Philippine creative industry final april29


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Philippine creative industry final april29

  1. 1. Philippine Creative Industries Mapping: Towards the Development of a National Strategy
  2. 2. d) recommend strategies that both the private and public sectors can adopt to propel the industry’s growth. Objectives of the Study <ul><li>identify opportunities for further development and improvement; and </li></ul><ul><li>determine the creative industries contribution to the economy; </li></ul><ul><li>analyze the situation per sector and identify the enabling and hindering factors for the growth of the sector; </li></ul>
  3. 3. Six Major Fields of Creative Industries Heritage and the Fine Arts Design and Architecture Audio-visuals Printing and Publishing Creative Services Science and Technology
  5. 5. Creative Economy Value-Chain
  6. 6. Five C’s of the Creative Economy Value Chain C haining C apacitating C ommunitizing C lustering C onverging
  7. 7. Chaining, Capacitating, Communitizing, Clustering and Converging in a Creative Sector
  8. 9. FRAMEWORK Understanding the Philippine Creative Economy and its Potentials for Growth
  9. 11. Industrial Design and Architecture Broadcast (TV/Radio)  Film New Media (Internet/Mobile Devices) Publishing and Printmedia Science and Technology Creative Services Audiovisuals Performing Arts  Visual/Literary Arts Traditional Arts and Crafts  Cultural Sites Print Media (News)  Books and Magazines Dissertations/Articles Animation and Gaming  Advertising and Graphics  Recreational Services  ITES Heritage and the Fine Arts Research & Development in Manufacturing (Electronics and Communication, Food, Drug, Housing and Transport)  ICT Packaging Design  Textile/Fashion Design Interior Design  Architecture Product Design (Hardgoods) Creative Field <ul><ul><li>Creative Sectors Involved </li></ul></ul>
  10. 12. Artists (Choreographers, Painters, Writers etc) Local and Indigenous Communities Product Designers, Architects, Interior Designers and Fashion Designers, Craftsmen Writers, Lay-out Artists, Researchers, Authors Writers, Artists, Directors, Creative Director, content and Substance Providers etc Inventors, Designers, Culinary Scientists, Research and Product Development Units, Doctors, Engineers Artists, Gaming /Rides Inventors, Creatives Director, Graphic Designers and Recreational Designers <ul><ul><li>Creative Originators </li></ul></ul>Industrial Design and Architecture Publishing and Printmedia Science and Technology Creative Services Audiovisuals Heritage and the Fine Arts Creative Field
  11. 13. Special Art Schools and Universities, LGUs, Local and National Art Guilds Special Training Schools and Universities, LGUs, Local and National Art Guilds, Artisans Special Art Schools and Universities and LGUs Special Talent Centers / Groups/ Schools Production Houses Schools and Universities, LGUs, Local and National Science Guilds Special Schools and Universities, LGUs, Local and National Tourism Guilds <ul><ul><li>Creative Enablers / Facilitators </li></ul></ul>Industrial Design and Architecture Publishing and Printmedia Science and Technology Creative Services Audiovisuals Heritage and the Fine Arts Creative Field
  12. 14. Production Houses/Guilds, Events Companies, Sponsoring Groups from Govt and Private Institutions. Manufacturing Firm, Production Firm, Product Factories, Design Companies, Entrepreneurs Publishing Companies, and Printing Houses Film Production Companies, TV and Radio Companies, Content Providers Manufacturing Firms, Factories, Laboratories, Real Estate Companies, ICT Investors Advertising Firms, Design and Graphic Arts Studio, Recreational Planners and Design Firms <ul><ul><li>Creativity Transformation Mechanism </li></ul></ul>Industrial Design and Architecture Publishing and Printmedia Science and Technology Creative Services Audiovisuals Heritage and the Fine Arts Creative Field
  13. 15. Show (Dance, Music Theater etc), Fine Art Product, Tourist Attractions Magazines, Books, News Paper, Journals Model Housing Units, Product Collection, New Packaging Design, Structure and Design TV/Radio Show, Web Site and, Film Outfits New Food Variety, Drug, Cosmetic, New Engine, New Appliance Transportation Innovations Advertisement, Game, Animated Product, Recreational attraction <ul><ul><li>Creative Product </li></ul></ul>Industrial Design and Architecture Publishing and Printmedia Science and Technology Creative Services Audiovisuals Heritage and the Fine Arts Creative Field
  14. 16. Theaters, Stage Venues, Galleries, Exhibit Halls and Local Sites, LGU, Govt Real Estate Co, Fashion Houses and Brands, Packaging Distributors Book and Magazine Stores, Newspaper stands, Web TV/Radio Networks, Cinemas and Special Theaters, Record Companies Retail and Wholesale Stores/Outlets , Exhibits, Drugstores etc. TV/Radio Networks, Mass Transport, Advertising Avenues, Print Media, Amusement, gaming and recreational Facilities <ul><ul><li>Creative Distribution Mechanisms </li></ul></ul>Industrial Design and Architecture Publishing and Printmedia Science and Technology Creative Services Audiovisuals Heritage and the Fine Arts Creative Field
  15. 17. <ul><li>Art Services, Libraries and Museums generated Php271M in revenue in 2003. </li></ul><ul><li>There are 12,000 employees engaged directly in the performing arts. </li></ul><ul><li>Clothing/Apparel: Top 2 Export. </li></ul><ul><li>Furnitures: Top 6 Export, an increase of 31.3% from 2007. </li></ul><ul><li>Costume Jewelry 140 establishment with more than 10,000workers. </li></ul><ul><li>In 2003, 3000 direct basket manufacturers. </li></ul>More than 5,000 Establishments engaged in printing. More than 60% are small in size and more than 70% are located in MM. There are 373 Screens in the Philippines, 60% are in MM. Film Industry has 0.98% share in GDP in 1998. In 2003, the film industry generated more than Php29B. Total employment contribution is 36,000. ABS-CBN posted Php 598M in net income for the first half of 2008 <ul><li>$28B Manufacturing Revenue in the first half of 2008 (Electronics). It employs almost 1M permanent and casual workers in the country. </li></ul><ul><li>Php 85B Revenue for the Pharma Industry dominated by Multinationals. </li></ul><ul><li>$105M Revenue in 2005 with 50 major animation outfits in the Philippines.The Animation Industry contributes 7000 to the country’s employment pool. </li></ul><ul><li>ITES contributed to more than $500M in 2001 with more than 60000 employees. </li></ul><ul><ul><li>Creative Market Potential and Indicators </li></ul></ul>Industrial Design and Architecture Publishing and Printmedia Science and Technology Creative Services Audiovisuals Heritage and the Fine Arts Creative Field
  16. 18. NCCA, NHI, LGUs, CCP, DepEd, CHED, NCCA, NHA, CHED, DTI PANA, PIA, National Library, DTI, OPS, NCCA MTRCB, OPS, LGUs, DOTC, NCCA, Adboard DOST, DOTC, BFAD, DOH, NCC, CHED, DTI Adboard, DOTC, DOT, CHED, DTI Public Institutional Involvement Industrial Design and Architecture Publishing and Printmedia Science and Technology Creative Services Audiovisuals Heritage and the Fine Arts Creative Field
  17. 19. Economic Contribution of the Creative Industry
  18. 20. Global and Regional Perspective Source: UNCTAD US$227.4 Billion (1996) – Value of world exports of creative industry products and services US$424.4 Billion (2005) – Value of world exports of creative industry products and services 3.4% of world trade
  19. 21. World Exports of all Creative Industry Products and Services by Subgroup, 1996 and 2005 Subgroup Value (millions of S) As % of all creative industries As % of total world exports (goods/services) (2) Value (millions of S) As % of all creative industries As % of total world exports (goods/ services) (2) Growth rate   1996 (1) 2005 (1) 1996-2005 All creative industries (3) 227,451 100.00 - 424,427 100.00 - 6.4 All creative goods (4) 189,214 83.18 3.50 335,494 79.04 3.21 6.0 All creative services (5) 38,237 16.82 2.87 88,933 20.96 3.50 8.8 Heritage 15,760 6.72 - 26,692 5.99 - 5.4 Arts and craft goods 14,738 6.28 0.27 23,244 5.22 0.22 4.3 Other cultural services 1,022 0.44 0.08 3,448 0.77 0.14 12.9 Visual arts 10,331 4.40 - 22,149 4.97 - 7.9 Visual arts goods 10,331 4.40 0.19 22,149 4.97 0.21 7.9 Performing arts 5,100 2.17 - 14,924 3.35 - 13.5 Music goods 5,100 2.17 0.09 14,924 3.35 0.14 13.5 Publishing & printed media 32,180 13.71 - 44,304 9.95 - 3.4 Publishing goods 32,180 13.71 0.60 44,304 9.95 0.42 3.4 Audiovisuals 6,682 2.84 - 18.182 4.08 - 10.5 Audiovisual goods 355 0.15 0.01 664 0.15 0.01 7.6 Audiovisual and related services 6,327 2.69 0.48 17,518 3.93 0.70 10.7 New media 6,804 2.90 - 12,035 2.70 - 6.5 Media goods 6,804 2.9 0.13 12,035 2.70 0.12 6.5 Design 119,706 50.98 - 218,173 49.00 - 6.2 Design goods 119,706 50.98 2.22 218,173 49.00 2.09 6.2 Creative services 38,236 16.29 - 88,779 19.95 - 8.7 Architectural and related services 9,828 4.19 0.74 27,722 6.23 1.11 10.9 Advertising and related services 5,008 2.13 0.38 15,703 3.53 0.63 12.1 Research and development services 13,336 5.68 1.00 17,990 4.04 0.72 3.0 Personal, cultural and recreational services 10,064 4.29 0.76 27,364 6.15 1.10 10.5
  20. 22. Creative Industry in the Philippines <ul><li>The core copyright-based industries consist of: </li></ul><ul><li>Press and literature </li></ul><ul><li>Music, Theater, Opera </li></ul><ul><li>Motion Picture and Video </li></ul><ul><li>Radio and Television </li></ul><ul><li>Photography </li></ul><ul><li>Software and databases </li></ul><ul><li>Visual and graphic arts </li></ul><ul><li>Advertising </li></ul>Core copyright-based establishments made up 31.38 percent of all large establishments, employed 320,871 or 12.18 percent of the total, and provided Php324 billion or 5.37 percent of GDP in 2006 The radio and television sector was the most significant contributor to GDP, bringing in 3.45 percent and in terms of productivity.
  21. 23. Size and contribution of Philippine Copyright-based industries Sector and Industry Number of Establishments Employment Value Added VA as % of GDP* Value Added per Employee (P000) Number % of Total Number % of Total (P000) (Large Establishments) 21,242 2,633,495 2,074,911,477 34.39% 788   Agriculture and mining 928 4.37% 147,989 5.62% 38,196,839 0.63% 258 Industry 6,138 28.90% 1,143,379 43.42% 1,073,272,814 17.79% 939 Services 14,176 66.74% 1,342,127 50.96% 963,441,824 15.97% 718   COPYRIGHT-BASED INDUSTRIES 992,383 37.68% 832,871,710 13.81% 839 Core 6,666 31.38% 320,871 12.18% 323,778,507 5.37% 1009 Press and literature 2,813 13.24% 198,335 7.53% 78,828,015 1.31% 397 Music, Theater, Opera 803 3.78% 22,195 0.84% 13,697,124 0.23% 617 Motion Picture and Video 51 0.24% 3,131 0.12% 1,444,652 0.02% 461 Radio and Television 230 1.08% 45,208 1.72% 208,052,248 3.45% 4602 Photography 861 4.05% 4,521 0.17% 1,622,833 0.03% 359 Software and Databases 1,302 6.13% 38,247 1.45% 15,729,228 0.26% 411 Visual and Graphic Arts 7 0.03% 509 0.02% 55,747 0.00% 110 Advertising 599 2.82% 8,725 0.33% 4,348,660 0.07% 498 Interdependent 151,761 5.76% 109,120,459 1.81% 719 Partial 264,983 10.06% 58,930,178 0.98% 222 Non-dedicated support 254,768 9.67% 341,042,566 5.65% 1339 Copyright-based industries VA share in services: 86.45% Copyright-based industries VA share in major PSIC divisions D,G,I,K,O (manufacturing, trade, transport storage communication, business services, other community social and personal services): 59.24% GDP for 2006 (at current prices) in P000 6,032,624,000 Note: Agriculture includes forestry and fishing Industry consists of manufacturing, electricity gas and water, and construction Services consists of wholesale and retail trade, hotels and restaurants, transport, storage, communication, financial intermediation, real estate renting and business, private education, health and social work, and other community social and personal services
  22. 24. Source: Computed from 2006 CPBI Share of core copyright-based industries in the Philippine Number of establishments
  23. 25. Share of core copyright-based industries in Philippine Employment Source: Computed from 2006 CPBI
  24. 26. Value added share of core copyright-based industries in Philippine Gross Domestic Product Source: Computed from 2006 CPBI
  26. 28. They prioritize science and technology at their earlier economic development stages Countries that have attained a certain standard of living for their citizens More likely to allocate a substantial budget for the upliftment of the arts, the sciences and all forms of creative pursuits. <ul><li>increases in productivity </li></ul><ul><li>reduction in costs </li></ul><ul><li>creation of new products and services for their growing markets. </li></ul>accelerates wealth creation
  27. 29. income rises and taxes increase The government and the population at large more time and money to spend for creative products and services
  28. 30. The contribution of the Creative Industries to gross domestic product (GDP) and gross national income (GNP) is small (at 2% to 5%) for less developed economies but it rises as development accelerates to much higher percentages (7% to 10%). The Philippines remains at number 42 in a universe of 57 countries at the Competitiveness ranking of countries
  29. 31. We are a very service-oriented economy with little competitiveness in both agriculture and industry Agriculture - 62% Industry - 15% Services sector surged to 51.1% Agriculture and Industry Services Sector 1960’s - Employment 1960’s - Employment Services sector yielded only 23%. 2009 - Employment 2009 - Employment Agriculture - 34.3% Industry - 14.5%
  30. 32. The Philippines never followed the general trend of most other countries that metamorphosed gradually from agriculture to industry to services. Services sector rely on cheap labor to generate their sales and profits. Most Filipino laborers are in low value-added, low salary jobs. 20% of our adult work force are pursuing higher pay and higher value-added jobs abroad. IMEDE revealed that the Filipino worker abroad is the most preferred worker in the world. This is an indictment against the businesses and entrepreneurs in the Philippines who have never been able to properly optimize the worth of their workers while in the Philippines.
  31. 33. <ul><li>The Creative Industries can have a multiplier effect on the entire economy by: </li></ul><ul><li>exploiting indigenous natural resources for creative products; </li></ul><ul><li>contracting both rural and urban poor workers to execute creative designs; </li></ul><ul><li>extending the value chain (from supply to market chain) within the boundaries of the Philippines to avoid value losses to the economy; and </li></ul><ul><li>increasing the final value of the creative products and services through better designs, improved technologies, successful inventions and breakthrough innovations. </li></ul>
  32. 34. Entry Strategies Three strategies emanate from the Push (Creative Originators and Enablers) and Pull Factors (Creative Markets and Distribution Network) and the Fulcrum in between (Creative Technologies and Processes used by the Creative Transformers in making Creative Products and Services)
  33. 35. Push Factors Fulcrum Pull Factors Creative Originators and Enablers Creative Transformers and Technologies Demand for Creative Products and Services <ul><li>Architects and Engineers </li></ul><ul><li>Landscapers and Interior Designers </li></ul><ul><li>City/Town Planners and Designers </li></ul><ul><li>Furniture and Furnishing craftsmen </li></ul><ul><li>Schools which educate and train the above </li></ul><ul><li>Architectural and Engineering Technologies and Processes used by public and private firms </li></ul><ul><li>Landscaping, interior designing, city house planning and designing technologies and processes by government and private firms </li></ul><ul><li>CREATIVE CONSTRUCTION PROJECTS </li></ul><ul><li>Buildings and Houses </li></ul><ul><li>Parks and Gardens </li></ul><ul><li>Infrastructure </li></ul>
  34. 36. Push Factors Fulcrum Pull Factors Creative Originators and Enablers Creative Transformers and Technologies Demand for Creative Products and Services <ul><li>Directors </li></ul><ul><li>Scriptwriters </li></ul><ul><li>Lighting and Sound Experts </li></ul><ul><li>Advertising Creatives </li></ul><ul><li>Actors, Dancers, Musicians, Comedians, Acrobats and others </li></ul><ul><li>TV Hosts and Radio Announcers </li></ul><ul><li>Schools that educate and train the above </li></ul><ul><li>Media Broadcasting companies using Creative Technologies and Processes </li></ul><ul><li>Hospitality entrepreneurs who provide entertainment </li></ul><ul><li>Repertory Groups </li></ul><ul><li>Mall Owners </li></ul><ul><li>Advertising Companies </li></ul><ul><li>ENTERTAINMENT </li></ul><ul><li>Television Shows and Advertisements </li></ul><ul><li>Theaters / Clubs (Plays/Shows) </li></ul><ul><li>Film </li></ul><ul><li>Radio </li></ul><ul><li>Video ­­­­­Arcades </li></ul><ul><li>and Theme Parks </li></ul><ul><li>Graphic Arts and Animation </li></ul>
  35. 37. Push Factors Fulcrum Pull Factors Creative Originators and Enablers Creative Transformers and Technologies Demand for Creative Products and Services <ul><li>Events Organizers </li></ul><ul><li>Designers and Executors of Tourism Destinations and Attractions </li></ul><ul><li>Art Curators and Collectors </li></ul><ul><li>Architects, Engineers, Landscapers, Interior Designers </li></ul><ul><li>Chefs and Culinary Artists </li></ul><ul><li>Dancers, singers musicians </li></ul><ul><li>Furniture and Furnishing craftsmen </li></ul><ul><li>Artisans and Craftsmen </li></ul><ul><li>Makers of Decors </li></ul><ul><li>Painters and Sculptors </li></ul><ul><li>Schools which educate and train the above </li></ul><ul><li>Hospitality Industry Entrepreneurs using Creative Technologies and Processes </li></ul><ul><li>Government visionaries and innovators who promote tourism </li></ul><ul><li>Tourism and Travel companies that employ creative process </li></ul><ul><li>Organized local populations who promote festivals, tourist sites and crafts </li></ul><ul><li>TOURISM </li></ul><ul><li>Cultural Sites and Shows </li></ul><ul><li>Festivals </li></ul><ul><li>Museums, Galleries and Exhibitions </li></ul><ul><li>Creatively-Enhanced Natural Environments </li></ul><ul><li>Hotels and Restaurants </li></ul><ul><li>Tourism Destinations and Attractions </li></ul><ul><li>Souvenirs and indigenous / native / distinctive local crafts </li></ul>
  36. 38. Push Factors Fulcrum Pull Factors Creative Originators and Enablers Creative Transformers and Technologies Demand for Creative Products and Services <ul><li>Authors, Writers, Editors </li></ul><ul><li>Landscapers, Park Designers </li></ul><ul><li>Architects, Engineers and Technologists </li></ul><ul><li>Painters, Sculptors </li></ul><ul><li>Composers, Musicians </li></ul><ul><li>Physical Body and Fitness Shapers/Experts </li></ul><ul><li>Schools that educate and train the above </li></ul><ul><li>Publicity companies </li></ul><ul><li>Government and Private Park Owners/Managers </li></ul><ul><li>Entrepreneurs/ Impresarios who promote Parks, Works of Art, Body Sculpting and Fitness Shaping </li></ul><ul><li>LEISURE </li></ul><ul><li>Performing Arts </li></ul><ul><li>Books and Magazines </li></ul><ul><li>Gardens and Stroll/ Picnic/ Nature Parks </li></ul><ul><li>and Theme Parks </li></ul><ul><li>Fine Works of Art (Paintings, Sculptures, Music, Plays, Shows, etc.) </li></ul><ul><li>Cultural Heritage </li></ul><ul><li>Museums, Galleries and Exhibitions </li></ul><ul><li>Sports and Fitness Centers </li></ul><ul><li>Spas and Wellness Centers </li></ul>
  37. 39. Push Factors Fulcrum Pull Factors Creative Originators and Enablers Creative Transformers and Technologies Demand for Creative Products and Services <ul><li>Scientists and Technologists, Inventors and Innovators </li></ul><ul><li>Designers and Engineers of Household, Commercial and Industrial Products </li></ul><ul><li>Electronic and Computer Experts </li></ul><ul><li>Schools that educate and train the above </li></ul><ul><li>Corporations who produce Creative Products using latest Technologies and Processes </li></ul><ul><li>Government Funded Research and Development Projects that get commercialized </li></ul><ul><li>INDUSTRIAL PRODUCTS </li></ul><ul><li>Household appliances, furniture, fixtures, decors and creative construction furnishings </li></ul><ul><li>Innovative machinery, equipment </li></ul><ul><li>Innovative household and personal products </li></ul><ul><li>Innovative Products used by Commercial and Business Establishments </li></ul>
  38. 40. Push Factors Fulcrum Pull Factors Creative Originators and Enablers Creative Transformers and Technologies Demand for Creative Products and Services <ul><li>Designers and Pattern Makers </li></ul><ul><li>Craftsmen and Artisans </li></ul><ul><li>Jewelry Makers </li></ul><ul><li>Watch Makers </li></ul><ul><li>Schools that educate and train the above </li></ul><ul><li>Manufacturing companies </li></ul><ul><li>Boutiques and shops </li></ul><ul><li>Fashion Houses </li></ul><ul><li>PERSONAL FASHION WEAR, JEWELRY, </li></ul><ul><li>FASHION ACCESSORIES </li></ul><ul><li>Apparel </li></ul><ul><li>Shoes and Bags </li></ul><ul><li>Jewelry (Fine and Custom) </li></ul><ul><li>Watches </li></ul>
  39. 41. Main Economic Drivers for the Creative Industries <ul><li>Three main economic drivers for the Creative Industries are </li></ul><ul><li>Construction , Entertainment and Tourism based on the market value of the final products produced. </li></ul>
  40. 42. <ul><li>The emphasis is on building structures for businesses and households. </li></ul><ul><li>Enough sophistication in the upper income classes and the large business establishments to patronize the services of creative originators in the construction industry: </li></ul><ul><li>creative planners </li></ul><ul><li>architects </li></ul><ul><li>engineers </li></ul><ul><li>interior designers </li></ul><ul><li>landscapers </li></ul><ul><li>furniture and fixture makers and </li></ul><ul><li>other creative originators in the construction industry. </li></ul><ul><li>Buildings and houses have adopted themes, motifs and designs aimed to please both the functional and aesthetic desires of their intended owners. </li></ul>Construction
  41. 43. Entertainment Television and radio products and services are the two biggest economic contributors among the core copyrighted industries. Wide reach for advertising industry The film industry has seen its ups and downs but finds a ready long-term re-run market through television broadcasting and through VCD/DVD distribution . First-run ticket revenues are not sufficient to buoy the film industry except for the movie blockbusters. Malls have become entertainment hubs with their movie houses, video arcades and mini-amusement rides.
  42. 44. Tourism (both foreign and domestic) has risen tremendously over the last decade with the opening of more tourist destinations, facilities and amenities. The construction of international and local airports, seaports and road networks has provided much greater access to tourism sites. T he most creative works of architects, engineers, landscapers, interior designers and furniture makers are greatly in demand in tourism because the tourism sites and facilities have to be attractive, distinctive and alluring. Tourism
  43. 45. In 2008, tourism brought in over three million foreigners spending about $796, each or a total of $2.49 billion. More and more, festivals such as the Sinulog of Cebu have become large economic contributors and effective social mobilizers. Sinulog Festival generated large revenues for the local economy and solidified and galvanized local population of Cebu and all its participating contributors. Tourism
  44. 46. <ul><li>Used to be very strong in the country until standardization and commercialization began to favor countries with competitive advantages in labor, power, materials and equipment. </li></ul><ul><li>Only specialized creative services such as beauty parlors and hairstyling shops have survived the onslaught. </li></ul><ul><li>Aesthetic or cosmetic surgery, another creative service, can very well be a sunshine industry for the Philippines. </li></ul>Personal wear, jewelry, fashion accessories
  45. 47. <ul><li>Leisure and Industrial Products have not yet become economically significant and pronounced in the Philippines. </li></ul><ul><ul><li>Absence of sufficiently high income </li></ul></ul><ul><ul><li>No highly competent scientists and technologists, research and development experts, inventors and innovators, engineers and technicians who can match the resources of and do battle with the advanced economies. </li></ul></ul>Leisure and Industrial Products
  46. 48. TOURISM AS A DEMAND DRIVER FOR THE CREATIVE INDUSTRIES <ul><li>Tourism finds great relevance with Arts and Culture through: </li></ul><ul><li>Cultural Heritage and Historical Sites, </li></ul><ul><li>Indigenous People’s Arts, Crafts, Music and Dances, </li></ul><ul><li>the Celebration of Major and Minor Festivals, </li></ul><ul><li>Museums, Galleries, Exhibitions and Distinctive Showcases, and </li></ul><ul><li>Natural and Man-made Tourist Destinations Enhanced by the Creative Industries of the Hospitality Sector </li></ul>
  47. 49. In developing the Creative Industries within the ambit of the Tourism Sector <ul><li>The Philippine National Government Agencies (NGAs), </li></ul><ul><li>in cooperation with </li></ul><ul><li>Local Government Units (LGUs), Business Groups and </li></ul><ul><li>Philanthropic Organizations (BGPOs), </li></ul><ul><li>Non-Government Organizations (NGOs), and </li></ul><ul><li>People’s Community Organizations (PCOs), </li></ul>Should endeavor to adopt and complete the five C ’s of C haining, C apacitating, C ommunitizing, C lustering, and C onverging.
  48. 50. (1) Access, meaning roads, railways, seaports, and airports and the attendant transportation services; (2) Tourism Facilities, meaning hotels, restaurants and other hospitality amenities; and (3) Tourism Attractions which includes the five Arts and Culture elements cited above. The Three Vital elements of the Value Chain
  49. 51. National Tourism Strategy and Development Plan The Tourism “hardware” plan encompasses infrastructure, facilities, site development, and physical attractions/destinations.
  50. 52. <ul><li>the organizational efforts in mobilizing local governments, private corporations, schools, artists and communities to conceptualize, coordinate, and carry out tourism events, </li></ul><ul><li>the historical, socio-cultural and current market research needed to root the tourism efforts on tradition while making them relevant to the contemporary setting, and </li></ul><ul><li>the production and rendering of creative products and services (shows, exhibits, contests, and performances of creative originators). </li></ul>The Tourism “software” plan
  51. 53. National government agencies dedicated to Arts and Culture, Science and Technology and Tourism should provide the support and assistance required to launch local efforts.
  52. 54. Capacitating in Tourism <ul><li>Growing tourism market and the high demand for hospitality services abroad </li></ul><ul><li>Growing number of students in c ourses like hospitality management, hotel and restaurant management, tourism, culinary arts, bar tending and the like </li></ul><ul><li>The Entertainment Sector (mainly television, night clubs and talent shows) has helped boost tourism through the development of artists in singing, dancing, acting and playing musical instruments. </li></ul><ul><li>Local festivals have mobilized schools and private groups to train participants in “street performances”. </li></ul>
  53. 55. DEMAND FESTIVALS OWN TOURISM MARKET <ul><li>Energizes the </li></ul><ul><li>Creative talents </li></ul><ul><li>Enablers </li></ul><ul><li>Transformers </li></ul><ul><li>Marketeers </li></ul><ul><li>Creative talents and Enablers such as: </li></ul><ul><li>Woodcarvers of Betis and Paete </li></ul><ul><li>Jewelers of Meycauayan </li></ul><ul><li>The artists of Angono </li></ul><ul><li>The singers of Loboc </li></ul>Communitizing creatives is a proven formula for boosting the creative economy Communitizing
  54. 56. Clustering Clustering in tourism has a magnetic effect. Cebu-Mactan-Bohol Cluster <ul><li>Cebu </li></ul><ul><li>N atural trading and transportation hub in southern Philippines </li></ul><ul><li>Cebu tourism grew with the construction of hotels, malls and other tourism facilities </li></ul><ul><li>Sinulog Festival is one of the biggest in the country and contributes tremendously to the creative economy </li></ul><ul><li>Construction activities in the island have shown the highest growth rate in the country over the last decade </li></ul>
  55. 57. Cebu-Mactan-Bohol Cluster <ul><li>Mactan </li></ul><ul><li>O pening of the international airport and connecting bridges gave access to the population of Cebu </li></ul><ul><li>Cluster of tourism facilities and attraction (not to mention the industrial zone and the film-making institute set up on the island </li></ul><ul><li>Bohol </li></ul><ul><li>E stablishment of its own beach resorts </li></ul><ul><li>Bohol’s emphasis on its unique features and attractions (old churches, chocolate hills, the tarsier, the singers of Loboc, the river ride, and the unspoiled natural landscape) </li></ul>Cebu-Mactan-Bohol Cluster - a vibrant Creative Economy with Tourism and Entertainment as its anchors and Leisure as its culmination in the fine arts, cultural heritage and the performing arts
  56. 58. Converging follows where Clustering happens Converging <ul><li>Cebu-Mactan-Bohol Cluster </li></ul><ul><li>Accelerated by the appointment of a Cebuano to the post of Secretary of Tourism. </li></ul><ul><li>Government has stepped in with substantial infrastructure investments and marketing support. </li></ul><ul><li>Private businesses have been lured to the islands to establish hotels, malls, entertainment and hospitality centers. </li></ul><ul><li>Artists of various sorts have congregated there to fill the large demand for performers and entertainers. </li></ul>
  57. 59. ENTERTAINMENT AS A DEMAND DRIVER FOR THE CREATIVE INDUSTRIES <ul><li>Television and radio are two of the largest contributors to the creative economy because of the heavy advertising budgets spent by business establishments. </li></ul><ul><li>Part of the wider Media Industry: </li></ul><ul><li>broadcasting (television, cable and radio), </li></ul><ul><li>print (newspapers and magazines), </li></ul><ul><li>digital media (internet, computer services and software), </li></ul><ul><li>film and video, and recorded music. </li></ul>
  58. 60. The large revenues accruing to television and radio have allowed them to pay good money for creative talents. Revenues and/or allocation of funds for the Creative Talents Frontline Entertainers Backroom support Pay for actors, actresses, singers, directors and dancers. Pay for script and screenplay writers and the technical crew (cameramen, lighting experts, film and video editors, set designers, etc. RESULT: Technical training of the backroom crew is largely through “experiential learning” and is limited compared to foreign counterparts
  59. 61. THE SOUTH KOREAN MEDIA AND FILM STRATEGY: EXCERPTS FROM “THE KOREAN TSUNAMI: LESSONS FOR RP’S FILM INDUSTRY” <ul><li>Korea adopted liberalization policies and allowed the direct distribution of foreign films </li></ul><ul><li>Media production should become a national strategic industry because of its contribution to the country’s economy </li></ul><ul><li>Motion Picture Promotion Law in 1995 to entice big businesses to gamble on the Korean film industry </li></ul><ul><li>Script writing and countless revisions, along with very rigorous and robust filmmaking and editing, became the norm . </li></ul>
  60. 62. <ul><li>Basic Law for Cultural Industry Promotion with a budget of $148.5 billion was allocated over several years </li></ul><ul><li>The budget for the cultural sector increased from 485 billion won in 1998 (0.6 percent of the total budget) to 1,282 billion won (1.15 percent). </li></ul><ul><li>In the Korean market , local films catapulted from 21 percent market share in 1995 to 48 percent in 2002 …the number of Korean films climbed from 65 in 1996 to 77 in 2002 . Ticket sales zoomed from 9.8 million to50.8 million …. </li></ul>
  61. 63. Critical success factors of the Korean Media and Film strategy <ul><li>The Korean strategy in the creative industries emphasized major investments in infrastructure, capitalizing on the very strong linkages between government and big business. </li></ul><ul><li>On the software side of the equation, South Korea decided to benchmark itself against Hollywood films as the “international best practice.” </li></ul><ul><li>Korea’s success secrets is the diversity of its offerings (from costume drama to horror films, from comedies to melodramas, from documentaries to genre films, and so on. </li></ul>
  62. 64. <ul><li>In 2008, the Korean Film Council created a film fund worth $55.5 million to chart its future course. </li></ul><ul><li>Based on the distribution of the funds, the priority areas are: </li></ul><ul><li>$41.6 million to diversify investment methods and heighten transparency in production management and accounting; </li></ul><ul><li>$3.4 million for international co-productions; </li></ul><ul><li>$3.4 million for the production of diversity films (i.e. arthouse films); </li></ul><ul><li>$1.1 million to create a 3D market by setting up an on-line distribution method; </li></ul><ul><li>$0.7 million on anti-piracy; </li></ul><ul><li>$0.2 million for ten films to mentor representative Korean directors and support new directors; and </li></ul><ul><li>others. </li></ul>
  63. 65. Korean TV Case Five Cs of Media and Film Industries Converge the forces and resources of the government, the private sector, all the relevant and related industries and institutions and, finally, the concerned citizenry towards this vision. Cluster of core and related industries dedicated to Creative City Development in and around Seoul. Capacity building of creative originators and talents was accelerated by the setting up of schools. Five C’s by having a big vision of where they want to go and be in the future
  64. 66. Five Cs of Media and Film Industries Five C’s by having a big vision of where they want to go and be in the future Communities of independent (and institutional) writers, directors, actors and technical experts sprouted with the huge investments and funding being provided by both big government and big businesses. The success of the Korean strategic efforts brought the most important part of the Value Chain to life – and this is the creation of a huge market for Korean films and telenovelas . Korean TV Case
  65. 67. <ul><li>Envisioned itself as a Global Media City in its Media 21 Plan. </li></ul><ul><li>Construction of a media industry city to be called Mediapolis </li></ul><ul><li>The government would cluster high value-holding media productions and R&D activities </li></ul><ul><li>Positioned Singapore as a media exchange hub, energized by “tax incentives for investments in core media copyrights, co-establishing a Media Loan Fund with private companies to finance copyright projects…establishing a regulatory of media copyrights and promoting media markets.” </li></ul><ul><li>Singapore also sought to institutionalize a Content Development Fund for Made-by-Singapore Content Export, buttressed by “support initiatives to increase bilateral co-production agreements and enhance export promotion.” </li></ul>Singapore Case
  66. 68. Philippine Media and Film Industry <ul><li>The film industry has declining sales and profits . Movie houses do not make money. </li></ul><ul><li>Taxes are high and film piracy is on the rampage . </li></ul><ul><li>T elevision and radio are enjoying high advertising revenues , their offerings are, however, limited to the local Philippine market and the OFWs . (ABS-CBN has 500,000 subscribers in its global Filipino Channel.) </li></ul><ul><li>Many critics cite the lack of creativity, originality and diversity in the current TV program offerings. </li></ul><ul><li>The script writers have become copycats of one another depending on which show is rating and getting the advertising revenues. </li></ul><ul><li>Lack of formal academic training, insufficient exposure to international trends, institutional in-breeding and low pay and priority given to excellent scripts are the often-cited culprits. </li></ul>ISSUES
  67. 69. <ul><li>ABC 5 was bought by the Manuel Pangilinan Group (with major investments in PLDT, Smart, Metro Pacific, Meralco, Makati Medical and other hospitals, etc.). </li></ul><ul><li>Hopefully, more competition would translate to better programs, both aesthetically and technically. </li></ul><ul><li>What the Pangilinan Group might, fortunately, introduce to the Entertainment Sector is the same investment, management, production, market research and financial rigor as the Korean chaebols did to their own film and media industry. </li></ul><ul><li>The good news is that the broadcasting networks have been shaken to reality by the success of Korean, Taiwanese and Mexican telenovelas. </li></ul>Philippine Media and Film Industry OPPORTUNITIES
  68. 70. Five Cs of Media and Film Industries in the Philippines Converge all the major business players (ABS-CBN, GMA, ABC, the large film companies and the Ayala techno hub for the digital arts component in the Entertainment Sector , the National Government Agencies (DTI, DOST, CHED, DEPED, CCP, NCCA), selected Local Government Units (Quezon City, Makati, Manila, Mandaluyong, Pasig, Pasay and San Juan), the Academe (top ten schools with strong programs in the Arts and Humanities), organizations dedicated to the performing arts, foundations funding arts and culture, and other key participants .
  69. 71. Cluster of broadcasting companies in Quezon City (the top three), major players in the digital arts, CCP, NCCA, UP and Ateneo, the QC government, PETA and a few more <ul><li>The idea is to forge a vision for a Creative City Economy (with Quezon City as the center) with all the necessary hardware and software. </li></ul><ul><li>Capacitating process - The Quezon City government can be asked to set up a QC Academy for Arts and Culture to be financially and technically supported by the big three companies. </li></ul><ul><ul><li>This is to generate the future crop of directors, script writers, technicians, actors, set making, and other related crafts. </li></ul></ul><ul><ul><li>Continuing professional education and training programs can be separately or jointly funded and supported also. </li></ul></ul><ul><li>For the digital arts, the QC government has already visualized the city a hub for IT-enabled services to include the computerized graphics and animation arts. </li></ul>
  70. 72. <ul><li>The Converging, Clustering and Capacitating activities should reveal weaknesses in the Value Chain. </li></ul><ul><li>Link that must be strengthened in the Chain is the development of the physical infrastructure and the world-class talents. </li></ul><ul><li>This will lead to the ultimate and most important link to the economy – and that is the generation of a huge market for the Philippine Entertainment Sector. </li></ul><ul><li>Completion of the Converging, Clustering, Capacitating and Chaining strategies should allow for the natural Communitizing of creative originators, enablers, transformers, distributors and marketeers. </li></ul>
  71. 73. LEISURE AS THE CATALYST FOR ARTS AND CULTURE <ul><li>Market Demand </li></ul><ul><li>Performing Arts, </li></ul><ul><li>Fine Works of Arts, </li></ul><ul><li>Books and Magazines, </li></ul><ul><li>Gardens and Stroll/Picnic/Nature Parks, </li></ul><ul><li>Museums and Galleries, </li></ul><ul><li>Cultural Heritage, Sites, Arts and Crafts, </li></ul><ul><li>Amusement Centers and Theme Parks, </li></ul><ul><li>Sports and Fitness Centers and </li></ul><ul><li>Spas and Wellness Centers. </li></ul>
  72. 74. <ul><li>Societies </li></ul><ul><li>write and to read when meaningful events </li></ul><ul><li>craft works of art </li></ul><ul><li>philosophize and fathom the mysteries of life </li></ul><ul><li>erect monuments and palaces, build cities and temples, celebrate victories and achievements </li></ul><ul><li>Leisure, therefore, is the greatest catalyst for Arts and Culture. </li></ul>When societies begin to accumulate wealth more time to pursue and enjoy the finer things in life have a deeper appreciation of who they are as a people and, their culture, heritage and history they embrace the gifts of Leisure
  73. 75. Philippine society has not yet evolved a sophisticated and huge market for the performing and the fine arts.
  74. 76. Philippines, where 90% of the people are in the lower D and E income classes to pursue and enjoy a life of leisure. Many have the time but do not have the means. As a people, we have only begun to gain consciousness as one nation towards the end of the nineteenth century. Even then, not the entire country was involved in the struggle against Spain and America. We have commonality as a colonized country under Spain and America but not as one people. We have many cultures and traditions to build on though, reaching back to our Malay origins. We have enough regional diversity to weave a multi-faceted and colored tapestry. Realities… Philippine society has not yet evolved a sophisticated and huge market for the performing and the fine arts.
  75. 77. Efforts Made <ul><li>The establishment of the Cultural Center of the Philippines and the CCP complex </li></ul><ul><li>The mandate for radio stations to play Original Pilipino Music </li></ul><ul><li>The sponsorships of creative talents, the promotion of visual and film artists, the setting up of resident performing companies, and many more in the 1970s and early 1980s lead to a flowering of Philippine art and culture. </li></ul>A new administration in June 2010, may see the importance of the Creative Industries and realize that they can only be made substantial contributors to the economy if the core creative talents of artists and the nation’s cultural heritage were encouraged, nurtured and propagated.
  76. 78. CASE: SINGAPORE STRATEGY FOR PROMOTING CULTURE AND THE ARTS <ul><li>Build creative capabilities by embedding arts, design and media into the various levels of education and by establishing a flagship art, design and media program at the NUS. </li></ul><ul><li>Create “sophisticated demand” for the arts (a) by promoting public arts projects, (b) by establishing Creative Towns which integrate arts, culture, design and business technology into community planning and revitalization, (c) by hosting a world class Singapore Biennale, and (d) by constructing a new Museum of Modern and Contemporary Art. </li></ul><ul><li>Develop the Creative Industries through (a) cultural tourism, (b) internationalization of recording music, (c) publishing, (d) strengthening arts support industries, and (e) merchandising and supporting Singapore’s heritage resources. </li></ul><ul><li>Develop tourism in tandem with the Creative Industries by (a) holding international events in the creative industries, (b) offering incentives and co-financing to film foreign movies in Singapore, (c) enhancing the physical and cultural attractiveness of Singapore for business and leisure tourists, and (d) branding tourism with the tag line “Uniquely Singapore” (it is not just another busy metropolis). </li></ul>
  77. 79. Philippines’ Key Strategies to Promote the Arts and Culture and the Leisure Sector It needs the strong participation of Local Government Units (LGUs), the Academe, big corporations and various associations and foundations dedicated to the different Arts and Culture sectors. The NCCA and the CCP should be the strongest advocates for advancing Arts and Culture as the Core Creative Sector.
  78. 82. <ul><li>The City of Manila can be the lead LGU in attracting the Leisure markets with several advantages going in its favor: </li></ul><ul><li>The CCP Complex, the Luneta Park, the Manila Bay promenade, the national museums, Intramuros, the Manila Cathedral and other historic churches, Malacañang Palace, period government buildings, </li></ul><ul><li>The Pasig River which is now being rehabilitated, cleared of ugly shanties along its` banks and transformed into a “swimmable, navigable and fishable river” that can ferry tourists to the heart of the Tagalog ( taga-ilog ) region. </li></ul><ul><li>From Manila, the LGUs of Metro Manila, Rizal, Laguna, Cavite, Batangas and Quezon could conceptualize and actualize a larger network and chain of distinctive Creative Cities and Towns, highlighting the regional significance of the Tagalog region in Philippine History, Arts and Culture. </li></ul>
  79. 83. <ul><li>LGUs from the other regions can create their own Arts and Culture clusters. It is essential to have a common thematic approach but with divergent and unique showcases. </li></ul><ul><li>The National Government should identify and support universities and colleges that would act as Centers of Excellence for Arts and Culture, Design and Mass Communications. </li></ul><ul><li>The Department of Education, the Commission on Higher Education, the State Universities and the Local Government Schools should review their curricula and redesign them to incorporate Arts and Culture, Design and Mass Communication where appropriate and effective. </li></ul><ul><li>The Manila Film Festival should be revisited to determine its contribution to the promotion of Philippine Arts and Culture. </li></ul><ul><li>There should be regular National Art Contests and Exhibitions in the fields of Painting, Sculpting, Photography, Music, Industrial Design, Architectural Design, and other important forms of art. </li></ul>
  80. 84. <ul><li>The Philippine Government should invite and incentivize foreign investments in the Arts and Culture Ecozones to establish state-of-the-art studios and to provide venture capital funds for films/shows intended for the international Leisure markets. </li></ul><ul><li>Continuing education facilities and programs in Managing the Arts and in Entrepreneurship in Arts and Culture should be integrated in the CCP Complex and the Arts and Culture Ecozones in partnership with practitioner-oriented schools and institutions, or with large media corporations that would benefit highlight from such an undertaking. </li></ul><ul><li>A more Detailed Mapping of the Creative Industries at the Regional, Provincial, City and Municipality level should be jointly undertaken by the Department of Interior and Local Government, the Department of Tourism, the LGUs themselves, the NCCA and the CCP. Common formats should be provided to them. </li></ul>
  81. 85. DESIGN FOR INDUSTRIAL PRODUCTS, PERSONAL WEAR, JEWELRY AND FASHION ACCESSORIES Markets will get more defined into smaller segments as consumers seek customized and personalized products and services to meet their individualized needs, wants and aspirations <ul><li>Distinctive advantages such as: </li></ul><ul><li>design; </li></ul><ul><li>superior service rendition; or </li></ul><ul><li>natural resources. </li></ul>
  82. 86. The Philippine Advantage <ul><li>The Overseas Filipino Workers abroad - the most preferred laborer in the world. </li></ul><ul><li>Aggressive strategies to promote medical tourism, education, business process outsourcing (especially the higher value-added services), graphic arts and animation and the Filipino entertainer (musicians, dancers and singers). </li></ul><ul><li>The Philippine seas, sand and sun, islands and quaint lands, gold and other minerals have boosted tourism and mining exports </li></ul><ul><li>It is in the field of design where the country has been losing ground, particularly in the furniture and furnishings industry, garments market and fashion accessories lines. (Export sales in these categories have dropped) </li></ul>
  83. 87. CASE: SINGAPORE DESIGN STRATEGY <ul><li>Integrate Design in Enterprise </li></ul><ul><li>providing shared resources and facilities such as business case studies and prototyping facilities </li></ul><ul><li>include the use of design by businesses (SMEs) in assistance schemes given them by government. </li></ul><ul><li>Establish the National Design Agency to promote and facilitate the strategic use of design in the global market; recognize and showcase design excellence in Singapore; raise awareness of the public and businesses on design; and establish a global network </li></ul><ul><li>Nurture a vibrant design community by raising the professional standing and recognition of designers and standard of design in Singapore through development of quality and performance standards and codes of practices; continuing professional development program for designers; national award for design excellence; and anchoring a major international design award in Singapore </li></ul>
  84. 88. Sectoral Strategies: Design <ul><li>Quite expensive and impractical for the Philippine Government to provide a top-notch National Design Agency (should not be “bureaucratized’) </li></ul><ul><li>Better model to pursue is the case of IDEO company </li></ul><ul><li>Products developed for the export market by the Design companies can even be given additional incentives. </li></ul><ul><li>The design costs should be allowed double deduction in the income statement for tax purposes </li></ul>
  85. 89. <ul><li>Philippine Government should encourage the establishment and proliferation of Design Schools through the Commission on Higher Education and TESDA in cooperation with DOST and DTI </li></ul><ul><li>Philippine Government, in tandem with Industry Associations should hold a highly prestigious annual or bi-annual award on Best Industrial Design/Designers, Best Fashion Design/Designers, Best Jewelry and Accessories Design/Designers </li></ul><ul><li>Television companies should feature programs on Philippine Design, Winning Products and Innovative Entrepreneurs to motivate and encourage more creatives to enter the field of design and product innovation. </li></ul>Sectoral Strategies: Design
  86. 90. SECTORAL STRATEGY: CULTURAL HERITAGE AND THE ARTS The holding of festivals, fiestas, exhibitions, shows and other forms of converging people in a big way can be a major strategy for growing the Creative Economy insofar as Cultural Heritage and the Arts Sector.
  87. 91. Sinulog Festival of Cebu <ul><li>Sinulog started as a prayer dance of Cebu’s pre-Hispanic people in honor of their ancestors and gods </li></ul><ul><li>Sinulog Festival was initially revived by David S. Odilao, Jr., regional director of the Ministry of Sports and Youth Development. </li></ul><ul><li>Odilao turned over the Sinulog project to Cebu City under the direction of Mayor Florentino S. Solon, who placed the festival under the Historical Committee for institutionalization purposes </li></ul><ul><li>In 1984, the Sinulog Foundation was organized to perpetuate and sustain the Sinulog Festival </li></ul><ul><li>Sinulog Foundation hired a professional marketing agency to promote the festival and solicit donations from institutional sponsors </li></ul><ul><li>Today, the Sinulog Festival is indelibly ingrained in the culture of Cebu. </li></ul>
  88. 92. <ul><li>Officially, the Sinulog Festival is a nine-day affair, culminating in the procession in honor of the Santo Niño and the Grand Parade on the feast day. </li></ul><ul><li>Unofficially, it starts months before that as groups prepare for their dances and their parade floats. </li></ul><ul><li>The annual Sinulog Grand Parade has become the city’s biggest “social mobilizer and integrator” as people from all walks of life join the Sinulog Festival. </li></ul><ul><li>It has also become the biggest tourist attraction and greatest economic value generator from a single event. </li></ul><ul><li>To stimulate artistic and creative interest and participation, the Sinulog Foundation gave awards for best in dancing, floats and higantes. </li></ul><ul><li>Two beauty pageants were held during the season: the first pageant was for Miss Cebu, which pageant was managed by the Department of Tourism; the second pageant was for the Sinulog Festival Queen (best female lead dancer), which was managed by the Foundation </li></ul>
  89. 93. The Sinulog Festival converges all the major elements of Cultural Heritage and the Arts . In fact it could be pushed further to include more competitions in the Arts, such as music composition, singing (individuals and/or glee clubs), painting and sculpting. The Sinulog Festival has metamorphosed from a prayer dance to a humungous contributor to the Creative Economy.
  90. 94. The religious-cultural events were not overshadowed For Sinulog 2009, some 86 watercrafts of various sizes accompanied the “galleon” carrying the Child King. 2009 Grand Parade - Over fifty groups of more than 6,000 dancers accompanied by bugle boys, baton wielders and drummers joined the parade. The limelight was shared by about 50 floats, 20 “higantes” and a host of puppeteers. The Sinulog Festival converges all the major elements of Cultural Heritage and the Arts . In fact it could be pushed further to include more competitions in the Arts, such as music composition, singing (individuals and/or glee clubs), painting and sculpting. The Sinulog Festival has metamorphosed from a prayer dance to a humungous contributor to the Creative Economy.
  91. 95. Festival Economics
  92. 96. Festival Economics
  93. 97. Festival Economics
  94. 98. <ul><li>The Sinulog Foundation claims that it is able to solicit the support of 10,000 volunteers serving in about fifty-three committees which are grouped in six clusters: </li></ul><ul><li>the promotion cluster in charge of marketing, information dissemination, the trade fair, the photo exhibit and skywalk beautification; </li></ul><ul><li>the contest cluster for all the competitions; </li></ul><ul><li>the presentations/shows cluster which took care of festival events as well as their physical staging; </li></ul><ul><li>the reception cluster for all the arrangements attendant to the reception of foreign and local guests and invited dignitaries; </li></ul><ul><li>social welfare cluster for security and safety, peace and order, legal matters, medical and emergency incidences, crowd control, cleanliness, sanitation, traffic and communications; and </li></ul><ul><li>logistics cluster for transportation, sound systems, lights and electricals, water, permits and regulations. The Sinulog Foundation obtained funding from the local government (Php 8 million from Cebu city), national government agencies (PAGCOR, PCSO and DOT) and private companies amounting to Php30 million in 2009 (if ticket sales are included). </li></ul>
  95. 99. FESTIVAL ECONOMICS: THE CASE OF SINULOG IN I. Creative Originators Approximate Quantity Approximate Average Fees Total Expenses Sources of Donations/Revenues A. Grand Parade Choreographers/ Directors 50 P50,000 per person P2.5M Master Dancers/ Musicians and Props- 300 P60,000 per group P3.0M Dancers 6000 P30M* Direct Donations and Subsidies for Contingents Bugle and Drummer Corps 1000 P40,000 per group P2.0M P56.0M Sewers P3,000 each for 7,000 costumes P21.0M Subsidies from Sinulog Foundation P4.0M Bead workers/ Costumer Jewelers Artists for floats and higantes P100,000 for each float/ higantes Private Engagements ??? Carpenters Materials for floats/higantes P100,000 P4.0M Individual Travel/lodging for visiting contingents P20.0M Contributions P30M Food for other Participants** P7.5M Sub-Total P90.0M B. Photographers Photography Expenses 1,000 P2,000 each P2.0M Prizes Entry Fees 1,000 P 500 each P0.5M Sales of Photographs C. Film Makers Short Film Features 20 P25,000 P0.5M Prizes Sales of Films Total P93M
  96. 100. II. Creative Enablers/ Transformers (Funders, Organizers, Entrepreneurs) Approximate Quantity Approximate Average Fees Total Expenses Sources of Funds/ Donations, Sales A. Sinulog Foundation Prizes P8.0M Sponsorships Exchange Deals P4.0M P10.0M Sponsorships of Events P4.0M Donations Stage Construction P2.0M P10.0M Parade/ Crowd Control P1.3M Ex-Deals Nightly Launching P1.2M P3.5M Secretariat P1.0M Ticket Sales Financial Assistance P0.8M P30.0M Publicity P0.8M Trade Fair Others P1.9M P2.5M Others P1.0M Sub-Total P25.0M P30.0M Surplus P5.0M B. Local Governments P8.0M Other Participants P22.0M P30.0M C. Corporate Sponsorships To Sinulog Foundation P10.0M To Others P 5.0M P 15.0M D. Schools 1. Teachers/ PE Instructors ? School Boards 2. Scholarships to Performers E. Beauty Pageant Organizing ?
  97. 101. II. Creative Enablers/ Transformers (Funders, Organizers, Entrepreneurs) Approximate Quantity Approximate Average Fees Total Expenses Sources of Funds/ Donations, Sales F. Fluvial Parade Organizing ? Catholic Church 1. Galleons 2. Decorating watercrafts 3. Miscellaneous Expenses G. Church Novenas, Masses, Vigils, Ceremonies ? H. Security/Safety 1. Police Officers 1,000 P200 allowance P2.0M DILG 2.Policemen 8,000 Per person 3. Barangay Tanods 1,000 10,000 I. Communicators 600 P500 allowance per person P0.3M J. Water Stations 30 ? K. Medical Assistance ? 1. Medical Stations 2. Doctors/Nurses/Aids L. Media Coverage ? Advertisements
  98. 102. III. Creative Markets Quantity Approximate Average Fees Total Expenses 1. Foreign Tourists 65,000 (2 nights each equals 130,000) US700@ P47 to US$1 or P32,900 per night P4,3.Billion 2. Domestic Tourists 76,000 (2 nights each equals 152,000) P5,000 per night P760 Million 3. Local Residents 200,000 households P3,000 per household P600 Million P5.7 Billion
  99. 103. Breakdown of Foreign Tourists’ Expenses (Estimated) Accommodations US$ 207 29.6% P1.27 Billion Food/Beverage US$ 201 28.7% 1.23 Billion Entertainment US$ 60 8.6% 0.37 Billion Shopping US$ 182 26.0% 1.12 Billion Others US$ 50 7.1% 0.31 Billion US$ 700 100.0% P 4.3 Billion Multiplier Effect of Cash Inflow X 2 P8.6 Billion Including Local Money P5.7 Billion X2 P11.4 Billion
  100. 104. What strategies and programs does this suggest for the national and the local governments as well as for the CCP and the NCCA? <ul><li>Document significant festivals , folkloric traditions, religious, social and political events that provide the cultural foundation of a town, city or province. </li></ul><ul><li>Invest in infrastructure that preserves the historical and socio-cultural legacy of the place as well as the creative works of its people </li></ul><ul><li>Revive traditions, customs, dances, art forms and the like and make them relevant to the modern era by converting them to contemporary and “living arts.” </li></ul>
  101. 105. <ul><li>Institutionalize/legalize the management of festivals, tours and promotion of Culture and the Arts through the creation of foundations, working committees and agencies and through the provision of annual funding and/or the raising of funds </li></ul><ul><li>Organize the Creative Originators, Enablers and Transformers of an area or cluster with the help of CCP and NCCA and map out a Strategic Plan and Action Program . Designate “champions” that will conceptualize and execute the plans and programs well. </li></ul><ul><li>Commission a professional marketing group for branding purposes and for awareness and interest-raising . </li></ul><ul><li>For CCP and NCCA, launch an advocacy program linking Cultural Heritage and the Arts to significant events (festivals, foundation days, fiestas, etcetera) of a particular area or cluster. Prepare a budgetary request that would enable CCP and NCCA to carry out this advocacy properly. </li></ul>
  102. 106. CREATIVE FIELD: Heritage and the Fine Arts
  103. 107. HERITAGE and the FINE ARTS <ul><li>Heritage sites are relics of ancient civilizations, over the years considered as cultural patrimony of mankind and the heritage of nations. </li></ul><ul><li>Heritage is also embedded in the traditional cultural expressions of human creativity, manifested in cultural celebrations, festivals and folklore. </li></ul><ul><li>The heritage domain comprises tangible and intangible goods and services. </li></ul>
  104. 108. HERITAGE SERVICES <ul><li>Heritage services cover the cultural and recreational services that are associated with historical monuments, archaeological sites, museum, libraries, etc. </li></ul><ul><li>Traditional cultural festivities, including festivals, are culturally important creative activities for developing countries, particularly when associated with tourism. </li></ul><ul><li>( UNCTAD Report on the Creative Economy ) </li></ul>
  105. 109. CREATIVE SECTORS INVOLVED: Cultural Sites Traditional Arts and Crafts Visual / Literary Arts Performing Arts
  106. 110. CREATIVE PRODUCTS: Heritage Sites Museums Cultural Celebrations/Festivals
  107. 111. CREATIVE PRODUCTS The visual arts subgroup comprises antiques, painting, sculpture and photography as well as the open-ended miscellaneous items of ‘other visual arts’ consisting of engravings, carvings, lithographs, collages and other ornaments.
  108. 112. <ul><li>As of 2008, the Philippines had five declared world heritage sites. </li></ul><ul><li>Tubbataha Reefs Natural Park in Palawan </li></ul><ul><li>Rice Terraces of the Philippines </li></ul><ul><li>Puerto Princesa Subterranean River National Park, </li></ul><ul><li>Historic Town of Vigan </li></ul><ul><li>Baroque Churches of the Philippines (San Agustin in Manila, La Asuncion in Santa Maria in Ilocos Sur, San Agustin in Paoay, Ilocos Norte, and Santo Tomas in Miag-ao, Iloilo. </li></ul>Cultural Sites
  109. 113. Heritage Sites Churches and Fortifications Natural Parks, Sanctuaries and Reefs Protected Landscapes and Seascapes and Marshes Geological Sites Towns and Settlements Ilocos Norte Ilocos Sur Batanes Cagayan Isabela NCR Rizal Batangas Samar Palawan Iloilo Romblon Bohol Cebu Sulu Davao del Sur Siquijor Misamis Occidental Lanao del Sur Agusan del Sur Agusan del Norte Maguindanao Sultan Kudarat South Cotabato
  110. 114. Museums The Philippine Culture and Information Office listed a total of 154 museums in the Philippines, majority of which were set up by private individuals, private institutions such as universities, colleges and religious organizations and private corporations. The National Capital Region, particularly the city of Manila hosted the most number (48) of museums. Manila alone had 25 government and privately run museums, followed by Quezon City with 10.
  111. 115. Museums 48 Iloilo Davao del Sur Cotabato Number of Museums More than 10 5-9 Museums Bukidnon Zamboanga del Norte Capiz Occidental Mindoro Benguet Ifugao Mountain Province Ilocos Norte Ilocos Sur Cagayan NCR Palawan Agusan del Norte Below 5 Museums Pangasinan La Union Nueva Ecija Bulacan Zambales Rizal Cavite Laguna Batangas Romblon Camarines Sur Albay Aklan Negros Occidental Bohol Cebu 12 Samar Leyte Negros Oriental Lanao del Norte Lanao del Sur Sulu Tawi-Tawi NCR Museums Makati 3 Malabon 1 Mandaluyong 2 Manila 25 Pasay 5 Pasig 1 Quezon City 10 San Juan 1
  112. 116. Cultural Celebrations/Festivals The Department of Tourism has identified 627 festivals and cultural celebrations observed in the country’s regions and provinces. The Visayas region , particularly Western Visayas had the most number of festivals celebrated . The Visayas provinces accounted for nearly 29% of the total number of festivals in the country. The NCR, CALABARZON and CARAGA had almost equal number of festivals ranging from 53 to 57 but they came a far second to Western Visayas. Major festival destinations in these regions were Batangas (19) and Laguna in CALABARZON and in CARAGA. Among the provinces with numerous festivals were Iloilo (36), Negros Occidental(36), Davao del Norte (35) Lanao del Norte (30), Cebu (29) Benguet (22), and Surigao del Norte (20),
  113. 117. Cultural Celebrations/ Festivals More than 50 Festivals by Region 30-49 Festivals Below 30 Festivals 112 53 57 56 47 30 35 30 35 29 26 23 24 22 24 19 5 Regions # of Festivals NCR 56 CAR 29 1 26 2 23 3 30 4a 57 4b 24 5 35 6 112 7 47 8 22 9 24 10 30 11 35 12 19 13 53 ARMM 5 Total 627
  115. 119. Global Performance of the Heritage and Fine Arts Sector World exports of all creative-industry products (goods and services), by subgroup, 1996 and 2005 Subgroup Value (millions of S) As % of all creative industries As % of total world exports (goods/ services) (2) Value (millions of S) As % of all creative industries As % of total world exports (goods/ services) (2) Growth rate   1996 (1) 2005 (1) 1996-2005 All creative industries (3) 227,451 100.00 - 424,427 100.00 - 6.4 All creative goods (4) 189,214 83.18 3.50 335,494 79.04 3.21 6.0 All creative services (5) 38,237 16.82 2.87 88,933 20.96 3.50 8.8 Heritage 15,760 6.72 - 26,692 5.99 - 5.4 Arts and craft goods 14,738 6.28 0.27 23,244 5.22 0.22 4.3 Other cultural services 1,022 0.44 0.08 3,448 0.77 0.14 12.9 Visual arts 10,331 4.40 - 22,149 4.97 - 7.9 Visual arts goods 10,331 4.40 0.19 22,149 4.97 0.21 7.9 Performing arts 5,100 2.17 - 14,924 3.35 - 13.5 Music goods 5,100 2.17 0.09 14,924 3.35 0.14 13.5 Source: UNCTAD secretariat calculations based on data in United Nations Comtrade
  116. 120. Economic Contribution of the Heritage and Fine Arts Sector: Philippines <ul><li>number of heritage and performing arts establishments totaled 1,671 </li></ul><ul><li>employed 27,225 workers or an average of 16 workers per establishment </li></ul><ul><li>photography accounted for the highest employment, closely followed by performing arts (music, theater and opera) </li></ul><ul><li>visual and graphic arts which had less than 10 establishments had the lowest number of employed but the highest average employment per establishment at 73 </li></ul>Source: CPBI records Source: Computed from 2006 CPBI Heritage and Performing Arts Number of Establishments Employment Value Added Employment per Establishment Value Added per Establishment (P000) Value Added per Employee (P000) Number Number (P000) Music, Theater, Opera 803 22,195 13,697,124 28 17,057 617 Photography 861 4,521 1,622,833 5 1,885 359 Visual and Graphic Arts 7 509 55,747 73 7,964 110 Total 1,671 27,225 15,375,704 16 9,201 565 Value added as % of GDP 0.25%
  117. 121. Economic Contributions <ul><li>Number of establishments: 7 </li></ul><ul><ul><li>Includes galleries, museums </li></ul></ul><ul><li>509 employees </li></ul><ul><li>56 million pesos value added contribution to the Philippine economy </li></ul><ul><li>7.9 million pesos value added per establishment </li></ul><ul><li>110,000 pesos value-added per employee </li></ul>Source: NSO
  118. 122. Exports and Imports of Visual and Graphic Arts (in US$) Source: NSO *includes paintings, drawings by hand; collages and similar decorative plaques of cork/wood, of base Metal and other materials; original engravings, prints and lithographs, original sculptures
  119. 123. The One Town One Product (OTOP) program has identified towns specializing in particular crafts and they employed around 5,000 workers and generated investments averaging more than P1.0 million each. Province Product Employment La Union Furniture 12 firms engaged in furniture making, 410 carvers, finishers, carvers; Combined total assets of P43 million Nueva Ecija (Gapan, San Isidro, San Antonio, Cabiao) Gifts and holiday decor 250 workers Laguna ( Paete) Wood and paper mache 2,000 workers, 68 direct jobs Marinduque Loomweaving {P1.8 million investments) Albay (Tiwi) Ceramics 80 new jobs created; P1.643 investments Iloilo Bamboo-based products More than 300 workers; 20 bamboo-based enterprises Bohol (50 barangays in Inabanga) Woven raffia 1, 910 home-based workers Economic Contribution of Traditional Crafts
  121. 125. CREATIVE DISTRIBUTION <ul><li>Performing arts products such as dance, theater production, musical presentations are made available to the public through theaters, and stage venues. </li></ul><ul><li>Traditional arts and crafts can be obtained from tourist sites as well as from seasonal product exhibits or trade fairs. </li></ul><ul><li>Common venues for trade fairs in Metro Manila are the World Trade Center in Pasay City and the SM Megatrade Hall in Mandaluyong City as well as some exhibit halls used by local government units. </li></ul><ul><li>Visual arts products are mostly distributed through art galleries. </li></ul><ul><li>221 Art Galleries </li></ul><ul><li>Nearly all of the galleries are located in NCR (210) </li></ul>
  122. 126. Art Galleries <ul><li>221 Art Galleries </li></ul><ul><li>Nearly all of the galleries are located in NCR (210) </li></ul><ul><li>Large concentration of galleries were located in Makati (58), Mandaluyong (43), Quezon City (40) and Manila (26). </li></ul>Venues for Performances <ul><li>Musical presentations were usually staged in at least 23 main venues located mostly in the NCR. </li></ul><ul><li>Traditional venues were the CCP theater, the Folk Arts Theater, PICC Plenary Hall which formed part of the CCP complex. </li></ul><ul><li>Emerging venues for performances were the Captain’s Bar in Makati, Carlos P. Romulo Auditorium in Makati and the Teatrino Promenade in Greenhills which catered to more intimate performances for smaller groups </li></ul>
  124. 128. Transformation mechanisms for the heritage and fine arts sector include production houses/guilds, performing groups, events companies and sponsoring groups from government and private institutions.
  125. 129. Philippine Cultural Community Music and Dance Groups Source: CCP Directory of Philippine Cultural Communities 5 4 4 2 2 1 2 2 1 2 3 2 1 1 3 REGION Number of Community Groups NCR 5 CAR 4 II 4 III 2 IV-A 2 IV-B 1 VI 2 VII 2 VIII 1 IX 2 X 3 XI 2 XII 1 XIII 1 ARMM 3 Total 31
  126. 130. Dance Companies <ul><li>The three leading ballet companies in the Philippines: </li></ul><ul><li>Ballet Philippines </li></ul><ul><li>Philippine Ballet Theatre </li></ul><ul><li>Ballet Manila </li></ul><ul><li>Other dance groups specializing in modern/ contemporary dance. Unlike the folk/traditional dance groups which were mostly school-based, majority of those involved in modern/contemporary dance were established by private individuals or groups and performed professionally. </li></ul><ul><li>Among the leading dance companies which had introduced innovative and experimental approaches to dance as a medium of artistic expression were Dance Forum, the Douglas Nierras Powerdance, the Chameleon Dance Company and the Dancing Wounded Contemporary Dance Commune. </li></ul>
  127. 131. Source: CCP Directory of Philippine Cultural Communities 5 4 4 2 2 1 2 2 1 2 3 2 1 1 3 CCP Affiliated Dance Groups REGION Number of Community Groups NCR 5 CAR 4 II 4 III 2 IV-A 2 IV-B 1 VI 2 VII 2 VIII 1 IX 2 X 3 XI 2 XII 1 XIII 1 ARMM 3 Total 31
  128. 132. Folk/Traditional Dance Groups <ul><li>Folk dance troupes were mostly school-based dance groups </li></ul><ul><li>More than half (54%) of those listed in the CCP directory were of this category </li></ul><ul><li>Notable among these were CCP’s resident companies: </li></ul><ul><ul><li>Ramon Obusan Folkloric Group </li></ul></ul><ul><ul><li>Bayanihan Philippine National Dance Company. </li></ul></ul>Professional Theater Companies <ul><li>Nine (9) professional theater groups were all based in the NCR, particularly in Manila, Makati and Mandaluyong. </li></ul><ul><li>Repertory Philippines Foundation and the PETA were the oldest, followed by Gantimpala Theater Foundation. </li></ul><ul><li>Repertory Philippines was the only theater company which had regular week-end theater productions throughout the year. On the other hand, Stages had diversified into talent and events management, in addition to theater production. </li></ul>
  129. 133. Source: CCP Directory of Philippine Cultural Communities 1 6 3 2 5 2 Community-Based Theater Groups 10 1 16 3 11 REGION Number of Community-Based Theater Groups NCR 6 CAR 1 III 10 IV-A 16 IV-B 1 V 3 VI 11 VII 3 VIII 2 XI 5 XIII 2 Total 60
  130. 134. Source: CCP Directory of Philippine Cultural Communities 1 2 2 5 9 School-based Theater Groups 1 14 6 13 12 7 1 5 3 3 REGION Number of School-Based Theater Groups NCR 12 CAR 1 III 7 IV-A 14 IV-B 1 V 6 VI 13 VII 2 VIII 2 IX 1 X 5 XI 5 XII 3 XIII 9 ARMM 3 Total 82
  131. 135. Musical Groups <ul><li>Choirs </li></ul><ul><li>Various listings of different organizations and information sources recorded around 358 choirs in the Philippines. </li></ul><ul><li>They consisted mainly of school-based or university-based choirs, church-based choirs, company, and area-based choirs. </li></ul><ul><li>Church-based choirs made up the biggest chunk of this musical group with every parish or church having its own church choir. 8 </li></ul><ul><li>University or college-based choirs numbered 45 and included the world renowned UP Madrigal Singers, UP Concert Chorus and the Ateneo de Manila College Glee Club, among others. </li></ul><ul><li>51 of these choirs had participated and/or had won in national and local competitions </li></ul><ul><li>approximately 17 choirs had been performing professionally </li></ul>
  132. 136. Musical Groups <ul><li>String Ensembles </li></ul><ul><li>String ensembles consisting of three or four instrumentalists are usually professional groups who perform during special occasions. </li></ul><ul><li>Current listings from various service directories as well as the records of CCP placed the number of string ensembles at 43. </li></ul><ul><li>Nearly all of them (31) were based in the NCR, notably in Manila and Quezon City while the rest were mostly in CALABARZON (6) </li></ul><ul><li>Orchestras </li></ul><ul><li>Based on the CCP list, there were 10 known orchestras in the Philippines, five of which were in Manila, 1 in Pasay, 3 in Quezon City and one in Cebu City. </li></ul>
  133. 137. Choirs More than 50 Festivals by Region 30-49 Festivals Below 30 Festivals 210 65 25 1 6 1 3 7 12 2 1 5 7 3 REGION Choirs NCR 210 CAR 6 I 9 III 25 IV-A 65 IV-B 1 V 3 VI 7 VII 12 VIII 2 IX 1 X 5 XI 7 XIII 3 Total 356
  134. 138. String Ensembles More than 50 Festivals by Region 30-49 Festivals Below 30 Festivals 210 65 25 1 6 1 3 7 12 2 1 5 7 3 REGION Choirs NCR 210 CAR 6 I 9 III 25 IV-A 65 IV-B 1 V 3 VI 7 VII 12 VIII 2 IX 1 X 5 XI 7 XIII 3 Total 356
  135. 139. Craft Producers Legend: CPEAPI – Christmas Décor Producers & Exporters Association of the Philippines HAPI – Home Accents Group of the Philippines PEMAPI – Pottery Exporters & Manufacturers of Pampanga, Inc. WOODTAG – Wooden Gifts & Accessories Manufacturers, Inc. PCHI – Philippine Chamber of Handicraft Industries ANP – Association of Negros Producers Philippine Chamber of Handicraft Industries (PCHI) , one of the biggest association of handicraft manufacturers in the country composed of manufacturers/producers, exporters, traders and subcontractors of Philippine handicrafts with 113 members mostly located in NCR. Association of Negros Producers (ANP) was an organization of small and medium scale entrepreneurs in Negros Oriental and Negros Occidental engaged in the production of furniture and furnishings, gifts and handicrafts, fashion and food with 96 members mostly based in Negros Occidental. REGION Number of Crafts Association Number of Member Companies NCR 4 (CPEAP, WOODTAG,HAPI, PCHI) 160 CAR 1 (CPEAP) 1 III 5 (GTH Bulacan, HAPI, PEMAPI, WOODTAG, PCHI) 43 IV-A 3 (CPEAPI, HAPI, PCHI) 32 V 1 (PCHI) 1 VI 2 (WOODTAG, ANP) 50 VII 4 (Cebu GTH, PCHI, ANP, Crafts Assoc.) 91 Total 20 378
  136. 140. Handicrafts of Aklan Multipurpose Cooperative (HAMPCO) . HAMPCO is an association of weavers of piña cloth in Aklan. It has 373 members, 90 percent of whom are women. There are 12 other production groups in Aklan that specialize in the province’s indigenous materials, such as nito, raffia, knotted abaca twine, bariw and tayok tayok paddy grass. Inabanga Loomweavers Association (ILA) in Bohol . The ILA is an association of 1,910 home-based raffia loom weavers in the 50 barangays of the municipality of Inabanga in Bohol province. Community Associations/ Cooperatives
  138. 142. Associations/Organizations for Cultural and Indigenous Communities <ul><li>In order to promote the transmission of cultural heritage by ensuring its transmission to the next generations, the NCCA established Schools of Living Traditions (SLTs). </li></ul><ul><li>The School of Living Traditions (SLT) is one where a living master/culture bearer or culture specialist teaches skills and techniques of doing a traditional art or craft. </li></ul><ul><li>The mode of teaching is usually non-formal, oral and with practical demonstrations. The site may be the house of the living master, a community social hall, or a center constructed for the purpose. </li></ul>Schools of Living Traditions (SLTs)
  139. 143. Schools of Living Traditions 9 Nueva Vizcaya Iloilo Davao del Sur Cotabato Number of Schools of Living Traditions (SLTs) More than 5 SLTs Below 5 SLTs Bukidnon Zamboanga del Sur Capiz Occidental Mindoro Benguet Ifugao Kalinga Mountain Province Ilocos Norte Ilocos Sur Abra 6 Bataan Palawan Zamboanga Sibugay 5 7 Davao Oriental Davao del Norte Compostella Valley 6 Sultan Kudarat Sarangani Source: NCCA REGION Number of SLTs No of Trainees/ Students CAR 13 380 I 6 190 II 3 75 III 1 30 IV-B 11 95 VI 2 50 IX 4 85 X 1 60 XI 16 620 XII 10 281 Total 67 1,866
  140. 144. Philippine Association of Printmakers (PAP). The PAP was founded in 1968 mainly to enhance Filipinos’ appreciation for printmaking by bringing artworks to art lovers in the regions, educating and conducting training workshops to improve the artistic environment among artists and discovering new talents. Art Association of the Philippines (AAP). The AAP is an art organization that aims to &quot;advance and foster, and promote the interests of those who work in the visual arts.&quot; (AAP Amemded By-Laws, 1986). It was originally intended as an alumni association of UP fine arts students and graduates when it was founded by Purita-Kalaw Ledesma, an art collector in 1948 but soon attracted the country’s many artists, even those who were not from UP. Visual Arts Associations
  141. 145. AAP Affiliated Groups Iloilo (2) Davao (1) Capiz Cavite (2) Benguet NCR Palawan Manila (20) Quezon City (3) Las Piñas (1) Marikina (20) Baguio (2) Bulacan (9) Pampanga (1) Rizal (3) Batangas (2) Albay (2) Pangasinan (1) Negros Occidental (1) Source: Art Association of the Philippines (AAP) Location Number Manila 20 Quezon City 3 Las Piñas 1 Marikina 1 Baguio 2 Bulacan 9 Pampanga 1 Rizal 3 Cavite 2 Batangas 2 Pangasinan 1 Albay 3 Iloilo 2 Negros Occidental 1 Davao 1 Total 51
  142. 146. Community Art Groups Art groups consisting mostly of small groups of artists coming from a particular area, municipality, province or school who banded together to pursue common activities such as mounting an exhibit, participating in art contests, conducting workshops or exchanging information and technologies. Sining, Kulay at Tinta , better known as the SIKAT Art Group is an art group based in Antipolo, Rizal, Philippines, with member-affiliates abroad. Although the main works are in the visual arts category, members are comprised of sculptors, graphic artists, writers, and photographers as well. Center for Bikol Arts Foundation (CEBIKA ) is an aggrupation of visual artists, sculptors, performing artists and musicians based in the Bicol region. It has 72 members who work together to mount exhibits and performances. Baguio Arts Guild (BAG) which was established in 1987 by a small group of Baguio-based multi-media artists has been expanded to accommodate members engaged in the fields of fine art, theatre, music and literary arts. Neo Angono was founded in November 2004 as a movement and organization of artists, writers and poets, musicians, theater people, filmmakers, cultural workers and art critics and researchers. At present, it has 65 members, most of whom are residents of Angono.
  143. 147. Bacolod City gave rise to a number of art groups, each known for the style and philosophy of art that it espoused. <ul><li>Art Association of Bacolod which was established in 1975 by a self-taught artist, Edgardo Lizares. The association housed a number of artists who made it in the national art scene. The association was initially made up of mostly conservative artists but later on took on artists with different perspectives. </li></ul><ul><li>Concerned Artist of the Philippines (CAP) which some members in the visual arts section who left the organization and founded Black Artists of Asia which promoted art with socially and politically relevant themes. CAP later on became the Federation of Concerned Artists in Negros </li></ul><ul><li>Dihon which was composed of visual artists whose art was leftist in orientation and supports the nationalist democratic movement. Dihon disbanded later on and gave birth to KAMI, a group of students from the L.C.C. School of Fine Arts who created art with a cause philosophy. </li></ul><ul><li>Today most active art group in Negros is Kulapol composed of mostly Pabrika based young artists; BABAYI , a group of women artists; SUGA , an art group from Silay; and Art Attack Collective which spearheaded some of the art activities in Negros. </li></ul>Community Art Groups
  144. 148. The Philippine Art Education Association (PAEA) is an association of art teachers devoted to the education of art teachers which they are expected to pass on to their students and by so doing help promote art among the Filipinos. It was founded in 1968 with the mission to provide opportunities for cooperative study and discussion of common problems and experiences related to the teaching of art; and provide in-service training for teachers in different levels and various aspects of art education. It has more than 200 members from private and public schools and other institutions in the Philippines. Philippine Art Education Association (PAEA)
  145. 149. PAEA Members Cavite (1) NCR Marikina (13) Quezon City (17) Other Cities (12) Ilocus Sur (1) Bulacan (3) Rizal (1) Batangas (2) Pampanga (1) 42
  146. 150. <ul><li>Philippine Association of the Record Industry (PARI ) . </li></ul><ul><li>PARI was a non-profit, non-stock, purely private industry organization organized in 1972 primarily to promote and develop a legitimate and Philippine viable music industry. </li></ul><ul><li>PARI has promulgated a Code of Ethics to maintain harmonious relationships among various sectors of the industry and to protect the public welfare. </li></ul><ul><li>It organized local and international concerts, competitions and festivals to promote Pilipino music both here and abroad. </li></ul>Music Associations Source: REGION Number of Members ( Corporate & Associate Members) NCR 30 I 1 IV-A 2 VI 1 VII 1 Total 35
  147. 151. <ul><li>Koro Filipino: The Philippine Choral Guild. </li></ul><ul><li>Koro Filipino was the first choral guild of the Philippines. It promoted and supported its member choirs in becoming world-class musicians. </li></ul><ul><li>It provided a venue where choralists and conductors met and made music with the arrangers and composers. </li></ul><ul><li>Koro Filipino had 31 member choirs and 15 individual members. </li></ul>Music Associations
  148. 152. <ul><li>Philippine Legitimate Stage Artists Group (Philstage). </li></ul><ul><li>Philstage was the country’s premier organization for performing arts companies. It was composed of arts companies namely Actors Actors, Inc., Ballet Philippines (BP), Ballet Manila (BM), Gantimpala Theater Foundation (GANTIMPALA), Organisasyon ng Pilipinong Mangaawit (OPM), PETA, Repertory Philippines, Tanghalang Pilipino (TP), and Triumphant People’s Evangelistic Society (TRUMPETS). </li></ul><ul><li>Alyansa ng mga Manggagawang Pangkultura sa Kamaynilaan at mga Karatig-Pook (Alyansa Inc.) </li></ul><ul><li>Composed of individual artists and cultural groups from schools, communities and workplace in the Philippines which sought to develop a humane society by using art and culture as tools and processor for people’s empowerment and participation in nation building </li></ul>Theater Associations
  149. 153. <ul><li>Samahan ng mga Papetir sa Pilipinas (SPP) </li></ul><ul><li>The SPP was a union of puppeteers in the Philippines. Among its members were the following: </li></ul><ul><ul><li>Ony Carcamo - premier ventriloquist in the Philippines </li></ul></ul><ul><ul><li>ANINO Shadowplay Collective – a group of multi-media artists </li></ul></ul><ul><ul><li>Tali Galaw (established in 1995) – the first and only Filipino marionette group </li></ul></ul><ul><ul><li>Teatrong Mulat ng Pilipinas (founded in 1977) – inspired by Asian puppet techniques </li></ul></ul><ul><ul><li>Roppets – conducted field trips, school and mall tours and catered to birthday parties and other social events </li></ul></ul><ul><ul><li>Black Theater of Manila (established in 1978) – the information dissemination arm of the Philippine Information Agency; its goals were to experiment on the use of popular folk and low-cost media in development communication and develop information materials for child audiences. </li></ul></ul>Theater Associations
  150. 154. Dance Associations Philippine Folk Dance Society . Founded in 1949, the Philippine Folk Dance Society brought together physical education students, teachers, administrators and individuals interested in folk dancing. It intended to preserve and propagate authentic Philippine folk dance and to enrich our knowledge of native folk dances. The dance society sponsored dance clinics and developed new materials from the field. Philippine Professional Dance Sport Association (PPDSA) . The PPSDA was the first organization to professionalize ballroom dancing by conducting the first Dance Sport Teacher Training Programs that culminated in the examination and certification of dance teachers by the FATD and AATD. The PPSDA board was selected from the successful certified dance teachers.
  151. 155. Schools Offering Courses on Heritage and the Performing Arts Dance Studios Dance Studios ( Philippine Dance Network, CCP Directory and Association of Ballet Academies) <ul><li>Existing data sources recorded 91 dance studios , nearly three-quarters (71.4%) of this number were located in the NCR with Quezon City as the major location of the biggest cluster of dance studios numbering 25. </li></ul><ul><li>37% of the listed dance studios were offering ballet lessons </li></ul><ul><li>Other dance schools offered lessons on a variety of dance types such as modern/jazz, hip hop, street dancing, ballroom dancing and also ballet </li></ul>REGION Number of Dance Studios NCR 65 III 6 IV-A 7 V 1 VI 5 VII 2 VIII 1 X 2 XI 1 XII 1 Total 91
  152. 156. <ul><li>As of 2008, a total of 34 colleges and universities in all regions of the country offer degree programs in Fine Arts where students are given choices to pursue areas of specialization or majors that include Painting, Visual Arts and Communication, Sculpture, Industrial Design, Interior Design, and Advertising, among others. </li></ul><ul><li>Majority of these colleges and universities are in the National Capital Region. </li></ul><ul><li>The University of the Philippines in Diliman has the most comprehensive program offering that students can choose from. </li></ul><ul><li>Thirteen provinces in Luzon likewise have one institution each, offering a degree program in Fine Arts. </li></ul><ul><li>In the Visayas, this degree can be obtained from six universities/colleges in Iloilo (2), Cebu, Bohol, Negros Occidental and Negros Oriental. </li></ul><ul><li>In Mindanao, there were only two institutions offering the same program: Ford Academy of the Arts and the Philippine Women’s College of Davao. </li></ul>Schools of Fine Arts
  153. 157. Fine Arts Schools 13 Manila (9 Schools) 5 Benguet (1) 1 1 Ilocos Sur(1) 2 3 CALABARZON 1 3 3 2
  154. 158. Schools, Colleges Offering Theater Arts Courses <ul><li>The DECS listed ten universities and colleges offering degrees in Theater Arts. Outside of Manila and Quezon City, there was one school in the Bicol Region , one in Negros Oriental and two in Mindanao . </li></ul><ul><li>The University of the Philippines (Diliman) and the Philippine Normal University in Manila had the most complete course offerings in the graduate, undergraduate and diploma levels. </li></ul><ul><li>At the undergraduate level, UP, De La Salle-College of Saint Benilde and Silliman University offered degrees in theater arts per se while the other schools included theater arts as a major discipline in Communication Arts. </li></ul>Degree Programs Short Courses <ul><li>In the National Capital Region, training and workshops on theater arts were offered by nine companies or groups which included professional theater companies like PETA, Trumpets, Tahanang Gantimpala Foundation, Repertory Philippines and the CCP. </li></ul><ul><li>Other schools include: Showstoppers Center for Music and Arts, The Music Capital Studio, Supervoice Music & Theater Foundation, Inc., Spotlight Artists Centre </li></ul><ul><li>PETA had the most number of course offerings. </li></ul>
  155. 159. Schools, Colleges Offering Music Courses <ul><li>Thirteen (13) universities and colleges offered degree programs in Music. Except for three schools (Silliman University in Negros Oriental, Adventist University of the Philippines in Cavite and Unibersidad de Santa Isabel in Naga City,) all these music schools were in Manila (8) and Quezon City (2) </li></ul><ul><li>Eight of these universities had graduate programs in Music, namely; University of Santo Tomas, University of the Philippines, St. Scholastica’s College, the Philippine Women’s University, Sta. Isabel College, Centro Escolar University, St. Paul University, and the Philippine Normal University. At least two schools, the PWU and UP offered graduate programs on ethnomusicology. </li></ul><ul><li>Six schools likewise offered diploma courses in music in addition to their undergraduate and graduate programs. </li></ul>Degree Programs
  156. 160. Schools, Colleges Offering Music Courses <ul><li>There were music studios or centers offering short courses on voice, musical instruments and stage performance, for different ages and levels. These were more numerous in the NCR, especially in Quezon City and Makati . </li></ul><ul><li>Among those offering the most comprehensive package for voice and stage performance were the POP Center Philippines, the Ryan Cayabyab- the Music Studio, and the DBC-ISAS Conservatory . The Center for Pop Music however, had the widest reach, with its 18 branches including one in Cebu City. </li></ul><ul><li>Yamaha School of Music with its nationwide coverage had the widest reach and offers a wide array of courses on the different musical instruments, especially piano. </li></ul><ul><li>In the area of stage performance, the Star Power Music Studio based in Las Piñas City held training sessions for different skills levels of stage and concert performance. </li></ul>Short Courses / Training Programs
  158. 162. Indigenous People <ul><li>The National Commission on Indigenous Peoples recorded a total of 82 ethnolinguistic groups in the Philippines with a total population of 6,136, 127. </li></ul><ul><li>Among the regions, CAR had the most number (30) of ethnolinguistic groups, followed by Region II (19) and Region III (18). </li></ul><ul><li>Other regions with notable numbers of etnolinguistic groups were Region I (15), Region IV (13) and Region XI (12). </li></ul>
  159. 163. Indigenous People 1 2 3 4 15-30 Groups 10-14 Groups Below 10 Groups 1M up 500K-999,999 Below 500K Group Population Population 1 2 Region Group Population Population CAR 30 1,179,516 1 15 991,881 2 19 986,881 3 18 305,451 4 13 605,299 5 3 42,618 6 4 145,959 7 5 42,876 9 5 496,714 10 2 556,103 11 12 1,793,118 12 4 403,266 13 2 493,643 ARMM 4 243,561 TOTAL 95 2,195,020
  160. 164. The Online Registry of Artists placed the number of songs in the registry at 13,784 . These were produced with the collaboration of 3,104 musical artists composed of singers, composers, lyricists, arrangers and musicians. Registered singers numbered 867 while composers totaled 1,673 . Likewise there were 1,380 lyricists and 539 arrangers . M usicians numbered 242 . As indicated by the breakdown of musical artists, one song could have two or more composers, lyricists and so on. Likewise, musical artists from singers down to musicians could be involved in more than one song production. Musical Artists
  161. 165. Ballet Manila had 50 dancers, supported by five artistic staff and 11 production staff consisting of the following: Artistic Staff consisting of Artistic Director, Artistic Associate/Rehearsal Master, Asst. Ballet Master, Asst. Rehearsal Mistress, and Rehearsal Master for Modern Dance. Production Staff composed of Architectural Concept, Production Assistant, Production Manager, Production Designer, Light Designer/T.D./ Music Editor, Stage Manager/ Music Master, Costume Designer/Production Assistant, Costume Master, Photographers, Videographer and Stage Hands. Dancers
  162. 166. The Philippine Dance Network recorded a total of 916 dancers who were members of various dance groups in the country consisting of professional, school-based, and informal dance groups that can be found in almost all the major cities and municipalities of the country, especially in the NCR. , a network set up to serve dancers and all dance-related organizations in the Philippines registered a total of 86 dance groups . Except for a few, almost all these dance groups were into contemporary types of dances such as street dancing, hip hop, funky, etc. Dancers Dance Groups (Philippine Dance Network) REGION Number of Dance Groups Number of Group Members NCR 51 508 CAR 1 4 III 5 47 IV-A 26 271 VII 1 14 VIII 1 5 IX 1 10 X 1 9 XI 2 39 XIII 1 9 1 Total 86 916
  163. 167. Visual Artists As of 2008, AAP had 568 individual members composed of visual artists or those engaged in the fine arts including painting, sculpture, mixed media work, and printmaking. Membership in the AAP was very loose ranging from students to practicing artists. Most of the members were concentrated in Manila (79), Quezon City (71) and the province of Rizal in Calabarzon (64).
  164. 168. Visual Artists (AAP Members) More than 50 Visual Artists of AAP Below 50 339 Quezon City (71 Artists) Manila (79 Artists) 118 Region IV A Rizal with 64 Artists) 67 Bulacan (35 Artists) 9 4 3 5 6 Region IV B 10 16 1 Total = 568 members
  165. 169. Photographers The Philippine Photographers Foundation, Inc. listed 36 camera clubs located all over the country with 1,107 members. NCR had the biggest concentration of camera clubs representing nearly 35%. Aside from regionwide or province-wide camera clubs, there were also seven nationwide clubs with nearly the same large membership base as that of the NCR 313. The biggest camera club was the Nikon Club Philippines with 139 members. Source: Federation of Philippine Photographers Foundation, Inc . REGION Number of Camera Clubs Members NCR 27 384 I 1 9 III 2 30 IV-A 4 38 V 2 18 IX 1 2 7 313 Total 36 1,107
  166. 170. Summary of the Heritage and the Fine Arts Sector Value Chain <ul><li>Creative Products </li></ul><ul><li>47 world heritage sites </li></ul><ul><li>164 Museums </li></ul><ul><li>627 cultural celebrations/festivals </li></ul><ul><li>Creative Distribution </li></ul><ul><li>221 art galleries </li></ul><ul><li>23 venues for performances </li></ul><ul><li>Creative Distribution </li></ul><ul><li>221 art galleries </li></ul><ul><li>23 venues for performances </li></ul>
  167. 171. Summary of the Heritage and the Fine Arts Sector Value Chain <ul><li>Creativity Transformation Mechanism </li></ul><ul><li>-Cultural- </li></ul><ul><li>31 cultural community groups </li></ul><ul><li>-Dance- </li></ul><ul><li>16 dance companies </li></ul><ul><li>48 CCP affiliated dance groups </li></ul><ul><li>15 well-known folk/traditional dance groups </li></ul><ul><li>-Theater- </li></ul><ul><li>9 professional theater companies </li></ul><ul><li>60 community-based theater groups </li></ul><ul><li>82 school-based theater groups </li></ul><ul><li>-Music- </li></ul><ul><li>356 choirs </li></ul><ul><li>42 string ensembles </li></ul><ul><li>10 orchestras </li></ul><ul><li>-Crafts- </li></ul><ul><li>20 crafts associations (378 member companies) </li></ul>
  168. 172. Summary of the Heritage and the Fine Arts Sector Value Chain <ul><li>Creative Enablers/Facilitators </li></ul><ul><li>-Cultural- </li></ul><ul><li>67 schools of living traditions </li></ul><ul><li>-Dance- </li></ul><ul><li>2 dance associations </li></ul><ul><li>91 dance studios </li></ul><ul><li>-Theater- </li></ul><ul><li>3 theater associations </li></ul><ul><li>9 theater schools with Degree on Theater Arts </li></ul><ul><li>9 theater schools offering short courses </li></ul><ul><li>-Music- </li></ul><ul><li>35 members of the Phil. Association of the Record Industry </li></ul><ul><li>31 member choirs of Koro Filipino: The Philippine Choral Guild </li></ul><ul><li>13 schools/universities offering Music Degrees </li></ul><ul><li>39 schools/universities offering short courses on music </li></ul><ul><li>-Visual Arts- </li></ul><ul><li>2 visual arts association </li></ul><ul><li>51 art affiliated groups of the Art Association of the Phils. </li></ul><ul><li>51 art educators (Phil. Art Education Association members) </li></ul><ul><li>34 schools offering Fine Arts Degree </li></ul><ul><li>-Visual Arts and Performing Arts- </li></ul><ul><li>12 Community Art Groups </li></ul>
  169. 173. Summary of the Heritage and the Fine Arts Sector Value Chain <ul><li>Creative Originators </li></ul><ul><li>-Cultural- </li></ul><ul><li>95 ethnolinguistic groups </li></ul><ul><li>2,195,020 ethnolinguistic population </li></ul><ul><li>-Dance- </li></ul><ul><li>50 ballet dancers of Ballet Manila </li></ul><ul><li>16 artistic and production staff of Ballet Manila </li></ul><ul><li>916 member dancers of the Philippine Dance Network </li></ul><ul><li>-Music- </li></ul><ul><li>3,104 musical artists registered at the Online Registry of Artists composed of singers, composers, lyricists, arrangers and musicians </li></ul><ul><li>-Visual Arts- </li></ul><ul><li>568 visual artists member of the AAP </li></ul><ul><li>36 camera clubs </li></ul><ul><li>1,107 member photographers of the Philippine Photographers Foundation, Inc. </li></ul>
  170. 174. Enabling Factors <ul><li>Need to increase government funding for the arts (especially performing arts); </li></ul><ul><li>Enforcement of piracy and copyright laws; </li></ul><ul><li>Support from Media (i.e. promote Filipino arts and talent); </li></ul><ul><li>Strong organizational linkages to government and private sector institutions </li></ul>
  171. 175. Hindering Factors <ul><li>Lack of support and funding from government (for all creative arts sectors) </li></ul><ul><li>Lack of quality personnel in art education. Many arts teachers in schools do not have the background or specialization in the arts </li></ul><ul><li>Weak emphasis on the arts in schools </li></ul><ul><li>Lack of unity among artistic institutions </li></ul><ul><li>Lack of infrastructure and facilities for the arts (over reliance on CCP facilities) </li></ul>
  172. 176. ENABLING FACTORS Heritage and the Fine Arts Design and Architecture Publishing & Print Media Audiovisuals Creative Services Science & Technology Enabling environment/Legislations supportive of the sector/industry/ implementation of sectoral plan       Implementation of Intellectual Property Code of the / other international standards   Increase in funding support for research  Private Sector support   Adoption of new technologies     Improved facilities ( e.g. telecommunications)  Skilled, creative and talented manpower    Growth in population/demand  Established industry presence  Potentials for growth in the BPO/priority government thrust   International recognition/acceptance of products ( fashion)  Importance given to education in the sector 
  173. 177. HINDERING FACTORS Heritage and the Fine Arts Design and Architecture Publishing & Print Media Audiovisuals Creative Services Science & Technology Taxation   Lack of government support/lack of funding for R&D    Lack of private sector support  Lack of infrastructure  Lack of technology/expensive technology   Lack of capital/funding    Weak educational foundation  Deteriorating skills creative talent of Filipinos vis-à-vis other Asian countries/limited supply of skilled labor     No original content/ diminishing presence of Filipino design   Seasonal employment/not economically viable  Not demand driven   Lack of acceptance by domestic market/preference for foreign materials/professionals