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Art as Work |
| A work of art need not be valued plainly for art’s sake. Potentials for growth and employment are underneath the spectacle of creativity |
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By KATHERINE B. BRIMON |
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Barely able to pay for their children’s education, a
common Filipino family has only one factor to consider in deciding which course should a child take in college: Which leads to a good-paying job? It won’t matter if the child is not so inclined toward a certain course. What’s important is that investment on education means better earnings for the family in the future. Hence, a young and talented musician would most definitely enroll in Nursing rather than pursue higher studies in Music.
“Killing” talent this way is a painful decision, but some families simply do not have the luxury of supporting their kids’ creative pursuits while some do not see these undertakings as careers. Parents know best — there is not much money in strumming the guitar, painting the sunset or writing poetry.
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A Closer Look at Art Global figures on the economic contribution of creative activities however tell a different story. Creative industries, defined by the UK Creative Industries Taskforce as “those industries which have their origin in individual creativity, skills and talent and which have a potential for wealth and job creation through the generation or exploitation of intellectual property”, account for more thanseven percent of the world’s gross domestic product (GDP). These activities contribute an estimated US $1.4 trillion to the world’s economy. |
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SHALL WE DANCE?: The Bayanihan Dance Company in a riveting dance performance. |
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I In 2001, the UK Creative Industries Taskforce found that the country’s creative industries are annually valued at about US$198.77 billion, employ 1.3 million people, export around US$18.28 billion, and account for more than five percent of the country’s GDP. Meanwhile, in the Asia-Pacific region, few countries have developed mapping systems to establish the contribution of creative industries to economy. Among these countries is Singapore where these industries contributed a total value-added of US$1.8 billion or about 1.9 percent of GDP in 2000. The country’s export of creative products and services amounted to US$ 329 million during the same year.
Beyond Art’s Sake For a country that has produced world-renowned artists and where budding singers are waiting to be discovered in barrio fiestas, it is surprising to learn that the contribution of creative industries has not been established yet. Some indicators do shed some light. The NSO data for 2003 show that total revenue for motion pictures, television and other entertainment activities was at P 29.1 billion while services related to library and archives, museums and other cultural activities stood at P 271.4 million. These amount to a total of 36.8 percent of total revenues in “all other community, social and personal services” industry classification. Craft products, showcasing Filipino creativity all over the world, also accounted for a total FOB value of US$2.96 billion from 1997 to 2001. Among the craft products, Philippine furniture posts the largest bulk of exports at US$ 1.67 billion. |
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With the artists themselves “selling” the products of their creative pursuits, establishing the magnitude of employment in creative industries has proven to be very difficult. Australia, where the concept of “creative industries” first emerged in the early 1990s, even opted for a mapping project that established talent density in specific areas of the country instead of determining employment levels.
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Some clues may already be gathered while a mapping project for Philippine creative industries has yet to start. 1999, 2001 and 2003 employment from motion pictures, radio, and television stood at an annual average of 36,000 workers or about 21 percent of average total employment in the “other community and personal services” classification. NSO data for 1999 give more specific employment figures. For instance, dramatic arts, music and other arts activities accounted for more than 12,000 employees, 98 percent of which are paid employees. DTI reports also indicated that there are about 3,000 direct basketware manufacturers and that these, in turn, employ more than 50,000 direct workers and 100,000 indirect workers in subcontracting arrangements. Costume jewelry accounted for more than 140 manufacturers and 10,000 workers while fine jewelry production engaged a pool of more than 100,00 workers.
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Of course, one cannot ignore the hordes of Filipino musicians, thespians and dancers who consider the world their stage. POEA deployment data show that three out of every five Filipino performing artists were composers, musicians and singers. Filipinos are also showcasing their talents to the world in such jobs as choreographers, dancers, architects, town planners, sculptors and archivists. |
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Untapped Wealth Despite the potential of Philippine creative industries to develop new areas of wealth and employment creation, the country remains a marginal player in the global market. Its rich cultural heritage and the inexhaustible pool of talent also wait for the right conditions within which creative industries may thrive.
Giving rise to the right environment means addressing several issues. During the 1st Philippine Creative Industry Forum held in Manila in September 2005, forerunners in the creative sector raised the need for policymakers to recognize the economic facet of arts and culture. A Creative Industries Working Committee composed of the Cultural Center of the Philippines, Asian Institute of Management, National Commission for Culture and the Arts, Department of Foreign Affairs, Department of Trade and Industry, and the Intellectual Property Rights Office is currently laying down the groundwork to establish economic data on the sector.
Giving rise to the right environment means addressing several issues. During the 1st Philippine Creative Industry Forum held in Manila in September 2005, forerunners in the creative sector raised the need for policymakers to recognize the economic facet of arts and culture. A Creative Industries Working Committee composed of the Cultural Center of the Philippines, Asian Institute of Management, National Commission for Culture and the Arts, Department of Foreign Affairs, Department of Trade and Industry, and the Intellectual Property Rights Office is currently laying down the groundwork to establish economic data on the sector.
Human resource development for creative individuals was also called for during the consultations prior to the 2006 National Manpower Summit in March. Stakeholders pointed out that the current curriculum do not harness the potentials of the creative sector. For instance, it was noted that there are few learning institutions for people seeking a career in cultural resource or arts management, an essential specialization when creativity needs to blend with entrepreneurship. Representatives of the crafts and design subsector also found that designers have limited access to business technology that can provide them a competitive edge in the global market. Gaps in human resource was also established as archivists, record management analysts and conservators for cultural heritage activities were reported to be lacking.
For a country that has produced world-renowned artists and where budding singers are waiting to be discovered in barrio fiestas, it is surprising to learn that the contribution of creative industries has not been established yet.
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Nurturing Filipino Creativity Some initiatives by the private sector, local government units and the artists themselves seek to address these problems. Angono’s visual artists are developing the area as the “Art Capital of the Philippines.” Angono is home to many of the country’s great artists and art galleries.
In the crafts and design sector, the group Movement 8 is working together to expose their designs, primarily home furnishings, to the global market. Movement 8 has won international acclaim for craftsmanship. Meanwhile, the country’s fashion accessories industry has evolved from traditional souvenir items with minimal value-added to design-driven products, making them consistent award winners in shows in Paris.
With the artists themselves abuzz with clusters of activities to support creative industries, one need not stare too hard at the situation as if it was abstract art just to get the message: wealth is in our hands, all we need to do is nurture it with the right policy responses.
For a country that has produced world-renowned artists and where budding singers are waiting to be discovered in barrio fiestas, it is surprising to learn that the contribution of creative industries has not been established yet.
Despite the potential of Philippine creative industries to develop new areas of wealth and employment creation, the country remains a marginal player in the global market.
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