Members of the research group: Michael Söndermann, Büro für Kulturwirtschaftsforschung, Köln

1. 26th March 2009 Forum for Creative Europe, Prag Research Report Culture and Creative Industries in Germany Selected Results Presented by Sylvia Hustedt, GründerZentrum Kulturwrtschaft, Aachen Members of the research group: Michael Söndermann, Büro für Kulturwirtschaftsforschung, Köln Christoph Backes, Creative Business Consult, Bremen Dr. Olaf Arndt und Daniel Brünink, Prognos AG, Berlin

2. What is new? New aspects with respect to the discussion on the culture and creative industries in Germany: • The so-called internal segmentation as basic element of an investigation on the culture and creative industries is newly introduced and • Secondly a harmonised basic model for the definition and classification of the culture and creative industries is presented for the first time in Germany (This basic model is inline with the stipulations ot the Conference of the Ministers of economic affairs of the German „Länder“ and the results of the „Committee for the Enquiry of Culture in Germany“ of the German Parliament

4. Typically:Limited company, "commercial type" Small and medium enterprises (mostly members of chambers of trade and commerce) Typically: Single enterprise, partnerships under the German Civil Code, "cultural/creative scene" Freelance artists Micro enterprises Large enterprises Majors Typically: Joint Stock Company, corporation Internal segmentation

6. Micro and Medium Micro small enterprises enterprises enterprises 2% 27% 1% Major companies 40% 43% Small enterprises 16% Major companies Medium 97% enterprises 17% Types of Enterprises Culture and Creative Industries Distribution of turnovers, 2006 Automobile industry Distribution of turnovers, 2006

7. Specific needs of support The relational analysis of frameworks of support leads to three core results (a) Existing useful support programmes are not accessible to the culture and creative industries for formal reasons. (b) The effective use of existing support programmes is hindered by the different “cultures“ of the actors in the culture and creative industries and the institutions providing economic support programmes. (c) There is a need for specific and innovative support instruments for the culture and creative industries.

8. Analysis of Best Practices from Europe Lessons to be Learned for the German Federal Government and Options for Action

9. Important Success Factors of the Best Practice Examples • Close cooperation between different political portfolios • Involvement of actors in conceptualisation and implementation of projects • Several advisory programmes for different topics • Intelligent use of support funds for initial financing to “help people to help themselves“ • Proximity of large companies and micro enterprises/ freelance professionals of the creative and cultural industries is possible • Openness towards the reservations many cultural workers have vis-à-vis economic exploitation mechanisms • Concentration of support in “One-Stop-Agencies“ • All projects should have room for exchange of knowledge and networking

10. Recommendations for Action to support the development of the cutlure and creative industries Opening of existing support programmes to innovative enterprises from the CCI Setting up a nation-wide platform of economic branches Support instruments KKW Development of criteria for banks and providers of support programmes Setting up a network of consultant for the actors of the CCI Extension of Federal Awards Extending the concept of innovation according to the needs of the CCI Extension of support to trade fairs Development of small-scale financing measures

11. Recommendations for Action Opening of existing support programmes to innovative enterprises from the CCI • In order to provide support to a greater number of enterprises from the culture and creative industries and to unfold their potential to the benefit of the overall economy, the existing support programmes of the Federal Government should be opened for innovative enterprises from all core branches of the culture and creative industries. This refers to formal requirements as well as to content.

12. Recommendations for Action Setting up a network of consultants for the actors of the CCI • This network of consultants provides advice to the actors in the culture and creative industries. The network also functions as an intermediator towards the various institutional levels providing support in Germany. Micro enterprises in particular will benefit from the combination of economic counseling and existing financial support measures in terms of professional improvement → Training, Training, Training

13. Recommendations for Action Extending the concept of innovation according to the needs of the CCI • The European Commission has proclaimed the Year of Creativity and Innovation to raise awareness for the importance of innovation. The German Federal Government should support this initiative especially with regard to the support to non-technological innovations for the culture and creative industries.

14. ConclusionThe culture and creative industries ... • ... are not just an image factor but an economic field of its own standing, permanently established as a growth sector • ... are part of the knowledge and content-oriented society and have an avant-garde function on the way towards a knowledge-based economy • ... work in future-oriented models of work and business already toady and are extraordinarily innovative Any policy aiming at innovation and economic support to foster and develop the innovative power of Germany must integrate the culture and creative industries, as a sector cutting across economic branches, into its economic policy concepts.

15. The end Thank you very much for your attention.