Esinduslik ülevaade loomemajanduse hetkeseisust kolmes Balti riigis. Kogumik annab ülevaate kolme riigi loomemajanduse tugistruktuuridest, poliitikatest ja toetuspraktikatest ning toob näiteid loomevaldkonnas tegutsevatest ettevõtmistest. Briti loomemajanduse ekspert Tom Fleming annab soovitusi valdkonna arendamiseks regioonis.

1. with the
support of
pArtNers:
2010
in Estonia, Latvia and Lithuania

2. CONTENT
page 2
Introduction to the Creative Industries in Estonia, Latvia and Lithuania 2010 3
Mapping creative industries in Estonia, Latvia and Lithuania 4
Creative Industries Policy in Estonia 8
Creative Industries Policy in Latvia 10
Creative Industries Policy in Lithuania 13
Creative Industries and the Estonian Office of the Nordic Council of Ministers 15
Best practices: Estonia 16
Best practices: Latvia 20
Best practices: Lithuania 22
Developing a Creative Economy in the Baltic Region: Challenges & Opportunities 26
Contacts 34

3. INTrOduCTION TO ThE CrEaTIvE INdusTrIEs
IN EsTONIa, LaTvIa aNd LIThuaNIa 2010
LAINE JÄNES INtS DāLDErIS ArŪNAS GELŪNAS
estonian Minister for Culture Latvian Minister for Culture Lithuanian Minister for Culture
Europe is at a crossroad – how can we the three countries was already initi- approach to developing creative indus-
turn the current crisis into new op- ated back in 2006. Since then experts tries, and present an overview of the
portunities and make the economy and officials have been sharing best latest developments in the sector. The
competitive and sustainable in the practices in the creative industries and focus for this first overview is on crea-
long term. Creative industries have the formulating common positions within tive incubators as an effective measure
potential to do all this and much more. the European Union. The three Baltic for promoting and supporting en-
Creative industries bring not only countries have also been vocal advo- trepreneurship within cultural and
growth and jobs, but also foster in- cates of including culture and creativ- creative industries. We also explore the
novation and shape attractive environ- ity in the Europe 2020 strategy and its ways forward to enhance cooperation
ments for people to live in and visit. flagship initiatives. between the three countries, especially
in light of the coming EU financing
Estonia, Latvia and Lithuania have The collection of articles titled “Crea- period. We sincerely hope that our ex-
experience in working together to de- tive Industries in Estonia, Latvia and perience in developing creative indus-
velop creative industries. The first net- Lithuania 2010” is yet another coor- tries could also prove useful for other
work to combine policymakers from dinated project to analyse the Baltic countries.

4. MappINg CrEaTIvE INdusTrIEs IN
page 4
EsTONIa, LaTvIa aNd LIThuaNIa
SILJA LASSur, KüLLIKI tAfEL-VIIA, ANDrES VIIA
DefiNiNg the dom’s approach in terms of the ideas, ents, which by way of generating and
CreAtive iNDustries structure and content of CI develop- utilizing intellectual property, are able
iN the BALtiC ment. The first major steps at state level to increase welfare and create jobs.
CouNtries started with statistical mapping surveys Creative industries generate, develop,
of CI in Estonia, Latvia and Lithuania. produce, utilize, display, disseminate
Discussions of the creative industries The study processes included adapting and preserve products of economic,
(CI) agenda in the Baltic countries the British definition of CI to the Bal- cultural and/or recreational value.“ 1
date back to the beginning of 2000. tic States – “The creative industries are
The British Council has played a re- those industries which have their origin These studies at national level pro-
markable role in promoting the crea- in individual creativity, skill and talent, vided a good basis for the Ministry of
tive industries concept all over the and which have the potential for wealth Culture to apply for financing from
world, and its contribution, through and job creation through the genera- the European Structural Funds. This
providing expertise and methodologi- tion and exploitation of intellectual rapid adaptation of the new concept
cal assistance in mapping endeavours, property” (DCMS, 1998). Estonia and by the public sector and especially the
cannot be underestimated in the Baltic Latvia have made some minor changes Ministry of Culture can be explained
countries either. Attention first started to this definition. In Estonia, a clause as an “opportunity to gain access to
to be paid to the creative industries addressing ‘collective creativity’ was European finances, because it provided
at the national level in all three Baltic added – “Those industries that have them with the possibility of additional
countries when the British Council their origin in individual and collective funding. And their budgets have al-
(BC) introduced the concept to differ- creativity, skill and talent and which ways been the most limited. They were
ent ministries in the Baltics in 2005. have the potential for wealth and job simply trying to find additional means
As a result, the Ministries of Culture creation through the generation and to support their sector.” (Lassur et al,
1
in all three countries seized the oppor- exploitation of intellectual property.” 2010)
The definition of the creative
tunity to adopt the definition and con- The Latvian Government in its politi-
industries of Latvia was for the first
time entered into the Guidelines
tent into their cultural policy agenda. cal documentation pursues the follow- Estonia and Lithuania managed to in-
for the State Cultural Policy of Latvia ing definition: [Creative industries in- clude the financing of creative indus-
for 2006 – 2015 (Cabinet Order of This period (of policy formation) saw volve] “activities, based on individual tries into the National strategy for EU
18.04.2006 No. 264). the adaptation of the United King- and collective creativity, skills and tal- Structural Funds for 2007–2013. In

5. page 5
both countries the controlling rights Baltics (as in other countries). Current Estonia (2009) Latvia (2008) Lithuania (2009)
and obligation to manage the resources discussion concerns what areas belong
went to the Ministries of Economic Af- under CI and which policies should be Arts (visual and Visual arts, applied
Visual arts
fairs, since Structural Fund programs implemented to develop it. Although applied arts) arts and heritage
dealt with entrepreneurship and devel- all three countries base their defini-
opments of the environment – topics tion of CI on the British definition, in Performing arts Performing arts Performing arts
(theatre, dance, (theatre, dance, (theatre, dance,
that traditionally do not belong under later studies somewhat different sectors festivals) festivals) festivals)
the Ministries of Culture. Estonia pri- have been included when composing
marily applied for support from the the research methodology (Table 1). Music (interpreting, Music (interpreting, Music (interpreting,
Structural Funds (Riiklik ... 2007) to Thus, for example, the mapping of the composing, composing, composing,
producing, publishing, producing, publishing, producing, publishing,
create infrastructures to support the IT sector in Estonia has been relatively musical instruments, musical instruments, musical instruments,
development of CI, valuing creativity narrow, covering only entertainment festivals, etc) festivals, etc) festivals, etc)
and raising awareness of entrepreneur- IT. However, in Latvia and Lithuania,
ship and creative industries (Lassur et vastly broader scopes have been cov- Architecture Architecture Architecture
al, 2010). In Lithuania, financing for ered when it comes to the IT sector.
the Lithuanian art incubator network Research by Lithuanians even includes Design (product Designer fashion,
thE most important design, fashion, Design
was intended as part of the imple- the heritage sector, which has not been graphic design) Graphic design
statisticaL studiEs of
mapping ci: mentation of “the Action Programme mapped in Estonia or Latvia. The lat-
for Economic Growth” (Creative ..., est Lithuanian research of mapping Film and video Film and video Film and video
LAtviA 2010). emanated from cultural and creative
industries. This is a broader notion
• the economic Broadcasting (radio Television, radio and Television, radio and
Contributions of the stAtistiCAL that includes CI and tourism, sport, and television) interactive media interactive media
Copyright-based MAppiNg of Ci iN museums, archives, heritage protection
industries in Latvia, 2005 estoNiA, LAtviA AND and other cultural activities. Yet, when Entertainment IT Computer games and Computer games and
• Creative industries LithuANiA accounting for CI contributions, fields (online and computer interactive software interactive software
research. Actualization of games, entertainment publishing publishing
statistics, 2008
related to sports were excluded (Lietu- internet sites)
The previously mentioned initial sta- vos ..., 2009).
LithuANiA tistical surveys began in 2005, albeit Publishing (books, Publishing (books, Publishing (books,
periodicals,
slightly differently in each country. Es- As these sectors in the three Baltic newspapers, periodicals, magazines,
• Creative industries countries have been researched and catalogues, etc) newspapers, etc) newspapers, etc)
tonia attempted to map all the sectors
mapping document
in Alytus and utena mentioned in the British definition. A mapped differently, then the real ben-
counties, 2005 study mapping the economic contribu- efits, value added and other economic Heritage (museums, Heritage (museums,
libraries, archives, Cultural heritage
• Lithuanian Creative and tion of copyright-based industries was as well as statistical indicators are not handicrafts) libraries and archives)
Cultural industries, 2009 conducted in Latvia in 2005. Mapping directly comparable. All the research
estoNiA the creative industries in Lithuania tried to assess both CI’s contribution Advertising and
Advertising public relations and
covered two counties - Utena and Aly- to employment, and its economic role (advertising, media Advertising communication
• Mapping and Analysis tus. The results of these studies were in producing value added and revenues agencies) activities
of estonian Creative not comparable as the methodology (Table 2). Calculations about the share
industries, 2005 of GDP or share of employment that
was different in all three countries. Cultural educational
• survey and Mapping of activities Educational activities
the Creative industries in CI represents are made very carefully
estonia, 2009 The definition and discussion of Crea- due to possible biases and uncertainties
tive Industries is fairly similar in the about the sub industries included. Recreation, Botanical and
entertainment and zoological gardens
other cultural activities
Table 1. Subsectors of creative industries covered by statistical research
Travel agencies and
Source: Survey and Mapping of the Creative Industries in Estonia, 2009; Creative industries tour operators
research. Actualization of statistics, 2008; Lithuanian Creative and Cultural industries, 2009

6. page 6
proBLeMs thAt tistics, and the data on CI was calculat- Similar problems with mapping and and this is also characteristic of
oCCurreD wheN ed according to a definition based on statistics can be identified for all coun- CI in the current context of glo-
MAppiNg Ci the NACE classification. The Latvian tries: balization and economic integra-
Statistical Office only collects data ac- tion. According to NACE even
Countries have used somewhat dif- cording to NACE 4-digit codes; there- • Only fragmentary data is cur- the handicraft industry is not dis-
ferent databases and data collection fore, many CI businesses are classified rently available – the databases tinguishable.
methods. Estonian statistical research within the group “other activities” provide insufficient data and in
is based on Statistics Estonia’s entrepre- and are not included in the research some sub sectors there is no sta- Therefore, researchers in all three coun-
neurship and cultural statistics data. (Mikelsone, 2008). tistical data at the national level tries have claimed that it is important
In addition, data has been gathered whatsoever; to improve the statistics for culture and
from the Central Commercial Regis- Lastly, CI research conducted in creative industries. Additionally, it is
ter, which also includes information Lithuania also relies on data collected • A wide range of types of busi- essential to come up with specific data
about the self-employed and all micro by the bureau of statistics and the ness ownership exists in CI sec- collection methods in order to obtain
businesses. Information about the self- NACE classification. Gathering in- tors – NGOs, limited compa- adequate data about these industries
employed with a yearly turnover of less formation about design businesses is nies, limited-liability companies, and compare them with other eco-
than 250 000 EEK was obtained from a more specific problem in Lithuania self-employed, government and nomic spheres in each country.
the registry of the Estonian Tax and for example, as there are no enterprises local-government organizations,
Customs Board. However, the prob- in Lithuania that could be classified foundations – the databases with froM stAtistiCAL
lem with these databases is that indus- as “design enterprises”, and there is private, public and non-govern- CoMpArisoN to
tries are not defined precisely enough, no statistical data according to which ment sector data are not compa- exChANges of
and there may not be sufficient data. one could determine the share of such rable with each other. They can experieNCe
For example, statistics about Estonian enterprises in CI. That is why the iden- also include contradictory data
music and visual and applied arts are tification of the design sector is associ- about sub sectors. It is not enough to develop effective
nonexistent (Eesti ..., 2009). ated with the design functions embed- and sector specific political methods
ded within traditional manufacturing, • National statistical registries (e.g. using data from statistical mapping
Latvian research mostly concentrates advertising, architecture and other CI NACE) do not include many new alone. More sub sector specific and
on data gathered by the bureau of sta- sectors (Lietuvos ..., 2009). professions or fields of operation, qualitative research is needed to map
Estonia (2007 data) Latvia (2006 data) Lithuania (2006*, 2007 data)
Number of people working in CI
28 000 (4.3%) 63 511 (5.8%) 61 297 (4.02%)
(% of all employed)
Number of businesses in CI
Over 5 000 (9.4%) 9 327 (8.9%) 6 149 (8%)
(% of all businesses)
Total income of CI EUR 1 146 000 000 EUR 1 014 000 000 EUR 1 256 000 000
CI as a share of GDP 2.9% n/a 5.2%*
Concentration in the capital city 47.1% of CI enterprises 54.8% of CI enterprises 70% of value created by CI
Table 2. Economic and statistical indicators of CI
Source: Survey and Mapping of the Creative Industries in Estonia, 2009; Creative industries
research. Actualization of statistics, 2008; Lithuanian Creative and Cultural industries, 2009

7. page 7
the needs of creative industries and cooperation between different sectors good tool for bringing creative indus- opportunities to support and develop
the problems hindering their devel- works and what problems domestic tries onto the political agenda, mean- CI in order to create a political frame-
opment. Region specific studies and enterprises experience. This has been ing that it is (economically) important work for CI.
analyses of cities and districts are also examined for example by Lithuania in in domestic and international compar-
important. A range of qualitative stud- the Užupis district in Vilnius and in isons. However, mapping alone is not Comparing CI in the three Baltic
ies has been conducted in all three Klaipeda, and by Estonia and Latvia enough to bring about the required countries, the purposes of its various
countries. Due to the strong influence in their capitals and other regions. In supporting structures and methods for sub sectors and its potential for sup-
of region-specific characteristics, such addition, sector specific studies have developing creative industries. As al- port facilitates additional opportuni-
research is mostly initiated at the city been conducted in all three countries; ready mentioned, all three Baltic coun- ties to interpret statistical indicators.
level. In each region or city (or dis- for example, the state of design and tries (including several individual cities At the same time it makes it possible
trict within larger cities), a specific its need for improvement have been and regions) have carried out several for the Baltic States to learn from each
CI structure has been built up to deal mapped in all three countries.2 Thus, studies for the purpose of highlighting other and exchange best practices (and
with sub sectors that dominate, how in most cases statistical mapping is a potential development claims as well as why not worst ones too).
LiterAture useD
• Picard, Robert G. and Toivonen, Timo E. (2005) „The Economic Contributions of Copyright-based Industries in
Latvia.“ Riga: Ministry of Culture of the Republic of Latvia.
• Mikelsone, A., Gubins, S., Vanags, A. (2008) “Creative industries research. Actualization of statistics.”, Riga: BICEPS,
KM, VKKF.
• „Lietuvos kūrybinės ir kultūrinės industrijos“ (Lithuanian Creative and Cultural industries) (2009) Integruotos meno,
mokslo, studiju ir verslo nacionalines kopleksines programos.
• Mažeikis, G., Černevičiute, J., Ščiglinskiene, A., Tatarune, I. (2005) “Creative industries mapping document in Alytus
and Utena counties. The summary of the study.” The European Cultural Programme Centre. Vilnius.
• “Creative Metropoles: Situation analysis of 11 cities.” Project materials. (2010) The project CREATIVE METROPOLES
is co-financed by the European Regional Development Fund and the Norwegian funding through the INTERREG
IVC programme.
• „Eesti loomemajanduse olukorra uuring ja kaardistus.“ (Survey and Mapping of the Creative Industries in Estonia)
(2009) Eesti Konjunktuuriinstituut.
2
Mollerup, P. (2002) Establishing the • „Eesti loomemajanduse kaardistus ja analüüs“ (Mapping and Analysis of Estonian Creative Industries) (2005) Eesti
basis for the elaboration and application Konjunktuuriinstituut.
of the Estonian design policy measures.
The Estonian Ministry of Economy,
• Lassur, S., Tafel-Viia, K., Summatavet, K., Terk, E. (2010) “Intertwining of drivers in formation of new policy focus:
Tallinn; Mollerup, P. (2004) Design
for Latvia. Final Report. Copenhagen;
case of creative industries in Tallinn” – Nordic Journal of Cultural Policy 2010 (in press).
Mollerup, P. (2008) Design Opportunities
in Lithuania. The Vilnius Academy of the • Riiklik struktuurivahendite kasutamise strateegia 2007 - 2013 (2007). Eesti Vabariik. URL http://www.struktuuri-
Arts, Vilnius. fondid.ee/?id=6473

8. CrEaTIvE INdusTrIEs
page 8
educating creative professionals and
mediators and supporting the core arts
fields and cultural industries.
pOLICy IN EsTONIa
rAGNAr SIIL / head of Development Department, estonian Ministry of Culture
eNterprise estoNiA
AND CreAtive
iNDustries support
MeAsures
Enterprise Estonia is the primary con-
tributor of support and development
programs targeted towards entrepre-
iNtroDuCtioN ority areas within that strategic goal neurs including creative businesses
alongside supporting internationalisa- and in 2008 the Creative Industries
Creative Industries have been widely tion, innovation, access to capital, the support program was started. The
discussed all over the world in the last creation of new businesses, knowledge different measures for the support of
decade, and from the beginning of this and technology transfer and the devel- creative industries fall under two main
century, Estonia has also been actively opment of tourism3. categories. The first set of measures is
involved in those developments. As in not specific to the creative industries
many other countries, Estonia carried CI measures and policies are coordi- and is open to general applications. In
out a mapping exercise in 2005, and nated in close cooperation between the recent years these programs have been
along with an overview of the creative Ministry of Culture and the Ministry analysed, and through awareness rais-
industries, the first set of policy recom- of Economic Affairs and Communica- ing and competence building, these
mendations were submitted. Along tions. Programs are implemented by funds have been used to successfully
with continuing awareness raising Enterprise Estonia, which is one of the finance creative businesses and net-
activities, the stage was set for more largest institutions within the national works. These programs include cluster
concrete actions to design new sup- system for entrepreneurship support, support programs (e.g. film industry
port measures for creative industries in providing financial assistance, advice, cluster development), export support
Estonia. cooperation opportunities and train- and joint marketing programs (e.g.
ing for entrepreneurs, research estab- “Tallinn Music Week” – an event to
CreAtive iNDustries lishments, and the public and third show-case Estonian music, “Black
AND europeAN sector4. Market” – a film co-production), skills
uNioN struCturAL and knowledge development programs
3
fuNDs The main focus areas supporting crea- (e.g. design management training
http://www.struktuurifondid.ee/key-
tive industries in Estonia for 2007– courses) and awareness raising and en-
goals-4
Based on policy recommendations, 2013 include the growth and sustain- trepreneurship promotion programs
4
http://www.eas.ee/index.php/about- creative industries were included in ability of enterprises within creative (e.g. the Creative Estonia initiative, see
enterprise-estonia/overview the National Strategy for European sectors and enhancing creativity in the below), support for innovation, prod-
Structural Funds for 2007–2013. The business community through synergies uct development and training
5
http://www.eas.ee/index.php/for-the- Operational Program for the Develop- between creative people and compa-
entrepreneur/development-of-the- ment of the Economic Environment nies and the rest of the economy5. The In addition to these general support
company/development-of-creative-
supports entrepreneurship through role of cultural and educational insti- measures, a sector-specific program
industry
raising the innovation and growth tutions is to focus on the early stages was created to finance the development
6
See more: http://unesdoc.unesco.org/ capacities of enterprises. Supporting of the creative industries value chain6 of different support structures, includ-
images/0015/001598/159804e.pdf creative industries is one of seven pri- (including the creation phase) through ing creative incubators, hubs and cen-

9. page 9
tres. The program aims to strengthen dustries Development Centre within companies, online advice, networking buildings budget for the acquisition
systems through which many creative the Tallinn Cultural Cauldron11, the support and in the future also pro- of art and design objects to enrich the
businesses can grow in the coming Creative Incubator in Viljandi and the motional and marketing capabilities public space. Currently, this proposal
years. The overall budget for those Estonian Film Digitalization (post- for creative companies. In addition to is being deliberated in Parliament.
structures is 6.3 million euros. In production) Centre. the portal, Creative Estonia publishes
the first round (see below), financing best practices, reports from studies and iNterNAtioNAL
was available for both operating costs The creative incubators in Tallinn and mapping projects, organises confer- CooperAtioN
and investments in infrastructure and Tartu have been working since Sep- ences and seminars in different parts
technology. According to preliminary tember 2009. In Tartu there are cur- of Estonia, offers media support for Estonia actively pursues international
plans only operating costs and project rently 9 start-up creative companies creative industries initiatives and raises contacts in creative industries. Cross-
support will be granted in the second and 20 others in the pre-incubation awareness through different means. border cooperation allows us to share
round. phase. The Tallinn creative incubator best practices with other countries, and
has 26 start-up companies and another other sourCes of learn from their experiences in devel-
The strategic goals of supporting the 37 have passed through the second support oping methodologies and programs
Creative Industries include, first of pre-incubation training. Both of these for the creative sector. As Estonia has a
all, more sustainable and fast growing examples provide strong evidence that This overview focuses on creative en- very limited market and a small popu-
start-ups. Co-operation with CI sector there is strong interest in the creative trepreneurship support measures. It is lation, it is vital for Estonian compa-
will also contibute to increasing export sector for specialized incubation serv- still important to mention that there nies to cooperate with neighbouring
and internationalization of Estonian ices, and in times of economic crisis are a number of other policy measures countries and form working clusters.
companies. Additionally, higher R&D creative entrepreneurship is gaining that contribute to the development of
capability of Estonian companies in more and more popularity. cultural and creative industries. Estonia Estonia already founded a network
CI sector is expected, thus, resulting invests large sums from EU structural for creative industries policy makers
in more revenues from creative clusters CreAtive estoNiA funds in the cultural infrastructure to in 2006 in cooperation with Latvia,
and balanced regional development. strengthen regional competitiveness Lithuania and Finland. Since 2008,
In 2009, Enterprise Estonia launched and enhance tourism. There is also a Estonia has been taking part in the
fuNDeD projeCts iN an integrated program for raising number of programs for developing European Union’s cultural and creative
2010 awareness called Creative Estonia. human resources (e.g. training unem- industries working group13. Estonia
The program brings together different ployed in product development and has also worked with the European
7
http://www.esa.ee The first round of applications for the activities to promote creative entre- entrepreneurship in handicrafts) and Commission, Finland, Sweden, Nor-
Creative Industries Support Structures preneurship and creativity in society. the digital society (e.g. approximately way, Iceland, Denmark, Germany, Po-
8
http://www.lmk.ee Development Program took place in Creative Estonia aims to bring togeth- 2 million euros for digitalizing cultural land, Lithuania, Latvia and Russia to
9 December 2009, and at the beginning er different stakeholders and facilitate heritage and granting public access to set up the Northern Dimension Part-
http://www.disainikeskus.ee
of January 2010 seven creative centres contact between creative professionals the digital content). The Estonian Min- nership on Culture (NDPC).
10
http://www.arhitektuurikeskus.ee and incubators were funded total- and businesses, policymakers, students istry of Culture and Estonian Cultural
ling 4.9 million euros of support. The and businesses from other sectors. Endowment also support the cultural The overall objective of the NDPC is
11
http://www.kultuurikatel.eu projects funded included the Tallinn Creative Estonia’s activities involve and creative industries and preserve to serve as a focal point for networks,
12 Creative Incubator7, the Tartu Centre developing a creative industries web unique cultural expressions through projects and other cultural activities
http://www.looveesti.ee
for Creative Industries8, the Estonian portal12, a comprehensive collection several regional programs. In 2010, the in the Northern Dimension area and
13
http://ec.europa.eu/culture/our- Design Centre9, the Estonian Centre of relevant information on creative Estonian government approved a pro- promote interaction between cultural
policy-development/doc1571_en.htm of Architecture10, the Creative In- industries, web resources for start-up posed law allowing 1% of the public actors and the business community.

10. CrEaTIvE INdusTrIEs pOLICy IN LaTvIa
page 10
uNA SEDLENIEcE / senior Desk officer, Division for strategy and regional Cultural policy, Latvian Ministry of Culture
iNitiAL efforts AND society and the state. Obviously, cul- tional identity, language, unique
poLiCy DoCuMeNts tural and creative industries seem to be export offerings and also the
one of the keys to implementing a new potential for marketing Latvia
Following two creative industries stud- paradigm in cultural policy. abroad;
ies1 conducted by international experts,
creative industries issues began to enter Latvia, as with other European coun- • as the Ministry of Culture of the
policy-planning agendas more inten- tries, looked at the British experience Republic of Latvia is responsible
sively in Latvia around 2005. At that in undertaking the initial steps in crea- for the cultural and creative in-
time, the Latvian Ministry of Culture tive industries awareness. The crucial dustries education sector, creative
inaugurated work on a new long-term role of the British Council, Danish industries were also linked to the
1
Mollerup, Per. Design for Latvia. cultural policy document, involving Cultural Institute, Nordic Council of issue of conditions for creative
Final Report. Copenhagen: Mollerup both local and a wide range of inter- Ministers, Goethe-Institute, French people (artist’s social security,
Designlab A/S, 2004 national experts, as well as national, Embassy and other international part- mobility of cultural profession-
[http://www.designlatvia.lv/ municipal, government and private ners should be pointed out here in als, strengthening the strategic
uploaded_files/Mollerup_eng.pdf]; organizations. sharing knowledge and raising local connection between cultural and
Picard, Robert G./ Toivonen, Timo competence in creative industries is- education sectors etc.);
E.: The Economic Contributions of
Aware of the rich cultural assets avail- sues in Latvia in recent years.
Copyright-based Industries in Latvia
able in Latvia, the Long-Term Cultural • considering creative industries
2000. Riga: Ministry of Culture of
the Republic of Latvia, 2005. Policy Guidelines 2006–2015 “Na- The Ministry of Culture was actively in close relation to establishing
[http://www.km.gov.lv/lv/doc/ tional State”2 strived to answer not engaged in creative industries ad- markets and the consumption of
starpnozares/radosa/Latvian_ only questions about the “decorative” vocacy, but not just because of the cultural goods and services;
Copyright_latviski.doc]. role of the cultural sector or to reflect promising international opportuni-
how culture enriches our lives, but also ties. Furthermore, the main reasons for • understanding the interdepend-
2
Ilgtermiņa politikas pamatnostādnes endeavoured to highlight the cultural introducing creative industries policy ence of creative industries de-
Valsts kultūrpolitikas vadlīnijas sector within a multidisciplinary ap- topics right from the start involved a velopment and further improve-
2006.-2015. gadam „Nacionāla
proach; in other words, how culture logical extension of general cultural ments to cultural administration
valsts”, 18.04.2006. MK rīk.
Nr.264. prot. Nr.21 40.§.
as one of the branches of the national policy matters: (performance based strategic
[http://www.km.gov.lv/lv/doc/ economy contributes to the well-being management, training of admin-
dokumenti/kulturpolitikas_ of people as well as to the development • creative industries development istrators, establishing sound and
vadlinijas.doc]. and competitiveness of individuals, was also linked to issues of na- sustainable research systems etc.).

11. page 11
Accordingly, one of the strategic aims series of conferences was convened by • quality of and access to creative
of the Long-Term Cultural Policy the Ministry of Culture in cooperation industries education and infor-
Guidelines 2006–2015 was directly with different partners in order to clar- mation, raising awareness of crea-
related to the creative industries: “To ify and intensify these issues for a wid- tive industries;
improve the cooperation between the er audience; for example, the interna-
sectors of culture and economy to pro- tional conference “Creative mind – the • business-related development (es-
mote the diversity of Latvian culture best asset” (7 November, 2007),7 the pecially within the two priority
and the sustainable development of international conference “Design for sectors – design and audiovisual
the creative economy.” (Strategic Aim the future” (5 October, 2007) among media and multimedia, which
6.2) Moreover, one emphasis within others.8 Support for political planning have the largest export potential);
the cultural policy revealed connec- for the creative industries appeared as
tions between creativity and economy: a range of creative industries related • the exploitation of new technolo-
“Creativity nurtured by culture and the studies were also conducted till 2008; gies;
arts in conjunction with knowledge is for example, the mapping of the crea-
3
LR Reģionālās attīstības un now the main resource for economic tive industries carried out by the Baltic • strengthening the research and
pašvaldību lietu ministrija. Latvijas growth. Creative industries as a new International Centre for Economic development of the regulatory
Nacionālais attīstības plāns 2007- sector of the economy ensure utilising Policy Studies, Creative Industries in framework.
2013. Rīga 2006. this resource in the creation of goods Latvia in 20079 and the Creative In-
[http://www.nap.lv]. and services with high added value.” dustry Research: Update of Statistics The Ministry of Culture considers
4 (Emphasis Nr. 3) in 2008.10 Special consulting bodies the priority areas identified in 2008
http://www.em.gov.lv/em/images/modules/
items/item_file_11631_2.pdf with the involvement of CI profession- as fully acceptable for the foreseeable
After introducing creative industries als and NGO’s were also established future; they are also consistent with CI
5
http://www.esfondi.lv/page.php?id=659 issues in the national cultural policy at the Ministry of Culture; for exam- activities within the framework of the
guidelines, the Ministry of Culture ple, the Design Council (2006, since European Commission, the Northern
6
See under: http://www.mk.gov.lv/en/mk/ encouraged the inclusion of creative 2008 relocated under the authority of Dimension Partnership on Culture
vesture
industries matters in all key policy the Ministry of Economics), the work- and other initiatives at the interna-
7
„Radošs prāts – vislielākais aktīvs” planning documents in Latvia, such ing group on the CI policy document tional level. Furthermore, there were a
http://www.km.gov.lv/lv/doc/masas/prats/ as the National Development Plan (2007–2008) etc. number of tasks designated to state in-
programma.doc 2007–20133, the National Lisbon Pro- stitutions such as the Ministry of Cul-
8
gramme 2005–20084 and the National support MeAsures ture, Ministry of Economics, Ministry
„No Lielvārdes jostas līdz mūsdienu Strategic Reference Framework docu- of Education and Science and others
dizainam” http://www.km.gov.lv/lv/masas/ ment 2007–20135. Creative industries On 12 August 2008, the Cabinet of in the protocol attached to the 2008
lielvardes_josta.html
were also reflected at the highest po- Ministers approved the Report on report. Today, we can already point out
9
Miķelsone, A./ Gubins, S./ Vanags, A. litical level within declarations on the creative industries and their policies several positive effects of this policy; for
Radošās industrijas Latvijā. Rīga: planned activities of the Cabinet of in Latvia11 submitted by the minister example, the support for the creative
BICEPS/ KM/ VKKF. 2007 Ministers headed by Aigars Kalvītis of culture, Helēna Demakova. The fol- industries businesses incubator in Riga
(7 November 2006 – 20 December lowing four major support areas were (about EUR 2.3 million) from 2009 to
10
Miķelsone, A.Radošo industriju izpēte: 2007), Ivars Godmanis (20 December identified in the report in order to im- 2014, as well as the notable moderni-
statistikas datu aktualizācijas. 2007 – 12 March 2009) and Valdis plement specific policies supported by sation support for all higher education
Rīga: BICEPS/KM 2008.
Dombrovskis (since 12 March 2009).6 government and EU Structural Funds establishments in the arts and culture
11
http://www.mk.gov.lv/doc/2005/ with the aim of creating favourable allocated in 2010 (about EUR 5 mil-
KMzin_040808_radind.doc#_ Once creative industries matters were conditions for the development of lion) and many other activities, mostly
Toc200511672 included in all major political papers, a creative industries in Latvia: supported from various EU Structural

12. page 12
Fund programmes. These priorities are programs in the creative industries17 integral aspects of the economy. Simi-
also supported by the Culture Capital have been instigated. NGOs play a larly, the development of statistical
Foundation of Latvia, where a new significant role in creative industries methods as well as research and com-
branch for design and architecture has processes. Likewise, for example, the parative studies in this field should not
been established since May 2010.12 Design Information Centre is actively be stopped. Even though the scope of
working with the theory and practice financial and other support tools for
12 The Investment and Development of the creative industries.18 For exam- creative industries has increased in the
http://www.vkkf.lv
Agency of Latvia is an important ple, Culturelab regularly observes crea- last five years, there is still a need for
13
http://www.liaa.gov.lv player within the creative industries tive economic and creative industry significant improvements in produc-
institutional support and developmen- developments in a dedicated section of tive inter-sector (mostly cultural and
14
For instance, the Culture and Creative tal framework.13 The agency already the cultural policies monitoring site.19 economic) dialogue, as well as in the
Industries Education Centre was closed started significant state initiatives to Creative industries enterprises, such as development of support tools to satisfy
down starting from 2010, see under: support the creative industries (most- “Magnus” in Cēsis, are also supported the needs and coordination of the crea-
http://kriic.lv
ly industrial and product design) in in traditional business incubators in tive industries.
15
Some examples: http://www.spikeri.lv or 2006. In addition, the internet portal regional Latvia.20
http://www.andrejsala.lv/?l=1, http://www.designlatvia.lv was opened It is possible that the gradual evolu-
http://www.kalnciemaiela.lv and http:// in 2008. The agency possesses a wide Creative industries issues are also be- tion of the cultural and creative sector
www.totaldobze.com/ArtCenter range of different creative industry ing dealt with at policy level in cities over the last ten years is much more
support instruments; for example, and towns ever more confidently. For characteristic of the changes in our
16
For instance, http://www.duka.riga. the “Design Bus” or “Design Audit” instance, Riga City Council and Swed- economies than the development in
lv/#/about-the-project or http://www.
projects, or the notable support for bank have jointly organised the grant any other sector in general, and this
britishcouncil.org/latvia-projects-
export and product development ac- program “Atspēriens” since 2009, es- fact cannot be overlooked in future
creativity-week-blog2.htm or http://www.
brigade.lv tivities among creative enterprises and tablished with a view to promoting planning, even if it is difficult to make
professionals within the framework of entrepreneurial activity and support- clear forecasts. The long-term strategy
17
For instance: http://www.sseriga.edu. traditional business support measures. ing young entrepreneurs with business Latvia 203023 recognises culture and
lv/event/workshop-creative-industries- The agency also provides consulta- marketing ideas. Riga also actively par- creativity as important assets for the
new-media-and-innovation-management tions, seminars and training, which ticipates in the international Project future development of the country. As
or http://www.ba.lv/sites/default/ are sometimes specifically designed for “Creative Metropoles”21, while the city many of the examples of good practice
files/programmu_bukleti/m_ creative industries professionals. of Rēzekne plans to build up the resto- in the creative industries are based on
uznemumu_vadisana_
ration and creative industries services “pre-crisis” evidence, it would be sensi-
radosajas_industrijas_2010.pdf
reCeNt and workshops centre “Carandache” in ble to seek a comprehensive assessment
18
http://www.dic.lv DeveLopMeNts 201122. There are many more similarly of future development potential since
optimistic examples that could also be the euphoria of the recent growth pe-
19
http://culturelablv.wordpress.com/category/ As a result of the economic crisis, some mentioned. riod in Latvia to facilitate policy plan-
radosas-industrijas support and policy planning activities ning for the creative industries. Such
20
http://www.magnus.lv
have been tightened14 due to a lack of future DireCtioNs an assessment should identify how cur-
funds or the nature of the activity, but rent socio-economic challenges could
21
http://www.creativemetropoles.eu/#/city/ that does not mean that nothing is hap- The Ministry of Culture believes that affect human behaviour, including
riga pening. On the contrary, there is ever the economic crisis Europe is experi- consumption, and what this will mean
increasing interest in and awareness of encing at the moment should not stop for the development of the creative in-
22
http://www.rezekne.lv/index. the creative industries in Latvia. Led by the further development of knowledge dustries. An increased awareness of our
php?id=348&no_cache=1&tx_ttnews[tt_
private initiatives with a little state or in creative industries at the local, Bal- own strengths, as well as the potential
news]=3269&tx_ttnews[backPid]=422&
municipal support, creative quarters15 tic and EU level, highlighting culture for regional and international coopera-
cHash=8230238337
are being developed, new initiatives16 and creativity, both as a value in itself tion will help bring future possibilities
23
http://www.latvija2030.lv/page/1 have been established and new training and explaining culture and creativity as into focus.

13. CrEaTIvE INdusTrIEs
page 13
pOLICy IN LIThuaNIa
rASIuS MAKSELIS / head of strategic planning Department,
Lithuanian Ministry of Culture
The concept of creative industries vertising, dramatic art, and other areas in a number of EU countries con-
has been considered in Lithuania which unite various aspects of cultural ducted by the Ministry of Culture. To
since 2003, when the first studies in and economic activities. date, funding for nine arts incubator
this field were conducted (by Dr M. projects has been allocated until 2013
Starkevičiūtė). Maps of the creative in- support MeAsures according to the ‘Assistant 2’ EU struc-
dustries in Utena and Alytus counties tural funds measure, which is adminis-
were compiled in 2004–2005 (head In 2009, as a result of cooperation tered by the Ministry of Economy. The
of the project, Dr G. Mažeikis). The between the Ministry of Culture and budget for the programme is approxi-
Strategy for the Promotion and De- the Ministry of Economy, the concept mately 17 million euros.
velopment of Creative Industries was of creative industries was included in
prepared and approved in 2007. It the Lithuanian Strategy for the use of The Ministry of Economy has also in-
provided a definition of creative indus- EU Structural Funds for 2007–2013 troduced creative industries into the
tries and identified priority areas for and in the Operational Programme for national innovation policy, clustering
development. Creative industries are Economic Growth. As the Ministry of programmes and export measures. At
defined in these documents as ‘activi- Culture and the Ministry of Economy least two creative industries cluster
ties based on an individual’s creative were seeking to define specific measures projects are being prepared at the mo-
abilities and talent, the objective and targeted at the promotion of creative ment. The Ministry of Economy also
result of which is intellectual property industries in Lithuania, it was decided provides support for export projects
and which can create material well- that an arts incubator network should including participation in internation-
being and work places’. The concept be established in Lithuania next to the al fairs. These support mechanisms are
of creative industries in Lithuania existing business incubator network, also funded by EU Structural Funds.
includes the following: crafts, archi- and that funding from EU structural
tecture, design, cinema and video art, funds should be allocated for the de- reCeNt
publishing, visual arts, applied arts, velopment of this new network. The DeveLopMeNts
music, software and computer serv- usefulness of these measures was con-
ices, the creation and broadcasting of firmed via an analysis of the operation With the development of a network of
radio and television programmes, ad- of creative industries arts incubators creative industries, the National Asso-

14. page 14
ciation of Cultural and Creative Indus- this sector plays an important role in National Association for Cultural and the field of creative industries. The na-
tries, which includes approximately 40 the Lithuanian economy. Creative Industries plans to use this tional strategy for the development of
members, was established in Lithuania support for the preparation of further creative industries has been adopted
in 2009. An opportunity study regard- Based on the aforementioned oppor- complex development projects. by the Minister of Culture. The Min-
ing the National Creative and Cultural tunity study, the Lithuanian National istry of Culture along with the Inter-
Industries Programme was prepared Programme for Cultural and Creative regioNAL national Cultural Programmes Centre
on the initiative of the association. The Industries was prepared and presented CooperAtioN provides support for mapping creative
data presented in the study show that to the Ministry of Education and Sci- industries, collaborates with the State
the contribution of creative industries ence in 2009. There is a plan to use Creative industries are becoming a ma- Department of Statistics and organizes
companies to Lithuanian GDP grew assistance from EU structural funds jor area of regional cooperation as well. conferences and seminars related to the
from 2 per cent (LTL 2.1 billion) in to implement this programme and it When Lithuania held the presidency creative industries. The ministry has
2001 to 5.2 per cent (LTL 4 billion) aims to specifically support synergy via in the Council of the Baltic Sea States, financed a Lithuanian adaptation of
in 2006. According to data provided a system of arts education, cultural in- the conference held by the Nordic the David Parrish book “T-Shirts and
by the Department of Statistics of the frastructure and creative business. The Council Ministers Office in Lithuania, Suits”, and the creation of the portal
government of the Republic of Lithua- budget for the programme is approxi- the Ministry of Foreign Affairs and the www.kurybinesindustrijos.lt.
nia, 6 149 companies with a total of mately 3 million euros. Ministry of Culture on 23–24 Febru-
61 297 employees operated in this sec- ary 2010 in Vilnius emphasised the The Ministry of Culture takes active
tor in 2007. This accounted for 8 per The very existence of this programme need to promote the cooperation of part in the consultations held by the
cent of the total number of companies is evidence that the creative sector in the Baltic Sea countries in the area of government of the Republic of Lithua-
operating in Lithuania and 4 per cent Lithuania is acknowledged as an im- creative industries. nia concerning the long-term strategic
of the total number of employed peo- portant area of innovation next to areas plan, Lithuania 2030. Since a crea-
ple in Lithuania. The growth of com- such as laser physics or biotechnology. the NAtioNAL tive civil society is one of the priori-
panies in the creative industries sector poLiCy ties discussed in this strategy, the cul-
was 8 per cent in 2006–2007, and the Additional support for education and tural economy and creative industries
number of employees in the sector the development of creative entre- The Ministry of Culture is officially are particularly important sectors in
grew 2.8 per cent, which shows that preneurs was provided in 2010. The responsible for the national policy in achieving this aim.

15. CrEaTIvE INdusTrIEs aNd ThE EsTONIaN OffICE
page 15
Of ThE NOrdIC COuNCIL Of MINIsTErs
Creative industries, which is a con- stories in the areas of contemporary In addition, the NCM in cooperation cess stories and news. In addition, the
cept that is developing strongly right jewellery, the music industry, media, with the Estonian Ministry of Culture NCM has helped Creative Estonia in-
across the world, creates employment advertising, festivals, textiles, market- and KreaNord – an initiative of the vite creative industry experts from the
and a general sense of well being in ing cities, cuisine and so forth. NCM that unites all branches of crea- Nordic countries to marketing semi-
society through intellectual property. tive industry – organised an interna- nars.
For this reason the Nordic Council of The NCM supported the creation of tional conference in Tallinn in 2009 ti-
Ministers (NCM) has made the de- the Tartu Centre for Creative Industries tled “Creative Industries in the Nordic In the future, the NCM Estonian Of-
velopment and better use of creative in a strategic capacity for a year and a and Baltic countries”. As a result of the fice will continue to present the views
industries one of its most important half. The centre was ultimately opened conference new cooperation networks, and know-how of Nordic experts, as
missions, both in Nordic countries as in spring 2009. It has received support both at the political and project level, well as support the creation and con-
well as Estonia, Latvia, Lithuania and from the Nordic-Baltic Mobility Pro- cropped up indicating that the creative tinuation of networks of cooperation.
north-western Russia. gramme for Business and Industry and industry is a worldwide phenomenon
has shared its expertise with colleagues that is most productive when synergies In organising activities the NCM relies
The NCM offices in the Baltic States, from Finland, Norway, Sweden, are created. on:
along with experts in the creative in- Lithuania and Latvia. The creation of a
dustries, developers, institutions and network of contacts involving Nordic In 2010, the NCM helped organise a • The Guidelines for Nordic–
politicians have exchanged ideas and and Baltic creative businesses and crea- round table on music exports at Tallinn Baltic cooperation 2009–2013
expertise on how best to make use of tive industry developers is currently Music Week. Music agents from Fin-
the unique characteristics of a small in progress. In addition to funds for land, Sweden and Iceland spoke about • The European Union Strategy
cultural sphere in the context of the enterprise and industry cooperation, music export strategies and marketing for the Baltic Sea
world stage. The NCM Estonian Of- it is also possible to apply for funding support systems in their countries.
fice has devoted itself to the concept from the public administration mobil- • The Northern Dimension
of creative industries since the end of ity programme. The creation of the The NCM is working in cooperation Cultural Partnership
2008. To introduce the concept, the cooperation network is also supported with the Estonian Creative Industries
council held a series of lectures with by the Nordic Culture Point and the internet portal Creative Estonia (Loov • The Creative Economy Green
inspiring examples of Nordic success Nordic Culture Fund. Eesti), which publicises Nordic suc- Paper for the Nordic Region

16. BEsT praCTICEs:
page 16
EsTONIa
the esA tALLiNN port structures. With this assistance
CreAtive iNCuBAtor the ESA Creative Incubator is able to
fund its activities and develop infra-
The (ESA) Tallinn Creative Incubator, structure. Even so, the City of Tallinn
one of three enterprise incubators run is the primary source of funds for the
by the Business Support and Credit ESA Creative Incubator and is an in-
Management Foundation (Estonian terested party, and because of this the
acronym ESA), was officially opened support measure is primarily aimed at
in September 2009, though it had creative enterprises based in Tallinn.
already begun to provide support for The Creative Incubator generates its
creative enterprises in 2008. own income from the rent of rooms
and sales of services and training ses-
The idea for the Creative Incubator sions, and businesses are subsidised by
was born in 2004, when one of Esto- up to 75%.
nia’s well known contemporary jewel-
lers, Kärt Summatavet PhD, became The mission of the Tallinn Creative
a client of the incubator. A collabora- Incubator is to provide a supportive
tive effort by Kärt Summatavet and environment for creative enterprises by
Anu Lõhmus, a member of the board initially providing them with incuba-
at ESA, produced the concept for the tion services. The main emphasis is to
Creative Incubator, and in September improve the business expertise of crea-
2006 it was presented for the first time tive enterprises and to establish a soft
to the Tallinn City Enterprise Board. infrastructure by developing mecha-
The City of Tallinn gave the green nisms of inclusion, cooperation and
light for the Creative Incubator and participation and to help enterprises
supported it by covering the expenses become international. This includes
of planned preparatory projects. From making the Creative Incubator an im-
2010, a support measure was added to portant influence in the creative indus-
develop ESA creative industries sup- tries sector.

17. page 17
All enterprises wishing to be includ- meetings with clients and internal dis- BuSINESS Support AND crEDIt MANAGEMENt fouNDAtIoN (ESA)
ed in the incubator must undertake cussions and the receptionist and post-
a thorough basic business training al service, large library and other com- Veerenni 24C, 10135 Tallinn, Estonia
course and they are required to com- munal resources are also invaluable. Member of the Board: Anu Lõhmus
pile a business plan. The business plan Ph +372 604 0620 (receptionist)
is assessed by a group of experts and the Since the project began there are five Fax +372 604 0609
business is given thorough feedback on Creative Incubator businesses that have info@esa.ee
their weaknesses and strengths. The en- become success stories. Four export
trepreneur defends their business plan their products and services on a large
before an assessment committee. scale, and three have achieved national crEAtIVE INcuBAtor
recognition in the areas of business and
Businesses in the Creative Incuba- design. Five top Estonian designers Veerenni 24C, 10135 Tallinn, Estonia
tor can compensate for their lack of have joined the Tallinn Creative Incu- Manager: Ele-Mall Vainomäe
resources (both material and nonma- bator. Their international awards and Ph +372 604 0621
terial) with help from the incubator recognition is an encouragement for Mob +372 506 7881
and business consultants to develop other Creative Incubator clients. Fax +372 604 0609
their business – this assistance can elemall@esa.ee
range from business know-how to do The success of and need for the Crea-
with starting and running a business tive Incubator is clearly measured by
to studio-style rental premises that its popularity. In 2008, 14 creative
are below market price. Businesses are enterprises wished to join, in 2009
included in training sessions, informa- there were 30 and by the end of spring
tion and network seminars, workshops 2010 there are already 40 creative en-
and educational travel and cooperative terprises.
marketing events organised by the in-
cubator. With financial support from Since the start of the project, Creative
the incubator, businesses have also had Incubator partners have included the
the opportunity to develop their spe- Estonian Academy of Arts, Mainor
cialist skills through training courses Business School Design Institute, the
and workshops. Estonian Association of Designers and
the Estonian Design Centre. Due to
The most popular services provided are its location and common interests, the
business consultations and training, Baltika Quarter (Baltika is Estonia’s
as well as group events ranging from largest fashion manufacturer) has also
Creative Mornings to cooperative mar- become a partner. In cooperation with
keting schemes. The incubator’s com- Baltika, cluster events are being organ-
munal rooms are used to host various ised to develop, market and sell Esto-
events, the meeting rooms for holding nian design and handicraft products.

18. page 18
tArtu cENtrE
for crEAtIVE INDuStrIES:
Raul Oreškin
Member of the Board
Phone: +372 735 5003
Mobile: +372 5564 7803
E-mail: raul@lmk.ee
Külli Hansen
Development Director
Mobile: +372 510 6865
E-mail: kylli@lmk.ee
tArtu CeNtre for The Centre for Creative Industries is To become a resident of the centre it the business plan and overall running
CreAtive iNDustries located at 13–17 Kalevi Street – very is necessary to undertake a 2-month of the business. Businesses consider
close to the city centre in a historically preliminary incubation period during the greatest additional asset to be the
The Tartu Centre for Creative Indus- important part of town near a variety which participants learn how to com- inspiring work environment and the
tries was founded on 14 May 2009 on of cultural institutions. The buildings pile a business plan, become familiar benefits reaped from the cooperative
the basis of Tartu City Council deci- are surrounded by a park area for with the principles of establishing a work that takes place between the resi-
sion No. 514. The centre was officially which a concert stage and picnic area business and hear advice from consult- dent businesses.
opened on 4 September 2009. are planned, as well as a sculpture gar- ants. After successful defence of the
den. business plan it is possible to apply for The Tartu Centre for Creative Indus-
The Tartu Centre for Creative Indus- the incubation service. tries has become popular to the extent
tries is an umbrella organisation that At least once a year the centre organises that new premises are now required.
coordinates the creative industries in a creative industries competition for Creative businesses can obtain support The renovation of 15 and 17 Kalevi
Tartu. It shares information about cre- businesses just starting out and seeking from the centre in the form of rooms, Street began in June.
ative industries and provides education incubation services. know-how and various services. Crea-
and training in the field, and provides tive businesses can also use the office A queue is developing for the new
legal and business advice to creative At present there are nine businesses and studio spaces, fully equipped meet- rooms because in June the 20 busi-
businesses, as well as an incubator serv- operating from the Centre for Crea- ing rooms, Wi-Fi internet and security nesses in the preliminary incubation
ice. The work of the Centre for Crea- tive Industries, two galleries and a café. services. Businesses are continually of- period will complete the program and
tive Industries is funded by the City of There are 20 businesses in the prelimi- fered training and an experienced busi- in autumn a new competition will be
Tartu and Enterprise Estonia. nary-incubation program. ness consultant provides advice about announced.

19. page 19
CreAtive estoNiA mation of cooperation networks, successful creative industry businesses
and the exchange of expertise and and projects. To encourage contact
Creative Estonia is a program launched information. To present the mod- between businesses and creative peo-
by Estonian Enterprise and funded by el of Estonian creative industries ple, Creative Estonia organises various
the European Social Fund, which helps to Europe and bring the best Eu- events and seminars, open-coffee style
promote and develop creative indus- ropean practises to Estonia. meetings and short lectures where cre-
tries and creative businesses in Estonia. ative businesses and potential investors
The program was established in 2009 To achieve its aim Creative Estonia are brought together. To promote the
and its aim is to: clarifies the essence and importance of idea of creative industries, Creative Es-
creative industries to all interested par- tonia participates in conferences to do
• Clearly present the content, ties. Creative Estonia disseminate news with management, business and inno-
unique characteristics, economic, and events in the field via mass, social vation as well as other areas, and seeks
social and regional value of crea- and industry media, and it‘s own in- solutions to problems in the creative
tive industries. Create a platform formation channels. industries with input from key figures
for the discussion of creative in- from local government level right up to
dustry problems and solutions at On the Creative Estonia portal www. the parliament.
the highest level. looveesti.ee it is possible to find infor-
mation and support material about This year the focus is on design man-
• Support beginning and estab- starting a creative business and guide- agement, and along with the Estonian
lished creative businesses with lines for managing a business. The por- Association of Designers, Creative
much needed information and tal also aims to provide an overview of Estonia will be organising an interna-
advice. Develop an attitude that the creative industry and the events, tional conference.
creates a positive image of busi- studies and opportunities for support
ness and to increase the business currently available. Creative businesses Students are an important target-group
and export ability of creative are also invited to free marketing semi- for Creative Estonia. The essence of
businesses. nars organised by Creative Estonia. creative business is explained to them
in an attractive fashion and they are crEAtIVE EStoNIA:
• Encourage and increase coopera- This year Creative Estonia will issue given information about study oppor-
tion between creative individuals the publication “Creative Industries in tunities both at home and abroad. Eva Leemet
and the industrial and service Estonia”, which will present the state of Eva@looveesti.ee
sectors, so that the latter learn to the industry in Estonia and the best ex- Creative Estonia conducts its work +3725012558
make use of the abilities, talents amples to show that Estonia is a coun- with advice from a think tank that in- www.looveesti.ee
and creativity of creative people try committed to innovation and con- cludes leaders from creative industries
with the aim of developing and tributing added value. The publication support structures and development Tiiu Allikmäe
becoming more competitive. will present the support structure that centres from the various creative asso- Tiiu@looveesti.ee
has been established for creative indus- ciations. All work is carried out by Cre- +3725053085
• Create as many opportunities and tries and the support measures put in ative Estonia along with representatives www.looveesti.ee
channels as possible for the for- place by the State, as well as highlight of the target groups and partners.