www. kulturwirtschaft.de or www.bmwi.de/go/kultur

Allgemeine Wirtschaftspolitik/Industriepolitik

Members of the research group:

Michael Söndermann, Büro für Kulturwirtschaftsforschung, Köln

Christoph Backes, Creative Business Consult, Bremen

Dr. Olaf Arndt und Daniel Brünink, Prognos AG, Berlin

26th March 2009 Forum for Creative Europe, Prag

Research Report Culture and Creative Industries in Germany

Selected Results

Presented bySylvia Hustedt, GründerZentrum Kulturwrtschaft, Aachen

What is new?

New aspects with respect to the discussion on the culture and creative industries in Germany:

The so-called internal segmentation as basic element of an investigation on the culture and creative industries is newly introduced and

Secondly a harmonised basic model for the definition and classification of the culture and creative industries is presented for the first time in Germany (This basic model is inline with the stipulations ot the Conference of the Ministers of economic affairs of the German „Länder“ and the results of the „Committee for the Enquiry of Culture in Germany“ of the German Parliament

Internal segmentation

Freelance artistsMicro enterprises

Small and medium enterprises (mostly

members of chambers of trade and commerce)

Large enterprisesMajors

Typically: Joint Stock Company, corporation

Typically: Single enterprise, partnerships under the German Civil Code, "cultural/creative scene"

Typically:Limited company, "commercial type"

Types of Enterprises

Culture and Creative Industries

Distribution of turnovers, 2006

Automobile industry

Distribution of turnovers, 2006

Medium enterprises

17%

Major companies

40%

Smallenterprises

16%

Microenterprises

27%

43%

Major companies

97%

Medium enterprises

2%

Micro andsmall

enterprises1%

The relational analysis of frameworks of support leads to three core results (a) Existing useful support programmes are not accessible to the culture and creative

industries for formal reasons.

(b) The effective use of existing support programmes is hindered by the different

“cultures“ of the actors in the culture and creative industries and the institutions

providing economic support programmes.

(c) There is a need for specific and innovative support instruments for the culture and

creative industries.

Specific needs of support

Analysis of Best Practices from Europe

Lessons to be Learned for the German Federal Government and Options for Action

Important Success Factors of the Best Practice Examples

Close cooperation between different political portfolios Involvement of actors in conceptualisation and implementation of projects Several advisory programmes for different topics Intelligent use of support funds for initial financing to “help people to help

themselves“ Proximity of large companies and micro enterprises/ freelance professionals of the

creative and cultural industries is possible Openness towards the reservations many cultural workers have vis-à-vis economic

exploitation mechanisms Concentration of support in “One-Stop-Agencies“ All projects should have room for exchange of knowledge and networking

Opening of existing support programmes to innovative enterprises from the CCI

Setting up a network of consultant for the actors of the CCI

KKW

Extending the concept of innovation according to the needs of the CCI

Setting up a nation-wide platform of economic branches

Development of criteria for banks and providers of support programmes

Extension of Federal Awards

Development of small-scale financing measures

Extension of support to trade fairs

Recommendations for Action

to support the development of the cutlure and creative industries

Recommendations for Action

Opening of existing support programmes to innovative enterprises from the CCI

In order to provide support to a greater number of enterprises from the culture and creative industries and to unfold their potential to the benefit of the overall economy, the existing support programmes of the Federal Government should be opened for innovative enterprises from all core branches of the culture and creative industries. This refers to formal requirements as well as to content.

Recommendations for Action

Setting up a network of consultants for the actors of the CCI

This network of consultants provides advice to the actors in the culture and creative industries. The network also functions as an intermediator towards the various institutional levels providing support in Germany. Micro enterprises in particular will benefit from the combination of economic counseling and existing financial support measures in terms of professional improvement

→ Training, Training, Training

Recommendations for Action

Extending the concept of innovation according to the needs of the CCI

The European Commission has proclaimed the Year of Creativity and Innovation to raise awareness for the importance of innovation. The German Federal Government should support this initiative especially with regard to the support to non-technological innovations for the culture and creative industries.

Conclusion

The culture and creative industries ...

... are not just an image factor but an economic field of its own standing, permanently established as a growth sector

... are part of the knowledge and content-oriented society and have an avant-garde function on the way towards a knowledge-based economy

... work in future-oriented models of work and business already toady and are extraordinarily innovative

Any policy aiming at innovation and economic support to foster and develop the innovative power of Germany must integrate the culture and creative industries, as a sector cutting across economic branches, into its economic policy concepts.

The end

Thank you very much for your attention.