The cultural and creative sector is the third biggest employer in the European Union being only excelled by the construction and the food sectors. Besides their rather underestimated economic importance, culture and creativity build bridges between people and positively influence various areas, e.g. education, well-being or democracy. Consequently, culture contributes to the objectives of the European integration. Therefore, it is necessary to foster our cultural and political identity, to preserve our diversity and increase the intercultural dialogue as it is mentioned in Article 167 of the Treaty of Lisbon.
In order to give credit to the cultural sector and to support its further development, the European Union launched Creative Europe in 2014 as the EU’s funding programme for the cultural, creative and audiovisual sectors. As such it is in place for seven years (2014-2020) and consists of two sub-programmes that used to exist independently before: MEDIA and CULTURE. While MEDIA is dedicated to the audiovisual sector and helps promoting audiovisual works, CULTURE covers funding for all other cultural and creative areas including amongst others performing and visual arts, literature, music, street art and cultural heritage. In total, 1,46 billion Euros are foreseen for the whole programme meaning for the whole seven years and all participating countries. Related to the amount of participating countries, this amount can change throughout the years. In addition to the 28 EU Member States, interested European countries can associate with Creative Europe and thereby increase the programme’s budget. In the past years, the list of participating countries grew continuously up to 41 countries in 2018, including amongst others Tunisia, Georgia, Ukraine, Albania and Armenia, boosting the intercultural exchange in the European neighbourhood. Simultaneously, countries can also leave the group as it was the case with Turkey in autumn 2016 and could be happening again with the upcoming Brexit in 2019. Continue reading “The Future of Creative Europe”→
Exporting creative industries is important in boosting a European city, but the EU is still ignorant of such potential asset. The ‘creativity’ sector includes architecture, audiovisual products, cultural heritage related services, design, music, performing arts, publishing and visual arts.
María de las Cuevas Linares│firstname.lastname@example.org
Do we have to see the world only through the eyes of ‘McDonald-isation’ or ‘Nike-isation’, or may Europe contribute to it with its own culture? Exporting the European lifestyle and cultural products could have an economic impact in terms of employment and GDP growth, and it would be a way to show the world that the EU is full of ideas and creativity.
Who says that the EU is not creative? In fact, the EU is a key player in the global exports of creative goods with nine member states in the list of the world’s top 20 exporters in 2008, headed by Asia and the USA. Although our rivals are much more confident, Europe is still faring well: Germany is in third place, followed by Italy, the United Kingdom, France, the Netherlands, Belgium, Austria, Spain and Poland. Nevertheless, it should be noted that the EU has been losing its reputation in ‘creativity’ since 2002. In 2008, Germany was the top developed-economy exporter of both Performing Arts and Publishing & Printed Media; Italy was the top exporter of Design, while the UK, France and Germany featured in the top five exporters of Visual Arts. Creative-goods exports from the EU in 2010 represented 36% of the total value of creative-goods exports worldwide.
Exporting creative industries is important in boosting a European city, but the EU is still ignorant of such potential asset. The ‘creativity’ sector includes architecture, audiovisual products (film, radio, television, video games and multimedia), cultural heritage related services, design, music, performing arts, publishing and visual arts. The frontiers between culture, business and technology are even more blurred. Nevertheless, they are still underestimated in relation to their positive effects on growth of the economy of a country, a region or a city.
A 2012 report by the European Expert Network on Culture (EENC) pointed out that “Europe – like other parts of the world – is becoming a society of the intangible, whose main raw material lies in the ability of its people to create and to innovate. There is a need for a new approach to the sector’s distinctive features, recognizing the creative industries as traded industries”. The Eurostat Cultural Statisticsreport in 2011 shows that in 2009 the EU-27 exported more cultural goods to the rest of the world than it imported, recording a trade surplus of around €1.9 billion. The main products exported were books, works of art, antiques, newspapers and DVDs.
The Eurozone is more than ever linked to creative industries, culture and innovative mind. Currently, there’s a shift from manufacturing sectors to innovate solutions, while the cultural sector is being recognised as “a driver of growth fundamental to overcome the financial crisis” by the European Commission. The Commission considers that the cultural sectors are “sectors of the future and a sound investment for our well-being”.
The eruption of the world financial and economic crisis in 2008 provoked a 12% decrease in international trade. However, the world exports of creative goods and services continued to grow, reaching $592 billion, more than double its 2002 level, indicating an annual growth rate of 14% over six consecutive years.
Rethinking of ideas, artists, originality and innovative solutions are all features in the creation of new societies. The EU in the 21st century, as set out by the ‘European 2020 Strategy’, should be governed by smart, sustainable and inclusive growth. This Strategy provides the targets – fixed by the Commission – to be met in 2020.
María de las Cuevas, Junior Editor
María is a Spanish journalist. Her home University is University of Deusto and host university, University of Strasbourg. Her plan after finishing MA Euroculture is to work in the cultural field to promote the access of new audiences into social inclusion and to enhance the power of creativity in the society. She is enjoying the city of Strasbourg and is very exited about the forthcoming research track at the University of Mexico. She loves writing and reading, meeting new people and going around with her bike.