ECON3501CARIBBEAN ECONOMIC DEVELOPMENTCREATIVE IND

ECON3501
CARIBBEAN ECONOMIC
DEVELOPMENT
CREATIVE INDUSTRY
RESOURCE MATERIALS
of Caribbean Political
Economy: The Legacy of George Beckford. Kingston. Ian
Randle Publishers
Underdevelopment in the Plantation
Economies of the Third World. UWI Press.
Economic Development. Pearson
Education & Addison-Wesley
(2004). In Defence of Globalization,
Oxford University Press

Management: Caribbean
Perspective Kingston: Ian Randle Publishers
- UNDP, Human Development Report. World
Bank-World
Development Report
2
CREATIVE INDUSTRIES
to a range of economic activities that are concerned
with the generation and commercialization of
creativity, ideas, knowledge and information.
The term ‘creative industries’ describes businesses
with creativity at their heart.
and video, crafts, visual arts, fashion, TV and radio,
advertising, literature, computer games and the
performing arts.
3

CREATIVE INDUSTRIES
-sectors under the term
‘creative industries’.
antiques market; crafts; design; designer fashion; film
and video; interactive leisure software; music; the
performing arts; publishing; software and computer
games; and television and radio.
4
CONFUSION BETWEEN CREATIVE AND
CULTURAL INDUSTRIES
that
generate copyright, patents and trademarks. In other contexts it
is used to refer only to such industries that produce content or
cultural industries.” (Hawkins, 1991)
is

that of the Department of Culture, Media and Sport (DCMS) in
the UK.
that:
“Have their origin in creativity, individual skills and talent and
have the potential to create wealth and employment through the
generation and exploitation of intellectual property.”
5
CULTURAL INDUSTRIES
agencies, though this term relates to a more specific
range of industries and can be regarded as a subset of
the creative industries.
‘industries that combine the creation, production and
commercialization of contents which are intangible and
cultural in nature
y copyright

and they can take the form of a good or a service.’
6
CREATIVE ECONOMY
7
embracing
economic, cultural, social and technological aspects.
ls within the overall
economy, hence it is important to a country’s economic
development.
export earnings while promoting social inclusion, cultural
diversity and human development.
improve
trade and development gains in developing countries.
CREATIVE INDUSTRIES

changing world.
valued by individuals, society
and
employers. Creative workers play an important role in driving
economic,
social and cultural development.
Visual artists use
interactive and moving images, performers use digital media in
site-specific
works, and collaborative teams create sophisticated productions
that
captivate our senses.
- in the
creation of their
works, as new outlets for their creativity, and as a means of
promoting and
distributing their work. Cutting-edge use of digital technologies
produces
networked performances and cultural experiences. 8
MAJOR DRIVERS OF CREATIVE INDUSTRIES

e extraordinary growth
in the creative industries worldwide can be found in
brought about by the digital revolution and the economic
environment within which this revolution has taken place
have combined to create the conditions for this growth 9
MAJOR DRIVERS OF CREATIVE INDUSTRIES:
TECHNOLOGY
technologies has led to
an integration of the means by which creative content is
produced, distributed
and consumed and has in turn fostered new forms of artistic and
creative
expression.
telecommunication industries
and the privatization of previously State-owned enterprises in
these spheres have
opened the way for massive growth in private-sector

investment, with consequent
effects on output and employment across the board.
range of media
through which creative content is conveyed to consumers, such
as video-on-
demand, music podcasting, streaming, computer games and the
provision of
television services via cable, satellite and the Internet.
channels and platforms
has continued to grow,
generating an increasing demand for creative content. It is the
task of the creative
industries, wherever they are located, to supply this content in a
way that is
culturally expressive and economically profitable.
10
ECONOMICS
trend in economic policy-making towards a broadening of
the concept of “innovation” from one concerned only with
science and technology into a more wide-reaching
appreciation of the role of creativity in the economy.

knowledge economy pushes the creative industries into the
spotlight as a primary source of the skilled workforce that
can produce creative ideas and make innovation happen
across a wide range of activities
programmes.
11
ECONOMICS
Growth in Demand
creative economy.
– this have
tended to
increase the demand for income-elastic products, including
creative goods and
services. Moreover, the real prices of some of these products
and particularly the

prices of the means for their enabled consumption have fallen as
technology
advances, leading to further upward pressure on demand.
The changing patterns of cultural consumption – new
generations of
consumers are using the Internet, mobile telephony, digital
media, etc., in ways
that not only expand their range of cultural experiences but also
transform them
from passive recipients of cultural messages into active co-
creators of cultural
content. The sense of empowerment brought about by these
developments and
the process of redefining cultural identities are likely to
continue as significant
influences on the growth of the creative industries in the future.
12
ECONOMICS
Growth in Tourism
selling
creative goods and cultural services into the tourist market.
ltural sector contributes to tourism through the demand
for visits

to cultural heritage sites, museums and galleries, festivals and
so on as
well as tourists’ interest in attending music, dance, theatre and
opera
performances in most cities and towns.
different
locations can be an attraction for tourists, especially for those
classified
as “cultural tourists” whose demand is more discriminating and
culturally
aware than that of the so-called “mass tourist”
13
ECONOMICS
approach to
cultural tourism.
with
protection, fearful that some of the most beautiful and important
cultural

and natural sites are being harmed by throngs of visitors.
Tourism
Organization (UNWTO) and United Nations Conference on
Trade and
Development (UNCTAD) have therefore been actively
promoting a shift
in the attitude of governments towards the formulation of
tourism
policy, focusing on the concept that tourism policy should be
both
culturally and environmentally friendly and benefit local
people.
14
THE MULTIPLE DIMENSIONS OF THE CREATIVE
ECONOMY
multitude of dimensions
and it contributes to economic, social and cultural development
in a number of ways.
ic Contribution - international trade is a key
component of the creative

economy. According to UNCTAD, world trade in creative-
industry products
increased sharply in recent years. Much of the trade in
audiovisual products occurs in
the form of rights transactions as the means for buying and
selling creative
content. The functioning of intellectual property markets both
nationally and
internationally depends on the existence of effective copyright
regimes in the
countries involved, allowing efficient collection and equitable
distribution of copyright
payments.
– a major social impact of the creative
industries is their
contribution to employment. The creative industry, though both
knowledge intensive
and labor intensive, is very important in policy terms due to its
job-creation potential
and countries can look to the establishment/improvement of
creative industries as an
effective way to boost employment.
15

ECONOMY
ocial Inclusion - at the grass-roots level, the creative
economy includes cultural
activities that can be important in linking social groups in
communities and
contributing to social cohesion. Communities that are plagued
by social tensions and
conflicts of various sorts can often be brought together through
shared participation
in cultural rituals.
capital by boosting the
ability and motivation of people to become engaged in
community life and inculcating
skills that can be usefully employed in local creative industries.
Furthermore, creative
activity can be shown to be important for individual health and
psychological well-
being.

the education system
16
ECONOMY
- whether the term “culture” is
interpreted in an
anthropological sense to mean the shared values and traditions
that identify a
community or a nation and bind it together or whether it takes a
more
functional sense to mean the practice of the arts, the creative
economy as a
purveyor of creative goods and services clearly has profound
cultural
implications.
alongside economic
value from the operation of the creative industries is releva nt
because it serves

the cultural objectives of society, which stand alongside the
economic objectives
of a government and are reflected in the broad-ranging reach of
its cultural
policy.
es
that has become more
prominent in recent years. As processes of globalization
continue, the value of
cultural diversity has been more sharply defined and the role of
the creative
industries in promoting it has been more clearly understood.
17
ECONOMY
- It is becoming
increasingly
recognized that the concept of “sustainability” has a larger
scope beyond
simply its application to the environment. The tangible and
intangible cultural

capital of a community, a nation or a region of the world is
something that
must be preserved for future generations just as natural
resources and
ecosystems need to be safeguarded to ensure continuation of
human life on
the planet.
maintains all types of
cultural assets, from minority languages and traditional rituals
to artworks,
artifacts and heritage buildings and sites. It is the creative
industries that
provide the services and the investments necessary for
culturally sustainable
development paths to be followed.
since the
primary input for creative activities is creativity rather than
natural and the
production of creative products is usually less dependent on
heavy industrial
infrastructure.

18
WHAT CAN CULTURE AND CREATIVITY ADD
TO THE REGION?
retain
talent
ve people → regenerate urban neighbor hoods
→ define region’s ‘brand’
→ create ‘buzz’
throughout economy
19
WHAT CAN CREATIVE INDUSTRIES ADD TO
THE REGION?
20
The
Export

Perspective
Inward
investment and
local Capacity
Expanding export
of ‘creative
products and
services’
Expanding export
of creativity based
‘traditional
industries’
Attracting
tourists and
visitors
Attracting foreign
investment and
venture capital

Building Brands
Attracting
knowledge workers
and new citizens
Creative
Industry
Growth
Dynamics
C
re
a
tiv
e
in
d
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stry
a
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d
In

te
rn
a
tio
n
a
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o
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e
titiv
e
n
e
ss
THE IMPORTANCE OF CULTURAL
INDUSTRIES
the important
contribution of cultural and creative industries to the economies
of the
region, and have recognized that with the creation of an

enabling
environment with the necessary policy, legislative and
institutional support,
the cultural and creative industries could realize exponential
growth, create
jobs and wealth in the region and positively engage especially
young people.
Cultural and creative industries are among the most dynamic
sectors in
world trade. In 2008, the eruption of the world financial and
economic crisis
provoked a drop in global demand and a contraction of 12
percent in
international trade. The data, which covers the period 2002 to
2015,
shows the creative economy’s contribution to world trade. Over
this
period, the value of the global market for creative goods
doubled from
$208 billion in 2002 to $509 billion in 2015.
21

INDUSTRIES
22
expected to
make a contribution to the achievement of goals related to
poverty
reduction, diversification of the tourism product through the
promotion of
cultural and festival tourism, and the positive engagement of the
youth in
the region.
integration, culture
can play a major role in promoting a strong regional identity
and sense of
community, especially among young persons.
Member States in
building their resilience while adjusting to fast and immense
changes in the
global economy.
y are
based on the

creativity and ingenuity of the people of the Region.
INDUSTRIES
comprehensive policy
framework to guide the continued development of this sector.
by Heads of
Government at their Special Retreat in Guyana in May 2011, as
one of the
priority areas for job creation and growth.
on Cultural
Industries was
mandated by Ministers of Trade and Culture, Council for Trade
and Economic
Development (COTED) and the Council for Human and Social
Development
(COHSOD) (COTED-COHSOD) in January 2008 in Guyana.
orce was to develop a comprehensive
Regional

Development Strategy and Action Plan for the cultural
industries in the Region,
with a core mandate to propose “approaches to providing relief
from tariffs and
other duties and charges on products that are inputs to the
cultural industries”.
Recommendations were to be made also with respect to
incentives, financing the
sector, registration, classification and free movement.
23
INTELLECTUAL PROPERTY RIGHTS
y other property right.
They allow creators, or
owners, of patents, trademarks or copyrighted works to benefit
from their own
work or investment in a creation.
in the Paris
Convention for the Protection of Industrial Property (1883) and
the Berne
Convention for the Protection of Literary and Artistic Works
(1886). Both treaties

are administered by the World Intellectual Property
Organization (WIPO).
ectual property?
well-being of humanity
rest on its capacity to create and invent new works in the areas
of technology and
culture. Second, the legal protection of new creations
encourages the commitment
of additional resources for further innovation. Third, the
promotion and protection
of intellectual property spurs economic growth, creates new
jobs and industries,
and enhances the quality and enjoyment of life.
24
PATENT
atent is an exclusive right granted for an invention – a
product or process that
provides a new way of doing something, or that offers a new
technical solution to a
problem.

inventions. Protection is
granted for a limited period, generally 20 years.
made, used,
distributed or sold without the patent owner’s consent. Patent
rights are usually
enforced in courts that, in most systems, hold the authority to
stop patent
infringement.
successful challenge by
a third party.
25
TRADEMARK
e sign that identifies certain goods
or services produced
or provided by an individual or a company. Its origin dates back
to ancient times
when craftsmen reproduced their signatures, or “marks”, on
their artistic works or
products of a functional or practical nature.

of trademark
registration and protection. The system helps consumers to
identify and purchase a
product or service based on whether its specific characteristics
and quality – as
indicated by its unique trademark – meet their needs
the exclusive right to
use them to identify goods or services, or to authorize others to
use them in
return for payment. The period of protection varies, but a
trademark can be
renewed indefinitely upon payment of the corresponding fees.
most systems, have the
authority to stop trademark infringement. 26
COPYRIGHT
protection for their
literary and artistic creations, generally referred to as “works”.
A closely associated
field is “related rights” or rights related to copyright that
encompass rights similar
or identical to those of copyright, although sometimes more

limited and of shorter
duration.
actors and musicians) in
their performances; producers of phonograms (for example,
compact discs) in their
sound recordings; and broadcasting organizations in their radio
and television
programs.
novels, poems, plays,
reference works, newspapers, advertisements, computer
programs, databases, films,
musical compositions, choreography, paintings, drawings,
photographs, sculpture,
architecture, maps and technical drawings.
27
COPYRIGHTS
e creators of works protected by copyright, and their heirs
and successors (generally referred to as “right holders”), have

certain basic rights under copyright law.
use the work on agreed terms.
reproduction in all forms, including print form and sound
recording; its public performance and communication to the
public; its broadcasting; its translation into other languages; and
its adaptation, such as from a novel to a screenplay for a film.
28
LINKAGE INDUSTRIES
depend on each
other to obtain or to sell materials.
oduct or finished products of one industry is
used in another
industry as its raw material then a forward linkage occurs. For
example,
sugar produced from a sugar factory is used by a bakery to make

pastries.
– this occurs when the demands of an
industry
leads to the establishment of other industries to produce for the
needs of
this industry.
food
restaurants in the Caribbean has led to new businesses being
established
to supply these restaurants with raw materials (vegetables,
ground
provisions, meats and paper based products).
29
FUNDING FOR CREATIVE INDUSTRIES
proven difficult for Caribbean countries to provide
funding.
that exist within the Caribbean.

times limited investment in creative industries.
funding that may be
available to some countries.
30
- sized
Enterprises
(SMEs) and other financial institutions.
o interest or a below-market rate of interest,
or loans made by multinational development banks (such as
the Asian Development Fund), affiliates of the World
Bank and government agencies to developing countries that
would be unable to borrow at the market rate.
extended grace periods in which only interest or service
charges are due, and interest holidays.

31
also established
funding for
creative industries.
capitalization for a
multi-donor fund to improve the competitiveness of the cultural
and
creative industries sector in its Borrowing Member Countries
(BMCs). The
Bank is making an initial contribution of USD2.6 million to the
establishment of the Cultural and Creative Industries Innovation
Fund
(CIIF) as a pilot intervention, and it will also administer the
Fund.
the development of the creative
industries sector, and
encourage innovation, job creation and improved enterprise
sustainability by
providing grants and technical assistance to governments,
business support

organizations and academia that support the creative industries
sector. It
will also provide funding to creative and cultural entrepreneurs
and micro,
small and medium enterprises (MSMEs) in CDB’s BMCs.
32
es.
more parties agree to pool their resources for the purpose of
accomplishing a specific task.
activity.
each of the participants is responsible for
profits, losses and costs associated with it. However, the
venture is its own entity, separate and apart from the
participants' other business interests. 33

ECON3501CARIBBEAN ECONOMIC DEVELOPMENTCREATIVE IND

ECON3501CARIBBEAN ECONOMIC DEVELOPMENTCREATIVE IND

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