FUTURE

TRENDS
In collaboration with

THE CULTURE
AND CREATIVE
SECTOR
FUTURE TRENDS: THE CULTURE AND CREATIVE SECTOR

INSIGHTS
IN BRIEF

The creative and cultural industries (CCI)

make a significant contribution to global
gross domestic product (GDP), with annual
revenues calculated at around US$2.2
billion, or 3%. Nearly 30 million, or 1%, of the
world’s working population are employed
in this sector.

According to preliminary estimates by

Eurostat, the COVID-19 crisis may affect
about 7.3 million cultural and creative jobs
across the EU.

The pandemic has presented an

opportunity for the CCI to move towards
greater digitisation in its diverse sectors.

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FUTURE TRENDS: THE CULTURE AND CREATIVE SECTOR

CURRENT
SITUATION
The creative and cultural industries (CCI) which lie ‘at the
crossroads of arts, culture, business, and technology’1 , as the
UN puts it, have witnessed steady growth over the last few
decades as governments have recognised their inherent
value as a means of diversifying economies and stimulating
growth while contributing to both prosperity and well-being.2

1
UNCTAD, Creative Economy Report 2008, iii.
2
UNCTAD, Creative Economy Outlook 2018, 3.

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 FUTURE TRENDS: THE CULTURE AND CREATIVE SECTOR

THE GLOBAL MARKET FOR CCI GOODS

HAS AVERAGED ANNUALLY:

AVERAGE

$509 B
WORLD EXPORT
7.34%
GROWTH RATE
REVENUES

2002-2015 YEARS ESTIMATE

The creative and cultural industries make a significant

contribution to global gross domestic product (GDP). When
mapped for the first time in 2015 in a study for the
International Confederation of Societies of Authors and
Composers, this was calculated at US$2,250 billion or 3%, more
than the telecoms sector or the GDP of India.3 The same study
estimated that 29.5 million4, or 1%, of the world’s population
were employed in this diverse sector.5 The global market for CCI
goods had an average annual growth rate of 7.34% between
2002 and 2015, generating US$509 billion in world export
revenues, according to UNCTAD.6 Europe remains a regional
leader in the creative industry among developed economies,
creating employment for 12 million individuals with an annual
growth rate of 5.5% for creative goods production (as of 2018)7,
highlighting the essential role this industry plays in the
European economy. However, with China’s emergence as the
single largest importer and exporter of creative goods and
services, Asia has outstripped all other regions in CCI trade with
recorded export revenue of US$228 billion in 2015.8

3
EY, 2015 Cultural Times: The first global map of cultural and creative industries, 8.
4
For comparison, the total number of employees in the automotive industries in Japan,
the US and Europe stands at 25 million according to EY.
5
CISAC and UNESCO, Cultural times, 2015, 15.
6
UNCTAD, Creative Economy Outlook 2018, 20.
7
UNCTAD, Creative Economy Outlook 2018, 9.
8
UNCTAD, Creative Economy Outlook 2018, 9.

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FUTURE TRENDS: THE CULTURE AND CREATIVE SECTOR

Across the Middle East and Africa, the burgeoning creative

economy, from architecture and design to gaming and
visual arts, is worth US$58 billion per annum and represents
8% of global CCI employment.9 There has been a conscious,
if fragmented, economic shift towards CCIs across the
Middle East, largely fueled by what the MENA Design
Outlook has called the ‘rapid urbanisation, adoption of
digital platforms and youthful demographics’ 10 that
characterise much of the region. The UAE is a major player in
the region’s creative economy, establishing a reputation as
an innovation hub by investing in varied creative and cultural
avenues, exemplified in the establishment of the Louvre Abu
Dhabi, the Dubai Design District, the Sharjah Biennial, the
annual Emirates Airline Festival of Literature, Dubai Design
Week, Jameel Arts Centre, Alserkal Avenue and Art Dubai. 11
In Dubai, relevant authorities have invested heavily in
supporting and empowering the creative sector by making
available platforms for talents and their work to spread
positivity and optimism among members of society.

Similarly, the UAE has cultivated

a dedicated start-up ecosystem,
accounting for 60% of total
regional investment in such
new businesses. 12

Support for CCI enterprises in the UAE has resulted in the

construction of creative clusters such as Dubai Media City
and the launch of the UAE Cultural Development Fund which
promotes the creation of cultural products and supports
cultural activities.13 The UAE’s traditional entrepreneurial
energy has embraced the contemporary shift towards CCI’s
and has not looked back.

9
CISAC and UNESCO, Cultural times, 2015, 16.
10
Dubai Design & Fashion Council, MENA Design Outlook, 2015, 20.
11
The UAE exhibition industry is, by far, the largest in the Middle East representing 31% of total indoor
exhibition space according to the UFI, the Global Association of the Exhibition Industry.
12
Magnitt, 2019 MENA Venture Investment Summary, 2019.
13
The National, “Fund to advance cultural development.”

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However, the cultural and creative sectors have been among

the most severely affected by the COVID-19 pandemic. The
abrupt lockdowns implemented globally have affected both
creators and consumers, causing a significant structural
threat to the industries. As the UN has expressed it, the crisis
has disrupted the ‘entire creative value chain – creation,
production, distribution and access’,14 forcing the industry to
undertake drastic measures to ensure its survival as it copes
with a sudden loss of revenue, investment and employment
opportunities.15

According to preliminary estimates by Eurostat,

the COVID-19 crisis may affect about 7.3 million
cultural and creative jobs across the EU.16 Over
30% of the people affected are self-employed and
lack adequate social protection.17
Globally, creative and cultural institutions have been forced to
reconsider entire business models in light of the pandemic,
while CCI SMEs have been adversely affected and many now
face the prospect of bankruptcy. The social and economic
repercussions for the CCI, globally and across the Middle East,
will be pervasive and inescapable. While it is normally a
dynamic and comparatively resilient sector,18 it is being tested
to its limits and the industries involved will need support across
their respective ecosystems and supply chains.

Worldwide, governments are attempting to alleviate the

financial disruption to the CCI by implementing emergency
short-term measures. Governments are advancing creative
policy incentives and, in some instances, providing direct
financial assistance. Much of the emergency funding and
financial relief has been directed towards the survival of public
cultural institutions such as museums, libraries and theatres.
However, the CCI is predominantly built upon SMEs and
freelance work and is inherently fragmented. Many of the
small businesses and freelance professionals involved are now
facing long-term income loss that will continue beyond
lockdown as many have limited access to credit or social
safety nets.

14
UNESCO, “COVID19 Response.”
15
OECD, “Coronavirus (COVID-19).”
16
EU Science Hub.
17
Culture Action Europe, “The Future of Culture and Creative sectors in post Covid-19 Europe”
18
UNTCAD, Creative Economy Report, 2010, xx.

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Aware of this discrepancy, some governments have

taken steps to provide support to these vulnerable
groups — with examples including the following:

The United Kingdom’s Art Council England has initiated

an emergency relief fund of £160 million for art
organisations and artists. £20 million from the fund has
been set aside specifically for freelance workers.19

The United Arab Emirates' Ministry of Culture and Youth

launched the National Creative Relief Programme that, to
date, has provided grants up to AED 4.6 million to the UAE's
creative sectors.20

The Hong Kong Arts Development Council (HKADC)

launched a “Support Scheme for the Arts & Cultural
Sector”, which received $50 million from the Home
Affairs Bureau to help relieve the fiancial burden of the
arts sector during the difficult COVID-19 period.21

The Australian government launched a stimulus

package of AU$250M to support the CCI.22

The Mexican government has allocated US$1.3m to

support artists and cultural professionals.23

South Africa’s Department of Sports, Arts and Culture

has established a relief fund of US$8.3m for artists,
athletes and technical personnel.24

Italy has dedicated €130m in emergency funding for

culture and arts professionals.25

Sweden has committed €45m to support individual

actors and organisations in the culture sector through
organisations such as the Swedish Arts Council and the
Arts Grant Committee.26

19
Arts Council England, “Emergency Response Funds.”
20
UAE Ministry of Culture and Knowledge Development, “National Creative Relief Programme.”
21
“Support Scheme for Arts & Cultural Sector”, Hong Kong Arts Development Council, 2020
22
“$250 million JobMaker plan to restart Australia's creative economy”, Prime Minister of Australia, 2020
23
“Mexico's COVID-19 response for artists and local creators”, UNESCO, 2020
24
“Relief fund for South African artists, athletes and technical personnel”, UNESCO, 2020
25
EU National Institutes for Culture, “How is the European cultural sector responding to the current corona crisis?”
26
EU National Institutes for Culture.

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FUTURE TRENDS: THE CULTURE AND CREATIVE SECTOR

While such interventions are necessary and beneficial in

the short term, governments will not be able to sustain
them over the long term, and the CCI will need to adapt
to the continuing disruption of the ‘new normal’ that now
defines and restricts everyday activities. The survival of
many players within the industry, and the industry as a
whole, will depend on the level of flexibility, adaptability
and resilience that can be employed through strategic
endeavours which embrace innovative technologies,
reformulate existing business models and realise the
potential of new opportunities.

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FUTURE TRENDS: THE CULTURE AND CREATIVE SECTOR

It is also important to note that in

such crises, governments alone
cannot be the only active players.
In several countries, we have
witnessed new partnerships and
collaboration schemes between
governments, institutions, NGOs
and the private sector to alleviate
the pressure on the creative sector.
In Saudi Arabia, for example, several museums and
cultural institutions, including Ithra and MiSK, have
launched programs to support the sector during this
time. Athr Gallery, in cooperation with artists, also
launched Ma’an Editions, a production and research
fund for production of limited-edition artworks by
established and emerging artists to support fellow
practising artists. 27

Art Jameel held team-wide brainstorm sessions

immediately through March, generating a response
that was swift, determined, considered, effective and
bespoke to the UAE, Saudi Arabia and the region. It
consulted international partners, including lead
partners, the V&A, Met and Delfina Foundation, in
determining its response. Local artists, curators, and
other participants in programmes in the UAE, KSA, and
Egypt were surveyed to take in their perspectives and
better ascertain their immediate needs. 28 On another
hand Dubai Culture also collaborated with Art Jameel
Research and Practice Platform to support and fund
UAE national and UAE-based talents through the
allocation of micro fees towards their ongoing or new
projects. This collaboration played a role in enabling
practitioners to sustain their businesses and livelihoods
during these challenging times.

27
“Maan Artists Grants”, Athr Gallery, 2020
28
Art Jameel, Interview, 2020

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FUTURE TRENDS: THE CULTURE AND CREATIVE SECTOR

OPPORTUNITY
In an industry that depends on gathering and shared
proximity with performers, creative artefacts and cultural
spaces, the social distancing policies activated in March –
resulting in museum and gallery closures, the indefinite
cancellation of cultural events and an abrupt halt in
international travel – caused devastation. However, the
industry rapidly adapted to the crisis to avoid further fallouts
in ways that were both innovative and positive. For example,
many museums and galleries skillfully pivoted their
experiential services online, creating virtual tours.

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FUTURE TRENDS: THE CULTURE AND CREATIVE SECTOR

The Louvre, for example, began offering virtual visits to the

museum during the lockdown. The lockdown in Italy
witnessed singers coming together and performing on their
balconies in a display of solidarity that also acted to boost
collective morale. 29 In Brussels, the art collection, Galila’s
Passion Obsession Collection, created educational projects for
children confined at home due to the lockdown; they learned
to make masks with easily accessible everyday materials. In
Amsterdam, fashion school students worked togetherto use
their skills to make face masks for local hospitals and for
shelters for the homeless.30 The pandemic has also presented
an opportunity for the CCI to move further towards
digitisation. Scotland allocated a £55,000 Digital Resilience
Fund to enable museums to purchase the necessary
equipment to build digital infrastructure and ensure digital
access to collections with staff working from home. The
impact of the fund will also aid the industries’ digital
infrastructure beyond the current pandemic. 31

Artists, galleries and institutions in the region and globally

have all adapted to working and engaging digitally. Many
artists working with audiovisual content have made their
works available online for free so that audiences far and wide
could get the chance to access their works. Live talks
programmes launched by institutions including Ithra’s ResiliArt
in KSA and Abu Dhabi’s CulturALL talks have proven that art
and culture can be extended to the digital world. Art Jameel
has reported that there have also been many independent
curators, organisations and artists launch podcasts, short
films and other digital content on social media and their own
channels and websites. Some of those artists and creatives
have collaborated with Art Jameel and participated in
interactive Jaddaf Aloud online art programmes.

29
Vanessa Thorpe, “Balcony singing in solidarity spreads across Italy during lockdown,”
30
Johanna Suo Kouzmine Karavaïeff, “The Role & Value of Culture and Creative Industries During and
Post theCovid 19 Pandemic,”
31
The Scottish Government, Case Study: Scotland’s Coronavirus (COVID-19): Culture and Creative Sector Support

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FUTURE TRENDS: THE CULTURE AND CREATIVE SECTOR

Dubai Culture launched virtual guided tours across all its

museums to maintain audience interaction with Dubai's
heritage and history. This initiative supported the
home-schooling curriculum during the lockdown, resulting
in the participation of over 11,300 students from 94 public
and private schools from around UAE. Also, following several
discussions the Authority had with the industry, a series of
initiatives was launched to further support the cultural and
creative sector. These initiatives include the partnership with
LinkedIn to provide creative professionals with free,
specialised e-learning courses, the launch of a community
initiative to encourage the continuity of creativity and
spread happiness and positivity as well as inspiration,
'Create Together.'

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FUTURE TRENDS: THE CULTURE AND CREATIVE SECTOR

The events industry was also quick to react. For example, the
Art Dubai Group has been a leader on the digital front and
quickly adapted to the crisis. In March it:

01
Produced a ‘news hour’ special which was the
world’s first transdisciplinary arts conference
on the effects COVID-19 to go online to an
audience of 11,000;

02
Held a Community Forum for around 100 of
Dubai’s SMEs and freelancers to articulate and
list the immediate challenges they were facing;

03
Produced an online catalogue to replace
its physical fair which resulted in over
AED10m of sales;

Produced (with the Global Grad Show) an

04
open call for universities across the world to
provide design-based solutions to collateral
issues created by COVID-19 which in two
weeks received 400 entries from 10 universities
in 40 countries.32

32
Global Grad Show, COVID-19 initiative: Finding solutions to collateral issues of the pandemic 2020

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Art Jameel has opted to focus its digital efforts on:

Developing and distributing

innovative, bilingual learning materials
to deepen understanding and
knowledge of the arts;

Using digital networks to reach out to

and support artists, curators and
creative professionals at this time, to
help ensure the creative scene remains
intact and survives the crisis;

Supporting local communities,

particularly in the UAE and KSA,
through programmes that highlight
local talent and encourage the
community to ‘support local’.

“We believe exhibitions that are intended to

be experienced physically should still
foreground that experience – and since
re-opening Jameel Arts Centre on June 3, we
have seen an enthusiasm from the public for
returning to museums and seeing art ‘in the
flesh” Art Jameel.33

33
Art Jameel, Interview, 2020

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The current challenge will be to support initiatives that
alleviate the negative impacts of the pandemic in the
short term and that help to identify new opportunities in
the medium term for different public, private and
non-profit actors engaged in cultural and creative
production. However, any measures implemented will
need to be inclusive and avoid leaving behind the more
vulnerable members of the sector, from seasonal workers
to freelance professionals, as this could result in irreparable
damage with much wider socio-economic ramifications.
Developing sustainable business models during and after
the initial crisis is imperative for the survival of the CCI and
should be encouraged at every level.

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FUTURE TRENDS: THE CULTURE AND CREATIVE SECTOR

LOOKING
AHEAD
In April 2020 Dubai Culture and the Art Dubai Group
produced an Ideathon where 100+ creative professionals
from across the world came together for two days of
workshops. Outcomes were the following:

Short term insight

and recommendations
(during the COVID-19 outbreak)

Financial support from the government can take the form

of rent relief, utility bill support, licence-fee waivers, support
grants, customs, and VAT fee waivers.

Short to long term insights

and recommendations
(post COVID-19)

Demand for CCI can be created by producing initiatives that

encourage the government and private sector to use the
industries’ services. Governments should incentivise and
encourage philanthropy and social impact investing in the
CCIs for both social and financial returns. Cultural clustering
and the sharing of resources such as workshops, equipment,
viewing rooms, and office spaces should be strengthened.
Latent demand in cultural goods and services across
demographic groups should also be activated.

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LOOKING
AHEAD
Creative talent can be attracted and retained by
encouraging communities to form to enhance
collaboration and attract other creative professionals.
Content and economic interests should be protected to
ensure the highest standards of intellectual property.
The government should also consider creating both
short-term (six months) and medium-term (2 years) visa
infrastructure to recognise and legitimise creative talent
as well as creating opportunities to nurture CCI
pre-startups and start-ups, in the shape of incubators
and accelerators. Reducing the cost of setting up
businesses for companies that are less than two years
old and have a lower turnover than AED 367,000 could
also prove to be beneficial.

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