The document discusses creative industries and their role in sustainable economic development. Some key points: - Creative industries such as film, music, and design contribute significantly to GDP and job creation in cities like Buenos Aires. - They foster social inclusion and development by creating jobs in areas like publishing, visual arts, and performing arts. - Technologies, rising incomes, and changing consumption patterns are driving global growth in the creative economy and exports of creative goods. - Creative industries tend to be less dependent on infrastructure and more environmentally friendly than heavy industries. They promote sustainable development.

1. Creative Industries - Motor for Sustainable
Economic Development
Prof. Dr. Utz Dornberger
SEPT20YEAR, 2012

2. Buenos Aires
Creative industries contribute 10% to the
city’s GDP
60,000 new jobs in the period 2003-07
Tango: a direct income of about US$135
million
Cinema: In 2008, 46 films were made in
Argentina
UNESCO World Book Capital for 2011
Design: export earnings of US $700
million
2

3. Creative goods and services
Such as artwork, musical performances,
literature, film and TV programs, and
video games with the following
characteristics:
Production requires some input of human
creativity
Contain, at least potentially, some
intellectual property that is attributable to
the individual or group producing the
good or service
Foster the co-creation of service by
customers
3

4. 4

5. Creative industries
The UNCTAD classification of the creative industries
5

6. Creative economy
based on creative assets potentially
generating economic growth and
development
Embraces economic, cultural and social
aspects interacting with technology,
intellectual property and tourism objectives
Fostering income generation, job creation
and export earnings while promoting
social inclusion, cultural diversity and
human development
6

7. Buchkinder
7

8. Economic development
Increasing world trade in creative industries products, even during the
financial crisis
Growing trade in goods and services from the creative industries on
average 14 % annually (2002-2008)
Doubled world exports of visual arts in six years, reaching $29.7
billion in 2008
Exports of audiovisual services ($13.7 billion, 2002) reaching $26.4
billion in 2008
Global entertainment and media industry injecting around $2.2 trillion
in the world economy in 2012
Underestimated figures; do not capture especially the case of Southern
countries, due to limitations in statistical data and methodologies.
Source: Howkins (2001), UNCTAD (2010), PricewaterhouseCoopers (2008).
8

9. Drivers of growth in the
creative economy
Technology
Growing number of platforms to stimulate innovative projects that involve
science and creativity and incorporate open-source technology
Deregulation of media and telecommunication industries and massive
growth in private-sector investment
Demand
Rising incomes in industrialized countries and higher demand for income-
elastic products, including creative goods and services
Changing patterns of consumption (Internet, mobile telephones and digital
media)
Consumers as creators or co-creators of creative products
Tourism
Continuing worldwide growth in tourism and selling creative goods and
cultural services
Source: United Nations 2010.
9

10. Social development
Contribution to employment (knowledge intensive, specific skills and
high-level qualifications, labor intensive)
Around 2 to 8 % of the workforce in the economy, and rising
Example: United States
about 2.5 % of total employment in 2003; by 2007, 5.5 million workers
representing 4 % of total U.S employment
The largest concentration of creative workers occurred among
independent artists, writers, performers and in the publishing industry
Fostering social inclusion through cultural activities and linking social
groups in communities (community arts programs…)
Promoting gender balance in the creative workforce, especially in
developing countries (women work in the production of art crafts,
fashion-related areas…)
Source: Howkins (2001), UNCTAD (2010), PricewaterhouseCoopers (2008).
10

11. Carnival of Rio
Duration 6 days
More than 1 million tourists
230 carnival groups
More than 12,000 artists
130.000 part-time jobs
Income: US$ 160 million
11

12. Sustainable development
Creative industry usually less dependent on heavy industrial
infrastructure and easily compatible with rules and objectives that aim
at environmental protection and preservation
Creativity as primary input
Ethical trade
Producers and consumers of creative products increasingly question the
cultural, economic and environmental value of what they create, buy and
sell
Creativity and biodiversity are well matched and should be seen as a win-
win solution to promote responsible use of the world’s biodiversity
Source: Siwek (2009), UNCTAD (2010).
12

13. Creative industries in
Germany
Major economic factor
Gross value-added currently totals more
than EUR 60 bn, or close to 2.6% of total
German GDP (2008)
o Same “league” as the automobile
industry or electrical engineering
Over one million people work in creative
professions
o Increasing employment over the years
(since 2003 by close to 2% of the
workforce annually)
Source: Deutsche Bank Research 2011.
13

14. Creative industries in
Germany
Major economic factor
Growth potential (revenues of EUR 175 bn in 2020)
Source: Deutsche Bank Research 2011.
14

15. Creative industries in
Germany
A structure dominated by micro-enterprises
In 2008, 97% of the 233,000 firms in the sector employed fewer than ten
workers and generated less than EUR 2 m in revenues
Higher number of self-employed people and freelancers
23% of self-employed and freelancers vs. 11% in the overall economy
A knowledge-intensive sector with many lateral entrants and limited
access to capital/underfunding
Some of their output is not traded on free markets and cultural offers are
subsidised by public or not-for-profit/charitable organisations
Public broadcasters, opera houses
Intangible goods (e.g. music or software) and new distribution channels
Existence of rights exploitation entities between the creator of a product and
the consumer such as Germany’s GEMA, GEZ or VG Wort
Source: Deutsche Bank Research 2011.
15

16. Creative industries in
Leipzig
Around 30.000 jobs
Music and Arts
Long tradition – several festivals
“New Leipzig School”
Broadcasting and film
Around 310 companies with about 9,900 employees
Traditional printing and publishing
Over 70 publishing houses in Leipzig and the biggest annual
meeting of the publishing sector at the Leipzig Book Fair (2012:
2,071 exhibitors from 44 countries)
Design Quartier Leipzig
16

17. Creative industries in
Leipzig
17

18. Role of Leipzig University
18

19. Conclusions
High growth potential
Creativity as primary input does not depend on financial resources or
technological expertise
Job creation and social inclusion
BUT: How to support them ????
19

20. International SEPT Program
Office: Beethovenstrasse 15,
D-04107 Leipzig
Germany
E-Mail: dornberger@uni-leipzig.de
Web: www.sept.uni-leipzig.de

21. THE CO-EXISTENCE OF NATURE, ECONOMY AND SOCIETY
Ing. Claudia Rios Heredia
Bolivia

22. Long
term
perspecti
Participatory ve
approaches
Integrati
ve
decision
making
Human well-
being Sustainable
development
equity

23. “ Rise of the creative class” R. Florida
Parks
Bike paths
Street level culture
…
“would signal a community that
is open and diverse”
“quality of place”, captured
by inquiring: What’s there?
Who’s there? and What’s
going on?

26. COMPREHENSIVE SOCIAL DEVELOPMENT PROYECT OPERATING
THROUGH ART AND CULTURE
Non profit organization
STRUCTURE
SPACE THE PRINCIPLES
CULTURAL
Clear intention of
MANAGEMENT
innovation,
Currently awaits experience and
multidisciplinary,
designation as local testing, research,
focused, highly
heritage conceptual
qualified team
accuracy,
capable of
integration,
adapting
exchange and
intercultural
approach

27. 7
AREAS OF ARTISTIC CREATION
SOCIAL DEVELOPMENT PROGRAMS
THE PRINCIPLES

28. AREAS OF ARTISTIC CREATION
Visual arts and Photography
Literature
Performing arts
Graphic design and Architecture
Audiovisual
Music
Social interaction

29. SOCIAL DEVELOPMENT PROGRAMS
formARTe
Free expression and environmental education
children’s workshop
Urban action
Cultural policies and networks
Artistic and cultural business incubator
Artist Residence Program Coordinator

30. ARTISTIC AND CULTURAL BUSINESS INCUBATOR
Supports creation and emergence of
new entrepreneurships by providing
•Infrastructure : 3000m2.
•Technical consulting on marketing
•Legal aid
•Accounting
•Testing labs
•Especific counseling
•Classes, workshops
•business model follow up

31. HOW DOES IT WORK?
Raise awareness
Calling for selection
Selection process 5 enterprises
Training
Strategies, marketing, accounting,
others
Counselling and monitoring
Evaluation
Follow up

32. DIRECTOR: FERNANDO GARCIA
VEAC LEADER: EKATERINA GOMEZ
www.martadero.org

33. Robby Rosandi

34. Overview of municipal solid waste (MSW)
treatment
Waste statistics overview in Indonesia
Initiative called ““Waste Bank””

35. In Indonesia

36. Household and market wastes are collected
and put them into temporary storage.

38. Indonesia

39. Waste composition
Composition
Waste (Percentage of wet
weight basis)
Organics 62
Paper 9
Plastic 14
Glass 2
Metal 2
Textile/Leather 4
Other 7

40. Waste generation by source
Amount
Source (Million ton %
per year
Household 16,7 44,5
Market 7,7 20,5
Street 3,5
3 5 9,3
9 3
Public facility 3,4 9,1
Office 3,1 8,3
Industry 1,3 3,5
Other 1,8 4,8

41. Types of MSW treatment
Amount ( million
Type of treatment %
ton/year)
Transported to final disposal 11,6 69,05
Buried 1,6
16 9,52
9 52
Composted 1,2 7,14
Burnt 0,8 4,76
Disposed in river 0,5 2,98
Other ,
1,1 ,
6,55
Total 16,8 100

42. Methane emission from solid waste disposal
sites from 1995 to 2025’’ projection.
Methane emission
Year
(in 1000 ton)
1990 371,34
1991 378,56
1992 386,05
1993 393,83
1994 401,92
1995 457,49
457 49
2000 663,00
2025 1.581,74

43. Or ““Bank Sampah”” in Bahasa

44. Is bank hi h handling MSW under
I a b k which h dli d
cooperative (Gennosenschaft) legal form.
p g
Here people save wastes instead of money.
The idea is due to the fact that mostly people
hesitate to separate waste at their house
By giving people incentive, we hope they want
to separate their own wastes.

45. Waste Bank’’s
Business Partner
Waste Bank
Group of People (i.e.
G fP l (i
Neigbourhood
community, school, Household
office, hospital
office hospital, etc or i di id l
individual
h ld
Household or
individual

48. Borrowing some amount of money and install
it with waste.
waste
There are several bank’’s product, mainly
p , y
regular and non regular product
Competitive interest
Buying basic foods like rice sugar flour and
rice, sugar,
palm oil and paying them with waste.

50. 
     


 




51.   
        •    
          
        
      
      
     
      
     
        
    
    
  
    
   
   
 




 

52.    

        
      
      
  
      

     
             

   
           
             
      


 

53.   
•        
 

       
           
         
           
         
         
  
      
      
     
  
       
     
      


 

54.  
            
     
      
     
    
      
     
  
     
      
           
      
   
            
       
    
          
   
 


 

55.   
         
      
       
       
       
         
          
       
         
        
        
        
        
     
      
        
 


 

56.   
            
            
    
     
  
     
   
     
 
      
      
     
     
       
       
   


 

57.   
      
    
   
    
     
     
   
  
    
   

   
   
 
 
 
 
  


 

58.    
            
         
         
         
          
     
         
           
       
         
    
      
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68. Social transformation of a city
based on education and
entrepreneuship
Medellin case
Presented by: MSBS Adriana Perez Perez
Medellin Colombia
(Email: adriana.perez.perez@gmail.com,
Movil: +57-‐3104558451)

69. Colombia Antioquia
Medellín

71. Deep rooted violence
In 1991 we were the most violent city in the world. We
went from 381 homicides per 100.000 habitants in 1991
to a rate of 26 in 2007.

72. What did they?
-‐ Giving the best and create opportunities especially for poor people
-‐ Public-‐big firms investment
-‐ Transparence co-‐administration with the citizens
-‐ Education (Learning and training, in a broad sense) as their main tool
to build opportunities and catalyst of social transformation
-‐ New infrastructure and architect design to change the look of the
supports every social transformation program)

73. How are we going to solve the problems?
The formula=
Reduce violence and immediately carry out
O
social interventions p
p
V
o
i
L r
o
e t
l
s u
e
s n
n
i
c
t
e
i
Social e
+ Interventions s

74. Culture -­‐
Creation-­‐
1. New public spaces Human
Knowledge Spirit-­‐ Integral
urban
projects -­‐
Renovation
2. High quality -­‐
public education
Learning
Shared
budget -­‐
Participatio
3. Entrepreneurship n-­‐
Innovation
Justice New public spaces
and other
and infrastructure
Living together-­‐
security Recreation-­‐
Sports-­‐Mobility
Transparency, converted into actions= TRUST

75. Social interventions to transform Medellin
beginning
Scholarships Ludotekas
1. High quality
public
education
-­‐ Learning-­‐
Technical
Renovtions
school
New
schools

76. 1. High quality public education -‐ Learning-‐
Good beginning Program

77. The first step for
quality education is the
dignity of the space you
study in. The humblest
people go to the most
beautiful

78. 1. High quality public education -‐ Learning-‐
Ludotekas

79. 1. High quality public education -‐ Learning-‐
Renovations

80. 1. High quality public education -‐ Learning-‐
New schools

81. 1. High quality public education -‐ Learning-‐
Scholarships and new places: Instituto Técnico Metropolitano ITM
New Building
¡In 2004 there were 8.000 places.
In 2008 we reached 23.000 places!
Donation of Fundación
Total area: 10.407 m2 Fraternidad Medellín:
Coverage: 13.600 students USD 16 Million

82. Social interventions to transform Medellin
Social interventions to transform Medellin
Library
parks
2.New public
Share spaces Explora
places
Knowledge-­‐
Botanic
garden

83. 2.New public spaces Knowledge-‐
Library parks - outside

84. 2.New public spaces Knowledge-‐
Library parks - inside

85. 2.New public spaces Knowledge-‐
Explora, Science and Technology Park
Architect: Alejandro Echeverri
Constructed: 17.930 m2
Public Space: 21.470 m2

86. 2.New public spaces Knowledge-‐
Botanical Garden
The expression of Spring in Medellín

87. 2.New public spaces Knowledge-‐

88. Social interventions to transform Medellin
Plaza
Mayor
Ciudad e Cedezos
3.
Entrepreneuship
Innovation-­‐
Ruta N Parque e

89. 3. Entrepreneurship Innovation-‐

90. 3. Entrepreneurship Innovation-‐

91. 3. Entrepreneurship Innovation-‐
Plaza Mayor Fair and Convention Center

92. 3. Entrepreneurship Innovation-‐
Ruta N

93. 3. Entrepreneurship Innovation-‐

94. What have we learned?
-‐ All types of entrepreneurship counts and are important. Not only
technology based firms contributing to the economy. Social and
cultural-‐creative are increasing their importance around the
world.
-‐ Development of the competences are more necessary
as the instrumental learning. In this field, the schools and universities
play the main role as row material suppliers for the
entrepreneurship ecosystem.
-‐ The development needs a culture development.
It takes time and demands the permanent commitment of the
government.
-‐ Big companies have to be involved in the social development and in the
creation of markets for the .
-‐ possible through education and entrepreneurship to catalyst a
social transformation of a city.

95. This girl is the
face of
transformation
Come to my
city to feel it.
Thank you for your attention!