33 respondents), there are 13 participants of the subsector Film that claim to have collaborated with sectors outside the CCI during the last three years whereas anotherten participants have not.

Which sectors? Some respondents point out having collaborated with hotels, industry and mention service provision for companies in other sectors (e.g. landscape surveying), collaboration with the Farmers’ association (Bauernbund), development of a new prize for which a festival has organised a competition, workplace safety training course. They also indicate gastronomy, tourism boards, personnel recruitment offices as well as car rental services and trading offices.

What impact? Some respondents of Film perceive the collaboration with sectors outside CCI to negatively affect some business areas without specifying. Respondents agree on the very positive effects on external collaboration on “product and service realization”. In general, the participants of the subsector Film assign a neutral value to most of the areas, especially when referring to the effects of external collaborations on “human resources” and “sales”, but also on “research and development” and the unfolding of “skills”.

Any future potentials? The representatives of the subsector Film point out a great potential in collaborating withthe “public administration”. Furthermore, it isapparent that for respondentsof Film there are some elements that could be beneficial forthe future development of a collaboration with companies and individuals outside CCI. The elements perceived to be most beneficial to the subsector referto the “establishment of a specific contact point and service assistance”. There are contrasting opinions among respondents about the relevance of “calls for proposals/competitions of ideas for cross-sectorial projects”. It also appears to be less important to develop collaborations with sectors outside CCI through “financial incentives (e.g. voucher)”.

Collaboration among the subsectors within CCI: The results of the survey show that, given the multiple-choice, the representatives belonging to the subsector Film have most frequently collaborated with their colleagues in the same branch, namely Film during the last three years (30 responses). As shown in graph G6.2.5, they have also collaborated with organisations (companies or individuals) of the subsector Music (19 responses), as well as of Radio and TV (14 responses), Advertising (14 responses), Publishing and Press (9 responses) and Visual Arts (8 responses). A little less frequently the collaboration between survey participants of Film and Design (6 responses) and Performing Arts (5 responses) orwith Architecture (4 responses) appears. The subsector of Software and Videogames has been selected twice. Two respondentsclaim to work with subsectors of CCI which are not listed and give no further specification. Finally, four respondents explain that they only collaborate with subsectors outside the CCI. How do they collaborate? According to the data provided by the respondents in the subsector of Film, the collaboration with other subsectors within CCI occurs mainly through projects and when realizing associate activities. The also refer to “…a bit of everything: making documentaries for artists, writing books, interviews for Radio & TV, videos for Architecture, …”, “Cooperation in the service and creative sectors”, “Cooperation within the framework of projects and or services”, “Equipment rental and film craft services”, “Events, Location tours, brochures”, “Image or light design for cinema, television films, documentaries, image films and advertising”, “Musicalevents, theatrical performances and trailers of the same, presentation in the form of advertising and storytelling of craftsmen or workers working in the promotion of craftsmanship”.

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Graph G6.2.5: Collaboration within the CCI from the Film´s perspective.

Multiple choice

Number of responses

35 30 25 20 15 10 5 0 Source: own elaboration, October 2019

Subsector (Source: own elaboration, Eurac October 2019)

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Thinking about the next three years, what elements can help to develop the competitiveness of Creative Industries in South Tyrol?

To locate production companies in South Tyrol. To promote and support local productions more. To give support not only to largeproductions from abroad.

To develop the network among South Tyrolean enterprises.

Skilled personnel.

Investments.

Guarantee for the continuation of the film funding.

Local and international networks should be better used. The possibilities for networking should be strengthened. Communication about the services of the creative industries should beimproved.

Quality of serviceis a matter for the masses.

Greater and more flexiblefinancing and facilities for local companies. Morespecific technical skills in thearea.

More financing and less bureaucracy.

Avoid largeinvestments in infrastructurebut rather promote training and exchanges between countries.

South Tyrolean enterprises should be favoured, so that the co-operation in the country becomes stronger.

Making the creative economy known in society, support of start -ups in this area, infrastructural & financial support, mentoring of young entrepreneurs in the creative economy by existing companies. Make them an integral part of a long-term strategy.

More connections with non-local markets, better collaboration with TV stations, more training and updating, more support for local projects, encouraging co-productions with external realities.

Finally stop looking at their navel and leave the local borders, otherwise the whole industry will implode in itself.

Spaces for meeting and exchange of experiences and knowledge, Networking.

*translated quotes from the explorative survey.

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How can the future development of your company or freelance activity referring to FILM be enhanced and facilitated?

Through legislativemeasures of the public administration and the State.

More attention for local film and web industry.

More specific funds for the development of film scripts.

Multi-year contribution commitments from the public sector and long-term sponsor contracts to have planning security.

Planning of subsidies and stability in legislation.

Support in PR, accounting, audience development.

Refresher courses, workshops on new equipment, training on social and advertising.

A courseto use Movie Magic.

Communication at eye level with the offices and planning of subsidies Film permits by keeping a low bureaucracy. Film funding.

Financial support for the development of new business areas - regardless of whether Start-up or not.

Management with foresight.

A genuine local film/cinema distributor would certainly help to strengthen local production companies.

Exit the provincial boundaries and the Italian/German logic.

Promotion of local film projects.

Strengthening the local market, not giving so much support to foreign projects. Encourage large local companies to work with local serviceproviders.

Support to local freelancers, incentives for private initiatives, collaboration with local authorities also with non-creative sectors, encouragement of co-productions with extra-regional and international realities, favouring local projects and workers, investing in training and updating.

Collect the real feedback of the market participants again and again and to bring them together. The bringing together of opposites becomes a key capability of the 21st century.

*translated quotes from the explorative survey.

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6.3.3. Subsector: ARCHITECTURE A. Profiling the subsector: A total of 77 survey participants operate in the subsector of Architecture, which they regard to be their main ambit of activity.

Types of enterprises: 88% of the 77 respondents of the subsector Architecture are “independent contractors/freelance professionals”. There are also five “societies (for example Srl, Sas, Snc, Spa)” and two “individual enterprises”, as reported in the graph G6.3.1. Another two respondents indicated “other” by specifying to be a “society” and a “free association of professional individuals”.

Graph G6.3.1: Typologies of enterprises within the subsector of Architecture.

5

Independent contractor/Freelance professional

2

Individual enterprise

2

Society (Srl, Sas, Snc, Spa) Cooperative

Other 0 68 Missing 0

(Source: own elaboration, Eurac October 2019)

Types of professions: given the multiple-choice options, it is evident from the survey data that 60 respondents of the subsector Architectureoperateas “architect/architect, designer, etc.”, and also as “studios of architecture” (56 responses), “ateliers/laboratories” (5 responses), “consortia, registers, etc.” (3 responses) and “cultural spaces/centres” (2 responses). As shown in the graph G6.3.2, one respondent indicated “other”. He/shespecified to operate with “hotel furnishing”.

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Graph G6.3.2: Professional- and structural profiles within the subsector of Architecture.

Multiple choice 70

Number of responses

60 50 40 30 20 10 0

Professional- and structural profile (Source: own elaboration, Eurac October 2019)

Geographical distribution: among the respondents of the subsector Architecture, there is a tendency to be located in the urban centres: there are eight that have their headquarters in Bolzano-Bozen, six in Brunico-Bruneck, five in Bressanone-Brixen and three in Merano-Meran. The rest is distributed throughout the region namely in: Corvara, Glorenza-Glurns, Laces-Latsch, Rio Pusteria-MĂźhlbach, Perca-Percha, Renon-Ritten, Selva di Val Gardena-Wolkenstein, Sesto-Sexten, Ortisei-St. Ulrich, Terlano-Terlan, Varna-Vahrn, Nova Levante-Welschnofen. One also operates in Milan.

Approximate turnover pattern: among the survey participants of the subsector Architecture the turnover trend during the last three years has increased for 21 respondents. Ten respondents indicated a more or less stationary turnover trend. Despite the 32 missing answers there were seven indicating a fluctuant trend, sixa declining trendand one respondent who indicatedhaving been active for less than three years. According to the data provided, 17 respondents indicated a turnover between 75,000 and 250,000 Euros. Nine have a turnover between 28,000 and 55,000 Euros, another eight between 250,000 and 500,000 Euros. There are 36 respondents whodid not provideany answer.

See the graphs G6.3.3 and G6.3.4 for reference.

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Graph G6.3.3: Turnover trend during the last three years of survey participants of Architecture.

35

Number of respondents

30 25 20 15 10 5 0 Missing

Increasing

Fluctuant

Declining

Turnover trend

Active for More or less less than 3 stationary years

(Source: own elaboration, Eurac October 2019)

Number of repondents

Graph G6.3.4: Turnover class of the survey participants of Architecture.

40 35 30 25 20 15 10 5 0

Turnover class (Source: own elaboration, Eurac October 2019)

Financial and investment habits: among the sample, own resourcesappear to most frequently be the financial means of enterprises within the subsector Architecture. The respondentsdo not use financial resources from the contributions and donations. Public funds do not exceed generally 5%.

When asked about how respondents use publicor private funding, and given a multiple choice, it can be seen that the respondents of the subsector Architecture invest most commonly in hardware and software (17 responses) followed by human resources (for example training, personal selection) (13 responses) and service and product development (12 responses). Some also invest in “Research and Development” (9 responses) and “equipment/machinery and infrastructure” (8 responses). There were a couple of respondents who also indicated “internationalisation”, as shown in graph G6.3.5.

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Number of respnses

Graph G6.3.5: Areas in which the survey participants of Architecture tend to allocate financial resources.

Multiple choice 20 18 16 14 12 10 8 6 4 2 0

Area of investment (Source: own elaboration, Eurac October 2019)

Specifically regarding Research and Development, it can be seen that from an additional question of the questionnaire that about 50% of the overall respondents of Architecture invest in Research and Development and that R&D tends to be realised inside the firm B. Strategic measures and policy recommendations Weak points of the system: as reported in the table T6.3, it can be seen that the representatives of Architecture that participated in the survey especially need support or advice in networking with a weighted mean of 2,7 (corresponding to a value between “enough” and “a lot” in a scale of 0=not at all, 1=a little, 2=enough, 3=a lot, 4=very much), followed by legal affairs, marketing and promotion, specific and technical skills, financial issues and facilities. Respondents would also welcome some support and advice on internationalisation and in sales and customer management as well as in the administrative fields while the results show that, frequently, for human resources they seem not to need advice at all. A few respondents added some extra areas in which support could come handy by specifying: “reduction of red tape” and “abolishing corruption”.

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Table T6.3: Business areas in which respondents of Architecture need support/advice. Weighted mean with scale 0=not at all, 1=a little, 2=enough, 3=a lot, 4=very much How much does the subsector need support/advice in the following business areas?

Very Not at all A little Enough A lot much 13 13 21 6 3 Human resources 5 4 13 19 15 Legal affairs 5 14 17 16 4 Administrativefields 2 8 17 19 10 Marketing/promotion 7 7 14 16 12 Financial issues/ facilities 7 14 12 10 13 Internationalisation 7 6 12 20 11 Specific/technical skills 3 3 16 18 16 Networking 5 10 19 17 5 Sales/customer management 49 1 3 N/A 3 Other (Source: own elaboration, Eurac October 2019)

Answers Total

Missing

Mean

56 56 56 56 56 56 56 56 56 56

21 21 21 21 21 21 21 21 21 21

1,5 2,6 2,0 2,5 2,3 2,1 2,4 2,7 2,1 0,3

Educational background: within the survey sample, most of the respondents of the subsector Architecture who provided an answer indicated that the most popular qualification within the organization (or company or among freelancers) wasa second level university degree (or equivalent) as sketched in the graph G6.3.6.

Graph G6.3.6: Most popular qualification among respondents of Architecture.

Number of respondents

40 35 30 25 20 15 10 5 0

Qualification (Source: own elaboration, Eurac October 2019)

Development potentialities: The sample demonstrates that the competitiveness of the organisation (company or individual activity) belonging to the subsector of Architecture is especially associated in very positive terms with “business know-how” and the “product/ service provided” followed by “the way of thinking and attitude, flexibility in the face of market changes, foresight for the future” and “innovation”. Also the “multidisciplinary and interdisciplinary approach”, “the company structure” and the “use of new technologies” are regarded as contributing positively to competitiveness.

When asked what they suggest for future initiatives, some representative of the subsector of Architecture indicate: “an airport, less taxes, internationalisation, multilingualism, digital literacy,

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mind-set, internationalisation.” One of the respondents brings different aspects together offering the following suggestions: “to make our competences known in the international field, to promote them publicly by providing organization and exhibition areas, to create representations in economically interesting territories, to support publications in the internationalprofessionalworld.”

C. Cross-sectorial synergies and spill-over effects Collaboration with sectors outside CCI: despite 24 missing answers, therewere 25 respondents of the subsector of Architecture that indicated not having collaborated on projects, events, products or services with companies or freelancers outside the CCI for the last three years. The remaining 28 respondents confirmed to having collaborated with players outside CCI, as sketched in the graph G6.3.7.

Graph G6.3.7: Frequency of collaborations with sectors outside CCI from the Architecture’s perspective.

Missing

24

28

No, I have not collaborated outside CCI for the last three years

25

Ye, I have collaborated outside CCI for the last three years

(Source: own elaboration, Eurac October 2019)

Which sectors? Those that provided an answer, specify that the collaborationoccurred withor through “building trade”, “building industry”, “producers”, “craftsmen”, “service providers”, “partially also extra-occupational activity in and with artists and cooperatives”, “joint orders and services”, “tourism”, “associations”, “private customers”, “engineers”, “photographers”, “international volunteer work in the field of prevention and social services (earthquake areas, support for social and societal problems, training aids for young people, etc.) in a leading position”, “with companies operating in the craft sector”, “industrial partners producersof processed raw materials: development of a new form of processing”. It is interesting to notice that handicraft as well as photography, which is mentioned in this context, appear to be considered as a sectors outside the CCI by many of the respondents.

Any future potential? According to the survey participants of the subsector Architecture, the collaboration with sectors outside the CCI is considered to have had a very positive effect, mainly on the areas of “skills” and “product/service realization”. They also associate rather positive effectswith regards to “visibility”, “research and development” followed by the “corporate culture and business model”. In general, the respondents of the subsector Architecture remain neutral with regards of what kind of effects the collaboration outsidethe CCI has on their business.

For the future, representatives of the subsector Architecture see great potential in collaborating with the “public sector”, “development in disadvantaged areas through the use of qualified staff and

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funding”, “research”, “tourism”, “construction”, “executing companies”, “executing companies, manufacturing industry”, “hotels & restaurants” and “agriculture & crafts”.

Furthermore, it can be seen that for respondents of the subsector Architecture there are some elements that could be beneficial for the development of a collaboration with companies and individuals outside the CCI. The elements perceivedto be very beneficialto severalsurveyparticipants are the following “calls for proposals/competitions of ideas for cross-sectorial projects” and “organization of training courses”. Also, the “organization of networking events ("get-together", "speed date", "thematic events", etc.)” and the “specific contact point and service”. “Financial incentives (e.g. vouchers)” frequently receive a neutral answer of not being too beneficial but at the same time should also be considered.

Collaboration among the subsectors within CCI: when asked about the collaboration with other CCI subsectors and referring to the past three years, 65 respondents of Architectureclaimed to frequently collaborate with organisations (companies or freelancers) in their own subsectornamely Architecture.

Given a multiple-choice option, they also indicated having collaborated with the subsector of Design (34 responses). Rather commonly, the collaboration with the subsector Publishing and Press (12 responses),Handicraft (11 responses),Visual Arts (9 responses) and Advertising (8 responses)can also be seen. Furthermore, as reported in the graph G6.3.8, some collaborations occurred with the subsector of Music and Radio and TV (5 responses each), with Film (4 responses) and for some respondents with Performing Arts and Software and Videogames too (3 responses each).

Graph G6.3.8: Collaboration within CCI as perceived by respondents of Architecture.

Multiple choice

Number of responses

70 60 50 40 30 20 10 0

Area of investment (Source: own elaboration, Eurac October 2019)

How do they collaborate? Four respondents indicated only working with companies outside the CCI sector while three respondents indicated to have worked with other CCI sectors that were not listed and gave the following specification: “cultural work regional development”, “furnishing”, “photography” and “graphics and art”. According to the data provided by the respondentsbelonging to the subsector of Architecture, the collaboration with other subsectors within CCI occurs in many cases through “Architecture projects”, “Art exhibitions”, “events”, “Beta-testing of design software and energy calculation”, “Collaboration in the creation of artistic works”, “Products, services”, “Exchange of ideas”, “cooperation”, “Design”, ”Submission and execution of construction projects”, “Technical details”, “site management”, “construction details”, “Installations”, “competitions”,

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“books”, ”interviews on Architecture”, “collaboration on projects for hotels”, “Joint contracts, services”, “Urban planning”, “Training”, “Web3.0”, “Joint assignments”, “creation of mixed teams”, “Publications on architecture”, “Technical assistance”.

Thinking about the next three years, what elements can help to develop the competitiveness of Creative Industries in South Tyrol?

Specific research Definition of targeted strategic projects, capableof involving thebest creativeenergies present in the territory and beyond. Only through the comparison between the 'local' and the 'extra-local' can therebe growth.

Competitions of ideas, cultural movements, projects, artistic research, interdisciplinary approaches Equality and positiveeconomic stability Reduction of bureaucracy, simplification of laws and approval procedures Abolition of bureaucracy Open-minded society Subsidies Quality and advertising Stronger networking Public planning competitions Political and social stability Promotion of already existing creativeworkshops such as artist associations (e.g. GAP Glurns) and cooperatives (e.g. Bürgergenossenschaft Obervinschgau - 'da', Vinterra, VISO - Vinschger Sozialgenossenschaft), which already do astonishing work on site.

Information to end consumers about creativeindustries in general and their players.

Competition.

Better fees, more financial appreciation of the profession Creation of a house of design, architectureand urbanism.

Less interference of administration and politics createfreely.

Tax reduction and flexibility in many areas.

Companies should be given the opportunity to increasetheir equity capital without being 'punished' with excessivetaxes

*translated quotes from the explorative survey.

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How can the future development of your company or freelance activity referring to ADVERTISING be enhanced and facilitated?

Appropriate fees.

Assignments and qualified personnel.

Reducing bureaucracy.

Consulting for human resources and for investments in new offices.

Easier competitions.

Easy networking.

Offers for further education.

On-siteor onlinecourses.

Open competitions.

Fewer taxes, financial support.

Further education.

Incentives on the cost of employees or helpers, alternative union policies for the contribution of helpers (vouchers or contributions) Information on contributions to research.

Assignments and specialized and creativestaff.

Be flexibleand open to requests/proposals from thosewho come into contact with you.

Cosmopolitanism, cultural affinity, reduction of bureaucracy.

Create an innovative cultural environment with competitions of ideas, projects, exhibitions, a sparkling and innovativeenvironment, opportunities for aggregation and multidisciplinary.

Creation of affordableform of housing, adjusting wages to the cost of living.

Enhancement of specific skills.

Genuine simplification of regulations, elimination of bureaucracy.

Greater openness to Italian design.

High prosperity is not necessarily an indication of increased creativity; on the contrary, it flattens out of comfort. South Tyrol is therefore well advised to invest in research and innovation and to involve the private sector massively.

Increasevisibility, but pay attention to quality differences that undoubtedly exist!

Internationalization, networking and creation of platforms.

To make our competences known in the international field; to promote them publicly by providing organization and exhibition areas; to create representations in economically interesting territories; to support publications in the international professional world.

Assignments and specialized and creativestaff.

Be flexibleand open to requests/proposals from thosewho come into contact with you.

Cosmopolitanism, cultural affinity, reduction of bureaucracy.

Create an innovative cultural environment with competitions of ideas, projects, exhibitions, a sparkling and innovativeenvironment, opportunities for aggregation and multidisciplinary.

Creation of affordableform of housing, adjusting wages to the cost of living.

Enhancement of specific skills.

Genuine simplification of regulations, elimination of bureaucracy.

Greater openness to Italian design.

High prosperity is not necessarily an indication of increased creativity; on the contrary, it flattens out of comfort. South Tyrol is therefore well advised to invest in research and innovation and to involve the private sector massively.

Increasevisibility, but pay attention to quality differences that undoubtedly exist!

Internationalization, networking and creation of platforms.

*translated quotes from the explorative survey.

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6.3.4 Subsector: MUSIC A. Profiling the subsector A total of ten survey participants operate in the subsector Music which they regard to be theirmain ambit of activity.

Types of enterprises: with regards to the size of the organization or company one can see that the majority of respondents of the subsector Music are small firms with few collaborators/individuals.

Among the survey respondents of Music there are three cooperatives, two independent contractors/freelance professionals, two individual enterprises and two societies (e.g. Srl, Sas, Snc, Spa, etc) as shown in the graph G6.4.1. One respondent selected “other” without giving further explanations.

Graph G6.4.1: Typologies of enterprises within the subsector of Music.

Independent contractor/Freelance professional

2

Individual enterprise 6

2 Cooperative

3 1

Society (for example, Srl, Sas, Snc, Spa)

2 Other (Source: own elaboration, Eurac October 2019)

Types of professions: given the multiple-choice options, the results show that among the respondents of the subsector Music eight work as “operators in the music sector (e.g. musician, composer/composer, singer, sound engineer/phonist, conductor/director, or as orchestra conductors, choir conductors, etc.)”. As the graph G6.4.2 shows, some respondents of the subsector Music also work as event organisers (5 responses), four as recording studios and three as “training institutions (e.g. music school/academy, conservatory, etc.)”. Two participants preferred to indicate their profession as “other” specifying to work as lighting engineer and in the ambit of management and booking respectively. Among the respondents there was one “cultural space or cultural centre” while there have not been any responses assigned to “ateliers or laboratories”.

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Graph G6.4.2: Professional- and structural profiles within the subsector of Music.

Multiple choice 9 8

Number of responses

7 6 5 4 3 2 1 0

Professional- and structural profile (Source: own elaboration, Eurac October 2019)

Geographical distribution: four of the organisations (companies or freelancer), which provided a response, operate in Bolzano-Bozen, threein Merano-Meran and one in Carnedo-Karneid. According to this small sample it appears that the organisations of the subsector Musictend to be located in the main urban areas.

Approximate turnover pattern: the turnover trend during the last three years, among survey participants belonging to the subsector of Music, has been increasing for three respondents out of 10.

For another three it has been to be more or less stationary. Despite that, there is one respondent who indicated having been active for lessthan three years, thereare two respondents who did not provide any indication and who report a declining trend. Among those that did provide an answer, two respondents indicate a turnover class between 15,000 and 28,000 Euros, the rest of the respondents tend to be allocated below whilethere is one that falls into the class 75,000 and 250,000 Euros when referring to the last balance sheet.According to this mini-samplethe subsector seems, thus, to be very variegated when it comes to its financial situation.

Financial and investment habits: from the survey results it appears that the own resources are the most relevant sources of financing and that few firms/individuals are financed by publicfunds.

When asked about how respondents use publicor private funding, and given a multiple choice option, the findings show that respondents allocate their financial resources mainly to service and product development (4 responses), to equipment/machinery and infrastructure as well as to hardware and software (each with 3 responses). As shown in the graph G6.4.3, one single response was given to research and development.

With regards to Research and Development, the survey shows that few representatives of the subsector Musicinvest in it (2 respondentsout of 10), that these investments account to less than 20% of their turnover and that it is not targeted on one specificambit of their business.

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Graph G6.4.3: Business areas in which respondents of Music tend to allocate financial resources.

Number of responses

5 4 3 2 1 0

Area of investment (Source: own elaboration, Eurac October 2019)

B. Strategic measures and policy recommendations Weak points of the system: as reported in the table T6.4 it results that the representatives of Music that participated in the survey especially need support and advice in the ambit of financial issues and facilities with a weighted mean of 3,5 (corresponding to a value between “a lot” and “very much” in a scale of 0=not at all, 1=a little, 2=enough, 3=a lot, 4=very much) and marketing and promotion (3,3).

Also, some support in administration, legal affairs, internationalisation and networking is needed.

Apart from this, some of the respondents provide further specification including that their organisation would profit from support in consulting on public funding, interaction between companies in the sector, external promotion, financial support from the side of private sponsors and that this financial support would be best invested for instruments, human resources, event organisation, and mobility. Respondents alsomention thepromotion of musicin schools and theneed of more structure and marketing. According to a respondent the subsector “needs more money for (modern) creatives and musicians and not only for bands.”

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Table T6.4: Business areas in which respondents of Music need support/advice.

Weighted mean with scale 0-4 (0=not at all, 1=a little, 2=enough, 3=a lot, 4=very much) How much does the subsector need support/advice in the following business areas Not at Very all A little Enough A lot much Human resources

Total

Answers Missin g

Mean

8

2

1,9

2

1

1

4

Legal affairs

N/A

N/A

3

3

2

8

2

2,9

Administrativefields

N/A

1

1

4

2

8

2

2,9

Marketing/promotion

N/A

2

N/A

N/A

6

8

2

3,3

Financial issues/facilities

N/A

1

N/A

1

6

8

2

3,5

2

N/A

N/A

1

5

8

2

2,9

Specific/technical skills

N/A

1

1

3

3

8

2

3

Networking

N/A

2

1

1

4

8

2

2,9

1

2

N/A

3

2

8

2

2,4

N/A

N/A

N/A

1

2

8

2

Internationalisation

Sales/customer management

Other 7 (Source: own elaboration, Eurac October 2019)

Educational background: the most popular qualification within the organization (or company or among freelancers) of the subsector Music is a second level university degree (or equivalent title) as four respondentsclaim with respect to their organisation. Also, themiddleschooldiploma is a frequent qualification among professionals of the subsector Music according to two respondents and with respect to their company.

Development potentialities: from the sample it results that the competitiveness of the organisation (company or individual activity) is mainly associated with their “business know-how”, their “products and services” and the “use of new technologies”. They attribute positive values to criteria like the “way of thinking and attitude, flexibility in the face of market changes, foresight”, as well as the “financial support of the Province” and “innovation”. Respondents of the subsector Music do not regard “shared offices (e.g.coworking spaces,openspaces)” as being very relevant as a criterion which contributes to competitiveness.

C. Cross-sectorial synergies and spill-over effects Collaboration with sectors outside CCI: five respondents out of 10 belonging to the subsector Music have not collaborated on projects, events, products or services with companies or freelancers outside the CCI. Which sectors? Despite two missing responses, there are three respondents that confirm having collaborated with sectors outside CCI during the last three years, specifying that the collaboration occurred with the tourism sector through “live concerts” or else with “associations, politicians, organisers” and “public institutions”.

What impact? Collaboration with sectors outside CCI are considered in general to affect all kinds of business areas, according to the overall indication of representatives of the subsector Music. The survey participants locate positive effects to areas like “product and service realization”, “distribution”,” sales” and “internationalisation” especially. Some remain neutral when deciding on whether “research and development” or “visibility” of their business are actually positively or negativelyinfluenced by external collaborations. According to a respondent who added a comment to which kind of areas could profit most from external collaboration, it appears that “all areas can experience a positive effect, if one knows how to apply creative industries properly.”

Any future potentials? For the future, the representatives of the subsector Musicsee a great potential in collaborating with “industry and crafts”, “tourism associations and hotels”, “municipal administrations”, “environmental associations”, the “cultural sector”. A respondent also indicates the key words “entertainment” and “clubs” as well as “local businesses (industry, crafts...)”, “schools,

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continuing education” and “agriculture”. Another statement of a respondent says it all: “We are creative, there is no limit here: all sectors are interesting!”

Furthermore, it appears that for respondents of the subsector Music there are some elements that could be beneficialfor the developmentof a collaborationwith companies and individuals outside CCI. The elements perceivedto be most beneficialto the subsector are regarded “financial incentives (e.g. voucher)”, which four out of 10 respondents regarded as “very beneficial” followed by “organization of training courses”, supported by three respondents.

Also”business accelerators/incubators/mentoring for cross-sectoral projects” and “organization of networking events ("get-together", "speed dating", "thematic events", etc.)” and a “specific contact point and service” find positive resonance among representatives of Music and several also highlight the relevance of “calls for proposals/competitions of ideas for cross-sectoral projects”.

Collaboration among the subsectors within CCI: According to the survey data, and given the multiple-choice options, the representatives belonging to the subsector Music indicate having collaborated most frequently with organisations (companies or freelancers) of the subsectorsFilm and Radio and TV (5 responses for each) during the last threeyears.

As shown in the graph G6.4.4 they also show interactions with other subsectors like Advertising and Publishing and Press (3 responses for each) and with Performing Arts and Visual Arts (2 responses each). One collaboration appears to have occurred with Design and one with Music.

According to the data provided by the respondents belonging to the subsector of Film, the collaboration with other subsectors within CCI occurs mainly through projects and events. The following statements shall provide some examples of the kind of collaboration respondents of the subsector Music referto: “Contemporary music festival”,“Event,advertising music”, “Projects,events, product developments, services”, “Recording and publication of Music albums, concerts”, “Live performances, training”.

Graph G6.4.4: Collaboration within the CCI from the Music’s perspective.

Multiple choice

Number of responses

6 5 4 3 2 1 0

Subsector (Source: own elaboration, Eurac October 2019)

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Thinking about the next three years, what elements can help to develop the competitiveness of Creative Industries in South Tyrol?

Less bureaucracy More funding for creative people Relaxed dealings with licenses More business angels and investors who voluntarily invest in the culture Patronage Platforms for just such an investment in the cultural sector Tax relief for creative people Interaction, international transfers and exchanges, marketing Incentives of public hand Appreciation on the part of the local industry and handicraft federations, appreciation for creativity in general Better Pricing More networking among the creative Dismantling of bureaucracy and note economy Tax lowering Jobs More attention and control over how much and how public contributions arespent Physical opportunities and spaces (places) that can create synergies between professionals, facilitate the acquisition of new customers and creative

*translated quotes from the explorative survey

How can the future development of your company or freelance activity referring to MUSIC be enhanced and facilitated?

Creation of a serious platform for economic and serviceexchanges between professionals of the creative sector and entrepreneurs, industrialists, farmers, craftsmen.

Improvement of the image of professionals of the creative sector as an independent profession Improvement of the appreciation of creative work.

Funding, funding, funding - whether from the municipality, the country or the region.

Creating a platform for CULTURE Business Angels so that projects and creativecompanies can reach private financiers.

Creating an unconditional basicincomefor creative people (one shall beallowed to dream of such...)

We must act to bring culture and creativity back to the interest of the public, holding events for the general public, supporting the professionals of the sector.

Less bureaucracy, better networking between creativepeople, service- and production companies, schools.

More public funding for MODERN music (not always only for folk music and bands) – get more international artists to South Tyrol.

A car rental servicefor larger bands and groups (e.g. Mercedes Sprinter with 9 seats and loading area).

VALUE creative work - no pricedumping - education in the creativesector – speakers.

Marketing strategies, financial contributions, spaces for development and experimentation, interaction and exchange of ideas

*translated quotes from the explorative survey.

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6.3.5 Subsector: RADIO & TV A. Profiling the subsector A total of 6 survey participants operate in the subsector Radio & TV, which they regard as their main ambit of activity.

Types of enterprises: three survey participants of Radio & TV indicate operating as a society (for example Srl, Sas, Snc, Spa), two work as individual enterprises and one is an independent contractor/freelance professional, as shown in G6.5.1.

Graph G6.5.1: Typology of enterprises within the subsector of Radio & TV. Independent contractor/Freelance professional

1

Individual enterprise 3

2

Society (Srl, Sas, Snc, Spa)

(Source: own elaboration, Eurac October 2019)

Types of professions: given the multiple-choice option, the respondents of the subsector Radio & TV indicate operating as “radio and TV operator (e.g. moderator/moderator, presenter/presenter, journalist, cameraman/room woman, technician, sound, etc.”, one as a “Radio/TV broadcaster” while threeselected “other” and specified workingin the ambit of audio production (2 responses) and sound design (1 response), as sketched in graph G6.5.2:

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Graph G6.5.2: Professional- and structural profiles within the subsector of Radio & TV. Multiple choice

Number of responses

4

3

2

1

0 Radio & TV Event Radio/TV Training operator organiser broadcaster institution

Cultural centre

Atelier

Other

Professional- and structural profile (Source: own elaboration, Eurac October 2019)

Geographical distribution: the two organisations (companies or freelancer) which belong to Radio & TV that provided a response, are located in Bolzano-Bozen and in Renon-Ritten.

Approximate turnover pattern: among the two survey participants of the subsector Radio & TV that provided an answer, the turnover trend during the last three years has been increasing and more or less stationary. One representative of the subsector Radio & TV indicated a turnover class between 28,000 and 55,000 Euros, the otherone over 500,000 Euros when referring to the last balance sheet.

Financial and investment habits: the data collected regarding the financial part of the subsector Radio & TV was too insubstantial to allow any indication regarding the most relevant sources of financing.

When asked about how respondents use public or private funding, it appears that two of them invest in equipment, machinery and infrastructure, in human resources or in service and product development and in hardware and software. As illustrated in graph G6.5.3, none invests in research and development norin internationalisation.

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G6.5.3: Business areas in which respondents of Performing Arts tend to allocate financial resources.

Multiple choice

Number of resposes

3

2

1

0

Area of investment (Source: own elaboration, Eurac October 2019)

B. Strategic measures and policy recommendations Weak points of the system: as reported in the table T6.5 it appears that the three representatives of Radio & TV that provided an answer, perceive a need for support in sales and customer management as well as in marketing and promotion with a weighted mean of 3,7 (corresponding to a value between “much” and “very much” in a scale of scale 0=not at all, 1=a little, 2=enough, 3=a lot, 4=very much.

Also, advice in networking (3,3) and on financial issues and facilities (3.0) appears to be needed.

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Table T6.5: Business areas in which respondents of Radio & TV need for support/advice.

Weighted mean with scale 0=not at all, 1=a little, 2=enough, 3=a lot, 4=very much How much does the subsector need support/advice in the following business areas?

Not at Very A little Enough A lot all much Human resources 1 1 0 0 1 N/A N/A Legal affairs N/A 1 2 N/A Administrativefields N/A 2 1 N/A N/A Marketing/promotion N/A N/A 1 2 Financial issues/facilities N/A N/A 1 1 1 N/A N/A Internationalisation 1 1 1 N/A N/A N/A N/A Specific/technical skills 3 N/A N/A Networking N/A 2 1 N/A N/A Sales/customer management N/A 1 2 (Source: own elaboration, Eurac October 2019)

Answers Total

Missing

Mean

3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3

1,7 1,7 2,3 3,7 3,0 1,0 2,0 3,3 3,7

Educational background: the two respondents of the subsector Radio & TV who provided an answer indicated that the most popular qualification within the organization (or company or among freelancers) is the first or second level university degree (or equivalent).

Development potentialities: from the sample, it appears that the competitiveness of the organisation (company or individual activity) among respondents belonging to the subsector of Radio & TV is in some cases associated, in very positive terms, with the “product and service provided” by the organisation itself, in another case with “networking, events and workshops”. Also, the “business know-how”, the “multidisciplinary/interdisciplinary approach in the company”, the “specialised human resources” and “the use of news technologies” as well as “innovation” are regarded by a couple of the respondents to be of a rather positive influence to their competitiveness. On the other hand, shared offices (i.e. coworking spaces, open spaces) and the financial support from the Province appear for some of the respondents not to contribute at all to the competitiveness of their organisation.

From the survey it appears that the representatives of the subsector Radio & TV would focus mainly on the following aspects when asked how to best facilitate and enhance the future development of their enterprises: “collaboration in networking”, “support in tenders, also at European level”, “development of collaborations in projects”, and “marketing”. When asked what they suggest with regards to future initiatives, one representativeof the subsector Radio & TV answered: “meetings and events with speakers”, “information on internal development by Creative Industries.”

C. Cross-sectorial synergies and spill-over effects Collaboration with sectors outside CCI: despite the relevant amount of missing answers (4 out of 6 respondents), there is one respondent of the subsector of Radio & TV that indicated to not having collaborated on projects, events, products or services with companies or freelancers outside the CCI for the last three years while another one confirms having collaborated with players outside CCI. Which sectors? The respondent who did collaborate with sectors outside CCI specified that the collaboration occurred with IDM. Whatimpact? According to one survey, participants of the subsector Radio & TV who provided some information in these regards, the collaboration with sectors outside CCI was considered to have had a very positive effect mainly on the areas of “product and service realisation”, and also rather positive effects on “distribution”, “research and development”, “visibility” and the “corporate culture and business model”.

Any future potentialities? For the future, the representatives of the subsector Handicraft see great potential in collaborating with the IDM Film Fund and the sectors of “tourism”, “economy”, “education”.

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Furthermore, it appears that for respondents of the subsector Radio & TV there are some elements that could be beneficialfor the development of a collaboration with companiesand individuals outside the CCI. The elements perceived to be very beneficial to several survey participants are regarded as “financial incentives (e.g. voucher)” besides the “organization of networking events ("get-together", "speed dating", "thematic events", etc.)” and the “organization of training courses”. Another rather positive result appears to be “calls for proposals/competitions of ideas for cross-sectorial projects”, “business accelerators/incubators/mentoring for cross-sectorial projects” and a “specific contact point and service”.

Collaboration among subsectors within CCI: When asked about the collaboration with other CCI subsectors referring to the past three years, the representatives belonging to the subsector Radio & TV claimed to frequently having collaborated with professionals (companies or freelancers) of the same subsector, namely Radio & TV. Given the multiple-choice option, they also indicate having collaborated as much with Film, Music, Radio & TV and Advertising (5 responses for each). As shown in the graph G6.5.4, there have also been collaborations with other subsectors like Performing Arts and Publishing & Press (3 responses each), and single ones with Design, Visual Arts and Handicraft. It thus appears to be a diversified collaboration which takes place with Radio & TV and other subsectors of CCI. In the sample, only the subsector of Architecturehas not been indicated.

Graph G6.5.4: Collaboration within CCI as perceived by respondents of Radio & TV. Multiple choice

Number of resopnses

6 5 4 3 2 1 0

Subsector (Source: own elaboration, Eurac October 2019)

How does the CCI collaborate? According to the little data provided by the respondents belonging to the subsectorof Radio & TV, the collaboration with other subsectors within CCI occurs either through “brainstorming in the Media– Noi Techpark”, “Cameraman / DoP free-lance for TV programs”, “live events”, “concerts, musicals for TV”, “cinema”, “DVD”, “fashion shows”, “editorials for brands - car and motorbike”, “events”, “projects” and “services”.

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Thinking about the next three years, what elements can help to develop the competitiveness of Creative Industries in South Tyrol?

Simplification or abolition of the Enpals-registration for studio speakers for Advertising or other smaller orders (no presentations). In comparison to foreign countries, we incur 33% additional costs.

We have a clear disadvantagecompared to German-speaking foreign countries.

Know how, a databaseof possibleexternal collaborators, synergies in video productions.

*translated quotes from the explorative survey.

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6.3.6. Subsector: ADVERTISING A. Profiling the subsector A total of 30 survey participants operate in the subsector Advertising which they regard as theirmain ambit of activity.

Types of enterprises: 15 of the survey respondents who belong to the subsector of Advertising are societies (for example Srl, Sas, Snc, Spa) while ten respondents are individual enterprises, four are independent contractors/freelance professionals and one operatesas an association, as shown in the graph G6.6.1.

Graph G6.6.1.: Typologies of enterprises within the subsector of Advertising.

Independent contractor/Freelance professional

4 10

Individual enterprise

Society (for example, Srl, Sas, Snc, Spa)

30

15

Association

1 Total (Source: own elaboration, Eurac October 2019)

Types of professions: it results from the survey data that, given a multiple choice option, there were 19 respondentsof the subsector Advertising that operate as an advertising studio. As the graph G6.6.2 illustrates,they alsofrequently workas advertising operators (18 responses),or as an event organizer (3 responses). Among the respondents there is also one training institution and one atelier/laboratory. Six respondents indicated “other” by specifying the following additionalactivities: “creative studio”, “online marketing”, “photographs”, “specialising in the transmission of advertising”, “translator”. There is no cultural space or cultural centre among the respondents of the subsector Advertising.

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Graph G6.6.2: Professional- and structural profiles within the subsector of Advertising.

Multiple choice 20 18

Number of responses

16 14 12 10 8 6 4 2 0 Advertising operator

Event Advertising Training organiser studio institution

Cultural centre

Atelier

Other

Professional- and structural profile (Source: own elaboration, Eurac October 2019)

Geographical distribution: seven respondents of the subsector Advertising, including companies and freelancers,operatein Bolzano-Bozen, twooperatein Brunico-Bruneck, one inBressanone-Brixen.The remaining ones that provided an answer are distributed in areas outsidethe urban context, namely in Prato allo Stelvio-Prad am Stilfserjoch and in Varna-Vahrn.

Approximate turnover pattern: among the survey, participants referring to the subsector of Advertising state the turnover trend during the last three years has been increasing for 12 of the respondents. As sketched in graph G6.6.3, three respondents indicated a more or less stationary turnover trend. Despite the 14 missing answers, there was also one respondent who had been active for less than three years. Among thosethat provided an answer,four respondentsindicateda turnover between 75,000 and 250,000 Euros when referring to the last balance sheet (up to July 2019). There are other two groups, each with three respondents that indicated to having had a turnover between 250,000 and 500,000 Euros or higher than 500,000 Euros respectively. A couple of the respondents had a turnover between 15,000 and 28,000 Euros and one single respondent indicated to having had a turnover of 28,000 and 55,000 Euros. Among the respondents there were none who indicated a turnover below 15,000 Euros. As the graph shows, there is a relevant number of missing responses.

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Graph G6.6.3: Turnover class of the respondents belonging to the subsector of Advertising.

16

Number of respondents

14 12 10 8 6 4 2 0

Turnover class (Source: own elaboration, Eurac October 2019)

Financial and investment habits: the data collected regarding the financial part of the subsector Advertising was insubstantial. In general, it appears that their own resources were among the most relevant sources of financing.

When asked about how respondents of Advertising usepublic or private funding,and givena multiplechoice option, it appears that the respondents allocated their financial resources most commonly to hardware and software and in service and product development (7 responses each). They also invest in human resources, equipment/ machinery and infrastructure (6 responses for each), as reported in graph G6.6.4. A couple respondents also indicated research and development and one respondent selected internationalisation. Finally, onerespondent selected“other” and specified using the funding to have “liquidity”.

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Graph G6.6.4: Business areas in which respondents of Advertising tend to allocate financial resources.

Multiple choice

Number of responses

8 7 6 5 4 3 2 1 0

Area of investment (Source: own elaboration, Eurac October 2019)

With regards to investments specifically reserved to “Research and Development”, it appears that less than a quarter of the representatives of Advertising invest in Research and Development. Nine respondents indicated to not having invested in R&D, despite half of the sample not having provided any answer. Those respondents that provided an indication, declared having invested less than 50% in R&D. B. Strategic measures and policy recommendations Weak points of the system: as reported in the table T6.6 it appears that the representatives of Advertising that participated in the survey especially need support in networking with a weighted mean of 2,9 (corresponding to a value between “enough” and “a lot” in a scale of 0=not at all, 1=a little, 2=enough, 3=a lot, 4=very much) followed by financial issues and facilities (2,8). Also, advice in specific technical skills and in marketing and promotion was regarded as being needed. A participant points out that “marketing of the creative sector” is what is most needed.

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Table T6.6: Business areas in which respondents of Advertising need support/advice.

Weighted mean with scale 0=not at all, 1=a little, 2=enough, 3=a lot, 4=very much How much does the subsector need support/advice in the following business areas?

Not at Very A little Enough A lot all much 7 2 7 7 2 Human resources 1 6 11 6 1 Legal affairs 3 6 8 5 2 Administrativefields 2 5 6 5 7 Marketing/promotion 0 5 5 5 10 Financial issues/ facilities 3 5 9 1 7 Internationalisation 3 1 6 9 6 Specific/technical skills 0 2 9 4 10 Networking 2 7 5 5 6 Sales/customer management 18 0 3 1 3 Other (Source: own elaboration, Eurac October 2019)

Answers Total

Missing

Mean

25 25 24 25 25 25 25 25 25 25

5 5 6 5 5 5 5 5 5 5

1,8 2,0 1,9 2,4 2,8 2,2 2,6 2,9 2,2 0,8

Educational background: within the sample, the most frequent qualification within the organization (company or freelance activity) referred to the subsector Advertising appears to be a high school degree (or equivalent) as indicatedby fiveparticipants.As reported in graph G6.6.5, there are also four participants who selected a bachelor degree and the remaining answers include one PhD and one professionalcertificate of apprenticeship. Despite 16 missing respondents out of 30, there is one who selected “other” and specified that “the academic degree is not important, what counts is the motivation.”

Number of respondents

Graph G6.6.5: Most popular qualification among respondents of Advertising.

18 16 14 12 10 8 6 4 2 0

Qualification

(Source: own elaboration, Eurac October 2019)

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Development potentialities: from the sample it appears that the competitiveness of the organisation (company or individual activity) which belongs to the subsector of Advertising is especially associated in very positive terms with “business know-how”, the “way of thinking and attitude, flexibility in the view of market changes, foresight for the future” and the “product and service provided” as well as with “innovation”. Also, the “multidisciplinary and interdisciplinary approach” are regarded to contributing positively to competitiveness. According to some respondents, “financial support” and “shared offices” are, on the other hand, regarded by some to contribute in a very negative way.

C. Cross-sectorial synergies and spill-over effects Collaboration with sectors outside CCI: despite ninemissing answers, thereare seven respondents of the subsector of Advertising that indicate not having collaborated on projects, events, products or services with companies or freelancers outside the CCI for the last three years while 14 respondents confirm having collaborated with players outside CCI as reported in graph G.6.6.6.

Graph G6.6.6: Frequency of collaboration with sectors outside CCI from the Advertising’s perspective.

Missing

9 14

No, I have not collaborated outside CCI for the last three years

7

Yes, I have collaborated outside CCI for the last three years

(Source: own elaboration, Eurac October 2019)

Which sectors? Some respondents also specify that the collaboration occurred with the sector of “tourism”, with “associations”, “tourism federations”, “organisers” and the “public administration” and through “live concerts”.

What impact? According to the survey, participants of the subsector Advertising, state the collaboration with sectors outside CCI is perceived to have a very positive effect mainly on the areas of “product and service realisation”, and also rather positive effects on “visibility”, “sales”, followed by “skills” and “corporate culture and business model”. Respondents of the subsector remain neutral with regards to what kind of effects the collaboration outside the CCI sectors has on their business.

Any future potentials? For the future, the representatives of the subsector Advertising see great potential in collaborating with the IDM Film Fund and the sectors of “tourism”, “economy”, “education”.

Furthermore, it appears that for respondents of the subsector Advertising there are some elements that could be beneficialfor the development of a collaboration with companiesand individuals outside CCI. The elements perceived to being very beneficial to several survey participants are regarded as “financial incentives (e.g. voucher)” besides others regarded to be rather beneficial too including the “organization of networking events ("get-together", "speed dating", "thematic events", etc.)” and

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the “organization of training courses”. “Calls for proposals/competitions of ideas for cross-sectorial projects” and “business accelerators/incubators/mentoring for cross-sectorial projects” frequently receive a neutral answerof not being too beneficialbut at the same time should be considered too.

Collaboration among subsectors within CCI: According to the survey data and referring to the last three years, 21 respondents of the subsector Advertising have frequently collaborated with organisations (companies or freelancers) in their own subsector, namely Advertising, as shown in graph G6.6.7. Given the multiple-choice option, they also appear to have collaborated with the subsectors of Film (13 responses),Design and Publishing and Press (12 responses each),Radio and TV (10 responses), Software and Videogames (6 responses), Music (5 responses), Performing Arts and Architecture (3 responses each), Handicraft (2 responses) and once with Visual Arts. Three representatives of the subsector Advertising indicated to only having worked with companies outside the creative sectors while another four indicated to also having worked with organisations within CCI which are other categories, not listed among the eleven subsectors. However, they did not provide any further specification. It appears overall,that the collaboration of Advertising within the CCI sector is well distributed and covers the completepaletteof the eleven subsectorswithout leaving any out.55 Graph G6.6.7: Collaboration within CCI as perceived by respondents of Advertising.

Multiple choice

Number of responses

25 20 15 10 5 0

Subsector (Source: own elaboration, Eurac October 2019)

How does the CCI collaborate? According to the data provided by the respondents belonging to the subsector of Advertising, collaboration with other subsectors within CCI occurs in many cases through projects, but also through events, services, consultancy, exchange of ideas, product development, joint orders, joint software systems, website and application development, research and developmentin geo-localised advertising.

55 Just for reminder, the eleven CCI subsectors of analysis are:

Design, Film, Architecture, Music, Radio & TV, Advertising, Handicraft, Publishing & Press, Performing Arts, Visual Arts, Software & Videogames.

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Thinking about the next three years, what elements can help to develop the competitiveness of Creative Industries in South Tyrol?

Better networking, training and further education opportunities.

Reorientation of the support measures of the creative economy.

Improvement of the foreign language knowledge, sensitization of the public to the quality of the domestic creative economy.

Training offers (e.g. remote study or tele-learning Gutenberg school Bozen) Reducing bureaucracy.

Making data protection more transparent, also the IDM or public/semi-public South Tyrolean institutions should be forced to providetheir services to local creativeproviders.

Encourage the market to go abroad more. Describe the importance of corporate communication/advertising and market perception and become active.

Networking.

Help with marketing, even for small companies.

Always the plurality of subjects activein the specific field of creativecommunication.

Improvement of the network/networking between freelancers in the various areas of communication.

Invite speakers from the creative field, events, and contests.

Sensitiveto the impact of the climatechange, on the environment.

The market is active but you have to do something about it. Also operating abroad. The need for communication must be taken into account. This means that the market must be opened up.

*translated quotes from the explorative survey.

How can the future development of your company or freelance activity referring to ADVERTISING be enhanced and facilitated?

Networking of sectors, schools in thevalleys, raising publicawareness.

Always develop new areas and consolidateexisting ones, but in a perspective of widespread plurality.

Category-specific advertising networking and 'speed dating' with potential customers.

Competence centres to which the market can refer, and which convey the request by combining it with the offer.

Reduction of bureaucracy, better digitization of banking.

Public institutions using South Tyrolean creative companies MUST make more transparent tenders with less effort to participate, perhaps even if grants for development of new products and investment in technologies to be competitive.

South Tyrolean companies should also be employed for projects in South Tyrol.

It often happens that film teams are hired from outside.

Teach the importance of corporate communication, positioning and internationality.

Create new advertising channels (BSP Austria), the B2B sector is relatively small in South Tyrol (products), takes place only in South Tyrol - ends at the regional borders (to IT and AT) therefore advertising is often seen as irrelevant (also budget accordingly low).

*translated quotes from the explorative survey.

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6.3.7 Subsector: HANDICRAFT A. Profiling the subsector A total of 30 survey participants operate in the subsector Handicraft, which they regard as theirmain ambit of activity.

Types of enterprises: 15 out of 30 survey respondentsbelonging to the subsector of Handicraft appear to operate as individual enterprises, 10 are a Society (eg. Srl, Sas, Snc, Spa) and three operate as “independent contractors/freelance professionals”, as reported in graph G6.7.1.

Graph G6.7.1: Typologies of enterprises within the subsector of Handicraft.

7

Independent contractor/Freelance professional

10

Individual enterprise

33

Society (Srl, Sas, Snc, Spa)

50

Missing

Other

(Source: own elaboration, October 2019)

Types of professions: given the multiple-choice, it appears that 14 respondents of the subsector Handicraft operate as or in an “atelier/laboratory” and 13 work as “craftsman (e.g. locksmith, weaver/weaver, etc.).” As shown in graph G6.7.2, they also indicated working as “jewellery, textile factory, handicraft consortium” (9 responses). Five responses were given to “other” whereby four respondents also specified operating with “CNC milling”, as “graphic photographer” and with “wood carving”.

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Graph G6.7.2: Frequency of professional- and structural profiles within the subsector of Handicraft.

Multiple Choice 16

Number of responses

14 12 10 8 6 4 2 0

Professional- and structural profile (Source: own elaboration, Eurac October 2019)

Geographical distribution: two of the organisations belonging to the subsector of Handicraft, which provided an indication regarding the geographical position, indicated operating in urban centres: one in Bolzano-Bozen, another one in Merano-Meran. The rest are distributed in villages throughout the region: one in Tirolo-Tirol, one in Laion-Lajen, one in Lagundo-Algund, one in Castelrotto-Kastelruth, one in Appiano-Eppan, onein Campo di Trens-Freienfeld,one in Lana, one in Nalles-Nals, onein OrtiseiSt. Ulrich, one in Val Sarentino-Sarntal, and one in Scena-Schenna.

Approximateturnover pattern: among the 15 respondents of Handicraft that provided an answer, the turnover trend referring to the last threeyears,appears to be increasing forsix respondents, declining for four respondents and more or less stationary for another four. For one respondent it appears to be fluctuant, while one results as being active for less than three years. Among those that provided an indication, there are six respondents of the subsector Handicraft with a turnoverbetween 75,001 and 250,000 Euros, three respondentswith a turnover between 15,001 and 28,000 Euros. One respondent exceeds the 500,000 Euros turnover class.

Financial and investment habits: among the sample, participants own resources appear most frequently as being the financial means of enterprises within the subsector of Handicraft. From the survey it appears that respondentsdo not use financialresources from contributions or donations and that publicfunds do not generally exceed 3%.

When asked about how respondents of Handicraft use publicor private funding and given a multiplechoice option, it appears that they frequently allocate it to “equipment, machinery and infrastructure” (10 responses). Several also use them for “internationalisation” purposes (5 responses) and/or for “service and product development” (5 responses), followed by “hardware and software” or “research and development” (4 responses each). One respondent also indicates having invested in “human resources” while one respondent selected “other” to specify that the investment went into “Advertising and marketing”, as shown in graph G6.7.3.

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Graph G6.7.3: Business areas in which respondents of Handicraft tend to allocate financial resources.

Multiple choice

Number of responses

12 10 8 6 4 2 0

Area of investment (Source: own elaboration, Eurac October 2019)

In an additional section of the questionnaireregarding “Research and Development”, six respondents claimed to not having invested in it, compared to eight who confirmed to having done so, whereby 62% of respondents declared to having invested less than 10% (this is a mere indicative value based upon the relatively smallsample size.)

B. Strategic measures and policy recommendations Weak points of the system: as reported in the table T6.7 it appears that the representatives of Handicraft that participated in the survey need support in marketing and promotion especially with a weighted mean of 2,9 (corresponding to a value between “enough” and “a lot” with a scale of 0=not at all, 1=a little, 2=enough, 3=a lot, 4=very much) as well as in sales and customer management (2,8).

Also, advice in networking (2,4) is regarded as being needed followed by advice in financial issues and facilities (2,2). Some respondents who indicated “other” categories added the following requestsfor support: “creation of price list” and “reduction of red tape”.

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Table T6.7: Business areas in which respondents of Handicraft need support/advice.

Weighted mean with scale 0=not at all, 1=a little, 2=enough, 3=a lot, 4=very much How much does the subsector need support/advice in the following business areas?

Human resources Legal affairs

Not at all 6 4

Administrativefields 5 Marketing/promotion 1 Financial issues/ facilities 1 Internationalisation 3 Specific/technical skills 5 Networking 3 Sales/customer management 1 Other 15 (Source: own elaboration, Eurac October 2019)

A little

Enough

A lot

6 1

3 9

1 2

Very much 2 2

6 2 4 4 2 2 3 N/A

6 2 4 3 3 4 3 1

1 5 9 4 3 3 3 N/A

N/A 8 N/A 4 5 6 8 2

Answers Total

Missing

Mean

18 18

12 12

1,3 1,8

18 18 18 18 18 18 18 18

12 12 12 12 12 12 12 12

1,2 2,9 2,2 2,1 2,1 2,4 2,8 0,6

Educational background: within the survey sample, the most popular qualification within the organization (or company or freelanceactivity) of the subsector Handicraft isa professional secondary school diploma/certificate followed by a middle school certificate. However, more than half of the respondents did not provide any answer which should be considered in this outline and which is reported also in the graph G6.7.4.

Graph G6.7.4: Most popular qualification among respondents of Handicraft.

18

Number of repondents

16 14 12 10 8 6 4 2 0

Qualification (Source: own elaboration, Eurac October 2019)

Development potentialities: from the sample, it appears that the competitiveness of the organisation (company or individual activity) among respondents belonging to the subsector of Handicraft is most frequently associated in very positive terms with the “product and service provided� by the

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organisation itself. Some also refer in rather positive terms to “innovation”, “internationalisation”, “way of thinking and attitude, flexibility in the face of market changes, foresight for the future”, and “business know-how” and “the use of new technologies”. Less relevant in the context of competitiveness are aspects like “shared offices” or“financial support”.

C. Cross-sectorial synergies and spill-over effects Collaboration with sectors outside CCI: despite the relevant amount of missing answers (15 out of 30 respondents), there are seven respondents of the subsector Handicraft that indicated not having collaborated on projects, events, products or services with companies or freelancers outside the CCI for the last three years while eight claim to have collaborated with players outside CCI. Which sectors? Some of respondents who collaborated with sectors outside CCI specify the external collaboration with “trade”, “tourism associations”, “hotel businesses”, “bridal fashion shops”, “boutiques”, “industry”, “surveyors”, “LVH/Makerspace/IDM”, “carpenters” and “blacksmiths” and suggest “further development/improvement of products” and the “adaptation to the respective markets of the country”. They also mention in these regards,a collaboration withambits of CCI, which might seem to have a certain relevance: “handicraft”, “artists”, “craftsmen”, “design”, and “architects”.

Whatimpact? According to the survey, participantsof the subsector Handicraft, thecollaboration with sectors outside CCI is considered to have a very positive effect on the areas of “research and development”, followed by “product and service realization”. Furthermore, “visibility” is regarded by several participants to be an area that is affected rather positively by the collaboration with sectors outside CCI. “Human resources” are considered to be affected in neutral way, although there are a couple of respondents that tend to see very negative impacts on human resources too.

Any future potential? The representatives of the subsector Handicraft see great potential in collaborating, in the future, with “tourism”, “new markets”, “crafts”, “marketing”, “public institutions”, “associations”, “artists”, “design”, “interior design” and “trade”. Furthermore, it appears that for respondents of the subsector Handicraft there are some elements that could be beneficial for the development of a collaboration with companies and individuals outside CCI. The elements perceived to be very beneficial to several survey participants are regarded as “the organization of training courses“. “The organization of networking events ("get-together", "speed dating", "thematic events", etc.)” result in being rather beneficial followed by “business accelerators/incubators/mentoring for cross-sectorial projects”, “calls for proposals/competitions of ideas for cross-sectorial projects”. On the other hand, there are several respondents that consider “a specific contact point and service” and “financial incentives (e.g. voucher)” not beneficial at all for the development of external collaborations.

Collaboration among the subsectors within CCI: according to the survey data and referring to the last three years, representatives belonging to the subsector Handicraft have collaboratedmost frequently with organisations (companies or freelancers) of the same subsector, namely Handicraft (17 responses). Given the multiple-choice option, they also collaborated on a rather frequent basis with the subsectorof Design (12 responses) and a bit less frequently with Advertising (5 responses). With the subsectorof Film, Performing Arts, Visual Arts, Architecture as well as Publishing and Press there appears to have been some collaborationtaking place too even though it is less frequent (3 responses for each). One respondent also indicated a collaboration with Music and another one with Radio and TV, none with Software and Videogames. Three respondents indicated to only having worked with companies outside the creative sector, as shown in graph G6.7.5.

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Graph G6.7.5: Collaboration within CCI as perceived by respondents of Handicraft.

Multiple choice 18

Number of responses

16 14 12 10 8 6 4 2 0

Subsector (Source: own elaboration, Eurac October 2019)

How does the CCI collaborate? According to the data provided by the respondents belonging to the subsector of Handicraft, collaboration with other subsectors within CCI occurs mainly through “projects, events, services, exchange of ideas”, “collaboration in the creation of artistic works, “common textile market”, “events”, “joint contracts and services”, “joint orders”, “orders, advertising, trade fairs, product development, purchasing”, “sponsoring”, “photography, web design”, “sale” and “exchange of ideas”.

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Thinking about the next three years, what elements can help to develop the competitiveness of Creative Industries in South Tyrol?

To pay attention to the quality of the design. Not to support kitsch craft. To have authentic, ground breaking and courageous design in mind and promote it.

Formation of local cooperatives, (common workshops with exhibition rooms, joint marketing, no mixing with industrial products).

Sponsorships.

Equivalent access possibilities in the order area.

Spaces to useas an office or laboratory, which meet the economic availability for co-working.

Real estate advertising/ mediation of the values of South Tyrolean arts and crafts at home.

Investment promotion, innovation and creative competitions such as the Bavarian State Prize, awards or recognition of special achievements.

Government support.

Fewer largeprojects, otherwise the small businesses will go under.

Investment promotion, innovation and creative competitions such as the Bavarian State Prize, awards or recognition of special achievements, Government support Real estate advertising/ Mediation of the values of South Tyrolean arts and crafts at home Fewer largeprojects, otherwise the small enterprises go under Multilingualism Multilingual schools like in the Ladin Valleys Support for internationalization, exhibitions abroad, etc.

*translated quotes from the explorative survey.

How can the future development of your company or freelance activity referring to HANDICRAFT be enhanced and facilitated?

Promotion of small enterprises through advertising measures.

Visibility, creating connections, promoting innovativethinking outside the box.

Support to Handicraft and small businesses.

The possibility to get orders. In our sector prevails 'thecheapest work. No quality control'.

Incentives for internationalization.

Investment contributions tailored to micro-enterprises.

National contributions.

Bureaucracy reduction.

Free support for niche trades.

*translated quotes from the explorative survey.

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6.3.8. Subsector: PUBLISHING & PRESS A. Profiling the subsector: A total of 17 survey participants operate in the subsector of Publishing and Press, which they regard as theirmain ambit of activity.

Types of enterprises: nine of the survey respondentswho belong to the subsector Publishing and Press appear to be “societies (for example Srl, Sas, Snc, Spa)”. There are also four “cooperatives”, three “individual enterprises” and an “independent contractor/freelanceprofessionals”, as shown in graph G6.8.1.

Graph G6.8.1: Typologies of enterprises within the subsector of Publishing & Press.

1

Independent contractor/Freelance professional Individual enterprise

3

Society ( Srl, Sas, Snc, Spa) 17

9

Cooperative

Missing 4 Other

(Source: own elaboration, Eurac October 2019)

Types of professions: given a multiple-choice option, it appears that 11 respondents of the subsector Publishing and Press operate as “publishing editor, journalistic office, bookshop, etc.” and also as “operators in the publishing sector (e.g. writer, editor, journalist, translator, publisher, etc.)” (7 responses). A couple of times respondents indicated operating as “event organisers” and there are also a couple “ateliers/laboratories” among respondents of the sample, as shown in the graph G6.8.2.

Furthermore, there is are respondents that operate as “training institutions (e.g. school/academy for journalists, faculty of science or communication, etc.)” and one cultural space/centre. Three respondents who selected “other” specified also being operative in the ambit of “cartographies”, “labels production” as well as “public relations, hospitality and sales consultancy.”

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Graph G6.8.2: Professional- and structural profiles within the subsector of Publishing & Press.

Multiple Choice 12

Number of responses

10 8 6 4 2 0 Publishing Event Publishing editor sector organiser operator

Library

Training institution

Cultural centre

Atelier

Other

Professional-and structural profile (Source: own elaboration, October 2019)

Geographical distribution: six respondents of the subsector Publishing and Press who provided an answer, are located in Bolzano-Bozen, two in Bressanone-Brixen, one in Merano-Meran and another one in Bressanone-Brixen.

Approximate turnover pattern: among the survey participants of the subsector Publishing and Press the turnover trend during the last three years appears to be increasing forsix respondents and “more or less stationary� for as many, as sketched in the graph G6.8.3. Four respondents did not provide any answer while one respondent has been active for less than three years. Among those that provide an answer, the turnover appears to be more frequently above 500,000 Euros when referring to the last balance sheet. Three respondents indicated a turnover between 250,001 and 500,000 Euros, two respondents indicated between75,000 and 250,000 Euros, one between55,000 and 75,000 Euros and another one falls below 15,000 Euros. Please see graph G6.8.4 for reference.

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Graph G6.8.3: Turnover trend during the last three years of survey participants of Publishing & Press.

Multiple choice 7

Number of respondets

6 5 4 3 2 1 0 Missing

Increasing

Fluctuant

Declining

Active for More or less less than 3 stationary years

Turnover trend (Source: own elaboration, Eurac October 2019)

Graph G6.8.4: Turnover class of respondents of Publishing & Press.

Number of respondents

6 5 4 3 2 1 0

Turnover class (Source: own elaboration, Eurac October 2019)

Financial and investment habits: among the sample, the respondent’s own resources appear to be the most frequent source of financing. The respondents claim to not having used financial resources from contributions and donations. Public funds generally do not exceed 30%.

When asked about how respondents use public or private funding, and given the multiple-choice option, it appears that seven respondents of the subsector Publishing and Press invest in “human resources (for example training, personal selection)” and “service and product development” followed by “hardware and software” (6 responses). Some also invest in “internationalisation”, “equipment/ machinery and infrastructure” (3 responses each), less in “research and development” (2 responses), as shown in graph G6.8.5.

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Nukber or fesponses

Graph G6.8.5: Business areas in which respondents of Publishing & Press tend to allocate financial resources.

Multiple choice 8 7 6 5 4 3 2 1 0

Area of investment (Source: own elaboration, Eurac October 2919)

Specifically regarding the ambit of Research and Development, it appears from an additional question in the survey that only two respondents of Publishing & Press invest in Research and Development and that R&D investments refer to products and services and are realised inside the company. From the small sample it appears that respondents declare investing less than 5% in R&D. B. Strategic measures and policy recommendations Weak points of the system: as reported in the table T6.8.1 it appears that the representatives of Publishing and Press that participated in thesurvey needsupport or advice especiallyin financial issues and facilities with a weighted mean of 3,1 (corresponding to a value between“a lot” and “very much” in a scale of 0=not at all, 1=a little, 2=enough, 3=a lot, 4=very much). Respondents would alsowelcome some support and advice in internationalisation, networking (each 2,6) as well as in sales and customer management (2,4).

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Table T6.8.1: Business areas in which respondents of Publishing & Press need support/advice.

Weighted mean with scale 0=not at all, 1=a little, 2=enough, 3=a lot, 4=very much How much does the subsector need support/advice in the following business areas?

Not at Very A little Enough A lot all much 3 4 2 1 4 Human resources 4 6 3 N/A 1 Legal affairs 6 2 5 0 1 Administrativefields 2 1 3 7 1 Marketing/promotion 1 N/A 2 5 6 Financial issues/facilities 1 2 1 8 2 Internationalisation 3 3 4 4 N/A Specific/technical skills 1 1 3 6 3 Networking Sales/customer 2 2 management.

13 N/A Other (Source: own elaboration, Eurac October 2019)

Total 14 14 14

Answers Missin g 3 3 3

Mean 1,9 1,1 1,1

14 14 14 14 14

3 3 3 3 3

2,3 3,1 2,6 1,6 2,6

2

4

4

14

3

2,4

N/A

N/A

1

14

3

0,3

Educational background: as reported in the G6.8.6, within the survey sample, the most popular qualification within the organization (or company or among freelancers) is a second level university degree (or equivalent) ora high school certificate (5 responses each).

Graph G6.8.6: Most popular qualification among respondents of Publishing & Press.

Number of respondents

7 6 5 4 3 2 1 0 No answer

PhD

Master´s degree

Bachelor´s degree

High school Vocational degree school degree

Other

Qualification (Source: own elaboration, Eurac October 2019)

Development potentialities: it appears that the competitiveness of the organisation (company or individual activity) among representatives belonging to the subsector of Publishing and Press is especially associated in very positive terms with “business know-how” and with the “service or product provided” by the organisation itself followed by “financial support by the Province” and aspects linked to “innovation” and “internationalisation”. Respondents of Publishing and Press also frequently regard “specialised human resources”, a “multidisciplinary/interdisciplinary approach in

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the company” as well as the “way of thinking and attitude, flexibility in the face of market changes, foresight for the future” as contributing positively to competitiveness.

When asked what they suggest for future initiatives, some representatives of the subsector Publishing& Press indicate: “As a cooperative, we have an interest in supporting and accompanying our members (active in the creative industries) during the start-up phase and in involving them in projects. As a cooperative, however, our activities were partly promoted through the promotion of culture, but not the very high structuraland personnelcosts. There is an urgent need for action here.”

C. Cross-sectorial synergies and spill-over effects Collaboration with sectors outside CCI: there are four respondents of the subsector of Publishing & Press that indicate not having collaborated on projects, events, products or services with companies or freelancers outside the CCI for the last three years. Another ten respondents confirm to having collaborated with players outside CCI. See graph G6.8.7 for reference.

Graph G6.8.7: Frequency of collaboration with sectors outside CCI from the perspective of Publishing & Press.

Missing 3

No, I have not collaborated outside CCI for the last three years 10

4

Yes. I have collaborated outside CCI for the last three years

(Source: own elaboration, Eurac October 2019)

Which sectors? Those that did collaborate outside the CCI sector specify that the collaboration occurred with or through “handicraft”, “events”, “cooperation on content”, “interior design”, “consulting”, “innovation”, “authors, photographers, layout artists, graphic designers”, “marketing”, “purchase of services”, “software programming”, “advertising agencies”, “tourism and public administration”, “university”, “typography”.

Whatimpact? The collaboration is perceived most frequently affect, in very positive terms, the areas of “product/service realization” followed by “distribution”, “sale” and “internationalisation”.

Furthermore, as shown inthe table T6.8.2, they associate rather positive effects with regardsto “skills” and the “corporate culture and business model”.

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Table T6.8.2: Business impacts deriving from external collaborations perceived by respondents of Publishing & Press.

Value scale: - - = in a very negative way, -= in a negative way, 0= neutral, += in a positiveway, ++ =in a very positiveway How does the collaboration with sectors outside CCI impact on the following business areas?

-N/A N/A N/A

Product/servicerealization Distribution Sale Research & Development Skills Visibility Human resources Corporate cultureand business model Internationalisation Other

N/A N/A

N/A

1 2

1 1 1

N/A N/A N/A

N/A N/A

N/A

5

N/A

1

0 N/A

4 4 5 2 3 7 3 4 5

+

++

7 2 1 1 6 3 2 5 1

6 4 4 2 1 3

N/A

N/A

2 4 N/A

Answers Total

Missing

13 10 10 10 10 10 10 10 10 10

4 7 7 7 7 7 7 7 7 7

(Source: own elaboration, Eurac October 2019)

Any future potential? For the future, the representatives of the subsector Architecture see great potential in collaborating with “universities”, “economics and innovation”, “corporate publishing”, “trade”, “tourism, “publicadministration and private enterprises”, “industry”, “distribution”, “various professionals”, “craftsmen and suppliers”.

Furthermore, it can be seen that for respondentsof the subsector Publishing and Press thereare some elements that could be beneficial for the development of a collaboration with companies and individuals outside CCI. The elements perceived to be very beneficialto several survey participants are regarded as “calls for proposals/competitions of ideas for cross-sectorial projects” and “financial incentives (e.g. vouchers)”. Also, the “financial incentives (e.g. voucher)” frequently receive a rather positive answer whilea “specific contact point” is considered by many as not being beneficialat all.

Collaboration among the subsectors within CCI: according to the survey data and referring to the last three years, 12 of the representatives belonging to the subsector of Publishing and Press have collaborated most frequently with organisations (companies or freelancers) of their own subsector namely Publishing and Press. Given the multiple-choice option, they also claim to have collaborated with the subsector of Advertising (9 responses) and of Design (7 responses). Rather commonly, the collaboration with the subsector Radio and TV (5 responses), Visual Arts (4 responses) followed by some ongoing collaboration bonds with Music and Architecture (3 responses each) exist. As reported in the graph G6.8.8 there are also collaborations with Film and Handicraft (2 responses each) and one single collaboration with Software and Videogames. Referring to the survey, participants state there has not been any collaboration taking place between Publishing and Press and the Performing Arts.

One respondent indicated to only working with companies outsidethe CCI sector.

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Graph G6.8.8: Collaboration within CCI as perceived by respondents of Publishing & Press.

Multiple choice

Number of responses

14 12 10 8 6 4 2 0

Subsector (Source: own elaboration, Eurac October 2019)

How does the CCI collaborate? According to the data provided by the respondents belonging to the subsector of Publishing and Press, the collaboration with other subsectors within CCI occurs in many cases through “books and exhibitions”, “consultations, courses, projects, services”, “development of virtual alps (Virtual Reality)”, “implementation of various maps with own CCI, pocket guides, giveaways, booklets, etc.”, “digital printing service”, “organisation of individual and group press trips; participation in exhibitions/interior fairs and design; organisation of events, hospitality and sales consultancy”, “joint assignments”, “services for third companies, e.g. editorial projects (customer magazines etc.)”, “cooperation on content”.

Thinking about the next three years, what elements can help to develop the competitiveness of Creative Industries in South Tyrol?

Encouraging the creation of international think tanks.

Organisation of international events with workshops.

Selection and aggregation of the strongest realities.

Communication support, PR, grants for artistic/cultural projects.

Networking.

Conveyors to be planned.

Funding with targets, public contracts, clear definition of the strategy in tourism with accompanying public communication.

Support of co-working spaces for creativefreelancers.

*translated quotes from the explorative survey.

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How can the future development of your company or freelance activity referring to PUBLISHING & PRESS be enhanced and facilitated?

Less bureaucratic access to public contracts.

Measures against pricedumping in the creative industries (especially for services such as graphics/design, text/editing, translations, photography ...).

Raising theawareness of South Tyrolean companies from the non-creative and South Tyrolean industries for the valueof creative work in general (in order to counter pricedumping and botch-ups).

Network, human resources, education.

Promotion of freelancers in the start-up phasein the form of training and further education of business models, self-marketing, financing, etc.

Strengthening and giving preference to local suppliers in tenders, promoting innovativeproducts from domestic companies by making use of the communication opportunities offered by public authorities, such as IDM. Support for profitability.

Advertising. Funding to hireand grow interns/staff, funding to collaborateacross sectors, market access.

Mental opening; international networks, international workshops, co-working-places, think tanks.

To encourage aggregation, to avoid the pulverization of tasks.

To promote the plurality of media in South Tyrol (‌) Raising awareness to the valueof the creative industries and thus of an acceptablepricelevel from which agencies and creative industries can really makea living. The pricelevel in South Tyrol is alarmingly low compared to D/A/CH, especially in the creativeindustries.

*translated quotes from the explorative survey.

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6.3.9. Subsector: PERFORMING ARTS A. Profiling the subsector: A total of six survey participants operate in the subsector Performing Arts which they regard as their main ambit of activity.

Types of enterprises: the survey respondents belonging to the subsector Performing Arts are most frequently smallfirms with few collaborators/individuals. As shown in the graph G6.9.1 two out of six are cooperatives, one is an independent contractor/freelance professional, one is an individual enterprise and one a society (e.g. Srl, Sas, Snc, Spa, etc). One respondent selected “other” specifying being an “autonomous body”.

Graph 6.9.1: Typologies of enterprises within the subsector of Performing Arts.

1

Independent contractor/Freelance professional

1

Individual enterprise

1

Society (for example, Srl, Sas, Snc, Spa) Cooperative

2 1

Other

(Source: own elaboration, Eurac October 2019)

Types of professions: given themultiple-choice option,it appears from the surveydata that four of the respondents of the subsector Performing Arts work in “theatre, folk theatre, theatre association, etc.”, three also work in “events”, another three as “artists(e.g. dancer, actor/actress, musical performer, makeup artist, etc.)”. Some appear to operate as “dance group, music group, dance company/Music”, as “training institution (e.g. dance school, music, musical)” and as “atelier/laboratory” (two responses for each). There is also one respondent that indicated being sa “cultural space/centre”, as shown in graph G6.9.2.

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Graph G6.9.2: Professional- and structural profiles within Performing Arts.

Number of responses

5 4 3 2 1 0

Professional- and structural profile (Source: own elaboration, Eurac October 2019)

Geographical distribution: two of the organisations (companies or freelancer) which provided a response, operate in Bolzano-Bozen and another one in Bressanone-Brixen, theyare, thus, both located in main urban areas.

Approximate turnover pattern: among the survey, participants belonging to the subsector of Performing Arts, cite the turnovertrend during the last three years, has been more or less stationary for two respondents out of six, while it appears to be increasing for one respondent. Three respondents did not provide any answer. Among those that did provide an answer, there was one respondent with a turnover between 250,000 and 500,000 Euros, one between 75,000 and 250,000 Euros, and the third one between 28,000 and 55,000 Euros, when referring to the last balance sheet.

According to this mini sample, the subsector seems to be very variegated when it comes to their financial situation, as sketched in graph G6.9.3.

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Graph G6.9.3: Turnover class of the survey participants of Performing Arts.

Number of responses

4 3 2 1 0

Turnover class (Source: own elaboration, Eurac October 2019)

Financial and investment habits: from the survey results it appears that income from sales is a relevant financialresource.

When asked about how respondents of Performing Arts use publicor private funding, it appears that two of them employ them for service and product development whileone respondent employsthem for human resources, as shown in graph G6.9.4. Despite three missing answers, there are three participants that also invest in Research and Development.

Graph G6.9.4: Business areas in which respondents of Performing Arts tend to allocate financial resources.

Multiple choice

Number of responses

3

2

1

0

Area of investment (Source: own elaboration, Eurac October 2019)

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B. Strategic measures and policy recommendations Weak point of the system: as reported in the table T6.9 it appears that the representatives of Performing Arts that participated at the survey need support especially in marketing and promotion, financial issues and facilities as well as in sales and customer management, each with a weighted mean of 2,8 (corresponding to a value between “enough” and “a lot” in a scale of 0= not at all, 1= a little, 2= enough, 3= a lot, 4= very much). Some respondents also welcomesupport and advice in legal affairs and administrative fields (each 2,2).

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Table T6.9: Business areas in which respondents of Performing Arts need support/advice.

Weighted mean with scale 0-4 (0= not at all, 1= a little, 2= enough, 3= a lot, 4= very much) How much does the subsector need support/advice in the following business Not at all A little Enough A lot Human resources 2 2 N/A 1 Legal affairs N/A 2 1 1 Administrativefields N/A 3 N/A N/A Marketing/promotion N/A 1 1 1 Financial issues/facilities N/A 1 1 1 Internationalisation 1 1 1 1 Specific/technical skills 1 2 1 N/A Networking 1 1 1 2 Sales/customer mgmt.

N/A 1 1 1 Other 5 N/A N/A N/A (Source: own elaboration, October 2019)

areas?

Very much N/A 1 2 2 2 1 1 N/A 2 N/A

Answers Total 5 5 5 5 5 5 5 5 5 5

Missing 1 1 1 1 1 1 1 1 1 1

Educational background: two respondents of the subsector Performing Arts indicated that that within their organisation a second level university degree (or equivalent title) is the most popular. For another participant it was a high school degree.

Development potentialities: from the sample, it appears that the competitiveness of the organisation (company or individualactivity) is mainly associated with the “financial support of the Province”, the “product and service provided” by the organisation itself, “specialised human resources”, followed by “innovation”, “the way of thinking and attitude, flexibility in the face of market changes, foresight for the future”, “the use of new technologies”, “the company´s structure”, or “networking/events/workshops”. In the context of competitiveness aspects like “shared offices” or “multidisciplinary/interdisciplinary context” appear to be lessrelevant. From the survey it appears that the representatives of the subsector Performing Arts would focus mainly on the following aspects to facilitate and enhance the future development of their enterprises:  Administrative support  Support for financial management (business consulting, controlling)  Tax relief and tax simplification C. Cross-sectorial synergies and spill-over effects Collaboration with sectors outside CCI: three respondents out of six within the subsector Performing Arts have not collaborated on projects, events, products or services with companies or freelancers outside the CCI in the past three years. Despite one missing response, the remaining two respondents confirm to having collaborated with sectors outside CCI during the last three years.

Which sectors? No specification provided by respondents.

What impact? According to the survey, participants of the subsector Performing Arts state collaboration with sectors outside CCI is considered to have had a positive effect, mainly on the areas of “product and service realisation”, “distribution” and “sales”. In contrast, it is perceived to have had a negative effect on “research and development”, “human resources” and on “internationalisation” Any future potential? For the future, representatives of the subsector Performing Arts see great potential in collaborating with “the construction industry”, “food producers” and “private foundations”. Furthermore,it appears that for respondents of thesubsector Performing Arts thereare some elements that could be beneficial for the development of a collaboration with companies and individuals outside CCI. The elements perceived to be very beneficial to the survey participants are regarded as “calls for proposals/competitions of ideas for cross-sectorial projects”, followed by “business accelerators/incubators/mentoring for cross-sectorial projects” and “organization of

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Mean 1 2,2 2,2 2,8 2,8 2 1,6 1,8 2,8 0

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networking events ("get-together", "speed dating", "thematic events", etc.)”. “Financial incentives (e.g. voucher)” are also regarded as rather beneficial by two of the respondents as well as the “organisation of training courses” (1 response). There are, however, contrasting results, since calls for proposals, business accelerators,financialincentives and theorganisationof training courses were also perceived as not being beneficial at all by just as many. There are, thus, contrasting opinions in these regards among the participants.

Collaboration among the subsectors within CCI: according to the survey data and referring to the last three years, four of the representatives belonging to the subsector Performing Arts indicate having frequently collaborated with organisations (companies or freelancers) of the subsector Music. Given the multiple-choice option, three respondents also indicated having worked with companies of Film, Radio & TV, Advertising and another three with professionals of the same subsector, namely the Performing Arts, as shown in graph G6.9.5 Additionally thereare collaborationstaking place with the subsector of Handicraft and with Publishing & Press (two responses for each) and there is one collaboration resulting with each of the subsectors: Design, Visual Arts and Architecture. All of the survey participants of Performing Arts indicate to having collaborated withcategories of CCI not listed in among the 11 subsectors and specify collaborating“with an orchestrafor the realization of alyricaltheatrical work” or in “film projects, dance events, training courses and advertising campaigns”.

Graph G6.9.5: Collaboration within CCI as perceived by respondents of Performing Arts.

Multiple choice 7

Number of responses

6 5 4 3 2 1 0

Subsector (Source: own elaboration, Eurac October 2019)

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Thinking about the next three years, what elements can help to develop the competitiveness of Creative Industries in South Tyrol?

Tax relief and European tax law Uniform European guidelines Professional competencies Collaboration Coordination of activities Openings Greater attention by the Public Administration towards professional realities

*translated quotes from the explorative survey.

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6.3.10 Subsector: VISUAL ARTS A. Profiling the subsector A total of 13 survey participants operating in the subsector of Visual Arts, which they state as being their main ambit of activity.

Types of enterprises: four respondents of the subsector of Visual Arts are “individual enterprises”, another four are independent contractors/freelance professionals. As shown in the graph G6.10.1, among the respondents there is also one cooperative and two associations besides two respondents that selected “other” and specified to being either a “craftsman” or a “foundation”.

Graph G6.10.1: Typologies of enterprises within the subsector of Visual Art. Independent contractor/Freelance professional Individual enterprise

2 4

Society ( Srl, Sas, Snc, Spa) 0

2

Cooperative

Other

1 4

Association

(Source: own elaboration, Eurac October 2019)

Types of professions: given the multiple-choice option, 8 respondents out of 13 within the subsector of Visual Arts, indicate operating as “artists (e.g. painter, sculptor, etc.)”, seven responses are assigned also to “museums or galleries”, as illustrated in the graph G6.10.2. Four times, respondents indicated operating as an “atelier or laboratory” and there are also three respondents that work as an “event organizers” and “training institutions”. Those respondents that selected “other” specified to operate in the ambit of “photography”, “video-making”,as a “private firm”, as a “technician, teacher, curator and fitter”. There is no respondent that indicated operating as a cultural space or cultural centre.

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Graph G6.10.2: Professional- and structural profiles within the subsector of Visual Arts.

9 8

Number of responses

7 6 5 4 3 2 1 0 Artist

Event organiser

Museum

Association Training of artists institution

Cutural centre

Atelier

Other

Professional- and structural profile (Source: own elaboration, Eurac October 2019

Geographical distribution: among 7 of 13 respondents of the subsector Visual Arts who provided an answer regarding their geographical position, four respondentswere located in Bolzano-Bozen, one in Castelrotto-Kastelruth,and onein Laion-Lajen. Finally, onerespondent indicated havinga branch office in Torino.

Approximateturnover pattern: despite two missing answers and one respondent being active for less than three years, it appears that for six respondents of the subsector Visual Arts the turnover trend has been fluctuant during the last three years. As shown in graph G6.10.3 for three respondents it has been more or less stationary and forone respondent it has increased. According to the data provided, for four respondents the turnover was between 28,000 Euros and 55,000 Euros, for two respondents between 15,000 and 28,000 Euros and for one between 75,000 and 250,000 Euros, as reported in graph G6.10.4.

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Graph G6.10.3: Turnover trend during the last three years of respondents of Visual Arts.

7

Number of respondents

6 5 4 3 2 1 0 Missing

Increasing

Fluctuant

Declining

Turnover trend

Active for less than 3 years

More or less stationary

(Source: own elaboration, Eurac October 2019)

Graph G6.10.4: Turnover class of respondents of Visual Arts.

Number of respondents

5 4 3 2 1 0

Turnover class (Source: own elaboration, Eurac October 2019)

Financial and investment habits: from the data collected regarding the financial situation of the subsector Visual Arts and given the multiple-choice option, it appears that the respondents use financial resources to invest in equipment/machinery and infrastructure (5 responses), in hardware and software (4 responses), as well as in service and product development (4 responses). A couple of the respondents also invest in human resources and in research and development. Finally, one respondent indicated allocating financial resources to aspects regarding the company´s internationalisation, as illustrated in graph G6.10.5. Those that indicated “other” specified investing in the production of art projects and in production sites.

With regards to Research and Development, respondents of Visual Arts specified mainly investing in R&D within the firm.

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Graph 6.10.5: Business areas in which respondents of Visual Arts tend to allocate financial resources.

Multiple choice

Number of responses

6 5 4 3 2 1 0

Area of investment (Source: own elaboration, Eurac October 2019)

B. Strategic measures and policy recommendations Weak points of the system: as reported in the table T6.10 it appears that the representativesof Visual Arts that participated in the survey need especially support or advice especially in marketing and promotion with a weighted mean of 3,6 (corresponding to a value between “a lot” and “very much” in a scale of 0= not at all, 1= a little, 2= enough, 3= a lot, 4= very much), followed by networking (3,1) and internationalisation (3,0).

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Table T6.10: Business areas in which respondents of Visual Arts need support/advice. Weighted mean with scale 0-4 (0= not at all, 1= a little, 2= enough, 3= a lot, 4= very much) How much does the subsector need support/advice in the following business areas?

Not at Very all much A little Enough A lot Human resources 4 3 Legal affairs 2 5 Administrativefields 2 2 Marketing/promotion N/A N/A Financial issues/facilities 2 Internationalisation N/A N/A Specific/technical skills 2 3 Networking N/A N/A Sales/customer mgmt.

2 2 Other 11 N/A (Source: own elaboration, Eurac October 2019)

N/A 3 3 2 3 6 4 4 4 1

N/A N/A 2 1 7 N/A 1 3 1 N/A

5 2 3 9 N/A 6 2 5 3 N/A

Total 12 12 12 12 12 12 12 12 12 12

Answers Missin g 1 1 1 1 1 1 1 1 1 1

Mean 1,9 1,6 2,2 3,6 2,4 3,0 1,8 3,1 2,1 0,2

Educational background: despite five missing answers, there are another five respondents who indicated that the most popular qualification within their organisation or company isa master´s degree and one who indicated a bachelor´s degree. One respondent indicated a high school certificate (or equivalent).

Development potentialities: from the sample, it appears that the competitiveness of the organisation (company or individual activity) among respondents of the subsector of Visual Arts, is frequently and highly positively associated with the “product and service provided”, followed by “business knowhow”, “networking, events, workshops” and “financial support by the Province”. Also “innovation”, the “use of new technologies” and “specialised human resources” are regarded by many as affecting the competitiveness of the company rather positively. A rather negative association is perceived with regard to “shared offices (i.e. coworking spaces, open spaces)” but only a few respondents expressed their opinion about it.

C. Cross-sectorial synergies and spill-over effects Collaboration with sectors outside CCI: there are fourrespondents of the subsectorof Visual Arts that indicate not having collaborated on projects, events, products or services with companies or freelancers outside the CCI during the last three years. Another seven respondents confirm to having collaborated with actors outside CCI. Which sectors? Respondents who did collaborate with companies outside CCI specify that the collaboration occurred with “tourism”, “school/education”, “a garden nursery, a blacksmith, a joiner”, “a viticulture”, with “Eurac Research” and with the “Free University of Bolzano”, and by means of “realisation of naturalistic drawings for the promotion and supply of the territory of South Tyrol through the landscape, flora and fauna”, “service provided for construction and industry”.

Whatimpact? According to the survey, participants of the subsector Visual Arts cite the collaboration with sectors outside CCI as having a very positive effect, mainly on the areas of “product/service realisation” followed by “visibility”, “sale” and “distribution”.

Any future potential? For the future representatives of the subsector Visual Arts see great potential in collaborating with the “tourism industry”, with “companies needed for the new production of works of art”, with the “social sector”, with “public and tourist institutions”, “education”, with “handicraft companies to produce with artists”, “small and large craft businesses”, “large companies”, “agricultural holdings”, “research and educational institutions” as well as with the “construction industry”.

Furthermore, it appears that for respondents of the subsector Visual Arts there are some elements that could be beneficialfor the development of a collaboration with companiesand individuals outside CCI. The elements perceived to be very beneficial to several survey participants were regarded as

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“organization of networking events (get-together, speed dating, thematic events, etc.)” and “business accelerators/incubators/mentoring for cross-sectorial projects”. Other aspects like “calls for proposals/competitions of ideas for cross-sectorial projects”, and “organisation of training courses” are frequently perceived in rather positive terms. Respondents have some contrasting opinions about “financial incentives (e.g. voucher)”, which are perceived to be beneficialto some, but at the same time also perceived as not being beneficial at all by as many.

Collaboration among the subsectors within CCI: according to the survey data and referring to the last three years, most of the representatives in thesubsector of Visual Arts,whengiven the multiplechoice option, indicated to having collaborated most frequently with organisations (companies or freelancers) in their own subsector, namely Visual Arts (10 responses) and with the subsector of Publishing and Press (7 responses). There also appear to be rather frequent collaborations with the subsector of Performing Arts (6 responses) followedby Handicraft and Architecture (5 responses for each), Design (4 responses) and a couple with Film and Music as well as withAdvertising. There was onerespondent that collaborated with Radio and TV while no collaboration occurred with Software and Videogames.

Three respondents indicated that they only work with companies outside the CCI while one appears to have collaborated with categories within CCI that are not listed. However, no further specification was provided. See graph G6.10.6.

Graph G6.10.6: Collaboration within CCI as perceived by respondents of Performing Arts.

Multiple choice 12

Number of responses

10 8 6 4 2 0

Subsector (Source: own elaboration, Eurac October 2019)

According to the data provided by the respondents who belong to the subsector of Visual Arts, collaboration with other subsectors within CCI occurs in many cases through “cooperation and services”. However, thereare also various other forms of collaboration taking place in singleinstances including “exhibitions”, “publications”, “awarding contracts to designers”, “project cooperations”, “events”, “projects and services”, “installation activities”, “curating activities”, “production management activities”, “editing of critical texts”, “artistic projects”, “artistic workshops”.

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Thinking about the next three years, what elements can help to develop the competitiveness of Creative Industries in South Tyrol?

Ad hoc laws providing for specific tax aspects.

Public support.

I believe that more spaces for independent work and creativity, especially dedicated to young people, can help not only in terms of competitiveness (which for me is an abstruse term) but in terms of strengthening the relationship of young people within the territory. Let me give you an example: many foreign students or students from other cities -regions who study at the LUB - I refer to the Faculty of Design and Art (…) – leave after graduation becausethey often cannot find an environment (that is not institutional-corporate) that represents them and where they feel represented (and where they can even work, create start-ups…)

Art at the building (to the extent of 3-5% of the entire building sum) should again become an obligation with all public building projects, building as well as civil engineering. Film promotion systems should also be used in the field of fine arts.

More support by privateenterprises.

Increasefinancial resources, expansion of the national and international network.

Additional project-related financing, expansion of (almost web) access to efficient Internet at reasonable prices.

Less bureaucratic expenditureand less tax load.

*translated quotes from the explorative survey.

How can the future development of your company or freelance activity referring to VISUAL ARTS be enhanced and facilitated?

Create more financial/taxincentives for companies to promote art and cultural production.

Creation of the vocational profile "visual artist" with appropriate artist´s social security fund (model Bavaria).

Financial promotion for art with private building projects, extension of the promotion system of Film also to Visual Art. Public support to help the autochthonous arts- and craftsmanship in relation to tourism to raise visibility and awareness about South Tyrol in all facets, highlighting regional excellencein manual skills.

Enhance information. Marketing. Networking. Help in participating in tenders etc.

Less bureaucracy. Financestart-ups to develop new services.

Greater international reach through a platform with an independent topic related selection system which is not managed by the public sector.

*translated quotes from the explorative survey.

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6.3.11 Subsector: VIDEOGAMES & SOFTWARE Of the eight respondents of thesubsector of Videogames & Software that started to fill out the survey, one company completed the survey in its integrity and offered a little insight to the situation of this subsector.

Of those that started to fill out the survey, two were independent contractors/freelance professionals, one was an individual enterprise and five indicted being a society (for example, Srl, Sas, Snc, Spa).

According to the data collected in the survey, it is evident that representatives of the subsector Videogames and Software also operate as event organizers, as training institutions or as software companies. One respondent also indicated operating as a technology consultant.

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7. Outlook and limitations of the research The process: this explorative and participative research project lasted over 12 months and included the preliminary cooperation period among the three core members of the project´s Working Group, namely IDM Creative Industries being the initiator and driving force behind the activities and Eurac Research – Institute for Regional Development supported, shortly after, also by the Free University of Bolzano – Faculty of Education Sciences in terms of research partners.

A first step during the preparation stage was to clarify who were the most important stakeholders from the publicand private sector to referto for consultation and brainstorming during the process and what kind of similar and topic-related studies and investigations had already been done in the past. Initial efforts were spent on identifying and clarifying terms and definitions in order to find a common means and a coherent thread throughout the analysis. This resulted in certain difficulties at times, mainly dueto the involvement of different interest groups and stakeholders, each coming from different theoretical and empirical backgrounds and sometimes targeting different objectives.

Time also plays a significant role in explorative and participative research as the project asks on the one hand to adopt a flexible and open-minded, tolerant approach to give space to ideas, decisions and dynamicsto unfold and mature by themselves after having triggered and giveninputsto the players involved. On the other hand, however, to respect the participative approach and make sure that everyone is informed and has time to assimilate, counteract and include their own opinion and word in the chapter, can cause delays in the time line and provoke some additional challenges to the project management in technical/organizational terms.

A clear vision and mission statement, which can be clearly formulated and shared among stakeholders, is an essential pre-requisite for the setting up of a strategic plan in any ambit. However, explorative research, which might contrast such a straight-forward work mode, grants for a more transparent and multi-faceted approach. It is our conviction that it might also help openmind-sets and indirectly promotemore tolerance whilepossiblyfavouring the sustainability of the endeavour, as the responsibility is spread among many instead as being focused on a few. A clash exists between the time perception of public versus private stakeholders and sometimes the decision to follow a mix of bottom-up and top-down approaches, requires training in patience and faith for the individuals involved, as well as for the group as a whole collaborating towards common goals.

Regular meetings among the Work Group members of the project resulted in being as important as a functioning and smooth correspondence via digital platforms, especially in order to share and work on common documents and outputs. A clear legal agreement defining the terms of copyright and the archiving and publishing of data helps to make sure that all the players involved respect the common interest and proceduresin favour of theoverall project. Human resourceschange over time, both in names and numbers, and it is thus, recommended to have a mandate to refer and come back to whenever needed throughout the years.

The group: a combination of stakeholders from different fields can enrich the project design and facilitate the implementation of activities, especially when there is a need to combine efforts at the policy level and at the community level. Commercial interests find their say in the goal setting as much as aims of collective wellbeing and cultural development at regional level, macro-themes are interlaced with micro-issues of the very historical moment and the players involved in the process.

As regards the specific context of South Tyrol, special attention needs to be paid to the equilibrium among language groups, specifically Italian and German speaking community members

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and to their representation at policy level when it comes to decisions and future perceptions of the regional image and identity. All the meetings were, therefore, held in alternating languages and the invitation to participate in the various activities, as well as the outputs themselves, weredeliveredby respecting the multilingual context of the region. Newcomers have not yet specifically been takeninto consideration during this initialstage of investigation.

However, several members of the Working Group (and their respectiveinstitutions) are in contact with other existingminority groups of the territory and prove competenceand experiencewithin the realm of migration will also affect and transform our society in the years to come and can also be regarded in terms of new opportunities for the CCI.Close collaborationwithinternationalpartners and European networks tackling the issue of CCI strategy development, helped to be informed about good practices and the issues at stake, while also offering feedback and input on the single steps to be undertaken during the project itself. This cooperation also helped to increase the visibility of the data collected during the process in South Tyrol and may also contribute to shaping future agendas with regards to territorial development through CCI within Europe by taking the South Tyrolean project as exampleto learn from.

The data set and methodology: It was necessary to bring all the current information and existing data together in order to create continuity and avoid omissions or overlapping, which however, resulted in being inevitable to some extent. The quantitative dataset used by the Free University of Bolzano allowed the comparison of 2013´s data with that of the current situation.

However, the definition of categories refers to a different theoretical framework which is not completelyin line with the framework which the current Working Group decided to follow at present, with respect to the qualitative as well as the explorative part of research. Nevertheless, the Working Group has been aware of these discrepancies and dealt with them in the best possible manner by trying to make use of all the possible data and input available anyway.

Next steps: For future analyses it could be usefulto further investigate the specific subsectors which appear to be the most reactive to the initiative, in reference to the survey and the roundtable discussions,and which havemotivatedand open-minded representatives that are willing and available to collaborate with in the mid-term. At the same time a further investigation of the existing network among subsectors of CCI and relationships between CCI and sectors outside results in being very promising. Networks, inter-linkages and synergies offer a great pool of insights to better understand complex systems or intrinsic dynamics and practices among stakeholders and ambits. Working on smaller groups and at the same time enabling the extension and expansion of the whole “creative community” including all citizens and youths, as well as creative professionals and enterprises in the territory, will ensure a move at the regional level and through the region also at international level, without losing the direct contact to the main target and real needs of those who work within the CCI. It would be worthwhile to continue working on the development and shaping of CCI with a local working group. A first attempt was madein 2019 with a working group composed of practitioners, academics and policy makers of the region. It could be helpful to keep having regular meetings also after the completion of the present project in orderto keep a fingeron the pulse and remain reactive to concrete changes.

From a policy point of view and incombination with the strategic ambitionsand futurepurpose at the policy level of the Region of South Tyrol,a concrete opportunity to contributeto the debate and increase the visibility of the CCI development in the territory, is also provided by the “Crowd sourced

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Manifesto: Culture for Shared, Smart, Innovative Territories 2020”. It collects and discusses the most topical issues related to the topic of culture including the potential of CCI. Cultural stakeholders from over 22 European Countries believethere are steps to be followed at the European and State level, in order to foster social participation, innovation, inclusion, accessibility and cooperation. They invite practitioners and policy makers “to use the resources that we already have to support Territorial Development, remembering to create new narratives and enabling new creativity.” In their Manifesto they also pay special attention to underrepresented, remote and rural/peri-urban populations. They intend to help to make art and culture more accessible and in doing so, to create the context for “joined-up policies”.

8. Conclusions This report prepares the ground for further investigations of the Creative Industries sector in South Tyrol. It explains the purpose and motivation behind the Creative Industries Strategy South Tyrol project, commissioned by IDMCreative Industries, and the results obtainedso far from initial research activities conductedby the working group. The actual literatureavailableregarding definitions, labels, conceptual models, and regional/national/European policies linked to the area of the Cultural and Creative industries (CCI) and Creative Industries (CI) were introduced to the reader. They frame the context of analysiswhilealso identifying suitablereferencesto use for guidance and orientation during the analysis of the Creative Industries sector in South Tyrol.

Creativity, innovation and the socio-economic context are discussed in connectionto the CCI’s impact on the territory. In line with the overall collaborative and inclusive approach of the investigation, a reference was made to culture-led local development as a model for setting up sustainable strategy measures for the development of the Creative Industries at the regional policy level. The methodologyadoptedfor the investigation is orientedtowards an explorativeapproach and accounts for qualitative and quantitative methods. It includes twelve roundtable discussions with stakeholders of different sub-sectors of the local Creative Industry scene, a SWOT analysis for each roundtable, a summary of quantitative data based on the ATECO Codes compared between 2013 and 2018, and conclusively, an explorative online survey conducted in spring-summer 2019 to complete the picture. The first analysis gives insight to the themes that stakeholders perceived to be crucial for the CCI sector in South Tyrol, these being determined as strengths, weaknesses, opportunities or threats. The second set of empirical results, obtained by the online survey, gives insight to the specific issues and thematic dimensionsexposedduring the discussion part of the report and in comparison to what is highlighted in current academic literature and with other region´s strategic measures and proceedings taking place in recent years.

There are no precise numbers of the overall cultural and creative industries situation in South Tyrol.

IDM CI did some preliminary research and counted 1,276 enterprises registered in the Chamber of Commerce of the Province of Bolzano belonging to the Creative Industries sector. To make up for the freelancers that are not registered in the Chamberof Commerce it set up an ad hoc database reaching altogether 2,700 contacts of CCI professionals operating in the region which then served as basis.

According to the enterprises registered in ATECO, and as confirmed by the results of the explorative online survey (which included also associations and freelancers),the CCI sector is mainly composed of small and medium sized companies which altogether produce a rather low revenue. When comparing the subsectors over theyears, theresults show that certainsubsectors havegrown since 2012, namely;

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Architecture, Design, Film, Software and Videogames, as well as Performing and Visual Arts. This is an important fact, especiallyin the light of the crisis that affected Italy in 2013.

Summary of outcomes: The quantitative analysis carried out on behalf of the Free University of Bolzano, is organised around the national definition of CCI as indicated in the Symbola report. It focuses on the enterprises and organisations registered with an ATECO code in the Chamberof Commerce of the Province of Bolzano between 2011 and 2017 and that operate in the ambit of cultural and creative industries.

When comparing the two years, it is evident that some of the subsectors of CCI have undergone some major changes with regards to the number of their enterprises and organisations: publishing and press (here labelled as Books and Press) has decreased from 49% to 26%, Software and Videogames increased from 17% to 25%, Architecture also increased from 1,87% to 7,44% and the number of enterprises in Design, Film and Video have increased overtime too.

The exploratory online survey conducted by Eurac Research – Institute for Regional Development enriched the quantitative evidence by analysing the issues previously discussed in twelve roundtable sessions with stakeholders of eleven subsectors of CCI, plus representatives of the public administration. This qualitative data gives further hints about the perception, needs and future prospects of the professionals operating in the CCI of South Tyrol, including enterprises and freelancers.

An overview of evidence comparing the results from the roundtablediscussions, the quantitativedata based on ATECO codes and the results from the explorative onlinesurveymakes it possibleto capture the current picture of the CCI in South Tyrol and delineate somefuture prospects: Ten out of twelve roundtables perceived the territory of South Tyrol itself as being a major strength in the development of the CCI. This includes in part its geographical position between Italy and Austria and other central-European countries. Another feature regarded as a strength is the genius loci and the engagement of thosewho belong to thecreativecommunityin South Tyrol. Networking, diversity, market opportunities, creativity as well as spill-over effects are also highlighted by almost all of the subsectors and are regarded to have a positive impact on CCI development.

On the other hand, one aspect perceived to be a major weakness among stakeholders of the CCI in South Tyrol is shown to be the scarce market visibility. Networking, in this case betweenprofessionals in CCI and the public administration offices, is also regarded as being a weak point of the system, as are the lack of professional expertise, missing space and infrastructure for cultural practices as well as a weak market structure.

Among the opportunities are the quality seal of South Tyrol, the potential of spill-over effects, the characteristics of the community of creative professionals and the unfolding of networks and cooperations. As such, creativity, together with internationalisation processes are perceived to be opportunities. Someof the participants of the roundtablediscussions urged the creation of a platform for the Creative Industries (specifically also for the Design ambit) as there is no such service provider or reference point in the region at present. According to them such a platform could enhance the development and positioning of the sector. Furthermore, they expressed positive comments about promoting South Tyrol as a winning creative industries’ destination for the future.

Ten out of twelveroundtablegroups perceived the market and the positioning of the CCI sector within it as one of the major challenges and threats. They link this fact to the feeling of isolationwhich exists within the region due to its cultural and geographical context. Sixout of twelve roundtablesperceived

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the cultural-political framework of the region as being a challenge, followedby lacking resources and competence as well as issues linked to public funding.

Thanks to the efforts and initiatives carried out by the IDM Film Fund & Commission, the Film sector could register a great increase in revenue and popularity. It may also count as a driving force among subsectors of CCI in South Tyrol in the future. Design, results to be another promising ambit for the future development of CCI in South Tyrol, thanks to the educational offer rooted in and promoted through the Faculty of Design and Art of the Free University of Bolzano.

Another prospective for the promotion of the CCI in South Tyrol could be to organize international awards for enterprises which promote innovative and authentic products and services and increase the visibility of the South Tyrolean creative sectors beyond the region while also offering an incentive for talented professionals and businesses.

When it comes to the single subsectors, there are some main traits that can be evidenced together with an outline of the potential that the CCI sectors offers in terms of cross-sectorial co-operationand innovation processes that could be leveraged through spill-over effects and networking within the CCI realm: The Design subsector grew between 2012 and 2018. The number of enterprises increased from 90 to 112 (+24,5%) and the total value of the output and the total gross revenue also increased proportionally. However, the average number of employees declined. The competitiveness of the organization among Designcompanies and freelancersis mainly associated with “business know-how� as the online survey demonstrates. Respondents indicated that they would profit from more support in education, training and communicationin order to develop and unfoldtheir business and standards and saw at present, a major weakness with regards to the ambit of internationalisation as well as in sales and management. Collaborations exist outside the CCI realm mainly toward municipalities, tourism and industry while the strongest bond within the CCI ambit exists between Design and Publishing and Press, Advertising and Architecture as results from the online survey indicated. In the future, respondents wish to establish stronger bonds toward Handicraft.

The quantitative analysis of the Film subsector and that of Radio & TV have been put together (including all enterprises registered with ATECO codes 59110, 59120, 59130, 59140, 26400, 60100, 60200, 62010 und 62090). Between 2012 and 2018 it can be seen that the average of the output has decreased as wellas the average of the gross revenue.The number of companies has grown over time, from 86 to 103, and so has the average numberof employees. With regards to the Film subsector and the results collected through the explorative survey, it appears that respondents need more support in networking, financial aspects and facilities. They would furthermore profit from support in education, training and communication as wellas from public support. They seetheir competitiveness in business know-how, products and services as well as in internationalisation and see great future potential in the establishmentof a specific contact point and serviceassistance. Stronger bonds within the CCI exist toward the subsectors of Music, Radio & TV and Advertising. Respondents of Radio & TV see their competitiveness in their product and service provision and through networking, events and workshops. They indicateto need support and advice in sales and customer management as well as in marketing and promotion. Frequently they regard support in tender (also at European level) and the development of collaborations through projects as a solution to enhance the future development of

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the sector and see great potential in external cooperation with sectors such as tourism, business economy and education.

The subsector of Architecture is complex in its composition as it includes enterprises as well as freelancers. For the quantitative analysis, only the enterprises registered with an ATECO code in the Chamber of Commerce could be counted, while the freelancers were left out. In statistical terms, a complete pictureof the current situationof enterprises and professionalsbeing activein the subsector of Architecture is thus not possible, taking into account that the Chamber of Architects of South Tyrol is itself made up of 1.151 architects. Referring to the sample usedforthe quantitative analysis, results show that the number of employees increased radically between 2012 and 2018, while the average gross revenue remained almost stable(469.684 Euros in 2018) and the average number of employees decreased. From the explorative survey the results show that respondents of Architecture need especially support and advice in networking, followed by advice in legal affairs, marketing and promotion, specific and technical skills,financial issuesand facilities. Some externalco-operations exist with the building industry and the tourism sector. They see a great potential in collaborating with sectors outside the CCI in terms of skills development, product and service realization and in a second instance as a solution to also increase visibility. There are strong bonds towards the subsectors of Design, followed by Publishing & Press, Handicraft, Visual Arts and Advertising.

According to the quantitative data, the Music subsector (including the ATECO codes 59200, 59201, 59202, 59203 and 18200) remained rather stable over the years with a slight decrease of companies (from 23 to 20) and a slight increase in the total number of employees (from 15 to 18). According to the results collected through the explorative survey, respondents of Music need more support and advice in the ambit of financial issues and facilities as well as in marketing and promotion. They see consultation on public funding and to reaching support by private sponsors as a weak point of the system. They perceive financial incentives and the interaction between companies of the sector as being among the most beneficial solutions for the further development of their sector. According to respondents, the use of new technologies belongs to potentialities that should be developed further to make the subsector competitive in time.External co-operations exist with the tourismsector as well as with associations and public institutions and should be enhanced towards industry and crafts in future. Within the CCI thereare strong bonds to Film,Radio and TV, followed by Advertising,Publishing and Press.

The subsector of Advertising (in the quantitative analysis labelled as Communication and branding including enterpriseswith the ATECO codes 70210, 73110, 73120) shrank between 2012 and 2018: the number of enterprises operating in it sank by 30% and the average number of employees also decreased. The total gross revenue decreased by more than 80% as well. The explorative survey demonstrates financialissues and facilities as wellas networking are aweak point forthe development of the sector. Respondents also highlighted the need of support in specific technicalskills as well as in marketing and promotion. They associatetheir competitivenesswith business know-howand the way of thinking and attitude that professionals of Advertising have towards their profession, including the flexibilityin the viewof market changes and their foresight for the future.External co-operationsexist with the tourism sector, associations and the public administration. Respondents perceive that financial incentives besides the organisation of networking events and training courses could be

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beneficial to develop such collaboration with companies outside the CCI further. Within the CCI, the strongest bonds are established with Design, Publishing & Press as well as Radio & TV. The subsectorof Handicraft has not been included inthe quantitativeanalysis.From the data collected through the explorative survey, a total of 30 participants have provided some insights. The sample includes mainly individual enterprises and societies, together with afew freelancers. Among those 15 respondents of Handicraft that provided an answer, the turnover trend referring to the last three years, was said to be increasing for six respondents, declining for four respondents and more or less stationary for another four. Among those that provided an indication, thereare six respondents of the Handicraft subsector with a turnover between 75,001 and 250,000 Euros, three respondents with a turnover between 15,001 and 28,000 Euros. One respondent exceeds the 500,000 Euros turnover class. As a weak point of the current CCI system, respondents mention marketing and promotion,and sales and customer management. They need more support in networking as well as in financialissues and. The creation of a price list and the reduction of red tape are also regarded by single respondents as being crucial for the futuredevelopmentof CCI. Externalco-operations exist withthe tourismsector and future trade potential is seen in collaborating with public institutions and also with associations.

Within the CCI collaborations are diversified. Stronger bonds among the survey respondents exist between Design and Advertising.

The subsector of Publishing & Press (labelled as “Book and Press� in the quantitative analysis and including the ATECO codes 74202, 90030, 18120, 47610, 18130, 58140, 58110, 58130, 17230, 63910, 18140, 58190, 82992 and 18110) underwent a major decline affecting all aspects, with regard to the average of the output as well as to the total value of the output and the average gross revenue and also in the number of companies and the number of employeesoperating in it. The explorativesurvey demonstrates that financialissuesand facilitiesfollowedby internationalisation, networking, sales and customer management are perceived as weak points.The respondentsassociatetheir competitiveness mainly with business know-how and with their service and product provision. Some also refer to the financial support by the Province as an aspect that helps their business be competitive. The external co-operation with enterprises outside the CCI exists with tourism, public administration and the University. This collaboration with other players inside and outside the CCI especially takes place through product/service realization, distribution and sale. Internationalisation purposes also play a role in the collaborations, together with the expansion of collaboration towards universities, tourism, industry, craftsmen and suppliers being perceived to have future potential. Stronger bonds within the CCI exist with the subsectors of Advertising, Design, Radio and TV as well as Visual Arts.

In the quantitative analysis the subsectors of Performing Arts and of Visual Arts have been put together (including the ATECO codes 90000, 90010, 90020, 93299, 90040 and 91020). The results show that the total numberof employeeshas undergone a major increase,reaching 701 employees in 2018.

The number of companies alsoincreased and so did theaverage gross revenue reaching 800.807 Euros in 2018. The results of the explorative survey show that both, the subsector of Performing Arts and Visual Arts, would need support in marketing and promotion. The Performing Arts sector also highlights financing issues and facilities as well as sales and customer management as weak point of the system, while the Visual Arts sector also refers in this matter to networking and internationalisation.

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Respondents of Performing Arts perceive that the subsector could remain competitive with the financial support of the Province, their own product and service provision and with the help of specialised human resources. Great futurepotentialis seen by the Performing Arts in thecollaboration with the construction industry, food producers and private foundations. With regards to the Visual Arts there is existing cooperation with tourism, schools, research institutions as well as to private businesses (e.g. Handicraft) that could beextended infutureand also expand to includethe social- and agriculture sector as well as to the construction industry. There are contrasting opinions about how beneficial financial incentives (e.g. vouchers) could be for the future development of the sector.

Stronger bonds within CCI exist between Visual Arts and Publishing and Press, Performing Arts, Handicraft and Architecture.

The subsectorof Software & Videogames (including the ATECO codes 582000, 58210, 62010, 62020, 6209, 620901, 620909, 582900, and 32401) almost doubled its total number of employees in 2018 compared to 2012 but the average gross revenue sank. The number of companies increased from 262 to 315 and the total value of the output increased and reached 146.462.521 Euros in 2018. Due to the lack of participation between respondents belonging to the subsector of Software and Videogames, hardly any data could be collected from the explorativesurvey to give further insights.

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9. Bibliography BLESSI, T.; VIGANO, F. (2019) A survey report on the Cultural and Creative Industries in South Tyrol, commissioned by IDM CI as part of the investigation linked to the Report on Creative Industries Strategy South Tyrol.

CHENG, C.; SANCHEZ-BURKS, J. and LEE, F. (2008) Connecting the dots within: Creativeperformance and identity integration. Psychological Science, 19(11), 1178-1184.

DAMANPOUR, F. (1996) Organizational Complexity and Innovation: Developing and Testing Multiple Contingency Models. Management Science, 42, 693-716.

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FERILLI, G.; SACCO, P.L. and TAVANO BLESSI, G. (2012) Cities as creative hubs: From instrumental to functional values of culture-led local development. Sustainable City and Creativity: Promoting Creative Urban Initiatives, 245-270.

FESEL, B. (2018) Keynote speech at SACCI 18 – Summer Academy on Culturaland Creative Industries and local development, June 2018, Trento and Bolzano.

FOSTER-GIMBEL, O; DOYLE, D. and ENGELN, R (2018) The Gay Community Involvement Index: An Exploratory Factor Analysis and Initial Validation of a New Measure of Gay Community Involvement.

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FLORIDA, R. (2002) The Rise of the Creative Class. And How It's Transforming Work, Leisure and Everyday Life. Basic Books.

FLORIDA, R. (2005). Cities and the Creative Class. Routledge.

FLORIDA, R. (2005). The New Urban Crisis: How Our Cities Are Increasing Inequality, Deepening Segregation, and Failing the Middle Class—and What We Can Do About It. Basic Books.

GALLOWAY, S.; DUNLOP, S. (2007) A critique of definitions of the cultural and creative industries in publicpolicy. International Journal of Cultural Policy, (1).

GERDENITSCH, C.; SCHEEL, TE.; ANDORFER, J. and KORUNKA, C. (2016) Coworking Spaces: A Source of Social Support for Independent Professionals. Frontiers in Psychology, 7 (581).

GLEASER, E.L. (2004). Review of Richard Florida’s The Rise of the Creative Class. Availableat www.creativeclass.com.

HALL, P. (1998) Cities in Civilization: Culture, Innovation and Urban Order. London: Weidenfeld and Nicholson.

KEA (2006) report: The Economy of Culture in Europe. Bruxelles: European Commission.

KMU Forschung Austria (2016) Boosting the competitiveness of culturaland creative industries for growth and jobs. Bruxelles: European Commission.

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LEFEBRE, H. (1991) The Production of Space, Donald Nicholson-Smith trans. Oxford: Basil Blackwell.

Originally published 1974.

LORENZEN, M; ANDERSEN, K. (2009) Centrality and creativity: Does Richard Florida’s creativeclass offernew insights into urban hierarchy? Economic Geography, 85(4), 363-390.

MARRELLI, M; DEL MONTE, A. (2017) Reti delle industrie culturali e creative in Campania: il contributo delle politiche pubbliche. FrancoAngeli.

MARKUSEN, A.; GADWA, A.(2010) Creative Placemaking. Washington, DC: Mayors’ Institute on City Design and the National Endowment forthe Arts. Available at: http://www.nea.gov/pub/CreativePlacemaking-Paper.pdf.

MARKUSEN, A.; WASSAL, G.H.; DE NATALE, D. and COHEN, R. (2008) Defining the Creative Economy: Industry and Occupational Approaches. Economic Development Quarterly, 22(1), 24-45.

MORISET, B. (2014) Building new places of the creative economy. The rise of coworking spaces, Utrecht University, The Netherlands, Conference Paper of the 2nd Geography of Innovation International Conference 24-25 January.

NEWBIGIN, J. (2010) What is the creative economy? The Creative economy: an introductory Guide.

Creative and Cultural economy series ⁄ 1 . London: The British Council.

Available at www.creativeconomy.britishcouncil.org.

ORLANDO, A.; SANTAGATI, M.E. (2014) Le industrie culturalie creative: una mappatura quantitativa.

Available at: www. aur-umbria. it/public/images/res_2014_287-324_Orlandi.pdf READY, D.; CONGER, J. and HILL, L. (2010) Are you a high potential? Harvard Business Review, Vol. 88 No. 6, 78-84.

RICHARDS, G.; MARQUES, L. (2018) Creating Synergies between cultural policy and tourism for permanent and temporary citizens. UCLGCommittee: Leading City of Agenda 21 for culture United Cities and Local Governments (UCLG).

RICHARDS, G. (2017) Making places through creative tourism. Keynote Presentation at the Conference of Culture, Sustainability, and Place: Innovative Approaches for Tourism Development, Ponta Delgada, Azores, Portugal, 13th October 2017.

RICHARDS, G. (2014) Eventfulness and the quality of life. Conference Paper presented at the ATLAS Conference, Budapest, October 2014.

ROBERTS, E.; TOWNSEND, L. (2016) The contribution of the creative economy to the resilience of rural communities: exploring cultural and digital capital. Sociologia Ruralis, 56(2), 197-219.

RUNCO, M.; JAEGER, G. (2012) The Standard Definition of Creativity. Creativity Research Journal, 24:1, 92-99.

SACCO, P.L.; FERILLI, G.; BLESSI, G. (2015) Cultura e sviluppo locale: versoil Distretto culturaleevoluto.

Il Mulino.

SACCO, P.L. (2013) Le industrie culturali e creative e l’Italia: una potenzialità inespressa su cui scommettere. Il sole 24 ore.

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SACCO, P.L.; FERILLI, G.; BLESSI, G., (2012) Sviluppo locale a base culturale: quando funziona e perché? Alla ricerca di un framework di riferimento in PRISMA Economia - Società – Lavoro, fascicolo 1. Franco Angeli. Editore.

SACCO, P.L.; SORU, A. (2008) Creative Dismissions. Venice: Mimeo, CuPr, Iuav University.

SCOTT, A.J. (1997) The Cultural economy of Cities. International Journal of Urban and Regional Research, 21, 323–39. — (2000). The Cultural Economy of Cities. London: Sage.

SANTAGATA, W. (2009) La fabbrica della cultura. Ritrovare la creatività può aiutare lo sviluppo del Paese, Bologna, Il Mulino, 2007.

SZCEPANSKA-WOSZCZYNA, K.; NADEEM, M. (2016) Multi-level Approach to the Social Marketing Context for Innovation: Impact on Organizational Relationships. International Journal of Marketing Studies, 8 (2).

THROSBY, D. (1995) Culture, Economics and Sustainability. Journal of Cultural Economics, 19 (3), 199206.

TRIMARCHI, M. (2009) The Economics and Policy of Creativity. The Italian Perspective. Creative Industries Journal, 2 (3), 231-246.

VAN OORT, F.; WETERINGS, A. and VERLINDE, H. (2003) Residentialamenities of knowledge workers and the location of ICT-firms in the Netherlands. Tijdschrift voor Economische en Sociale Geografie, 94 ( 4), 516-523.

WETHERELL, S. (2017) Richard Florida is sorry. Available at www.jacobinmag.com.

YUDICE, G. (2003) The Expediency of Culture: The Uses of Culture in the Global Era. Durham, NC: Duke University Press.

Online references (last access August 2019): ACUME (2016): http://www.acume.net/wp-content/uploads/2016/05/ICC-in-Puglia.pdf ATECO Codes: http://www.handelskammer.bz.it/de/dienstleistungen/handelsregister/dienste-deshandelsregisters/datenbank-ateco-infocamere; http://ateco.infocamere.it Botteghe di cultura: http://www.provincia.bz.it/arte-cultura/giovani/negozi-e-cultura.asp Creative Europe Monitoring Report (2018): https://ec.Europa.eu/programmes/creativeEurope/sites/creative-Europe/files/library/creative-Europe-monitoring-report-2018.pdf Creative Italy: Study on the industry of culture and creativity in Italy, EY (2014 and 2016): http://www.italiacreativa.eu/ DCMS (2011) Creative Industries Mapping Documents: www.gov.uk.

ERVET, Cultura e creatività: ricchezza per l’Emilia Romagna (2012): http://www.ervet.it/wpcontent/uploads/downloads/2013/10/Rapporto_CC_20apr2012.pdf

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ERVET, Economia Arancione in Emilia-Romagna (2018): http://www.ervet.it/wpcontent/uploads/2013/09/Abstract_Economia-Arancione_completo.pdf European Commission´s communication COM(2010) on Regional Policy contributing to smart growth: https://www.eumonitor.eu/9353000/1/j9vvik7m1c3gyxp/vikqhop04wco The European Manifesto on Supporting Innovation for the CCI sector: https://www.buchmesse.de/en/highlights/all-highlights/theartsplus; http://www.ilgiornaledellefondazioni.com/content/un-manifesto-europeo-sostenere-linnovazione-isettori-culturali-e-creativi (Italian press release); https://artlab.fitzcarraldo.it/sites/default/files/3_ARTS+_Summit_Manifesto_working%20paper.pdf European Regional Development Fund ERDF program 2014-2020: http://www.provinz.bz.it/politikrecht-aussenbeziehungen/Europa/eu-foerderungen/efre-2014-2020.asp Fondazione Iulm (2011) Il sistema delle Industrie Culturali e Creative in Lombardia: elementi perun nuovo modello di competitività territoriale.

Foreword of DCMS’ Creative Industries Mapping Documents (2011) and related documents: https://www.gov.uk/government/publications/creative-industries-mapping-documents-2001.

Guidelines of UNESCO Cultural Heritage: https://en.unesco.org/creativity/policy-monitoringplatform/culture-information-system Green Paper - Unlocking the potential of cultural and creative industries by the European Commission (2010): https://publications.Europa.eu/en/publication-detail/-/publication/1cb6f484074b-4913-87b3-344ccf020eef/language-en IDM Facebook site: https://www.facebook.com/CreativeIndustriesSuedtirol/ Impulsi Vivi: https://www.impulsivivi.com/ Innovation and Research Offices of the Autonomous Province of Bolzano: http://www.provincia.bz.it/innovazione-ricerca/contatti.asp Io Sono Cultura, Fondazione Symbola: http://www.symbola.net/ricerca/io-sono-cultura-2019/ OCP – Cultural Observatory of Piemonte: http://www.ocp.piemonte.it/ QCAMap software: https://www.qcamap.org/ White Paper on Creativity. Towards an Italian model of development by Fondazione Santagata (2009): https://www.fondazionesantagata.it/en/pubblicazioni/white-paper-creativity-towards-anitalian-model-of-development-2009/ Il sistema del ‘Core Culturale’e delle Industrie Culturali nella Provincia Autonoma di Bolzano, Autonomous Provinceof Bozen/Bolzano(2013). Retrieved from: http://www.provincia.bz.it/artecultura/cultura/downloads/report_core_-_industrie_culturali_fin_onlne.pdf.

Defining innovation, OECD (2019): https://www.oecd.org/site/innovationstrategy/defininginnovation.htm (last access, May 2019)

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10. ANNEX 1 Graphic illustration of SWOT analyses: Roundtable 1 – 12.

1. SWOT analysis: Roundtable of Radio & TV STRENGTHS

WEAKNESSES

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Clients are aware of the product Cultural and political background Italian and German culture The territory Local context Protected market Market opportunities Internal collaborations Solution-oriented community Motivated executives and collaborators Production tools Financing tools and measures Economic situation

-

Company size Equipment Small market Financial situation Clients' rigidity Variety Service barriers Insufficient openness and exchange with other regions Few corporations Administrative complexities

OPPORTUNITIES

THREATS

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-

Regionalism Multi-platform Internet

Internet Surviving in an evolving environment Technology Ongoing changes of technological standards

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2. SWOT analysis: Roundtable of Performing Arts STRENGTHS

WEAKNESSES

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-

-

Wide perspectives and visions Bilingualism Openness towards contemporary expressions and artistic languages Creative minds Combination of larger and smaller institution Quality of life (leisureand recreation) Little distances favour productivity

-

Lack of professionalism Lack of academic know-how Lack of further education and specialization Culture oriented towards tourists Auto-referential system without renewal Lack of competition, overestimation of own position and competences Lack of communication outsidethe region bilingualism Professionaldisorientation Low pricing

OPPORTUNITIES

THREATS

-

-

-

Financial support to private companies by cultural departments of Province Motivation to participate (volunteering) Financial supports in general Small and new enterprises have chance to emerge Tax relief and alleviation of administrative burden Culture for tourists

-

Partial self-financing Lack of a uniform cultural policy making (3 distinct cultural departments) Provincial and Regional financialsupport Administrative burden Monopoly of media Mobility in terms of accessibility

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3. SWOT analysis: Roundtable of Music STRENGTHS

WEAKNESSES

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Diverse cultural influences Bilingualism and trilingual Public support to culture in general Financial support Geographical position of the territory The territory (landscape, cultural and natural resources) Province - creativity Locations and sites Infrastructures Tourism Curiosity Diversity Determination Education (music school)

-

Administrative complexities Administrative burden SIAE Few big players Lack of powerful lobby Little dialogue between public and private sector Lack of sensitiveness Individualism Logistics Open space Accessibility Lack of large hotels Lack of large industries (sponsoring)

OPPORTUNITIES

THREATS

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-

-

Internationalisation-market presence Digital distribution Combination and interrelations Setting up the territory and culture to enable European networking Strengthen the region of South Tyrol Creativity Off-location leader

Brain-drain Publichand Quantity versus quality Visibility Marketing Economy Close-mindedness and isolation (limited to the Province)

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4.

SWOT analysis: Roundtable of Publishing & Press

STRENGTHS

WEAKNESSES

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Multilingualism and plurilingualism as facilitators foropen-mindedness, crossfertilization, development, market expansion Strong public support through financial help and market Greater marginality (higher prices, healthy economy) Between two cultures Cultural offerin evolution, diversity Cultural richness thanks to territory and environment Uncomplicated structures Local scene is aware of creativity Wealth Internationalisation through tourism, university, global players, industrial powers

-

Distribution is affected by language split Wealth High living costs (price of offices and accommodations, wages for personnel coming from abroad) Closed community of creatives makes it difficult fornew entries Limited circle of creatives Few human resources with competences and experiences Market is too small and forces to go abroad Editorial line too much rooted in the territory Lack of openness of the inhabitants with regards to innovation and creativity Quantity makes quality lack Excessive dependence of publichand

OPPORTUNITIES

THREATS

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-

-

Public financial support helps to care more about creative process rather than about production University and high education Elasticity and lack of rigid structures facilitates networking Combining local and global South Tyrol attractive to creatives from abroad Young professionals with greater background and international experience Import of best practices by external players Alpine area Knowledgeand awareness of territory Infrastructure, connectivity Open access and legal frameworks Increase the valorisation of regional flows Digitalisation as great potential Strengthen regionalplayers

-

Need for development and innovation ceases Regional powerful players Too much dependence on public support Interventions by public administration Reduction of public financialsupport, insecurity Competition, monopoly, global platforms Digitalisation and global playermonopole Open access and legal frameworks Human resources Reading behaviour changes as people read less, do not concentrate, do not have time

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5. SWOT analysis: Roundtable of Graphic Design & Advertising STRENGTHS

WEAKNESSES

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Possibility to gain practical skills Valorisation of content The surrounding environment Knowledgeprovided by the University Stimulating environment and nature Dense and solid network composed by diverse actors and cultural players Small sized job market with few studios facilitates to get connected (in theory) Multiple facets Novel creative scene Professionalism Multilingualism (German, Italian, Ladin and English) Mobility Dynamic Solid economic situation Suitable wage for job entries Investments Proximity to foreign countries The territory International and interregional client service Demand Short distances between sites Familiarity with institutions Possibilities to co-create Awareness raising and personal development of the audience Multilingual working groups Concrete approach in projects Multicultural mindset Financial support for cultural projects Easy access to financial support

-

-

-

Insufficient communication about the sector (e.g., design events) Limited dimension of the territory Accessibility and mobility Human resources / lacking integration of young creative professionals in the job market Unattractive location for creative people At times the commissioner lacks courage Bad organisation Lack of courage to try new paths Confusion about roles At times too provincial and too commercial / few inputs/exhibitions/events from outside (e.g. follow example of the Weissraum in Innsbruck) Bad communication among studios Lack of valorisation of the work in financial terms Scarcity of solid creative enterprises No lobby and no point of reference Need of expanding network and increasing the amount of enterprises Lack of (at least) one expert for public tender Two languages, two worlds Existing traditionalconventions At times ephemeral, superficialproject planning Homologation and stereotyping Scarce competence and proficiency of visual language Little collaboration among creatives Scarce network Missing out to be part of a larger network, interregional Autorefenciality

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OPPORTUNITIES Economy growth and dialogue creation Valorisation in the region Awareness raising about the sector through targeted measures Visibilityof the work Growth and development also through exchange and sharing Network expansion Use design as a positive factor for economy/culture/image Make use of dynamics and environment

THREATS Confusion of who is creative: are we all creative?

Sell the quality belowprice The territory merely considered as tourism destination Perception problems Miss out on opportunities Tools to be made accessible to everyone Lack of hands-on approaches of institutional bodies (e.g., Follow the example of the German Design Centre) Dispersion leads to lack of sustainability Too much outsourcing Implosion, some enterprises are not sustainable Regional navel-gazing

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6.

SWOT analysis: Roundtable of Software & Videogames

STRENGTHS

WEAKNESSES

-

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To live in the future Anticipate new markets Entertainment Opportunities to learn and experiment new fields Great interest in development Flexible working hours Great interest in challenges Fast and short feedback loops Bilingualism Trained to solve different problems in a creative and fast way Working spaces are not depending on physical sites, international teams Network experts Flexibility regarded as positiveand negative asset

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To live in the future Clients need to be alphabetised Clients need to be persuaded Complex planning Scarce recognition Specific sub-culture with complicated language Need of continuous technological internal formation Scarce availability of competent HR Need of different competences in the team (graphic - programming) Missing instruction on sector-specific content during the school formation Trilingualism Flexibility regarded as a positive and negative asset

OPPORTUNITIES

THREATS

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Information Technology (IT) as professional formation course 2018 IT Expert, IT techniques, software development Close to University, courses provided by IT Faculty and Design Faculty Fast connection for low prices South Tyrol as quality seal, mountain, nature, sports, culture, food Destination South Tyrol, a place of hard workers Financial support

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High living costs Low level of income Little interest in looking beyond the habitual Brain drain Difficulty to find creative minds Lack of competence Tunnel view on the own sector Small structure within the local market, projects are too small for talented people Isolation Specialised HR as a challenge

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7. SWOT analysis: Roundtable of Architecture STRENGTHS

WEAKNESSES

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Budget Distribution within the territory Cultural mix (German and Italian) Influence of North and South Location Trans-culturalism Bonds to the territory Increasing awareness of our work at public level Architecture is slowly reaching other sectors Interdisciplinary practices and visions Great diversity despitesmall population size Communication

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Regionalism Network No space left for questioning Sector specific audience instead of reaching a wider audience Under time pressure Predominance of tourism Low wages Scarce recognition Perception of the architect in South Tyrol Structures are too small Accessibility Bureaucracy Neverending paperwork Blocked in the legal system

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THREATS

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Professionalnetworks formore competition and representation Networking Independent identity Possibilities of creating and designing Increased awareness raising already at school Elite positioning at international level To be Central European

Professionalpulverization Self-referred perspective Mobility Inertness Slowness Liability rules Standardisation due to globalisation Destruction of natural environment due to too many oversized hotels

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8. SWOT analysis: Roundtable of Film STRENGTHS

WEAKNESSES

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Film funding Financial Incentives and institutional support Territory: location and landscape that attracts production companies from abroad Natural environment German/Italian Cultural Space History Film School ZeLIG Young, energetic and open-minded community Clients feel the need to communicate Good network among locals and beyond Collaboration between different sectors Versatility of products The production place is not yet saturated and has leeway Well-connected thanks to being smallstructured Independent (no rigid structures) Openness towards new developments Different competences and interests of the team (versatility) Passion Motivated team

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The team is exclusively composed of creative professionals Few contacts towards the German world The young scene is not yet as known Young film tradition (which is also a plus) Film Funding secluded from other genres (documentary, TV, commercial, etc.)

Scarce availability of suitable structures Scarce financial resources New media International market Presence of local enterprises Scarce communication between small and large companies High seasonality Few clients in a large catchment area The distribution market is too small for local movies Non-wage labor costs Decentralization with respect to large production centers Teams are too small Lack of infrastructures Big oscillations between demand and supply Rather little expertise in the postproduction Lack of filmmakers Limited technical and economic competition Financial dependency on partners from Italy and abroad Red tape Lone-warriors Film not yet recognized as a branch of the economy on its own Very long production itineraries It is not possible to live from it Scarce availability of competent collaborators and local professionals

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OPPORTUNITIES

THREATS

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Co-design of a new industrial sector Growing interests Extending the range to other typologies of production Global themes, innovative outputs, storyformat International openness Networking among local enterprises Using the Film funding as a motor Professionals are open to discuss and to develop shared strategies Independency on the Funding due to quality issues Become a big player

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Consumption of the Film funding How to survive without Film funding Bubble Companies don`t manage to survive Precarious situations caused by the incapability of planning Increase of differentiated projects Incapability of being sustainable on the long-term The local scene missing out to break through on the international level

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9. SWOT analysis: Roundtable of Handicraft STRENGTHS

WEAKNESSES

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Crossing borders Skills and knowledge of Handicraft Collaboration with industrial sector All from one source Intact natural environment High quality Flexibility Healthy economy South Tyrol brand has positive connotations (most of the times) Border land Laboratories are state-of-the-art Compactness Uniqueness regarded as positive and negative asset Tradition

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Scarce open-mindedness Un-reflected structures Tradition Uniqueness regarded as positive and negative asset Education, specific formation Over-estimation Stereotyped thinking Bureaucracy Internal connection among planners and architects Collaboration among enterprises Lacking visibility Loss of energy with self-marketing

OPPORTUNITIES

THREATS

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Create an identity Next generation Ability of re-inventing oneself continuously Gain satisfaction from the work you do in all senses Collaborate Suggest an image for South Tyrol External, foreign markets

Identity loss Brain drain Get lost in futile things Miss out on ideas Isolation Loss of courage The challenges of finding investments to be competitive with foreign markets

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10. SWOT analysis: Roundtable of Fashion & Product Design STRENGTHS

WEAKNESSES

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High spending capacity by locals and tourists Cash Powerful attraction of talents South Tyrol brand Average earnings are higher than the rest of Italy Ecosystem awareness of sustainability University Italian know-how Multi-cultural environment Locals are diligent and hands-on Open to ask questions Authenticity Tradition and culture Rich in traditions which pave the way for know-how and inspiration Re-think, re-do, re-view Easy to contact the people you are looking for and to create a network Expansion of beauty Social commitment

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Too much attention oriented towards the North and too little attention towards the South Niche market compared to the rest of Italy Social exclusion Environmental pollution Scarce support by banks, incubators or business angels Excessive resources and tools Navel-gazing and self-referred perspective Only small enterprises Lack of diversity Local mindset Lack of network within and beyond the region Difficulty to reach special material Red tape Overpriced rental fees Difficult accessibility hinders marketing Lack of network among sectors Few cultural initiatives Lack of spontaneity Institutions lack of knowledgeabout fashion Scarce attraction of talents Confusion of what design is about "So many more could benefit from design but unfortunately they only think it is about making things look nice" Lack of history Lack of production

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OPPORTUNITIES Thirst for more Empty space to fill offers great potential Become a real creative hub Pilot area Research on what authenticity is about South Tyrol brand Level 0 Technology and sustainability History Genius loci Treasure what exists and valorise it

THREATS Missing out opportunities Speaking empty words More money and less brains Provincialism Implosion, increase of self-referred perspective and monopoly Struggle to find the power to lead this ecosystem Economy and environment at risk Red tape

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11. SWOT analysis: Roundtable of Visual Arts STRENGTHS

WEAKNESSES

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Diversity of offers Location reflects innovation Professionalproject delivery Artistic products of quality Competent artists Brainstorming and idea implementation Networking Connect with different areas and disciplines Creative Advantageous geographical position

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Little appreciation Fundraising Contact with economy Accessibility, mobility Target group Too little strategic positioning Communication Used to the role of solicitors instead of promoters Positioning Power

OPPORTUNITIES

THREATS

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Make art for tourism Make art at construction places, public construction contracts Become one of the creative spaces in the Alpine Area Become a location of art by means of collaboration and marketing Regional and international exchange National and internationalnetworking to save resources

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Leave everything the way it is, stagnant Miss out on the opportunity to get connected with the outside world Commercialisation and commodification of artistic products Dispersion of energies due to too many actors Excessive supply Repetitions Dilution

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12. SWOT analysis: Roundtable of Cultural Operators and Public Administration STRENGTHS

WEAKNESSES

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High speed Mutability Resources and wellbeing Geographical position with regards to Europe University ZeLIG school for Documentary, Tv and New Media Border area, language Innovation of traditions Valorisation of the tradition Suitable size Network of exchange and knowledge Good practices are emerging Diversity Increase and optimization of processes and products Identity reflected through the quality of the small things Artisticand cultural tradition Creation of products which are citizen friendly Enabling ecosystem richness of the territory Economic availability

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Multicultural context, different point of view and strategies Linguistic and cultural division Lack of specific professional figures Lack of alternative financial resources Fragmentation among actors, difficult to Develop a strategy of the whole system Scarce infrastructural facilities Ideology of full occupation Transition of cultural paradigm is not fully reciprocated by the publicadministration Policy makers follow theirown agenda Dislocates to leisure time Scarcely considered by the public opinion Common public spaces Flight Network blocks prospects Difficulty to be considered outside South Tyrol Lack of an independent scene Difficulty to find entrepreneurs and companies willing to invest in cultura Entrepreneurs are not motivated to invest in creative processes Lacking return on investment Network Propension to think that culture is forfree Lack of resources

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OPPORTUNITIES There is lots to do Culture as the basis of economy Legitimisation of the sector regarding the social, economicand occupational ambit New professions, new emerging job profiles Connection between tradition and innovation Geographical position for potential partners between Trentino and Tyrol

THREATS International marketing Institutionalisation of processes See processes lose their innovative potential Remain dislocated to niche sectors Less financial resources Inversion of tendencies, less attention from politics

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