![Sample our Humanities journals, sign in here to start your FREE access for 14 days]({"type":"image" , "src" : "/sda/5939/TOC-Subject-Sample-2021-Humanities.jpg"})
ABSTRACT
Creative industries have raised increasing interest in political and academic fields, with greater necessity of universal measures and methodologies to assess and compare their dimension across countries and regions. This paper critically reviews the existing measurement models of creative industries in literature, presenting a thorough mapping according to relevant worldwide industry-based approaches: DCMS, WIPO, Concentric Circles and UNCTAD. Then a measurement analysis is undertaken on the creative industries’ employment in Brazil and for each Brazilian state, with the latest data available (year 2013). These estimates are confronted with results from other countries that used comparable approaches, in order to provide a critical assessment of methodologies and results. The outcomes for the creative industries’ employment revealed to be contrasting, depending on the emphasis of each approach, varying from 0.82% of total Brazilian employment (DCMS approach) to 2.80% (WIPO model). According to the Concentric Circles model, the estimates achieved 2.20% of the national employment, while using the UNCTAD model, a more modest outcome of 1.46% was obtained. These variations suggest the importance of pondering which model(s) can better describe the creative economy of each country, region or state, taking into account the specificities of regions and the focus of each approach.
Acknowledgments
The authors would like to thank the Ministério do Trabalho e Emprego (“Ministry of Labour and Employment”) of Brazil, for the courtesy on providing the data and information that allowed the development of this study. We are also grateful for the useful insights and comments of the anonymous referees, which were crucial in the improvement of this study. This study has benefited from the support of the European Regional Development Fund through COMPETE 2020 - Programa Operacional Competitividade e Internacionalização (POCI) and by Portuguese public funds through FCT (Fundação para a Ciência e a Tecnologia) in the framework of the project POCI-01-0145-FEDER-006890 and of the grant SFRH-BPD-101960-2014.
Disclosure statement
No potential conflict of interest was reported by the authors
Notes
1. Advantages and limitations, presented in the empirical literature, of these most popular models in the industry-based approach - DCMS, WIPO, Concentric Circles and UNCTAD - have been previously explored in Cruz and Teixeira (Citation2015) and are properly discussed in each of the original studies that introduced those methodologies (DCMS, Citation1998, Citation2001, Citation2010, Citation2014; WIPO, Citation2003; KEA European Affairs, Citation2006; UNESCO, Citation2009a, Citation2099b, Citation2009c; UNCTAD, Citation2004, Citation2008, Citation2010).
2. Federação das Indústrias do Estado do Rio de Janeiro (FIRJAN).
3. Fundação do Desenvolvimento Administrativo (Fundap).
4. All the four models have been mapped using the latest International Standard Industrial Classification - Revision 4 (ISIC Rev. 4) and the correspondent version of the Brazilian industrial nomenclature, Classificação Nacional de Atividades Econômicas - Subclasses 2.2 (CNAE 2.2), with a breakdown at seven-digit level.
5. On the mapping of this approach, a thorough interpretation was undertaken on the appendixes of the DCMS Creative Industries report (DCMS, Citation2010). The original UK SIC 2007 codes were converted into the ISIC Rev. 4 codes and then into the Brazilian CNAE 2.2 codes.
6. In line with the Brazilian Craft Program - Programa do Artesanato Brasileiro (Brasil, Citation2012), we filtered the CNAE 2.2 codes that were most related to the manufacture of handcrafted goods and considered them in a small proportion that could properly describe the creative/ handcrafted component. All the codes included in the Crafts segment were considered at the proportion of 0.5% of each related industry, as in Cruz and Teixeira (Citation2014, Citation2015), as an attempt to describe, even at a modest level, these creative activities. Handcrafted activities in Brazil comprise: i) embroidery; ii) woodcarving, wooden musical instruments that were inherited from the African slaves (such as berimbau, zabumba and cuica), wooden articles, jewellery and furniture; iii) clay articles (sculptures of saints, traditional dances and everyday life, painted clay figures, pottery and pans); iv) soapstone (cookware and soapstone carving sculptures); v) manufacture of hammocks; vi) rattan, braided straw and reed (furniture and baskets); vii) manufacture of Carnival's flamboyant costumes; viii) precious stones (gems lapidary); ix) tapestry (knotted rugs); x) plaster of Paris articles and sculptures; xi) golden grass bags, purses and baskets; xii) table runners and weaving; xiii) steel and wood chandeliers; xiv) glass (home ornaments and pottery); xv) metal cookware; xvi) decorative candles; xvii) ornaments, necklaces and bracelets made with shells; xviii) fruits and seeds (pottery and home ornaments); xix) coloured sand (coloured sand put inside bottles to create pictures there); xx) recyclable material (recycled cardboard pulp bowls, sculpture and cards).
7. We mapped this approach, following the 2008 WIPO Guide on Surveying the Economic Contribution of the Copyright-based Industries: http://www.wipo.int/edocs/pubdocs/en/copyright/893/wipo_pub_893.pdf [accessed in May 2016]. In the Annexes I and II of this report, all the structure of the groups and subgroups of industries composing each of the Copyright Industries - Core Copyright Industries, Interdependent Industries and Partial Copyright Industries -was thoroughly analyzed. The codes were converted from their original classification, ISIC Rev. 3.1, to the most recent ISIC Rev. 4 and then to the latest Brazilian nomenclature, CNAE 2.2 (cf. Tables A2.1 - A2.3 in the Annex).
8. The original NACE Rev. 1.1 codes were converted into ISIC Rev. 3.1 and into the latest ISIC Rev. 4 codes, thorough means of correspondence tables, that were then adapted to the Brazilian classification codes, CNAE 2.2. Correspondence tables available at: http://unstats.un.org/unsd/cr/registry/regso.asp?Ci=27&Lg=1&Co=&T=0&p=1 and http://unstats.un.org/unsd/cr/registry/regso.asp?Ci=60&Lg=1 [accessed in May 2016].
9. There were exceptional cases (e.g. functional and not essentially creative activities) where only a proportion of the code was considered in order to not bias the assessment of the creative economy according to this approach, as it is described in Cruz and Teixeira (Citation2015). It was the case of the Engineering services and of the technical activities related to Architecture, where a portion of 10% of the codes was considered, as well as the codes of manufacture, wholesale and retail sale of apparel, footwear and accessories (Fashion Design), where we applied a percentage of 0.5%, related with the creative component of these industries.
10. The original CPC Ver. 2.0 codes were converted into the latest ISIC Rev. 4 and then to the Brazilian CNAE 2.2, through means of correspondence tables. Correspondence tables CPC Ver. 2.0 to ISIC Rev. 4 and ISIC Rev. 4 to CNAE 2.2 available at https://unstats.un.org/unsd/cr/registry/docs/CPCv2_structure.pdf and at http://concla.ibge.gov.br/classificacoes/correspondencias/atividades-economicas [accessed in May 2016].
11. Only the formal employment was considered. Although it is a limitation of the present study, which we acknowledge, we managed to assess the creative economy in Brazil with all the official data available and with the most recent data possible (year 2013), at the highest detailed level of creative industry sectors.
12. Brazil is administratively divided into 27 federative units, being 26 States and one federal district, which is the government headquarters. The States are the following: Acre (AC), Alagoas (AL), Amazonas (AM), Amapá (AP), Bahia (BA), Ceará (CE), Espírito Santo (ES), Goiás (GO), Maranhão (MA), Minas Gerais (MG), Mato Grosso do Sul (MS), Mato Grosso (MT), Pará (PA), Paraíba (PB), Pernambuco (PE), Piauí (PI), Paraná (PR), Rio de Janeiro (RJ), Rio Grande do Norte (RN), Rondônia (RO), Roraima (RR), Rio Grande do Sul (RS), Santa Catarina (SC), Sergipe (SE), São Paulo (SP) and Tocantins (TO) and the federal district corresponds to Distrito Federal (DF).
13. The employment within the informal economy was not considered in this study and this is a factor that affects the results obtained. Although it is a limitation of the present study, which we acknowledge, we managed to assess the creative industries’ employment in Brazil with all the official data available and for the most recent year possible (2013).
14. These three codes correspond respectively to the manufacture of consumer electronics and electronic games, manufacture of computers and manufacture of peripheral equipment.
Additional information
Funding
Notes on contributors
Letycia Carvalho
Letycia Carvalho was born in May 6th 1991, in Minas Gerais, Brazil. She holds a degree in Economics from Universidade Federal do Paraná (in Brazil), course that was focused on economic development. She has also attended a technical course in Accounting at Escola Técnica da Universidade Federal do Paraná, in Brazil. She is Master in Innovation and Technological Entrepreneurship (MIETE) of Faculdade de Engenharia da Universidade do Porto, in Portugal. Letycia has already developed an intensive work in the department of Public Policy at SEBRAE – Serviço Brasileiro de Apoio às Micro e Pequenas Empresas and she has been also teacher of Econometrics and Statistical Economics at Universidade Federal do Paraná, Brazil, being author of the scientific paper entitled Consumo e transição demográfica no Brasil: uma análise de cointegração (“Consumption and demographic transition in Brazil: an analysis of cointegration”), oriented by Professor Fernando Motta Correia, Ph.D. Her deep research interests involve creative and cultural industries and their models of measurement, innovation management and entrepreneurship.
Sara C. Santos Cruz
Sara Cristina Santos Cruz was born on 23 May, 1978, in Portugal. She is Doctor in Economics in the School of Economics and Management of the University of Porto, Portugal. From 2002 to 2007, she performed an intensive management career in two creative industries’ leading groups. After the enriching passage through the world of management, the deep interest in the research on the Creative industries called her to develop work as a Researcher of the European Commission and of the Center for Economics and Finance of the School of Economics and Management of the University of Porto, in order to undertake an intensive research path for over the past eight years, on the assessment of the creative economy, the industrial location patterns of creative clusters and the spatial distribution of creative industries and the creative employment. During these years, Sara Cruz has already awarded grant prizes from the Foundation for Science and Technology and she has also published articles in the international refereed journals Regional Studies, European Planning Studies, Annals of Regional Science, Journal of Regional Science, Creative Industries Journal. She has also been referee of the journals Environment and Planning C, European Planning Studies, The Professional Geographer/ Association of American Geographers, Revista Portuguesa de Estudos Regionais, and Papers in Regional Science.