1 Collecting Cultural statistics in the Caribbean Keron Niles Research Consultant / Creative Industries Exchange Coordinator Shridath Ramphal Centre for International Trade Law, Policy and Services The University of the West Indies Cave Hill Campus Barbados, W.I.

2 Outline of Presentation Mapping cultural statistics in the Caribbean – the status quo Challenges & Opportunities The Way Forward Key Activities within the Cultural Domain

3 Mapping cultural statistics: Goods A wide variety of virtual portals make it relatively easy to map the production and dissemination of cultural goods. – e.g. UN-Comtrade, ITC, WIPO, WTO Central Statistical Offices (on a few islands) keep some records of the production of various types of cultural goods. e.g. Steelpans and CDs

4 Mapping cultural statistics: Services Virtually no framework exists with regards to the collection of statistics on cultural services. – Definitional issues: cultural service/cultural activity – Uncertain breath and depth of cultural domains – Issue of double-counting: due to secondary occupations (with regards to labour surveys) – Informal nature of industry – Lack of relevant classification models for cultural domains

5 Mapping cultural statistics: Intellectual Property National Copyright Associations collect and collate data pertaining to royalty earnings and copyright management. – e.g. Copyright (Music) Organisation of Trinidad and Tobago. (COTT) However: at present, most only deal with music WIPO data collection also facilitates mapping the IP component of some cultural domains.

6 Mapping cultural statistics: Tourism Lack of framework to allow mapping and measurement of the cultural component of tourism – Particularly relevant to Heritage & Festival Tourism Issue of double counting needs to be resolved.

7 Mapping cultural statistics CHALLENGES Cultural Domains largely informal Many leading artistes/performances not based or registered within region: would be difficult to include in regional mapping Lack of strong policy support or framework Cultural artistes and organisations are sometimes unwilling to provide data OPPORTUNITIES Signature of CARIFORUM-EU Economic Partnership Agreement has highlighted need for Strategic Industrial Planning (countries recognising value of cultural domains). Keen interest being shown in exporting cultural good and services. More attention being paid to supply-side issues (incl. mapping the capacity cultural sectors).

CARIFORUM-EU E.P.A.: Protocol on Cultural Cooperation Based on the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions; Speaks to having ratified or intending to do so promptly; Highlights the importance of cultural cooperation taking into consideration the degree of development of cultural industries, imbalances of cultural exchanges and the existence of preferential schemes for the promotion of cultural content

Classification of Entertainment Services (UNCPC) (some examples) Theatrical producer, singer group, band and orchestra entertainment services Services provided by authors, composers entertainers and other individual artists Ancillary theatrical services n.e.c Circus, amusement park and similar attraction services Ballroom, discotheque and dance instructor services Other entertainment services n.e.c.

10 Mapping cultural statistics CHALLENGES Projects that do measure cultural domains are disjointed. Lack of financial resources to invest in mapping (dependent upon donors). General lack of public or private sector interest in measuring or mapping the sector. OPPORTUNITIES The Capacity for Cultural and Creative Sectors to become real niche markets for Caribbean countries is being recognised. Specialised training in Arts and Cultural Enterprise Management at the University of the West Indies has begun. ACP attempting to establish a Cultural Observatory.

11 Mapping cultural statistics: The Way Forward Re-categorisation of cultural service industries is required (particularly by Central Statistical Offices). Industry Associations can administer surveys or collect data relevant to the services which they offer (thereby also reducing dependence upon government) e.g. Service Industry Coalitions (TTCSI, BCSI). Governments need to confirm support for cultural industries (UNESCO Nat’l Commissions have advisory role).

12 Mapping cultural statistics: Key Studies Ralph Henry and Keith Nurse (1996): Mapping and Economic Impact Assessment of the Entertainment Sector. Andrea Davis (1996): An Economic Survey and Industrial Plan for the Music Industry in Jamaica. Anita Bully (2002): A Survey of the Audiovisual Sector in the OECS Andrew Downes, Jonathan Lashley, and Harclyde Walcott (2005): A Survey of Cultural Industries in Barbados. Jo-anne Tull (2005): An Economic and Export Survey of the Music and Entertainment Industries. WIPO/CARICOM (2006): Mapping the Creative and Cultural Industries in the Caribbean. Keith Nurse (2007): The Cultural Industries in CARICOM: Trade and Development Challenges.

13 The Creative Industries Exchange: Key Project  Country profiles  Entrepreneur profiles  Creativity indexing  Industry & sector mapping  Policy mapping  Cultural Worker Survey A regional framework for the collection, collation and dissemination of data and information on the cultural/creative industries of the Caribbean. Principal CIE Activities

14 The Creative Industries Exchange  An outreach programme of the Shridath Ramphal Center for International Trade Law, Policy and Services of the University of the West Indies.  Chiefly funded by the United Nations Educational Scientific and Cultural Organisation (UNESCO).

15 Caribbean Creative Industries Exchange International Organizations: UNESCO, CISAC, WIPO, IFPI, IPA creative industries exchange Caribbean Export RCC Industry Assoc *CCL Tourism Agencies CSOs CRNM * In December 2008, CCL and the University of the West Indies signed an MOU, agreeing to exchange data related to the Creative Economy. Caribbean Creative Industries Exchange

17 The Creative Industries Exchange THANK YOU FOR YOUR ATTENTION