cultural and creative industries in london
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Cultural and creative industries in London
Alan Freeman
What good are the arts?
“You are a clever, generous man, Dymov,” she would say, “but you have one very serious defect. You take absolutely
no interest in art. You don't believe in music or painting.” “I don't understand them,” he would say mildly. “I have
spent all my life in science and medicine, and I never had time to take an interest in the arts.”
“But that's awful, Dymov!” “Why? Your friends don’t know anything about science or medicine, but you don't hold it
against them. Everyone does his thing. I don't understand landscapes and operas, but the way I look at it is that if
one lot of sensible people devote their lives to them, and another lot of sensible people pay immense sums for
them, they must have a use. I don't understand them, but that’s no reason to disbelieve them.”
Anton Chekhov, The Grasshopper
Statistical framework
OECD framework 2006
European Cultural Strategy and measurement framework– http://www.european-creative-industries.eu
UK Creative Economy Programme and DCMS framework– www.culture.gov.uk
London Culture Strategy – Mayoral statutory responsibility– Requires an evidence base– Creativity: London’s Core Business– 2004 update– 2005 local area study– 2007 update
DCMS definition
DCMS method described as ‘Trident’ (Cunningham)
A classification system for enterprises (SIC) and occupations (SOC)– Production of cultural products by creative workers– Production of cultural products by non-creative workers– Production of non-cultural products by creative workers
EG – Musicians in the music industry– Stage technicians in the music industry– Musicians outside the music industry (eg schools)
Slight differences from European standard– Excludes heritage– ‘Visual and performing Arts’– Arts and Antiques– Fashion
A large sector
EU turnover € 654 billion in 2003.– Car manufacturing industry € 271 billion in 2001,
ICT manufacturers € 541 billion in 2003 2.6% of EU GDP in 2003.
– Real estate 2.1%;Food, beverage and tobacco manufacturing 1.9%; textiles 0.5%;chemicals, rubber and plastic products industry 2.3%
5.8 million EU employees– In UK 1.8 million [probably more extensive defn]– In London, 1 in every 5 (550,000)– Only Financial and Business Services is bigger
A growth sector
Europe CI GVA growth 19.7% 1999-2003– Average overall 7.4%
Annual world trade growth in cultural products 1980-1998 = 8.7%– Average all products 6.2%
London 45% employment growth 1994-2001– average whole economy 17%
A historical transition
London Employment
0
50
100
150
200
250
300
350
400
45018
41
1861
1881
1901
1921
1941
1961
1981
2001
1841
=10
0
0%
5%
10%
15%
20%
25%
30%
35%
40%
Proportion Total Manufacturing
Source: UK Census,Humphrey Southall (Portsmouth University) and GLA Economics
Two crossovers
100
120
140
160
180
200
220
240
260
1992
1993
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
£b
n a
t c
urr
en
t p
ric
es
Creative productsFood products
0
10
20
30
40
50
60
70
80
90
1994 2004
£b
n a
t c
urr
en
t p
ric
es
Advertising, Architecture, Software
Banking and Finance
GLA definition
A common output, produced by a common process, using a common resource
Output: culturally differentiated goods and services
Process: production to abstract or imprecise specification
Resource: creative labour Technological driver:
– Remote and multiple service delivery = a productivity revolution in services
How ‘new’ are the cultural and creative industries?
Theatre The Book and Print Cotton, Textiles, and the Industrial
Revolution The Jacquard Loom, Babbage Colours, Aniline, and the modern chemical
industry The Film The Gramophone Modern Times
Fashion: driver of the industrial revolutionThe history of dress … poses all problems, those of primary materials, of processes of manufacture, of cost price, of cultural fixities, of fashion, and of social hierarchies… At Rumegies rich peasants sacrificed all luxuries for dress. “young men with hats encrusted with gold and silver, and then the rest: girls with foot-high coiffures and other habits in proportion.” Braudel (1979:351)
Merchants who were princes in wealth, rather than by birth, were able to outstrip true nobility. Extravagance became so universal that the church and crown thought it necessary to put a check on the ostentatious display of the newly rich. - Kippen (2004)
Where creative jobs locate
London32%
Rest of GreatBritain42%
Rest of theSouth East
26%
Rest of theSouth East
23%Rest of GreatBritain62%
London15%
Total creative jobs
300
350
400
450
500
550
600
650
700
1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005
Thou
sand
sof
jobs
900
1200
1500
1800
2100
2400
GB (right scale) London GB excluding London (right scale)
Source: ABI, LFS, GLA Economics, Trends Business ResearchTotal Creative Employment = workforce employment in the creative industries + creative occupations outside the creative industries
Creative and total employment in London
80
85
90
95
100
105
110
115
120
125
1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005
1997
=100
London jobs total
London creative employment
Public and private sector employment in London
90
95
100
105
110
115
120
125
130
1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005
Wor
kfor
ce e
mpl
oym
ent,
1997
=100
PublicPrivateAll
Creative industries are more volatile still
80
85
90
95
100
105
110
115
120
125
130
1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005
1997
=100
London mainly private sectors
London Creative Industries
Private Sectors containing Creative Industries
To whom do the creative industries sell their products?
Source: Office for National Statistics input-output tables 2004
These creative industry groups
Sell their
product to:
Invest-
ment
Other
Busi-
nesses
Government
and non-
profit
House-
holds Exports
Total
Demand
Business-led
(Advertising,
Software and
Architecture)
15% 73% 1% 0% 11% 100%
Consumer-led (All
other creative) 3% 26% 0% 61% 10% 100%
All Creative
Industries 8% 47% 0% 34% 11% 100%
Business-led creative industries make 42% of creative output
58%
42%Business-LedConsumer-led
Sales by broad creative industry groups
Finance agglomeration
Creative agglomeration
Borough
Havering 2,744 4,147 6,610 281 3,866 4%Barking and Dagenham 1,948 3,587 5,074 461 3,126 9%Waltham Forest 6,566 6,900 11,726 1,740 5,160 15%Harrow 10,517 8,443 16,466 2,494 5,949 15%Greenwich 7,688 4,939 10,851 1,776 3,163 16%Bromley 16,098 9,654 21,558 4,194 5,460 19%Newham 7,072 4,295 9,417 1,950 2,345 21%Bexley 5,003 3,337 6,848 1,492 1,845 22%Hillingdon 9,961 9,420 15,874 3,507 5,913 22%Ealing 17,849 14,523 26,446 5,926 8,597 22%Croydon 12,256 12,713 20,149 4,820 7,893 24%Enfield 8,638 6,544 11,844 3,338 3,206 28%Kingston upon Thames 11,237 9,657 16,153 4,741 4,916 29%Hounslow 9,536 5,094 11,300 3,330 1,764 29%Redbridge 7,432 8,338 11,953 3,817 4,521 32%Merton 9,995 8,905 14,089 4,811 4,094 34%Lewisham 10,726 10,557 15,780 5,503 5,054 35%Sutton 9,549 7,337 12,435 4,451 2,886 36%Brent 12,721 10,794 17,068 6,447 4,347 38%Richmond upon Thames 18,232 13,535 22,736 9,031 4,504 40%Wandsworth 27,495 22,574 35,658 14,411 8,163 40%Barnet 20,093 15,791 25,479 10,405 5,386 41%Tower Hamlets 9,434 9,121 12,912 5,643 3,478 44%Westminster 21,213 15,893 25,479 11,627 4,266 46%Lambeth 20,237 17,561 25,767 12,031 5,530 47%Hammersmith and Fulham 19,341 14,931 23,344 10,928 4,003 47%Hackney 11,467 10,285 14,756 6,996 3,289 47%Kensington and Chelsea 18,410 14,641 22,243 10,808 3,833 49%Southwark 15,146 14,390 19,565 9,971 4,419 51%Camden 24,555 19,257 28,665 15,147 4,110 53%Islington 15,426 12,234 17,854 9,806 2,428 55%Haringey 18,169 13,750 20,495 11,424 2,326 56%
I = working in Creative industry
O= in Creative Occupation
O I = Total Creative Workforce = industry + occupation (DCMS definition)
O I = ‘specialist’ workforce (any creative occupation also working in creative industry)
O I /O I = ‘Creative Factor Utilisation’ indicator
A pattern of specialisation
Creative and non-creative manufacturing
60
70
80
90
100
110
120
130
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
Creative Manufacturing
Non-Creative Manufacturing
Cultural audit of London
OECD 2006 conference as base for indicators
Benchmark Shanghai, Paris, Tokyo, Mumbai, Berlin
All aspects of cultural consumption and architecture
Cultural inventory (data providers)– The industry wants to know about itself– Web 2.0 data-gathering techniques
Seeking partner cities Seeking official statistical support
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