philippine creative industry

Philippine Creative Industries Mapping:
Towards the Development of a
National Strategy

d) recommend strategies that both the private and public sectors can adopt to propel the industrys growth.

Objectives of the Study
identify opportunities for further development and improvement; and determine the creative industries contribution to the economy; analyze the situation per sector and identify the enabling and hindering factors for the growth of the sector;

Six Major Fields of Creative Industries

Heritage and the Fine Arts

Design and Architecture

Audio-visuals

Printing and Publishing

Creative Services

Science and Technology

METHODOLOGY

Creative Economy Value-Chain

Five Cs of the Creative Economy Value Chain

Chaining

Capacitating

Communitizing

Clustering

Converging

Chaining, Capacitating, Communitizing, Clustering and Converging in a Creative Sector

FRAMEWORK

Understanding the Philippine Creative Economy and its Potentials for Growth

*

Industrial Design and Architecture

Broadcast (TV/Radio) Film

New Media (Internet/Mobile Devices)

Publishing and Printmedia


Creative Services

Audiovisuals

Performing Arts Visual/Literary Arts

Traditional Arts and Crafts Cultural Sites

Print Media (News) Books and Magazines

Dissertations/Articles

Animation and Gaming Advertising and Graphics Recreational Services ITES


Research & Development in Manufacturing

(Electronics and Communication, Food, Drug, Housing and Transport) ICT

Packaging Design Textile/Fashion Design

Interior Design Architecture

Product Design (Hardgoods)

Creative Field

Creative Sectors Involved

*

Artists (Choreographers, Painters, Writers etc) Local and Indigenous Communities

Product Designers, Architects, Interior Designers and Fashion Designers,

Craftsmen

Writers, Lay-out Artists, Researchers, Authors

Writers, Artists, Directors, Creative Director, content and Substance Providers etc

Inventors, Designers, Culinary Scientists, Research and Product Development Units, Doctors, Engineers

Artists, Gaming /Rides Inventors, Creatives Director, Graphic Designers and Recreational Designers

Creative Originators




Creative Services

Audiovisuals


Creative Field

*

Special Art Schools and Universities, LGUs, Local and National Art Guilds

Special Training Schools and Universities, LGUs, Local and National Art Guilds, Artisans

Special Art Schools and Universities and LGUs

Special Talent Centers / Groups/ Schools

Production Houses

Schools and Universities, LGUs, Local and National Science Guilds

Special Schools and Universities, LGUs, Local and National Tourism Guilds

Creative Enablers / Facilitators




Creative Services

Audiovisuals


Creative Field

*

Production Houses/Guilds, Events Companies, Sponsoring Groups from Govt and Private Institutions.

Manufacturing Firm, Production Firm, Product Factories, Design Companies, Entrepreneurs

Publishing Companies, and Printing Houses

Film Production Companies, TV and Radio Companies, Content Providers

Manufacturing Firms, Factories, Laboratories, Real Estate Companies, ICT Investors

Advertising Firms, Design and Graphic Arts Studio, Recreational Planners and Design Firms

Creativity Transformation Mechanism




Creative Services

Audiovisuals


Creative Field

*

Show (Dance, Music Theater etc), Fine Art Product, Tourist Attractions

Magazines, Books, News Paper, Journals

Model Housing Units, Product Collection, New Packaging Design, Structure and Design

TV/Radio Show, Web Site and, Film Outfits

New Food Variety, Drug, Cosmetic, New Engine, New Appliance Transportation Innovations

Advertisement, Game, Animated Product, Recreational attraction

Creative Product




Creative Services

Audiovisuals


Creative Field

*

Theaters, Stage Venues, Galleries, Exhibit Halls and Local Sites, LGU, Govt

Real Estate Co, Fashion Houses and Brands, Packaging Distributors

Book and Magazine Stores, Newspaper stands, Web

TV/Radio Networks, Cinemas and Special Theaters, Record Companies

Retail and Wholesale Stores/Outlets , Exhibits, Drugstores etc.

TV/Radio Networks, Mass Transport, Advertising Avenues, Print Media, Amusement, gaming and recreational Facilities

Creative Distribution Mechanisms




Creative Services

Audiovisuals


Creative Field

*

Art Services, Libraries and Museums generated Php271M in revenue in 2003.There are 12,000 employees engaged directly in the performing arts. Clothing/Apparel: Top 2 Export.Furnitures: Top 6 Export, an increase of 31.3% from 2007.Costume Jewelry 140 establishment with more than 10,000workers. In 2003, 3000 direct basket manufacturers.
More than 5,000 Establishments engaged in printing. More than 60% are small in size and more than 70% are located in MM.

There are 373 Screens in the Philippines, 60% are in MM. Film Industry has 0.98% share in GDP in 1998. In 2003, the film industry generated more than Php29B. Total employment contribution is 36,000. ABS-CBN posted Php 598M in net income for the first half of 2008
$28B Manufacturing Revenue in the first half of 2008 (Electronics). It employs almost 1M permanent and casual workers in the country.Php 85B Revenue for the Pharma Industry dominated by Multinationals.$105M Revenue in 2005 with 50 major animation outfits in the Philippines.The Animation Industry contributes 7000 to the countrys employment pool.ITES contributed to more than $500M in 2001 with more than 60000 employees.
Creative Market Potential and Indicators




Creative Services

Audiovisuals


Creative Field

*

NCCA, NHI, LGUs, CCP, DepEd, CHED,

NCCA, NHA, CHED, DTI

PANA, PIA, National Library, DTI, OPS, NCCA

MTRCB, OPS, LGUs, DOTC, NCCA, Adboard

DOST, DOTC, BFAD, DOH, NCC, CHED, DTI

Adboard, DOTC, DOT, CHED, DTI

Public Institutional Involvement




Creative Services

Audiovisuals


Creative Field

*

Economic Contribution of the Creative Industry

Global and Regional Perspective

Source: UNCTAD

US$227.4 Billion (1996) Value of world exports of creative industry products and services

US$424.4 Billion (2005) Value of world exports of creative industry products and services

3.4% of world trade

World Exports of all Creative Industry Products and Services

by Subgroup, 1996 and 2005
SubgroupValue (millions of S)As % of all creative industries As % of total world exports (goods/services) (2)Value (millions of S)As % of all creative industriesAs % of total world exports (goods/ services) (2)Growth rate1996 (1)2005 (1)1996-2005All creative industries (3)227,451100.00 -424,427100.00 -6.4 All creative goods (4)189,21483.183.50 335,49479.04 3.21 6.0 All creative services (5)38,23716.822.87 88,93320.96 3.50 8.8 Heritage15,7606.72-26,6925.99 -5.4 Arts and craft goods14,7386.280.27 23,2445.22 0.22 4.3 Other cultural services1,0220.440.08 3,4480.77 0.14 12.9 Visual arts10,3314.40-22,1494.97 -7.9 Visual arts goods10,3314.400.19 22,1494.97 0.21 7.9 Performing arts5,1002.17-14,9243.35 -13.5 Music goods5,1002.170.09 14,9243.35 0.14 13.5 Publishing & printed media32,18013.71-44,3049.95 -3.4 Publishing goods32,18013.710.60 44,3049.95 0.42 3.4 Audiovisuals6,6822.84-18.1824.08 -10.5 Audiovisual goods3550.150.01 6640.15 0.01 7.6 Audiovisual and related services6,3272.69 0.48 17,5183.93 0.70 10.7 New media6,8042.90 -12,0352.70 -6.5 Media goods6,8042.90.13 12,0352.70 0.12 6.5 Design119,70650.98-218,17349.00 -6.2 Design goods119,70650.982.22 218,17349.00 2.09 6.2 Creative services38,23616.29-88,77919.95 -8.7 Architectural and related services9,8284.190.74 27,7226.23 1.11 10.9 Advertising and related services5,0082.130.38 15,7033.53 0.63 12.1 Research and development services13,3365.681.00 17,9904.04 0.72 3.0 Personal, cultural and recreational services10,0644.290.76 27,3646.15 1.10 10.5

Creative Industry in the Philippines

The core copyright-based industries consist of:
Press and literature Music, Theater, Opera Motion Picture and Video Radio and Television Photography Software and databases Visual and graphic arts Advertising
Core copyright-based establishments made up 31.38 percent of all large establishments, employed 320,871 or 12.18 percent of the total, and provided Php324 billion or 5.37 percent of GDP in 2006

The radio and television sector was the most significant contributor to GDP, bringing in 3.45 percent and in terms of productivity.

Size and contribution of Philippine Copyright-based industries
Sector and IndustryNumber of EstablishmentsEmploymentValue AddedVA as % of GDP*Value Added per Employee (P000)Number% of TotalNumber% of Total(P000)(Large Establishments)21,2422,633,4952,074,911,47734.39%788Agriculture and mining9284.37%147,9895.62%38,196,8390.63%258Industry6,13828.90%1,143,37943.42%1,073,272,81417.79%939Services14,17666.74%1,342,12750.96%963,441,82415.97%718COPYRIGHT-BASED INDUSTRIES992,38337.68%832,871,71013.81%839Core6,66631.38%320,87112.18%323,778,5075.37%1009 Press and literature2,81313.24%198,3357.53%78,828,0151.31%397 Music, Theater, Opera8033.78%22,1950.84%13,697,1240.23%617 Motion Picture and Video510.24%3,1310.12%1,444,6520.02%461 Radio and Television2301.08%45,2081.72%208,052,2483.45%4602 Photography8614.05%4,5210.17%1,622,8330.03%359 Software and Databases1,3026.13%38,2471.45%15,729,2280.26%411 Visual and Graphic Arts70.03%5090.02%55,7470.00%110 Advertising5992.82%8,7250.33%4,348,6600.07%498Interdependent151,7615.76%109,120,4591.81%719Partial264,98310.06%58,930,1780.98%222Non-dedicated support254,7689.67%341,042,5665.65%1339Copyright-based industries VA share in services:86.45%Copyright-based industries VA share in major PSIC divisions D,G,I,K,O (manufacturing, trade, transport storage communication, business services, other community social and personal services):59.24%GDP for 2006 (at current prices) in P000 6,032,624,000 Note:Agriculture includes forestry and fishingIndustry consists of manufacturing, electricity gas and water, and constructionServices consists of wholesale and retail trade, hotels and restaurants, transport, storage, communication, financial intermediation, real estate renting and business, private education, health and social work, and other community social and personal services

Source: Computed from 2006 CPBI

Share of core copyright-based industries in the Philippine Number of establishments

Share of core copyright-based industries in Philippine Employment


Value added share of core copyright-based industries in Philippine Gross Domestic Product


A NATIONAL STRATEGY FOR THE DEVELOPMENT

OF THE CREATIVE ECONOMY

They prioritize science and technology at their earlier economic development stages

Countries that have attained a certain standard of living for their citizens

More likely to allocate a substantial budget for the upliftment of the arts, the sciences and all forms of creative pursuits.
increases in productivity reduction in costs creation of new products and services for their growing markets.
accelerates

wealth

creation

income rises

and

taxes increase

The government and the population at large

more time and money to spend for creative products and services

The contribution of the Creative Industries to gross domestic product (GDP) and gross national income (GNP) is small (at 2% to 5%) for less developed economies but it rises as development accelerates to much higher percentages (7% to 10%).

The Philippines remains at number 42 in a universe of 57 countries at the Competitiveness ranking of countries

We are a very service-oriented economy with little competitiveness in both agriculture and industry

Agriculture - 62%

Industry - 15%

Services sector surged to 51.1%

Agriculture and Industry

Services Sector

1960s - Employment

1960s - Employment

Services sector yielded only 23%.

2009 - Employment

2009 - Employment

Agriculture - 34.3%

Industry - 14.5%

The Philippines never followed the general trend of most other countries that metamorphosed gradually from agriculture to industry to services.

Services sector rely on cheap labor to generate their sales and profits.

Most Filipino laborers are in low value-added, low salary jobs.

20% of our adult work force are pursuing higher pay and higher value-added jobs abroad.

IMEDE revealed that the Filipino worker abroad is the most preferred worker in the world.

This is an indictment against the businesses and entrepreneurs in the Philippines who have never been able to properly optimize the worth of their workers while in the Philippines.

The Creative Industries can have a multiplier effect on the entire economy by:
exploiting indigenous natural resources for creative products;contracting both rural and urban poor workers to execute creative designs; extending the value chain (from supply to market chain) within the boundaries of the Philippines to avoid value losses to the economy; and increasing the final value of the creative products and services through better designs, improved technologies, successful inventions and breakthrough innovations.

Entry Strategies

Three strategies emanate from the

Push (Creative Originators and Enablers) and

Pull Factors (Creative Markets and Distribution Network) and the

Fulcrum in between (Creative Technologies and Processes used by the Creative Transformers in making Creative Products and Services)

Push FactorsFulcrumPull FactorsCreative Originators and EnablersCreative Transformers and TechnologiesDemand for Creative Products and ServicesArchitects and EngineersLandscapers and Interior DesignersCity/Town Planners and DesignersFurniture and Furnishing craftsmenSchools which educate and train the aboveArchitectural and Engineering Technologies and Processes used by public and private firmsLandscaping, interior designing, city house planning and designing technologies and processes by government and private firmsCREATIVE CONSTRUCTION PROJECTSBuildings and HousesParks and GardensInfrastructure

Push FactorsFulcrumPull FactorsCreative Originators and EnablersCreative Transformers and TechnologiesDemand for Creative Products and ServicesDirectors ScriptwritersLighting and Sound ExpertsAdvertising CreativesActors, Dancers, Musicians, Comedians, Acrobats and othersTV Hosts and Radio AnnouncersSchools that educate and train the above Media Broadcasting companies using Creative Technologies and ProcessesHospitality entrepreneurs who provide entertainment Repertory GroupsMall OwnersAdvertising CompaniesENTERTAINMENTTelevision Shows and AdvertisementsTheaters / Clubs (Plays/Shows)FilmRadioVideo Arcades and Theme ParksGraphic Arts and Animation

Push FactorsFulcrumPull FactorsCreative Originators and EnablersCreative Transformers and TechnologiesDemand for Creative Products and ServicesEvents OrganizersDesigners and Executors of Tourism Destinations and AttractionsArt Curators and CollectorsArchitects, Engineers, Landscapers, Interior DesignersChefs and Culinary ArtistsDancers, singers musiciansFurniture and Furnishing craftsmenArtisans and CraftsmenMakers of DecorsPainters and SculptorsSchools which educate and train the aboveHospitality Industry Entrepreneurs using Creative Technologies and ProcessesGovernment visionaries and innovators who promote tourismTourism and Travel companies that employ creative processOrganized local populations who promote festivals, tourist sites and crafts TOURISMCultural Sites and ShowsFestivalsMuseums, Galleries and ExhibitionsCreatively-Enhanced Natural EnvironmentsHotels and RestaurantsTourism Destinations and AttractionsSouvenirs and indigenous / native / distinctive local crafts

Push FactorsFulcrumPull FactorsCreative Originators and EnablersCreative Transformers and TechnologiesDemand for Creative Products and ServicesAuthors, Writers, EditorsLandscapers, Park DesignersArchitects, Engineers and TechnologistsPainters, SculptorsComposers, MusiciansPhysical Body and Fitness Shapers/ExpertsSchools that educate and train the above Publicity companiesGovernment and Private Park Owners/ManagersEntrepreneurs/ Impresarios who promote Parks, Works of Art, Body Sculpting and Fitness ShapingLEISUREPerforming ArtsBooks and MagazinesGardens and Stroll/ Picnic/ Nature Parksand Theme ParksFine Works of Art (Paintings, Sculptures, Music, Plays, Shows, etc.)Cultural HeritageMuseums, Galleries and ExhibitionsSports and Fitness CentersSpas and Wellness Centers

Push FactorsFulcrumPull FactorsCreative Originators and EnablersCreative Transformers and TechnologiesDemand for Creative Products and ServicesScientists and Technologists, Inventors and InnovatorsDesigners and Engineers of Household, Commercial and Industrial ProductsElectronic and Computer ExpertsSchools that educate and train the aboveCorporations who produce Creative Products using latest Technologies and ProcessesGovernment Funded Research and Development Projects that get commercializedINDUSTRIAL PRODUCTSHousehold appliances, furniture, fixtures, decors and creative construction furnishingsInnovative machinery, equipmentInnovative household and personal productsInnovative Products used by Commercial and Business Establishments

Push FactorsFulcrumPull FactorsCreative Originators and EnablersCreative Transformers and TechnologiesDemand for Creative Products and ServicesDesigners and Pattern MakersCraftsmen and ArtisansJewelry MakersWatch MakersSchools that educate and train the aboveManufacturing companiesBoutiques and shopsFashion HousesPERSONAL FASHION WEAR, JEWELRY, FASHION ACCESSORIESApparelShoes and BagsJewelry (Fine and Custom)Watches

Main Economic Drivers for the Creative Industries

Three main economic drivers for the Creative Industries are

Construction, Entertainment and Tourism based on the market value of the final products produced.

The emphasis is on building structures for businesses and households.

Enough sophistication in the upper income classes and the large business establishments to patronize the services of creative originators in the construction industry:
creative planners architects engineers interior designers landscapers furniture and fixture makers and other creative originators in the construction industry.
Buildings and houses have adopted themes, motifs and designs aimed to please both the functional and aesthetic desires of their intended owners.

Construction

Entertainment

Television and radio products and services are the two biggest economic contributors among the core copyrighted industries. Wide reach for advertising industry

The film industry has seen its ups and downs but finds a ready long-term re-run market through television broadcasting and through VCD/DVD distribution.

First-run ticket revenues are not sufficient to buoy the film industry except for the movie blockbusters.

Malls have become entertainment hubs with their movie houses, video arcades and mini-amusement rides.

Tourism (both foreign and domestic) has risen tremendously over the last decade with the opening of more tourist destinations, facilities and amenities.

The construction of international and local airports, seaports and road networks has provided much greater access to tourism sites.

The most creative works of architects, engineers, landscapers, interior designers and furniture makers are greatly in demand in tourism because the tourism sites and facilities have to be attractive, distinctive and alluring.

Tourism

In 2008, tourism brought in over three million foreigners spending about $796, each or a total of $2.49 billion.

More and more, festivals such as the Sinulog of Cebu have become large economic contributors and effective social mobilizers.

Sinulog Festival generated large revenues for the local economy and solidified and galvanized local population of Cebu and all its participating contributors.

Tourism

Used to be very strong in the country until standardization and commercialization began to favor countries with competitive advantages in labor, power, materials and equipment. Only specialized creative services such as beauty parlors and hairstyling shops have survived the onslaught. Aesthetic or cosmetic surgery, another creative service, can very well be a sunshine industry for the Philippines.
Personal wear, jewelry, fashion accessories

Leisure and Industrial Products have not yet become economically significant and pronounced in the Philippines.
Absence of sufficiently high income No highly competent scientists and technologists, research and development experts, inventors and innovators, engineers and technicians who can match the resources of and do battle with the advanced economies.
Leisure and Industrial Products

TOURISM AS A DEMAND DRIVER FOR THE CREATIVE INDUSTRIES

Tourism finds great relevance with Arts and Culture through:
Cultural Heritage and Historical Sites, Indigenous Peoples Arts, Crafts, Music and Dances, the Celebration of Major and Minor Festivals, Museums, Galleries, Exhibitions and Distinctive Showcases, and Natural and Man-made Tourist Destinations Enhanced by the Creative Industries of the Hospitality Sector

In developing the Creative Industries within the ambit of the Tourism Sector

The Philippine National Government Agencies (NGAs),

in cooperation with
Local Government Units (LGUs), Business Groups and Philanthropic Organizations (BGPOs), Non-Government Organizations (NGOs), and Peoples Community Organizations (PCOs),
Should endeavor to adopt and complete the five Cs of Chaining, Capacitating, Communitizing, Clustering, and Converging.

(1) Access, meaning roads, railways, seaports, and airports and the attendant transportation services;

(2) Tourism Facilities, meaning hotels, restaurants and other hospitality amenities; and

(3) Tourism Attractions which includes the five Arts and Culture elements cited above.

The Three Vital elements of the Value Chain

National Tourism Strategy and Development Plan

The Tourism hardware plan

encompasses infrastructure, facilities, site development, and physical attractions/destinations.

the organizational efforts in mobilizing local governments, private corporations, schools, artists and communities to conceptualize, coordinate, and carry out tourism events, the historical, socio-cultural and current market research needed to root the tourism efforts on tradition while making them relevant to the contemporary setting, and the production and rendering of creative products and services (shows, exhibits, contests, and performances of creative originators).
The Tourism software plan

National government agencies dedicated to Arts and Culture, Science and Technology and Tourism should provide the support and assistance required to launch local efforts.

Capacitating in Tourism
Growing tourism market and the high demand for hospitality services abroadGrowing number of students in courses like hospitality management, hotel and restaurant management, tourism, culinary arts, bar tending and the like The Entertainment Sector (mainly television, night clubs and talent shows) has helped boost tourism through the development of artists in singing, dancing, acting and playing musical instruments.Local festivals have mobilized schools and private groups to train participants in street performances.

DEMAND

FESTIVALS

OWN TOURISM MARKET

Energizes the
Creative talentsEnablersTransformersMarketeers
Creative talents and Enablers such as:
Woodcarvers of Betis and Paete Jewelers of MeycauayanThe artists of AngonoThe singers of Loboc
Communitizing creatives is a proven formula for boosting the creative economy

Communitizing

Clustering

Clustering in tourism has a magnetic effect.

Cebu-Mactan-Bohol Cluster

Cebu
Natural trading and transportation hub in southern Philippines Cebu tourism grew with the construction of hotels, malls and other tourism facilities Sinulog Festival is one of the biggest in the country and contributes tremendously to the creative economy Construction activities in the island have shown the highest growth rate in the country over the last decade


Mactan
Opening of the international airport and connecting bridges gave access to the population of Cebu Cluster of tourism facilities and attraction (not to mention the industrial zone and the film-making institute set up on the island
Bohol
Establishment of its own beach resorts Bohols emphasis on its unique features and attractions (old churches, chocolate hills, the tarsier, the singers of Loboc, the river ride, and the unspoiled natural landscape)
Cebu-Mactan-Bohol Cluster - a vibrant Creative Economy with Tourism and Entertainment as its anchors and Leisure as its culmination in the fine arts, cultural heritage and the performing arts

Converging follows where Clustering happens

Converging

Accelerated by the appointment of a Cebuano to the post of Secretary of Tourism. Government has stepped in with substantial infrastructure investments and marketing support. Private businesses have been lured to the islands to establish hotels, malls, entertainment and hospitality centers. Artists of various sorts have congregated there to fill the large demand for performers and entertainers.

ENTERTAINMENT AS A DEMAND DRIVER FOR THE CREATIVE INDUSTRIES

Television and radio are two of the largest contributors to the creative economy because of the heavy advertising budgets spent by business establishments.

Part of the wider Media Industry:
broadcasting (television, cable and radio), print (newspapers and magazines), digital media (internet, computer services and software), film and video, and recorded music.

The large revenues accruing to television and radio have allowed them to pay good money for creative talents.

Revenues and/or allocation of funds for the Creative Talents

Frontline Entertainers

Backroom support

Pay for actors, actresses, singers, directors and dancers.

Pay for script and screenplay writers and the technical crew (cameramen, lighting experts, film and video editors, set designers, etc.

RESULT: Technical training of the backroom crew is largely through experiential learning and is limited compared to foreign counterparts

THE SOUTH KOREAN MEDIA AND FILM STRATEGY: EXCERPTS FROM THE KOREAN TSUNAMI: LESSONS FOR RPS FILM INDUSTRY
Korea adopted liberalization policies and allowed the direct distribution of foreign films Media production should become a national strategic industry because of its contribution to the countrys economy Motion Picture Promotion Law in 1995 to entice big businesses to gamble on the Korean film industry Script writing and countless revisions, along with very rigorous and robust filmmaking and editing, became the norm.

Basic Law for Cultural Industry Promotion with a budget of $148.5 billion was allocated over several years The budget for the cultural sector increased from 485 billion won in 1998 (0.6 percent of the total budget) to 1,282 billion won (1.15 percent). In the Korean market, local films catapulted from 21 percent market share in 1995 to 48 percent in 2002the number of Korean films climbed from 65 in 1996 to 77 in 2002. Ticket sales zoomed from 9.8 million to50.8 million.

Critical success factors of the Korean Media and Film strategy
The Korean strategy in the creative industries emphasized major investments in infrastructure, capitalizing on the very strong linkages between government and big business. On the software side of the equation, South Korea decided to benchmark itself against Hollywood films as the international best practice. Koreas success secrets is the diversity of its offerings (from costume drama to horror films, from comedies to melodramas, from documentaries to genre films, and so on.

In 2008, the Korean Film Council created a film fund worth $55.5 million to chart its future course.

Based on the distribution of the funds, the priority areas are:
$41.6 million to diversify investment methods and heighten transparency in production management and accounting; $3.4 million for international co-productions; $3.4 million for the production of diversity films (i.e. arthouse films); $1.1 million to create a 3D market by setting up an on-line distribution method; $0.7 million on anti-piracy; $0.2 million for ten films to mentor representative Korean directors and support new directors; and others.

Korean TV Case

Five Cs of Media and Film Industries

Converge the forces and resources of the government, the private sector, all the relevant and related industries and institutions and, finally, the concerned citizenry towards this vision.

Cluster of core and related industries dedicated to Creative City Development in and around Seoul.

Capacity building of creative originators and talents was accelerated by the setting up of schools.

Five Cs by having a big vision of where they want to go and be in the future

Five Cs of Media and Film Industries

Five Cs by having a big vision of where they want to go and be in the future

Communities of independent (and institutional) writers, directors, actors and technical experts sprouted with the huge investments and funding being provided by both big government and big businesses.

The success of the Korean strategic efforts brought the most important part of the Value Chain to life and this is the creation of a huge market for Korean films and telenovelas.

Korean TV Case

Envisioned itself as a Global Media City in its Media 21 Plan. Construction of a media industry city to be called Mediapolis The government would cluster high value-holding media productions and R&D activities Positioned Singapore as a media exchange hub, energized by tax incentives for investments in core media copyrights, co-establishing a Media Loan Fund with private companies to finance copyright projectsestablishing a regulatory of media copyrights and promoting media markets. Singapore also sought to institutionalize a Content Development Fund for Made-by-Singapore Content Export, buttressed by support initiatives to increase bilateral co-production agreements and enhance export promotion.
Singapore Case

Philippine Media and Film Industry
The film industry has declining sales and profits. Movie houses do not make money. Taxes are high and film piracy is on the rampage. Television and radio are enjoying high advertising revenues, their offerings are, however, limited to the local Philippine market and the OFWs. (ABS-CBN has 500,000 subscribers in its global Filipino Channel.) Many critics cite the lack of creativity, originality and diversity in the current TV program offerings. The script writers have become copycats of one another depending on which show is rating and getting the advertising revenues. Lack of formal academic training, insufficient exposure to international trends, institutional in-breeding and low pay and priority given to excellent scripts are the often-cited culprits.
ISSUES

ABC 5 was bought by the Manuel Pangilinan Group (with major investments in PLDT, Smart, Metro Pacific, Meralco, Makati Medical and other hospitals, etc.). Hopefully, more competition would translate to better programs, both aesthetically and technically. What the Pangilinan Group might, fortunately, introduce to the Entertainment Sector is the same investment, management, production, market research and financial rigor as the Korean chaebols did to their own film and media industry.The good news is that the broadcasting networks have been shaken to reality by the success of Korean, Taiwanese and Mexican telenovelas.
Philippine Media and Film Industry

OPPORTUNITIES

Five Cs of Media and Film Industries in the Philippines

Converge all the major business players (ABS-CBN, GMA, ABC, the large film companies and the Ayala techno hub for the digital arts component in the Entertainment Sector, the National Government Agencies (DTI, DOST, CHED, DEPED, CCP, NCCA), selected Local Government Units (Quezon City, Makati, Manila, Mandaluyong, Pasig, Pasay and San Juan), the Academe (top ten schools with strong programs in the Arts and Humanities), organizations dedicated to the performing arts, foundations funding arts and culture, and other key participants.

Cluster of broadcasting companies in Quezon City (the top three), major players in the digital arts, CCP, NCCA, UP and Ateneo, the QC government, PETA and a few more

The idea is to forge a vision for a Creative City Economy (with Quezon City as the center) with all the necessary hardware and software.

Capacitating process - The Quezon City government can be asked to set up a QC Academy for Arts and Culture to be financially and technically supported by the big three companies.
This is to generate the future crop of directors, script writers, technicians, actors, set making, and other related crafts. Continuing professional education and training programs can be separately or jointly funded and supported also.
For the digital arts, the QC government has already visualized the city a hub for IT-enabled services to include the computerized graphics and animation arts.

The Converging, Clustering and Capacitating activities should reveal weaknesses in the Value Chain. Link that must be strengthened in the Chain is the development of the physical infrastructure and the world-class talents. This will lead to the ultimate and most important link to the economy and that is the generation of a huge market for the Philippine Entertainment Sector. Completion of the Converging, Clustering, Capacitating and Chaining strategies should allow for the natural Communitizing of creative originators, enablers, transformers, distributors and marketeers.

LEISURE AS THE CATALYST FOR

ARTS AND CULTURE

Market Demand
Performing Arts, Fine Works of Arts, Books and Magazines, Gardens and Stroll/Picnic/Nature Parks, Museums and Galleries, Cultural Heritage, Sites, Arts and Crafts, Amusement Centers and Theme Parks, Sports and Fitness Centers and Spas and Wellness Centers.

Societies
write and to read when meaningful events craft works of art philosophize and fathom the mysteries of life erect monuments and palaces, build cities and temples, celebrate victories and achievementsLeisure, therefore, is the greatest catalyst for Arts and Culture.
When societies begin to accumulate wealth

more time to pursue and enjoy the finer things in life

have a deeper appreciation of who they are as a people and, their culture, heritage and history

they embrace the gifts of Leisure

Philippine society has not yet evolved a sophisticated and huge market for the performing and the fine arts.

Philippines, where 90% of the people are in the lower D and E income classes to pursue and enjoy a life of leisure.

Many have the time but do not have the means.

As a people, we have only begun to gain consciousness as one nation towards the end of the nineteenth century.

Even then, not the entire country was involved in the struggle against Spain and America.

We have commonality as a colonized country under Spain and America but not as one people.

We have many cultures and traditions to build on though, reaching back to our Malay origins.

We have enough regional diversity to weave a multi-faceted and colored tapestry.

Realities

Philippine society has not yet evolved a sophisticated and huge market for the performing and the fine arts.

Efforts Made
The establishment of the Cultural Center of the Philippines and the CCP complex The mandate for radio stations to play Original Pilipino Music The sponsorships of creative talents, the promotion of visual and film artists, the setting up of resident performing companies, and many more in the 1970s and early 1980s lead to a flowering of Philippine art and culture.
A new administration in June 2010, may see the importance of the Creative Industries and realize that they can only be made substantial contributors to the economy if the core creative talents of artists and the nations cultural heritage were encouraged, nurtured and propagated.

CASE: SINGAPORE STRATEGY FOR PROMOTING CULTURE AND THE ARTS
Build creative capabilities by embedding arts, design and media into the various levels of education and by establishing a flagship art, design and media program at the NUS.Create sophisticated demand for the arts (a) by promoting public arts projects, (b) by establishing Creative Towns which integrate arts, culture, design and business technology into community planning and revitalization, (c) by hosting a world class Singapore Biennale, and (d) by constructing a new Museum of Modern and Contemporary Art.Develop the Creative Industries through (a) cultural tourism, (b) internationalization of recording music, (c) publishing, (d) strengthening arts support industries, and (e) merchandising and supporting Singapores heritage resources.Develop tourism in tandem with the Creative Industries by (a) holding international events in the creative industries, (b) offering incentives and co-financing to film foreign movies in Singapore, (c) enhancing the physical and cultural attractiveness of Singapore for business and leisure tourists, and (d) branding tourism with the tag line Uniquely Singapore (it is not just another busy metropolis).

Philippines Key Strategies to Promote the Arts and Culture and the Leisure Sector

It needs the strong participation of Local Government Units (LGUs), the Academe, big corporations and various associations and foundations dedicated to the different Arts and Culture sectors.

The NCCA and the CCP should be the strongest advocates for advancing Arts and Culture as the Core Creative Sector.

The City of Manila can be the lead LGU in attracting the Leisure markets with several advantages going in its favor: The CCP Complex, the Luneta Park, the Manila Bay promenade, the national museums, Intramuros, the Manila Cathedral and other historic churches, Malacaang Palace, period government buildings, The Pasig River which is now being rehabilitated, cleared of ugly shanties along its` banks and transformed into a swimmable, navigable and fishable river that can ferry tourists to the heart of the Tagalog (taga-ilog) region. From Manila, the LGUs of Metro Manila, Rizal, Laguna, Cavite, Batangas and Quezon could conceptualize and actualize a larger network and chain of distinctive Creative Cities and Towns, highlighting the regional significance of the Tagalog region in Philippine History, Arts and Culture.

LGUs from the other regions can create their own Arts and Culture clusters. It is essential to have a common thematic approach but with divergent and unique showcases.The National Government should identify and support universities and colleges that would act as Centers of Excellence for Arts and Culture, Design and Mass Communications. The Department of Education, the Commission on Higher Education, the State Universities and the Local Government Schools should review their curricula and redesign them to incorporate Arts and Culture, Design and Mass Communication where appropriate and effective.The Manila Film Festival should be revisited to determine its contribution to the promotion of Philippine Arts and Culture. There should be regular National Art Contests and Exhibitions in the fields of Painting, Sculpting, Photography, Music, Industrial Design, Architectural Design, and other important forms of art.

The Philippine Government should invite and incentivize foreign investments in the Arts and Culture Ecozones to establish state-of-the-art studios and to provide venture capital funds for films/shows intended for the international Leisure markets.Continuing education facilities and programs in Managing the Arts and in Entrepreneurship in Arts and Culture should be integrated in the CCP Complex and the Arts and Culture Ecozones in partnership with practitioner-oriented schools and institutions, or with large media corporations that would benefit highlight from such an undertaking.A more Detailed Mapping of the Creative Industries at the Regional, Provincial, City and Municipality level should be jointly undertaken by the Department of Interior and Local Government, the Department of Tourism, the LGUs themselves, the NCCA and the CCP. Common formats should be provided to them.

DESIGN FOR INDUSTRIAL PRODUCTS, PERSONAL WEAR, JEWELRY AND FASHION ACCESSORIES

Markets will get more defined into smaller segments as consumers seek customized and personalized products and services to meet their individualized needs, wants and aspirations

Distinctive advantages such as:
design; superior service rendition; or natural resources.

The Philippine Advantage
The Overseas Filipino Workers abroad - the most preferred laborer in the world. Aggressive strategies to promote medical tourism, education, business process outsourcing (especially the higher value-added services), graphic arts and animation and the Filipino entertainer (musicians, dancers and singers). The Philippine seas, sand and sun, islands and quaint lands, gold and other minerals have boosted tourism and mining exports It is in the field of design where the country has been losing ground, particularly in the furniture and furnishings industry, garments market and fashion accessories lines. (Export sales in these categories have dropped)

CASE: SINGAPORE DESIGN STRATEGY
Integrate Design in Enterprise providing shared resources and facilities such as business case studies and prototyping facilities include the use of design by businesses (SMEs) in assistance schemes given them by government.Establish the National Design Agency to promote and facilitate the strategic use of design in the global market; recognize and showcase design excellence in Singapore; raise awareness of the public and businesses on design; and establish a global networkNurture a vibrant design community by raising the professional standing and recognition of designers and standard of design in Singapore through development of quality and performance standards and codes of practices; continuing professional development program for designers; national award for design excellence; and anchoring a major international design award in Singapore

Sectoral Strategies: Design
Quite expensive and impractical for the Philippine Government to provide a top-notch National Design Agency (should not be bureaucratized) Better model to pursue is the case of IDEO company Products developed for the export market by the Design companies can even be given additional incentives. The design costs should be allowed double deduction in the income statement for tax purposes

Philippine Government should encourage the establishment and proliferation of Design Schools through the Commission on Higher Education and TESDA in cooperation with DOST and DTI Philippine Government, in tandem with Industry Associations should hold a highly prestigious annual or bi-annual award on Best Industrial Design/Designers, Best Fashion Design/Designers, Best Jewelry and Accessories Design/Designers Television companies should feature programs on Philippine Design, Winning Products and Innovative Entrepreneurs to motivate and encourage more creatives to enter the field of design and product innovation.
Sectoral Strategies: Design

SECTORAL STRATEGY:

CULTURAL HERITAGE AND THE ARTS

The holding of festivals, fiestas, exhibitions, shows and other forms of converging people in a big way can be a major strategy for growing the Creative Economy insofar as Cultural Heritage and the Arts Sector.

Sinulog Festival of Cebu
Sinulog started as a prayer dance of Cebus pre-Hispanic people in honor of their ancestors and gods Sinulog Festival was initially revived by David S. Odilao, Jr., regional director of the Ministry of Sports and Youth Development. Odilao turned over the Sinulog project to Cebu City under the direction of Mayor Florentino S. Solon, who placed the festival under the Historical Committee for institutionalization purposes In 1984, the Sinulog Foundation was organized to perpetuate and sustain the Sinulog Festival Sinulog Foundation hired a professional marketing agency to promote the festival and solicit donations from institutional sponsors Today, the Sinulog Festival is indelibly ingrained in the culture of Cebu.

Officially, the Sinulog Festival is a nine-day affair, culminating in the procession in honor of the Santo Nio and the Grand Parade on the feast day. Unofficially, it starts months before that as groups prepare for their dances and their parade floats. The annual Sinulog Grand Parade has become the citys biggest social mobilizer and integrator as people from all walks of life join the Sinulog Festival. It has also become the biggest tourist attraction and greatest economic value generator from a single event. To stimulate artistic and creative interest and participation, the Sinulog Foundation gave awards for best in dancing, floats and higantes. Two beauty pageants were held during the season: the first pageant was for Miss Cebu, which pageant was managed by the Department of Tourism; the second pageant was for the Sinulog Festival Queen (best female lead dancer), which was managed by the Foundation

The Sinulog Festival converges all the major elements of Cultural Heritage and the Arts. In fact it could be pushed further to include more competitions in the Arts, such as music composition, singing (individuals and/or glee clubs), painting and sculpting.

The Sinulog Festival has metamorphosed from a prayer dance to a humungous contributor to the Creative Economy.

The religious-cultural events were not overshadowed

For Sinulog 2009, some 86 watercrafts of various sizes accompanied the galleon carrying the Child King.

2009 Grand Parade - Over fifty groups of more than 6,000 dancers accompanied by bugle boys, baton wielders and drummers joined the parade. The limelight was shared by about 50 floats, 20 higantes and a host of puppeteers.

The Sinulog Festival converges all the major elements of Cultural Heritage and the Arts. In fact it could be pushed further to include more competitions in the Arts, such as music composition, singing (individuals and/or glee clubs), painting and sculpting.

The Sinulog Festival has metamorphosed from a prayer dance to a humungous contributor to the Creative Economy.

Festival Economics

The Sinulog Foundation claims that it is able to solicit the support of 10,000 volunteers serving in about fifty-three committees which are grouped in six clusters:
the promotion cluster in charge of marketing, information dissemination, the trade fair, the photo exhibit and skywalk beautification; the contest cluster for all the competitions; the presentations/shows cluster which took care of festival events as well as their physical staging; the reception cluster for all the arrangements attendant to the reception of foreign and local guests and invited dignitaries; social welfare cluster for security and safety, peace and order, legal matters, medical and emergency incidences, crowd control, cleanliness, sanitation, traffic and communications; and logistics cluster for transportation, sound systems, lights and electricals, water, permits and regulations. The Sinulog Foundation obtained funding from the local government (Php 8 million from Cebu city), national government agencies (PAGCOR, PCSO and DOT) and private companies amounting to Php30 million in 2009 (if ticket sales are included).

FESTIVAL ECONOMICS: THE CASE OF SINULOG IN I. Creative OriginatorsApproximate QuantityApproximate Average FeesTotal ExpensesSources of Donations/RevenuesA. Grand ParadeChoreographers/ Directors50P50,000 per personP2.5MMaster Dancers/ Musicians and Props-300P60,000 per groupP3.0MDancers6000P30M*Direct Donations and Subsidies for Contingents Bugle and Drummer Corps1000P40,000 per groupP2.0MP56.0MSewersP3,000 each for 7,000 costumesP21.0MSubsidies from Sinulog Foundation P4.0MBead workers/ Costumer JewelersArtists for floats and higantesP100,000 for each float/ higantesPrivate Engagements???CarpentersMaterials for floats/higantesP100,000P4.0MIndividual Travel/lodging for visiting contingentsP20.0MContributionsP30MFood for other Participants**P7.5MSub-TotalP90.0MB. PhotographersPhotography Expenses1,000P2,000 eachP2.0MPrizesEntry Fees1,000P 500 eachP0.5MSales of PhotographsC. Film MakersShort Film Features20P25,000P0.5MPrizesSales of FilmsTotalP93M

II. Creative Enablers/ Transformers (Funders, Organizers, Entrepreneurs)Approximate QuantityApproximate Average FeesTotal ExpensesSources of Funds/ Donations, SalesA. Sinulog FoundationPrizesP8.0MSponsorshipsExchange DealsP4.0MP10.0MSponsorships of EventsP4.0MDonationsStage ConstructionP2.0MP10.0MParade/ Crowd ControlP1.3MEx-DealsNightly LaunchingP1.2MP3.5MSecretariatP1.0MTicket SalesFinancial AssistanceP0.8MP30.0MPublicityP0.8MTrade FairOthersP1.9MP2.5MOthers P1.0MSub-TotalP25.0MP30.0MSurplusP5.0MB. Local GovernmentsP8.0MOther ParticipantsP22.0MP30.0MC. Corporate SponsorshipsTo Sinulog FoundationP10.0MTo OthersP 5.0MP 15.0MD. Schools1. Teachers/ PE Instructors?School Boards2. Scholarships to PerformersE. Beauty Pageant Organizing?

II. Creative Enablers/ Transformers (Funders, Organizers, Entrepreneurs)Approximate QuantityApproximate Average FeesTotal ExpensesSources of Funds/ Donations, SalesF. Fluvial Parade Organizing?Catholic Church1. Galleons2. Decorating watercrafts3. Miscellaneous ExpensesG. Church Novenas, Masses, Vigils, Ceremonies?H. Security/Safety1. Police Officers1,000P200 allowance P2.0MDILG2.Policemen8,000Per person3. Barangay Tanods1,00010,000I. Communicators600P500 allowance per personP0.3MJ. Water Stations30?K. Medical Assistance?1. Medical Stations2. Doctors/Nurses/AidsL. Media Coverage?Advertisements

III. Creative MarketsQuantityApproximate Average FeesTotal Expenses1. Foreign Tourists65,000 (2 nights each equals 130,000)US700@ P47 to US$1 or P32,900 per nightP4,3.Billion2. Domestic Tourists76,000 (2 nights each equals 152,000)P5,000 per nightP760 Million3. Local Residents200,000 householdsP3,000 per householdP600 MillionP5.7 Billion

Breakdown of Foreign Tourists Expenses (Estimated)
AccommodationsUS$ 20729.6%P1.27 BillionFood/BeverageUS$ 20128.7%1.23 BillionEntertainmentUS$ 608.6%0.37 BillionShoppingUS$ 18226.0%1.12 BillionOthersUS$ 507.1%0.31 BillionUS$ 700100.0%P 4.3 Billion Multiplier Effect of Cash InflowX 2P8.6 BillionIncluding Local MoneyP5.7 BillionX2P11.4 Billion

What strategies and programs does this suggest for the national and the local governments as well as for the CCP and the NCCA?
Document significant festivals, folkloric traditions, religious, social and political events that provide the cultural foundation of a town, city or province. Invest in infrastructure that preserves the historical and socio-cultural legacy of the place as well as the creative works of its people Revive traditions, customs, dances, art forms and the like and make them relevant to the modern era by converting them to contemporary and living arts.

Institutionalize/legalize the management of festivals, tours and promotion of Culture and the Arts through the creation of foundations, working committees and agencies and through the provision of annual funding and/or the raising of funds Organize the Creative Originators, Enablers and Transformers of an area or cluster with the help of CCP and NCCA and map out a Strategic Plan and Action Program. Designate champions that will conceptualize and execute the plans and programs well. Commission a professional marketing group for branding purposes and for awareness and interest-raising. For CCP and NCCA, launch an advocacy program linking Cultural Heritage and the Arts to significant events (festivals, foundation days, fiestas, etcetera) of a particular area or cluster. Prepare a budgetary request that would enable CCP and NCCA to carry out this advocacy properly.

CREATIVE FIELD:


HERITAGE and the FINE ARTS
Heritage sites are relics of ancient civilizations, over the years considered as cultural patrimony of mankind and the heritage of nations. Heritage is also embedded in the traditional cultural expressions of human creativity, manifested in cultural celebrations, festivals and folklore. The heritage domain comprises tangible and intangible goods and services.

HERITAGE SERVICES
Heritage services cover the cultural and recreational services that are associated with historical monuments, archaeological sites, museum, libraries, etc. Traditional cultural festivities, including festivals, are culturally important creative activities for developing countries, particularly when associated with tourism.
( UNCTAD Report on the Creative Economy)

CREATIVE SECTORS INVOLVED:

Cultural Sites

Traditional Arts and Crafts

Visual / Literary Arts

Performing Arts

CREATIVE PRODUCTS:

Heritage Sites

Museums

Cultural Celebrations/Festivals

CREATIVE PRODUCTS

The visual arts subgroup comprises antiques, painting, sculpture and photography as well as the open-ended miscellaneous items of other visual arts consisting of engravings, carvings, lithographs, collages and other ornaments.

As of 2008, the Philippines had five declared world heritage sites.
Tubbataha Reefs Natural Park in PalawanRice Terraces of the PhilippinesPuerto Princesa Subterranean River National Park,Historic Town of Vigan Baroque Churches of the Philippines (San Agustin in Manila, La Asuncion in Santa Maria in Ilocos Sur, San Agustin in Paoay, Ilocos Norte, and Santo Tomas in Miag-ao, Iloilo.
Cultural Sites

Heritage Sites

Churches and Fortifications

Natural Parks, Sanctuaries and Reefs

Protected Landscapes and Seascapes and Marshes

Geological Sites

Towns and Settlements

Ilocos Norte

Ilocos Sur

Batanes

Cagayan

Isabela

NCR

Rizal

Batangas

Samar

Palawan

Iloilo

Romblon

Bohol

Cebu

Sulu

Davao del Sur

Siquijor

Misamis Occidental

Lanao del Sur

Agusan del Sur

Agusan del Norte

Maguindanao

Sultan Kudarat

South Cotabato

Churches and Fortifications Bohol (3); Manila (2); Samar (2)

Natural Parks Palawan(5); Occidental Mindoro (2)

Protected Landscapes and Seascapes and Marshes - Ligawasan Marsh covering South Cotabato, Sultan Kudarat and Maguindanao; Mt. Matutum Protected Landscape coevering Sarangani and South Cotabato

Geological Sites Cagayan (Neolithic Shell Midden sites in Lal-lo Gattaran Municipalities and Paleolithic Archeological Sites in Cagayan Valley)

Towns and Settlements Ilocos Sur (Historic Town of Vigan*); Lanao del Sur (The Maranao Settlement of Tugaya)

Museums

The Philippine Culture and Information Office listed a total of 154 museums in the Philippines, majority of which were set up by private individuals, private institutions such as universities, colleges and religious organizations and private corporations.

The National Capital Region, particularly the city of Manila hosted the most number (48) of museums. Manila alone had 25 government and privately run museums, followed by Quezon City with 10.

Museums

48

Iloilo

Davao del Sur

Cotabato

Number of Museums

More than 10

5-9 Museums

Bukidnon

Zamboanga del Norte

Capiz

Occidental Mindoro

Benguet

Ifugao

Mountain Province

Ilocos Norte

Ilocos Sur

Cagayan

NCR

Palawan

Agusan del Norte

Below 5 Museums

Pangasinan

La Union

Nueva Ecija

Bulacan

Zambales

Rizal

Cavite

Laguna

Batangas

Romblon

Camarines Sur

Albay

Aklan

Negros Occidental

Bohol

Cebu

12

Samar

Leyte

Negros Oriental

Lanao del Norte

Lanao del Sur

Sulu

Tawi-Tawi
NCR MuseumsMakati3Malabon1Mandaluyong2Manila25Pasay5Pasig1Quezon City10San Juan1





Cultural Celebrations/Festivals

The Department of Tourism has identified 627 festivals and cultural celebrations observed in the countrys regions and provinces.

The Visayas region, particularly Western Visayas had the most number of festivals celebrated. The Visayas provinces accounted for nearly 29% of the total number of festivals in the country.

The NCR, CALABARZON and CARAGA had almost equal number of festivals ranging from 53 to 57 but they came a far second to Western Visayas. Major festival destinations in these regions were Batangas (19) and Laguna in CALABARZON and in CARAGA.

Among the provinces with numerous festivals were Iloilo (36), Negros Occidental(36), Davao del Norte (35) Lanao del Norte (30), Cebu (29) Benguet (22), and Surigao del Norte (20),

Cultural Celebrations/ Festivals

More than 50 Festivals by Region

30-49 Festivals

Below 30 Festivals

112

53

57

56

47

30

35

30

35

29

26

23

24

22

24

19

5
Regions# of FestivalsNCR56CAR291262233304a574b2453561127478229241030113512191353ARMM5Total627





CREATIVE MARKET POTENTIAL AND INDICATORS

Global Performance of the Heritage and Fine Arts Sector

World exports of all creative-industry products (goods and services), by subgroup, 1996 and 2005
SubgroupValue (millions of S)As % of all creative industriesAs % of total world exports (goods/ services) (2)Value (millions of S)As % of all creative industriesAs % of total world exports (goods/ services) (2)Growth rate1996 (1)2005 (1)1996-2005All creative industries (3)227,451100.00 -424,427100.00 -6.4 All creative goods (4)189,21483.183.50 335,49479.04 3.21 6.0 All creative services (5)38,23716.822.87 88,93320.96 3.50 8.8 Heritage15,7606.72-26,6925.99 -5.4 Arts and craft goods14,7386.280.27 23,2445.22 0.22 4.3 Other cultural services1,0220.440.08 3,4480.77 0.14 12.9 Visual arts10,3314.40-22,1494.97 -7.9 Visual arts goods10,3314.400.19 22,1494.97 0.21 7.9 Performing arts5,1002.17-14,9243.35 -13.5 Music goods5,1002.170.09 14,9243.35 0.14 13.5 Source: UNCTAD secretariat calculations based on data in United Nations Comtrade

Economic Contribution of the Heritage and Fine Arts Sector: Philippines
number of heritage and performing arts establishments totaled 1,671 employed 27,225 workers or an average of 16 workers per establishment photography accounted for the highest employment, closely followed by performing arts (music, theater and opera) visual and graphic arts which had less than 10 establishments had the lowest number of employed but the highest average employment per establishment at 73
Source: CPBI records

Heritage and Performing ArtsNumber of EstablishmentsEmploymentValue AddedEmployment per EstablishmentValue Added per Establishment (P000)Value Added per Employee (P000)NumberNumber(P000)Music, Theater, Opera80322,19513,697,1242817,057617Photography8614,5211,622,83351,885359Visual and Graphic Arts750955,747737,964110Total1,67127,22515,375,704169,201565Value added as % of GDP0.25%

Economic Contributions
Number of establishments: 7Includes galleries, museums509 employees56 million pesos value added contribution to the Philippine economy7.9 million pesos value added per establishment110,000 pesos value-added per employee
Source: NSO

Exports and Imports of Visual and Graphic Arts (in US$)

Source: NSO

*includes paintings, drawings by hand; collages and similar decorative plaques of cork/wood, of base

Metal and other materials; original engravings, prints and lithographs, original sculptures
Chart120022002200320032004200420052005200620062007200720082008ExportsImports749992832683399385959615869526143314147293079847692351351205770381793961379676518685Sheet12002200320042005200620072008Exports749,992339,9381,586,9521,414,729769,235577,0381,379,676Imports83,26859,59661,433307,984135,120179,396518,685Sheet100000000000000ExportsImports00000000000000Sheet2Sheet3

The One Town One Product (OTOP) program has identified towns specializing in particular crafts and they employed around 5,000 workers and generated investments averaging more than P1.0 million each.

Province

Product

Employment

La Union

Furniture

12 firms engaged in furniture making, 410 carvers, finishers, carvers; Combined total assets of P43 million

Nueva Ecija (Gapan, San Isidro, San Antonio, Cabiao)

Gifts and holiday decor

250 workers

Laguna ( Paete)

Wood and paper mache

2,000 workers, 68 direct jobs

Marinduque

Loomweaving

{P1.8 million investments)

Albay (Tiwi)

Ceramics

80 new jobs created; P1.643 investments

Iloilo

Bamboo-based products

More than 300 workers; 20 bamboo-based enterprises

Bohol (50 barangays in Inabanga)

Woven raffia

1, 910 home-based workers

Economic Contribution of Traditional Crafts

CREATIVE DISTRIBUTION MECHANISMS

CREATIVE DISTRIBUTION

Performing arts products such as dance, theater production, musical presentations are made available to the public through theaters, and stage venues.

Traditional arts and crafts can be obtained from tourist sites as well as from seasonal product exhibits or trade fairs.

Common venues for trade fairs in Metro Manila are the World Trade Center in Pasay City and the SM Megatrade Hall in Mandaluyong City as well as some exhibit halls used by local government units.

Visual arts products are mostly distributed through art galleries.
221 Art Galleries Nearly all of the galleries are located in NCR (210)

Art Galleries
221 Art Galleries Nearly all of the galleries are located in NCR (210) Large concentration of galleries were located in Makati (58), Mandaluyong (43), Quezon City (40) and Manila (26).
Venues for Performances
Musical presentations were usually staged in at least 23 main venues located mostly in the NCR. Traditional venues were the CCP theater, the Folk Arts Theater, PICC Plenary Hall which formed part of the CCP complex. Emerging venues for performances were the Captains Bar in Makati, Carlos P. Romulo Auditorium in Makati and the Teatrino Promenade in Greenhills which catered to more intimate performances for smaller groups

CREATIVE TRANSFORMATION MECHANISMS

Transformation mechanisms for the heritage and fine arts sector include production houses/guilds, performing groups, events companies and sponsoring groups from government and private institutions.

Philippine Cultural Community Music and Dance Groups

Source: CCP Directory of Philippine Cultural Communities

5

4

4

2

2

1

2

2

1

2

3

2

1

1

3
REGIONNumber of Community GroupsNCR5CAR4II4III2IV-A2IV-B1VI2VII2VIII1IX2X3XI2XII1XIII1ARMM3Total31





Dance Companies

The three leading ballet companies in the Philippines:
Ballet Philippines Philippine Ballet Theatre Ballet Manila
Other dance groups specializing in modern/ contemporary dance. Unlike the folk/traditional dance groups which were mostly school-based, majority of those involved in modern/contemporary dance were established by private individuals or groups and performed professionally.

Among the leading dance companies which had introduced innovative and experimental approaches to dance as a medium of artistic expression were Dance Forum, the Douglas Nierras Powerdance, the Chameleon Dance Company and the Dancing Wounded Contemporary Dance Commune.


5

4

4

2

2

1

2

2

1

2

3

2

1

1

3

CCP Affiliated Dance Groups
REGIONNumber of Community GroupsNCR5CAR4II4III2IV-A2IV-B1VI2VII2VIII1IX2X3XI2XII1XIII1ARMM3Total31





Folk/Traditional Dance Groups
Folk dance troupes were mostly school-based dance groups More than half (54%) of those listed in the CCP directory were of this category Notable among these were CCPs resident companies: Ramon Obusan Folkloric Group Bayanihan Philippine National Dance Company.
Professional Theater Companies
Nine (9) professional theater groups were all based in the NCR, particularly in Manila, Makati and Mandaluyong. Repertory Philippines Foundation and the PETA were the oldest, followed by Gantimpala Theater Foundation. Repertory Philippines was the only theater company which had regular week-end theater productions throughout the year. On the other hand, Stages had diversified into talent and events management, in addition to theater production.


1

6

3

2

5

2

Community-Based Theater Groups

10

1

16

3

11
REGIONNumber of Community-Based Theater GroupsNCR6CAR1III10IV-A16IV-B1V3VI11VII3VIII2XI5XIII2Total60






1

2

2

5

9

School-based Theater Groups

1

14

6

13

12

7

1

5

3

3
REGIONNumber of School-Based Theater Groups NCR12CAR1III7IV-A14IV-B1V6VI13VII2VIII2IX1X5XI5XII3XIII9ARMM3Total82





Musical Groups

Choirs
Various listings of different organizations and information sources recorded around 358 choirs in the Philippines. They consisted mainly of school-based or university-based choirs, church-based choirs, company, and area-based choirs. Church-based choirs made up the biggest chunk of this musical group with every parish or church having its own church choir. 8 University or college-based choirs numbered 45 and included the world renowned UP Madrigal Singers, UP Concert Chorus and the Ateneo de Manila College Glee Club, among others. 51 of these choirs had participated and/or had won in national and local competitions approximately 17 choirs had been performing professionally

Musical Groups

String Ensembles
String ensembles consisting of three or four instrumentalists are usually professional groups who perform during special occasions. Current listings from various service directories as well as the records of CCP placed the number of string ensembles at 43. Nearly all of them (31) were based in the NCR, notably in Manila and Quezon City while the rest were mostly in CALABARZON (6)
Orchestras

Based on the CCP list, there were 10 known orchestras in the Philippines, five of which were in Manila, 1 in Pasay, 3 in Quezon City and one in Cebu City.

Choirs


30-49 Festivals

Below 30 Festivals

210

65

25

1

6

1

3

7

12

2

1

5

7

3
REGIONChoirs NCR 210CAR 6I 9III 25IV-A 65IV-B 1V 3VI 7VII 12VIII 2IX 1X 5XI 7XIII 3Total356





String Ensembles


30-49 Festivals

Below 30 Festivals

210

65

25

1

6

1

3

7

12

2

1

5

7

3
REGIONChoirs NCR 210CAR 6I 9III 25IV-A 65IV-B 1V 3VI 7VII 12VIII 2IX 1X 5XI 7XIII 3Total356





Craft Producers

Legend:

CPEAPI Christmas Dcor Producers & Exporters Association of the Philippines

HAPI Home Accents Group of the Philippines

PEMAPI Pottery Exporters & Manufacturers of Pampanga, Inc.

WOODTAG Wooden Gifts & Accessories Manufacturers, Inc.

PCHI Philippine Chamber of Handicraft Industries

ANP Association of Negros Producers

Philippine Chamber of Handicraft Industries (PCHI), one of the biggest association of handicraft manufacturers in the country composed of manufacturers/producers, exporters, traders and subcontractors of Philippine handicrafts with 113 members mostly located in NCR.

Association of Negros Producers (ANP) was an organization of small and medium scale entrepreneurs in Negros Oriental and Negros Occidental engaged in the production of furniture and furnishings, gifts and handicrafts, fashion and food with 96 members mostly based in Negros Occidental.
REGIONNumber of Crafts AssociationNumber of Member Companies NCR4 (CPEAP, WOODTAG,HAPI, PCHI) 160CAR1 (CPEAP) 1III5 (GTH Bulacan, HAPI, PEMAPI, WOODTAG, PCHI) 43IV-A3 (CPEAPI, HAPI, PCHI) 32V1 (PCHI) 1VI2 (WOODTAG, ANP)50VII4 (Cebu GTH, PCHI, ANP, Crafts Assoc.) 91Total20378

Handicrafts of Aklan Multipurpose Cooperative (HAMPCO). HAMPCO is an association of weavers of pia cloth in Aklan. It has 373 members, 90 percent of whom are women.

There are 12 other production groups in Aklan that specialize in the provinces indigenous materials, such as nito, raffia, knotted abaca twine, bariw and tayok tayok paddy grass.

Inabanga Loomweavers Association (ILA) in Bohol. The ILA is an association of 1,910 home-based raffia loom weavers in the 50 barangays of the municipality of Inabanga in Bohol province.

Community Associations/ Cooperatives

CREATIVE ENABLERS / FACILITATORS

Associations/Organizations for Cultural and Indigenous Communities
In order to promote the transmission of cultural heritage by ensuring its transmission to the next generations, the NCCA established Schools of Living Traditions (SLTs). The School of Living Traditions (SLT) is one where a living master/culture bearer or culture specialist teaches skills and techniques of doing a traditional art or craft. The mode of teaching is usually non-formal, oral and with practical demonstrations. The site may be the house of the living master, a community social hall, or a center constructed for the purpose.
Schools of Living Traditions (SLTs)

Schools of Living Traditions

9

Nueva Vizcaya

Iloilo

Davao del Sur

Cotabato

Number of Schools of Living Traditions (SLTs)

More than 5 SLTs

Below 5 SLTs

Bukidnon

Zamboanga del Sur

Capiz

Occidental Mindoro

Benguet

Ifugao

Kalinga

Mountain Province

Ilocos Norte

Ilocos Sur

Abra

6

Bataan

Palawan

Zamboanga Sibugay

5

7

Davao Oriental

Davao del Norte

Compostella Valley

6

Sultan Kudarat

Sarangani

Source: NCCA
REGIONNumber of SLTsNo of Trainees/ StudentsCAR13380I6190II375III130IV-B1195VI250IX485X160XI16620XII10281Total671,866





Philippine Association of Printmakers (PAP). The PAP was founded in 1968 mainly to enhance Filipinos appreciation for printmaking by bringing artworks to art lovers in the regions, educating and conducting training workshops to improve the artistic environment among artists and discovering new talents.

Art Association of the Philippines (AAP). The AAP is an art organization that aims to "advance and foster, and promote the interests of those who work in the visual arts." (AAP Amemded By-Laws, 1986). It was originally intended as an alumni association of UP fine arts students and graduates when it was founded by Purita-Kalaw Ledesma, an art collector in 1948 but soon attracted the countrys many artists, even those who were not from UP.

Visual Arts Associations

AAP Affiliated Groups

Iloilo (2)

Davao (1)

Capiz

Cavite (2)

Benguet

NCR

Palawan

Manila (20)

Quezon City (3)

Las Pias (1)

Marikina (20)

Baguio (2)

Bulacan (9)

Pampanga (1)

Rizal (3)

Batangas (2)

Albay (2)

Pangasinan (1)

Negros Occidental (1)

Source: Art Association of the Philippines (AAP)
LocationNumberManila 20Quezon City 3Las Pias 1Marikina 1Baguio 2Bulacan 9Pampanga 1Rizal 3Cavite 2Batangas 2Pangasinan 1Albay 3Iloilo 2Negros Occidental 1Davao 1 Total 51





Community Art Groups

Art groups consisting mostly of small groups of artists coming from a particular area, municipality, province or school who banded together to pursue common activities such as mounting an exhibit, participating in art contests, conducting workshops or exchanging information and technologies.

Sining, Kulay at Tinta, better known as the SIKAT Art Group is an art group based in Antipolo, Rizal, Philippines, with member-affiliates abroad. Although the main works are in the visual arts category, members are comprised of sculptors, graphic artists, writers, and photographers as well.

Center for Bikol Arts Foundation (CEBIKA) is an aggrupation of visual artists, sculptors, performing artists and musicians based in the Bicol region. It has 72 members who work together to mount exhibits and performances.

Baguio Arts Guild (BAG) which was established in 1987 by a small group of Baguio-based multi-media artists has been expanded to accommodate members engaged in the fields of fine art, theatre, music and literary arts.

Neo Angono was founded in November 2004 as a movement and organization of artists, writers and poets, musicians, theater people, filmmakers, cultural workers and art critics and researchers. At present, it has 65 members, most of whom are residents of Angono.

Bacolod City gave rise to a number of art groups, each known for the style and philosophy of art that it espoused.
Art Association of Bacolod which was established in 1975 by a self-taught artist, Edgardo Lizares. The association housed a number of artists who made it in the national art scene. The association was initially made up of mostly conservative artists but later on took on artists with different perspectives. Concerned Artist of the Philippines (CAP) which some members in the visual arts section who left the organization and founded Black Artists of Asia which promoted art with socially and politically relevant themes. CAP later on became the Federation of Concerned Artists in Negros Dihon which was composed of visual artists whose art was leftist in orientation and supports the nationalist democratic movement. Dihon disbanded later on and gave birth to KAMI, a group of students from the L.C.C. School of Fine Arts who created art with a cause philosophy. Today most active art group in Negros is Kulapol composed of mostly Pabrika based young artists; BABAYI, a group of women artists; SUGA, an art group from Silay; and Art Attack Collective which spearheaded some of the art activities in Negros.
Community Art Groups

The Philippine Art Education Association (PAEA) is an association of art teachers devoted to the education of art teachers which they are expected to pass on to their students and by so doing help promote art among the Filipinos.

It was founded in 1968 with the mission to provide opportunities for cooperative study and discussion of common problems and experiences related to the teaching of art; and provide in-service training for teachers in different levels and various aspects of art education.

It has more than 200 members from private and public schools and other institutions in the Philippines.

Philippine Art Education Association (PAEA)

PAEA Members

Cavite (1)

NCR

Marikina (13)

Quezon City (17)

Other Cities (12)

Ilocus Sur (1)

Bulacan (3)

Rizal (1)

Batangas (2)

Pampanga (1)

42






Philippine Association of the Record Industry (PARI).
PARI was a non-profit, non-stock, purely private industry organization organized in 1972 primarily to promote and develop a legitimate and Philippine viable music industry. PARI has promulgated a Code of Ethics to maintain harmonious relationships among various sectors of the industry and to protect the public welfare. It organized local and international concerts, competitions and festivals to promote Pilipino music both here and abroad.
Music Associations

Source: http://www.pari.com.ph/members.html
REGIONNumber of Members ( Corporate & Associate Members) NCR30I1IV-A2VI1VII1Total35

Koro Filipino: The Philippine Choral Guild.
Koro Filipino was the first choral guild of the Philippines. It promoted and supported its member choirs in becoming world-class musicians. It provided a venue where choralists and conductors met and made music with the arrangers and composers. Koro Filipino had 31 member choirs and 15 individual members.
Music Associations

Philippine Legitimate Stage Artists Group (Philstage).
Philstage was the countrys premier organization for performing arts companies. It was composed of arts companies namely Actors Actors, Inc., Ballet Philippines (BP), Ballet Manila (BM), Gantimpala Theater Foundation (GANTIMPALA), Organisasyon ng Pilipinong Mangaawit (OPM), PETA, Repertory Philippines, Tanghalang Pilipino (TP), and Triumphant Peoples Evangelistic Society (TRUMPETS).
Alyansa ng mga Manggagawang Pangkultura sa Kamaynilaan at mga Karatig-Pook (Alyansa Inc.)
Composed of individual artists and cultural groups from schools, communities and workplace in the Philippines which sought to develop a humane society by using art and culture as tools and processor for peoples empowerment and participation in nation building
Theater Associations

Samahan ng mga Papetir sa Pilipinas (SPP)
The SPP was a union of puppeteers in the Philippines. Among its members were the following: Ony Carcamo - premier ventriloquist in the Philippines ANINO Shadowplay Collective a group of multi-media artistsTali Galaw (established in 1995) the first and only Filipino marionette group Teatrong Mulat ng Pilipinas (founded in 1977) inspired by Asian puppet techniques Roppets conducted field trips, school and mall tours and catered to birthday parties and other social events Black Theater of Manila (established in 1978) the information dissemination arm of the Philippine Information Agency; its goals were to experiment on the use of popular folk and low-cost media in development communication and develop information materials for child audiences.
Theater Associations

Dance Associations

Philippine Folk Dance Society.

Founded in 1949, the Philippine Folk Dance Society brought together physical education students, teachers, administrators and individuals interested in folk dancing.

It intended to preserve and propagate authentic Philippine folk dance and to enrich our knowledge of native folk dances. The dance society sponsored dance clinics and developed new materials from the field.

Philippine Professional Dance Sport Association (PPDSA).

The PPSDA was the first organization to professionalize ballroom dancing by conducting the first Dance Sport Teacher Training Programs th

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