The document discusses the entrepreneurial dimension of cultural and creative industries (CCIs), particularly small and medium enterprises (SMEs). It defines CCIs as industries that produce and distribute goods/services conveying cultural expressions. CCIs include film, music, performing arts, visual arts. Creative industries use culture as an input for functional outputs like architecture, advertising, design. The document examines CCIs through an entrepreneurial lens, discussing SME characteristics, challenges like access to financing, and recommendations to better support CCIs through skills/career development and targeted funding.

1. Rene Kooyman 1 February 2011 The entrepreneurial dimensionof cultural and creative industriesespecially SMEs

2. The cultural and creative industries ‘Cultural industries’ are those industries producing and distributing goods or services which at the time they are developed are considered as a specific attribute, use or purpose, which embody or convey cultural expressions, irrespective of the commercial value they may have. They include: film, DVD and video, television and radio, video games, new media, music, books and press, performing arts, visual arts. ‘Creative industries’ are those industries which use culture as an input but whose outputs are mainly functional. They include: architecture, advertising as well as design and fashion.’

3. UNCTAD Creative Economy report 2008

5. The kea model

6. based on ‘analysis of sectors rather than creative activities based on individual talent’ Creative service providers:Design, architecture, new media, advertising Creative content producers:Tv and Radio, Fashion, Games, Music, Film, Books Creative experience providers/creative originals producers: visual artists, designer-makers, performers, opera, ballet, galleries, museums; music, games NESTA refined model

8. Creative and cultural capital

9. Fostering territorial identity and cohesion

10. Participate in the expression of cultural diversity

12. create value: shifts economic resources

13. out of an area of lower and

14. into an area of higher productivity and greater yieldassuming entrepreneurial risk engagement in innovative practices developing new and innovative products; forms of organization; new markets; new production methods; new sources of supplies and materials

16. R&D and technology: new inventions, new products or processes

17. Entrepreneurial capabilities: human and social capital

18. Culture: entrepreneur‘s behaviour, attitudes, overall effectiveness

19. Capital and Access to Finance: from early seed funds to stock markets

20. Market conditions: public involvement in markets, competition in the markets, access to foreign markets, procurement regulation, standardisation

21. SME’s ???OECD / EUROSTAT 2008

25. Distribution of Enterprises among Industries per size class Eurokleis 2010

26. Staff headcount - turnover Creative industries:

27. Distribution of total assets Eurokleis 2009

29. Creative Partnership– Two creative people

30. Designer and Business Partner – One creative and one business partner

31. Designer and Licensing Partner – Designer under royalty contract

32. Designer and Manufacturer – Designer in contractual agreement with manufacturer

33. Partnership with Investor – Designer in partnership with a formal investorNESTA 2008

36. Professional achievement

37. Art creation

38. Professional careerpersonal motivation ?

39. Personalmotivation inenterpre- neurship

41. Thrives on numerous small initiatives

42. Careerwise a high degree of uncertainty

43. Non-conventional forms of employment; part-time work, temporary contracts, self-employment , free-lancers

44. Multiple job-holdings; combined other sources of income

45. New type of employer; the ‘entrepreneurial individual’ or ‘entrepreneurial cultural worker’, clusters of entrepreneurs

46. No longer fits into previously typical patterns of full-time professions

48. Hypercompetitive environment

49. Knowledge-based and labour-intensive input

50. Not ‘simply merchandise’, but express cultural uniqueness and identities

51. Experience goods; production and consumption ‘on the spot’

53. Creative content providers – mostly non subsidised

55. Sponsoring, matching funds, co-financing, fund-raising

57. EU country specifics

58. Entrepreneurial lifecycle framework

61. CCIs stand at the core of cultural and industrial networks

62. CCIs and Technological change/digitisation two-way process

63. CCIs indispensable at Corporate Identity and Branding

65. The very small ones carry a load of administrative obligations; accounting, legal registration, etc

66. Financial funds are hard to find; banks/investors do not trust creatives (especially in times of crises)

67. Creative firms go through different stages; some of them want to grow; others do not

69. Launch a pan-european Creative Investment Fund, create soft-loans , tax-incentives, business-angels

70. Create targeted support for the different stages of development (start-ups, growth)

71. Establish a Creative Economy Learning & Skills network and Career Development Support http://cci.hku.nl

72. Questions brusselsfeb 3 Question 1: How to start long term collaboration between CCI’s and other sectors? And which factors are important to succeed that collaboration? Do we need to start with education programs for both sectors? Or are there other ways to start that collaboration? Question 2: You wrote the green paper to define the requirements of a truly stimulating creative environment for Europe's CCI's, but I couldn't find a clear list, or check-list, to ensure that the areas of research and development are in progress. How do you manage this development to ensure a growth in the requirements of this "truly stimulating creative environments for Europe's CCI's"?

73. Question 3: There are a lot of definitions about the CCI's. Some based on activities, some based on mission and some based on copyright requirements. What is your definition? And how do you ensure that everyone is working on the same CCI's when the definitions are so divers? Question 4: In my opinion it is always the best to teach people from a young age to use their values and skills in improving situations. I believe it would be most effective to teach art managers the values, possibilities and needs that the CCI's require. How do you see this and how could the EU invest in the area of education, with the idea that investing in young art managers will lead to solutions to the questions that are asked in the Green Paper. I couldn't find a clear list, or check-list, to ensure that the areas of research and development are in progress. How do you manage this development to ensure a growth of CCIs ?

74. Question 5:What can visual Artists pro-actively do to manage their role of significance on a 'global scale' in perspective of the CCIs and their spill-over effects? Question 6: Art and culture have a unique capacity to create green jobs... how so? Question 7: What effects does the reducing of the cultural budgets have on the creative industries and therefore on the fulfillment of the Green paper? Question 8: Have there been any interesting developments concerning the green paper topics lately?

75. Rene Kooyman 1February 2011 Creative Industries as key strategic sector The entrepreneurial dimensionof cultural and creative industriesespecially SMEs rkooyman@rkooyman.com