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Philippine Creative Industries Mapping: Towards the Development of a  National Strategy
d) recommend strategies that both the private and public sectors can adopt to propel the industry’s growth.   Objectives of the Study ,[object Object],[object Object],[object Object]
Six Major Fields of Creative Industries Heritage and the Fine Arts Design and Architecture Audio-visuals Printing and Publishing Creative Services Science and Technology
METHODOLOGY
Creative Economy Value-Chain
Five C’s of the Creative Economy Value Chain C haining C apacitating  C ommunitizing  C lustering  C onverging
Chaining, Capacitating, Communitizing, Clustering and Converging in a Creative Sector
 
FRAMEWORK Understanding the Philippine Creative Economy and its Potentials for Growth
 
Industrial Design and Architecture Broadcast (TV/Radio)    Film New Media (Internet/Mobile Devices) Publishing and Printmedia Science and Technology Creative Services Audiovisuals Performing Arts    Visual/Literary Arts Traditional Arts and Crafts    Cultural Sites Print Media (News)    Books and Magazines Dissertations/Articles Animation and Gaming    Advertising and Graphics    Recreational Services     ITES Heritage and the Fine Arts Research & Development in Manufacturing (Electronics and Communication, Food, Drug, Housing and Transport)    ICT Packaging Design    Textile/Fashion Design Interior Design    Architecture Product Design (Hardgoods) Creative Field ,[object Object]
Artists (Choreographers, Painters, Writers etc)  Local and Indigenous Communities Product Designers, Architects, Interior Designers and Fashion Designers, Craftsmen Writers, Lay-out Artists, Researchers, Authors Writers, Artists, Directors, Creative Director, content and Substance Providers etc Inventors, Designers, Culinary Scientists, Research and Product Development Units, Doctors, Engineers Artists, Gaming /Rides Inventors, Creatives Director, Graphic Designers and Recreational Designers ,[object Object],Industrial Design and Architecture Publishing and Printmedia Science and Technology Creative Services Audiovisuals Heritage and the Fine Arts Creative Field
Special Art Schools and Universities, LGUs, Local and National Art Guilds Special Training Schools and Universities, LGUs, Local and National Art Guilds, Artisans Special Art Schools and Universities and LGUs Special Talent Centers / Groups/ Schools  Production Houses Schools and Universities, LGUs, Local and National Science  Guilds Special Schools and Universities, LGUs, Local and National Tourism Guilds  ,[object Object],Industrial Design and Architecture Publishing and Printmedia Science and Technology Creative Services Audiovisuals Heritage and the Fine Arts Creative Field
Production Houses/Guilds, Events Companies, Sponsoring Groups from Govt and Private Institutions. Manufacturing Firm, Production Firm, Product Factories, Design Companies, Entrepreneurs Publishing Companies, and Printing Houses Film Production Companies, TV and Radio Companies, Content Providers Manufacturing Firms, Factories, Laboratories, Real Estate Companies, ICT Investors Advertising Firms, Design and Graphic Arts Studio, Recreational Planners and Design Firms ,[object Object],Industrial Design and Architecture Publishing and Printmedia Science and Technology Creative Services Audiovisuals Heritage and the Fine Arts Creative Field
Show (Dance, Music Theater etc), Fine Art Product, Tourist Attractions Magazines, Books, News Paper, Journals Model Housing Units, Product Collection, New Packaging Design, Structure and Design TV/Radio Show, Web Site and, Film Outfits New Food Variety, Drug, Cosmetic, New Engine, New Appliance Transportation Innovations Advertisement, Game, Animated Product, Recreational attraction ,[object Object],Industrial Design and Architecture Publishing and Printmedia Science and Technology Creative Services Audiovisuals Heritage and the Fine Arts Creative Field
Theaters, Stage Venues, Galleries, Exhibit Halls and Local Sites, LGU, Govt Real Estate Co, Fashion Houses and Brands, Packaging Distributors Book and Magazine Stores, Newspaper  stands, Web TV/Radio Networks, Cinemas and Special Theaters, Record Companies Retail and Wholesale Stores/Outlets , Exhibits, Drugstores etc. TV/Radio Networks, Mass Transport, Advertising Avenues, Print Media, Amusement, gaming and recreational Facilities ,[object Object],Industrial Design and Architecture Publishing and Printmedia Science and Technology Creative Services Audiovisuals Heritage and the Fine Arts Creative Field
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],More than 5,000 Establishments engaged in printing. More than 60% are small in size and more than 70% are located in MM. There are 373 Screens in the Philippines, 60% are in MM. Film Industry has 0.98% share in GDP in 1998. In 2003, the film industry generated more than Php29B. Total employment contribution is 36,000. ABS-CBN posted Php 598M in net income for the first half of 2008 ,[object Object],[object Object],[object Object],[object Object],[object Object],Industrial Design and Architecture Publishing and Printmedia Science and Technology Creative Services Audiovisuals Heritage and the Fine Arts Creative Field
NCCA, NHI, LGUs, CCP, DepEd, CHED,  NCCA, NHA,  CHED, DTI PANA, PIA, National Library, DTI, OPS, NCCA MTRCB, OPS, LGUs, DOTC, NCCA, Adboard DOST, DOTC, BFAD, DOH, NCC, CHED, DTI Adboard, DOTC, DOT, CHED, DTI Public Institutional Involvement Industrial Design and Architecture Publishing and Printmedia Science and Technology Creative Services Audiovisuals Heritage and the Fine Arts Creative Field
Economic Contribution of the Creative Industry
Global and Regional Perspective Source: UNCTAD US$227.4 Billion (1996) – Value of world exports of creative industry products and services US$424.4 Billion (2005) – Value of world exports of creative industry products and services 3.4% of world trade
World Exports of all Creative Industry Products and Services  by Subgroup, 1996 and 2005 Subgroup Value (millions of S) As % of all creative industries  As % of total world exports (goods/services) (2) Value (millions of S) As % of all creative industries As % of total world exports (goods/ services) (2) Growth rate   1996 (1) 2005 (1) 1996-2005 All creative industries (3) 227,451 100.00  - 424,427 100.00  - 6.4  All creative goods (4) 189,214 83.18 3.50  335,494 79.04  3.21  6.0  All creative services (5) 38,237 16.82 2.87  88,933 20.96  3.50  8.8  Heritage 15,760 6.72 - 26,692 5.99  - 5.4  Arts and craft goods 14,738 6.28 0.27  23,244 5.22  0.22  4.3  Other cultural services 1,022 0.44 0.08  3,448 0.77  0.14  12.9  Visual arts 10,331 4.40 - 22,149 4.97  - 7.9  Visual arts goods 10,331 4.40 0.19  22,149 4.97  0.21  7.9  Performing arts 5,100 2.17 - 14,924 3.35  - 13.5  Music goods 5,100 2.17 0.09  14,924 3.35  0.14  13.5  Publishing & printed media 32,180 13.71 - 44,304 9.95  - 3.4  Publishing goods 32,180 13.71 0.60  44,304 9.95  0.42  3.4  Audiovisuals 6,682 2.84 - 18.182 4.08  - 10.5  Audiovisual goods 355 0.15 0.01  664 0.15  0.01  7.6  Audiovisual and related services 6,327 2.69  0.48  17,518 3.93  0.70  10.7  New media 6,804 2.90  - 12,035 2.70  - 6.5  Media goods 6,804 2.9 0.13  12,035 2.70  0.12  6.5  Design 119,706 50.98 - 218,173 49.00  - 6.2  Design goods 119,706 50.98 2.22  218,173 49.00  2.09  6.2  Creative services 38,236 16.29 - 88,779 19.95  - 8.7  Architectural and related services 9,828 4.19 0.74  27,722 6.23  1.11  10.9  Advertising and related services 5,008 2.13 0.38  15,703 3.53  0.63  12.1  Research and development services 13,336 5.68 1.00  17,990 4.04  0.72  3.0  Personal, cultural and recreational services 10,064 4.29 0.76  27,364 6.15  1.10  10.5
Creative Industry in the Philippines ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Core copyright-based establishments made up 31.38 percent of all large establishments, employed 320,871 or 12.18 percent of the total, and provided Php324 billion or 5.37 percent of GDP in 2006 The radio and television sector was the most significant contributor to GDP, bringing in 3.45 percent and in terms of productivity.
Size and contribution of Philippine Copyright-based industries Sector and Industry Number of Establishments Employment Value Added VA as % of GDP* Value Added per Employee (P000) Number % of Total Number % of Total (P000) (Large Establishments) 21,242 2,633,495 2,074,911,477 34.39% 788   Agriculture and mining 928 4.37% 147,989 5.62% 38,196,839 0.63% 258 Industry 6,138 28.90% 1,143,379 43.42% 1,073,272,814 17.79% 939 Services 14,176 66.74% 1,342,127 50.96% 963,441,824 15.97% 718   COPYRIGHT-BASED INDUSTRIES 992,383 37.68% 832,871,710 13.81% 839 Core 6,666 31.38% 320,871 12.18% 323,778,507 5.37% 1009 Press and literature 2,813 13.24% 198,335 7.53% 78,828,015 1.31% 397 Music, Theater, Opera 803 3.78% 22,195 0.84% 13,697,124 0.23% 617 Motion Picture and Video 51 0.24% 3,131 0.12% 1,444,652 0.02% 461 Radio and Television 230 1.08% 45,208 1.72% 208,052,248 3.45% 4602 Photography 861 4.05% 4,521 0.17% 1,622,833 0.03% 359 Software and Databases 1,302 6.13% 38,247 1.45% 15,729,228 0.26% 411 Visual and Graphic Arts 7 0.03% 509 0.02% 55,747 0.00% 110 Advertising 599 2.82% 8,725 0.33% 4,348,660 0.07% 498 Interdependent 151,761 5.76% 109,120,459 1.81% 719 Partial 264,983 10.06% 58,930,178 0.98% 222 Non-dedicated support 254,768 9.67% 341,042,566 5.65% 1339 Copyright-based industries VA share in services: 86.45% Copyright-based industries VA share in major PSIC divisions D,G,I,K,O (manufacturing, trade, transport storage communication, business services, other community social and personal services): 59.24% GDP for 2006 (at current prices) in P000 6,032,624,000  Note: Agriculture includes forestry and fishing Industry consists of manufacturing, electricity gas and water, and construction Services consists of wholesale and retail trade, hotels and restaurants, transport, storage, communication, financial intermediation, real estate renting and business, private education, health and social work, and other community social and personal services
Source: Computed from 2006 CPBI Share of core copyright-based industries in the  Philippine Number of establishments
Share of core copyright-based industries in Philippine Employment Source: Computed from 2006 CPBI
Value added share of core copyright-based industries in Philippine Gross Domestic Product Source: Computed from 2006 CPBI
A NATIONAL STRATEGY FOR THE DEVELOPMENT  OF THE CREATIVE ECONOMY
They prioritize  science and technology  at their earlier economic development stages Countries that have attained a certain standard of living for their citizens More likely to allocate a substantial budget for the upliftment of the arts, the sciences and all forms of creative pursuits. ,[object Object],[object Object],[object Object],accelerates  wealth  creation
income rises  and  taxes increase The government and the population at large more time and money to spend for creative products and services
The contribution of the Creative Industries to gross domestic product (GDP) and gross national income (GNP) is small (at 2% to 5%) for less developed economies but it rises as development accelerates to much higher percentages (7% to 10%).  The Philippines remains at number  42  in a universe of 57 countries at the Competitiveness ranking of countries
We are a very service-oriented economy with little competitiveness in both agriculture and industry Agriculture - 62%  Industry - 15% Services sector surged to  51.1% Agriculture and Industry Services Sector 1960’s - Employment 1960’s - Employment Services sector yielded only 23%. 2009 - Employment 2009 - Employment Agriculture - 34.3%  Industry - 14.5%
The Philippines never followed the general trend of most other countries that metamorphosed gradually from agriculture to industry to services.  Services sector rely on cheap labor to generate their sales and profits. Most Filipino laborers are in low value-added, low salary jobs. 20% of our adult work force are pursuing higher pay and higher value-added jobs abroad. IMEDE revealed that the Filipino worker abroad is the most preferred worker in the world. This is an indictment against the businesses and entrepreneurs in the Philippines who have never been able to properly optimize the worth of their workers while in the Philippines.
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Entry Strategies Three strategies emanate from the  Push  (Creative Originators and Enablers) and  Pull Factors  (Creative Markets and Distribution Network) and the  Fulcrum  in between (Creative Technologies and Processes used by the Creative Transformers in making Creative Products and Services)
Push Factors Fulcrum Pull Factors Creative Originators and Enablers Creative Transformers and Technologies Demand for Creative Products and Services ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Push Factors Fulcrum Pull Factors Creative Originators and Enablers Creative Transformers and Technologies Demand for Creative Products and Services ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Push Factors Fulcrum Pull Factors Creative Originators and Enablers Creative Transformers and Technologies Demand for Creative Products and Services ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Push Factors Fulcrum Pull Factors Creative Originators and Enablers Creative Transformers and Technologies Demand for Creative Products and Services ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Push Factors Fulcrum Pull Factors Creative Originators and Enablers Creative Transformers and Technologies Demand for Creative Products and Services ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Push Factors Fulcrum Pull Factors Creative Originators and Enablers Creative Transformers and Technologies Demand for Creative Products and Services ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Main Economic Drivers for the Creative Industries   ,[object Object],[object Object]
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Entertainment  Television and radio products and services  are the  two biggest economic contributors  among the core copyrighted industries.  Wide reach for advertising industry  The  film industry  has seen its ups and downs but finds a ready long-term  re-run market through television  broadcasting and through  VCD/DVD distribution .  First-run ticket revenues are not sufficient  to buoy the film industry except for the movie blockbusters.  Malls have become entertainment hubs with their movie houses, video arcades and mini-amusement rides.
Tourism (both foreign and domestic) has risen tremendously over the last decade with the opening of more tourist destinations, facilities and amenities.  The construction of international and local airports, seaports and road networks has provided much greater access to tourism sites.  T he most creative works of architects, engineers, landscapers, interior designers and furniture makers are greatly in demand in tourism  because the tourism sites and facilities have to be attractive, distinctive and alluring.  Tourism
In 2008, tourism brought in over three million foreigners spending about $796, each or a total of $2.49 billion.  More and more, festivals such as the Sinulog of Cebu have become large economic contributors and effective social mobilizers.  Sinulog Festival generated large revenues for the local economy and solidified and galvanized local population of Cebu and all its participating contributors. Tourism
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[object Object],[object Object],[object Object],Leisure and Industrial Products
TOURISM AS A DEMAND DRIVER FOR THE CREATIVE INDUSTRIES ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
In developing the Creative Industries within the ambit of the Tourism Sector ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Should endeavor to adopt and complete the five  C ’s of  C haining,  C apacitating,  C ommunitizing,  C lustering, and  C onverging.
(1) Access, meaning roads, railways, seaports, and airports and the attendant transportation services; (2) Tourism Facilities, meaning hotels, restaurants and other hospitality amenities; and (3) Tourism Attractions which includes the five Arts and Culture elements cited above.  The Three Vital elements of the Value Chain
National Tourism Strategy and Development Plan The Tourism “hardware” plan encompasses infrastructure, facilities, site development, and physical attractions/destinations.
[object Object],[object Object],[object Object],The Tourism “software” plan
National government agencies dedicated to Arts and Culture, Science and Technology and Tourism should provide the support and assistance required to launch local efforts.
Capacitating in Tourism ,[object Object],[object Object],[object Object],[object Object]
DEMAND FESTIVALS OWN TOURISM MARKET ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Communitizing creatives is a proven formula for boosting the creative economy Communitizing
Clustering Clustering in tourism has a magnetic effect.  Cebu-Mactan-Bohol Cluster   ,[object Object],[object Object],[object Object],[object Object],[object Object]
Cebu-Mactan-Bohol Cluster   ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Cebu-Mactan-Bohol Cluster  - a vibrant Creative Economy with Tourism and Entertainment as its anchors and Leisure as its culmination in the fine arts, cultural heritage and the performing arts
Converging follows where Clustering happens Converging ,[object Object],[object Object],[object Object],[object Object],[object Object]
ENTERTAINMENT AS A DEMAND DRIVER FOR THE CREATIVE INDUSTRIES   ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
The large revenues accruing to television and radio have allowed them to pay good money for creative talents. Revenues and/or allocation of funds for the Creative Talents Frontline Entertainers Backroom support Pay for actors, actresses, singers, directors and dancers. Pay for script and screenplay writers and the technical crew (cameramen, lighting experts, film and video editors, set designers, etc. RESULT:  Technical training of the backroom crew is largely through “experiential learning” and is limited compared to foreign counterparts
THE SOUTH KOREAN MEDIA AND FILM STRATEGY: EXCERPTS FROM “THE KOREAN TSUNAMI: LESSONS FOR RP’S FILM INDUSTRY” ,[object Object],[object Object],[object Object],[object Object]
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Critical success factors of the Korean Media and Film strategy ,[object Object],[object Object],[object Object]
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Korean TV Case Five Cs of Media and Film Industries Converge  the forces and resources of the government, the private sector, all the relevant and related industries and institutions and, finally, the concerned citizenry towards this vision.  Cluster  of core and related industries dedicated to Creative City Development in and around Seoul.  Capacity  building of creative originators and talents was accelerated by the setting up of schools.  Five C’s by having a big vision of where they want to go and be in the future
Five Cs of Media and Film Industries Five C’s by having a big vision of where they want to go and be in the future  Communities  of independent (and institutional) writers, directors, actors and technical experts sprouted with the huge investments and funding being provided by both big government and big businesses.  The success of the Korean strategic efforts brought the most important part of the  Value Chain  to life – and this is the creation of a huge market for Korean films and  telenovelas .  Korean TV Case
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Philippine Media and Film Industry ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],ISSUES
[object Object],[object Object],[object Object],[object Object],Philippine Media and Film Industry OPPORTUNITIES
Five Cs of Media and Film Industries  in the Philippines Converge  all the  major business players  (ABS-CBN, GMA, ABC, the  large film companies  and the Ayala techno hub for the  digital arts component  in the  Entertainment Sector , the  National Government Agencies  (DTI, DOST, CHED, DEPED, CCP, NCCA), selected  Local Government Units  (Quezon City, Makati, Manila, Mandaluyong, Pasig, Pasay and San Juan), the  Academe  (top ten schools with strong programs in the Arts and Humanities),  organizations dedicated to the performing arts, foundations funding arts and culture, and other key participants .
Cluster  of broadcasting companies in Quezon City (the top three), major players in the digital arts, CCP, NCCA, UP and Ateneo, the QC government, PETA and a few more  ,[object Object],[object Object],[object Object],[object Object],[object Object]
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LEISURE AS THE CATALYST FOR  ARTS AND CULTURE ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],When societies begin to accumulate wealth more time to pursue and enjoy the finer things in life have a deeper appreciation of who they are as a people and, their culture, heritage and history they embrace the gifts of Leisure
Philippine society has not yet evolved a sophisticated and huge market for the performing and the fine arts.
Philippines, where 90% of the people are in the lower D and E income classes to pursue and enjoy a life of leisure.  Many have the time but do not have the means.  As a people, we have only begun to gain consciousness as one nation towards the end of the nineteenth century.  Even then, not the entire country was involved in the struggle against Spain and America.  We have commonality as a colonized country under Spain and America but not as one people.  We have many cultures and traditions to build on though, reaching back to our Malay origins.  We have enough regional diversity to weave a multi-faceted and colored tapestry.  Realities… Philippine society has not yet evolved a sophisticated and huge market for the performing and the fine arts.
Efforts Made ,[object Object],[object Object],[object Object],A new administration in June 2010, may  see the importance of the Creative Industries  and realize that they can only be made substantial contributors to the economy if the core creative talents of artists  and the nation’s cultural heritage were encouraged, nurtured and propagated.
CASE: SINGAPORE STRATEGY FOR PROMOTING CULTURE AND THE ARTS ,[object Object],[object Object],[object Object],[object Object]
Philippines’ Key Strategies to Promote the Arts and Culture and the Leisure Sector It needs the strong participation of Local Government Units (LGUs), the Academe, big corporations and various associations and foundations dedicated to the different Arts and Culture sectors.  The NCCA and the CCP should be the strongest advocates for advancing Arts and Culture as the Core Creative Sector.
 
 
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DESIGN FOR INDUSTRIAL PRODUCTS, PERSONAL WEAR, JEWELRY AND FASHION ACCESSORIES Markets will get more defined into smaller segments as consumers seek customized and personalized products and services to meet their individualized needs, wants and aspirations ,[object Object],[object Object],[object Object],[object Object]
The Philippine Advantage ,[object Object],[object Object],[object Object],[object Object]
CASE: SINGAPORE DESIGN STRATEGY ,[object Object],[object Object],[object Object],[object Object],[object Object]
Sectoral Strategies: Design ,[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],Sectoral Strategies: Design
SECTORAL STRATEGY:  CULTURAL HERITAGE AND THE ARTS The holding of festivals, fiestas, exhibitions, shows and other forms of converging people in a big way can be a major strategy for growing the Creative Economy insofar as Cultural Heritage and the Arts Sector.
Sinulog Festival of Cebu ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
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The Sinulog Festival converges all the major elements of Cultural Heritage and the Arts . In fact it could be pushed further to include more competitions in the Arts, such as music composition, singing (individuals and/or glee clubs), painting and sculpting.  The Sinulog Festival has metamorphosed from a prayer dance to a humungous contributor to the Creative Economy.
The religious-cultural events were not overshadowed  For Sinulog 2009, some 86 watercrafts of various sizes accompanied the “galleon” carrying the Child King.  2009 Grand Parade - Over fifty groups of more than 6,000 dancers accompanied by bugle boys, baton wielders and drummers joined the parade.  The limelight was shared by about 50 floats, 20 “higantes” and a host of puppeteers. The Sinulog Festival converges all the major elements of Cultural Heritage and the Arts . In fact it could be pushed further to include more competitions in the Arts, such as music composition, singing (individuals and/or glee clubs), painting and sculpting.  The Sinulog Festival has metamorphosed from a prayer dance to a humungous contributor to the Creative Economy.
Festival Economics
Festival Economics
Festival Economics
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FESTIVAL ECONOMICS: THE CASE OF SINULOG IN  I. Creative Originators Approximate Quantity Approximate Average Fees Total Expenses Sources of Donations/Revenues A. Grand Parade Choreographers/ Directors 50 P50,000 per person P2.5M Master Dancers/ Musicians and Props- 300 P60,000 per group P3.0M Dancers 6000 P30M* Direct Donations and Subsidies for Contingents  Bugle and Drummer Corps 1000 P40,000 per group P2.0M P56.0M Sewers P3,000 each for 7,000 costumes P21.0M Subsidies from Sinulog Foundation P4.0M Bead workers/ Costumer Jewelers Artists for floats and higantes P100,000 for each float/ higantes Private Engagements ??? Carpenters Materials for floats/higantes P100,000 P4.0M Individual  Travel/lodging for visiting contingents P20.0M Contributions P30M Food for other Participants** P7.5M Sub-Total P90.0M B. Photographers Photography Expenses 1,000 P2,000 each P2.0M Prizes Entry Fees 1,000 P  500 each P0.5M Sales of Photographs C. Film Makers Short Film Features 20 P25,000 P0.5M Prizes Sales of Films Total P93M
II. Creative Enablers/ Transformers (Funders, Organizers, Entrepreneurs) Approximate Quantity Approximate Average Fees Total Expenses Sources of Funds/ Donations, Sales A. Sinulog Foundation Prizes P8.0M Sponsorships Exchange Deals P4.0M P10.0M Sponsorships of Events P4.0M Donations Stage Construction P2.0M P10.0M Parade/ Crowd Control P1.3M Ex-Deals Nightly Launching P1.2M P3.5M Secretariat P1.0M Ticket Sales Financial Assistance P0.8M P30.0M Publicity P0.8M Trade Fair Others P1.9M P2.5M Others P1.0M Sub-Total P25.0M P30.0M Surplus P5.0M B. Local Governments P8.0M Other Participants P22.0M P30.0M C. Corporate Sponsorships To Sinulog Foundation P10.0M To Others P  5.0M P 15.0M D. Schools 1. Teachers/ PE Instructors ? School Boards 2. Scholarships to Performers E. Beauty Pageant Organizing ?
II. Creative Enablers/ Transformers (Funders, Organizers, Entrepreneurs) Approximate Quantity Approximate Average Fees Total Expenses Sources of Funds/ Donations, Sales F. Fluvial Parade Organizing ? Catholic Church 1. Galleons 2. Decorating watercrafts 3. Miscellaneous Expenses G. Church Novenas, Masses, Vigils, Ceremonies ? H. Security/Safety 1. Police Officers 1,000 P200 allowance  P2.0M DILG 2.Policemen 8,000 Per person 3. Barangay Tanods 1,000 10,000 I. Communicators 600 P500 allowance per person P0.3M J. Water Stations 30 ? K. Medical Assistance ? 1. Medical Stations 2. Doctors/Nurses/Aids L. Media Coverage ? Advertisements
III. Creative Markets Quantity Approximate Average Fees Total Expenses 1. Foreign Tourists 65,000 (2 nights each equals 130,000) US700@ P47 to US$1  or P32,900 per night P4,3.Billion 2. Domestic Tourists 76,000 (2 nights each equals 152,000) P5,000 per night P760 Million 3. Local Residents 200,000 households P3,000 per household P600 Million P5.7 Billion
Breakdown of Foreign Tourists’ Expenses (Estimated) Accommodations US$ 207 29.6% P1.27 Billion Food/Beverage US$ 201 28.7% 1.23 Billion Entertainment US$  60 8.6% 0.37 Billion Shopping US$  182 26.0% 1.12 Billion Others US$  50 7.1% 0.31 Billion US$  700 100.0% P 4.3  Billion Multiplier Effect of Cash Inflow X 2 P8.6 Billion Including Local Money P5.7 Billion X2 P11.4  Billion
What strategies and programs does this suggest for the national and the local governments as well as for the CCP and the NCCA? ,[object Object],[object Object],[object Object]
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CREATIVE FIELD:  Heritage and the Fine Arts
HERITAGE and the FINE ARTS ,[object Object],[object Object],[object Object]
HERITAGE SERVICES ,[object Object],[object Object],[object Object]
CREATIVE SECTORS INVOLVED: Cultural Sites Traditional Arts and Crafts Visual / Literary Arts Performing Arts
CREATIVE PRODUCTS:  Heritage Sites Museums Cultural Celebrations/Festivals
CREATIVE PRODUCTS The visual arts  subgroup  comprises  antiques, painting, sculpture and photography as well as the open-ended  miscellaneous items of ‘other visual arts’ consisting of engravings, carvings, lithographs, collages and other ornaments.
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Cultural Sites
Heritage Sites Churches and Fortifications Natural Parks, Sanctuaries and Reefs Protected Landscapes and Seascapes and Marshes Geological Sites Towns and Settlements Ilocos Norte Ilocos Sur Batanes Cagayan Isabela NCR Rizal Batangas Samar Palawan Iloilo Romblon Bohol Cebu Sulu Davao del Sur Siquijor Misamis Occidental Lanao del Sur Agusan del Sur Agusan del Norte Maguindanao Sultan Kudarat South Cotabato
Museums The Philippine Culture and Information Office listed a total of 154 museums in the Philippines, majority of which were set up by private individuals, private institutions such as universities, colleges and religious organizations and private corporations.  The National Capital Region, particularly the city of Manila hosted the most number (48) of museums. Manila alone had 25 government and privately run museums, followed by Quezon City with 10.
Museums 48 Iloilo Davao del Sur Cotabato Number of Museums More than 10 5-9 Museums  Bukidnon Zamboanga del Norte Capiz Occidental Mindoro Benguet Ifugao Mountain Province Ilocos Norte Ilocos Sur Cagayan NCR Palawan Agusan del Norte Below 5 Museums Pangasinan La Union Nueva Ecija Bulacan Zambales Rizal Cavite Laguna Batangas Romblon Camarines Sur Albay Aklan Negros Occidental Bohol Cebu 12 Samar Leyte Negros Oriental Lanao del Norte Lanao del Sur Sulu Tawi-Tawi NCR  Museums Makati 3 Malabon 1 Mandaluyong 2 Manila 25 Pasay 5 Pasig 1 Quezon City 10 San Juan 1
Cultural Celebrations/Festivals The Department of Tourism has identified  627 festivals and cultural celebrations  observed in the country’s  regions and provinces.  The  Visayas region , particularly Western Visayas had the  most number of festivals celebrated . The Visayas provinces accounted for  nearly 29% of the total number of festivals in the country.   The NCR, CALABARZON and CARAGA had almost equal number of festivals ranging from 53 to 57 but they came  a far second to Western Visayas. Major festival destinations in these regions were Batangas (19)  and Laguna in CALABARZON and in CARAGA.  Among the provinces with numerous festivals  were  Iloilo (36), Negros Occidental(36), Davao del Norte (35)  Lanao del Norte (30),  Cebu (29)  Benguet (22), and  Surigao del Norte (20),
Cultural Celebrations/ Festivals More than 50 Festivals by Region  30-49 Festivals Below 30 Festivals 112 53 57 56 47 30 35 30 35 29 26 23 24 22 24 19 5 Regions # of Festivals NCR 56 CAR 29 1 26 2 23 3 30 4a 57 4b 24 5 35 6 112 7 47 8 22 9 24 10 30 11 35 12 19 13 53 ARMM 5 Total 627
CREATIVE MARKET POTENTIAL AND INDICATORS
Global Performance of the Heritage and Fine Arts Sector World exports of all creative-industry products (goods and services), by subgroup, 1996 and 2005   Subgroup Value (millions of S) As % of all creative industries As % of total world exports (goods/ services) (2) Value (millions of S) As % of all creative industries As % of total world exports (goods/ services) (2) Growth rate   1996 (1) 2005 (1) 1996-2005 All creative industries (3) 227,451 100.00  - 424,427 100.00  - 6.4  All creative goods (4) 189,214 83.18 3.50  335,494 79.04  3.21  6.0  All creative services (5) 38,237 16.82 2.87  88,933 20.96  3.50  8.8  Heritage 15,760 6.72 - 26,692 5.99  - 5.4  Arts and craft goods 14,738 6.28 0.27  23,244 5.22  0.22  4.3  Other cultural services 1,022 0.44 0.08  3,448 0.77  0.14  12.9  Visual arts 10,331 4.40 - 22,149 4.97  - 7.9  Visual arts goods 10,331 4.40 0.19  22,149 4.97  0.21  7.9  Performing arts 5,100 2.17 - 14,924 3.35  - 13.5  Music goods 5,100 2.17 0.09  14,924 3.35  0.14  13.5  Source: UNCTAD secretariat calculations based on data in United Nations Comtrade
Economic Contribution of the Heritage and Fine Arts Sector: Philippines ,[object Object],[object Object],[object Object],[object Object],Source: CPBI records Source: Computed from 2006 CPBI  Heritage and Performing Arts Number of Establishments Employment Value Added Employment per Establishment Value Added per Establishment (P000) Value Added per Employee (P000) Number Number (P000) Music, Theater, Opera 803 22,195 13,697,124 28 17,057 617 Photography 861 4,521 1,622,833 5 1,885 359 Visual and Graphic Arts 7 509 55,747 73 7,964 110 Total 1,671 27,225 15,375,704 16 9,201 565 Value added as % of GDP 0.25%
Economic Contributions ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Source: NSO
Exports and Imports of Visual and Graphic Arts (in US$) Source: NSO *includes paintings, drawings by hand; collages and similar decorative plaques of cork/wood, of base  Metal and other materials; original engravings, prints and lithographs, original sculptures
The  One Town One Product  (OTOP)  program has identified  towns  specializing in particular crafts and they employed around 5,000 workers and generated investments averaging more than P1.0 million each.  Province Product Employment La Union Furniture 12 firms engaged in furniture making, 410 carvers, finishers, carvers; Combined total assets of P43 million   Nueva Ecija (Gapan, San Isidro, San Antonio, Cabiao) Gifts and holiday decor 250 workers Laguna ( Paete) Wood and paper mache 2,000 workers, 68 direct jobs Marinduque Loomweaving {P1.8 million investments) Albay (Tiwi) Ceramics  80 new jobs created; P1.643 investments Iloilo Bamboo-based products More than 300 workers;  20 bamboo-based enterprises Bohol (50 barangays in Inabanga) Woven raffia 1, 910 home-based workers  Economic Contribution of Traditional Crafts
CREATIVE DISTRIBUTION MECHANISMS
CREATIVE DISTRIBUTION ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Art Galleries ,[object Object],[object Object],[object Object],Venues for Performances ,[object Object],[object Object],[object Object]
CREATIVE TRANSFORMATION MECHANISMS
Transformation mechanisms for the heritage and fine arts sector include production houses/guilds, performing groups, events companies and sponsoring groups from government and private institutions.
Philippine Cultural Community Music and Dance Groups Source:  CCP Directory of Philippine Cultural Communities 5 4 4 2 2 1 2 2 1 2 3 2 1 1 3 REGION Number of Community Groups NCR 5 CAR 4 II 4 III 2 IV-A 2 IV-B 1 VI 2 VII 2 VIII 1 IX 2 X 3 XI 2 XII 1 XIII 1 ARMM 3 Total 31
Dance Companies ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Source:  CCP Directory of Philippine Cultural Communities 5 4 4 2 2 1 2 2 1 2 3 2 1 1 3 CCP Affiliated Dance Groups REGION Number of Community Groups NCR 5 CAR 4 II 4 III 2 IV-A 2 IV-B 1 VI 2 VII 2 VIII 1 IX 2 X 3 XI 2 XII 1 XIII 1 ARMM 3 Total 31
Folk/Traditional Dance Groups ,[object Object],[object Object],[object Object],[object Object],[object Object],Professional Theater Companies ,[object Object],[object Object],[object Object]
Source:  CCP Directory of Philippine Cultural Communities 1 6 3 2 5 2 Community-Based Theater Groups  10 1 16 3 11 REGION Number of Community-Based Theater Groups NCR 6 CAR 1 III 10 IV-A 16 IV-B 1 V 3 VI 11 VII 3 VIII 2 XI 5 XIII 2 Total 60
Source:  CCP Directory of Philippine Cultural Communities 1 2 2 5 9 School-based Theater Groups 1 14 6 13 12 7 1 5 3 3 REGION Number of School-Based Theater Groups  NCR 12 CAR 1 III 7 IV-A 14 IV-B 1 V 6 VI 13 VII 2 VIII 2 IX 1 X 5 XI 5 XII 3 XIII 9 ARMM 3 Total 82
Musical Groups ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Musical Groups ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Choirs More than 50 Festivals by Region  30-49 Festivals Below 30 Festivals 210 65 25 1 6 1 3 7 12 2 1 5 7 3 REGION Choirs  NCR 210 CAR 6 I 9 III 25 IV-A 65 IV-B 1 V 3 VI 7 VII 12 VIII 2 IX 1 X 5 XI 7 XIII 3 Total 356
String Ensembles More than 50 Festivals by Region  30-49 Festivals Below 30 Festivals 210 65 25 1 6 1 3 7 12 2 1 5 7 3 REGION Choirs  NCR 210 CAR 6 I 9 III 25 IV-A 65 IV-B 1 V 3 VI 7 VII 12 VIII 2 IX 1 X 5 XI 7 XIII 3 Total 356
Craft Producers Legend:  CPEAPI – Christmas Décor Producers & Exporters Association of the Philippines HAPI – Home Accents Group of the Philippines PEMAPI – Pottery Exporters & Manufacturers of Pampanga, Inc.  WOODTAG – Wooden Gifts & Accessories  Manufacturers, Inc. PCHI – Philippine Chamber of Handicraft Industries ANP – Association of Negros Producers  Philippine Chamber of Handicraft Industries (PCHI) ,   one of the biggest association of handicraft manufacturers in the country composed of manufacturers/producers, exporters, traders and subcontractors of Philippine handicrafts with 113 members mostly located in NCR. Association of Negros Producers (ANP)   was an organization of small and medium scale entrepreneurs in Negros Oriental and Negros Occidental engaged in the production of furniture and furnishings, gifts and handicrafts, fashion and food with 96 members mostly based in Negros Occidental. REGION Number of  Crafts Association Number of  Member Companies  NCR 4 (CPEAP, WOODTAG,HAPI, PCHI)  160 CAR 1 (CPEAP)  1 III 5 (GTH Bulacan, HAPI, PEMAPI, WOODTAG, PCHI)  43 IV-A 3 (CPEAPI, HAPI, PCHI)  32 V 1 (PCHI)  1 VI 2 (WOODTAG, ANP) 50 VII 4 (Cebu GTH, PCHI, ANP, Crafts Assoc.)  91 Total 20 378
Handicrafts of Aklan Multipurpose Cooperative (HAMPCO) .  HAMPCO is an association of  weavers of  piña cloth in Aklan.  It has  373 members, 90 percent of  whom are women.  There are  12 other production groups in Aklan  that  specialize in the province’s indigenous materials, such as nito, raffia, knotted abaca twine, bariw and tayok tayok paddy grass.  Inabanga Loomweavers  Association (ILA) in Bohol .  The ILA is an association of 1,910  home-based raffia loom weavers in the 50 barangays of the  municipality of Inabanga in Bohol province.  Community Associations/ Cooperatives
CREATIVE ENABLERS / FACILITATORS
Associations/Organizations for Cultural and Indigenous Communities  ,[object Object],[object Object],[object Object],Schools of Living Traditions (SLTs)
Schools of Living Traditions 9 Nueva Vizcaya Iloilo Davao del Sur Cotabato Number of Schools of Living Traditions (SLTs) More than 5 SLTs Below 5 SLTs Bukidnon Zamboanga del Sur Capiz Occidental Mindoro Benguet Ifugao Kalinga Mountain Province Ilocos Norte Ilocos Sur Abra 6 Bataan Palawan Zamboanga Sibugay 5 7 Davao Oriental Davao del Norte Compostella Valley 6 Sultan Kudarat Sarangani Source: NCCA  REGION Number of  SLTs No of  Trainees/ Students CAR 13 380 I 6 190 II 3 75 III 1 30 IV-B 11 95 VI 2 50 IX 4 85 X 1 60 XI 16 620 XII 10 281 Total 67 1,866
Philippine  Association of Printmakers (PAP).   The PAP was founded in 1968 mainly to enhance Filipinos’ appreciation for printmaking by bringing artworks to art lovers in the regions, educating  and conducting training workshops to improve the artistic environment among artists and discovering new talents.  Art Association of the Philippines (AAP).   The AAP  is an art  organization that aims to "advance and foster, and promote the interests of those who work in the visual arts." (AAP Amemded By-Laws, 1986).  It  was originally intended as  an alumni association  of UP fine arts  students and graduates  when it was founded by  Purita-Kalaw Ledesma, an art collector in 1948 but soon attracted the country’s many artists, even those who were not from UP.  Visual Arts Associations
AAP Affiliated Groups Iloilo (2) Davao (1) Capiz Cavite (2) Benguet NCR Palawan Manila (20) Quezon City (3) Las Piñas (1) Marikina (20) Baguio (2) Bulacan (9) Pampanga (1) Rizal (3) Batangas (2) Albay (2) Pangasinan (1) Negros Occidental (1) Source:  Art Association of the Philippines (AAP)   Location Number Manila 20 Quezon City 3 Las Piñas 1 Marikina 1 Baguio 2 Bulacan  9 Pampanga  1 Rizal  3 Cavite 2 Batangas 2 Pangasinan  1 Albay  3 Iloilo 2 Negros Occidental  1 Davao 1 Total  51
Community Art Groups Art groups consisting mostly of small groups of  artists coming from a particular area, municipality,  province or school who banded together  to pursue common activities such as mounting an exhibit, participating in art contests, conducting workshops or exchanging information and  technologies.  Sining, Kulay at Tinta , better known as the SIKAT Art Group is an art group based in Antipolo, Rizal, Philippines, with member-affiliates abroad. Although the main works are in the visual arts category, members are comprised of sculptors, graphic artists, writers, and photographers as well.  Center for Bikol Arts Foundation (CEBIKA )  is an aggrupation of  visual artists, sculptors, performing artists and musicians based in the Bicol region. It  has 72 members who work together to mount exhibits and performances.  Baguio Arts Guild  (BAG)  which was established in 1987 by a small group of Baguio-based multi-media artists  has been expanded to accommodate members engaged in the fields of fine art, theatre, music and literary arts.  Neo Angono   was  founded in November 2004 as a movement and organization of  artists, writers and poets, musicians, theater people, filmmakers, cultural workers and art critics and researchers. At present, it has 65 members, most of whom are residents of Angono.
Bacolod City  gave rise to a number of art groups, each known for  the style and philosophy of art that it espoused.  ,[object Object],[object Object],[object Object],[object Object],Community Art Groups
The Philippine Art Education Association (PAEA) is an association of art teachers devoted to the education of art teachers which they are expected to pass on to their students and by so doing help promote art among the Filipinos.  It was founded in 1968 with the mission to  provide  opportunities for cooperative study and discussion of common problems and experiences related to the teaching of art;  and provide in-service training for teachers in different levels and various aspects of art education.  It has more than 200 members from private and public schools and other institutions in the Philippines.  Philippine Art  Education Association (PAEA)
PAEA Members Cavite (1) NCR Marikina (13) Quezon City (17) Other Cities (12) Ilocus Sur (1) Bulacan (3) Rizal (1) Batangas (2) Pampanga (1) 42
[object Object],[object Object],[object Object],[object Object],Music Associations Source: http://www.pari.com.ph/members.html REGION Number of  Members  ( Corporate & Associate Members)  NCR 30 I 1 IV-A 2 VI 1 VII 1 Total 35
[object Object],[object Object],[object Object],[object Object],Music Associations
[object Object],[object Object],[object Object],[object Object],Theater Associations
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Theater Associations
Dance Associations Philippine Folk Dance Society .  Founded in 1949, the Philippine Folk Dance Society brought together physical education students, teachers, administrators and individuals interested in folk dancing.  It intended to preserve and propagate authentic Philippine folk dance and to enrich our knowledge of native folk dances. The dance society sponsored dance clinics and developed new materials from the field.  Philippine Professional Dance Sport Association (PPDSA) .  The PPSDA was the first organization to professionalize ballroom dancing by conducting the first Dance Sport Teacher Training Programs that culminated in the examination and certification of dance teachers by the FATD and AATD. The PPSDA board was selected from the successful certified dance teachers.
Schools Offering Courses on Heritage and the Performing Arts Dance Studios  Dance Studios ( Philippine Dance Network, CCP Directory and Association of Ballet Academies) ,[object Object],[object Object],[object Object],REGION Number of Dance Studios  NCR 65 III 6 IV-A 7 V 1 VI 5 VII 2 VIII 1 X 2 XI 1 XII 1 Total 91
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Schools of Fine Arts
Fine Arts Schools 13 Manila (9 Schools) 5 Benguet (1) 1 1 Ilocos Sur(1) 2 3 CALABARZON 1 3 3 2
Schools,  Colleges Offering Theater Arts Courses ,[object Object],[object Object],[object Object],Degree Programs Short Courses ,[object Object],[object Object],[object Object]
Schools,  Colleges Offering Music Courses ,[object Object],[object Object],[object Object],Degree Programs
Schools, Colleges Offering Music Courses ,[object Object],[object Object],[object Object],[object Object],Short Courses / Training Programs
CREATIVE ORIGINATORS
Indigenous People ,[object Object],[object Object],[object Object]
Indigenous People 1 2 3 4 15-30 Groups 10-14 Groups Below 10 Groups 1M up 500K-999,999 Below 500K Group Population Population 1 2 Region  Group Population Population CAR 30 1,179,516 1 15 991,881 2 19 986,881 3 18 305,451 4 13 605,299  5 3 42,618  6 4 145,959  7 5 42,876  9 5 496,714  10 2 556,103  11 12 1,793,118  12 4 403,266  13 2 493,643  ARMM 4 243,561  TOTAL 95 2,195,020
The  Online Registry of Artists  placed the number of  songs in the registry at 13,784 .  These were produced with the collaboration of  3,104 musical artists  composed of singers, composers, lyricists, arrangers and musicians.  Registered singers numbered 867  while  composers totaled 1,673 .  Likewise there were  1,380 lyricists and 539 arrangers . M usicians numbered 242 .  As indicated by the breakdown of musical artists, one song could have two or more composers, lyricists and so on. Likewise, musical artists from singers down to musicians could be involved in more than one song production.  Musical Artists
Ballet Manila had 50 dancers, supported by five artistic staff and 11 production staff consisting of the following:  Artistic Staff consisting of Artistic Director, Artistic Associate/Rehearsal Master, Asst. Ballet Master, Asst. Rehearsal Mistress, and Rehearsal Master for Modern Dance.  Production Staff composed of Architectural Concept, Production Assistant, Production Manager, Production Designer, Light Designer/T.D./ Music Editor, Stage Manager/ Music Master, Costume Designer/Production Assistant, Costume Master, Photographers, Videographer and Stage Hands. Dancers
The  Philippine Dance Network recorded a total of 916 dancers  who were members of various dance groups in the country consisting of professional, school-based, and  informal dance groups that can be found in almost all the major cities and municipalities of the country, especially in the NCR.  DancePinoy.com , a network set up to serve dancers and all dance-related organizations in the Philippines registered a total of  86 dance groups .  Except for a few, almost all these dance groups were into contemporary types of dances such as street dancing, hip hop, funky, etc.  Dancers  Dance Groups  (Philippine Dance Network) REGION Number of Dance Groups  Number of Group Members  NCR 51 508 CAR 1 4 III 5 47 IV-A 26 271 VII 1 14 VIII 1 5 IX 1 10 X 1 9 XI 2 39 XIII 1 9 1 Total 86 916
Visual Artists As of 2008, AAP had 568 individual members composed of visual artists or those engaged in the fine arts including painting, sculpture, mixed media work, and printmaking.  Membership in the AAP was very loose ranging from students to practicing artists.  Most of the members were concentrated in Manila (79), Quezon City (71) and the province of Rizal in Calabarzon (64).
Visual Artists (AAP Members) More than 50 Visual Artists of AAP Below 50 339 Quezon City (71 Artists) Manila (79 Artists) 118 Region IV A  Rizal with 64 Artists) 67 Bulacan (35 Artists) 9 4 3 5 6 Region IV B 10 16 1 Total = 568 members
Photographers The Philippine Photographers Foundation, Inc. listed 36 camera clubs located all over the country with 1,107 members.  NCR had the biggest concentration of camera clubs representing nearly 35%. Aside from regionwide or province-wide camera clubs, there were also seven nationwide clubs with nearly the same large membership base as that of the NCR 313.  The biggest camera club was the Nikon Club Philippines with 139 members.   Source:  Federation of Philippine Photographers Foundation, Inc .  REGION Number of Camera Clubs Members  NCR 27 384 I 1 9 III 2 30 IV-A 4 38 V 2 18 IX 1 2 7 313 Total 36 1,107
Summary of the Heritage and the Fine Arts Sector Value Chain ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Summary of the Heritage and the Fine Arts Sector Value Chain ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Summary of the Heritage and the Fine Arts Sector Value Chain ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Summary of the Heritage and the Fine Arts Sector Value Chain ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Enabling Factors ,[object Object],[object Object],[object Object],[object Object]
Hindering Factors ,[object Object],[object Object],[object Object],[object Object],[object Object]
ENABLING FACTORS Heritage and the Fine Arts Design and Architecture Publishing & Print Media Audiovisuals Creative Services Science & Technology Enabling environment/Legislations supportive of the sector/industry/ implementation of sectoral plan        Implementation of Intellectual Property Code of the / other international standards   Increase in funding support for research  Private Sector support   Adoption of new technologies     Improved facilities ( e.g. telecommunications)   Skilled, creative and talented manpower     Growth in population/demand  Established industry presence   Potentials for growth in the BPO/priority government thrust    International recognition/acceptance of products ( fashion)   Importance given to education in the sector 
HINDERING FACTORS Heritage and the Fine Arts Design and Architecture Publishing & Print Media Audiovisuals Creative Services Science & Technology Taxation   Lack of government support/lack of funding for R&D    Lack of private sector support  Lack of infrastructure  Lack of technology/expensive technology   Lack of capital/funding    Weak educational foundation   Deteriorating skills creative talent of Filipinos vis-à-vis other Asian countries/limited supply of skilled labor     No original content/  diminishing presence of Filipino design   Seasonal employment/not economically viable   Not demand driven   Lack of acceptance by  domestic market/preference for foreign materials/professionals
Philippine creative industry final april29
Philippine creative industry final april29
Philippine creative industry final april29
Philippine creative industry final april29
Philippine creative industry final april29
Philippine creative industry final april29
Philippine creative industry final april29
Philippine creative industry final april29
Philippine creative industry final april29
Philippine creative industry final april29
Philippine creative industry final april29
Philippine creative industry final april29
Philippine creative industry final april29

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Philippine creative industry final april29

  • 1. Philippine Creative Industries Mapping: Towards the Development of a National Strategy
  • 2.
  • 3. Six Major Fields of Creative Industries Heritage and the Fine Arts Design and Architecture Audio-visuals Printing and Publishing Creative Services Science and Technology
  • 6. Five C’s of the Creative Economy Value Chain C haining C apacitating C ommunitizing C lustering C onverging
  • 7. Chaining, Capacitating, Communitizing, Clustering and Converging in a Creative Sector
  • 8.  
  • 9. FRAMEWORK Understanding the Philippine Creative Economy and its Potentials for Growth
  • 10.  
  • 11.
  • 12.
  • 13.
  • 14.
  • 15.
  • 16.
  • 17.
  • 18. NCCA, NHI, LGUs, CCP, DepEd, CHED, NCCA, NHA, CHED, DTI PANA, PIA, National Library, DTI, OPS, NCCA MTRCB, OPS, LGUs, DOTC, NCCA, Adboard DOST, DOTC, BFAD, DOH, NCC, CHED, DTI Adboard, DOTC, DOT, CHED, DTI Public Institutional Involvement Industrial Design and Architecture Publishing and Printmedia Science and Technology Creative Services Audiovisuals Heritage and the Fine Arts Creative Field
  • 19. Economic Contribution of the Creative Industry
  • 20. Global and Regional Perspective Source: UNCTAD US$227.4 Billion (1996) – Value of world exports of creative industry products and services US$424.4 Billion (2005) – Value of world exports of creative industry products and services 3.4% of world trade
  • 21. World Exports of all Creative Industry Products and Services by Subgroup, 1996 and 2005 Subgroup Value (millions of S) As % of all creative industries As % of total world exports (goods/services) (2) Value (millions of S) As % of all creative industries As % of total world exports (goods/ services) (2) Growth rate   1996 (1) 2005 (1) 1996-2005 All creative industries (3) 227,451 100.00 - 424,427 100.00 - 6.4 All creative goods (4) 189,214 83.18 3.50 335,494 79.04 3.21 6.0 All creative services (5) 38,237 16.82 2.87 88,933 20.96 3.50 8.8 Heritage 15,760 6.72 - 26,692 5.99 - 5.4 Arts and craft goods 14,738 6.28 0.27 23,244 5.22 0.22 4.3 Other cultural services 1,022 0.44 0.08 3,448 0.77 0.14 12.9 Visual arts 10,331 4.40 - 22,149 4.97 - 7.9 Visual arts goods 10,331 4.40 0.19 22,149 4.97 0.21 7.9 Performing arts 5,100 2.17 - 14,924 3.35 - 13.5 Music goods 5,100 2.17 0.09 14,924 3.35 0.14 13.5 Publishing & printed media 32,180 13.71 - 44,304 9.95 - 3.4 Publishing goods 32,180 13.71 0.60 44,304 9.95 0.42 3.4 Audiovisuals 6,682 2.84 - 18.182 4.08 - 10.5 Audiovisual goods 355 0.15 0.01 664 0.15 0.01 7.6 Audiovisual and related services 6,327 2.69 0.48 17,518 3.93 0.70 10.7 New media 6,804 2.90 - 12,035 2.70 - 6.5 Media goods 6,804 2.9 0.13 12,035 2.70 0.12 6.5 Design 119,706 50.98 - 218,173 49.00 - 6.2 Design goods 119,706 50.98 2.22 218,173 49.00 2.09 6.2 Creative services 38,236 16.29 - 88,779 19.95 - 8.7 Architectural and related services 9,828 4.19 0.74 27,722 6.23 1.11 10.9 Advertising and related services 5,008 2.13 0.38 15,703 3.53 0.63 12.1 Research and development services 13,336 5.68 1.00 17,990 4.04 0.72 3.0 Personal, cultural and recreational services 10,064 4.29 0.76 27,364 6.15 1.10 10.5
  • 22.
  • 23. Size and contribution of Philippine Copyright-based industries Sector and Industry Number of Establishments Employment Value Added VA as % of GDP* Value Added per Employee (P000) Number % of Total Number % of Total (P000) (Large Establishments) 21,242 2,633,495 2,074,911,477 34.39% 788   Agriculture and mining 928 4.37% 147,989 5.62% 38,196,839 0.63% 258 Industry 6,138 28.90% 1,143,379 43.42% 1,073,272,814 17.79% 939 Services 14,176 66.74% 1,342,127 50.96% 963,441,824 15.97% 718   COPYRIGHT-BASED INDUSTRIES 992,383 37.68% 832,871,710 13.81% 839 Core 6,666 31.38% 320,871 12.18% 323,778,507 5.37% 1009 Press and literature 2,813 13.24% 198,335 7.53% 78,828,015 1.31% 397 Music, Theater, Opera 803 3.78% 22,195 0.84% 13,697,124 0.23% 617 Motion Picture and Video 51 0.24% 3,131 0.12% 1,444,652 0.02% 461 Radio and Television 230 1.08% 45,208 1.72% 208,052,248 3.45% 4602 Photography 861 4.05% 4,521 0.17% 1,622,833 0.03% 359 Software and Databases 1,302 6.13% 38,247 1.45% 15,729,228 0.26% 411 Visual and Graphic Arts 7 0.03% 509 0.02% 55,747 0.00% 110 Advertising 599 2.82% 8,725 0.33% 4,348,660 0.07% 498 Interdependent 151,761 5.76% 109,120,459 1.81% 719 Partial 264,983 10.06% 58,930,178 0.98% 222 Non-dedicated support 254,768 9.67% 341,042,566 5.65% 1339 Copyright-based industries VA share in services: 86.45% Copyright-based industries VA share in major PSIC divisions D,G,I,K,O (manufacturing, trade, transport storage communication, business services, other community social and personal services): 59.24% GDP for 2006 (at current prices) in P000 6,032,624,000 Note: Agriculture includes forestry and fishing Industry consists of manufacturing, electricity gas and water, and construction Services consists of wholesale and retail trade, hotels and restaurants, transport, storage, communication, financial intermediation, real estate renting and business, private education, health and social work, and other community social and personal services
  • 24. Source: Computed from 2006 CPBI Share of core copyright-based industries in the Philippine Number of establishments
  • 25. Share of core copyright-based industries in Philippine Employment Source: Computed from 2006 CPBI
  • 26. Value added share of core copyright-based industries in Philippine Gross Domestic Product Source: Computed from 2006 CPBI
  • 27. A NATIONAL STRATEGY FOR THE DEVELOPMENT OF THE CREATIVE ECONOMY
  • 28.
  • 29. income rises and taxes increase The government and the population at large more time and money to spend for creative products and services
  • 30. The contribution of the Creative Industries to gross domestic product (GDP) and gross national income (GNP) is small (at 2% to 5%) for less developed economies but it rises as development accelerates to much higher percentages (7% to 10%). The Philippines remains at number 42 in a universe of 57 countries at the Competitiveness ranking of countries
  • 31. We are a very service-oriented economy with little competitiveness in both agriculture and industry Agriculture - 62% Industry - 15% Services sector surged to 51.1% Agriculture and Industry Services Sector 1960’s - Employment 1960’s - Employment Services sector yielded only 23%. 2009 - Employment 2009 - Employment Agriculture - 34.3% Industry - 14.5%
  • 32. The Philippines never followed the general trend of most other countries that metamorphosed gradually from agriculture to industry to services. Services sector rely on cheap labor to generate their sales and profits. Most Filipino laborers are in low value-added, low salary jobs. 20% of our adult work force are pursuing higher pay and higher value-added jobs abroad. IMEDE revealed that the Filipino worker abroad is the most preferred worker in the world. This is an indictment against the businesses and entrepreneurs in the Philippines who have never been able to properly optimize the worth of their workers while in the Philippines.
  • 33.
  • 34. Entry Strategies Three strategies emanate from the Push (Creative Originators and Enablers) and Pull Factors (Creative Markets and Distribution Network) and the Fulcrum in between (Creative Technologies and Processes used by the Creative Transformers in making Creative Products and Services)
  • 35.
  • 36.
  • 37.
  • 38.
  • 39.
  • 40.
  • 41.
  • 42.
  • 43. Entertainment Television and radio products and services are the two biggest economic contributors among the core copyrighted industries. Wide reach for advertising industry The film industry has seen its ups and downs but finds a ready long-term re-run market through television broadcasting and through VCD/DVD distribution . First-run ticket revenues are not sufficient to buoy the film industry except for the movie blockbusters. Malls have become entertainment hubs with their movie houses, video arcades and mini-amusement rides.
  • 44. Tourism (both foreign and domestic) has risen tremendously over the last decade with the opening of more tourist destinations, facilities and amenities. The construction of international and local airports, seaports and road networks has provided much greater access to tourism sites. T he most creative works of architects, engineers, landscapers, interior designers and furniture makers are greatly in demand in tourism because the tourism sites and facilities have to be attractive, distinctive and alluring. Tourism
  • 45. In 2008, tourism brought in over three million foreigners spending about $796, each or a total of $2.49 billion. More and more, festivals such as the Sinulog of Cebu have become large economic contributors and effective social mobilizers. Sinulog Festival generated large revenues for the local economy and solidified and galvanized local population of Cebu and all its participating contributors. Tourism
  • 46.
  • 47.
  • 48.
  • 49.
  • 50. (1) Access, meaning roads, railways, seaports, and airports and the attendant transportation services; (2) Tourism Facilities, meaning hotels, restaurants and other hospitality amenities; and (3) Tourism Attractions which includes the five Arts and Culture elements cited above. The Three Vital elements of the Value Chain
  • 51. National Tourism Strategy and Development Plan The Tourism “hardware” plan encompasses infrastructure, facilities, site development, and physical attractions/destinations.
  • 52.
  • 53. National government agencies dedicated to Arts and Culture, Science and Technology and Tourism should provide the support and assistance required to launch local efforts.
  • 54.
  • 55.
  • 56.
  • 57.
  • 58.
  • 59.
  • 60. The large revenues accruing to television and radio have allowed them to pay good money for creative talents. Revenues and/or allocation of funds for the Creative Talents Frontline Entertainers Backroom support Pay for actors, actresses, singers, directors and dancers. Pay for script and screenplay writers and the technical crew (cameramen, lighting experts, film and video editors, set designers, etc. RESULT: Technical training of the backroom crew is largely through “experiential learning” and is limited compared to foreign counterparts
  • 61.
  • 62.
  • 63.
  • 64.
  • 65. Korean TV Case Five Cs of Media and Film Industries Converge the forces and resources of the government, the private sector, all the relevant and related industries and institutions and, finally, the concerned citizenry towards this vision. Cluster of core and related industries dedicated to Creative City Development in and around Seoul. Capacity building of creative originators and talents was accelerated by the setting up of schools. Five C’s by having a big vision of where they want to go and be in the future
  • 66. Five Cs of Media and Film Industries Five C’s by having a big vision of where they want to go and be in the future Communities of independent (and institutional) writers, directors, actors and technical experts sprouted with the huge investments and funding being provided by both big government and big businesses. The success of the Korean strategic efforts brought the most important part of the Value Chain to life – and this is the creation of a huge market for Korean films and telenovelas . Korean TV Case
  • 67.
  • 68.
  • 69.
  • 70. Five Cs of Media and Film Industries in the Philippines Converge all the major business players (ABS-CBN, GMA, ABC, the large film companies and the Ayala techno hub for the digital arts component in the Entertainment Sector , the National Government Agencies (DTI, DOST, CHED, DEPED, CCP, NCCA), selected Local Government Units (Quezon City, Makati, Manila, Mandaluyong, Pasig, Pasay and San Juan), the Academe (top ten schools with strong programs in the Arts and Humanities), organizations dedicated to the performing arts, foundations funding arts and culture, and other key participants .
  • 71.
  • 72.
  • 73.
  • 74.
  • 75. Philippine society has not yet evolved a sophisticated and huge market for the performing and the fine arts.
  • 76. Philippines, where 90% of the people are in the lower D and E income classes to pursue and enjoy a life of leisure. Many have the time but do not have the means. As a people, we have only begun to gain consciousness as one nation towards the end of the nineteenth century. Even then, not the entire country was involved in the struggle against Spain and America. We have commonality as a colonized country under Spain and America but not as one people. We have many cultures and traditions to build on though, reaching back to our Malay origins. We have enough regional diversity to weave a multi-faceted and colored tapestry. Realities… Philippine society has not yet evolved a sophisticated and huge market for the performing and the fine arts.
  • 77.
  • 78.
  • 79. Philippines’ Key Strategies to Promote the Arts and Culture and the Leisure Sector It needs the strong participation of Local Government Units (LGUs), the Academe, big corporations and various associations and foundations dedicated to the different Arts and Culture sectors. The NCCA and the CCP should be the strongest advocates for advancing Arts and Culture as the Core Creative Sector.
  • 80.  
  • 81.  
  • 82.
  • 83.
  • 84.
  • 85.
  • 86.
  • 87.
  • 88.
  • 89.
  • 90. SECTORAL STRATEGY: CULTURAL HERITAGE AND THE ARTS The holding of festivals, fiestas, exhibitions, shows and other forms of converging people in a big way can be a major strategy for growing the Creative Economy insofar as Cultural Heritage and the Arts Sector.
  • 91.
  • 92.
  • 93. The Sinulog Festival converges all the major elements of Cultural Heritage and the Arts . In fact it could be pushed further to include more competitions in the Arts, such as music composition, singing (individuals and/or glee clubs), painting and sculpting. The Sinulog Festival has metamorphosed from a prayer dance to a humungous contributor to the Creative Economy.
  • 94. The religious-cultural events were not overshadowed For Sinulog 2009, some 86 watercrafts of various sizes accompanied the “galleon” carrying the Child King. 2009 Grand Parade - Over fifty groups of more than 6,000 dancers accompanied by bugle boys, baton wielders and drummers joined the parade. The limelight was shared by about 50 floats, 20 “higantes” and a host of puppeteers. The Sinulog Festival converges all the major elements of Cultural Heritage and the Arts . In fact it could be pushed further to include more competitions in the Arts, such as music composition, singing (individuals and/or glee clubs), painting and sculpting. The Sinulog Festival has metamorphosed from a prayer dance to a humungous contributor to the Creative Economy.
  • 98.
  • 99. FESTIVAL ECONOMICS: THE CASE OF SINULOG IN I. Creative Originators Approximate Quantity Approximate Average Fees Total Expenses Sources of Donations/Revenues A. Grand Parade Choreographers/ Directors 50 P50,000 per person P2.5M Master Dancers/ Musicians and Props- 300 P60,000 per group P3.0M Dancers 6000 P30M* Direct Donations and Subsidies for Contingents Bugle and Drummer Corps 1000 P40,000 per group P2.0M P56.0M Sewers P3,000 each for 7,000 costumes P21.0M Subsidies from Sinulog Foundation P4.0M Bead workers/ Costumer Jewelers Artists for floats and higantes P100,000 for each float/ higantes Private Engagements ??? Carpenters Materials for floats/higantes P100,000 P4.0M Individual Travel/lodging for visiting contingents P20.0M Contributions P30M Food for other Participants** P7.5M Sub-Total P90.0M B. Photographers Photography Expenses 1,000 P2,000 each P2.0M Prizes Entry Fees 1,000 P 500 each P0.5M Sales of Photographs C. Film Makers Short Film Features 20 P25,000 P0.5M Prizes Sales of Films Total P93M
  • 100. II. Creative Enablers/ Transformers (Funders, Organizers, Entrepreneurs) Approximate Quantity Approximate Average Fees Total Expenses Sources of Funds/ Donations, Sales A. Sinulog Foundation Prizes P8.0M Sponsorships Exchange Deals P4.0M P10.0M Sponsorships of Events P4.0M Donations Stage Construction P2.0M P10.0M Parade/ Crowd Control P1.3M Ex-Deals Nightly Launching P1.2M P3.5M Secretariat P1.0M Ticket Sales Financial Assistance P0.8M P30.0M Publicity P0.8M Trade Fair Others P1.9M P2.5M Others P1.0M Sub-Total P25.0M P30.0M Surplus P5.0M B. Local Governments P8.0M Other Participants P22.0M P30.0M C. Corporate Sponsorships To Sinulog Foundation P10.0M To Others P 5.0M P 15.0M D. Schools 1. Teachers/ PE Instructors ? School Boards 2. Scholarships to Performers E. Beauty Pageant Organizing ?
  • 101. II. Creative Enablers/ Transformers (Funders, Organizers, Entrepreneurs) Approximate Quantity Approximate Average Fees Total Expenses Sources of Funds/ Donations, Sales F. Fluvial Parade Organizing ? Catholic Church 1. Galleons 2. Decorating watercrafts 3. Miscellaneous Expenses G. Church Novenas, Masses, Vigils, Ceremonies ? H. Security/Safety 1. Police Officers 1,000 P200 allowance P2.0M DILG 2.Policemen 8,000 Per person 3. Barangay Tanods 1,000 10,000 I. Communicators 600 P500 allowance per person P0.3M J. Water Stations 30 ? K. Medical Assistance ? 1. Medical Stations 2. Doctors/Nurses/Aids L. Media Coverage ? Advertisements
  • 102. III. Creative Markets Quantity Approximate Average Fees Total Expenses 1. Foreign Tourists 65,000 (2 nights each equals 130,000) US700@ P47 to US$1 or P32,900 per night P4,3.Billion 2. Domestic Tourists 76,000 (2 nights each equals 152,000) P5,000 per night P760 Million 3. Local Residents 200,000 households P3,000 per household P600 Million P5.7 Billion
  • 103. Breakdown of Foreign Tourists’ Expenses (Estimated) Accommodations US$ 207 29.6% P1.27 Billion Food/Beverage US$ 201 28.7% 1.23 Billion Entertainment US$ 60 8.6% 0.37 Billion Shopping US$ 182 26.0% 1.12 Billion Others US$ 50 7.1% 0.31 Billion US$ 700 100.0% P 4.3 Billion Multiplier Effect of Cash Inflow X 2 P8.6 Billion Including Local Money P5.7 Billion X2 P11.4 Billion
  • 104.
  • 105.
  • 106. CREATIVE FIELD: Heritage and the Fine Arts
  • 107.
  • 108.
  • 109. CREATIVE SECTORS INVOLVED: Cultural Sites Traditional Arts and Crafts Visual / Literary Arts Performing Arts
  • 110. CREATIVE PRODUCTS: Heritage Sites Museums Cultural Celebrations/Festivals
  • 111. CREATIVE PRODUCTS The visual arts subgroup comprises antiques, painting, sculpture and photography as well as the open-ended miscellaneous items of ‘other visual arts’ consisting of engravings, carvings, lithographs, collages and other ornaments.
  • 112.
  • 113. Heritage Sites Churches and Fortifications Natural Parks, Sanctuaries and Reefs Protected Landscapes and Seascapes and Marshes Geological Sites Towns and Settlements Ilocos Norte Ilocos Sur Batanes Cagayan Isabela NCR Rizal Batangas Samar Palawan Iloilo Romblon Bohol Cebu Sulu Davao del Sur Siquijor Misamis Occidental Lanao del Sur Agusan del Sur Agusan del Norte Maguindanao Sultan Kudarat South Cotabato
  • 114. Museums The Philippine Culture and Information Office listed a total of 154 museums in the Philippines, majority of which were set up by private individuals, private institutions such as universities, colleges and religious organizations and private corporations. The National Capital Region, particularly the city of Manila hosted the most number (48) of museums. Manila alone had 25 government and privately run museums, followed by Quezon City with 10.
  • 115. Museums 48 Iloilo Davao del Sur Cotabato Number of Museums More than 10 5-9 Museums Bukidnon Zamboanga del Norte Capiz Occidental Mindoro Benguet Ifugao Mountain Province Ilocos Norte Ilocos Sur Cagayan NCR Palawan Agusan del Norte Below 5 Museums Pangasinan La Union Nueva Ecija Bulacan Zambales Rizal Cavite Laguna Batangas Romblon Camarines Sur Albay Aklan Negros Occidental Bohol Cebu 12 Samar Leyte Negros Oriental Lanao del Norte Lanao del Sur Sulu Tawi-Tawi NCR Museums Makati 3 Malabon 1 Mandaluyong 2 Manila 25 Pasay 5 Pasig 1 Quezon City 10 San Juan 1
  • 116. Cultural Celebrations/Festivals The Department of Tourism has identified 627 festivals and cultural celebrations observed in the country’s regions and provinces. The Visayas region , particularly Western Visayas had the most number of festivals celebrated . The Visayas provinces accounted for nearly 29% of the total number of festivals in the country. The NCR, CALABARZON and CARAGA had almost equal number of festivals ranging from 53 to 57 but they came a far second to Western Visayas. Major festival destinations in these regions were Batangas (19) and Laguna in CALABARZON and in CARAGA. Among the provinces with numerous festivals were Iloilo (36), Negros Occidental(36), Davao del Norte (35) Lanao del Norte (30), Cebu (29) Benguet (22), and Surigao del Norte (20),
  • 117. Cultural Celebrations/ Festivals More than 50 Festivals by Region 30-49 Festivals Below 30 Festivals 112 53 57 56 47 30 35 30 35 29 26 23 24 22 24 19 5 Regions # of Festivals NCR 56 CAR 29 1 26 2 23 3 30 4a 57 4b 24 5 35 6 112 7 47 8 22 9 24 10 30 11 35 12 19 13 53 ARMM 5 Total 627
  • 118. CREATIVE MARKET POTENTIAL AND INDICATORS
  • 119. Global Performance of the Heritage and Fine Arts Sector World exports of all creative-industry products (goods and services), by subgroup, 1996 and 2005 Subgroup Value (millions of S) As % of all creative industries As % of total world exports (goods/ services) (2) Value (millions of S) As % of all creative industries As % of total world exports (goods/ services) (2) Growth rate   1996 (1) 2005 (1) 1996-2005 All creative industries (3) 227,451 100.00 - 424,427 100.00 - 6.4 All creative goods (4) 189,214 83.18 3.50 335,494 79.04 3.21 6.0 All creative services (5) 38,237 16.82 2.87 88,933 20.96 3.50 8.8 Heritage 15,760 6.72 - 26,692 5.99 - 5.4 Arts and craft goods 14,738 6.28 0.27 23,244 5.22 0.22 4.3 Other cultural services 1,022 0.44 0.08 3,448 0.77 0.14 12.9 Visual arts 10,331 4.40 - 22,149 4.97 - 7.9 Visual arts goods 10,331 4.40 0.19 22,149 4.97 0.21 7.9 Performing arts 5,100 2.17 - 14,924 3.35 - 13.5 Music goods 5,100 2.17 0.09 14,924 3.35 0.14 13.5 Source: UNCTAD secretariat calculations based on data in United Nations Comtrade
  • 120.
  • 121.
  • 122. Exports and Imports of Visual and Graphic Arts (in US$) Source: NSO *includes paintings, drawings by hand; collages and similar decorative plaques of cork/wood, of base Metal and other materials; original engravings, prints and lithographs, original sculptures
  • 123. The One Town One Product (OTOP) program has identified towns specializing in particular crafts and they employed around 5,000 workers and generated investments averaging more than P1.0 million each. Province Product Employment La Union Furniture 12 firms engaged in furniture making, 410 carvers, finishers, carvers; Combined total assets of P43 million Nueva Ecija (Gapan, San Isidro, San Antonio, Cabiao) Gifts and holiday decor 250 workers Laguna ( Paete) Wood and paper mache 2,000 workers, 68 direct jobs Marinduque Loomweaving {P1.8 million investments) Albay (Tiwi) Ceramics 80 new jobs created; P1.643 investments Iloilo Bamboo-based products More than 300 workers; 20 bamboo-based enterprises Bohol (50 barangays in Inabanga) Woven raffia 1, 910 home-based workers Economic Contribution of Traditional Crafts
  • 125.
  • 126.
  • 128. Transformation mechanisms for the heritage and fine arts sector include production houses/guilds, performing groups, events companies and sponsoring groups from government and private institutions.
  • 129. Philippine Cultural Community Music and Dance Groups Source: CCP Directory of Philippine Cultural Communities 5 4 4 2 2 1 2 2 1 2 3 2 1 1 3 REGION Number of Community Groups NCR 5 CAR 4 II 4 III 2 IV-A 2 IV-B 1 VI 2 VII 2 VIII 1 IX 2 X 3 XI 2 XII 1 XIII 1 ARMM 3 Total 31
  • 130.
  • 131. Source: CCP Directory of Philippine Cultural Communities 5 4 4 2 2 1 2 2 1 2 3 2 1 1 3 CCP Affiliated Dance Groups REGION Number of Community Groups NCR 5 CAR 4 II 4 III 2 IV-A 2 IV-B 1 VI 2 VII 2 VIII 1 IX 2 X 3 XI 2 XII 1 XIII 1 ARMM 3 Total 31
  • 132.
  • 133. Source: CCP Directory of Philippine Cultural Communities 1 6 3 2 5 2 Community-Based Theater Groups 10 1 16 3 11 REGION Number of Community-Based Theater Groups NCR 6 CAR 1 III 10 IV-A 16 IV-B 1 V 3 VI 11 VII 3 VIII 2 XI 5 XIII 2 Total 60
  • 134. Source: CCP Directory of Philippine Cultural Communities 1 2 2 5 9 School-based Theater Groups 1 14 6 13 12 7 1 5 3 3 REGION Number of School-Based Theater Groups NCR 12 CAR 1 III 7 IV-A 14 IV-B 1 V 6 VI 13 VII 2 VIII 2 IX 1 X 5 XI 5 XII 3 XIII 9 ARMM 3 Total 82
  • 135.
  • 136.
  • 137. Choirs More than 50 Festivals by Region 30-49 Festivals Below 30 Festivals 210 65 25 1 6 1 3 7 12 2 1 5 7 3 REGION Choirs NCR 210 CAR 6 I 9 III 25 IV-A 65 IV-B 1 V 3 VI 7 VII 12 VIII 2 IX 1 X 5 XI 7 XIII 3 Total 356
  • 138. String Ensembles More than 50 Festivals by Region 30-49 Festivals Below 30 Festivals 210 65 25 1 6 1 3 7 12 2 1 5 7 3 REGION Choirs NCR 210 CAR 6 I 9 III 25 IV-A 65 IV-B 1 V 3 VI 7 VII 12 VIII 2 IX 1 X 5 XI 7 XIII 3 Total 356
  • 139. Craft Producers Legend: CPEAPI – Christmas Décor Producers & Exporters Association of the Philippines HAPI – Home Accents Group of the Philippines PEMAPI – Pottery Exporters & Manufacturers of Pampanga, Inc. WOODTAG – Wooden Gifts & Accessories Manufacturers, Inc. PCHI – Philippine Chamber of Handicraft Industries ANP – Association of Negros Producers Philippine Chamber of Handicraft Industries (PCHI) , one of the biggest association of handicraft manufacturers in the country composed of manufacturers/producers, exporters, traders and subcontractors of Philippine handicrafts with 113 members mostly located in NCR. Association of Negros Producers (ANP) was an organization of small and medium scale entrepreneurs in Negros Oriental and Negros Occidental engaged in the production of furniture and furnishings, gifts and handicrafts, fashion and food with 96 members mostly based in Negros Occidental. REGION Number of Crafts Association Number of Member Companies NCR 4 (CPEAP, WOODTAG,HAPI, PCHI) 160 CAR 1 (CPEAP) 1 III 5 (GTH Bulacan, HAPI, PEMAPI, WOODTAG, PCHI) 43 IV-A 3 (CPEAPI, HAPI, PCHI) 32 V 1 (PCHI) 1 VI 2 (WOODTAG, ANP) 50 VII 4 (Cebu GTH, PCHI, ANP, Crafts Assoc.) 91 Total 20 378
  • 140. Handicrafts of Aklan Multipurpose Cooperative (HAMPCO) . HAMPCO is an association of weavers of piña cloth in Aklan. It has 373 members, 90 percent of whom are women. There are 12 other production groups in Aklan that specialize in the province’s indigenous materials, such as nito, raffia, knotted abaca twine, bariw and tayok tayok paddy grass. Inabanga Loomweavers Association (ILA) in Bohol . The ILA is an association of 1,910 home-based raffia loom weavers in the 50 barangays of the municipality of Inabanga in Bohol province. Community Associations/ Cooperatives
  • 141. CREATIVE ENABLERS / FACILITATORS
  • 142.
  • 143. Schools of Living Traditions 9 Nueva Vizcaya Iloilo Davao del Sur Cotabato Number of Schools of Living Traditions (SLTs) More than 5 SLTs Below 5 SLTs Bukidnon Zamboanga del Sur Capiz Occidental Mindoro Benguet Ifugao Kalinga Mountain Province Ilocos Norte Ilocos Sur Abra 6 Bataan Palawan Zamboanga Sibugay 5 7 Davao Oriental Davao del Norte Compostella Valley 6 Sultan Kudarat Sarangani Source: NCCA REGION Number of SLTs No of Trainees/ Students CAR 13 380 I 6 190 II 3 75 III 1 30 IV-B 11 95 VI 2 50 IX 4 85 X 1 60 XI 16 620 XII 10 281 Total 67 1,866
  • 144. Philippine Association of Printmakers (PAP). The PAP was founded in 1968 mainly to enhance Filipinos’ appreciation for printmaking by bringing artworks to art lovers in the regions, educating and conducting training workshops to improve the artistic environment among artists and discovering new talents. Art Association of the Philippines (AAP). The AAP is an art organization that aims to "advance and foster, and promote the interests of those who work in the visual arts." (AAP Amemded By-Laws, 1986). It was originally intended as an alumni association of UP fine arts students and graduates when it was founded by Purita-Kalaw Ledesma, an art collector in 1948 but soon attracted the country’s many artists, even those who were not from UP. Visual Arts Associations
  • 145. AAP Affiliated Groups Iloilo (2) Davao (1) Capiz Cavite (2) Benguet NCR Palawan Manila (20) Quezon City (3) Las Piñas (1) Marikina (20) Baguio (2) Bulacan (9) Pampanga (1) Rizal (3) Batangas (2) Albay (2) Pangasinan (1) Negros Occidental (1) Source: Art Association of the Philippines (AAP) Location Number Manila 20 Quezon City 3 Las Piñas 1 Marikina 1 Baguio 2 Bulacan 9 Pampanga 1 Rizal 3 Cavite 2 Batangas 2 Pangasinan 1 Albay 3 Iloilo 2 Negros Occidental 1 Davao 1 Total 51
  • 146. Community Art Groups Art groups consisting mostly of small groups of artists coming from a particular area, municipality, province or school who banded together to pursue common activities such as mounting an exhibit, participating in art contests, conducting workshops or exchanging information and technologies. Sining, Kulay at Tinta , better known as the SIKAT Art Group is an art group based in Antipolo, Rizal, Philippines, with member-affiliates abroad. Although the main works are in the visual arts category, members are comprised of sculptors, graphic artists, writers, and photographers as well. Center for Bikol Arts Foundation (CEBIKA ) is an aggrupation of visual artists, sculptors, performing artists and musicians based in the Bicol region. It has 72 members who work together to mount exhibits and performances. Baguio Arts Guild (BAG) which was established in 1987 by a small group of Baguio-based multi-media artists has been expanded to accommodate members engaged in the fields of fine art, theatre, music and literary arts. Neo Angono was founded in November 2004 as a movement and organization of artists, writers and poets, musicians, theater people, filmmakers, cultural workers and art critics and researchers. At present, it has 65 members, most of whom are residents of Angono.
  • 147.
  • 148. The Philippine Art Education Association (PAEA) is an association of art teachers devoted to the education of art teachers which they are expected to pass on to their students and by so doing help promote art among the Filipinos. It was founded in 1968 with the mission to provide opportunities for cooperative study and discussion of common problems and experiences related to the teaching of art; and provide in-service training for teachers in different levels and various aspects of art education. It has more than 200 members from private and public schools and other institutions in the Philippines. Philippine Art Education Association (PAEA)
  • 149. PAEA Members Cavite (1) NCR Marikina (13) Quezon City (17) Other Cities (12) Ilocus Sur (1) Bulacan (3) Rizal (1) Batangas (2) Pampanga (1) 42
  • 150.
  • 151.
  • 152.
  • 153.
  • 154. Dance Associations Philippine Folk Dance Society . Founded in 1949, the Philippine Folk Dance Society brought together physical education students, teachers, administrators and individuals interested in folk dancing. It intended to preserve and propagate authentic Philippine folk dance and to enrich our knowledge of native folk dances. The dance society sponsored dance clinics and developed new materials from the field. Philippine Professional Dance Sport Association (PPDSA) . The PPSDA was the first organization to professionalize ballroom dancing by conducting the first Dance Sport Teacher Training Programs that culminated in the examination and certification of dance teachers by the FATD and AATD. The PPSDA board was selected from the successful certified dance teachers.
  • 155.
  • 156.
  • 157. Fine Arts Schools 13 Manila (9 Schools) 5 Benguet (1) 1 1 Ilocos Sur(1) 2 3 CALABARZON 1 3 3 2
  • 158.
  • 159.
  • 160.
  • 162.
  • 163. Indigenous People 1 2 3 4 15-30 Groups 10-14 Groups Below 10 Groups 1M up 500K-999,999 Below 500K Group Population Population 1 2 Region Group Population Population CAR 30 1,179,516 1 15 991,881 2 19 986,881 3 18 305,451 4 13 605,299 5 3 42,618 6 4 145,959 7 5 42,876 9 5 496,714 10 2 556,103 11 12 1,793,118 12 4 403,266 13 2 493,643 ARMM 4 243,561 TOTAL 95 2,195,020
  • 164. The Online Registry of Artists placed the number of songs in the registry at 13,784 . These were produced with the collaboration of 3,104 musical artists composed of singers, composers, lyricists, arrangers and musicians. Registered singers numbered 867 while composers totaled 1,673 . Likewise there were 1,380 lyricists and 539 arrangers . M usicians numbered 242 . As indicated by the breakdown of musical artists, one song could have two or more composers, lyricists and so on. Likewise, musical artists from singers down to musicians could be involved in more than one song production. Musical Artists
  • 165. Ballet Manila had 50 dancers, supported by five artistic staff and 11 production staff consisting of the following: Artistic Staff consisting of Artistic Director, Artistic Associate/Rehearsal Master, Asst. Ballet Master, Asst. Rehearsal Mistress, and Rehearsal Master for Modern Dance. Production Staff composed of Architectural Concept, Production Assistant, Production Manager, Production Designer, Light Designer/T.D./ Music Editor, Stage Manager/ Music Master, Costume Designer/Production Assistant, Costume Master, Photographers, Videographer and Stage Hands. Dancers
  • 166. The Philippine Dance Network recorded a total of 916 dancers who were members of various dance groups in the country consisting of professional, school-based, and informal dance groups that can be found in almost all the major cities and municipalities of the country, especially in the NCR. DancePinoy.com , a network set up to serve dancers and all dance-related organizations in the Philippines registered a total of 86 dance groups . Except for a few, almost all these dance groups were into contemporary types of dances such as street dancing, hip hop, funky, etc. Dancers Dance Groups (Philippine Dance Network) REGION Number of Dance Groups Number of Group Members NCR 51 508 CAR 1 4 III 5 47 IV-A 26 271 VII 1 14 VIII 1 5 IX 1 10 X 1 9 XI 2 39 XIII 1 9 1 Total 86 916
  • 167. Visual Artists As of 2008, AAP had 568 individual members composed of visual artists or those engaged in the fine arts including painting, sculpture, mixed media work, and printmaking. Membership in the AAP was very loose ranging from students to practicing artists. Most of the members were concentrated in Manila (79), Quezon City (71) and the province of Rizal in Calabarzon (64).
  • 168. Visual Artists (AAP Members) More than 50 Visual Artists of AAP Below 50 339 Quezon City (71 Artists) Manila (79 Artists) 118 Region IV A Rizal with 64 Artists) 67 Bulacan (35 Artists) 9 4 3 5 6 Region IV B 10 16 1 Total = 568 members
  • 169. Photographers The Philippine Photographers Foundation, Inc. listed 36 camera clubs located all over the country with 1,107 members. NCR had the biggest concentration of camera clubs representing nearly 35%. Aside from regionwide or province-wide camera clubs, there were also seven nationwide clubs with nearly the same large membership base as that of the NCR 313. The biggest camera club was the Nikon Club Philippines with 139 members. Source: Federation of Philippine Photographers Foundation, Inc . REGION Number of Camera Clubs Members NCR 27 384 I 1 9 III 2 30 IV-A 4 38 V 2 18 IX 1 2 7 313 Total 36 1,107
  • 170.
  • 171.
  • 172.
  • 173.
  • 174.
  • 175.
  • 176. ENABLING FACTORS Heritage and the Fine Arts Design and Architecture Publishing & Print Media Audiovisuals Creative Services Science & Technology Enabling environment/Legislations supportive of the sector/industry/ implementation of sectoral plan       Implementation of Intellectual Property Code of the / other international standards   Increase in funding support for research  Private Sector support   Adoption of new technologies     Improved facilities ( e.g. telecommunications)  Skilled, creative and talented manpower    Growth in population/demand  Established industry presence  Potentials for growth in the BPO/priority government thrust   International recognition/acceptance of products ( fashion)  Importance given to education in the sector 
  • 177. HINDERING FACTORS Heritage and the Fine Arts Design and Architecture Publishing & Print Media Audiovisuals Creative Services Science & Technology Taxation   Lack of government support/lack of funding for R&D    Lack of private sector support  Lack of infrastructure  Lack of technology/expensive technology   Lack of capital/funding    Weak educational foundation  Deteriorating skills creative talent of Filipinos vis-à-vis other Asian countries/limited supply of skilled labor     No original content/ diminishing presence of Filipino design   Seasonal employment/not economically viable  Not demand driven   Lack of acceptance by domestic market/preference for foreign materials/professionals