China has long been known as the “world’s factory”, while Central and Eastern Europe has been called the “factory of Europe”. Will there be a new type of alignment between both factories? Or just as the old story said, the scene becomes chaotic as they cannot understand each other?
According to the latest statistics of Chinese Customs, the total trade amount of import and export between China and 16 CEE countries reached 67.98 billion US dollars in 2017, with the increase rate of 15.9% compared to the previous year. China’s exports amounted to 49.49 billion US dollars, with the increase rate of 13.1%, while imports amounted to 18.49 billion US dollars, with an increase rate of 24%.
The 16+1 format is a new form of international cooperation between China and CEE countries, and also between the Western and Eastern worlds. This initiative, raised by China, aimed at intensifying and expanding cooperation with 11 EU Member States and 5 Balkan countries (namely Albania, Bosnia and Herzegovina, Bulgaria, Croatia, the Czech Republic, Estonia, Hungary, Latvia, Lithuania, the Republic of Northern Macedonia, Montenegro, Poland, Romania, Serbia, Slovakia, and Slovenia) in the fields of investments, transport, finance, science, education, and culture in 2012.
But 6 years have passed and the echoes from two sides are still strikingly different. From the Chinese government’s side, it was said that pragmatic cooperation has been expanding which brought benefits to the 17 countries. Economic and financial cooperation has steadily increased. On the other side, the European Union and Western European countries expressed concerns about this mechanism, and the Central and Eastern European countries (especially EU countries) considered that the achievement was limited. Continue reading “A Tower of Babel Between CEE Countries & China?”→
After a cold and rainy winter in Southern Brazil, springtime has already come with some sunny but not so shiny weeks. As time runs towards the national election on October 7th, a land worldwide known for its clear sky and spectacular shores seems to be a bit cloudier and darker than usual. The feeling may come from the fact that things will remain the same for the next hundred years: stagnant, conservative, late, backwards and with its best minds leaving it behind. Is there anything worse than that? Well, maybe yes.
Democratic since 1985 and with direct elections since 1989, Brazil now faces a campaign full of hate. Violence has dropped off from the internet directly into the streets. Almost a month ago the right-wing candidate Jair Bolsonaro (PSL) was stabbed while campaigning in the midst of a crowd in Juiz de Fora, Minas Gerais, Southeast.
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│email@example.com
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.