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GAUTENG’S CREATIVE INDUSTRIES: AN ANALYSIS

G A U T E N G M A P P I N G R E P O R T l A N A N A L Y S I S O F G A U T E N G ’ S C R E A T I V E I N D U S T R I E S
GAUTENG CREATIVE MAPPING PROJECT
prepared by ameru (wits university) and CAJ, 2008
IN COLLABORATION WITH
The Gauteng Creative Mapping Project: mapping the creative industries in Gauteng: 2008
Enquiries and Information:
Ms Dawn Robertson, Head of Department dawn.robertson@gauteng.gov.za
This report has been prepared by
AMERU, Wits University neil.rankin@wits.ac.za
CAJ: culture, arts and jobs avril@caj.co.za
This report is available from the Department of Sports, Arts, Culture and Recreation
in alternative formats on request and on their website www.srac.gauteng.gov.za

T A B L E O F C O N T E N T S
C O N T E N T S
FOREWORD BY MEC neliswe mbata-mtimkulu 2
FOREWORD BY phillip goodwin, british council 3
Glossary of Acronyms and Terms 4
Key Findings 5
1. executive summary 6
Introduction 6
Characteristics of the Gauteng Creative Industries 6
employment 6
economic impact 7
Key Obstacles and Needs 7
2. Gauteng’s Creative Mapping Methodology 8
1. Background 8
2. Measurement of Creative Industries and the origins of Mapping 8
British Council support to developing countries 9
Limitations of statistics: new evidence and analysis from DCMS 10
The impact of technology on the definition and measurement
of the creative industries 11
Purpose of Mapping Studies 11
3. The Creative Mapping Process in Gauteng 11
Initiating the process 11
Planning and preparation 12
The Creative Industries Development Framework in Gauteng 12
Gauteng Technical Team 12
Raising Awareness 12
4. Gauteng’s Creative Mapping Methodology 13
Defining the scope 13
Defining the population 16
Sampling Frame 16
Methodological Instruments 19
Research Considerations 20
5. Recommendations 22
The data set 22
Regular mapping studies 22
Collecting general data relating to the creative industries 22
Collecting data to measure the growing creative economy of GautenG 22
3. Literature Review: Conceptual framework for the Creative Industries 23
Defining the creative industries internationally 23
Review of models and classification systems 23
DCMS (UK Department of Culture, Media and Sport, 1998, 2001) 23
Concentric circles (Throsby, 1998 & 2001) 23
Symbolic Text (Hesmondhalgh, 2002) 24
WIPO Copyright Model (World Intellectual Property Organisation, 2003) 24

Creative Economy Model (UNCTAD, 2006, NESTA 2008) 25
The creative industries defined in South Africa 26
Economic analysis of the creative industries 27
Industrial organisation analysis 27
Economic impact analysis 27
Economy wide contribution 28
Value chain analysis 28
Urban and regional growth 30
The contribution of the creative industries to the economy – evidence
from other countries 30
The economic contribution of the creative industries in South Africa 31
Drivers of the Creative Industries both internationally and in South Africa 34
South African Sector specific Studies 35
Audio-visual sector 35
Craft 38
Cultural tourism and heritage 41
Fashion Design Sector 42
Music 42
Multimedia 43
Performing Arts 43
Print media and publishing 43
Visual Arts 44
Cross cutting themes in creative industries research in SA 44
The Status of the Gauteng Creative Industries 45
1. The creative industries in Gauteng 45
1.1. The creative industry segments 45
1.2. Characteristics of the creative industries 45
1.3. Characteristics of Gauteng’s creative industries 46
2. The contribution of Gauteng’s Creative industries 48
3. Employment, wages and skills 51
Employment 51
Unionisation 52
Employment: full time, part time and freelancers 52
Racial, gender and age composition of employees 53
Wages 55
Education levels 56
4. Markets and exports 58
5. Technology 59
Fixed line phones and mobile phones 59
Computers 60
Sector-specific hardware and software 61
6. Government funding and private sector financing 62
C O N T E N T S

C O N T E N T S
7. OBSTACLES 63
8. PERCEIVED NEEDS 65
9. CONCLUSION 68
REFERENCES 69
Websites 75
General 75
Sector Specific 76
Sector Study Data Sources 77
Appendix 1: Firm Level Survey: Long Questionnaire 78
Appendix 2: Telephonic Questionnaire 91
Appendix 3: Creative industry constituents 93
Appendix 4: Vocational Qualifications Registered by the MAPPP-SETA 94
LIST OF FIGURES
Figure 1: Employment by Sector in the Creative Industries 7
Figure 2: Framework for developing cross cutting policy,
Frontier Economics (2007) 11
Figure 3: Concentric Circles (Throsby) 23
Figure 4: The creative industries - a stylised typology 24
Figure 5: Composition of the Creative Economy 26
Figure 6: Value chain analysis 29
Figure 7: Generic Cultural Value Network 30
Figure 8: The number of people employed in Specialist, Embedded and
Support roles within the Australian Creative Workforce (2006) 31
Figure 9: Creative Industries in Gauteng by number of firms in each sector 46
Figure 10: Interdependencies in the Creative Industry Sectors 47
Figure 11: Primary and Secondary Income Sources for the Creative Industries 47
Figure 12: Turnover, assets and wages (second scale) per employee 48
Figure 13: Employment in the Tertiary Sector 49
Figure 14: Proportion of Employment, Turnover and Value-Added by Sector 49
Figure 15: Mean capital intensity by sector 2005 & 2006 50
Figure 16: Breakdown of costs by major category of expense 50
Figure 17: Employment by Sector 51
Figure 18: Employment of Women in the Tertiary Sector 53
Figure 19: Youth Employment in the Tertiary Sector 53
Figure 20: Comparison of Employment Equity in the Labour Market:
GAUTENG vs. Creative Industries 54
Figure 21: Comparison of Employment Equity in the Labour Market:
Gauteng Tertiary Sector and the Creative Industries 54
Figure 22: Highest Level of Education by Sector in Gauteng 56

Figure 23: Education levels by sector of the workforce 56
Figure 24: Comparison of Management and Workforce Qualifications 57
Figure 25: National ranking of sectors 57
Figure 26: Export activities by sector 58
Figure 27: Breakdown of export markets 58
Figure 28: Fixed line phone in the creative industries 59
Figure 29: Importance of mobile phones 60
Figure 30: The Importance of computers 60
Figure 31: The importance of the internet 60
Figure 32: The importance of sector specific hardware 61
Figure 33: The importance of sector-specific software 61
Figure 34: NAC Funding by Discipline 2006 62
Figure 35: Primary and Secondary Obstacles 63
Figure 36: Obstacles by Business Size: Costs 64
Figure 37: Obstacles by Business Size: Market Access 64
Figure 38: Obstacles by Business Size: Government 65
Figure 39: Obstacles by Business Size: Access 65
Figure 40: Needs by firm size 66
Figure 41: Market Development Needs 66
Figure 42: Business Development Needs 66
Figure 43: Access to Capital Needs 66
Tables
Table 1: Perceived needs reported by companies and organisations 7
Table 2: Findings from DCMS (Frontier Economics) 10
Table 3: Sample by type of interview and sector 17
Table 4: Sampling by firm size 17
Table 5: Sub sector detail 17
Table 6: Creative Industries Models and Associated Sectors 25
Table 7: Timeline of Key Cultural Industry Research in South Africa 32
Table 8: DTI Film and TV sector Interventions 37
Table 9: Customised Craft Sector Plan interventions 40
Table 10: The Total Contribution of the Creative Sectors to the Gauteng Economy 48
Table 11: Mean Replacement Value of Assets by Sector 51
Table 12: Unionisation in creative workplaces 52
Table 13: Employment Summary 52
Table 14: Racial and Gender Breakdown of Employment by Sector 55
Table 15: Mean wage level per sector 55
Table 16: Most important export markets by sector 59
Table 17: Sources of Funding 62
Table 18: Creative Industry needs 66
C O N T E N T S

F O R E W O R D B Y M E C N E L I S W E M B ATA - M T I M K U L U
Gauteng Department of Sport, Arts, Culture and Recreation
Mapping studies have become a common tool for understanding and advocating the contribution of the creative
industries in countries such as Colombia, the United Kingdom, Singapore, Hong Kong and Australia. Conducted
at a national and regional level, these studies have been influential in creating an evidence base for policy and
programming in governments across the world.
In 2006, South Africa initiated its first creative mapping studies as collaborative effort between the Department of
Arts and Culture (DAC), the British Council and the provincial governments of the Western Cape and Gauteng.
The Gauteng Department of Sport, Arts, Culture and Recreation is proud to present this report, at a time when we
as government have committed to relooking at the way we do things to ensure the creation of decent work and
the growth of an inclusive economy. This commitment to renewal requires of us to ensure that we research and
undertake feasibility studies to ensure that our programmes and interventions truly meet the needs and aspirations
of our people.
This report presents a high level overview of the process, findings and implications of the Gauteng Creative Mapping
Project (GCMP) implemented by the Gauteng Department of Sport, Arts, Culture and Recreation (SARC). The broad
objectives of the study were to:
• Validate the focus by government on the creative industries in terms of its contribution to GDP, employment
and small business promotion
• Inform policy decisions.
• Influence the strategic direction of programmes and projects.
• Provide evidence-based information for advocacy purposes.
• Provide a baseline from which to measure growth in the creative industries on a more disaggregated basis.
We are thankful and acknowledge the partnership that we have established with the British Council which has
resulted in various collaborative projects including the commissioning of this report. We are committed to this
partnership and we are excited and eager on future collaborative programmes.
We invite all stakeholders from policy makers in government, planning and monitoring directorates, department and
agencies involved in the creative economy, the various sectors of the creative industries to engage and use this
report to grow and stimulate jobs, productivity, and creative content that will incrementally impact on not only the
creative economy but the rest of the Gauteng Economy.

FOREWORD BY PHILLIP GOODWIN FOR THE BRITISH COUNCIL
Programme Leader Creative and Knowledge Economy, British Council
The creative economy is becoming ever more important as a new generator of jobs, wealth and culture. The UN estimates cultural and
creative trade to represent 3.4% of total world trade and is growing at a rate of 8.7%. According to UNCTAD (United Nations Conference
on Trade and Development) ‘the creative industries are emerging as a strategic choice for reinvigorating economic growth, employment
and social cohesion”.
Interestingly, even in the current global downturn, the creative sector remains the fastest growing within the UK economy, a position
which it has held for over a decade. The development of the creative economy is seen as critical to the UK’s on-going economic prosperity
and cultural development.
The UK is a world leader in the development of the creative economy and is seeking to develop this position through a number of policy
initiatives built around the concept of ‘Creative Britain’ as a global creative hub. This is an economic agenda but it also has a deep cultural
and social purpose which accords closely with the British Council’s cultural relations purpose which is to build trust and understanding
through the exchange of knowledge and ideas across the world. Underpinning this is our passionate belief in the value of embracing
difference in order to generate new ideas, new ways of thinking and new actions that enrich the lives of individuals and the societies in
which they live.
British Council, through its work in the creative and knowledge economy aims to develop an even stronger set of relations across
cultures firmly rooted in the challenges and opportunities of the 21st century. We recognise that national and regional governments
are increasingly seeing the importance of the creative economy but that public policy in skills, infrastructure, network development
and education are constantly struggling to keep up. British Council is developing a framework in which to interact with partners and
stakeholders in the global creative economy that centres on four themes: innovation in policy, the development of entrepreneurial skills,
networks of creative entrepreneurs and creative education.
UNCTAD has said that “the world map of the creative industries reveals a yawning gap between North and South”. Africa requires
partnerships that will allow it to harness and give access, opportunity and sustainability to their creative sectors.
We hope to continue developing collaborations like this one with the Gauteng Province for the mapping of its creative industries. Not
only has it enabled an increasingly influential group of policy makers, entrepreneurs, academics and creative people to come together
and develop new insights into the opportunities provided by the creative economy but it has also built closer and mutually beneficial
ties between South Africa and the UK. We are proud to be a partner in an initiative that is helping turn knowledge into innovation and
enterprise.
Phillip Goodwin
Programme Leader Creative and Knowledge Economy
3

G L O S S A R Y O F A C R O N Y M S A N D T E R M S
AMERU African Micro-Economic Research Umbrella at the University of the Witwatersrand
which prepared these reports.
CAJ Creativity Avriljoffe (CAJ) cc known also as CAJ: culture, arts and jobs which prepared
these reports.
DCMS UK Department for Culture, Media and Sport
DTI Department of Trade and Industry
GDP The total market value of all final goods and services produced in a country in a given
year, equal to total consumer, investment and government spending, plus the value
of exports, minus the value of imports.
GDPR The GDP of a specific region or province.
GCMP Gauteng Creative Mapping Project
Mean The mean is the mathematical average of a set of numbers. The average is calculated
by adding up two or more scores and dividing the total by the number of scores.
Multiplier A multiplier attempts to quantify the additional effects of an economic activity beyond
those that are immediately measurable or directly attributable to that activity.
Output Output in economics is the total value of all of the goods and services produced in
an entity’s economy.
Public Good In economics a public good means that consumption of the good by one individual
does not reduce the amount of the good available for consumption by others; and no
one can be effectively excluded from using that good.1
Ratio A ratio is a way of concisely showing the relationship between two quantities usually
expressed as (x:y)
Royalties A royalty is a payment made to the developer (inventor) of a product or service based
on the amount of product/service sales.
Ratio Creativity Avriljoffe (CAJ) cc known also as CAJ: culture, arts and jobs which prepared
these reports.
SACR Gauteng Department of Sports, Arts, Culture and Recreation
Tertiary Sector The tertiary sector is that portion of an economy devoted to service activities (e.g.
transportation, retail and wholesale operations, insurance)
Turnover All sales
Value-added Value-added is calculated in this report as output (turnover) minus inputs (all costs
except labour and capital).
1
www.wikipedia.org
G L O S S A R Y

total economic impact
The total direct and indirect contribution of the 11,320 firms and organisations comprising the creative economy is R33,3 billion per annum in
turnover, creating employment for over 182,000 people. The audio-visual and the music sectors produce the most revenue per person employed. In
terms of the number of firms and organisations active in the sector, the design (25%), craft (21%), audio-visual (11%), music (11%) and visual arts
(10%) sectors are the largest. Just over half (54%) are members of industry and professional associations or lobby groups.
Income from the sectors comprising the creative industries is primarily derived from direct sales and services. Grants from government and funding
agencies contribute 7% of primary income and 9% of secondary income and as such, the creative industries in Gauteng are not as dependent on
government grants as generally thought although there are distinct sectoral variations in this regard.
The markets for the creative industries in Gauteng are principally the general public and tourists (59%) and other firms (38%) with government
representing only 2% of the total market base. All the sectors comprising the creative industries show reasonably high levels of export activity
focused primarily on the large consumer markets of the European Union, the United States and Canada. Over a quarter (27%) export to the African
continent.
Largest employing segment
By far the largest employer in the sector, with over 16,000 employees is the cultural tourism and heritage sector, followed by the design (8,616),
the audio-visual (8,505) and craft (8,070) sectors. On average, a full-time worker can expect a wage of R8,678; a part-time worker a wage of R3,981
and a freelance a wage of R7,229. There are distinct sectoral variations with regard to wage levels however. Wages are highest in the print media
and publishing sector and lowest in the fashion sector
Workforce
Of all the people employed, 57% are black South Africans and 53% are women. Forty-seven percent (47%) of all employers are young people under
the age of 35 and 15% of firms report that they employ at least one person with a disability. The bulk of workers are employed full-time, however
significant numbers, in specific sectors such as audio-visual are employed on contract i.e. as freelancers.
Over 87% of workplaces report that the majority of employees are not unionised.
Qualifications
The creative industries workforce is reasonably well educated, with 36% of the workforce reporting to have a tertiary level qualification such as a
diploma or degree. Ten percent (10%) of firms and organisations report that vocational education and training is the highest level of education of
their workforce and 27% report secondary schooling (Grade 10 – 12) as the highest level.
It is important to note 25% indicate that the level of education is not applicable to their workforce at all, an indication that not all sectors have high
educational entry requirements. In particular, the visual arts, craft and music sectors provide significant opportunities for school leavers, however
the majority of creative industry sectors require some kind of further education and training. The most qualified workforces are found in the cultural
tourism and heritage sectors, music, print media and publishing, audio-visual, multimedia, and design sectors.
Legal entities
Most of the organisations and enterprises that participated in the survey are formally registered. The majority of enterprises (44%) are registered
as Closed Corporations, 18% are Limited Companies and 14% are sole traders. A significant portion (11%), are non-profit enterprises registered as
trusts, Section 21 Companies or as non-profits predominantly in the craft, visual arts, performing arts and cultural tourism and heritage sectors.
In terms of organisational stability, 44% have been trading for 10 years or longer. Significantly, 34% are less than 4 years old, an indication of the
rapid growth of enterprises particularly in the sector.
k ey findings
5

introduction
The Gauteng Creative Mapping Project (GCMP) was implemented by the Department of Sport, Arts, Culture and Recreation (SACR) in order to quantify the contribution
of the creative industries to the Gauteng economy. A secondary aim was to gather information on perceived needs and obstacles to ensure the
alignment of policy and programmes to the needs of the sector.
The mapping project comprises in-depth and firm-level surveys across the following sectors comprising the creative industries:
• Visual arts
• Performing arts
• Cultural tourism and heritage
• Multimedia
• Music
• Craft
• Audio-visual
• Print media and publishing
• Design
• Fashion
Characteristics of the Gauteng Creative Industries
The GCMP estimates, based on industry databases, directories and key informants, that there are over 11,000 firms and organisations active in the
creative economy in the Gauteng province The largest sectors in terms of numbers of entities (both commercial and non-profit) are design (25%),
craft (21%), audio-visual (11%), music (11%) and visual arts (10%). The majority of organisations are owned by white South Africans and over
35% of all businesses and organisations are owned by people under 35 years of age.
Most organisations are formally registered, the bulk (44%) as Closed Corporations, 18% as limited companies, 14% as sole traders and 11% as
non-profit organisations. Slightly less than 70% of all organisations are owned by 1 or 2 people. Only 54% of enterprises report that they are
members of professional and/or industry associations and 86% report that the majority of their workforce is not unionised. Slightly more than a
quarter (27%) operate from home-based studios or workshops, 46% from rented premises and 23% from premises that they own.
While over 40% have been in business for over 10 years, a third of all companies have only been in operation for 4 years or less. Income from
direct sales or services comprises the bulk of income streams; grant funding from government or funding agencies comprises 7% of all income. The
markets for the creative industries in Gauteng are principally the general public and tourists (59%) and other firms (38%). Government represents
only 2% of the total market base. In general, all the sectors comprising the creative industries show reasonably high levels of export activity with
the most active sectors being audio-visual (61%), multimedia (55%) and music (54%).
Operational and staffing costs represent the highest proportions of expenditure in creative industry organisations and enterprises. Technology is
critical to many of the enterprises and organisations. All sectors rely heavily on fixed line telephony but there are distinct variations in other aspects.
In design, print media and publishing, audio-visual, multimedia and music, sector-specific hardware and software are important. The craft and fashion
sectors however appear to have little use for computer technology.
Employment
The businesses and organisations operating in the Gauteng creative industries create employment for over 63,000 people. In terms of direct
employment, the creative industries account for 1,9% of employment in the province, slightly more than agriculture and forestry (1,8%) and slightly
less than mining (2,5%).
The cultural tourism and heritage, design, audio-visual, craft and print media and publishing and print media sectors are the largest employers in
the creative industries.
executive summary
E X E C U T I V E S U M M A R Y

Figure 1: Employment by Sector in the Creative Industries
The average full-time employment per firm is 13,1 people; part-time employment is 2,3 and for freelancers it is 8,1. Of all the people employed,
57% are black South Africans, 53% are women and 47% are youth. The fashion, cultural tourism and heritage and performing arts sectors have
the largest proportion of black workers; multimedia, design and print media and publishing the fewest. With regard to gender matters, multimedia,
music, visual arts and design sectors show the lowest proportions of women employed
Wages are highest in the print media and publishing sector and employees in the craft and the fashion sectors earn on average the lowest of all
the sectors (less than R4,000 per month). On average across the creative industries, a full-time worker can expect a wage of R8,678; a part-time
worker a wage of R3,981 and a freelance a wage of R7,229
Economic Impact
The total direct and indirect contribution of the 11,320 firms and organisations comprising the creative economy is R33,3 billion per annum in
turnover, creating employment for over 182,000 people. The creative industries in Gauteng contribute R11,6 billion rand in direct output and R6,2
billion in value-added to the economy. The creative industries in the province contribute about 1% of the value-added by the tertiary sector and
0.7% for the provincial economy as a whole.
The workforce is well educated, with 27% reporting secondary schooling (Grade 10 – 12) as the highest level of education and 36% of the workforce
reporting to have a tertiary level qualification such as a diploma or degree. The visual arts, craft and music sectors provide significant opportunities
for school leavers; however the majority of creative industry sectors require some kind of further education and training.
Key Obstacles and Needs
Costs were the most frequently mentioned obstacle, while market related issues, such as the practices of competitors and a skilled workforce, were
mentioned by 39% of firms, followed by government related issues, such as SARS compliance and labour regulation, by 33% of firms. The perceived
needs of the companies and organisations were closely related to the obstacles described above. More than half the companies interviewed said
they needed help with marketing their product. The table below provides an overview of needs:
Table 1: Perceived needs reported by companies and organisations
NEED %
Help with marketing 51
Help obtaining external commercial funding 29
Help obtaining external government funding 29
Staff training 26
Help with international expansion 24
Help with strategy and business planning 17
Increased web presence (marketing, distribution) 18
Help with developing new ideas for cash generation 14
7

1. Background
This chapter details the origins of mapping as well as the methodology followed by the Gauteng Creative Mapping Project (GMCP). It also identifies
some central methodological problems and the main constraints to producing mapping studies as well as the solutions adopted by the Gauteng
Creative Mapping Project. The technical team guiding this research believed that it is important to make the research process and assumptions
transparent so that future mapping processes both in Gauteng and around the country can benefit from the experience and learning acquired in
the course of this mapping exercise. Both this chapter and the literature review allow the reader to understand both the presentation of data and
the interpretation offered by the GCMP.
2. Measurement of Creative Industries and the origins of Mapping
Considering that UNESCO released a framework for cultural statistics more than twenty years ago, in 1987, it is perhaps surprising that there is
still no agreement on a methodology for measuring the creative industries. UNESCO’s framework was the first formal international classification
of cultural statistics and the organisation now collects a number of cultural statistics globally. In addition to the collection of statistics across
countries, data are also collected by individual countries. For example, in Australia statistics are collected through the addition of pertinent
questions to existing surveys. There are also a number of other specifically tailored surveys on business and government organisations as well as
surveys of individuals to determine the number of people attending cultural activities and in cultural related work. Statistics Canada gathers data
through the Culture Statistics Program and is less concerned about its integration into the wider statistical system. It also measures participation
in cultural activities and has a detailed Culture Labour Force Survey. Finland, France and Italy are other developed countries where the government
statistical agency is the primary collector of statistics concerned with the creative sector. In the Philippines, a country which faces many similar
challenges in the creative sector to South Africa such as the informality and micro nature of creative enterprises and the fact that many creative
workers have full time jobs in other industries, cultural statistics can also be extracted from those collected from the national statistical agency.
Statistical data for the Philippines is collected at the 4 digit SIC code level, which allows for the disaggregation of a number of cultural related
activities (CAJ, 2003).
This approach – using statistics that are collected by the national statistical agency as part of its ‘ordinary’ surveying – has been used very
successfully in a number of other countries to identify trends in and the size of the creative sector. The United Kingdom and Singapore are two
countries where the relevant government department, the Department for Culture, Media and Sport (DCMS) in the UK and the Ministry of Trade and
Industry in Singapore, extracts information from the data collected from businesses and published at the 4 or 5 digit SIC level. The benefits of this
approach are that cultural statistics can then be updated as soon as the official statistics are released. As such, in both these countries there now
are a number of publications, spanning a multi-year period that provides a detailed insight into the creative sector.
Good official statistics that ‘prove’ the contribution of creative sectors to the overall economy, have in many cases resulted in processes seeking
to investigate the contribution at a regional or local level. The United Kingdom was the first country to pioneer the concept of creative industries
and the term mapping refers to the characteristics of the sector with the publication of “The Economic Importance of the Arts in Great Britain” in
the late 1980s (Myerscough, 1988). The subsequent document “Mapping the Creative Industries, 1998” produced by the DCMS through a Creative
Industries Task Force that was established in 1997, was the first systematic attempt to both define and measure the economic contribution of the
creative industries and assess their opportunities and challenges. Mapping essentially provides the economic data which shows the current value of
the creative economy. It also can show the economic potential of the sector and where the sector needs support to grow and realise its potential.
The 1998 report was updated again in 2001. Prior to that, the creative sector was not seen as a significant sector or important to the UK’s economy,
but ten years on, the UK is a world leader in identifying creativity as a driver for job creation and economic growth.
The Government’s Creative Industries Task Force defines the creative industries as: “those activities which have their origin in individual creativity,
skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property”2
. These
include: advertising, architecture, the art and antiques market, crafts, design, designer fashion, film, interactive leisure software, music, the
performing arts, print media and publishing, software, television and radio, heritage and tourism services.
In early 1999 DCMS set up a Regional Issues Working Group which produced an important study highlighting both the strength of the metropolitan
regions as well as the considerable contribution of the creative industries to towns and smaller cities in the country as a whole (DCMS, 2000b).
Numerous studies have since been conducted at the regional, sub-regional and local levels including regions such as Yorkshire and towns such
as Bristol, Leeds and Manchester focusing on the special needs of the creative industries outside of the UK capital such as regional development
strategies, linking creative businesses with wider networks of communication and exchange, improving business development agencies’ appreciation
and understanding of the creative industries and investor knowledge of creative industry opportunities.
GAUTENG’S CREATIVE MAPPING METHODOLOGY
2
See www.culture.gov.uk/creative/mapping.html
M A P P I N G M E T H O D O L O G Y

Creative mapping has also become a valuable tool in a wide variety of other countries both in the developed and developing world. Canada, the
United States, Singapore, Hong Kong, New Zealand and Australia are all developed countries that have engaged in creative mapping exercises. In the
developing world, Colombia was one of the pioneers of creative mapping with its 2002 study of the creative industries in Bogotá. The development of
a handbook “Guide to Producing Regional Mappings of the Creative Industries” (Ministry of Culture, Colombia, 2007), provides invaluable guidelines for
the creative mapping process and was one of the models used for the GCMP. The provincial process was also heavily influenced by the UK process of
mapping the creative industries which has been central to their experience. Since 2002, DCMS has produced Creative Industries Economic Estimates
every year using comprehensive survey data collected by the Office for National Statistics (ONS). This has enabled them to provide regular updates
and consistent data on the activity of the creative industries.
The UK Creative Mapping documents include figures for
• Gross Value-added
• Number of businesses
• Exports
• Total creative employment (employment in creative industry firms and creative occupations outside the creative industries) for most sectors
The result of the attention placed on the creative industries by the UK government can be seen in the latest government strategy, Creative Britain:
New Talents for the New Economy which summarises their achievements as follows: “Britain is a creative country and our creative industries are
increasingly vital to the UK. Two million people are employed in creative jobs and the sector contributes £60bn a year – 7.3% – to the British
economy. Over the past decade, the creative sector has grown at twice the rate of the economy as a whole and is well placed for continued growth
as demand for creative content – particularly in English – grows” (DCMS, 2008).
This government strategy was preceded by a mammoth research effort by the Creative Economy Programme (CEP) in 2007. A series of research
projects were commissioned from independent consultants, research bodies and DMCS themselves, all of which are published on the CEP website3
.
As the CEP website states: “The CEP’s objective in commissioning these research projects was to furnish policy makers with a more complex
understanding of the characteristics and structure of the creative industries and trends they have experienced. Together they represent a large
advance in DCMS and research partners’ understanding of the creative industries” (DCMS 2007).
Four key questions framed this research:
• What is the direct contribution of the Creative Industries to the UK economy?
• Does the UK have a comparative advantage in the Creative Industries and how might this be eroded by other countries?
• Do the creative industries make an indirect contribution to the UK economy?
• Do the creative industries face barriers to growth and improved productivity and what is the Government’s role in overcoming these?
The CEP believes the work has “gone some way to improving our understanding. It has given us a greater insight into the characteristics and
structure of the creative industries and trends they have experienced. The intention with the project on spillovers in particular was to give analytical
rigour to a topic which has not been explored in the literature before. Together they represent a large advance in DCMS and research partners’
understanding of the creative industries” (DCMS, 2007).
British Council support to developing countries
In 2001 the British Council embarked on developing a new programme – Developing Creative Economies – to share the UK’s experience and
understanding of the creative industries and creative economy with developing countries, especially those where piracy is an issue. The British
Council chose to use Creative Mapping as a way to assist other countries to recognise the importance of this sector. Speaking of the mapping
documents produced by DCMS in 1998 and 2001 the organisation states:
“The need then was to raise awareness of the industries, the contribution they made to the economy and the issues they faced.
Now the impact of creativity in regeneration and social inclusion is widely acknowledged. Every region of the UK has identified
the creative economy as a priority area for economic growth. And the special needs of these industries are reflected in policy
development at national, regional and sub-regional level. They are a real success story. The Department of Culture, Media and Sport
(DCMS) helps the creative industries thrive by raising their profile and supporting their development. It believes that the most
successful economies and societies in the twenty first century will be creative ones. The British Council works with the DCMS to
promote the vision of the UK as the world’s creative hub; and to share expertise and experience with other countries worldwide”
(British Council, undated).
3
The evidence and analysis unit of the DCMS can be accessed on http://headshift.com/dcms/ mt/archives/ blog-36/ evidence%20 summary.doc
9

This support extends to providing expertise and documentation from mapping studies elsewhere although it leaves each country to interpret and
define the creative industries themselves. Mapping studies supported by the British Council have been conducted in a range of countries from Asia
to South America. The mapping study in South Africa was able to draw substantially on the experiences of the mapping in Colombia largely due to
the Mapping toolkit (Ministry of Culture, Colombia, 2007).
Limitations of statistics: new evidence and analysis from DCMS
Although the DCMS approach has gained international recognition for measuring the contribution of the creative industries, the data is not without
its limitations. Producing annual estimates of the size of the creative industries in the UK economy using data from the Office for National Statistics
(ONS) allows for the estimation of the contribution to UK employment, Gross Value-added (GVA) and exports. The key challenge is the inability of
official statistics to keep pace with the rapid changes and consequent classification problems that occur in the creative industries. Other challenges
relate to the scope of particular sectors, such as design where statistics cannot identify all the constituent parts of that industry. A further
limitation is that official statistics fail to capture the full extent of activity as they do not accurately reflect the structure of the industries. As such,
Staying Ahead, a report produced by The Work Foundation argues that the figures should be seen as estimates rather than definitive valuations.
Their study references alternative data sources for particular sectors (The Work Foundation, 2007).
In recent research commissioned by the DCMS, Frontier Economics was able to use a data set from ONS previously not available4
to develop a more
detailed supply chain approach to analyse the statistics5
. New insights about the structure of the sectors and the types of firms driving growth
emerged and some of the key findings are documented in the findings below:
Table 2: Findings from DCMS (Frontier Economics)
The report argued that while individually the creative industry sectors (music, performing arts, dance, fashion etc) might not be of strategic
importance to the UK, there was no doubt that collectively the creative industries are very important. Therefore Frontier Economics developed a
framework for cross-cutting policy making suggesting three sub groups which drew on the analysis of the individual sectors in terms of structure,
key trends and issues. The figure below illustrates this framework:
FINDING DETAIL
Large firms are important for the creative industries The largest 200 firms account for 50% of turnover
Growth in the creative industries is driven by start-up companies Start up companies accounted for 48% of growth from 1995-2005 – most
of this in year 1. Creative Industry companies appear to grow slowly in the
years after they start up
Creative firms have survival rates that are similar to other
sectors.
Three year survival rates for firms within the creative industries is similar to
the average across all industrial sectors but there are variations between
sectors
Large international creative industry firms are important in the
UK
International firms may locate in the UK because of its supply of high quality
graduates, specialist “creative skills”, unique infrastructure and because the
UK is an attractive place for executives to live and visit
Creative industries perform well on a number of productivity
measures compared to other UK sectors
The creative industries are more likely to be innovative than the other
sectors identified in the project6
and they employ highly skilled workers and
have a higher proportion of self employed people that then economy as a
whole
4
Responding to concerns that official statistics are not wholly representative of the whole creative industries sector, and that ONS surveys cover businesses that are registered for VAT and therefore exclude
those small businesses below the VAT threshold, DCMS and ONS began a process of updating the proportions usually applied to the relevant SIC and Standard Occupation Classification (SOC) codes by using
detailed survey data. These changes are now reflected in the Creative Industries Economic Estimates Bulletin. The proportions will be reviewed every 3-5 years (DCMS, 2006a).
5
The Evidence and Analysis Report by Frontier Economics is available on the CEP website: www.cep.culture.gov.uk
6
It should be noted that the data can be disaggregated to different levels and when the broad sectors are broken down certain sub-sectors may have a higher rate of innovation activity than the creative
industries aggregate.

Figure 2: Framework for developing cross cutting policy, Frontier Economics (2007)
The impact of technology on the definition and measurement of the creative industries
Technological change in the creative industries, particularly the development of digital media, disrupts not only conventional value chain analysis
and conventional copyright regulation by bringing consumers closer to creators7
, but it also raises significant questions for sectoral boundaries,
definitions and measurement. While the sectors identified in the DCMS mapping documents retain a strong identity for measurement, economic
value and organisation, there is a view that future exercises to gather data on the creative economy may see sectoral boundaries changing due to
incessant technology change (The Work Foundation, 2007).
Purpose of Mapping Studies
Colombia’s mapping experience in partnership with the British Council produced a guide to designing, conducting and analysing mapping projects.
This guide, now translated into English, provides an outline of mapping studies in the UK and Columbia, stages in the production of mapping as well
as technical considerations in the mapping process. The GMCP used this guide as a reference although the final process is quite different to that of
Colombia. The lack of official statistics has meant that the mapping has needed to rely almost solely on primary data collected through firm level
questionnaires with contextualisation and interpretation provided by the technical advisors to the project, CAJ.
The document, Guide to Producing Regional Mappings provides useful elaboration on the purpose of mapping studies as follows:
• To diagnose a giving situation by identifying its constituent elements, the relations between them and the results of such interaction.
• To describe and interpret the data to contribute to solutions to the problems revealed by the diagnosis.
• To give greater visibility to the sector through the identification of the value of culture and creation both as cultural expression as well as its
contribution to the economy or region.
• To provide information that allows national and regional agents to identify key aspects about the dynamics of creative industries.
• To provide the necessary facts that improves decision-making in the design of policies to strengthen these industries.
• To stimulate the organisation of individuals and companies of the creative and cultural sectors so that they are perceived as a collective whole
that facilitates their recognition, positioning and empowerment as an economically important sector.
• To identify the targets of the study which are the institutions that are able to support the growth of the sector, the role-players within the
creative sector as well as the stakeholders in the creative community.
• The process of mapping could, through the building of alliances and clusters of industries, stimulate organisation (Ministry of Culture, Colombia,
2007:6).
3. The Creative Mapping Process in Gauteng
Initiating the process
The British Council South Africa decided to expand the new programme launched in the UK in 2001 – Developing Creative Economies – to South Africa
in 2005 with the aim of developing the understanding of, information about, and interest in the Creative Economies. In 2005 the British Council
7
The impact of technology on cultural value chains is explored in more detail in the literature review chapter, in particular the research by Connectus Consulting Inc. (2007)
1 1

commissioned Creativity Avriljoffe (CAJ) to undertake a review of the creative sector research in South Africa (CAJ, 2005). In the same year, the
British Council UK began discussions with the Department of Arts and Culture (DAC) about conducting a mapping study on the creative economy in
South Africa. The elements of an agreement between the BC and the DAC were laid during the Nurturing the Creative Economy (NCE4) meetings in
West Sussex in November 2005.
By July 2006, with the support of the Developing Creative Economies Programme in South Africa, DAC had developed a clear plan of action for
the South Africa Cultural Mapping Programme detailing the governance and administration of the project from co-ordinator, champions group,
management group, creative network, technical expertise group to the participating universities in each of the 3 provinces (Western Cape, Gauteng,
Kwa-Zulu Natal). A seminar programme for civil servants from all spheres of government as well as an awareness raising programme about the
creative economy was part of the planned activities associated with the mapping research. The timeline stretched from October 2006, starting with
the visit of the British Council UK and their consultants, a launch of the Creative Mapping in South Africa and the mappings in each of the three
provinces during 2007 to the publications of final mapping reports in March 2008.
Planning and preparation
The DAC appointed the University of the Witwatersrand’s African Micro-Economic Research Umbrella (AMERU), under the leadership of Dr Neil Rankin to conduct
the creative mapping in Gauteng. The DAC had allocated funds to conduct a horizontal mapping of a few of the creative industries (such as music)
in Gauteng. The Department of Sport, Arts, Culture and Recreation (SACR) in Gauteng however felt that a horizontal mapping of all the creative
industries should be conducted to add value to its Creative Industries Development Framework (CIDF) which was released in 2005. To support the
scope enlargement and as a major partner in the Creative Mapping project, SACR committed substantial additional funds to the project. In addition,
the British Council appointed Burns Owens Partnership (BOP) to support the work of the British Council South Africa in overseeing this creative
mapping project.
The Creative Industries Development Framework in Gauteng
An important consideration for the Gauteng Mapping Project has been to align the mapping project in Gauteng with the Creative Industries Development
Framework which guides the work of the Department of Sports, Arts, Culture and Recreation (SACR). The aim of this framework which was released
in October 2005 is to:
• Develop creative industries to maximize their contribution to the economy, community development and urban regeneration.
• Provide a coordinating framework for investment and implementation in the province.
• Align creative industries activities with the Gauteng Growth and Development Strategy.
The role of the Creative Mapping in Gauteng is to support the CIDF and provide a more nuanced understanding of the sectors that it intends to
develop and support. In addition, it was hoped that the process of the mapping would also ensure the involvement of government stakeholders
across the board to facilitate the involvement of local governments and other Gauteng government departments in the implementation of the CIDF.
Gauteng Technical Team
A technical team was established to oversee the research comprising members of the British Council Johannesburg office, SACR officials, the
department’s specialist consulting company CAJ, the National Film and Video Foundation (NFVF), the DAC8
and the Directorate of Culture in the City
of Johannesburg. This team met monthly in the offices of the British Council with the research team to provide support to the research process
and assess progress.
Raising Awareness
A two-day workshop was held in Johannesburg under the auspices of the British Council with their partners, the DAC, the NAC, the NFVF and SACR,
to launch the Creative Mapping Project. The first day was an open day with presentations from the DAC, the SACR department and about creative
mapping from the British Council and their consultants, BOP. The second day comprised a more technical discussion between the research team,
experts from BOP and members of the technical team about the process of mapping.
The workshop report highlighted the inputs from Felipe Buitrago (British Council) and David Holland (BOP) and the current thinking on Creative
Mappings which are wholly dependent on the nature of the information requirements of the area under survey and the needs of the end users of the information.
8
The DAC intended to contract the National Arts Council to both receive the funds for the mapping study and act as overall project manager to the Mapping project nationally. However this contract did
not materialse.

They highlighted that while mapping has effectively been used in the United Kingdom for many years to provide information about the creative industries
and also to direct programmes; it was also found to be a useful tool in less developed countries such as Colombia to initiate creative industry
development programmes.
As a guide to the Gauteng mapping project they explained the role of the technical expertise of the team from the British Council (and their
consultants, BOP) which took the form of a specific “template” that must be applied. The expertise was there “to inform the operational and technical
aspects of the project in terms of scope, scale and methodology”.
A range of critical factors were highlighted from the two benchmarks, the UK and Colombia, ranging from the definition of creative industries; the
range of sectors included in the definition; to the incorporation of commercial and non-commercial aspects of creative industries. In the UK for
instance, the creative industries are defined as having their origin in individual creativity, skill and talent; a potential for wealth and job creation; and
the potential for the generation and exploitation of Intellectual Property. In this way, the UK creative industries comprised thirteen sectors including
advertising, architecture, the arts and antiques market, craft, design, designer fashion, film, interactive leisure software, music, performing arts,
print media and publishing, software, television and radio.
Current knowledge about the UK creative industries is evidence of the range of information available from Mapping Studies: they constitute 8% of UK
GDP which is approximately £83,5 billion and have an annual sustained growth rate of 6% (1997 – 2004) which equates to £5 billion. The industry
has been found to be highly diverse, incorporating 120 000 businesses in the UK with less than 30-40 employees and employing 1,9 million people
in skilled jobs while at a local level, 12% of London economy is creative and 1 out 5 jobs is in creative industries
Most importantly for the Gauteng government is that the UK experience allowed for a shift from advocacy-based to evidence-based policy making
that has been greatly facilitated by the information provided by the mapping system. While a national approach was adopted first, the current focus
is on regional and local mapping.
Mapping therefore is a tool for policy making and policy decisions regarding investment, infrastructure, education and training. It is not a panacea
that can solve all matters or a strategy. Rather the evidence collected through mapping can be used to:
• “Promote recognition and visibility.
• Raise awareness.
• Present information as a tool for decision making.
• Create a common language for talking about and describing the creative industries.
• Present a joint front for making the argument of creative industries development and support for the creative industries.
• Strengthen negotiation positions by presenting evidence as to the contribution of the industries” (SACR, 2007).
4. Gauteng’s Creative Mapping Methodology
Given the lack of available statistics about the creative sectors the research approach was to conduct firm level studies of a sample of creative
enterprises across the sectors of the creative industries. The following elements were important in the development of the methodology.
Defining the scope
In developing the conceptual framework, eleven sub-sectors were defined for Gauteng, with their respective principal activities and related activities.
These definitions were based partially on existing use of sector parameters in the arts and culture sector in South Africa and partially drawn from
international experience in defining these sectors.
Sub-sector detail
1. Audio-visual
For the purpose of this study, the audio-visual, media and film sector includes the following activities:
• The generation of creative content for film, TV and radio (commissioning and scriptwriting)
• Production for film and TV (all activities involved in creating a movie, TV show, commercial or interactive programme from a script)
• Film and video distribution
1 3

• Screening of film and broadcasting of TV and radio content
• Audience consumption and retail
• Media-related activities (trading of broadcasting time, organising logistics between corporate clients and producers and broadcasters)
• Specialised education and training (e.g. film schools)
• Support services (e.g. specialised equipment facilities and sales and archive facilities)
The following related activities are excluded from the parameters of this sector:
• Advertising
• Photography (classified under Visual Arts for the purposes of the Mapping)
• Animation (classified under the Multimedia sector)
2. Craft
There are several people who are involved in the craft sector’s different value chain stages. The sector includes activities of weavers, goldsmiths,
sculptors, potters, leather crafters, jewellers and bead makers. These people are involved in the origination, design, production and distribution of
the products. The products made can be categorized into: traditional art, designer goods, craft art, functional wares and souvenirs (DACST, 1988b;
Elk, 2004).
3. Cultural tourism and heritage
The activities of the cultural tourism and heritage sector include the following main activities: design of tangible cultural heritage, art (such as
rock art), crafts, archaeological heritage, built Heritage (Architectural), aural and musical heritage, audio-visual heritage, textiles and clothing,
natural heritage, natural reserves, fauna and flora, service of reservations and conservation of tangible natural and cultural heritage and museum,
exhibitions and cultural centres.
The related activities include: libraries and archives, manufacture of products, administration of locations and places, advertising, publications,
printing of books and pamphlets, tourism, transportation, lodging, restaurants, craft sales, sale of heritage at auctions, galleries and stores.
4. Design
The areas of design that the Mapping of the Creative industries in Gauteng focuses on are industrial design, graphic design and interior design.
Definitions of these activities are presented and discussed briefly below.
• Industrial design
Industrial design forms the inception stage of the creation of new tools, machinery, equipment and products for manufacturing and services. It is
“a creative activity with the aim of determining the formal qualities of objects produced by industry” (Ministry of Colombia, 2002). This includes all
forms of functional design (e.g. furniture and home wares).
The Department of Science and Technology puts forward a more detailed definition. “Industrial design (ID) is the creation and development of
concepts and specifications to improve existing products or develop new products or services. It is the design of products from teaspoons,
computers, automobiles and toothbrushes to the design of a corporate identity. ID deals with consumer products as well as industrial products and
services. The industrial design process begins with the need for change, improvement or new product has been identified and ends with the fully
designed product, process or model” (Ratsatsi, 2005).
• Graphic design
Graphic design involves the creation of “audio-visual media, logos, stationery, printed material, layouts and covers, posters, packaging, diagrams
and maps, signs” (Ministry of Colombia, 2002).
• Interior design
According to the Wikipedia , interior design “is the process of shaping the experience of interior space, through the manipulation of spatial volume

as well as surface treatment” (undated). This activity is often seen as a sub-category of architecture and was included as part of the Architecture
sector in the Bogotá mapping. In the case of the Creative Industries Mapping of Gauteng, architecture falls outside of the scope of the study, but
the activities related to interior design are included in the design sector.
The following related activities are excluded from the parameters of this sector:
• Fashion design (classified under the Fashion sector for the purposes of the Mapping)
• Interface design is the “design development, documentation and implementation of software tools” (Wikipedia, undated). In this study,
interface design is included in the multimedia sector.
5. Fashion design
The fashion design activities included in the research are: Haute Couture, Prêt-a-Porter, lines, fashion product design consultancy, fashion research,
manufacture of fashion collections and design of clothing patterns. The research excludes the Cut, Make and Trim (CMT) industry. Model agencies
have also been excluded as only a small fraction of the people in their portfolio is involved with fashion.
6. Multimedia
The multimedia sector includes the activities of computer technology companies, animation companies, and multi-media experts. The sector, as
defined in this mapping study is mainly dominated by animation companies.
7. Music
The music industry comprises the following:
• Creators: These composers and songwriters compose lyrics and melodies. Musicians, who lend their voices to these lyrics and melodies, are also
considered creators.
• Publishers: These companies publish musical works as composed by songwriters and lyricists.
• Record Companies: Record companies are responsible for the sound recording of artists and ensuring the manufacture, promotion and distribution
of phonographs.
• Manufacture: This entails the reproduction of phonograms from masters.
• Broadcast, Retail and Entertainment Sectors: These constitute the three sectors through which the product of the music industry reaches the
market (DACST d, 1998).
• Education and Training: Play a crucial role in the training of musicians and professions in the music sector.
• Funding and support: Both government and non-government institutions assist in the development of the sector.
8. Performing arts
The activities of the performing arts sector include the following: dance, orchestra, music, opera, musical theatre, theatre, comedy, circus performance,
magic shows, poetry and storytelling. A number of these activities have not been previously included in this sector. For example we included comedy,
especially stand-up comedy, since it is a growing form of entertainment in South Africa.
9. Print media and publishing
The structure for the print media and publishing sector is slightly different than the other sub-sectors as official data was obtained from StatsSA.
The sector can be divided into two: Print Media, which includes newspapers and magazines; and publishing, which is primarily focused on book
publishing but is developing to include multi-media and online publishing. There is also a distribution and retail component of the sector that includes
new and second-hand bookshops, online distributors and specialised distribution companies.
10. Visual arts
The visual arts sector includes the activities of visual arts practitioners like painters, watercolorists, wild-life artists, ceramists, printmakers,
sculptors, installation artists, performing artists, concept/art photographers, some documentary photographers, some designers, and some
craftspeople. The sector also includes businesses that provide technical assistance, curators, gallerists, designers, publishers, editors, conservators,
art critics and journalists.
1 5

Defining the population
Given the paucity of official data on the creative sectors the decision was taken to collect a bespoke dataset that would form the basis of
calculations of the size of the sector. Furthermore, the creation of a dataset of this nature allows for the option of repeating the exercise in following
years, with a standardised questionnaire and methodology so as to create a longitudinal dataset9
.
Most of the databases of organisations operating within the various sub-sectors stated above were obtained through cooperation with SACR and
CAJ. The research team also obtained lists of organisations by contacting various associations, newspapers, sector specific publications and via an
extensive internet search. In addition, the AMERU team further obtained contacts from the selected companies during the face-to-face interviews.
Using a firm-level survey to estimate the overall contribution of the creative sector to the economy depends on the collection of accurate unit level
data and a comprehensive sampling frame. A sampling frame is usually an exhaustive listing of all the firms and organisations in the population, and
the sample is drawn from this frame. No such list exists for companies and organisations in the Gauteng creative sector. One thrust of the research
was the establishment of a database of this nature. The compilation of this database was done through four primary avenues.
1. Through industry bodies, sector associations and other representative bodies. Although many industry bodies supplied lists of members this
was not the case for all the bodies.
2. Through contacts obtained in the interviews. Those interviewed were asked whether they could provide the contact details of other individuals
or organisations involved in the creative sectors. These were then added to the database and in some cases subsequently interviewed.
3. Through searching listings of companies, individuals, performances and venues in publications such as newspapers, sector specific publications
and magazines. Extensive internet searches were also carried out.
4. Through discussion with the technical committee.
The lack of a comprehensive population list of creative sector organisations is a limitation in this research. It is unlikely that the databases compiled
for this project are exhaustive. Furthermore, they are likely to undercount those individuals or organisations that are informal, small, part-time and
do not belong to a representative body. The impact of this on total output and value-added figures will be smaller than the impact on employment
figures. This is because in most industries the bulk of the contribution to output and value-added is made by large firms. This is in contrast to
employment where smaller firms are often a significant contributor to employment.
Despite the lack of databases, it was possible to compile substantial lists of organisations in each sub-sector which served two purposes:
• First, they enabled an estimate to be made of the aggregate size of the population of each sub-sector.
• Second, they provided the sample frame from which it was possible to select, at random, sufficient names to make up a statistically valid
sample for that population. Given that the population lists are sufficiently large and comprehensive, and given that the samples have been
properly drawn, the GCMP is justified in assuming that the characteristics of those artists not included in the lists will be broadly similar to
those on the lists.
The data derived from the survey can be used, according to appropriate statistical procedures, for valid inference to the population of each sub-
sector.
Sampling Frame
For the purpose of this research a stratified random sampling procedure was used. Stratification is the process of grouping members of the
population into relatively homogeneous sub-groups before sampling. A simple random sample is likely to select a large proportion of smaller firms,
since these form the bulk of the population. A random sample, dominated by small firms, would thus be likely to underestimate the total economic
contribution. Since larger firms are likely to contribute a relatively larger proportion in terms of output and value-added than smaller firms, a
stratified sampling procedure that over-samples these firms is appropriate. The sampling frames were thus divided between smaller and larger
firms and separate random samples drawn from each group. This process improves the representivity of the sample by reducing sampling error and
improves the accuracy of estimation.
In order to cover as many organisations within the sector as possible, two types of questionnaires were administered. The first was an in-depth
face-to-face interview. These interviews took approximately 40 minutes and asked detailed questions on ownership, finances, employment, funding,
problems and technology. The second type of questionnaire was administered by telephone. This questionnaire contained a subset of questions from
9
A longitudinal or panel dataset tracks the same firms over time. This allows for actual firm performance to be better understood. It also captures firm survival. It allows for analysis of issues such as firm
growth and survival rates.

the long questionnaire. The focus of this questionnaire was on employment, turnover, costs and funding. In total 190 in-depth and 538 telephonic
interviews were undertaken. The survey was also supplemented by interviews with important role players within each sector. The breakdown of
interviews by sector is given below as well as the employment breakdown (full-time, part-time and freelancers).
Table 3: Sample by type of interview and sector
The table below (Table 4) provides for a breakdown of the sample by size of firm which allowed for a focus on micro (1-4), very small (5-19) and
small (20-49) enterprises as indicated in the table below:
Table 4: Sampling by firm size
Table 5: Sub sector detail
Telephonic interviews In-depth interviews Total
Sector N % of sector N % of sector N % of overall
Audio-visual 60 68% 28 32% 88 12%
Cultural tourism/
heritage
63 84% 12 16% 75 10%
Craft 88 77% 27 23% 115 16%
Design 48 71% 20 29% 68 9%
Fashion 52 83% 11 17% 63 9%
Multimedia 44 80% 11 20% 55 8%
Music 49 64% 27 36% 76 10%
Performing arts 49 64% 27 36% 76 10%
Print media and
publishing
36 73% 13 27% 49 7%
Visual arts 50 78% 14 22% 64 9%
Total 539 74% 190 26% 729 100%
Firm size
1-4 5-19 20-49 50+ TOTAL
Type of interview N % of
sector
N % of
sector
N % of sector N % of sector N % of
overall
Telephonic 326 61% 163 30% 33 6% 14 3% 536 74%
In-depth 107 57% 50 26% 23 12% 9 5% 189 28%
TOTAL 433 60% 213 29% 56 8% 23 3% 725 100%
SECTOR SAMPLE SIZE (INTERVIEWS) POPULATION SIZE SIZE OF FIRMS EMPLOYMENT
Visual Arts Face to face: 14
Telephonic: 50
Estimated at 1,100 based on
stakeholder discussions & the
VANSA database.
It is estimated that 1,000 firms have
a median turnover of R150,000 p.a.
and that 100 firms have a median
turnover of R2,500,000.
The total employment figure is estimated
at 2,400 people based on median
employee number of 2 people for firms
with turnover under R1 million and 4
for firms with turnover greater than R1
million.
Performing Arts Face to face: 27
Telephonic: 49
Based on the PANSA database
the population is estimated at
289 entities as follows: Private
Theatres: 6
State Theatres:15
University theatres:6
Other members: 262
Median turnover is estimated as
follows:
Private Theatres: R2 million
State Theatres: R14 million
University theatres: R1 million
Other members: R123,500
Employment estimations are based on the
following median number of employees:
Private Theatres: 25
State Theatres: 54
University theatres: 32
Other members: 4
1 7

Table 5: Sub sector detail (continued)
Cultural Tourism
& Heritage
Face to face: 12
Telephonic: 63
The population estimate of 942
entities is based on the SAHRA
inventory list, the DAC tour guide
database and the Museums
Online Directory as follows:
SAHRA List: 192
Museums: 26
Tour Guides: 724
The turnover figure for the sector
is estimated using the following
medians per category:
SAHRA List: R450,000
Museums: R450,000
Tour Guides: R45,000
The total employment figure was
calculated using a median number of 17
employees per entity category.
Multimedia Face to face: 11
Telephonic: 44
The population estimate of 600
is based on the Animation SA
database and discussions with
stakeholders as follows:
Micro-businesses: 500
Medium businesses: 100
The turnover calculation is based on
a median turnover of R120,000 for
micro enterprises and R1,5 million
for medium enterprises.
The employment figure is based on a
median employment of 1 employee in
micro businesses and 4 employees in
medium businesses.
Music Face to face: 27
Telephonic: 49
The population estimate of
1,204 is based on the large
companies, CWUSA membership
and the 2006 Music Industry
Directory: as follows:
Large companies: 4
Artists: 700
Other organisations: 500
Estimated turnover was based on
the following median estimates:
Large companies: R143,5 million
Artists: R12,000
Other organisations: R,05 million
Employment was calculated using the
following median employee numbers:
Large companies: 46
Other organisations: 11. With regard to
artists no median was calculated and
the total figure of 700 from the CWUSA
membership was utilised.
Craft Face to face: 27
Telephonic: 88
The population is estimated
2390 entities.
Turnover has been estimated by
calculating the median turnover of
companies as follows:
Turnover less than R1million: R1,7
million.
Turnover larger than one million:
R36,000
Total employment was calculated based
on median employment as follows:
Turnover less than R1million: 3
Turnover larger than one million: 6
Audio-visual Face to face: 28
Telephonic: 60
The population size of 1,215
entities was calculated using
the Gauteng Film Commission
database as follows:
Casting & crew: 226
Equipment etc: 225
Post-production: 169
Pre-production & R&D: 51
Production : 268
Support services : 276
Total turnover for the sector was
estimated using a median turnover
of R2 million for the population. The
large broadcasters, M-Net, eTV and
the SABC have been excluded from
this calculation.
Total employment for the sector was
estimated using a median of 7 employees
per entity. Once again the large
broadcasters have been excluded from
this calculation.
Print Media &
Publishing
Face to face: 13
Telephonic: 36
The total population was
calculated by extracting from
StatsSA as they have category
for print media and publishing
PASA freelancers etc: 138
PASA members: 65
Distributors: 5
Print media
National statistical datasets, the
Stats SA AFS 2006 and LSS of 2001,
have been utilized to estimate
turnover. SIC 326c is estimated
at R28,418 million with Gauteng
representing 50% of this and
publishing comprising 33% of the
aggregate turnover.
Gross Value Add is estimated at
43% of turnover.
The 2006 PASA report was utilized
to estimate aggregate turnover
nationally and to verify the
calculation above.
The LSS dataset was utilized to provide
an employment to turnover ratio
which provides an estimate of total
employment.

Table 5: Sub sector detail (continued)
Methodological Instruments
Collecting unit-level data that may be used to create a longitudinal dataset has numerous benefits. The use of a specifically designed questionnaire
enables the collection of data on output, inputs and employment which are central to the creative mapping exercise. It also makes possible the
addition of sector-specific questions that can be used to add further insights into the sector and to create indicators that can be updated over time
and which track the dynamics of the sector.
Longitudinal datasets that follow units of observation over time have a number of valuable aspects. A key benefit of these types of datasets is being
able to separate within-firm growth and growth in the number of firms. Aggregate growth in the sector can be driven by either the entry of new
firms or the growth of existing firms, or a combination of these effects. These effects have separate and distinct policy implications. Longitudinal
datasets also enable research into the relationships between organisational characteristics and outcomes at the organisation level. For example, it
may be that organisations that employ certain skill groups or have certain other characteristics are growing faster than other types of organisations.
Without longitudinal data identifying these relationships is difficult.
The firm-level survey methodology used in this research is similar to the approach taken by statistical agencies when estimating the size of a sector
or sub-sector. Firm-level surveys were used in the Bogotá creative mapping (2002) to supplement other sources of data.
Firm Level Questionnaire
The collection of economic information was arranged into the following sections:
• General information: to identify the businesses in the sector according to location, age, legal status, ownership, activity and type of
organisation.
• Sector development: to identify the needs and potential barriers to the development of the sector.
• Employment: to identify the status, number, gender, race, age and qualifications of the employees.
• Finances: to identify the businesses in the sector from the qualitative standpoint, including turnover, cost, income sources and debt.
• Markets: to identify local and international clients.
Design Face to face: 20
Telephonic: 48
calculatedusingtheWorldDesign
Report (2007) which indicates
that there are 2,872 entities in
the sector. In consultation with
experts Gauteng was estimated
to host 65% of the total national
population which was further
adjusted by 10% to counteract
over inflated national estimates.
For the purposes of this study,
government agencies and
professional bodies have been
excluded as have multimedia
designers who are included in a
separate category.
Total turnover was calculated using
a median of R486,366 for the entire
population.
Total employment was calculated using a
median of 3 employees per entity.
Fashion Design Face to face: 11
Telephonic: 52
calculated using a report
commissioned by the City of
Johannesburg on the Fashion
District (JDA, 2004) and
discussions with stakeholders.
The population was divided as
follows:
High end designers: 100
Low end designers: 500
Total turnover for the sector was
calculated by using median turnovers
as follows:
High end designers: R1,450 million
Low end designers: R95,000
Total employment was calculated using a
median number of employee as follows:
High end designers: 12
Low end designers: 3
1 9

• Funding: to identify the sources and application success rate of funding.
See Appendix 1 and 2 for the complete Firm Level Questionnaire and Telephonic Questionnaire respectively.
Primary Data Collection
The research for this project was conducted between September to December 2007 using a 40 minute face-to-face questionnaire and a 10 minute
telephone questionnaire. The questionnaire was designed predominantly as a trends/ tracking survey so that various aspects of the sector could be
monitored over time. The questionnaire was also designed to allow for comparisons to be made across sectors and between countries. The overlap
between these surveys allows that the dataset collected for this project to be used in future to make comparisons with these other data sources.
As such, the following models were utilised:
1. The questionnaire provided in the Colombian Ministry of Culture (2007) publication “Guide to Producing Regional Mappings of the Creative
Industries”.
2. A number of questionnaires used by BOP in their regional mapping work in the United Kingdom.
3. The Investment Climate Assessment Surveys undertaken by the World Bank. These surveys are administered to manufacturing, construction,
retail and service firms in 178 countries worldwide, and use a comparable survey instrument10
.
The full scale field work was preceded by a pilot study to determine the appropriateness of the research instruments.
The Pilot
The questionnaire was piloted with 6 businesses from various sub-sectors to check that the language used was suitable and that the questions
were relevant. The sub-sectors were chosen since they had the most comprehensive population lists at the time of the pilot study as follows:
• The performing arts sector (3 businesses).
• The music sector (2 businesses).
• The fashion sector (1 business).
A random draw of organisations was selected from these sub-sectors and the organisations that were used for the pilot study were selected based
on their willingness to participate and their location within the Greater Johannesburg Metropolitan Area. Furthermore, the pilot interviews attempted
to interview a variety of different sized firms to ensure that the instrument would be appropriate to all firm sizes. Those organisations that were
drawn but not interviewed in the pilot study were interviewed in the main survey.
In general, the pilot was successful, indicating that the instrument was appropriate to the sector and that it would succeed in obtaining the required
information. A number of minor amendments such as phrasing of questions, clarifying nature of legal status and interview technique were made
based on the experience obtained during the pilot.
This primary data collection raised a number of critical issues which are discussed below.
Research Considerations
a) Sampling freelancers and sub-contractors
The mapping study included the large group of freelancers and sub-contractors to some extent as can be seen from the sample. However, in the
absence of a comprehensive database of this workforce there is a risk that the study under-estimates the size of this group. This large and flexible
workforce is difficult to track and quantify given the weak organisational base of the sector, although in some sectors this is being addressed.
Not all representative organisations have managed to develop a comprehensive database of its constituents or have the personnel to maintain this
database. As Joffe and Newton (2008:8) have argued: “Future methodologies will have to ensure that this workforce is appropriately quantified
within the mapping framework. The current methodology relies purely on reporting from contracting agencies and enterprises, which is not a
completely reliable source for this data”.
10
See www.doingbusiness.com for an overview of these surveys.

b) Estimate of employment and value-added
The mapping study needed to make two difficult and potentially controversial decisions. The first relates to the estimation of employment from the
survey. Here a median value of employment was sought for the sample and this was multiplied by the estimated population. However there are two
immediate difficulties which highlight the controversy:
• The degree to which the sample provides an accurate median and the levels of accuracy in respondent information regarding employment
including full-time, part-time, contractors and freelancers.
• The appropriateness of methods to estimate the population size in the absence of official statistics, industry level surveys or any comprehensive
database of the sector.
The second decision was the use of multipliers and the determination of value-added. A multiplier quantifies the additional economic contribution
beyond the direct contribution of an industry. This is because the creative industries, as with other industries, buys inputs from other industries and
wages earned in the creative industries are spent outside the creative industries. In the report, value-added is calculated as output (turnover) minus
inputs (all costs except labour and capital). In some cases this data was available while in others it was estimated from the average of other firms
in the sector. As Joffe and Newton (2008:8) argue: “The expectation of mapping studies in South Africa, however, is that appropriate multipliers will
be an outcome of the process. Within a single dataset, it is clear that this will not be possible, however future studies will need to either develop
these or find alternative means for quantifying the up- and downstream value of investment in the creative industries”. In estimating the indirect
contribution and thus the total contribution, a multiplier of 1.86 for output and 0.9 for value-added have been chosen has been used11
.
c) Defining the sectors
Key sectors operating in the creative industries which needed to be sampled for this mapping study included
• The public sector (public cultural institutions such as museums (heritage), galleries (Visual arts), and public service broadcasting organisations
(audio-visual).
• The for-profit private sector (a wide range of commercial operations in all fields of cultural production and distribution).
• Non-profit sector (such as theatre and dance companies, festivals, orchestras) some of which may receive government financial assistance12
.
• NGO Sector (advocacy, organisations, actors and musicians unions, trade organisations).
The technical committee was concerned as to the best way to treat purely government funded agencies, partly government funded agencies as
opposed to purely commercial and non-commercial enterprises. As Joffe and Newton (2008:8) explain: “like many countries, all spheres of the South
African government are significant investors in the creative industries. The challenge with including this information into mapping studies is the
problem of duplicate accounting, and also an accurate reflection of the economic base given that government investment is not necessarily premised
on returns”.
The Creative Industries Mapping of Gauteng excludes government departments, regulatory bodies and professional and sector (or industry)
associations. Of course, in many cases these were approached for information, sector databases and comment, but were excluded from the survey
and hence the calculations of sector turnover, value-added, employment and other variables. This practice is applied uniformly across the sectors.
Non-profit organisations and government-owned entities that participate directly in the activities of the sector (in contrast to fulfilling only
facilitation and support functions) are included in the survey. These are entities such as theatres, non-governmental organisations and museums,
to name a few.
d) Confidentiality and financial information
For most organisations, the guarantee of confidentiality was sufficiently compelling to provide financial information. Given the sensitivity of some
of the information (including revenues and costs), however some organisations refused to provide this type of information. This means that the
calculations of total output and value-added for the sector are based on a sub-sample of firms that provided this information. The estimates of
these amounts are thus likely to be less accurate than estimates that could be obtained if all firms provided this information or if a larger sample
was used.
11
As discussed in the comparative report, estimates for a Gauteng output multiplier vary between 1.7 and 2.6 (van Seventer, 1999). The higher multiplier is for models that assume that the Gauteng
economy is closed i.e. money generated in Gauteng remains in the province. This assumption is likely to false, and the actual multiplier is likely to be closer to the open model estimate of 1.7. In addition,
the Literature Review of this Gauteng Creative Mapping Project has a discussion about the value of multipliers and the work of the CCI based at the Queensland University of Technology in Australia called
The Creative Trident which assesses the presence of creative employment in the broader economy (Australia Research Council Linkage Project, 2008).
12
See The Creative Economy Report (United Nations, 2008:71-72) for a discussion of public or quasi-pubic cultural institutions
2 1

5. Recommendations
The data set
This report has drawn together lists of businesses from a number of sources on the creative industries; however, there are still areas where data
is particularly sparse and outdated. A key activity for the SACR would be to consolidate the existing databases and work with the representative
bodies in each sector to validate the databases. Once this has been done, a new area of activity for the Creative Industries Directorate would be to
ensure that these databases are updated and maintained over time. This may include requiring registration and updating from key players in each
sector across the value chain, e.g.:
• Creative industry businesses
• Artists and creatives
• Not-for-profit businesses and organisations
• Representative bodies
Regular mapping studies
Since this mapping study is the first, there would be enormous benefit from tracking the data over time. In the first phase, the Department may
wish to consider mapping every two years, building up to annual studies in the medium to long term.
Collecting general data relating to the creative industries
In the meantime the Department may wish to work with other research initiatives in the Gauteng government and the various municipalities to
ensure that all primary data collection initiatives include, where possible, data for the creative sector and the broader creative economy. Increasingly,
this information would be useful to many different industries and the Gauteng global city region initiative may wish to establish a Gauteng-based
cross-industry research group to analyse this information. This could include
• educational data
• infrastructure audits and asset registers
• economic data (GDP, employment, exports, investment)
• broadband coverage and costs
• unemployment and work seeking data
• skills shortages and training opportunities and interventions
• planning data (agglomerations and space requirements)
• youth and women participation rates
• district level specificities
• crime
Collecting data to measure the growing creative economy of Gauteng
The creative economy will become an increasingly important characteristic of the Gauteng global city region and data will need to be collected to
show the existence of the beneficial spillovers from the creative sector to other parts of the economy. These range from the general spillovers such
as network spillovers and knowledge spillovers (the benefits of leading players to firms located nearby to new ideas and processes) to the specific
benefit of the artistic and creative community through artistic spillovers, training spillovers and product spillovers (such as the innovation of artists
work, training provided to the creative constituency and artist’s products)13
. The presence of creatives in all other sectors of the economy can also
be calculated as has been done through the Creative Trident approach developed in Australia14
.
13
The literature review outlines these ideas of the positive externalities deriving from the creative industries as a whole.
14
See for instance, Higgs, Cunningham and Bahkshi, 2008

Literature Review: Conceptual framework for the Creative Industries
Defining the creative industries internationally
There are a number of diverse and differing definitions of the creative industries. UNESCO defines them as “those industries that combine the
creation, production and commercialization of products which are intangible and cultural in nature. These contents are typically protected by
copyright and they can take the form of goods or services” (UNESCO, undated). The UK government’s definition is “those industries which have their
origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of
intellectual property” (DCMS, undated). Both these definitions emphasise the intellectual property or copyright aspect of the creative industries, the
creative or cultural origin of the goods or services and the commercialisation or wealth and job creation of the creative industries.
Many studies choose to define the creative industries as those that have creativity as a focus of their activities. This includes not only the generation
of creative content, services or products but also the value-chain associated with this. This was the approach followed by the DACST Cultural
Industries Growth Strategy (CIGS) report, the Bogotá creative mapping (2002) and also implemented in the official statistical reports in Singapore
(2003), UK (2001, 2006).
The concepts relating to the creative sector as well as their definitions have changed over time. Landry summarises this chronology succinctly:
“Back in the late 1980’s when most of the constituent ideas were developed the key terms discussed were: culture, the arts,
cultural planning, cultural resources, the cultural industries. Creativity as a broad based attribute only came into common, as
distinct from specialist, currency, in the mid-1990’s. For example Australia’s ‘Creative Nation’ instigated in 1992 by Paul Keating
spelt out the country’s cultural policy. In the UK by contrast it was the publication of Ken Robinson’s national commission on
creativity, education and the economy for the UK Government ‘All our Futures: Creativity, Culture and Education’ that put creativity
onto the political agenda. Later some of the phraseology changed. The cultural industries became the creative industries and the
creative economy and the notion of the creative class then emerged in 2002. The publication of Richard Florida’s book ‘The Rise of
the Creative Class’ gave the ‘movement’ a dramatic lift with the danger of hyping the concept out of favour” (2005: 5-6).
The next section reviews the conceptual models and classification systems used to understand the creative industries.
Review of models and classification systems
DCMS (UK Department of Culture, Media and Sport, 1998, 2001)
Creative industries are defined by the UK government as those requiring creativity, skill and talent with the potential for wealth and job creation
through the exploitation of their intellectual property. In this definition, 13 sectors close to the UNESCO definition of the cultural sectors are included
as shown in the table below (Table 6).
Concentric circles (Throsby, 1998 & 2001)
This model is based on the proposition that the cultural value of cultural goods is the distinguishing characteristic of the creative industries. In this
model, creative ideas originate in the core creative arts in the form of sound, text and image and these ideas and influences diffuse outwards through
a series of layers or ‘concentric circles’. As one moves outwards from the centre the proportion of commercial content to cultural content rises.
Figure 3: Concentric Circles (Throsby)
Source: Throsby (2007: 5)
2 3

In a recent report prepared for the UK’s DCMS, The Work Foundation developed a stylised typology of this model of the creative industries as
represented in the diagramme below (see Figure 4 below) borrowed from the EU’s ‘The Economy of Culture’ (EU, 2006) and originally from Professor
David Throsby as illustrated in figure 3. The creative industries are mapped as a series of concentric circles radiating out from the ‘bulls-eye’ of
core expressive value creation. This is the home of the artists – musicians, lyricist, dancer, choreographer, composer, writer, painter, sculptor,
scriptwriter, and designer. Professor David Throsby introduced the term expressive values to enlarge cultural meaning and understanding by
encompassing every dimension in the realm of ideas including aesthetic value, spiritual value, social value, historical value, symbolic value and
authenticity value of cultural goods and services too (Throsby, 2001). The stylised typology of the creative industries introduces the relationship
between the core creative fields, cultural industries, the creative industries and the rest of the economy into the diagramme as well as the notion
of expressive value and outputs unlike the original concentric circles model.
Figure 4: The creative industries - a stylised typology
Source: The Work Foundation, 2007
Symbolic Text (Hesmondhalgh, 2002)
This model arises out of the critical-cultural-studies tradition in Europe and the UK and focuses attention on popular culture rather than the ‘high’ or
‘serious’ arts typically the concern of social and political establishments. The industrial production, dissemination and consumption of symbolic texts
are conveyed to consumers by means of various media such as film, broadcasting and the press. In The Cultural Industries, Hesmondhalgh explores
whether shifts in cultural production has led to more or less diversity and quality in cultural texts through a political economy approach to emphasis
the central relationship between symbolic artefacts and the financing and organisation of their production (2002: 264). Hesmondhalgh and Pratt
argue that the boundary between symbolic, cultural production and other ‘non-cultural’ kinds of production as “porous, provisional and relative, and
to think about these boundaries in terms of the relationship between the utilitarian functions and non-utilitarian (artistic/aesthetic/entertainment)
functions of symbolic goods” (Hesmondhalgh and Pratt, 2005: 6).
WIPO Copyright Model (World Intellectual Property Organisation, 2003)
In this model, all industries involved in the creation, manufacture, production, broadcast and distribution and consumption of copyrighted works are
included. Industries that produce the intellectual property – the embodiment of the creativity that is needed to produce the goods and services of
the creative industries – are distinct from those that are needed to convey the goods and services to the consumer.
Four groups of copyright-based industries are outlined with the detail in the table below:
• Core: These industries are wholly engaged in the activities listed above
• Interdependent: Refers to products that are jointly consumed with the products of the core group of industries or deal with facilitation
equipment
• Partial: These industries only have a part of the production output or process linked to copyright-protected material (design, architecture,
furniture) with a significant part of the value-added produced not attributed to copyright components
• Non-dedicated support industries: These industries rely only remotely on copyright material but remain relevant as copyright generates part
of their business such as internet and transportation.

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