About Creative Industries At European Level
We continue the series of articles dedicated to the Creative and Cultural Industries, in order to provide an overview of these sectors of activity, which have an extremely important impact on the economy.
In today’s article, we will talk about the impact that Creative Industries have at European level.
As we wrote in the previous article, according to the United Nations Educational, Scientific and Cultural Organisation (UNESCO), the international organisation that has contributed significantly to the definition and measurement of creative industries, the term refers to industries that combine the creation, production and marketing of creative content. These are usually copyrighted and can take the form of a wide variety of goods or services from crafts to culinary arts and from ethno festivals to radio shows, even different leisure concepts.
The 2015 NESTA (National Endownmet for Science, Technology and the Arts) report provides consistent estimates of employment in the Creative Industries in 28 EU Member States.
The report states that in 2013 11.4 million people, representing five percent of the EU workforce, were employed in the creative industries. The countries with the largest creative industries workforce are the three largest EU economies: Germany employs 3.1 million (5.8% of the workforce), the UK 2.3 million (7.9%) and France 1.4 million (5.5% of the workforce). In relative terms things look a little different: Sweden has the highest proportion of its workforce (8.9%) employed in the creative industries, followed by Finland (8.2%) and then the UK (7.9%). In Romania, 1.4 thousand people were employed in the creative industries, representing 4.48% of the active workforce.
Alongside the precise measurement of the share and evolution of the creative industries in the total national and/or global economy, an important aspect of the theories on this issue is the approximation of the entrepreneurial potential in/of the creative industries. In his research Florida (2002) tries to identify the causes that lead to the presence of a large number of creative classes, and thus to the growth of creative industries. In his book Creative Classes (2002) he tries to measure the effect of some variables considered important (talent, technology and tolerance) in the formation of San Francisco as a creative city.
Florida is subsequently applied to measure the creative potential of different societies. The method applied to the EU (see e.g. Bobircă-Drăghici-Dumitrescu-Mihuț, 2009) shows that the creative class represents on average about 30 percent of the employed population, with an annual growth rate of 8 percent. Finland ranks first in the aggregate creativity index. Sweden, the Netherlands and Denmark also have high values.
Even though it is at the bottom of the rankings, Romania, along with other countries such as Bulgaria, Latvia, Czech Republic, Lithuania, is growing at high rates in terms of its creative potential. Romania ranks first in terms of the growth rate of the creative class.
The #TransylvanianMoviePreneurs project aims to increase the competitiveness of entrepreneurship in the cultural and creative sectors, contributing both qualitatively and quantitatively to the growth of initiatives in the above mentioned fields.
#TransylvanianMoviePreneurs is an entrepreneurship education project in the field of Creative and Cultural Industries.
The promoters of this project are Civitas Foundation for Civil Society, 23 FILM and PROJECTS – Iceland.
The project is funded by EEA Grants 2014-2021, under the RO-Culture Programme by the Ministry of Culture through the Project Management Unit (PMU).
