Technical report: January 2008Beyond the creative industries:Mapping the creative economy in the United KingdomPeter Higgs, Stuart Cunningham and Hasan Bakhshi
Executive summaryThe creative industries are one of the most radio and TV, news agencies and publishing, as important contributors to the UK economy. well as jewellery manufacture and museums. So it is important that we accurately measure their contribution to economic activity. Doing From the 2001 census data, we can identify so can help both policymakers and industry 26 creative occupation groups. They include: professionals to communicate key concepts, town planners and graphic designers; share reliable data and make the case for advertising managers and furniture makers; greater investment. actors and librarians; journalists and software professionals; architects and archivists. These There have been renewed attempts to estimate occupation groups have evolved over the years, the true size of the creative economy. The as some professions did not feature in the 1981 Department for Culture Media and Sport or 1991 censuses. Those working in creative (DCMS) and the Greater London Authority jobs do not always work in creative industries. (GLA) both published studies in 2007. This The DCMS estimates that in 2006 there were report complements their work and seeks to 800,000 creative jobs outside the creative improve on the available data about the true industries adding to the estimated million extent of creative activity within the economy. people working in the creative are the creative industries?The Creative TridentThe creative industries have been hampered The model of a ‘Creative Trident’ brings by multiple defi nitions and a lack of consistent together those working in the creative treatment on what is classifi ed as creative industries and those working in specialist activity. The DCMS defi nes the creative creative jobs in other fi rms and organisations. industries as those “which have their origin in By developing this model, we can analyse the individual creativity, skill and talent and which true number of people employed in creative have a potential for wealth and job creation activities and industries and their average through the generation and exploitation of incomes. intellectual property”. It identifi es thirteen different sectors. We focus on three types of employment: ‘specialist’ artists, professionals or creative The 2001 household census – the most recent individuals working in creative industries; census conducted in the UK – allows eleven ‘support’ staff in those industries providing creative industries to be identifi ed, covering management, secretarial, administrative or both businesses that create cultural ‘products’ accountancy back-up; and creative individuals including the arts, fi lms and interactive ‘embedded’ in other industries not defi ned as games, and those providing business-to-‘creative’. Collectively, they are the ‘creative business services in areas such as architecture, workforce’. advertising, marketing and design, and web and software development. The term embraces 3
For our model, we have further segmented this those in advertising or 44 per cent in radio and workforce into six classifi cations: advertising TV activities. and marketing; architecture, visual arts and design; fi lm, TV, radio and photography; music We have also excluded those occupations and performing arts; publishing; and software, which are ostensibly creative but which computer games and electronic publishing. have very low rates of employment within These groups include creative people working the creative industries. Using this sort of in other industries. defi nition, we exclude 14 groups included in DCMS calculations – including public relations offi cers, ICT managers and printers – but add fi ve new groups, including draughtspersons, How our model is differentsoftware professionals and originally developed this model in 2005 Why this is a better modelfor Australia. It differs from previous models in three key respects: it uses population data (the This model offers policymakers fi ve advantages number of people employed in each occupation over other models. within every industry) to provide more accurate estimates; it employs a conservative approach • First, it focuses on core creative added value, to the selection of ‘creative’ occupations and excluding activities in related chains that are industries, to avoid overreach and enable better not central to the creative process, such as comparability between the segments and to distribution or retailing. the economy as a whole; and it allows us, for the fi rst time, to estimate creative incomes. • Second, it enables us better to map the However, to compensate for diffi culties with extent of creative individuals working in the frequency and level of aggregation of other census data, our methodology combines population data with that provided by the • Third, it distinguishes between creative Labour Force Survey (LFS).individuals and others who work in creative industries, a useful tool for skills and To ensure that the estimates are as robust business development. as possible – and that we can make valid comparisons – we have focused on those who • Fourth, it uses census data rather than add most creative value to a process, excluding sample surveys, wherever possible. such activities as the manufacture of TV sets or musical instruments that employ small numbers • And fi nally, it enables us to determine the of creative professionals. By doing so, we fi nd, total personal earnings arising from creative for example, that in 2001 only 37 per cent of employment, a useful indicator of its those employed in publishing were in creative economic ; the same applies to 46 per cent of Table 1: The UK Creative Employment Trident for 2001 based on CCI analysis of ONS census data. Employment Employment Total Embedded UK Employment 2001 within Creative within non-Creative Employment Proportion Industries IndustriesEmployment in specialist 552,170 645,067 1,197,237 54%Creative Occupations Employment in Business 690,641 690,641 and Support OccupationsTotal Employment 1,242,811 645,067 1,887,878 34%Specialist Proportion 44% 63% 4
Table 2: Long–run growth rates of creative employment in the UK workforce 1981-2006 based on CCI analysis using census and LFS Census 1991 2001 20-Year LFS 2006 25-Year 1981 AverageAverage Growth GrowthSpecialist 157,020 285,460 552,170 % 699,931 %Support 288,850 313,440 690,641 % 585,111 %Creative Industries 445,870 598,900 1,242,811 % 1,285,042 %Embedded 457,130 524,750 645,067 % 698,244 %Creative Occupations 614,150 810,210 1,197,237 % 1,398,175 %Creative Employment 903,000 1,123,650 1,887,878 % 1,983,286 %UK workforce 22,866,100 23,452,230 26,575,780 % 28,165,612 %Embedded share of 51% 47% 34% 35%Creative employment Creative employment as % % % % Share of UK workforce Our main fi million) and lower levels of embedded employment (645,000 versus 787,400). The creative economy accounts for over 7 per Because we can show where the embedded cent of UK employment, consistent with the employment occurs across the broader offi cial estimates: In 2001, creative employment economy, we feel that the CCI calculations are accounted for almost million people or the more cent of UK employment, a very similar level to that determined by the DCMS Economic When we break these data down into our Estimates for the same period using a different creative segments, we fi nd the largest growth methodology, defi nition and datasets. Table 1 has been, perhaps unsurprisingly, in the shows how this is broken down within our Trident software, computer games and electronic segment, which only accounted for 14 per cent of the creative workforce in Creative employment has grown strongly 1981, but now accounts for 31 per cent, and over the long run: Census and LFS data has grown by an average per cent a year together suggest that UK creative employment between 1981 and 2006 (although growth grew by per cent per annum from 1981 from 1981-2001 was an even stronger per to 2006, compared with per cent for the cent per annum). broader UK economy (Table 2). The highest growth rates have been among ‘specialists’ – This segment is closely followed in growth creative workers within the creative industries terms by advertising and marketing, up from 5 – where average annual growth since 1981 has per cent to 11 per cent of creative employment been per cent. However, since 2001 overall since 1981, or per cent annual growth. growth slowed to per cent, just below the Music and the performing arts has maintained UK workforce annual rate of per cent for a 10 per cent share of employment, with the same period. per cent annual growth. But architecture, visual arts and design; fi lm, TV, radio and When we compare our estimates with those in photography; and publishing, while growing the DCMS Economic Estimates, our estimates by over 1 per cent in employment terms each suggest more people working in the creative year, have become less important in creative industries (in 2001, million people versus employment
Table 3: The mean annual income of the creative segments and modes of employment for 2006 based on CCI analysis of LFS Embedded Specialist Support Creative Creative Creative OccupationsIndustries EmploymentAdvertising and £24,370 £35,900 £23,550 £27,420 £29,590 £26,480Marketing Architecture, Visual £23,090 £26,000 £30,600 £24,370 £27,110 £25,130Arts and DesignFilm, TV, Radio and £23,100 £30,730 £32,520 £29,480 £31,340 £30,400PhotographyMusic and £14,480 £24,940 £21,450 £22,740 £22,440 £21,880Performing Arts Publishing £18,490 £25,410 £21,050 £23,020 £23,360 £22,300Software, Computer £34,810 £39,150 £39,600 £36,730 £39,360 £37,560Games and Electronic PublishingAll Creative Segments £26,750 £30,750 £28,800 £28,750 £29,860 £28,770Note: Mean annual income for UK economy as a whole is £21,060Creative incomes are higher than Such embedded creative employment is average: Creative incomes were on average greatest in the ‘manufacturing’ , ‘real estate’, approximately 37 per cent higher than in the ‘business activities’, ‘wholesale and retail UK economy as a whole in 2006. But they have trade’, and ‘fi nancial intermediation’ industry grown at the slower rate of per cent per groupings. Relative to the size of their overall annum since 2001, compared with per cent workforces, outside industry groupings for the total workforce. Creative occupations which include creative industries, embedded generated over £40 billion in salaries and creative workers appear to be more important wages in 2006, while support staff in creative in fi nancial intermediation than in any other industries earned an extra £ billion. industry , the creative workforce earned This analysis contains many useful insights. per cent of all UK earnings. Their earnings We can see how important advertising and were above average, with those in software, marketing jobs are to real estate or research computer games and electronic publishing and development activities, for example, or employment – particularly support workers – the signifi cance of creative ICT occupations earning most. As Table 3 shows, the earnings of to legal, accounting and business consultancy embedded music and publishing workers were services. We can also measure employment below the average for the UK as a whole. growth or losses more accurately within each sector, and the extent of embedded creative More creative people work outside the employment from one year to the next. creative industries than inside them: Compared with other economic activities, Such data also provide an important lesson creative employment occurs disproportionately to policymakers: they should recognise the outside the creative industries themselves, a limitations of using industry-based approaches fi nding consistent with other NESTA research. alone to supporting the creative 35 per cent of the total creative workforce (a fi gure that includes support staff in creative industries) is employed in non-creative sectors. This level is similar to Applying the methodology to fi nancial the 39 per cent of total UK fi nancial services servicesworkforce employed in non-fi nancial services industries in 2001. The methodology used for creative industries can as readily be applied to fi nancial services, 6
allowing a comparison between the two • The LFS is equally restrictive in its level sectors. of data, partly due to its comparatively limited sample size: approximately 350,000 This is particulary interesting in the light of individuals in research which has indicated that the creative industries are as large as the fi nancial These factors lead to greater margins of services sector in the UK. The Financial error than is the case with Creative Tridents Trident – including those working in fi nancial calculated in Australia and New Zealand. We professions outside the fi nancial services sector need to see better data available in the future – encompasses two million people, 150,000 within the than the Creative Trident. Two thirds of the million specialists work outside the core Financial Services industry. Recommendations for improving By studying changes within the Trident we can the datasee, for example, the impact of computerisation and ATMs, where clerks, tellers and book-We have been able to compare the keepers fell from million people to effectiveness of the Creative Trident in both million people between 1981 and 1991. The Australia and the UK, and this offers us lessons role of fi nancial consultants is also apparent on how the UK data could be improved. The when we break down the embedded fi nancial DCMS and the Offi ce for National Statistics workers by sector: they account for many should work together to provide better data of the almost 300,000 fi nancial specialists and improve the usefulness of their datasets. employed in ‘real estate, renting and business activities’. • It should be possible to improve information within datasets by increasing the resolution Intriguingly, we fi nd that sectors making use – the extent to which we can drill down the of fi nancial expertise are also more likely to data into smaller subsets – and providing employ creative specialists, perhaps suggesting fi ner classifi cations in the census 2001 data base level service requirements for effi cient where more than 50,000 are employed in a working in the 21st industry.• The sample size of the Labour Force Survey should be increased to improve Diffi culties with UK data its accuracy and to allow for more detail about occupations within industries. A more UK data have signifi cant limitations. frequent census of those in work including their income or a much bigger LFS should be • There is no single dataset with the full range conducted at least every fi ve employment and earnings information, unlike US, Canadian, New Zealand and • A stronger metrics culture would benefi t Australian statistics. from greater access to the source data for all offi cial reports. Source data for the DCMS • LFS data for smaller occupational and Economic Estimates and this report should industry groups are less robust than census be available for others to build on and data. challenge. Census and LFS data should be fully downloadable.• There is no census and LFS information on the earnings of the self-employed, in a sector where 28 per cent of people with creative occupations are thus employed. • UK census data can also be dated as the information is only collected every ten years. • There are too few industry classifi cations relevant to the creative industries compared with other countries, and the level of detail is often restricted, even in large occupational groups. 7
AcknowledgementsThis report was written by Peter Higgs (Senior Research Fellow, CCI), Professor Stuart Cunningham (Director, CCI) and Hasan Bakhshi (Senior Policy Analyst, NESTA). The Creative Trident methodology used in this paper was developed by CCI. CCI is the Centre of Excellence for Creative Industries and Innovation at the Queensland University of Technology in Australia ().Additional contibutions were made by Jason Potts (CCI) and Kate Morrison (Volterra Consulting Ltd). Ed Pickering (DCMS) and Conor Ryan made helpful
ContentsPart 1: Purpose and structure of report 16 The role of mapping studies 16 The Creative Trident methodology 16 The structure of the report 16Part 2: Terminology and assumptions 18 Terminology 18 Assumptions 21Part 3: Existing analyses of creative activities 22 Industry-based studies 22 The 1998 and 2001 DCMS Mapping Documents 22 Limitations in DCMS Mapping Documents 22 The DCMS Evidence Toolkit 23 Capturing creativity 23 Capturing industry and occupation 24 Methodological constraints of the approach 25 Classifi cation selection and embedded employment 26Part 4: The Creative Trident methodology 27 Defi ning the creative core 27 Advantages of the Creative Trident approach 32 Avoidance of overreach and robustness 32 Disaggregation of embedded employment 32 Breakdown of specialist and support employment 32 Use of population data 32 Use of earnings data 33 Applying the Creative Trident to UK data 33 Overarching UK data limitations 34 No single dataset provides the basic information required 34 Limited coverage of the self-employed 34 Census data issues 34 Ten-year frequency of UK census 34 Low resolution of industry and occupation classifi cations 34 Labour Force Survey dataset limitations 35 Survey basis results in the suppression of much of the 35 detailed data Improved but still low resolution of classifi cations, especially 35 industry 9
No income data available for the self-employed 35 Lack of comparability of LFS data with census employment at 35 the detailed levels Methodology to address UK data issues 35 2001 census dataset 35 1981 and 1991 census datasets 36 Conclusion 38Part 5:UK Creative Trident results 39 UK Creative Employment Tridents: 1981, 1991 and 2001 39 Growth rates in UK creative employment 41 Comparison with DCMS estimates 42 Creative Income Tridents: 2001 to 2006 43 Comparing creative incomes with UK average earnings 45 Summary of fi ve-year growth rates 46 UK Whole-Economy Trident 46 The distribution of embedded creative employment in 46 non-creative industries, 2001 to 2006 The growth in creative employment within non-creative 48 industries Part 6: Applying the Trident methodology to Financial Services 51 Parallels with the Creative Trident 53Part 7: Conclusion: Main findings and implications 55 Main fi ndings 55 Implications: Improvement of data 56 Data coverage and timeliness 56 Data classifi cations: resolution and dimensions 57 Dimensionality 57 Accessibility and consistency 57 Implications of the UK Creative Trident mapping for data quality 57 Creative industries articulated into innovation policy 58Appendix 1: Selected creative occupations and industries: Census and LFS 59Appendix 2: The alignment between the detailed census and LFS employment data 63Appendix 3: The impact of excluding second jobs from LFS-based analyses 65Appendix 4: The Disaggregating of 7420 Architecture and Engineering Services 69 in the LFS dataset Appendix 5: The impact of classifi cations on creative employment measures 71Appendix 6: Top ten occupations employed in each creative industry 73Appendix 7: Top ten industries of employment of creative occupations 7810
Appendix 8: Results of applying the Trident methodology to Australian datasets 89Appendix 9: Self-employment rates within the creative occupations and industries 93Appendix 10: Mapping creative industry-relevant census SIC to LFS SIC codes 96Appendix 11: Coding Lists 97Appendix 12: Census 2001 – Disaggregating the data records of two industry 98 classifi cations Appendix 13: Detailed tables and comparisons with DCMS Economic Estimates 101Appendix 14: Embeddedness by two-digit industries 106Appendix 15: The use of the Trident Methodology with alternative defi nitions 11111
List of tablesTable 1: The UK Creative Employment Trident for 2001 based on CCI analysis of ONS 4 2: Long-run growth rates of creative employment in the UK workforce 1981-2006 5 based on CCI analysis using census and LFS data. Table 3: The mean annual income of the creative segments and modes of employment for 6 2006 based on CCI analysis of LFS data. Table 4: The 11 creative industries selected from the 2001 census 5: Creative occupations selected from the 2001 census 6: The correlation between CCI segments and DCMS Economic Estimates sectors. 20Table 7: Classifi cations used to determine the creative core industries using census and 29 LFS data and the percentage of employment that is within creative 8: Creative core occupations used in census and LFS datasets and the 30 percentage of employment occuring within creative industries in 2001. Table 9: Creative industry–relevant classifi cations from the 2001 10: Creative employment-relevant industry and occupation classifi cations from the 37 1981 and 1991 censuses. Table 11: The UK Creative Employment Trident for 1981 from the census. 39Table 12: The UK Creative Employment Trident for 1991 from the 13: The UK Creative Employment Trident for 2001 from the census. 40Table 14: The long-run growth rates of creative employment and the UK workforce 41 1981 to 2001 from census data and 2002 to 2006 from LFS 15: Comparison of CCI employment estimates with those in DCMS Economic 42 16: The segment shares overall of creative employment for 1981 to 2006 and 43 long-run growth rates of 17: The Creative Income Trident: total value of annual earnings generated 44 through creative workforce salaries and wages for 2001 to 2006. Table 18: The mean annual income of the creative segments and the modes of 44 employment for 2006. Table 19: Comparison of mean incomes of creatives with the UK mean in 2006. 45Table 20: Annualised growth rates over 2001 to 2006 of employment, earnings and 46 mean income of the creative segments and the UK workforce. Table 21: UK employment as at 2001 census by Industry 22: Looking within Division K: The extent of specialist and embedded employment. 48Table 23: The change in the embedded share of employment by Division between 49 1981 and 2001. Table 24: The change in the embedded share of employment by Division between 50 2001 and
Table 25: The UK Financial Employment Trident for 26: Employment within the UK Financial Employment Trident from 1981 to 2001. 52Table 27: 2001 UK Financial Employment Trident by Industry 28: Comparison of fi nancial and creative embedded shares by Industry Division. 54Table 29: Comparison of the number of industry classifi cations in use in Australia, 56 UK and 30: Comparison of the number of occupation classifi cations in use in Australia, 57 UK and 31: Core creative industries selected from those used in the 2001 census. 59Table 32: Core creative industries selected from those used in the 1981 and 1991 census. 59Table 33: Core creative occupations selected from those used in the 2001 census. 60Table 34: Core creative occupations selected from those used in the 1991 census. 61Table 35: Core creative occupations selected from those used in the 1981 and 1991 censuses. 62Table 36: The number of people with second jobs and main jobs in creative occupations 65 for 37: The number of people with second jobs and main jobs in creative 66 segments for 2006. Table 38: The ratio of the number of people with second jobs to those with main jobs in 67 creative occupations and industries for 2006. Table 39: The number of people employed in main and second creative jobs by 68 occupation and industry segments for 2006. Table 40: The allocation of creative occupations across two disaggregated industries. 69Table 41: Disaggregating 7420 Architecture and Engineering Services from 2001 to 2006. 70Table 42: The number of classifi cations available in the 2006 Australian census for 71 measuring the creative segments. Table 43: The impact of the change in classifi cations on the measurement of creative 72 employment in 44: The top ten occupations within each candidate creative industry using 2001 73 censusclassifi cations and 45: The top ten industries for each candidate creative occupation using 2001 78 censusclassifi cations and 46: The top ten industries for the ‘2126 Design and development engineers’ 88 occupation using 2001 census classifi cations and 47: The top ten industries for the ‘5499 Hand Craft occupations not elsewhere 88 classifi ed’ occupation using 2001 census classifi cations and 48: Total Australian creative employment 1996, 2001 and 2006 and the 10-year 89 annualised growth rate. Table 49: Embedded employment’s share of creative employment by segment between 90 1996, 2001 and 2006 and the 10-year annualised growth rate. Table 50: Australian mean annual income of people within the Creative Trident compared 92 with the mean of their Division of employment. Table 51: The rate of self-employed in ‘Main Jobs’ in UK creative industries 2006. 95 13
Table 52: The correlation between employment in the 2001 LFS four-digit industry 96 classifi cation and the 2001 census classifi cations. Table 53: Occupations included in ‘1134 Advertising and public relations managers’ and 97 ‘2131 IT strategy and planning professionals’. Table 54: The more detailed industry classifi cations within ‘72 Computer and related 98 activities’ available from LFS datasets. Table 55: The summary disaggregation matrix for ‘72 Computer and related activities’. 99Table 56: The blend of occupations employed within ‘742 Architectural and engineering’. 99Table 57: The summary disaggregation matrix for ‘742 Architectural and engineering’. 100Table 58: Creative segments’ specialist, support and embedded employment for 1981. 101Table 59: Creative segments’ specialist, support and embedded employment for 1991. 102Table 60: Creative segments’ specialist, support and embedded employment for 2001. 102Table 61: Creative segments’ specialist, support and embedded employment for 2006. 103Table 62: The 25 sub-divisions with the highest proportion of embedded employment 106 2001 UK census data. Table 63: Growth in embedded creative employment across the industry sub-sectors. 107Table 64: The changes in the creative embedded share of two-digit industries’ employment 109 between 2001 and 2006 using LFS 65: The classifi cations selected in the Cultural Industries defi nition and the number 111 of people employed in 1981, 1991 and 2001. Table 66: The classifi cations selected in the Cultural Occupations defi nition and the 113 number of people employed in 1981. Table 67: The classifi cations selected in the Cultural Occupations defi nition and the 113 number of people employed in 1991. Table 68: The classifi cations selected in the Cultural Occupations defi nition and the 114 number of people employed in 2001. Table 69: Cultural Trident in 1981 for each segment and 70: Cultural Trident in 1991 for each segment and 71: Cultural Trident in 2001 for each segment and 72: Long-run annualised growth in Cultural Trident employment between 115 1981 and
List of fi guresFigure 1: DCMS estimates for 1998 to 2006 of sectoral employment within the 23 creative industries and total employment. Figure 2: Frequency of discrepancy between census and LFS employment – industry 61 classifi 3: Frequency of discrepancy between census and LFS employment – occupation 62 classifi 4: The variation in the distribution of employment within the weekly income bands 89 for each of the creative segments compared with Australian employment. Figure 5: The self-employment rate of creative occupation segments in 6: The self-employment rate of disaggregated creative occupation segments in 2006. 93Figure 7: Comparison of the CCI employment estimates for each segment with those of 102 the DCMS Economic Estimates. Figure 8: Comparison of the shares of segment employment estimates from CCI with 103 those of the DCMS Economic Estimates. Figure 9: Comparison of the average annual incomes of specialist, support and embedded 103 creatives within each segment with that of the national average for 2001 to 2006. 15
Part 1: Purpose and structure of The role of mapping studiesCouncil Centre of Excellence for Creative Industries and Innovation (CCI) in an attempt Mapping studies are valuable tools for to address some of the methodological policymakers and industry professionals alike. challenges that have arisen in previous They are a vital resource for the communication approaches to measurement of creative of key concepts and data. They may also activities, industries and be used to construct an evidence 1. Frontier Economics Ltd base to inform government investment.(2007) ‘Creative Industry Performance.’ [Online].Available at: development of a robust methodology is The structure of the reportcom/dcms/mt/archives/critical to achieving these aims. Undervaluing blog_36/1 - Statistical Analysis of the Creative a sector most obviously affects its ability to Since the DCMS introduced the concept [Last accessed secure supportive policy measures or to attract of the creative industries in 1998, various 21/09/2007].2. Alan Freeman, GLA Economics additional external investment. Overstating the measurement frameworks and quantitative (2007) ‘Working Paper 22: sector’s signifi cance by, for example, adopting a techniques have been employed in different London’s Creative Sector Update.’ London: GLA. loose defi nition of its activities is potentially no countries to assess the extent and importance [Online]. Available at: http://less damaging if it leads to a loss of credibility of creative activities. turns policymakers [Last accessed The proliferation of studies has led to 5/10/2007].Improving the methodology used to construct numerous, often confl icting, defi nitions of estimates of the size of the UK’s creative what counts as ‘creative’ in the economic economy is a topic of ongoing interest to context. To clarify our parameters, Part policymakers, driven in part by the Creative Two of this report sets out the defi nitions, Economy Programme of the DCMS in the UK. assumptions and terminology we employ In 2007, two major published studies have in our application of the Creative Trident focused on this area: Frontier Economics’ methodology to UK Statistical Analysis of the Creative Industries,which develops a more nuanced defi nition Part Three provides an overview of existing of the industry than in the current offi cial measurements of the creative industries statistics; and GLA Economics’ measurement in the UK and elsewhere, and analyses the 2work for London’s creative economy, which strengths and weaknesses of their underlying examines the characteristics of the capital’s methodologies. Part Four describes the creative sector in the broader national Trident methodology and compares it with existing census data are in many ways limited The Creative Trident methodologycompared with the data collected in such countries as Australia, New Zealand, Canada This report complements these studies. It and the United States. For this reason, our applies the Creative Trident methodology analysis overlays data from the UK Labour (defi ned in brief in Part 2 and in detail in Force Survey (LFS) from 2001 to 2006 on the Part 4) developed by the Australian Research census data available for 1981, 1991 and
Part Five reports the results of the UK Creative Trident mapping exercise. It presents the ‘Employment Trident’, which incorporates: data on specialist, support and embedded creative employment for 1981, 1991 and 2001; growth rates and average levels of earnings for specialist, support and embedded creative workers from 2001 to 2006; and the distribution of embedded creative occupations across non-creative industries for 2001 to 2006. Growth in creative employment and earnings is compared with economy-wide averages for the relevant periods. Part Six demonstrates the application of the Trident methodology to the fi nancial services sector, and compares the extent to which fi nancial activities and creative activities are embedded in the UK – that is, employment of creative and fi nancial services professionals outside their respective specialist sectors. This is particularly interesting in the light of recent studies which have indicated that the creative industries are now as large and add as 3. See Andari, R., Bakhshi, much economic value as the fi nancial services H., Hutton, W., O’Keeffe, 3sector. This degree of ‘embeddedness’, we Á. and Schneider, P. (2007) ‘Staying ahead: the propose, could be a proxy for the extent to economic performance of which the creative industries enable economic the UK’s Creative Industries.’ London: DCMS. [Online]. development, as the fi nancial services sectors Available at: often said to Part Seven concludes by summarising the main [Last accessed 21/08/2007]. fi ndings and implications arising from this
Part 2: Terminology and assumptionsThis section describes the main terms used symbolic or information services in areas such in this report and lists the most important as architecture, advertising and marketing assumptions that underpin the Creative Trident and design, as well as web, multimedia and analysis. software development. In a practical sense the creative industries are defi ned by a selection of Standard Industrial TerminologyClassifi cation (SIC) codes that are implemented in national datasets that encompass the Creative industries: At a general level, the specialist businesses that produce creative ‘creative industries’ is the collective term for goods or services. So, for example, the DCMS those businesses in the economy which focus defi nition focuses on those activities which on creating and exploiting symbolic cultural have their origin in individual creativity and products (such as the arts, fi lms and interactive which have the potential for wealth creation games), or on providing business-to-business Table 4: The 11 creative industries selected from the 2001 census Industry description744 Advertising362 Manufacture of jewellery and related articles742 Architectural and engineering activities and related technical consultancy (This classification is too broad to be of practical value; the relevant data therefore need to be disaggregated from this category)921 Motion picture and video activities922 Radio and television activities920 Recreational, cultural and sporting activities . (not otherwise specified)923 Other entertainment activities924 News agencies221 Publishing925 Library, archives, museums and other cultural activities72 Computer and related activities (This classification is too broad to be of practical value; the relevant data therefore need to be disaggregated from this category)18
through the generation and exploitation of different versions and levels of detail in its intellectual in the SIC scheme to code industry activity in each of the census years Table 4 lists the industry descriptions and and in the LFS. Appendix 1 lists the various associated SIC codes for the 11 industries industry classifi cations considered to be selected for this analysis of the 2001 household creative industries and that are relevant to our census. We will discuss later how these align with the 13 sectors that make up the offi cial DCMS measure of the creative Creative occupations: ‘Creative occupations’ a selection of occupations which produce creative goods or services, drawn from Unfortunately there is no single internationally the various releases of the UK Standard accepted classifi cation scheme for industry Occupational Classifi cation (SOC) codes. activities, although most recently there has Individuals engaged in creative occupations been a degree of convergence into two main may participate in any stage of the production families of classifi cation (North American and process, but it is their involvement primarily in European). creative functions (rather than, for example, retail sales) that distinguishes , in the context of this study, the Offi ce for National Statistics (ONS) has used Table 5: Creative occupations selected from the 2001 census Occupation description SOC Occupation description 1134 Advertising and public relations managers 3421 Graphic designers 3543 Marketing and associated professionals 3422 Product, clothing and related designers 2432 Town planners 5491 Glass and ceramics makers, decorators and finishers 3121 Architectural technologists and 5492 Furniture makers, other craft woodworkers town-planning technicians3122 Draughtspersons 5495 Goldsmiths, silversmiths, precious stone workers 3411 Artists 3416 Arts officers, producers and directors 3413 Actors, entertainers 3432 Broadcasting associate professionals 3414 Dancers and choreographers 3434 Photographers and audio-visual equipment operators 3415 Musicians 3431 Journalists, newspaper and periodical editors 2451 Librarians 4135 Library assistants/clerks 2452 Archivists and curators 5421 Originators, compositors and print preparers 3412 Authors, writers 2131 IT strategy and planning professionals 2431 Architects 2132 Software professionals 19
The 26 four-digit SOC creative occupations are working outside the defi ned creative selected from the 2001 census data are in Table Trident methodology: This is a The occupation classifi cation scheme used to methodology to analyse detailed data code occupational data from the earlier census of the number of people employed, and years (1981 and 1991) differs from that used where possible their mean income, in every for the 2001 census and the Labour Force occupation across every industry. The Survey (LFS). Appendix 1 contains further methodology aggregates the number of employed in specialist, support and embedded modes and provides detailed counts Creative Trident: The Creative Trident comprises according to the level of occupational and all the people working in the creative industries industry detail available.(as defi ned above) and the people working in specialist creative occupations in ‘non-creative’ Creative workforce: The creative workforce 4fi rms and the group of people employed in the Creative Trident (. in specialist, support and Trident modes: The three Trident modes are: embedded modes) across all selected creative occupations and creative industries. The size of Specialist mode: Those people in defi ned the creative workforce is determined using the creative occupations employed within the Creative Trident ned creative segment: A subset of the creative Support mode: Those people employed workforce grouped by broad categories of within the defi ned creative industries creative output, comprising specialist, support 4. If anything, the Creative who are not working in defi ned creative and embedded modes. Trident underestimates the occupations but who perform sales, creative workforce, as ideally employment should also management, secretarial, technical, The original DCMS Creative Industries Mapping include the direct support and accounting and administrative , published in 1998, defi ned 13 supervisory staff of embedded creatives such as those that sectors, some of which could not be quantifi ed work on design activities in Embedded mode: Those people employed using national data sources. The DCMS banks. Unfortunately, there is no way to identify these staff. in defi ned creative occupations but who subsequently published estimates for these sectors in the broader 11-sector classifi cation Table 6: The correlation between CCI segments and DCMS Economic Estimates segment DCMS Economic Estimates sectors Advertising and Mark eting Advertising (including marketing) Architecture Art /Antiques trade Architectu re, Visual A rts and De sign Crafts Design Designer fashion Film, video &photographyFilm, TV, Radio and Photography Television &radio Music and Performin g Arts Music and the visual and performing arts Publishing Publishing Software, C omputer G ames & Ele ctronic Pub lishingSoftware, computer games, and electronic publishing20
It is important to note that, because the 2 for a comparison of LFS and census Creative Trident accounts both for activities employment).within the creative industries and embedded creative occupations in non-creative • That census scaling for 1981 and industries, our defi nition of ‘creative segment’ 1991 is appropriate: the ONS collected includes both the subset of creative industries employment-related data for the censuses related to each segment above and the subset held in these years on only a 10 per cent of creative occupations producing similar types sample of the overall census population. of creative output, even where they are found We have to assume that the ONS’s in non-creative industries (. as embedded methodology ensures that this 10 per cent employment).is representative, so that we can scale up results for these years by a factor of 10 to For example ‘publishing’ is about more than produce a population ‘publishing industry’ (SIC 221) alone. The creative segment ‘Publishing’ also refers • That UK creative incomes are to specialist and support employment within meaningfully represented by mean ‘Library, archives, museums and other cultural weekly incomes when determined for each activities’ (SIC 925) as well as embedded occupation employed within each industry at employment (. in non-creative industries) of the fi nest level of classifi cation following creative occupations:• That by excluding creative employment as • 2451 Librariansa ‘second job’, we have not introduced an appreciable bias into our estimates within • 2452 Archivists and curatorsthe LFS dataset. Comparisons of creative employment to the total workforce can only • 3412 Authors, writersbe made on the basis of employees’ ‘main job’. See Appendix 3 for an analysis of the • 3431 Journalists, newspaper and periodical impact of excluding second • 4135 Library assistants/clerks• 5421 Originators, compositors and print AssumptionsThe principal data assumptions underlying the analysis described in this report are as follows:• That the average income of those who are self-employed within each occupation-industry combination is the same as those working as employees. If the mean income of the self-employed is understated or overstated by 50 per cent, say, from the true mean then this would result in an under- or overstatement of annual creative earnings in our estimates by up to 14 per cent. • That LFS scaling is accurate: LFS is a 1-in-400 sample, and results reported here have been scaled up by the Offi ce for National Statistics (ONS) to produce population estimates. We provide no independent check on the accuracy of the ONS’s scaling-up process. (See Appendix 21
5. Department of Culture, Part 3: Existing analyses of creative activitiesMedia and Sport (1998) ‘Creative Industries Mapping Document 1998.’ London: DCMS. [Online]. Available at: [Last accessed 27/08/2007].6. Centre for Cultural Policy Research, University of Hong Kong (2003) ‘Baseline Study on Hong Kong’s Creative Industries for the Central Policy Unit of Hong Kong SAR, Hong Kong.’ Hong Kong: Centre for Cultural Policy Research, University of Hong Kong. [Online]. Available at: [Last accessed 27/08/2007].7. French Ministry of Culture (2005) ‘L’emploi culturel dans l’Union européenne en The fi rst Creative Industries Mapping Industry-based studies2002: Données de cadrage 5Document by the DCMS became the template et indicateurs.’ Paris: French Ministry of Culture. [Online]. for numerous other studies commissioned by The 1998 and 2001 DCMS Mapping Available at: http:// at the national, regional and [Last city level. The DCMS study built on many The 1998 UK Creative Industries Mapping accessed 21/08/2007].earlier attempts to study the size and impact Document, produced by the DCMS, identifi ed 8. Higgs, Peter L. and Cunningham, Stuart D. of the cultural industries, and established 13 creative industries for analysis: Advertising; (2007a) ‘Australia’s Creative the approach of measuring employment and Architecture; Art & Antiques Market; Crafts; Economy: Mapping Methodologies. Technical business activities within selected industrial Design; Designer Fashion; Film & Video; Report.’ Brisbane: CCI. A classifi cations, using data from household Interactive Leisure Software; Music; Performing more detailed discussion of the historical development of surveys of the industry in which individuals Arts; Publishing; Software & Computer measurement of the cultural work, or from surveys of businesses within Services; and Television & Radio. It proposed and creative industries is provided in Higgs and specifi c the creative industries “are those Cunningham (2008) Creative industries which have their origin in individual Industries Mapping: Where have we come from and Other mapping studies, such as by the Hong creativity, skill and talent and which have a where are we going? ‘Creative 6Kong Creative Industries Baseline Study, potential for wealth and job creation through Industries Journal.’ Vol 1, , forthcoming ned the early DCMS template to develop the generation and exploitation of intellectual 9. As summarised in Frontier a more comprehensive approach including property”.Economics Ltd (2007) examination of specifi c creative occupations. ‘The Creative Economy Programme: A Summary Measures of economic activity analysed in of Projects Commissioned Subsequent analyses have further attempted to the Mapping Document included: levels of in 2006.’ London: DCMS Evidence and Analysis Unit. measure employment in the creative or cultural employment; characteristics of the fi rms in [Online]. Available at: http://workforce, as exemplifi ed by the French the identifi ed creative industries (including Culture Ministry’s Department for Planning their number, their size, turnover and profi t per cent20Summary. doc [Last 7and Statistics 2005 report, work conducted margins); and outputs, including the value of accessed 21/08/2007].810. Walton, M. and Duncan, I. for Australia by the CCI authors, and research exports and estimates of Gross Value Added.(2002) ‘Creative Industries conducted for the UK by Frontier Economics in New Zealand Economic contribution.’ Wellington: as part of the 2007 Creative Economy A template for analysing the creative industries Industry New Zealand. formalised in the subsequent 2001 UK [Online]. Available at: Industries Mapping Document, and nz/common/fi les/nzier-The development of a robust measurement this structure was applied in New Zealand in [Last accessed 21/08/2007].methodology is critical to achieving the primary 2002 (Creative Industries in New Zealand: 1011. Department of function of mapping studies. This section of Economic contribution), in Australia the same Communications, 11the report summarises the various approaches year (Creative Industry Cluster Study Series) Information Technology and the Arts (2002) used to map the creative industries and and Singapore (Economic Contributions of ‘CICS Creative Industries 12creative economy activities in the UK and in Singapore’s Creative Industries) in 2003. It Cluster Study Stage One.’ Canberra: DCITA. [Online]. other jurisdictions, and highlights the strengths was applied at a regional level, in Queensland, Available at: weaknesses of (Creativity is Big Business) in [Last accessed 27/08/2007].22
Limitations in DCMS Mapping DocumentsThe generic value chain established by the The DCMS template-based studies Framework identifi es the following stages:were signifi cant in establishing the fi rst comprehensive benchmarks for the creative 1. Creation industries. However, there were three key methodological limitations:2. Making 1. Conceptual limitations3. Dissemination 2. Classifi cation and granularity limitations4. Exhibition/Reception 3. Data source limitations5. Archiving/Preservation 12. Ministry of Information, These limitations made it diffi cult to compare 6. Education/UnderstandingCommunications the performance of creative industries over and the Arts (2003) ‘Economic Contributions time, or to measure comparative performance However, this generic value chain does of Singapore’s Creative between industries and differentiate the distinctively ‘creative’ Industries.’ Singapore: Ministry of Information, activities involved in the production and Communications and the Conceptual limitations of the DCMS template distribution of creative goods and services. Arts. [Online]. Available at: primarily from ongoing technological Specifi cally: sg/MTI%20Creative%20progress and changing market and industry [Last accessed 12/01/2008].boundaries. In particular, the progressive Making: under the Framework, this stage 13. ICF Consulting, SGS convergence of the information technology, includes many manufacturing activities Economics and Planning communications, cultural and content such as ‘manufacture of relevant capital (2003) ‘Creativity is Big Business - A framework for industries created substantial diffi culties goods’, which includes the manufacture of the future (QCIS).’ Brisbane: for those trying to measure and understand musical instruments, computers, television Queensland Department of State Development, Trade economic and industrial activity. sets and radio transmitters. While these are and Innovation. [Online]. important economic activities, they do not in Available at: occupations and sectors had emerged, themselves constitute content creation, nor v3/guis/templates/especially in the digital industries, and do they require specifi cally creative [Last these were not refl ected in the standardised accessed 27/08/2007]. classifi cation schemes used by statistics Dissemination and Exhibition/Reception: 14. Now known as the DCMS Evidence Toolkit. See ‘DCMS organisations. This lack of alignment was under the Framework, activities conducted Evidence Toolkit: Technical exacerbated by the usual 10-15 year gap by entities such as cinemas and newsagents report.’ London: DCMS. [Online]. Available at: between the updates to industry and are included. However, these are dominated classifi the distribution of creative outputs Reference_library/Research/det/ [Last accessed generated in other countries. For example, in 21/08/2007].A segment-based approach requires that the UK fi lm market, UK-originated content 15. See UK Film Council segment-specifi c estimates of economic activity accounts (including US co-productions) for YearBook 2006. Available at: be summed to provide an estimated total only around 20 per cent of all cinema box the creative industries as a whole. A risk offi ce receipts and 17 per cent of all DVD yearbook/?y=2006&c=10 15[Last accessed 20/9/2007].of double-counting is incurred where the and VHS rental transactions. Similarly, results of independent, ad-hoc surveys are newsagents typically gain little revenue from combined without making adjustment for any the sale of newspapers, and their magazine overlap in respondents or domains of interest. and book trade could well be dominated by Unfortunately the degree of any such overlap non-UK diffi cult, and sometimes impossible, to determine, as the identifi ed survey responses While accounting for these types of activities for each segment are not available for may be appropriate when developing ‘access to ’ strategies or conducting input/output and economic multiplier studies, we suggest The DCMS Evidence Toolkitthat they are not directly relevant when The 2002 UK DCMS Regional Cultural Data calculating the level of creative was a substantial effort to address the need for consistency by identifying industry Capturing creativityactivities and occupations along a value chain Defi ning what does count as ‘creative’ however in each creative segment. Five years after its is a challenging task. The segment defi nitions introduction, it remains the most rigorous tool developed in the 1998 DCMS template are for creative economy performance tracking yet based on the common types of creative output industries; studies using the template 23
therefore analysed data about the specialist of a range of clothing manufacturing activities fi rms operating within each specifi c segment. to “Designer fashion”. Such factors are subject to adjustment in the light of better knowledge 16However, as Pratt (2004) notes, standard or changes in the workforce, and result in the industrial classifi cation schemes are not good need for revisions of earlier estimates. at describing creative activities, which are generated in three ways: fi rst, by individuals (as In other cases, such as the UK ‘Design’ sector 16. Pratt, A. (2004) The sole traders or producers); second, by groups (which comprises Graphic Design and Industrial cultural economy: A call working within specialist (often consulting) or Product Design), there are currently no UK for spatialized ‘production of culture’ perspectives. creative organisations; and third, by individuals SIC codes used to categorise national survey ‘International Journal Of in creative occupations working in non-creative data and they are consequently silent on the Cultural Studies.’ Volume 17197(1): -128. London: organisations. Publications. [Online]. Available at: http://The substantial and frequent movement The coding of ‘industry of employment’ [Last between these modes of activity exacerbates responses in the 2001 UK census resulted accessed 21/08/2007].the limitations of standard industry in only 11 classifi cations being useful at the 17. The suitability of counting the level of employment classifi cations. For example, individuals may three-digit SIC level and one (‘Computer and of the converse of this – move from being an independent fi lm producer related activities’) at the two-digit SIC level, people working in specialist 20businesses in the creative to working for government fi lm agencies, or a compared with 34 in Australia. The accuracy industries, but in non-designer might sign a three-year contract to of estimates of creative industries employment creative jobs – is seldom discussed. This is discussed work for a bank or advertising the UK would be substantially improved more fully in the next if the data were compiled at the four-digit section. 18. Higgs, PA result of this movement and diversity is that resolution available in other countries. These ., Cunningham, S. and Pagan, J. (2007) the economic signifi cance of creative activities data limitations have meant that the DCMS’s ‘Australia’s Creative Economy: Basic Evidencmay be underestimated if one relies on an industry-led estimates of employment have not e on Size, Growth, Income industry-centric approach. Measuring the made use of UK census data, with the result and Employment. Technical Remployment signifi cance of, for example, the that the DEE are calculated solely on sample-eport.’ Brisbane: CCI. [Online]. Available at: software segment, would involve counting the based surveys - primarily the Labour Force employed within fi rms in the specialist Survey - and where necessary industry-specifi c archive/00008241/ [Last access 29/9/2007].computing software industries under the most business . This situation should be appropriate classifi cation (in this case, ‘ rectifi ed when the SIC2007 is implemented in 2008 Software consultancy & supply’). Australian surveys. 18evidence suggests that this approach has led 20. The Australian classifi cations to substantial under-counting in that country Capturing industry and occupationare discussed in more detail in Appendix approximately 50 per cent, refl ecting both 21. Including the Hong Kong poor statistical industry defi nition coverage and From 2003, a number of new creative industry Baseline Study (Baseline 21Study of Hong Kong’s the fact that so many software designers are mapping documents looked beyond industry Creative Industries 2003) ‘embedded’ in other , and began to explore occupational and Gertler, M. and Vinodrai, T. (2004) ‘Designing The analysis, counting the number of people Economy A Profi le Of Another practical classifi cation issue is that employed in specialist occupations and the Ontario’s Design Workforce.’ Toronto: The Design Industry many creative activities are ‘lost’ within patterns of employment across creative Committee. broad industry categories where they cannot [Online]. Available at: 22 included without signifi cant risk of The DCMS estimates that creative ca/progris/pdf_fi les/overreach. For example, in the UK, specialist jobs outside the creative industries add [Last accessed design consulting activities are buried approximately 800,000 people to the 27/08/2007].within broad industry classifi cations such as estimated million working in the creative 22. DCMS (2003-) ‘Creative ‘748 Miscellaneous business activities not industries. Figure 1 plots estimates of the UK’s Industries Economic Estimates Statistical elsewhere classifi ed’ or ‘222 Printing and total creative employment and, within that, Bulletin.’ London: DCMS. service activities related to printing’ and even employment in each of the DCMS-defi ned [Online]. Available at: several classifi cations related to clothing creative [Last accessed 21/08/2007]. This lack of alignment arises when industry data are not classifi ed with suffi cient detail to enable specifi c measurement of creative activities. Where the relevant creative activities are subsumed into other industries, estimates are often based on a proportion of the larger industry. The DCMS’s Economic Estimates (DEE) series, for example, attributes 5 per cent 24
Figure 1: DCMS estimates for 1998 to 2006 of sectoral employment within the creative industries and total creative ,000,0001,800,0001,600,0001,400,0001,200,0001,000,00023. We use the term ‘resolution’ to refer to the degree of classifi cation for which 800,000data are available. In a classifi cation hierarchy, the fi nest resolution is the 600,000one with the most digits. The lowest resolution is 400,000the top-level, single-digit classifi cation, which in the case of industry activity 200,000is the ‘Division’ and in occupation is the ‘Skill Level’ or ‘Major Group’. The fi nest 0resolution normally occurs at the six-digit occupation or four- or fi ve-digit industry level. But all ‘fi nest resolutions’ are not created equal: a six-digit industry classifi cation scheme with 19982001200120022003200420052006350 unique entries is not MappingEconomic Estimatesas fi ne as a four-digit one using all 999 possible classifi cations. ‘Resolution’ is a proxy for the ability to Music, visual and performing artsPublishingCraftsfi nely discriminate & radioFilm, video & photographyArt / Antiques trade24. The policy of the Offi ce for National Statistics has Software & designer fashionArchitecturebeen to not release record (or cell) data which have Advertisinga count of less than 2,000 because of the higher Source: DCMS Economic Estimatesstatistical unreliability of low count cell – a result of the relatively low sampling base of the LFS. By way of comparison, the US The occupational data were extracted from the The DCMS Economic Estimates are constrained Bureau of Labor Statistics’ annual Labour Force Survey – a panel-based by either having to use lower-resolution Occupational Employment Statistics (OES) are based on survey of 350,000 individuals in the UK which classifi cations which lead to greater margin data from approximately is then scaled error, or to use tables with data selected million respondents, though the self-employed are not at higher resolution classifi cations but only included. The full ‘industry Methodological constraints of the supplied by the statistical authorities within by occupation, employment and income’ dataset, which approachaggregated industry totals. The preferred contains over 45,000 The methodology of combining occupation choice, obtaining detailed occupations records, can be downloaded from the Bureau’s website and industry data was further developed in the along one axis and detailed industries along at http:/ Kong Baseline Study and the Ontario the other, is not feasible as it results in the Design Study, especially in the refi nement of suppression of a signifi cant proportion of methods for establishing patterns of embedded the LFS source data in individual cells of the the inclusion of creative occupations has The impact of this for the DCMS is that it been an important step forward for creative cannot perform analysis at a fi ne level in more industries mapping studies, methodological than one dimension (viz. occupation within and data limitations have continued to limit industry) at any reasonable level of detail, as the accuracy of these approaches. The diversity doing so would generate substantial statistical of creative activities makes it important for errors. DCMS’s approach has been to obtain analysis to be conducted at the fi nest possible summary cross-tabulations of the level of 23resolution of classifi cation. employment in each of the selected creative 25CreativeIndustriesCreativeIndustriesCreativeIndustriesCreativeEmploymentCreativeIndustriesCreativeEmploymentCreativeIndustriesCreativeEmploymentCreativeIndustriesCreativeEmploymentCreativeIndustriesCreativeEmploymentCreativeIndustriesCreativeEmployment
occupations that occurs outside the defi ned creative activities. These include ‘Clothing creative ’, ‘Other Business Activities Not Elsewhere Classifi ed’, ‘Other Retail Sale This limitation has several consequences:in Specialised Stores’, and ‘Retail Sale of Second-hand Goods in Stores’. Although 1. Estimates of the embedded creative proportional adjustments are made to some workforce are calculated as a residual of these industry data to refl ect the fact that of total occupations and industry the industries are not wholly creative in nature, employment, and so depend on what such scaling adjustments create other problems creative industries are selected.(see ‘Maintaining the integrity’ below).2. It is not possible to analyse the distribution Scaling obscures the detailsof creative employment in businesses The application of adjustments to broader outside the creative industries. So, for categories of activity hampers the ability to example, the published summary tables do reveal outliers in the employment data or not allow researchers to determine either changes in circumstances. In addition, the the signifi cance of the top ten occupations current scaling factors have remained fi xed within a selected industry, or the top ten since the analysis was fi rst conducted in the industries in which a selected occupation is 2001 DCMS Mapping Study. Given the rate change and convergence in the creative industries in recent years, it is unlikely Classifi cation selection and embedded that these proportions can have remained employmentrelevant without some further adjustment (as 26Care also needs to be taken in selecting which recognised by the DCMS).industry and occupation classifi cations to 25. See Appendix 6 and 7 for analyse, as the chosen candidates should vary, Maintaining the integrity of a whole-of-an example of this type of depending on the purpose and context of the workforce datasetanalysis of classifi cations using data from the 2001 classifi cation. The industry and occupation The calculation of embedded employment cations used to calculate employment for cannot be simply grafted onto a methodology 26. Frontier Economics Ltd (2007) ‘The Creative the DEE appear to have been selected without intended to determine the extent of Economy Programme: considering how these categories interact in employment across every activity relevant to A Summary of Projects Commissioned in 2006.’ multi-dimensional, whole-workforce creative : DCMS Evidence and Analysis Unit. [Online]. Available at: http://Three factors need to be considered when The 2001 census shows the total employed combined industries and occupations population in the UK as 26,575,775 people, archives/blog_36/Evidence per cent20Summary. datasets to determine the level of embedded analysed on the basis of either occupations doc [Last accessed employment:or industries. The LFS 2006 dataset shows 21/08/2007].28,165,612 people employed (on the basis Correlations between occupations and of main job) on either axis. Applying a scaling industriesfactor to one axis, such as the industry The DCMS Economic Estimates 2006 report classifi cation axis, is not straightforward as includes four occupations in the Publishing doing so invalidates the integrity of the two segment which certainly have a place within axes’ publishing industries, but could not be considered as creative occupations when If the intention of an employment analysis embedded within the broader economy. is to show the size and characteristics of a These include ‘Originators’, ‘Compositors and segment in the context of the whole of the Print Preparers’, ‘Printers, Bookbinders and workforce, then irrespective of whether the Print Finishers’ and ‘Screen Printers’. Of the research is using detailed (as in the census) 35 occupation codes used by the DCMS to or summarised (as in LFS sub-totalled) two-calculate embedded creative employment, dimensional tables, a proportion of an industry ten are arguably largely or wholly irrelevant, cannot be used without creating an imbalance and substantially infl ate estimates of the in the axes’ totals. In this respect, working with ‘embedded’ creative ‘occupation within industry’ employment table is rather like double-entry accounting – Furthermore, of the 25 industry classifi cations it is more onerous to establish and maintain, used by the DCMS in the calculation but the reward is much greater fl exibility in of industry employment, export and reporting and the improved security of built-in business numbers, six are likely to have a integrity low degree of correlation with core 26
Part 4: The Creative Trident methodologyThe CCI Creative Trident methodology was • Workers in a creative occupation outside the developed to address the methodological creative industries ‘embedded’ described above and so provide a more robust foundation for meeting the These three employment modes together 27requirements of mapping the Creative Trident. The Trident can be analysed from three perspectives: CCI has developed a methodology and employment (distinguishing between specialist, 27. For further information suite of tools which enable analysis of a support and embedded workers); income on the Creative Trident range of national datasets (such as census-(deriving the total annual incomes generated Methodology, see Higgs, Peter L. and Cunningham, based employment and business activity) by specialist, support and embedded workers Stuart D. (2007a) ‘Australia’s from different periods and sources, despite activities); and whole-economy (disaggregating Creative Economy: Mapping Methodologies. Technical variations in industry/occupation/qualifi cation the extent of embedded employment across Report.’ Brisbane: CCI. classifi cations, often with different underlying each non-creative sector of the economy).28. Frontier Economics Ltd (2007) ‘The Creative hierarchical strategies and varying levels of Economy Programme: detail Summary of Projects Commissioned in 2006.’ London: DCMS Evidence Our previous research has shown that the Defi ning the creative coreand Analysis Unit. [Online]. Available at: http://signifi cance of creative activities – their of employment and earned income – The Creative Trident methodology can be archives/blog_36/Evidence per cent20Summary. can be determined using a methodology applied using any well-articulated defi nition doc [Last accessed centred on a census-based matrix combining of activities (for example, creative, cultural 21/08/2007].employment within the creative industries or fi nancial services). However, it works best and creative employment within other sectors conceptually when there is a concentration on of the economy. Our methodology attempts what we call the ‘pre-creation and creation’ to combine these data in a way that neither stages of the value chain, which we refer to inappropriately includes nor excludes people collectively as the ‘creative core’. Concentrating because of shortcomings in classifi cation on these stages means that we capture the starting points for creative activity, whether in the creative industries themselves The Trident defi nition of creative activity (the specialist mode) or in the wider economy therefore recognises three distinct employment (the embedded mode). situations, or ‘modes’: While this is a different approach from that • Workers within a creative profession of the DCMS Economic Estimates, it employs (determined by occupations) within a a selection strategy very similar to Layer One creative sector (determined by industries) of the fi ve-layer generic supply chain concept ‘specialist’ by Frontier Economics in its recently 28published work for DCMS. Frontier suggests • Workers in a non-creative profession within a that the level of creativity declines from Layer creative sector ‘support’ to Layer Five, and that Layer One is the most appropriate to use for most benchmarking
29Our defi nition of the creative core selects • Creative occupations typically have at least the activities, in either occupation or industry 25 per cent of their employment in creative classifi cations, which occur at the pre-creation (including preservation, access, collecting 30and licensing activities), and the creation • Creative industries typically have at least stage of the value chain. In the creation stage, 25 per cent of employment in creative we follow David Throsby’s notion of ‘creative ’, defi ned as: Diffi culties in the selection of classifi cations – • those engaged in producing primary creative or more often in their grouping into segments output – for example, writers, musicians, – become apparent when the fi rst analysis is visual artists, fi lm, television and video performed, as one segment could have little makers, sculptors and craftspeople;or no employment in one mode – very often in support mode. So since only 11 industry • those engaged in interpretive activity – for classifi cations are being used, it is diffi cult to example, performers interpreting works of group them into more than six , dance, music etc. in a wide variety of media from live performance to digital If we bear in mind that we are selecting in two transmission via the Internet; anddimensions, not one, then the industries which 29. Note that our defi nition meet these criteria at the most detailed level of the creative core also • those supplying creative services in support are as shown in Table 7, and the qualifying corresponds closely with that employed by Andari, of artistic and cultural production – for occupations are as shown in Table ., Bakhshi, H., Hutton, W., example, book editors, lighting designers, O’Keeffe, Á. and Schneider, P. (2007) ‘Staying ahead: the music producers, performance of the UK’s Creative Industries.’ London: DCMS. [Online]. While Throsby’s defi nition is essentially Available at: -focused, deriving as it does from employment, it may also be applied to -defi ned activities and [Last accessed 21/08/2007]. 30. CCI’s concept of a creative We have excluded a number of DEE industry value chain recognises the growing role of re-use and activity selections: some in which the DCMS re-purposing of creative counts all employment (such as printing, fi lm output as well as the traditional role of collecting distribution, cinemas, and the provision of institutions being a stimulus specialist education services), and some in and resource for new literary, artistic and other creations. which they apply proportional calculations Similarly fi lm libraries, (such as the production of those capital goods licensing fi rms and collecting societies facilitate the input . TV sets and musical instruments which may into new cycles of creative be needed for creation, performance or usage).. Throsby, D. (2001) ‘Economics and Culture.’ By excluding these, we create a basis for Cambridge: Cambridge more reliable comparisons of employment University Press. (including self-employment) between the six segments at both the pre-creation and creation stages. As with Frontier’s Layer One focus, our strategy has been to focus on the creative and production-related activities which demonstrate the highest degree of creative value-added. These are also the stages where there is greater availability of classifi cations to measure their activities. Applying the Creative Trident methodology requires the selection of whole occupation and industry classifi cations since proportions cannot be used in ‘occupation within industries’ datasets. Equally, apart from a few very broad, poorly defi ned classifi cations, the selection process is based on the actual patterns of employment observed in the data: 28
Table 7: Classifi cations used to determine the creative core industries using census and LFS data and the percentage of employment that is within creative occupations.% of employment within Source SIC Industry description creative occupations Census 221 Publishing 36% LFS 2211 Publishing of books 42% 2212 Publishing of newspapers 46% 2213 Publishing of journals and periodicals 51% 2214 Publishing of sound recordings 40% 2215 Other publishing 37% Census 362 Manufacture of jewellery and related articles 28% LFS 3622 Manufacture of jewellery and related articles not elsewhere classified 56% Census 72 Computer activities (but subject to disaggregation into 7220 and 7260) 37% LFS 7220 Computer software consultancy 48% Census 742 Architectural and engineering activities and related technical 34% consultancy (but disaggregated into 74201 and 74209) LFS 74201 Architectural and engineering activities and related technical consultancy 48% (but disaggregated into 7421 and ‘all other industries subtotal’)Census 744 Advertising 46% LFS 7440 Advertising 46% 7481 Photographic activities 73% Census 920 Recreational, cultural and sporting activities . 10% 921 Motion picture and video activities 31% LFS 9211 Motion picture and video production 60% Census 922 Radio and television activities 47% LFS 9220 Radio and television activities 60% Census 923 Other entertainment activities 47% LFS 9231 Artistic and literary creation and interpretation 81% 9232 Operation of arts facilities 35% 9234 Other entertainment activities not elsewhere classified 39% Census 924 News agency activities 61% LFS 9240 News agency activities 57%Census 925 Library, archives, museums and other cultural activities 37% LFS 9251 Library and archive activities 73% 9252 Museum activities and preservation of historical sites and buildings 17% Average of all creative industries 44% Source: Analysis by CCI of custom tables of the Offi ce for National Statistics 2001 Census of Households and 2006 LFS 29
Under our criteria, we have included three 4. 9212 Motion picture, video distribution industries excluded by the DEE: 5. 9213 Motion picture projection 1. 9251 Library and archive activities 6. 9272 Other recreational activities 2. 9252 Museum activities and preservation of historical sites and buildings These industries have been excluded because they relate primarily to the distribution and 3. 3622 Manufacture of jewellery and related exhibition of creative outputs, thus falling articles not elsewhere classifi ed outside our pre-creation and creation criteria for inclusion in the creative , six of the industries included in the DEE are excluded from our analysis: Additionally, automatically excluded from our selection are any of the classifi cations from 1. 2231 Reproduction of sound recording which the DCMS only uses proportions of employment: the nine clothing manufacture 322. 2232 Reproduction of video recording and two art and antiques retail . 2233 Reproduction of computer media For occupation of employment, our selection comprises the 26 SOC codes listed in Table . As detailed in Annex A of DCMS Economic Estimates Statistical Bulletin October . Variations could occur between the LFS and census proportions either because Table 8: Creative core occupations used in census and LFS datasets and the percentage of of the different levels 33employment occurring within creative industries in 2001. of detail of the industry classifi cations of the two datasets, . four-digit in LFS and two- or three-digits % of employment within in census. creative industries 2001 SOC Occupation Description Census LFS 1134 Advertising and public relations managers 67% 47%2131 IT strategy and planning professionals 58% 53%2132 Software professionals 38% 39%2431 Architects 78% 78%2432 Town Planners 59% 29%2451 Librarians 38% 41%2452 Archivists and curators 54% 68%3121 Architectural technologists and Town Planning technicians 78% 69%3122 Draughtspersons 29% 22%3411 Artists 45% 87%3412 Authors, writers 44% 65%3413 Actors, entertainers 69% 79%3414 Dancers and choreographers 35% 85%3415 Musicians 59% 84%3416 Arts officers, producers and directors 64% 76%30
% of employment within creative industries 2001 SOC Occupation Description Census LFS 3421 Graphic designers 47% 59%3422 Product, clothing and related designers 27% 25%3431 Journalists, newspaper and periodical editors 78% 86%3432 Broadcasting associate professionals 81% 88%3434 Photographers and audio-visual equipment operators 38% 76%3543 Marketing associate professionals 24% 18%4135 Library assistants/clerks 60% 63%5421 Originators, compositors and print preparers 22% 27%5491 Glass and ceramics makers, decorators and finishers 2% 6%5492 Furniture makers, other craft woodworkers 1% 1%5495 Goldsmiths, silversmiths, precious stone workers 47% 52%Average ofall occupations 46% 49%Source: CCI analysis of Offi ce for National Statistics 2001 Census of Households custom table and 2006 LFSOn the surface it would appear that ‘5491 4. 3122 DraughtspersonsGlass and ceramics makers, decorators and fi nishers’ and ‘5492 Furniture makers, 5. 4135 Library assistants/clerksother craft woodworkers’ should not be included in our estimates; but in both cases Conversely, we exclude 14 occupations that a signifi cant proportion of the employment DCMS include in employment calculations: is in industries that should be considered at the very least marginal creative industries 1. 1136 Information & communication and so have been included: 41 per cent of technology managersglassmakers are employed in ‘262 Manufacture of non-refractory ceramic goods other than 2. 2126 Design and development engineersfor construction purposes; manufacture of refractory ceramic products’, while 54 per cent 3. 3433 Public relations offi cersof furniture makers are in ‘361 Manufacture of furniture’. 4. 5411 Weavers and knittersBoth occupation classifi cations are included 5. 5422 Printersbecause they encompass the design and realisation of custom and handcrafted glass 6. 5423 Bookbinders and print fi nishersand furniture . 5424 Screen printersUnder our criteria, fi ve occupations are included in the creative core which are 8. 5493 Pattern makers (moulds)excluded by the DCMS DEE: 9. 5494 Musical instrument makers and 1. 2132 Software professionalstuners2. 2451 Librarians10. 5499 Hand craft occupations not elsewhere classifi ed3. 2452 Archivists and curators31
11. 8112 Glass and ceramics process operatorsrecognises that the critical value-added of creative activity occurs at the beginning of the 12. 9121 Labourers, build & woodworking value chain, in the creation and publication of tradescreative works of all kinds. CCI’s methodology only considers employment as relevant for 13. 5244 TV, video and audio engineersinclusion where it occurs in the core creative value chain, and not in related chains such as 3414. 5496 Floral arrangers, fl oristsdistribution or , our defi nition of the creative core Disaggregation of embedded excludes these occupations as they are more employmentclosely related to the later stages of the value The Trident methodology allows analysis of chain manufacture and distribution and do not the extent to which embedded employment 34. In addition, the intrinsically require creative skills to the same is distributed across the economy, such methodology’s use the incidence of software professionals of ‘occupation within industries’ employment working in the fi nance sector and advertising datasets reduces the Our core defi nition of ‘creative industries’, we professionals working in the manufacturing likelihood of overreach in the choice of either believe, establishes a justifi able demarcation sector. Understanding the distribution of occupations or industries: between specialist and embedded employment, creative employment on a sector-by-sector the methodology is relatively tolerant of errors while our core defi nition of ‘creative basis provides an improved evidence base for from mistakenly excluding occupations’ makes the measurement of policymaking cations; often the subsequent inclusion of embedded employment more overlooked industry Breakdown of specialist and support classifi cation would only increase a segment’s The effects of this more restrictive selection employmentemployment by 30 per cent on total employment data are mitigated by The Trident methodology explicitly separates (the support proportion) of the total employment in the fact that the methodology, relying as it the employment within specialist businesses the overlooked industry; does on two-dimensional occupation within into either core or support occupations. Being conversely, false inclusions have a substantial impact on industry employment datasets, still counts the able easily and consistently to determine total employment up to 90 employment of those in creative occupations, the ratios of support and management staff per cent-95 per cent of the industry’s (or occupation’s) regardless of whether or not they work in the to creative workers and fee-earners for the total employment as creative industries as defi sectors could provide fertile ground there would be little or no employment already being for research into the commercial viability and included from the creative productivity of creative businesses. At the occupation (or industry) employment from the other very least, the disaggregation helps us to dimension. Advantages of the Creative Trident understand the creative workforce and is more 35. For further information approachrobust than relying on a single dimension, on the Creative Trident Methodology, see Higgs, The Creative Trident represents an advance whether industry or L. and Cunningham, on previous creative industries mapping Stuart D. (2007a) ‘Australia’s Creative Economy: Mapping approaches in fi ve ways: Use of population dataMethodologies. Technical Population-based datasets are preferable Report.’ Brisbane: CCI. [Online]. Available at: 1. Avoidance of tendency to they allow us to produce true rather than sample-based archive/00002410/ [Last accessed 21/08/2007].2. Disaggregation of creative employment estimates, of employment and earnings. While to measure embedded employment within these are still subject to the normal errors non-creative industries. involved with census data collection, such as classifi cation errors in the coding of census 3. Decomposition of specialist and support returns, any such errors that do occur should employment within creative random and should therefore not affect one sector more than . Use of population-based data sources rather than surveys, whenever possible. In the Australian context, the ability of the Creative Trident methodology to take 5. Use of annual earnings generated from advantage of the Australian census has allowed survey data of the employed (including highly robust calculations which are more self-employed).accurate than previous attempts to measure the extent of creative economy activity within Avoidance of overreach and Australia. Ongoing work by CCI indicates that robustnessresults of similar quality should be obtained From a conceptual perspective, the defi nition from application of the Trident methodology in used within the Trident methodology New
Use of earnings datadistinguish activities relevant for the analysis The salaries, fees and profi ts paid to staff and from those that are not. In Australia, the business owners broadly refl ect the value of an 2001 census dataset held 1,300 occupation activity to the economy (but not necessarily to classifi cations with 500 industry classifi cations society as a whole as this ignores, for example, and with income coded within 16 bands. This spillover benefi ts). The ability to determine resulted in over 400,000 cells with employment with reasonable accuracy the total personal arising from creative employment therefore provides an indicator (if not a proxy) While census data are preferable because they for its the small-sample and selection bias issues that can arise through sampling, some Earnings data combine both the level countries, such as the USA, conduct labour of employment and the average level of force surveys with good sample rates: the remunerations received by individuals million businesses included in the US sample (specifi cally the mean income). The ensure that there is almost no suppression 36methodology allows the calculation of earnings applied to low count mean income of each combination of occupation within industry: graphic artists However, the limitations in the available UK may earn substantially more working within a data substantially constrain the robustness and bank’s corporate communications department accuracy of quantitative analyses of creative than they would working for an education employment, including the Creative Trident. department, for example. This difference cannot be determined with single-dimension The overarching limitations of the data include:datasets (in this example, simply by taking the mean income of graphic artists or the • no single dataset reliably provides the basic 36. However, this substantially mean income of banking staff or education information required; andunder-represents the true department staff).extent of USA’s creative employment; as the • limited coverage of the Employment The Trident methodology not only calculates Statistics survey, unlike the UK’s LFS, does not include total earnings more accurately, but can also Specifi c limitations of the census data include:self-employed owners and highlight some of the disparities between partners in unincorporated fi rms, household workers, or different roles within a segment. One such • ten-year frequency of the UK census; unpaid family – it turns out – is that managers, administrators and others in the support role in • low resolution of classifi cations, especially by the Music and Performing Arts segment appear industry; andto earn signifi cantly more than specialist musicians. (See Appendix 8 for examples of • the UK census’s exclusion of individual the types of analyses produced from Australian personal earnings data.)The major limitations of the LFS from our Applying the Creative Trident to UK viewpoint are that:dataA key strength of the Creative Trident • the survey basis constrains multi-dimensional methodology is that once the foundation analysis to sub-totals;analytical table has been produced from a processed dataset, a number of different • there is improved but still low resolution of analyses can be performed, each of which classifi cations, especially by industry;can reveal a different aspect of the creative workforce. Because of the reliability and • no income data are available for the self-coverage factors, the methodology would employed; and ideally be applied to a dataset from the full population. This would allow multiple • there are inconsistencies within the census dimensions – most importantly, the occupation employment data at detailed each industry of employment at full resolution, preferably within a third dimension In addition, the full LFS datasets are not of income to acquire and they required considerable processing prior to analysis – in The more industry and occupation marked contrast to the availability and research classifi cations that are used at the detailed readiness of other countries’ employment level, the greater the ability of researchers to datasets (many of which are free to download).33
The following sub-sections examine each of Census data issuesthese limitations in Ten-year frequency of UK censusThe UK census is conducted every ten years, compared with the fi ve-yearly censuses in Overarching UK data limitationsCanada, Australia and New Zealand. The US also has a ten-year census cycle but conducts No single dataset provides the basic large scale labour force surveys every three information requiredyears which reduces the impact of the longer The minimal requirements for applying the interval. The ten-year UK frequency obviously Creative Trident cannot be met by a single data reduces the relevance of census data, especially source in the UK: there is no full-resolution during periods of rapid economic change census table of employment and income for and for industries subject to signifi cant each occupation within each industry for both technological disruption and and the self-employed. The effect of these factors is exacerbated by In addition, unlike the censuses in the US, the fact that the research repeated here is Canada, New Zealand and Australia, the UK being undertaken past the mid-point of the census has not historically collected data on ten-year interval; the data gathered during the individual incomes. Given this limitation, the most recent census are already almost seven Labour Force Survey data has to be used to years out of date. However, the Creative Trident estimate the Creative Income could help NESTA and other interested parties to lobby for improvements to Limited coverage of the self-employedthe next UK census in 2011 (see Part 7, Main Additional data sources are also required to get fi ndings and implications).37. There is no reason why a full picture of self-employment within the the two rates should be UK creative sector. Although the census covers Low resolution of industry and employment confi gurations, it is important occupation classifi cationsto consider the coverage of self-employed The UK census does code individual individuals in other data collections, too, as the occupations at a consistent and reasonably fi ne self-employment rate for the creative industries (. four-digit) resolution, but industries of in the UK is as high as 27 per cent, and for employment are coded at a much lower level, 37creative occupations, 28 per cent. These rates with the bulk of results classifi ed at the three-are double those found in the UK economy digit level, and even a few at two digits. And as a whole (13 per cent). (See Appendix 9, few of those activities available at four-digit Self-employment rates within the creative resolution are related to creative activities. In occupations and industries.)Australia, by contrast, census data relating to industry of employment are consistently coded Apart from the census, the Labour Force Survey at the four-digit level (and in the case of the is the only relevant UK data source which Australian Business Register, at fi ve digits).provides full coverage of the self-employed. Of the 172 detailed industry classifi cation The Annual Survey of Household Earnings codes used in the UK 2001 census, only nine (ASHE) does not survey the self-employed, are directly relevant to the creative industries, since inclusion in the sample requires that the with a further two being included after they individual participate in the ‘Pay as You Earn’ were disaggregated (Table 4). This is low when tax scheme. The Annual Business Inquiry (ABI) compared with the 28 industry classifi cations does not survey non-employing enterprises, that are available for use on Australian thus excluding a potentially signifi cant number datasets. of sole-practitioner specialist creatives. Of equal concern is the variation in the This limited coverage of the self-employed resolution at which census data are classifi ed; explains why we use the LFS as the sole some industries, such as ‘72 Computer and secondary data source for adjustment and Related Activities’ are only available at two extension of census data. digits of detail, even though they account for the employment of over 540,000 people, or 2 per cent of the UK workforce; in contrast, several general manufacturing classifi cations include fewer than 500 people employed. A similar issue exists with ‘742 Architecture 34
and Engineering’, which accounts for the Lack of comparability of LFS data with employment of 390,000 people spread census employment at the detailed levelsbetween many disparate fi elds. The situation Comparisons at the most detailed level is a little better when selecting on the basis between the 2001 census data and the of occupation of employment: of the 354 corresponding Labour Force Survey data (see occupation classifi cations used in the UK Appendix 2) reveal a substantial difference census, only 26 are directly relevant to creative in the numbers of people employed in most occupations (Table 5), compared with 85 in of the relevant industry and occupation Australia and New cations which can be as high as 20 per cent to 30 per cent, despite the fact that the total employment fi gure shows only a 1 per cent discrepancy between LFS and census data. Labour Force Survey dataset limitationsReliably measuring creative employment requires the addition of a limited number of Survey basis results in the suppression detailed classifi cations. On the assumption that of much of the detailed datathere are no differences in the level of accuracy Partly to reduce the usage of possibly of the coding of LFS and census responses erroneous data, the ONS does not release LFS to the appropriate occupation and industry data in cells that hold (scaled) counts of fewer classifi cations, then a census should be a more than 2,000 people. Unlike the US Bureau of accurate representation of the employment Labor Statistics, with its sample size of some situation than a labour force survey because it million, a complete dataset of the UK LFS has no sampling or scaling biases. is unavailable to a researcher, who must work with sub-totalled cross tabulations for the Signifi cant variations in the employment levels creative industries and creative occupations. of some classifi cations between the census and LFS could indicate that the current LFS At the detailed level, in a matrix with 17 rows is less than ideal for establishing the level of and 28 columns, only 82 of the 476 cells employment of creative segments. contain a value, while a further 80 contain a value that is suppressed. Even entries with It would be worth determining the extent fewer than 2,000 people may have a signifi cant of variation between LFS and census data impact at the aggregate level. The sample and whether there are ways to reduce the constraints also decrease the reliability of mean income data for cells with lower employment Improved but still low resolution of Methodology to address UK data classifi cations, especially industryissuesThe LFS dataset still has only 18 industry classifi cations which fall within the CCI’s 2001 census datasetdefi nition, and one of these (Architecture The 2001 census dataset utilises only 173 and Engineering) is very broad-based, with classifi cations at the detailed level, of which almost equal numbers of people in non-only 11 were usable within the Creative Trident relevant technical consulting and engineering industries defi nition (reproduced from Table 4 occupations as there are in the relevant below).architectural occupations (Appendix 4). It is expected that the introduction of the SIC 2007 for 2008 data collection will improve this situation with up to 35 classifi cations being relevant if it is implemented to the fullest level of No income data available for the self-employedAs noted above, this is a major shortcoming that creates the potential for error to the extent that income patterns of the self-employed differ systematically from those of creative businesses’
Table 9: Creative industry – relevant classifi cations from the 2001 segment Industry classificationAdvertising and Marketing744 Advertising362 Manufacture of jewellery and related articlesArchitecture, Visual Arts and Design742 Architectural and engineering activities and related technical consultancy921 Motion picture and video activitiesFilm, TV, Radio and Photography922 Radio and television activities920 Recreational, cultural and sporting activities and Performing Ar923 Other entertainment activitiests221 PublishingPublishing924 News Agencies925 Library, archives, museums and other cultural activitiesSof72 Computer and related activitiestware, Computer Games & Electronic PublishingThe list above was determined by analysing Consequently the number of people each industry classifi cation in (up to) three employed within the detailed data records ways:for ‘72 Computer and related activities’ was split between ‘7220 Computer Software 1. By referring to the classifi cation coding consultancy’ (relevant) and ‘7260 Other index that is used when processing a computer activities’ (not relevant). In the same census or LFS return (see Appendix 11 for way, the number of people employed within an explanation of coding lists).‘742 Architectural and engineering Services’ was split between ‘74201 Architecture Services’ 2. By referring to a table generated from the (relevant) and ‘74209 Other Technical Services’ census data that shows the proportion of (not relevant). occupations employed within the industry classifi cation (see Appendix 6) looking for The disaggregation of occupations within industries where the creative occupations industry data records is not the same as scaling typically account for more than 25 per an analysis of employment by industry. The cent of the industry’s is described in Appendix 12, Census 2001: Disaggregating the data records of two 3. By correlating the proportions of the more industry classifi (four-digit) industries available in the LFS dataset to the three-digit 1981 and 1991 census datasetsaggregation level or, in the case of ‘72 As noted above (see section , ‘Caveats’), Computer and related activities’, to the the analysis of historical census datasets, two-digit level used within the census (see even those only 10 or 20 years old, presents Appendix 2).challenges when trying to establish the emergence and growth of new sectors. Two segments emerged from this analysis The standard industry and occupation which had signifi cant ‘candidate’ industry classifi cations used to measure employment classifi cations, but they were deemed to are changed infrequently, and can lag the encompass too many out-of-scope activities, appearance of signifi cant new activity by up to and would require disaggregation in order to 15 years. avoid distorting the results. Such is the case with the 1981 and 1991 censuses, in which despite implementing 310 36
industry classifi cations and thereby having 50 computer services, which encompass many per cent more industry classifi cation than the hardware-related activities beyond the scope of 2001 census, only 11 were considered directly our for our purposes. The limitations of the available industry classifi cations in the 1981 Occupation classifi cations in the 1981 and and 1991 census include the absence of any 1991 censuses fared slightly better, with 20 relevant architecture and design classifi cations, out of the 373 utilised being relevant to the and the excessively broad defi nition of creative 10: Creative employment-relevant industry and occupation classifi cations from the 1981 and 1991 Industry classifications Occupation classifications Advertising and Marketing8380 Advertising123 Advertising and public relations manager381 Artists, commercial artists, graphic designers382 Industrial designers260 Architects310 DraughtspersonsArchitecture, Design 4910 Jewellery and coins216 Design and development engineers& Visual Arts303 Architectural and town planning technicians590 Glass product and ceramic makers591 Glass product and ceramic finishers anddecorators518 Goldsmiths, silversmiths, precious stone workers383 Clothing designers386 Photographers, camera, sound and 9711 Film production, video equipment operatorsdistribution and exhibitionFilm, TV, Radio and Photography9741 Radio and television 525 Radio, TV and video engineersservices, theatres, etc. 3452 Gramophone records 176 Entertainment and sports managersand pre-recorded tapes Music & Performing Arts9760 Authors, music composers 384 Actors, entertainers, stage managers, and other own account artists producers and directorsnot elsewhere specified385 Musicians4751 Printing and publishing 380 Authors, writers, journalistsof newspapers 270 Information officers and technical 4752 Printing and publishing librariansof periodicalsPublishing271 Archivists and curators4753 Printing and publishing of books9770 Libraries, museums, art galleries, , Computer 8394 Computer services214 Computer analyst/programmersGames & Electronic Publishing37
The ‘occupation within industry’ datasets provided from the 1981 and 1991 censuses were based on a 10 per cent sampling rate; the results of the analysis were therefore multiplied by a factor of ConclusionThe various limitations of the UK data discussed in this section means that the Creative Trident mapping is constrained in terms of the accuracy and robustness of results. This implies a considerably greater margin of error than the Creative Tridents calculated for Australia and New Zealand, for example. More robust estimates will require the statistical authorities to address the underlying issues of classifi cation coarseness and coverage in the primary data
Part 5: UK Creative Trident resultsThis part presents: the UK Creative UK Creative Employment Tridents: Employment Trident, incorporating specialist, 1981, 1991 and 2001support and embedded creative employment for 1981, 1991 and 2001; growth rates in Table 11 shows that in the 1981 household creative employment; the Creative Income census there were approximately 900,000 Trident (the levels of creative earnings for people in creative employment, representing specialist, support and embedded creative per cent of the from 2001 to 2006); and the distribution of embedded creative occupations across non-creative industries for 2001 to 2006. Growth in creative employment and earnings is compared with economy-wide averages for the relevant periods. Table 11: The UK Creative Employment Trident for 1981 from the census. Employment Employment within Total Embedded UK Employment 1981 within Creative Non-Creative Employment Proportion IndustriesIndustriesEmployment in Specialist 157,020 457,130 614,150 74% Creative Occupations Employment in Business 288,850 288,850 and Support Occupations Total Employment 445,870 457,130 903,000 51% Creative Occupation 35% 68% (Specialist) Proportion Source: Analysis by CCI of custom data table from the Offi ce for National Statistics39
Table 12: The UK Creative Employment Trident for 1991 from the census. Employment Employment within Total Embedded UK Employment 1991 within Creative Non-Creative Employment Proportion IndustriesIndustriesEmployment in specialist 285,460 524,750 810,210 65% Creative Occupations Employment in Business 313,440 313,440 and Support Occupations Total Employment 598,900 524,750 1,123,650 47% Creative Occupation 48% 72% (Specialist) Proportion Source: Analysis by CCI of custom data table from the Offi ce for National StatisticsOf these, almost half were employed in specialist creative occupations in the creative businesses working in the creative industries. industries appears to have been particularly Those working in specialist creative marked and this growth cannot be discounted occupations represented only 35 per cent of as being the result of classifi cation shifts as 38. There was no change at all the employment in creative was insignifi cant change in those over in industry classifi cations 38the occupation classifi cations saw the The remaining people in creative employment splitting of one computer-– those working outside the creative Table 13 illustrates that the total level of related classifi cation into two and similarly of industries – represent 74 per cent of those in creative employment increased substantially Information offi cers and creative occupations. However, it is quite likely between 1991 and 2001, rising to almost technical librarians into two library classifi a signifi cant degree of this ‘embedded’ million people, or per cent of the employment is due to the limited ability of the UK’s workforce. There were million industry classifi cations used over the period to people employed in the creative industries, capture many of the newer specialist creative representing 66 per cent of total creative business . Again, growth appears to have been particularly rapid in the number of Table 12 shows that the number of people specialists but there was also a signifi cant in creative employment had risen to over increase in the number of support by 1991. Growth in the number of Table 13: The UK Creative Employment Trident for 2001 from the census. Employment Employment within Total Embedded UK Employment 2001 within Creative Non-Creative Employment Proportion IndustriesIndustriesEmployment in specialist 552,170 645,067 1,197,237 54% Creative Occupations Employment in Business 690,641 690,641 and Support Occupations Total Employment 1,242,811 645,067 1,887,878 34% Creative Occupation 44% 63% (Specialist) Proportion Source: Analysis by CCI of custom data table from the Offi ce for National Statistics40
Growth rates in UK creative Over a longer 25-year period the average employmentannual growth rate of creative employment Over the 20-year period between the remained signifi cantly higher (at per cent) 1981 census and the 2001 census, creative than that of the total workforce (at per employment in the UK experienced a long-cent).run annual growth rate of per cent, 39substantially higher than the overall growth in Consistent with the fi ndings of NESTA (2007) UK employment of per cent (Table 14).the proportion of embedded employment has actually fallen over the period from 51 per cent 39. NESTA (2007) ‘How Between these two censuses, specialist of total creative employment in 1981 to 34 per linked are the UK’s employment – that is, those in creative cent in 2001 on census data and has remained creative industries to the wider economy?: An occupations working within the creative at 35 per cent since using the LFS dataset input-output analysis.’ industries – experienced the highest growth – despite the absolute growth in embedded London: NESTA. [Online]. Available at: of all categories, at per cent. [Last accessed 14/11/2007].Table 14: The long-run growth rates of creative employment and the UK workforce 1981 to 2001 from census data and 2002 to 2006 from LFS data. Census LFS Mode 1981 1991 2001 20-year 2002 2003 2004 2005 2006 25-year ave. 157,020 285,460 552,170 % 631,992 649,200 647,749 663,161 699,931 %Support 288,850 313,440 690,641 % 592,721 596,339 603,336 587,665 585,111 %Creative 445,870 598,900 1,242,811 % 1,224,713 1,245,539 1,251,085 1,250,826 1,285,042 %IndustriesEmbedded 457,130 524,750 645,067 % 669,741 679,210 686,576 668,883 698,244 %Creative 614,150 810,210 1,197,237 % 1,301,733 1,328,410 1,334,325 1,332,044 1,398,175 %OccupationsCreative 903,000 1,123,650 1,887,878 % 1,894,454 1,924,749 1,937,661 1,919,709 1,983,286 %Employment UK workforce 22,866,100 23,452,230 26,575,775 % 27,498,190 27,712,671 27,831,843 28,018,647 28,165,612 %Embedded share 51% 47% 34% 35% 35% 35% 35% 35% of Creative EmploymentShare of UK % % % % % % % %Workforce Source: Analysis by CCI of custom census and LFS data tables from the Offi ce for National Statistics41
Table 15: Comparison of CCI employment estimates with those in DCMS Economic Source Specialist Support Creative Embedded Total Creative Comparison Industries Employment to DCMS1981 Census (CCI) 157,020 288,850 445,870 457,130 903,000 N/A1991 Census (CCI) 285,460 313,440 598,900 524,750 1,123,650 N/A2001 Census (CCI) 552,170 690,641 1,242,811 645,067 1,887,878 % higher Economic Estimates Not provided 1,074,600 753,500 1,828,100 2002 LFS (CCI) 631,992 592,721 1,224,713 669,741 1,894,454 % higher Economic Estimates Not provided 1,088,900 741,600 1,830,800 2003 LFS (CCI) 649,200 596,339 1,245,539 679,210 1,924,749 % higher Economic Estimates Not provided 1,107,800 770,800 1,878,700 2004 LFS (CCI) 647,749 603,336 1,251,085 686,576 1,937,661 % higher Economic Estimates Not provided 1,057,300 767,400 1,825,000 2005 LFS (CCI) 663,161 587,665 1,250,826 668,883 1,919,709 % higher40. See subsection . Economic Estimates Not provided 1,045,400 779,100 1,824,400 2006 LFS (CCI) 699,931 585,111 1,285,042 698,244 1,983,286 % higher Economic Estimates Not provided 1,108,900 797,400 1,906,400 Source: Analysis by CCI of DCMS reports and custom census and LFS data tables from the Offi ce for National StatisticsOver the long period between 1981 and 2001 there have been substantial changes in the Comparison with DCMS estimatesproportional breakdown of the segments, with Our calculations of the overall numbers of growth in Advertising and Marketing as well as people in creative employment sit well with the the Software, Computer Games and Electronic total employment numbers modelled for the Publishing segment being particularly strong DCMS Economic Estimates (DEE), varying by (Table 16). While some of these shifts as little as per cent (2003) to per cent inevitably result from classifi cation changes, (2004). especially revised industry classifi cations, they also probably refl ect genuine changes in the Comparison of the different modes of relative importance of these creative reveals that our results generally show higher levels of employment within It is worth noting that each segments’ share of the creative industries ( million people creative employment has remained broadly fl at versus million in 2001) and lower levels since 2001 according to the LFS data. of embedded employment (645,000 versus 787,400). Because we can show where The estimates in Appendix 13 reveal the embedded employment occurs across Architecture, Visual Arts and Design, 40the broader economy, we feel that our Advertising and Marketing and Software, and calculations are the more Games and Electronic Publishing to be the most embedded creative activities, Appendix 13 provides more details of the with per cent, per cent and per breakdown of the estimates for each of the cent embedded shares in creative employment creative segments for 1981, 1991 and 2001 respectively. Music and Performing Arts are and a comparison with the DCMS segment the least embedded, with an embedded share of just per
Table 16: Segment shares of overall creative employment for 1981 to 2006 and long-run growth rates of ’s shareSegment’s shareCreativeSegment 1981 1991 2001 20-year 2002 2003 2004 2005 2006 25-year ave. and 5% 6% 10% % 11% 11% 11% 11% 11% %Marketing Architecture, Visual 32% 26% 20% % 22% 22% 23% 22% 22% %Arts and DesignFilm, TV, Radio 13% 10% 10% % 9% 9% 9% 9% 9% %and PhotographyMusic and 10% 11% 9% % 9% 10% 10% 10% 10% %Performing ArtsPublishing 26% 22% 20% % 18% 18% 18% 17% 17% %Software, Computer 14% 25% 31% % 30% 30% 30% 30% 31% %Games & Electronic PublishingCreative Workforce % %Source: Analysis by CCI of DCMS reports and custom census and LFS data tables from the Offi ce for National Statistics41. More work needs to be Creative Income Tridents: 2001 to of detail as those used in the LFS – so it is not done to improve the 2006possible directly to apply the value of average consistency of the income data: unfortunately the LFS earnings for each specifi c industry/occupation does not collect personal Earnings in the creative sector are determined from 2001 from the two data sources. Instead, income data for the self-employed. Using Family by combining the mean weekly income data we weight the means for each creative segment Resources Survey data, specifi c to each combination of ‘occupation which we then apply to the segments from the however Blanchfl ower, D. and Shadforth, C. (2007) within industry’, as provided by the LFS survey census data.‘Entrenprenuership in the on the basis of ‘main job’, with estimates of UK, Foundations and Trends in Entrenprenuership.’ employment from the Creative Employment The average weekly income fi gure for each Volume 3(4): -364, 41Trident (Table 17). occupation within industry is then multiplied compare the nominal mean incomes of employees to by the number of people employed to generate those of the self-employed; The LFS dataset provides a value for the the annual earnings for that combination with the exception of the 2004 data, they are very average income for each year from 2002-2006 (of occupations within industry). Dividing each combination of creative occupation the 2001 annual earnings of each segment, within each creative industry. Thus, we know for each mode, by the respective number of that the average weekly earning for the 1,860 people employed produces a weighted mean graphic designers working in businesses in the annual income (for each segment, mode of Book publishing industry is £268, which is less employment and year). than the £929 a week the 1,378 Journalists and editors working in the same industry LFS-derived weighted means for 2001 are then applied to the Trident employment It is not straightforward to establish the annual results of the disaggregated 2001 census data earnings and mean incomes for census-based to generate census-employment-based annual 2001 creative employment because census classifi cations are not at the same level 43
Table 17: The Creative Income Trident: total value of annual earnings generated through creative workforce salaries and wages for 2001 to of £ . Annualisedgenerated through 2001 2002 2003 2004 2005 2006 g rowth ratesalariesandwages 2001-06Embedded £15,620 £16,630 £17,290 £17,650 £17,550 £18,680 %Specialist £14,680 £16,830 £17,890 £18,340 £19,310 £21,530 %Support £17,550 £15,790 £15,970 £17,590 £16,880 £16,850 %Creative Occupations £30,360 £33,460 £35,170 £35,990 £36,860 £40,200 %Creative Industries £32,350 £32,620 £33,860 £35,930 £36,190 £38,380 %Creative Employment £47,910 £49,250 £51,140 £53,580 £53,740 £57,050 %UK workforce £568,990 £500,470 £520,220 £542,720 £568,220 £593,170 %Creative Share of % % % % % % UK EarningsSource: Analysis by CCI of custom census and LFS data tables from the Offi ce for National StatisticsIt is worth noting that on these estimates to calculate the creative annual earnings the earnings from creative employment have (employment and average incomes) are in risen to almost 10 per cent of the UK total general different from those used for the workforce earnings in 2006 (Table 17). By way determination of gross value added (GVA). of comparison the DCMS Economic Estimates Typically GVA estimates rely on input-output report shows that the Creative Economy’s share tables derived from surveys and often lag of UK Gross Value Added is per cent in employment datasets in their release by several 2005 (excluding Crafts and Design).years. This raises the possibility that the earnings data may provide policymakers with Parallels between annual earnings and Gross a timely indicator of activity in the creative Value methodologies and the datasets used Table 18: The mean annual income of the Creative Segments and the modes of employment for Embedded Specialist Support Creative Creative Creative OccupationsIndustriesEmploymentAdvertising and Marketing £24,370 £35,900 £23,550 £27,240 £29,590 £26,480Architecture, Visual Arts £23,090 £26,000 £30,600 £24,370 £27,110 £25,130and DesignFilm, TV, Radio and Photography £23,100 £30,730 £32,520 £29,480 £31,340 £30,400Music and Performing Arts £14,480 £24,940 £21,450 £22,740 £22,440 £21,880Publishing £18,490 £25,410 £21,050 £23,020 £23,360 £22,300Software, Computer Games £34,810 £39,150 £39,600 £36,730 £39,360 £37,560& Electronic PublishingAll Creative Segments £26,750 £30,750 £28,800 £28,750 £29,860 £28,770Source: Analysis by CCI of custom LFS data tables from the Offi ce for National Statistics44
Comparing specialist, support and embedded the Australian data. Support workers in the average annual incomessoftware, computer games and electronic The mean annual income in the UK in 2006, publishing segment are the highest earners determined by data from the LFS for those in with a mean income of £39, employment, was £28,770 (Table 18). This compares favourably with the mean for the UK workforce as a whole of £21,060. However, there is substantial variation between mean Comparing creative incomes with UK incomes across the segments and across the average earningsmodes of line with the Australian Trident results, most According to these data, those working in of the modes of employment within the creative Music and Performing Arts have the lowest segments earn more than the overall UK average. mean income, at £21,880. Musicians working The two main exceptions are the embedded outside the creative industries appear to be modes within Music and Publishing occupations particularly low paid, averaging £14,480. which earn 31 per cent less and 12 per cent less, These results are similar to those found in respectively, than the UK average (Table 19).Table 19: Comparison of mean incomes of creatives with the UK mean in 2006. Mean Annual Compared with Segment and Mode income 2006 UK MeanMusic and Performing Arts - Embedded £14,480 -31%Publishing -Embedded £18,490 -12%Publishing -Support £21,050 0%Music and Performing Arts - Support £21,450 2%Architecture, Visual Arts and Design - Embedded £23,090 10%Film, TV, Radio and Photography - Embedded £23,100 10%Advertising and Marketing - Support £23,550 12%Advertising and Marketing - Embedded £24,370 16%Music and Performing Arts - Specialist £24,940 18%Publishing -Specialist £25,410 21%Architecture, Visual Arts and Design - Specialist £26,000 23%All Creative Segments - Embedded £26,750 27%All Creative Segments - Support £28,800 37%Architecture, Visual Arts and Design - Support £30,600 45%Film, TV, Radio and Photography - Specialist £30,730 46%All Creative Segments - Specialist £30,750 46%Film, TV, Radio and Photography - Support £32,520 54%Software, Computer Games & Electronic Publishing - Embedded £34,810 65%Advertising and Marketing - Specialist £35,900 70%Software, Computer Games & Electronic Publishing - Specialist £39,150 86%Software, Computer Games & Electronic Publishing - Support £39,600 88%Source: Analysis by CCI of custom LFS data tables from the Offi ce for National Statistics45
Table 20: Annualised growth rates over 2001 to 2006 of employment, earnings and mean income of the creative segments and the UK Employment Earnings Mean Income UK workforce % % % Advertising and Marketing % % %Architecture, Visual Arts and Design % % %Film, TV, Radio and Photography % % %Music and Performing Arts % % %Publishing % % %Software, Computer Games % % %& Electronic PublishingAll Creative Segments % % %Source: Analysis by CCI of custom census and LFS data tables from the Offi ce for National StatisticsAt the other end of the spectrum the mean to the average growth rate for all creative income for support workers in the Software, segments at per cent as a Games & Electronic Publishing segment are 88 per cent higher than the UK Whole-Economy Tridentnational average, while Advertising specialists earn 70 per cent The distribution of embedded creative employment in non-creative industries, Summary of fi ve-year growth rates2001 to 2006Bringing some of these data together, it is We have discussed how the detailed two-clear that over the period from 2001 to 2006, dimensional datasets used to calculate the the growth rate of employment, earnings and Creative Trident allow additional types of mean income of the creative segment has been analysis which are not possible using single-positive but slightly below that in the UK as a dimension, occupation-based or industry-based whole. Employment grew at 1 per cent per year employment average compared with UK-wide growth of per cent, while mean incomes grew per It is particularly interesting to examine the cent per year versus UK-wide growth of per distribution of embedded employment across cent (Table 20).the whole economy, either at the single-digit ‘division’ level or at the more detailed two-digit Four per cent growth per year on average industry level. Table 21 also shows the Divisions in Music and Performing Arts employment in which the specialist creative industries are combined with per cent growth in mean located; and within the creative industries, the income led to a growth in average earnings of breakdown between specialist and support per cent, albeit from a low base. The Film, , Radio and Photography segment saw a shrinkage in employment of per cent per The only creative employment within most year on average over this period, but an overall Divisions is through embedded employment rise in mean incomes at per cent.(the right-hand column), people working in creative occupations outside the specifi c The previous twenty-year period of high creative industries. Outside Industry Divisions growth in employment in the Software, which include creative industries, embedded Computer Games & Electronic Publishing creative workers appear to be relatively more segment has slowed to just under 1 per cent important in fi nancial intermediation than in per year on average with mean income close any other Industry Division. However, three Divisions (D, K, and O) also incorporate 46
Table 21: UK employment as at 2001 census by Industry Employment as at 2001 Total Creative Share Creative Specialists EmbeddedCensus by Industry Division Employment Workforce Industries Creatives A Agriculture, hunting and forestry 423,654 3,134 % 3,134 B Fishing 13,145 68 % 68 C Mining and quarrying 90,129 2,023 % 2,023 D Manufacturing 3,930,903 353,993 % 190,581 68,170 163,412 E Electricity, gas and water supply 199,075 7,135 % 7,135 F Construction 1,830,962 21,049 % 21,049 G Wholesale and retail trade 4,415,437 61,362 % 61,362 H Hotels and restaurants 1,286,375 7,987 % 7,987 I Transport, storage and 1,844,249 45,065 % 45,065 communicationJ Financial intermediation 1,242,275 57,150 % 57,150 K Real estate, business activities 3,371,837 793,991 % 643,506 306,328 150,485 L Public administration 1,573,466 35,325 % 35,325 M Education 2,058,329 43,026 % 43,026 N Health and social work 2,922,064 28,041 % 28,041 O Other community 1,336,538 427,861 % 408,724 177,672 19,137 P Private households with 23,325 85 % 85 employed personsQ Extra-territorial 14,017 583 % 583 Total employment across 26,575,780 1,887,878 % 1,242,811 552,170 645,067 all industriesSource: Analysis by CCI of custom census 2001 data tables from the Offi ce for National Statisticsemployment within the creative industries, Unsurprisingly, 88 per cent of the creative in both specialist creative capacities and in occupations employed within ‘Computer embedded consultancy’ are also from that segment, with architecture, design and visual This Division K (Real estate, business activities) arts-related occupations accounting for 7 per has the highest employment of specialist cent. Similarly, 95 per cent of those employed creatives, with 306,328 people, as well as the in creative occupations within ‘Architecture second-highest level of embedded employment services’ are architecture, design and visual (150,485). It is therefore worth examining in detail (Table 22).However, the picture changes when the pattern Division includes three creative industries of embedded employment is examined in classifi cations: ‘7220 Computer software non-creative industries in Division K, such consultancy’, ‘74201 Architectural services’ as the very broad ‘741 Legal, accounting, and ‘744 Advertising services’, as well as 12 business consultancy’ which accounts for industries outside the ‘creative’ defi nition. over 40,000 people in embedded creative 47
Table 22: Looking within Division K: The extent of specialist and embedded Segment of those employed in Creative Occupations Software, Detailed Industry of Advertising Architecture, Film, TVComputer , Music & TotalEmployment within and Design & Radio and PeGames & rforming PublishingDivision K Marketing Visual ArElectronic ts PhotographyArts Publishing Creative Occupations employed in Creative Industries (Specialists) 7220 Computer Software consultancy 4,430 12,358 1,113 425 3,756 156,254 178,336 74201 Architectural Service 975 76,988 1,405 1,555 80,923 744 Advertising 30,483 7,997 3,760 504 2,669 1,656 47,069 Specialists Subtotal 35,888 97,343 6,278 929 6,425 159,465 306,328 Creative Occupations in other industries (Embedded) 70 Real Estate activities 1,390 3,143 578 516 761 1,835 8,223 71 Renting of machinery and equipment 545 518 847 148 147 785 2,990 7260 Other computer activities 492 1,374 124 47 417 17,362 19,816 73 Research and development 1,313 944 245 49 1,337 3,507 7,395 740 Other business activities . 98 105 27 16 52 242 540 741 Legal, accounting, business consultancy 15,142 5,313 1,178 1,047 4,356 13,349 40,385 74209 Engineering Services 975 1,243 179 630 1,682 4,990 9,699 743 Technical testing and analysis 178 265 92 50 140 440 1,165 745 Labour recruitment of personnel 1,175 1,465 424 365 629 2,178 6,236 746 Investigation and security 127 180 85 25 82 491 990 747 Industrial cleaning 192 284 79 79 480 294 1,408 748 Miscellaneous business activities 2,715 19,400 15,816 1,631 8,348 3,728 51,638 Embedded Occupation Subtotal 24,342 34,234 19,674 4,603 18,431 49,201 150,485 Total Creative Occupations employed 60,230 131,577 25,952 5,532 24,856 208,666 456,813within K Division Source: Analysis by CCI of custom census 2001 data tables from the Offi ce for National Statisticsroles, of which 37 per cent are in advertising The growth in creative employment and marketing functions, 33 per cent are in within non-creative industriessoftware development and 13 per cent are in Between 1981 and 2001 there was a architecture, design and visual arts rise in the level of embedded employment across nearly all sectors of the As Table 23 illustrates, the Trident methodology economy (Table 23). The largest increase in provides a much stronger basis than single-the share of embedded creative employment dimension employment by industry or was in Division J (Financial intermediation), occupation tables for analysing and identifying up from per cent in 1981 to per cent in patterns in employment. (See Appendix 2001, followed by Division I (Transport, storage 14 for a series of tables showing the level and communication), where the embedded of embedded employment for the industry proportion increased from per cent to subdivisions.) per cent. Only three divisions (K, N and O) 48
Table 23: The change in the embedded share of employment by Division between 1981 and Divisions Embedded Creative’s Share of Division Employment Change over20 Years 1981 1991 2001 A Agriculture, hunting and forestry % % % % B Fishing % % % % C Mining and quarrying % % % % D Manufacturing % % % % E Electricity, gas and water supply % % % % F Construction % % % % G Wholesale and retail trade; % % % % repair of motor vehicles H Hotels and restaurants % % % % I Transport, storage and communication % % % % J Financial intermediation % % % % K Real estate, renting and business activities % % % % L Public administration and defence % % % % M Education % % % % N Health and social work % % % % O Other community, social and % % % %personal service activities P Private households with employed persons % % % % Q Extra-territorial organisation and bodies % % % % Total across all Divisions % % % % Source: Analysis by CCI of custom census tables from the Offi ce for National Statisticsshowed a decline in the share of embedded creative employment over the period; the most signifi cant of these was the fall from per cent to per cent in Division 24 shows that for the shorter period 2001 to 2006 and using LFS data, there was no appreciable change in the share of embedded creatives in Division employment, except in Division L (Public administration), where the fi gure increased from per cent to 3 per cent, and Division K, in which it appeared to rise slightly over the course of the fi ve
Table 24: The change in the embedded share of employment by Division between 2001 and 2001 2002 2003 2004 2005 2006A Agriculture, hunting and forestry % % % % % %B Fishing % % % % % %C Mining and quarrying % % % % % %D Manufacturing % % % % % %E Electricity, gas and water supply % % % % % %F Construction % % % % % %G Wholesale and retail trade; % % % % % %repair of motor vehiclesH Hotels and restaurants % % % % % %I Transport, storage and % % % % % %communication J Financial intermediation % % % % % %K Real estate, renting % % % % % %and business activitiesL Public administration and defence % % % % % %M Education % % % % % %N Health and social work % % % % % %O Other community, social and % % % % % %personal service activitiesP Private households with % % % % % %employed personsQ Extra-territorial organisation % % % % % %and bodiesTotal % % % % % %Source: Analysis by CCI of custom LFS tables from the Offi ce for National Statistics50
Part 6: Applying the Trident methodology to Financial ServicesOne of the advantages of the Trident The picture of embeddedness this paints is methodology is that it can also be applied similar to the Creative Trident, in that specialist to other industries and occupations allowing occupations, whether creative or fi nancial, for inter-sector comparisons on a consistent account for a signifi cant 63 per cent share of basis. Using census data, this exercise has been Trident employment, of which 34 per cent is undertaken for the UK fi nancial services sector, embedded employment, in the case of the permitting a point of comparison with creative creative economy and 39 per cent in the case industries and fi nancial , on this measure, the 2001 Financial Interestingly total employment in the Financial Trident is 8 per cent larger than the Creative Trident fell signifi cantly between 1981 and Trident, with two million employed in the 1991, from million people to million fi nancial economy, 150,000 more people than (Table 26), but recovered somewhat in 2001, in the Creative Trident. Over million are growing to just over two million people, while employed in specialist fi nancial services roles, the creative economy expanded throughout almost 800,000 of whom are in fi nancial roles the the core fi nancial services 25: The UK Financial Employment Trident for Employment 2001 Employment Employment Total Embedded within Financial within Employment Proportion Industries Non-Financial IndustriesEmployment in specialist 477,421 798,541 1,275,962 63% Financial OccupationsEmployment in non 764,854 706,682 -Financial Occupations Total Employment 1,242,275 798,541 2,040,816 39% Financial Occupation 38% 63% (Specialist) ProportionSource: Analysis by CCI of custom data table from the Offi ce for National Statistics51
Table 26: Employment within the UK Financial Employment Trident from 1981 to 1981 1991 2001 Specialist Finance Professional 536,580 382,710 477,421 Support staff 273,540 674,670 764,854 Finance Industry sub-total 810,120 1,057,380 1,242,275 Embedded finance staff 2,097,690 755,680 798,541 Finance Occupations Subtotal 2,634,270 1,138,390 1,275,962 Total Financial Workforce 2,907,810 1,813,060 2,040,816 Share of Workforce % % % Source: Analysis by CCI of custom data table from the Offi ce for National StatisticsA substantial proportion of the drop in management of businesses throughout the employment from 1981 to 1991 occurs within economy and the reduction in the employment the occupation classifi cation ‘400 Accounts of bank tellers in favour of ATMs. The and wages clerks, book-keepers, other fi nancial difference in long-run trends between fi nancial clerks’ which accounted for some million and creative employment raises the possibility people in 1981, whereas in 1991 the equivalent that the extent to which technological change SOC ‘410 Accounts and wages clerks, book-substitutes for skilled employment differs in the keepers, other fi nancial clerks’ employed under two sectors – a topic for future million 27 breaks down fi nance employment This change may refl ect the productivity across the wider economy, represented again impact of computerisation on the fi nancial by the Industry
Table 27 : 2001 UK Financial Employment Trident by Industry Division Total Finance Specialist and Support Employment Employment Embedded Staff Share Finance Finance OccupationsIndustryA Agriculture, hunting and forestry 423,654 % 3,444 B Fishing 13,145 % 156 C Mining and quarrying 90,129 % 3,522 D Manufacturing 3,930,903 % 106,585 E Electricity, gas and water supply 199,075 % 9,303 F Construction 1,830,962 % 32,574 G Wholesale and retail trade 4,415,437 % 106,306 H Hotels and restaurants 1,286,375 % 14,761 I Transport, storage and communication 1,844,249 % 73,055 J Financial intermediation 1,242,275 % 477,421 764,854 K Real estate, renting and business activities 3,371,837 % 282,907 42. Excluding fi nancial intermediation, L Public administration 1,573,466 % 78,715 extra-territorial and private households with M Education 2,058,329 % 23,560 employed Health and social work 2,922,064 % 36,346 O Other community, social and personal 1,336,538 % 26,880 P Private households with employed persons 23,325 % 40 Q Extra-territorial organisation and bodies 14,017 % 387 Total across all Divisions 26,575,780 % 1,275,962 764,854 Source: Analysis by CCI of custom census 2001 data tables from the Offi ce for National StatisticsSome Divisions, such as Division K (Real Parallels with the Creative Tridentestate, renting and business activities) employ very large numbers of people (approaching The Industry Division Trident reveals further 300,000) in embedded fi nance roles; in similarities between embedded employment this case accounting for per cent of the in the fi nancial and creative economies. Division’s total employment. This refl ects the In particular, while the levels are far from employment of a range of fi nancial consultants identical, there appears to be a moderate within ‘741 Legal, accounting, business degree of correlation ( per cent) between consultancy’. those sectors with higher fi nance embedded shares and those with higher creative 42Of the 14 major industries, four have around embedded shares (Table 28). per cent of their workers in fi nancial employment; this might plausibly represent the minimum level of fi nancial specialists required for most business
Table 28: Comparison of fi nancial and creative embedded shares by Industry Division. Finance Embedded’s Creative Embedded’s Division Share of Division Share of Division A Agriculture, hunting and forestry % % B Fishing % % C Mining and quarrying % % D Manufacturing % % E Electricity, gas and water supply % % F Construction % % G Wholesale and retail trade; repair of motor vehicles % % H Hotels and restaurants % % I Transport, storage and communication % % J Financial intermediation Not Applicable % K Real estate, renting and business activities % % L Public administration and defence % % M Education % % N Health and social work % % O Other community, social and personal service activities % % P Private households with employed persons % % Q Extra-territorial organisation and bodies % % Total % % Source: Analysis by CCI of custom census 2001 data tables from the Offi ce for National StatisticsOne interpretation of this correlation is that between industries’ levels of embedded most organisations in the knowledge and employment could therefore refl ect the networked economy of the 21st century need frequency of use and strategic importance of a ‘base level’ of service inputs – including these services and whether it is more effective creative and fi nancial – to function effi ciently, for them to import them as embedded staff or and very often they achieve this through as purchased services. Investigating this is a direct employment rather than full or partial topic for further to specialists. The differences 54
Part 7: Conclusion: Main fi ndings and implicationsThe purpose of this research report is to Finding 2: Creative employment has grown contribute to an improved evidence base for strongly over the long run, but has slowed understanding how creative activities may down signifi cantly in recent yearsfuel an innovative UK economy. The Creative In addition, investigation of census data back Trident methodology offers a robust method to 1981 shows that UK creative employment for identifying all the components of creative grew at an annualised rate by per cent employment: creative occupations within the between 1981 and 2001, compared with creative industries, creative occupations in per cent for the broader UK economy over the the rest of the economy, and non-creative (or same period. However, growth seems to have support) occupations in the creative industries. slowed to per cent per year between 2001 and 2006, just below the UK workforce annual Census data have been used to construct the rate of per cent for the same required to estimate the Creative Trident in the UK, supplemented by employment Finding 3: Average creative incomes are higher and earnings data from the annual Labour than in the economy as a whole, but have Force Survey. The three aspects of the Trident recently been growing more slowly(creative employment, creative incomes and Creative incomes are on average approximately the whole-economy distribution) have been 22 per cent higher than in the UK economy as estimated for the three most recent UK census a whole in 2006, but had been growing at the years (2001, 1991 and 1981), providing a view slower rate of per cent per annum since of changing activity in the creative economy. 2001, compared with per cent for the total report arguably provides the most refi ned and robust picture of creative employment Finding 4: There are more creatives working underpinning the creative economy in the UK, outside the creative industries than inside themand relates its research fi ndings to previous Compared with other economic activities, and mapping work (particularly that of the DCMS). consistent with other research commissioned by NESTA, creative employment occurs disproportionately outside the creative industries themselves, with 35 per cent Main fi ndingsof the total creative workforce (defi ned as specialist plus support plus embedded Finding 1: The creative economy accounts for workers) embedded in non-creative sectors. A over 7 per cent of UK employment, broadly strong implication is that policymakers should consistent with the offi cial estimatesrecognise the limitations of using industry-The report shows that at the time of the 2001 based approaches alone to supporting the census, creative employment accounted for creative economy. per cent of UK jobs, a very similar level to the DCMS Economic Estimates for the same period using different methodology, defi nition and
Finding 5: Creative workers are as embedded Implications: Improvement of data in the wider economy as fi nancial services professionalsNotwithstanding the groundbreaking The 35 per cent of the total creative workforce quality of the DCMS Mapping Documents that is embedded in non-creative sectors is and the consistent value and timeliness similar to the 39 per cent of total UK fi nancial of the DCMS Economic Estimates series, services employment embedded in non-creative economy researchers in the UK fi nancial service industries at the time of the face substantial challenges in having ready 2001 census. access to appropriate data. CCI’s experience with obtaining, processing and analysing the Finding 6: Improvements in the availability datasets of the UK, NZ, Australia and the USA of employment data are required to increase has highlighted a number of factors that can the robustness of the creative employment enhance or hinder a country’s creative economy evidence baseresearch capacity:Effective, evidence-based policymaking requires that greater attention be given to the • data coverage and timeliness;frequency and coverage of offi cial data sources, to data availability (to encourage exploratory • levels of resolution and dimensions; andresearch into employment characteristics) and to measurement issues (as emphasised by the • accessibility and ’s Creative Economy Programme), as well as to the policy implications of a focus on the Data coverage and timelinessrole of creative activities across the economy Up-to-date population census and business as data provide the most accurate snapshot of the creative economy; but the Our fi ndings regarding the embedded nature ten-year interval between national censuses of creative activities across the UK economy means that population data are unlikely raise the possibility that the creative sector to be current – a fundamental problem for is signifi cantly more involved in the wider researchers working in this fi eld. Labour Force innovation system than has been recognised Survey data from a relatively small sample base, to date. One possibility is that creative workers while timely, are no substitute for census data, employed in the creative industries act as a as they do not facilitate multi-dimensional conduit for knowledge and new ideas initiated analysis; nor can they provide the accuracy in the creative industries. Investigating these at fi ne levels of classifi cation that is required channels is a priority for research, as it may for most creative segment and creative sector have major implications for innovation policy, analysis. Comparing the 2001 census data with which has traditionally been focused on science the equivalent Labour Force Survey data shows and substantial difference in many of the relevant, most detailed industry classifi 29: Comparison of the number of industry classifi cations in use in Australia, UK and USARegion Year Number of relevant Creative Number of detailed Industry Industry classifications classifications across the used with data whole economy USA 2006 OES 18 295 2001 Census 28 614 Australia 2006 Census 33 716 2001 Census 11 173 UK 2006 LFS 18 467 56
Table 30: Comparison of the number of occupation classifi cations in use within Australia, UK and Year Number of relevant Creative Number of detailed occupation Industry classifications classifications across the in use whole economy USA 2006 OES 54 821 2001 Census 89 1315 Australia 2006 Census 105 1334 2001 Census 26 354 UK 2006 LFS 26 354 Data classifi cations: resolution and Accessibility and consistencydimensionsResearch data, such as employment, should be Researchers in the UK have approximately as ‘analysis friendly’ as possible, especially so half the industry classifi cation resolution of for offi cial statistics. The more diffi cult the data their colleagues in the USA, Australia and New are to obtain, the harder they will be to process analysis. 43. For 2001 UK Census data there were 61,242 In the occupation dimension, UK researchers Implications of the UK Creative Trident theoretical cells in the 173 industry by 354 occupation fare even worse, with less than half the level of mapping for data qualitymatrix with 44,402 cells classifi cation resolution available in the USA, In applying a methodology fi rst developed for containing data. In the US 2006 OES there were and less than a third of the Australian and New Australian data, we have been able to take a 242,195 cells in the 295 Zealand perspective on data quality as it relates to by 821 matrix with 45,275 cells containing data. In the UK’s creative employment. The study has the Australian 2006 Census These classifi cation constraints inevitably highlighted an opportunity for the DCMS to data set there were 955,144 cells in the 716 by 1,334 fl ow through to the level of detail within the work with the Offi ce for National Statistics to matrix with 247,220 cells datasets available to researchers, and limit improve relevant datasets over the medium to containing ability to produce more robust estimates. long term. Priorities include:Without considering the number of additional records involved in providing the mean income Classifi cationsdata, researchers in the UK have, at best, access to a third of the employment data • Increase the resolution of UK occupation records available to researchers in Australia and industry classifi cations by extending 43and the USA. The preferred Australian the number of digits while maintaining dataset used for Creative Trident analysis at compliance with EU and international the national level has three dimensions – the of employment within 16 income bands, 716 industries and 1,334 occupations. After • Reprocess and recode the UK 2001 census removing 12,954,480 null records, this dataset data at consistently higher resolutions of contained 417,536 records of detailed data. occupation (six-digit) and industry (fi ve-There is no equivalent dataset available in the digit) classifi cations. At the very least, recode UK. into fi ner classifi cations all returns in which a single industry classifi cation has over 50,000 Dimensionalitypeople resolution, multi-dimensional employment datasets need to be available for researchers to • Implement a policy to release research data process, link with their other datasets and to at a common level of classifi cation and detail explore in the course of their research. A single – that is, not mixing four- and fi ve-digit dimension (. industry only) or summary detail along with subtotal and total data cross-tabulated two-dimensional data does not within a given suffi ciently robust
Data collectiontechnologies have been shown to be broad enablers of economic growth in the past. This • Increase the sample size of the LFS may facilitate a stronger focus on innovation substantially to increase its accuracy and systems which support the development of the to allow for the release of full-resolution creative economy. ‘occupation within industry’ employment fi ndings regarding the embedding of creative activities across the economy raise • Use the LFS to collect the information that is the possibility of cross-industry linkages and deemed to be equivalent to personal income ‘technology transfer’ due to creative workers, details for the mean that the creative sector may be signifi cantly more involved in the innovation • Move to conduct either an employment/system of national and regional economies population census or a signifi cantly than has been recognised before. This may expanded Labour Force Survey every have important implications for innovation fi ve years, using the full resolution of policy which has traditionally been exclusively employment classifi cations and collecting associated with the science- and technology-personal income industries. Fostering a ‘culture of metrics’The shift to evidence-based policy would benefi t from the development of an even stronger metrics culture. This would be facilitated by:• Making the source employment and industry performance data available online for researchers to download. While reports provide analysis and stimulate discussions, they do not remove the barriers faced by other researchers attempting to replicate, extend or challenge the fi ndings. At the very least, the source data for all offi cial reports such as the DCMS Economic Estimates should be available for others to build on and challenge (all the data used in this analysis will be posted on NESTA’s website).• Making multi-dimensional census and LFS employment data easier to access and analyse via direct download and through an online analytical service/statistics Creative industries articulated into innovation policyThis report supports a shift in focus for policy from creative outputs (the creative industries as a specifi c sector) to creative occupations as inputs into the whole economy, and creative outputs as intermediate inputs into other sectors. As such, it complements other research commissioned by NESTA as part of its Arts and Innovation research programme. This idea of creativity as an economic ‘enabler’ arguably has parallels with the way fi nancial activities and information and communication 58
Appendix 1: Selected creative occupations and industries: Census and LFSTable 31: Core creative industries selected from those used in the 2001 IndustryAdvertising and Marketing744 Advertising362 Manufacture of jewellery and related articlesArchitecture, Design & Visual Arts74201 Architectural Services (disaggregated from the records of ‘742 Architectural and engineering activities and related technical consultancy’)921 Motion picture and video activitiesFilm, TV, Radio and Photography922 Radio and television activities920 Recreational, cultural and sporting activities & Performing Arts923 Other entertainment activities221 PublishingPublishing 924 News agencies925 Library, archives, museums and other cultural activitiesSoftware, Computer Games 7220 Computer Software consultancy (disaggregated from the & Electronic Publishing records of ‘72 Computer and related activities’)Table 32: Core creative industries selected from those used in the 1981 and 1991 IndustryAdvertising and Marketing8380 AdvertisingArchitecture, Design & Visual Arts4910 Jewellery and coins9711 Film production, distribution and exhibitionFilm, TV, Radio and Photography9741 Radio and television services, theatres, Gramophone records and pre-recorded tapesMusic & Performing 9760 Authors, music composers and other own account artists not Artselsewhere specified4751 Printing and publishing of newspapers4752 Printing and publishing of periodicalsPublishing 4753 Printing and publishing of books9770 Libraries, museums, art galleries, , Computer Games 8394 Computer services& Electronic Publishing 59
Table 33: Core creative occupations selected from those used in the 2001 Occupation1134 Advertising and public relations managersAdvertising and Marketing3543 Marketing associate professionals2431 Architects2432 Town planners3121 Architectural technologists and town planning technicians3122 DraughtspersonsArchitecture, Design 3411 Artists& Visual Arts3421 Graphic designers3422 Product, clothing and related designers5491 Glass and ceramics makers, decorators and finishers5492 Furniture makers, other craft woodworkers5495 Goldsmiths, silversmiths, precious stone workers3416 Arts officers, producers and directorsFilm, TV, Radio 3432 Broadcasting associate professionalsand Photography3434 Photographers and audio-visual equipment operators 3413 Actors, entertainersMusic & Performing 3414 Dancers and choreographersArts3415 Musicians2451 Librarians2452 Archivists and curators 3412 Authors, writersPublishing 3431 Journalists, newspaper and periodical editors4135 Library assistants/clerks5421 Originators, compositors and print preparers2131 IT strategy and planning professionalsSoftware, Computer Games & Electronic Publishing 2132 Software professionals60
Table 34: Core creative occupations selected from those used in the 1991 OccupationAdvertising and Marketing123 Advertising and public relations managers216 Design and development engineers260 Architects261 Town planners303 Architectural and town planning technicians310 DraughtspersonsArchitecture, Design & Visual Arts381 Artists, commercial artists, graphic designers382 Industrial designers383 Clothing designers518 Goldsmiths, silversmiths, precious stone workers590 Glass product and ceramics makers591 Glass product and ceramics finishers and decorators525 Radio, TV and video engineersFilm, TV, Radio and Photography386 Photographers, camera, sound and video equipment operators176 Entertainment and sports managers Music & Performing 385 MusiciansArts384 Actors, entertainers, stage managers, producers and directors270 Librarians271 Archivists and curators Publishing 380 Authors, writers, journalists421 Library assistants/clerks214 Software engineersSoftware, Computer Games & Electronic Publishing 320 Computer analyst/programmers61
Table 35: Core creative occupations selected from those used in the 1981 OccupationAdvertising and Marketing123 Advertising and public relations managers216 Design and development engineers260 Architects303 Architectural and town-planning technicians310 Draughtspersons381 Artists, commercial artists, graphic designersArchitecture, Design & Visual Arts382 Industrial designers383 Clothing designers518 Goldsmiths, silversmiths, precious stone workers590 Glass product and ceramics makers591 Glass product and ceramic finishers and decorators386 Photographers, camera, sound and video equipment operatorsFilm, TV, Radio and Photography525 Radio, TV and video engineers176 Entertainment and sports managers Music & Performing 384 Actors, entertainers, stage managers, producers and directorsArts385 Musicians270 Information officers and technical librariansPublishing 271 Archivists and curators380 Authors, writers, journalistsSoftware, Computer Games 214 Computer analyst/programmers& Electronic Publishing 62
Appendix 2: The alignment between the detailed census and LFS employment dataFigure 2 plots the frequency of the discrepancy Figure 2 reveals a substantial difference between the employment data used from the between two data sources in the numbers 2001 census and the LFS. The LFS four-digit of people employed in most of the relevant industry classifi cations are aggregated to the industry and occupation classifi cations – in closest detailed census classifi cation which may some cases by as much as 20 per cent to 30 be two- or three-digit. per cent, despite the total employment fi gure showing only a 1 per cent 2: Frequency of discrepancy between census and LFS employment – industry classifi at 3-Digit Industry0Frequency at 2-Digit IndustryExpectedDistributionPercentage of DifferenceSource: Offi ce for National Statistics 2001 Census of Households and 2001 LFS 63The number of Occurences-70%-50%-30%-10%10%30%50%70%90%110%140%160%200%430%
Similarly, when employment data are classifi cations; and since the LFS data appear compared on the basis of occupations, there to be so much at variance with census data, is a signifi cant variation at the four-digit it would seem likely that the LFS data in classifi cation level, with over 30 per cent of its current form is not as accurate as would classifi cations having a difference exceeding 20 be hoped, for use as the basis for absolute per cent (Figure 3). measurement of creative employment, nor for tracking the subtler shifts over measuring creative employment requires the summing-up of many detailed Figure 3: Frequency of discrepancy between census and LFS employment – occupation classifi at 4-Digit Occupation0Frequency at 2-Digit OccupationExpectedDistributionPercentage of DifferenceSource: Offi ce for National Statistics 2001 Census of Households and 2001 LFS64The number of Occurences-70%-50%-30%-10%10%30%50%70%90%110%140%160%200%430%
Appendix 3: The impact of excluding second jobs from LFS based analysesAdding second jobs to the employment basis Using main and second job data from the for the calculation of the Creative Employment 2006 LFS dataset shows that the creative Trident does little to increase the relative size share would grow from per cent of total of the creative economy and at the same employment (by defi nition main job) to a time makes interpretation of the results more per cent share of total cult – it shifts the basis for all calculations from the number of people employed to the Overall, the incidence of second jobs in the number of workforce is per cent compared with per cent for the total UK workforce What follows are experimental estimates to (Table 36).determine the impact of second jobs and the difference between a creative workforce Trident and a creative jobs Trident. They should not be interpetated as providing an accurate estimate of the number of creative 36: The number of people with second jobs and main jobs in creative occupations for of Occupation Second Job Main Job RatioAdvertising and Marketing 3,505 179,384 %Architecture, Design &Visual Arts 13,177 401,065 %Film, TV, Radio and Photography 9,260 121,918 %Music &Performing Arts 26,532 67,232 %Publishing 18,074 211,847 %Software, Computer Games & Electronic Publishing 7,686 435,450 %Total Creative Segments 78,234 1,416,896 %Total AllOccupations 1,044,732 28,165,612 %Source: CCI analysis of custom LFS data from the Offi ce for National Statistics65
Table 37: The number of people with second jobs and main jobs in creative segments for of Industry Second Job Main Job RatioAdvertising and Marketing 2,496 91,243 %Architecture, Visual Arts and Design 9,424 377,033 %Film, TV, Radio and Photography 8,295 155,149 %Music and Performing Arts 39,726 187,772 %Publishing 12,479 237,105 %Software, Computer Games & Electronic Publishing 7,250 368,072 %Total Creative Segments 79,670 1,416,374 %Total AllIndustries 1,044,732 28,163,940 %Source: CCI analysis of custom LFS data from the Offi ce for National StatisticsThe high ratio of second jobs in Music & Performing Arts occupations ( per cent) is also refl ected within Music & Performing Arts
Table 38: The ratio of the number of people with second jobs to those with main jobs in creative occupations and industries for 2006. Second to main job ratio 2006Employment CreativeSegment CreativeCreative Status occupations industries Employee 2% 3%Advertising and Marketing Self-employed 3% 0% Total 2% 3% Employee 4% 3%Architecture, Design & Visual Arts Self-employed 0% 2% Total 3% 2% Employee 10% 6%Film, TV, Radio and Photography Self-employed 4% 4% Total 8% 5% Employee 174% 47%Music &Performing Arts Self-employed 11% 7% Total 39% 21% Employee 10% 5%Publishing Self-employed 6% 8% Total 9% 5% Employee 2% 2%Software, Computer Games & Electronic Publishing Self-employed 2% 3% Total 2% 2% Employee 6% 6%All Creative Segment Self-employed 4% 4% Total 6% 6% Employee 4% 4%UK Workforce Self-employed 4% 4% Total 4% 4%Source: CCI analysis of custom LFS data from the Offi ce for National StatisticsThe following table breaks down fi rst and Performing Arts Industry is a signifi cant second creative jobs by occupation and employer, on both a main and second job industry. basis, of design, fi lm and publishing-related professionals. The table reveals the extent of the diversity of employment: for example the Music and 67
Table 39: The number of people employed in main and second creative jobs by occupation and industry segments for SegmentIndustry Segment Job Rank Advertising Architecture, Film, TV, Music & Publishing Software, Other Total All and Design & Radio and Performing Computer OccupationsMarketingVisualArtsPhotographyArtsGames& Electronic Publishing Main Job25,349 9,430 2,557 2,996 650 50,261 91,243 Advertising and Marketing Second Job 2,496 2,496 MainJob3,12497,6086,4393,246266,616377,033Architecture, Visual Arts and Design Second Job 1,852 7,572 9,424 Main Job 1,384 3,862 78,117 5,052 2,431 785 63,518 155,149Film, TV, Radio and PhotographySecond Job 4,952 3,343 8,295 Main Job 34,804 14,540 47,398 14,595 476 75,959 187,772Music and Performing Arts Second Job 4,628 1,094 17,928 1,545 14,531 39,726MainJob6,69910,8131,61391,3723,175123,433237,105Publishing Second Job 8,600 3,879 12,479Software, Computer MainJob2,9456,7531,672180,322 176,380368,072Games & Electronic P ublishing Second Job 743 2,909 3,598 7,250 Main Job 139,883 237,795 25,091 14,782 92,342 246,796 25,990,877 28,163,940Other Second Job 3,956 8,253 3,910 8,731 8,672 4,777 926,763 1,044,732MainJob179,384401,065121,91867,232211,847435,45026,747,04428,163,940Total Employed In All IndustriesSecond Job 3,956 15,476 9,956 26,659 18,817 7,686 962,182 1,044,732Source: CCI analysis of custom LFS data from the Offi ce for National Statistics (some cells have been subject to suppression).Conversely, the Software, Computer Games & Electronic Publishing industry employs relatively few individuals on a second job basis. All these estimates are of course subject to possible fi nite sample biases insofar as the LFS is only a sample-based survey. 68
Appendix 4: The Disaggregating of 7420 Architecture and Engineering Services in the LFS datasetThe disaggregation of ‘7420 Architecture and occupation (and subtotals) for each year of the Engineering Services’ into ‘7420/1 Architecture LFS dataset. Services’ and into an artifi cial industry ‘7420/9 Engineering Services’ was not trivial, as Not all of the employment in creative adjustments had to be made at the detailed occupations is allocated to the disaggregated level and to each dimension’s subtotals to creative industry ‘7420/1 Architectural maintain the integrity of the datasets. Services’. Some is allocated to ‘7420/9 Engineering Services’ to refl ect the fact that In summary it involved taking the employment some engineering service fi rms employ graphic count within ‘7420 Architecture and artists, designers, programmers and marketeers Engineering Services’ for each creative (Table 40).Table 40: The allocation of creative occupations across two disaggregated Year Industry ofEmploymentOccupations 7420 Architecture 7420/1 7420/9 andEngineeringArchitectureEngineering Services Services Services1134 Advertising and public relations managers 658 605 532131 IT strategy and planning professionals 1,504 1,384 1202132 Software professionals 1,742 1,603 1392431 Architects 40,005 36,805 3,2002432 Town planners 6,160 5,667 4933121 Architectural technologists and 12,142 11,171 971town planning technicians3122 Draughtspersons 11,977 11,019 9583421 Graphic designers 17,998 16,558 1,4403422 Product, clothing and related designers 6,216 5,719 4973543 Marketing associate professionals 2,282 2,099 183Occupations with suppressed employment 585 537 48Sub-total of creative occupations 101,269 93,167 8,102Sub-total of all other occupations 223,164 75,876 147,288Total of all occupations within the industry 324,433 169,043 155,390Source: CCI analysis of custom LFS data from the Offi ce for National Statistics69
While this procedure results in no change balancing increase in embedded employment. to total employment in any of the years, it The level of support employment falls by does mean that there is a shift between the around 150,000 each year as this amount is modes: in any one year, specialist employment shifted to non-creative employment (Table 41).decreases by approximately 10,000 with a Table 41: Disaggregating 7420 Architecture and Engineering Services from 2001 to disaggregationYear Occupation Original employment Adjustment 7420/1 7420/9 modes within in 7420 Architecture made Architecture Engineering the Industries and Engineering Services ServicesServices Specialist 97,604 (7,808) 89,796 7,808 2001 Support 226,630 (149,576) 77,054 149,576 Total 324,234 (157,384) 166,850 157,384 Specialist 91,941 (7,355) 84,586 7,355 2002 Support 230,099 (151,865) 78,234 151,865 Total 322,040 (159,220) 162,820 159,220 Specialist 97,650 (7,812) 89,838 7,812 2003 Support 228,641 (150,903) 77,738 150,903 Total 326,291 (158,715) 167,576 158,715 Specialist 95,725 (7,658) 88,067 7,658 2004 Support 228,514 (150,819) 77,695 150,819 Total 324,239 (158,477) 165,762 158,477 Specialist 101,971 (8,158) 93,813 8,158 2005 Support 235,948 (155,726) 80,222 155,726 Total 337,919 (163,884) 174,035 163,884 Specialist 101,269 (8,102) 93,167 8,102 2006 Support 223,164 (147,288) 75,876 147,288 Total 324,433 (155,390) 169,043 155,390Source: CCI analysis of custom LFS data from the Offi ce for National Statistics70
Appendix 5: The impact of classifi cations on creative employment measuresIn 2006, the Australian Bureau of Statistics An increase in the number of available adopted new classifi cation schemes for classifi cations increases the ability to occupations and industries. The direct impact discriminate, but also generally results in an of a more modern classifi cation scheme on increase in the level of a segment’s measurable creative employment can now be better employment. The main benefactor of this understood as the 2006 Australian census data classifi cation change is the Software and Digital was coded twice – under the previous scheme Content segment, which expanded from two to and under the new industry classifi cations and from four to 19 occupation classifi cations. Unsurprisingly, its An examination of the number of classifi cations employment increased 16 per cent in used in the census reveals a signifi cant increase in the number of occupation classifi cations. Table 42: The number of classifi cations available in the 2006 Australian census for measuring the creative segments. Industry OccupationSegmentANZSIC93ANZSIC06ASCOv2ANZSCOAdvertising andMarketing 2 2 5 5Architecture, Design and Visual Arts 8 7 26 27Film, TV and Radio 7 6 21 21Music and Performing Arts 7 6 16 20Publishing 7 6 13 13Software and Digital Content 2 7 4 19Grand Total 33 34 85 105Source: CCI analysis71
Table 43: The impact of the change in classifi cations on the measurement of creative employment in Australia. Industry Occupation Creative EmploymentSegment ANZSIC93 ANZSIC06 ASCO v2 ANZSCO Older Modern ImpactAdvertising and Marketing 26,890 27,649 35,717 41,821 54,429 59,711 %Architecture, Design and Visual Arts 72,235 80,993 101,915 93,340 128,138 125,797 %Film, TV and Radio 30,184 29,066 23,340 21,198 35,962 33,239 %Music and Performing Arts 17,198 9,164 19,323 23,984 28,156 24,685 %Publishing 58,578 48,806 45,852 45,087 81,405 73,706 %Software and Digital Content 101,871 119,498 78,215 87,958 146,340 169,577 %Grand Total 306,956 315,176 304,362 313,388 474,430 486,715 %Source: Analysis by CCI of Australian Bureau of Statistics 2006 Census of Population and Housing72
Appendix 6: Top ten occupations employed in each creative industryThe following table is an example of the range of tables used to determine the relevance of industry classifi cations to the Creative Trident. The table is generated from the two-dimensional 2001 census matrix containing the number of people employed within each occupation in each industry. Table 44: The top ten occupations within each candidate creative industry using 2001census classifi cations and Employed Share of Census Top ten occupations within the Industry 2001 IndustryIndustryTotal of all Occupations within the industry 177,592 3431 Journalists, newspaper and periodical editors 35,427 %1121 Production, works and maintenance managers 15,131 %3542 Sales representatives 10,642 %1132 Marketing and sales managers 9,298 %4150 General office assistants/clerks 6,818 %1239 Managers and proprietors in other services . 5,985 %3412 Authors, writers 5,228 %4215 Personal assistants and other secretaries 4,103 %4122 Accounts and wages clerks, book-keepers, other financial clerks 3,957 %3421 Graphic Designers 3,945 %73221 Publishing
Selected Employed Share of Census Top ten occupations within the Industry 2001 IndustryIndustryTotal of all Occupations within the industry 12,989 5495 Goldsmiths, silversmiths, precious stone workers 2,968 %1121 Production, works and maintenance managers 1,011 %8125 Metal working machine operatives 754 %7111 Sales and retail assistants 620 %3422 Product, clothing and related designers 399 %4150 General office assistants/clerks 383 %5224 Precision instrument makers and repairers 330 %9139 Labourers in process and plant operations . 262 %4122 Accounts and wages clerks, book-keepers, other financial clerks 259 %8132 Assemblers (vehicles and metal goods) 255 %Total of all Occupations within the industry 374,036 2132 Software professionals 89,366 %2131 IT strategy and planning professionals 66,888 %1136 Information and communication technology managers 36,099 %1132 Marketing and sales managers 16,545 %3131 IT operations technicians 10,031 %5245 Computer engineers, installation and maintenance 9,485 %3421 Graphic designers 8,405 %1121 Production, works and maintenance managers 8,275 %4150 General office assistants/clerks 8,102 %3542 Sales representatives 6,386 %Total of all Occupations within the industry 168,085 2431 Architects 29,126 %4215 Personal assistants and other secretaries 19,472 %3421 Graphic designers 14,701 %3121 Architectural technologists and town planning technicians 12,508 %2126 Design and development engineers 11,357 %4150 General office assistants/clerks 11,243 %3122 Draughtspersons 9,304 %1132 Marketing and sales managers 6,499 %3422 Product, clothing and related designers 5,417 %2432 Town planners 4,603 %747220 Computer Software consultancy362 Manufacture of jewellery74201 Architectural activities and(After disaggregation from 72and related articlesrelated technical consultancyComputer Activities)
Selected Employed Share of Census Top ten occupations within the Industry 2001 IndustryIndustryTotal of all Occupations within the industry 101,385 1134 Advertising and public relations managers 20,563 %3543 Marketing associate professionals 9,920 %3421 Graphic designers 6,901 %1132 Marketing and sales managers 5,229 %3542 Sales representatives 4,426 %4150 General office assistants/clerks 3,178 %4215 Personal assistants and other secretaries 3,178 %4122 Accounts and wages clerks, book-keepers, other financial clerks 2,987 %3416 Arts officers, producers and directors 2,495 %3412 Authors, writers 1,919 %Total of all Occupations within the industry 1,239 4150 General office assistants/clerks 61 %1225 Leisure and sports managers 53 %4122 Accounts and wages clerks, book-keepers, other financial clerks 52 %9233 Cleaners, domestics 45 %6211 Sports and leisure assistants 44 %4216 Receptionists 43 %3411 Artists 41 %1132 Marketing and sales managers 36 %4215 Personal assistants and other secretaries 36 %1239 Managers and proprietors in other services . 31 %Total of all Occupations within the industry 34,842 1225 Leisure and sports managers 3,622 %9226 Leisure and theme park attendants 3,040 %3434 Photographers and audio-visual equipment operators 3,004 %3416 Arts officers, producers and directors 2,405 %3432 Broadcasting associate professionals 1,473 %7111 Sales and retail assistants 1,144 %7212 Customer care occupations 1,050 %9229 Elementary personal services occupations . 845 %9219 Elementary office occupations . 773 %3411 Artists 679 %75920 Recreational, cultural and744 Advertisingsporting activities Motion picture and video activities
Selected Employed Share of Census Top ten occupations within the Industry 2001 IndustryIndustryTotal of all Occupations within the industry 110,648 3432 Broadcasting associate professionals 29,020 %3434 Photographers and audio-visual equipment operators 6,070 %1225 Leisure and sports managers 5,495 %3431 Journalists, newspaper and periodical editors 3,621 %7212 Customer care occupations 3,297 %2329 Researchers . 2,927 %4215 Personal assistants and other secretaries 2,584 %1132 Marketing and sales managers 2,444 %4150 General office assistants/clerks 2,340 %4122 Accounts and wages clerks, book-keepers, 2,134 %other financial clerksTotal of all Occupations within the industry 139,023 3413 Actors, entertainers 19,818 %3415 Musicians 14,167 %3412 Authors, writers 7,359 %2319 Teaching professionals . 5,679 %3416 Arts officers, producers and directors 5,598 %3411 Artists 4,914 %9226 Leisure and theme park attendants 3,906 %3434 Photographers and audio-visual equipment operators 3,508 %1225 Leisure and sports managers 3,478 %4150 General office assistants/clerks 3,078 %Total of all Occupations within the industry 17,841 3431 Journalists, newspaper and periodical editors 7,704 %3434 Photographers and audio-visual equipment operators 645 %1132 Marketing and sales managers 510 %3412 Authors, writers 487 %4150 General office assistants/clerks 358 %2132 Software professionals 336 %3542 Sales representatives 322 %4135 Library assistants/clerks 320 %4215 Personal assistants and other secretaries 285 %3432 Broadcasting associate professionals 274 %76922 Radio and television activities923 Other entertainment activities924 News agency activities
Selected Employed Share of Census Top ten occupations within the Industry 2001 IndustryIndustryTotal of all Occupations within the industry 105,131 4135 Library assistants/clerks 22,642 %2451 Librarians 8,057 %4150 General office assistants/clerks 5,010 %2452 Archivists and curators 4,232 %1239 Managers and proprietors in other services . 3,797 %9249 Elementary security occupations . 3,184 %6211 Sports and leisure assistants 2,325 %9233 Cleaners, domestics 2,189 %7111 Sales and retail assistants 2,118 %4215 Personal assistants and other secretaries 1,599 %Source: Offi ce for National Statistics 2001 Census of Households77925 Library, archives, museumsand other cultural activities
Appendix 7: Top ten industries of employment of creative occupationsThe following table is used to determine the within each occupation within each industry. relevance of occupation classifi cations to the This level of analysis cannot be conducted with Creative Trident. The table was generated the same level of confi dence on LFS datasets from the two dimensional 2001 Census matrix because the matrices contain too many containing the count of the people employed suppressed 45: The top ten industries for each candidate creative occupation using 2001 census classifi cations and Top ten Industries in which they are employed Employed Share Total 259,135 7220 Computer Software consultancy 89,366 %65 Financial intermediation, except insurance and pension funding 20,785 %642 Telecommunications 17,052 %7260 Other computer activities 9,930 %66 Insurance and pension funding, except compulsory social security 8,548 %52 Retail trade, except of motor vehicles and motorcycles; 7,506 %repair of personal and household goods741 Legal, accounting, book keeping and auditing activities; 7,073 %tax consultancy; market research and public opinion polling; business and management consultancy; holdings751 Administration of the State and the economic and 5,629 %social policy of the community51 Wholesale trade and commission trade, except of 5,055 %motor vehicles and motorcycles353 Manufacture of aircraft and spacecraft 3,831 % 782132 Software professionals
Creative Top ten Industries in which they are employed Employed Share Total 117,384 7220 Computer Software consultancy 66,888 %7260 Other computer activities 7,432 %741 Legal, accounting, book keeping and auditing activities; 6,276 %tax consultancy; market research and public opinion polling; business and management consultancy; holdings 65 Financial intermediation, except insurance and pension funding 5,677 %642 Telecommunications 5,212 %66 Insurance and pension funding, except compulsory social security 2,092 %52 Retail trade, except of motor vehicles and motorcycles; 1,881 %repair of personal and household goods 74209 Engineering activities and related technical consultancy 1,870 %51 Wholesale trade and commission trade, except of motor 1,625 %vehicles and motorcycles30 Manufacture of office machinery and computers 1,415 %Total 88,569 741 Legal, accounting, etc. For further details see above 12,687 %744 Advertising 9,920 %853 Social work activities 5,062 %51 Wholesale trade and commission trade, except of motor 3,828 %vehicles and motorcycles52 Retail trade, except of motor vehicles and motorcycles; 3,799 %repair of personal and household goods221 Publishing 3,778 %7220 Computer Software consultancy 3,709 %65 Financial intermediation, except insurance and pension funding 2,801 %751 Administration of the State and the economic and 2,664 %social policy of the community748 Miscellaneous business activities not elsewhere classified 1,981 %Total 79,854 74201 Architectural activities and related technical consultancy 14,701 %222 Printing and service activities related to printing 10,402 %7220 Computer Software consultancy 8,405 %744 Advertising 6,901 %748 Miscellaneous business activities not elsewhere classified 4,487 %221 Publishing 3,945 %52 Retail trade, except of motor vehicles and motorcycles; 2,156 %repair of personal and household goods741 Legal, accounting, etc. For further details see above 2,016 %51 Wholesale trade and commission trade, except of 1,913 %motor vehicles and motorcycles79923 Other entertainment activities 1,658 %3421 Graphic designers3543 Marketing associate professionals2131 IT strategy and planning professionals
Creative Top ten Industries in which they are employed Employed Share Total 64,667 221 Publishing 35,427 %924 News agency activities 7,704 %922 Radio and television activities 3,621 %222 Printing and service activities related to printing 1,333 %7220 Computer Software consultancy 1,274 %741 Legal, accounting, book keeping and auditing activities; 1,263 %tax consultancy; market research and public opinion polling; business and management consultancy; holdings 748 Miscellaneous business activities not elsewhere classified 1,247 %923 Other entertainment activities 1,176 %91 Activities of membership organisations 781 %751 Administration of the State and the economic and social 756 %policy of the communityTotal 49,604 748 Miscellaneous business activities not elsewhere classified 11,285 %52 Retail trade, except of motor vehicles and motorcycles; 5,463 %repair of personal and household goods 74201 Architectural activities and related technical consultancy 5,417 %221 Publishing 3,834 %17 Manufacture of textiles 2,020 %51 Wholesale trade and commission trade, except of 1,997 %motor vehicles and motorcycles18 Manufacture of wearing apparel; dressing and dyeing of fur 1,980 %361 Manufacture of furniture 1,590 %45 Construction 1,491 %922 Radio and television activities 1,376 %Total 45,130 748 Miscellaneous business activities not elsewhere classified 13,869 %922 Radio and television activities 6,070 %923 Other entertainment activities 3,508 %921 Motion picture and video activities 3,004 %221 Publishing 1,649 %803 Higher Education 1,415 %52 Retail trade, except of motor vehicles and motorcycles; 1,343 %repair of personal and household goods74201 Architectural activities and related technical consultancy 818 %752 Provision of services to the community as a whole 799 %71 Renting of macinery and equipment without operator and 728 %of personal and household goods803434 Photographers and audio-visual3422 Product, clothing and related designers3431 Journalists, newspaper and periodical editorsequipment operators
Creative Top ten Industries in which they are employed Employed Share Total 44,142 923 Other entertainment activities 7,359 %748 Miscellaneous business activities not elsewhere classified 6,506 %221 Publishing 5,228 %7220 Computer Software consultancy 2,101 %744 Advertising 1,919 %741 Legal, accounting, book keeping and auditing activities; 1,578 %tax consultancy; market research and public opinion polling; business and management consultancy; holdings 922 Radio and television activities 1,449 %851 Human Health Activities 1,342 %853 Social work activities 1,063 %751 Administration of the State and the economic and 1,006 %social policy of the communityTotal 43,521 361 Manufacture of furniture 23,788 %52 Retail trade, except of motor vehicles and motorcycles; 4,802 %repair of personal and household goods 45 Construction 3,528 %20 Manufacture of wood and products of wood and cork, except 2,171 %furniture; manufacture of articles of straw and plaiting materials 51 Wholesale trade and commission trade, except of motor 1,105 %vehicles and motorcycles748 Miscellaneous business activities not elsewhere classified 530 %366 Miscellaneous manufacturing not elsewhere classified 438 %360 Manufacturing . 388 %28 Manufacture of fabricated metal products, except machinery 333 %and equipment502 Maintenance and repair of motor vehicles 326 %Total 40,308 922 Radio and television activities 29,020 %921 Motion picture and video activities 1,473 %744 Advertising 618 %222 Printing and service activities related to printing 607 %923 Other entertainment activities 603 %748 Miscellaneous business activities not elsewhere classified 444 %7220 Computer software consultancy 392 %32 Manufacture of radio, television and communication 354 %equipment and apparatus 642 Telecommunications 334 %221 Publishing 320 %815492 Furniture makers, other craft woodworkers3412 Authors, writers3432 Broadcasting associate professionals
Creative Top ten Industries in which they are employed Employed Share Total 39,708 74201 Architectural activities and related technical consultancy 29,126 %7220 Computer software consultancy 1,454 %45 Construction 1,217 %741 Legal, accounting, book keeping and auditing activities; 935 %tax consultancy; market research and public opinion polling; business and management consultancy; holdings 751 Administration of the State and the economic and 799 %social policy of the community 70 Real Estate activities 740 %014 Agricultural and animal husbandry service activities, 593 %except veterinary activities748 Miscellaneous business activities not elsewhere classified 419 %851 Human Health Activities 354 %65 Financial intermediation, except insurance and pension funding 330 %Total 39,293 925 Library, archives, museums and other cultural activities 22,642 %803 Higher Education 6,084 %751 Administration of the State and the economic and 2,140 %social policy of the community802 Secondary Education 1,555 %851 Human Health Activities 945 %926 Sporting activities 582 %853 Social work activities 546 %741 Legal, accounting, etc. For further details see above. 393 %801 Primary education 357 %800 Education . 334 %Total 37,399 744 Advertising 20,563 %741 Legal, accounting, etc. For further details see above. 2,455 %221 Publishing 2,173 %853 Social work activities 1,657 %748 Miscellaneous business activities not elsewhere classified 734 %7220 Computer Software consultancy 721 %751 Administration of the State and the economic and social 711 %policy of the community 52 Retail trade, except of motor vehicles and motorcycles; 577 %repair of personal and household goods 922 Radio and television activities 438 %91 Activities of membership organisations 409 %824135 Library assistants/clerks2431 Architects1134 Advertising and public relations managers
Creative Top ten Industries in which they are employed Employed Share Total 37,161 74201 Architectural activities and related technical consultancy 9,304 %45 Construction 4,152 %28 Manufacture of fabricated metal products, except machinery 2,676 %and equipment31 Manufacture of electrical machinery and apparatus not 1,043 %elsewhere classified351 Building and repairing of ships and boats 974 %292 Manufacture of other general purpose machinery 965 %353 Manufacture of aircraft and spacecraft 819 %748 Miscellaneous business activities not elsewhere classified 730 %752 Provision of services to the community as a whole 715 %51 Wholesale trade and commission trade, except of motor 700 %vehicles and motorcyclesTotal 33,137 923 Other entertainment activities 19,818 %922 Radio and television activities 1,765 %554 Bars 1,122 %748 Miscellaneous business activities not elsewhere classified 981 %921 Motion picture and video activities 573 %552 Camping sites and other provision of short stay accommodation 565 %52 Retail trade, except of motor vehicles and motorcycles; 478 %repair of personal and household goods 926 Sporting activities 438 %851 Human Health Activities 397 %802 Secondary Education 367 %Total 26,872 923 Other entertainment activities 14,167 %802 Secondary Education 1,612 %752 Provision of services to the community as a whole 924 %922 Radio and television activities 816 %91 Activities of membership organisations 806 %851 Human Health Activities 489 %748 Miscellaneous business activities not elsewhere classified 482 %800 Education . 435 %801 Primary education 405 %804 Adult and other education 398 %833413 Actors, entertainers3122 Draughtspersons3415 Musicians
Creative Top ten Industries in which they are employed Employed Share Total 24,782 925 Library, archives, museums and other cultural activities 8,057 %803 Higher Education 4,267 %802 Secondary Education 3,570 %751 Administration of the State and the economic and social 1,227 %policy of the community 741 Legal, accounting, book keeping and auditing activities; 654 %tax consultancy; market research and public opinion polling; business and management consultancy; holdings 851 Human Health Activities 638 %922 Radio and television activities 558 %801 Primary education 516 %752 Provision of services to the community as a whole 457 %91 Activities of membership organisations 406 %Total 24,007 923 Other entertainment activities 4,914 %748 Miscellaneous business activities not elsewhere classified 1,494 %851 Human Health Activities 1,138 %74201 Architectural activities and related technical consultancy 1,108 %221 Publishing 1,074 %52 Retail trade, except of motor vehicles and motorcycles; 974 %repair of personal and household goods 7220 Computer Software consultancy 953 %222 Printing and service activities related to printing 702 %922 Radio and television activities 685 %921 Motion picture and video activities 679 %Total 23,135 262 Manufacture of non-refractory ceramic goods other than for 9,506 %construction purposes; manufacture of refractory ceramic products 261 Manufacture of glass and glass products 4,681 %264 Manufacture of bricks, tiles and construction products, in baked clay 1,026 %334 Manufacture of optical instruments and photographic equipment 827 %45 Construction 736 %52 Retail trade, except of motor vehicles and motorcycles; 624 %repair of personal and household goods 51 Wholesale trade and commission trade, except of 480 %motor vehicles and motorcycles263 Manufacture of ceramic tiles and flags 297 %923 Other entertainment activities 268 %360 Manufacturing . 260 %843411 Artists2451 Librarians5491 Glass and ceramics makers, decorators and finishers
Creative Top ten Industries in which they are employed Employed Share Total 21,653 923 Other entertainment activities 5,598 %744 Advertising 2,495 %921 Motion picture and video activities 2,405 %748 Miscellaneous business activities not elsewhere classified 1,503 %922 Radio and television activities 1,339 %221 Publishing 868 %222 Printing and service activities related to printing 770 %74201 Architectural activities and related technical consultancy 587 %751 Administration of the State and the economic and social 516 %policy of the community741 Legal, accounting, book keeping and auditing activities; 429 %tax consultancy; market research and public opinion polling; business and management consultancy; holdings Total 16,328 74201 Architectural activities and related technical consultancy 12,508 %751 Administration of the State and the economic and social 912 % policy of the community 45 Construction 848 %70 Real Estate activities 506 %748 Miscellaneous business activities not elsewhere classified 144 %741 Legal, accounting, book keeping and auditing activities; 104 %tax consultancy; market research and public opinion polling; business and management consultancy; holdings 65 Financial intermediation, except insurance and pension funding 73 %853 Social work activities 66 %7220 Computer Software consultancy 64 %851 Human Health Activities 59 %Total 11,086 222 Printing and service activities related to printing 6,198 %221 Publishing 1,673 %923 Other entertainment activities 238 %744 Advertising 227 %748 Miscellaneous business activities not elsewhere classified 213 %52 Retail trade, except of motor vehicles and motorcycles; 207 %repair of personal and household goods 74209 Engineering activities and related technical consultancy 150 %51 Wholesale trade and commission trade, except of 128 %motor vehicles and motorcycles45 Construction 120 %93 Other service activities 112 %853121 Architectural technologists and town planning technicians3416 Arts officers, producers and directors5421 Originators, compositors and print preparers
Creative Top ten Industries in which they are employed Employed Share Total 8,708 925 Library, archives, museums and other cultural activities 4,232 %751 Administration of the State and the economic and social 882 %policy of the community741 Legal, accounting, book keeping and auditing activities; 417 %tax consultancy; market research and public opinion polling; business and management consultancy; holdings 803 Higher Education 368 %923 Other entertainment activities 239 %91 Activities of membership organisations 206 %45 Construction 155 %748 Miscellaneous business activities not elsewhere classified 150 %853 Social work activities 146 %752 Provision of services to the community as a whole 123 %Total 7,922 74201 Architectural activities and related technical consultancy 4,603 %751 Administration of the State and the economic and 1,518 %social policy of the community 70 Real Estate activities 371 %741 Legal, accounting, etc. See above for further details 256 %45 Construction 139 %853 Social work activities 79 %90 Sewage and refuse disposal, sanitation and similar activities 73 %7220 Computer Software consultancy 59 %801 Primary education 58 %748 Miscellaneous business activities not elsewhere classified 51 %Total 7,034 923 Other entertainment activities 2,205 %52 Retail trade, except of motor vehicles and motorcycles; 489 %repair of personal and household goods 741 Legal, accounting, etc. See above for further details 424 % 51 Wholesale trade and commission trade, except of motor 339 %vehicles and motorcycles 45 Construction 293 %748 Miscellaneous business activities not elsewhere classified 168 %70 Real Estate activities 150 %554 Bars 145 %851 Human Health Activities 133 %802 Secondary education 131 %862432 Town planners2452 Archivists and curators3414 Dancers and choreographers
Creative Top ten Industries in which they are employed Employed Share Total 6,697 362 Manufacture of jewellery and related articles 2,968 %52 Retail trade, except of motor vehicles and motorcycles; 890 %repair of personal and household goods 45 Construction 631 %28 Manufacture of fabricated metal products, except machinery 334 %and equipment51 Wholesale trade and commission trade, except of motor 179 %vehicles and motorcycles366 Miscellaneous manufacturing not elsewhere classified 165 %27 Manufacture of basic metals 139 %748 Miscellaneous business activities not elsewhere classified 128 %923 Other entertainment activities 118 %502 Maintenence and repair of motor vehicles 87 %Source: Offi ce for National Statistics 2001 Census of HouseholdsTwo occupations included within the DCMS are employed in the creative classifi cation ‘742 defi nitions were initially considered by CCI to fi t Architectural activities and related technical the defi nition of creative occupations, and LFS consultancy’, but the fi gure is in fact far lower, tables were ordered on this basis. However, on because that industry itself is very broadly examining the census matrices of the industries defi ned and includes a substantial proportion in which these occupations were employed, it of technical and engineering occupations. After became clear that they did not meet one of disaggregation, the creative industry share of the usual characteristics – typically, creative employment would be less than 10 per account for at least 25 per cent of The second occupation, ‘5499 Hand craft the employment of a creative .’, belies its name and is substantially involved with car repairs and At best, only 18 per cent of those employed manufacture. It does not correlate with the arts in ‘2126 Design and development engineers’ and crafts occupations that its name Goldsmiths, silversmiths, precious stone workers
Table 46: The top ten industries for the ‘2126 Design and development engineers’ occupation using 2001 census classifi cations and Candidate Top ten Industries in which they are employed Employed Share OccupationTotal 62,586 742 Architectural activities and related technical consultancy 11,357 %353 Manufacture of aircraft and spacecraft 3,902 %31 Manufacture of electrical machinery and apparatus not 3,356 %elsewhere classified 28 Manufacture of fabricated metal products, except machinery 2,857 %and equipment 32 Manufacture of radio, television and communication 2,830 %equipment and apparatus 45 Construction 2,811 %341 Manufacture of motor vehicles 2,665 %642 Telecommunications 2,178 %292 Manufacture of other general purpose machinery 1,946 %7220 Computer Software consultancy 1,792 %Source: Offi ce for National Statistics 2001 Census of HouseholdsTable 47: The top ten industries for the ‘5499 Hand Craft occupations not elsewhere classifi ed’ occupation using 2001 census classifi cations and Candidate Top ten Industries in which they are employed Employed Share OccupationTotal 26,789 502 Maintenance and repair of motor vehicles 4,336 %45 Construction 2,309 %28 Manufacture of fabricated metal products, except machinery 1,869 %and equipment 366 Miscellaneous manufacturing not elsewhere classified 1,448 %17 Manufacture of textiles 1,292 %52 Retail trade, except of motor vehicles and motorcycles; 1,150 %repair of personal and household goods 341 Manufacture of motor vehicles 943 %51 Wholesale trade and commission trade, except of 694 %motor vehicles and motorcycles 353 Manufacture of aircraft and spacecraft 692 %501 Sale of motor vehicles 647 %Source: Offi ce for National Statistics 2001 Census of Households885499 Hand craft occupations Design and development engineers
Appendix 8: Results of applying the Trident methodology to Australian datasetsThe Trident methodology has now been applied employment in the wider economy with much to Australian Census data from the years 1976, greater clarity and consistency. 1981, 1996, 2001 and the 2006 dataset that was released in October the period there was a sustained increase in embedded employment’s share of total The results of the studies have revealed creative employment, from 31 per cent in 1996 the patterns of growth, the shifts between to 35 per cent in 2006, with some segments segments and the extent of embedded such as Film, TV and Radio showing sig-nifi cantly higher 48: Total Australian creative employment 1996, 2001 and 2006 and the 10-year annualised growth rate Segment 1996 2001 2006 1996-2006Advertising & Marketing 35,472 45,830 54,429 %Architecture, Design 98,432 111,805 128,138 %& Visual ArtsFilm, TV& Radio 31,827 34,218 35,962 %Music & Performing Arts 25,317 29,621 28,156 %Publishing 81,159 80,156 81,405 %Software & Digital Content 81,672 133,847 146,340 %All Segments 353,879 435,477 474,430 %Share of total % % %Australian employment Source: Analysis by CCI of Australian Bureau of Statistics 1996, 2001, 2006 Census of Population and Housing 89
Table 49: Embedded employment’s share of creative employment by segment between 1996, 2001 and 2006 and the 10-year annualised growth 1996 2001 2006Advertising &Marketing 47% 45% 51%Architecture, Design &Visual Arts 36% 41% 44%Film, TV& Radio 3% 7% 16%Music &Performing Arts 33% 38% 39%Publishing 23% 22% 28%Software &Digital Content 37% 28% 30%All Segments 31% 31% 35%Source: Analysis by CCI of Australian Bureau of Statistics 1996, 2001, 2006 Census of Population and HousingIncome patternsThe patterns of distribution of weekly incomes vary substantially across the segments. This can The Australian census datasets are available be seen in Figure 4 where the lines represent at much higher resolution than the equivalent a particular weekly income band’s share of UK datasets and also include, depending on the total number of people employed in that purpose, either the mean income or the level segment. The shaded area of the charts also of employment in 16 bands of income. Much shows the distribution of income for all people more detailed analyses of income distribution employed in Australia. can therefore be conducted with confi the distribution pattern of the Music The following examples illustrate what analysis segment (the green line) which has a fatter can be done with such data were it to be ‘tail’ (more people than normal earning less available in the ) and a smaller ‘head’ (fewer people earning higher money) to that of two other segments – Software and Film – which exhibit tiny tails and fat heads (a steady slope up to The patterns of income distribution the right indicating that a higher proportion of within the Australian segments 2001their total employment is at the highest income levels).There were 150,000 people employed (34 per cent) across the six creative segments who were earning less than $600 (equivalent to £258) per week in 2001 dollars. Of these, 77,000 earned less than $400 a week. However this represents a much lower proportion of total creative workforce employment (18 per cent) than the population as a whole (27 per cent).90
Figure 4: The variation in the distribution of employment within the weekly income bands for each of the creative segments compared with Australian %20%15%10%5%0%Music andSoftware and All EmployedDesignPerforming ArtsInteractive ContentAdvertising andFilm, TVCreativePublishingMarketingand RadioIndustries TotalSource: Analysis by CCI of custom ABS 2001 Census tablesAustralian mean annual personal Creatives embedded in Communication Services incomes, 2001and Finance and Insurance earned 44 per cent and 42 per cent respectively more than Generally, those in the creative workforce who their Division average, while those working were employed within creative occupations in Manufacturing earned 12 per cent more had a higher annual mean income than those than the average across the Division (Table employed within the same Industry ). Workers in the Writing, Publishing and Print Media segment (which forms part of Manufacturing) were 7 per cent above the Division Nil income03 $1-$3904 $40-$7905 $80-$11906 $120-$15907 $160-$19908 $200-$29909 $300-$39910 $400-$49911 $500-$59912 $600-$69913 $700-$79914 $800-$99915 $1,000-$1,49916 $1,500 or more
Table 50 : Australian mean annual income of people within the Creative Trident compared with the mean of their Division of employment. (An Australian dollar was worth around 36 pence in Sterling in 2001).Creative SegmentsDivisionSpecialist CreativeEmbedded Creatives and EmbeddedMeanSegments MeanMeanCreatives2001 Mean Annual Income andthe variance from the Division% Variation% Variation% VariationIncomeIncomeAnnualAnnualfromfromfromperperIncome Income Division’sDivision’sDivision’sAnnum Annum mean incomemean incomemean incomeA Agriculture, Forestry and Fishing $28,179 $41,608 48% $41,608 48%B Mining $68,402 $68,783 1% $68,783 1%C Manufacturing $38,596 $41,607 8% $40,732 6% $44,105 14%D Electricity, Gas and Water Supply $53,428 $64,009 20% $64,009 20%E Construction $38,316 $43,861 14% $43,861 14%F Wholesale Trade $38,081 $54,627 43% $54,627 43%G Retail Trade $23,494 $39,311 67% $39,311 67%H Accommodation, Cafes and Restaurants $23,187 $27,828 20% $27,828 20%I Transport and Storage $40,463 $54,515 35% $54,515 35%J Communication Services $45,622 $65,788 44% $65,788 44%K Finance and Insurance $48,714 $68,987 42% $68,987 42%L Property and Business Services $45,121 $54,778 21% $55,070 22% $52,874 17%M Government Administration and Defence $43,667 $49,161 13% $49,161 13%N Education $40,527 $33,261 -18% $33,261 -18%O Health and Community Services $34,955 $40,422 16% $40,422 16%P Cultural and Recreational Services $32,465 $38,901 20% $39,087 20% $36,106 11%Q Personal and Other Services $32,850 $30,808 -6% $28,327 -14% $33,217 1%R Non-Classifiable Economic Units $32,462 $41,601 28% $41,601 28%Z Not Stated $23,492 $31,037 32% $31,037 32%Total $36,276 $47,658 31% $47,866 32% $47,201 30%Source: Analysis by CCI of custom ABS 2001 Census tablesNotably, the creatives Embedded within the Education division had annual salary averages 18 per cent below the Division
Appendix 9: Self-employment rates within the creative occupations and industriesSelf-employment of individuals with the rate of self-employment for creative creative in the UK is roughly twice that of the general workforce it still represents only The proposition that self-employment is the 28 per cent of the employment of those in 44norm for the creative workforce is not borne creative occupations (Figure 5).out by an examination of the facts. While 44. Analysis by CCI of custom tables from the UK LFS selecting on LFS table Main Job, 2006, analysed at SOC four 5: The self-employment rate of creative occupation segments in %10%20%30%40%50%60%70%80%90%100%Advertising and Marketing13%Architecture, Design and Visual Arts33%Film, TV, Radio and Photography47%Music and Performing Arts82%Publishing28%Software, Computer Games15%and Electronic PublishingAll Creative Occupations28%All Professionals14%All Associate Professional14%All Employed13%Source: CCI analysis of custom LFS data 200693
As Figure 6 shows, there is great diversity Self-employment within creative across segments in the self-employment industriesrate, depending on occupation, individual preferences, age and possibly skill level: The patterns are similar when looked at from some occupations naturally have substantially the dimension of creative industries. Table 51 higher numbers of self-employed people shows that across all creative industries, the such as ‘3411 Artists’ with 92 per cent self-employment rate is 27 per cent, compared self-employment and ‘3414 Dancers & with the whole-economy rate of 13 per cent. choreographers’ at 100 per cent. However The highest rate is in Music and Performing others are perhaps lower than average, for Arts (64 per cent), followed by Film, TV, Radio example ‘3412 Authors writers’ with 62 per and Photography (37 per cent); Software, cent and ‘3421 Graphic designers’ with 32 per Computer Games & Electronic Publishing has cent self-employment. the lowest rate (17 per cent).Figure 6: The self-employment rate of disaggregated creative occupations segments in %10%20%30%40%50%60%70%80%90%100%Advertising1134 Advertising and public relations managers14%and3543 Marketing associate professionals11%Marketing2126 Design & Development Engineers11%2431 Architects36%2432 Town planners12%3121 Arch. tech. and town planning technicians6%3122 Draughtspersons15%Architecture,3411 Artists92%Design &Visual Arts3421 Graphic designers31%3422 Product, clothing and related designers48%5491 Glass and ceramics makers, dec. and finishers17%5492 Furniture makers, other craft woodworkers39%5495 Goldsmiths, silversmiths, precious stone workers70%5499 Hand craft occupations %3416 Arts officers, producers and directors49%Film, TV, Radio and3432 Broadcasting associate professionals37%Photography3434 Photos. and audio-visual equipment operators54%3413 Actors, ente87%rtainersMusic andPerforming3414 Dancers and choreographers100%Arts3415 Musicians75%2451 Librarians0%2452 Ar7%chivists and curatorsPublishing3412 Authors, writ63%ers36%3431 Journalists, newspaper and periodical editors0%4135 Library assistants/clerks20%5421 Originators, compositors and print preparersSoftware, Computer 27%2131 IT strategy and planning professionalsGames & Electronic9%2132 Software professionalsPublishingSource: CCI analysis of custom LFS data 200694
Of greater importance perhaps to research on business employing 20 or more staff earn 73 per the sustainability of the creative economy is the cent more than the smaller business of sole-practitioner businesses within segments and the pattern of distribution of It would seem that creatives who lack the income. business acumen to know how to grow their practice to the point that it can support a Australian census data for 2006 show that, on number of employees are relegated to the average, those who own a creative business lower rungs of the earnings ladder. With some employing up to 19 staff earn a 50 per cent notable exceptions, creative excellence alone higher mean income than sole-practitioners in in one’s chosen craft is no guarantee of a the same industry, while owners of a creative reasonable 51: The rate of self-employment in ‘Main Jobs’ in UK creative industries 2006. Self Employment Industry Segment Detailed Industry Classificationrate within Main JobAdvertising and Marketing 7440: Advertising 21%Advertising and Marketing Segment 21%Architecture, Visual Arts and Design 3622: Jewellery etc. manufacture 52% 7420: Archit. engineering etc. consultncy 27% 9252: Museum activities 4%Architecture, Visual Arts and Design Segment 25%Film, TV, Radio and Photography 7481: Photographic activities 59% 9211: Motion picture video production 49% 9220: Radio TV activities 25%Film, TV, Radio and Photography Segment 37%Music and Performing Arts 2214: Sound recording publishing 0% 9231: Artistic literary creation etc. 78%9232:Artsfacilities22% 9234: Other entertainment activities 58%Music and Performing Arts Segment 64%Publishing 2211: Book publishing 24% 2212: Newspaper publishing 5% 2213: Journal periodical publishing 19% 2215: Other publishing 14% 9251: Library archive activities 1%Publishing Segment 11%Software, Computer Games & Electronic Publishing 7220: Computer software consultancy 17%Software, Computer Games & Electronic Publishing Segment 17%All creative industries 27%Source: Analysis by CCI of Australian Bureau of Statistics 1996, 2001, 2006 Census of Population and Housing95
Appendix 10: Mapping creative industry-relevant census SIC to LFS SIC codesThe following table correlates the industry employment fi gures are used to establish the classifi cations and the employment data relevant proportion of the employment at the used for the 2001 census and the LFS. The correlating census classifi cation. As previously LFS four-digit industry classifi cations are discussed, disaggregation is not synonymous aggregated to align with the closest detailed with simple scaling or applying a proportional census classifi cation, which may be at two (‘72 Computers’) or three. The LFS Table 52: The correlation between employment in the 2001 LFS four-digit industry classifi cation and the 2001 census classifi cations. LFSemploymentAction onShareActionCensus Industry proportionCensusof LFSon LFSLFS IndustryClassifications in Useof CensusDataSubtotalDataSelection2211 Publishing of books 19% Use2212 Publishing of newspapers 31% Use221 Publishing 100% Use2213 Publishing of journals and periodicals 22% Use2214 Publishing of sound recordings 1% Use2215 Other publishing 27% Use9251 Library and archive activities 51% Use925 Library, archives, museums 92% Use9252 Museum activities and preservation 41% Useand other cultural activitiesof historical sites and buildings362 Manufacture of jewellery 84% Use3622 Manufacture of jewellery and related 84% Useand related articlesarticles not elsewhere classified72 Computer and related activities 69% Disaggregate7220 Computer Software consultancy 69% Use3650/1 Manufacture of professional Data are not commonly No Acceptable Codeand arcade games available for this code742 Architectural and engineering 43% Disaggregate7420/1 Architectural and engineering 43% Useactivities and related technical consultancy activities and related technical consultancy 744 Advertising 100% Use7440 Advertising 100% Use No Acceptable Code7481 Photographic activities 15% Use920 Recreational, cultural and Use No NAequivalentsporting activities Motion picture and video activities 65% Use9211 Motion picture and video production 65% Use922 Radio and television activities 100% Use9220 Radio and television activities 100% Use9231 Artistic and literary creation and 57% Useinterpretation923 Other entertainment activities 94% Use9232 Operation of arts facilities 13% Use9234 Other entertainment activities not 24% Useelsewhere classified9240 News agency activities 100% Use924 News agency activities 100% Use96
Appendix 11: Coding ListsAn example of the job titles that are formally identifi ed occupation classifi cation coded within standard occupation may go under ten, 40 or in some cases even classifi cations100 other names which are in common usage. These terms are often synonyms, but some Every industry or occupation classifi cation classifi cations are treated more as a ‘grab bag’ of system is constrained in its ability to capture assorted activities which may have only a cursory the variety of names given to people’s jobs and correlation, such as being mainly self-employed primary activities in the real world. Coding lists artists, musicians, writers. The following is a are used to provide consistency in references small extract from the SOC2000 coding similar functions or business activities. Every Table 53: Occupations included in ‘1134 Advertising and public relations managers’ and ‘2131 IT strategy and planning professionals’. Occupation Occupations included within the ClassificationDirector of external relations Manager, affairs, publicDirector of fund raising Manager, appealDirector, account (advertising) Manager, appealsDirector, advertising Manager, campaignDirector, appeal Manager, fundraisingDirector, appeals Manager, lotteryDirector, creative Manager, mediaDirector, media Manager, portfolio (advertising) 1134 Advertising Head (public relations) Manager, press (advertising)and public Head of public affairs Manager, production (advertising) relations managersHead of public relations Manager, projects (advertising) Manager (advertising) Manager, publicityManager (public relations) Manager, raising, fundManager, account (advertising) Manager, relations, publicManager, account, advertising Manager, tourismManager, advertisement Manager, traffic (advertising) Manager, advertising Owner (advertising agency) Adviser, systems Consultant, support, technicalArchitect, data Consultant, systems2131 IT strategy and planning Architect, software Consultant, technical, computerprofessionalsArchitect, technical, migration (software) Consultant, technology, informationConsultant (computing) Consultant, telecommunicationsConsultant, applications Consultant, telecommunications97
Appendix 12: Census 2001 – Disaggregating the data records of two industry classifi cationsDisaggregating ‘72 Computer and census total to derive a gross fi gure for 7220 related activities’Computer Software consultancy (Table 54).The census employment for the industry The target specialist to support an employment classifi cation ‘72 Computer and related ratio of 53 per cent: 47 per cent (Table 55) for activities’ is 540,290, which is comparable to the disaggregated industry is determined with the fi gure under LFS for 2001 (531,960) when reference to the proportions within the custom fi ve 4-digit SIC industries are aggregated to LFS occupation within industries sub-totalled two acquired from the four-digit industry classifi cation relevant to These factors are then applied in a matrix to our methodology is ‘7220 Computer Software determine the new target fi gures for the 7220 consultancy’ which accounts for 69 per cent category, relegating the balance to ‘7260 Other of the LFS total for ‘72 Computer and related computer activities’.activities’. This factor is then applied to the Table 54: The more detailed industry classifi cations within ‘72 Computer and related activities’ available from LFS datasets. LFS LFS Mix from LFS SIC Totals Census ProportionEmployed7210 Computer hardware consultancy 1% 6,7437220 Computer Software consultancy 374,126 69% 368,358after disaggregation7230 Data processing 2% 11,7887240 Data base activities 2% 10,4547250 Repair of office computer equipment 4% 23,4987260 Other computer activities 21% 111,11972 Computer and related activities 540,290 100% 531,960Source: CCI analysis of custom LFS data 2001 and Household Census Data 200198
Table 55: The summary disaggregation matrix for ‘72 Computer and related activities’.Creative Split Other Total Occupations from LFSSpecialist to support ratio 53% 47% 100%from LFS matrix for 72207220 Computer Software 198,287 175,839 374,126 69%consultancy7260 Other computer activities 1,620 164,543 166,164 31%72 Computer and related activities 199,907 340,383 540,290 100%Specialist Ratio from Census for 72 37% 63% 100%Source: CCI analysis of custom LFS data 2001 and Household Census Data 2001A subset of the 2001 census employment The existing 350 records for ‘72 Computer database of occupations by industries is then and related activities’ are then deleted from established, containing 350 records – each the 2001 employment database, and the 698 record consisting of the number of people disaggregated records within one of the 350 occupations that also have employment within the industry classifi cation ‘72 Computer and related activities’. Disaggregating ‘742 Architectural and engineering’The details of employment within each occupation are then proportionately Disaggregating ‘742 Architectural and assigned to either ‘7220 Computer Software engineering’ into the architecture-relevant consultancy’ or ‘7260 Other computer activities from the engineering activities was activities’ on the basis of the relevance of the more diffi cult, as no UK employment data occupation to the software development and are available for estimating the differential publishing activity, with a proportion of this proportions on the basis of industry. So instead employment being allocated to the remainder we examined the range and proportion of industry (refl ecting the dispersal in the real occupations employed within the industry in world). the 2001 result is 698 records with the allocation of The occupations are grouped into ‘Architecture the employment in total matching the LFS split and Design occupations’, ‘Other technical ratio and the specialist support ratio for ‘7220’.services occupations such as engineers’ and ‘General offi ce, administration and support occupations’ (Table 56).Table 56: The blend of occupations employed within ‘742 Architectural and engineering’.Employment within Employment Share Split742 Architectural and engineering Architecture and Design Occupations 89,770 23% Subtotal creative occupations 102,161 26% 43%Other technical services occupations such 134,751 34% 57%as engineersGeneral office administration and 154,048 39% support occupations Grand Total 390,960 100% Source: Offi ce for National Statistics 2001 Census99
Table 57: The summary disaggregation matrix for ‘742 Architectural and engineering’.Creative Other TotalSplit Occupations Specialist Ratio for 74201 55% 45% 100% 74201 Architecture Services 92,462 75,651 168,113 43%74209 Other Technical Services 9,188 213,660 222,847 57%742 Architectural and engineering 101,650 289,310 390,960 100%Specialist Ratio from Census for 742 26% 74% 100%Source: Offi ce for National Statistics 2001 CensusThe ratio between Architecture and Design The same process as is used in disaggregating Occupations and the Other Technical Services ‘72 Computer and related activities’ is applied Occupations was calculated to be 43 per cent to the master employment database, and to 57 per cent and this is applied as one factor the initial 350 records for ‘742’ became to split employment into two classifi cations: 430 records across the two new industries, ‘74201 Architecture Services’ and a custom while maintaining the correct totals for classifi cation we created, ‘74209 Other creative occupations and ‘other’ or support Technical Services’.
Appendix 13: Detailed tables and comparisons with DCMS Economic EstimatesThis section shows a breakdown of specialist of the variations across segments in the and embedded employment by creative proportion of specialist, support and embedded segment (where creative segments comprise three- or four-digit sub-divisional industries, sometimes from across different Total creative employment grew by 1991 to just Divisions). As shown below, this allows analysis over million people. Table 58: Creative segments’ specialist, support and embedded employment for Non-creative Creative Occupations Occupations Creative Occupations Creative within within Industryin non-Occupations TotalUK Employment By creative creative (Sub-Total)creative(Sub-Total)TridentCreative Segment 1981segment segment Industries(Specialist)(Specialist)(Embedded) Advertising and Marketing 18,840 24,680 43,520 5,710 24,550 49,230Architecture, Visual Arts and Design 6,530 13,890 20,420 268,130 274,660 288,550Film, TV, Radio and Photography 32,410 54,020 86,430 31,740 64,150 118,170Music and Performing Arts 42,490 14,330 56,820 29,000 71,490 85,820Publishing 42,840 143,010 185,850 49,110 91,950 234,960Software, Computer Games 13,910 38,920 52,830 73,440 87,350 126,270& Electronic PublishingTotal of all Segments 157,020 288,850 445,870 457,130 614,150 903,000Source: Analysis by CCI of custom 1981 Census data tables from the Offi ce for National Statistics101
Table 59: Creative segments’ specialist, support and embedded employment for 1991. Creative Non-creative Creative Occupations Occupations Creative Occupations Creative within within Industryin Non-Occupations TotalUK Employment By Creative Creative (Sub-Total)creative(Sub-Total)TridentCreative Segment 1991Segment Segment Industries(Specialist)(Specialist)(Embedded) Advertising and Marketing 28,480 25,280 53,760 13,830 42,310 67,590Architecture, Visual Arts and Design 6,420 9,040 15,460 275,110 281,530 290,570Film, TV, Radio and Photography 49,290 55,000 104,290 6,560 55,850 110,850Music and Performing Arts 72,930 16,400 89,330 32,230 105,160 121,560Publishing 68,120 121,440 189,560 61,330 129,450 250,890Software, Computer Games 60,220 86,280 146,500 135,690 195,910 282,190& Electronic Publishing Total of all Segments 285,460 313,440 598,900 524,750 810,210 1,123,650Source: Analysis by CCI of custom 1991 Census data tables from the Offi ce for National StatisticsAs Table 60 shows, employment in 2001 had grown to million 60: Creative segments’ specialist, support and embedded employment for Non-creative Creative Occupations Occupations Creative Occupations Creative within within Industryin Non-Occupations TotalUK Employment By Creative Creative (Sub-Total)creative(Sub-Total)TridentCreative Segment 2001Segment Segment Industries(Specialist)(Specialist)(Embedded) Advertising and Marketing 46,133 55,252 101,385 79,835 125,968 181,220Architecture, Visual Arts and Design 124,544 56,530 181,074 203,393 327,937 384,467Film, TV, Radio and Photography 63,876 81,614 145,490 43,216 107,092 188,706Music and Performing Arts 41,215 99,047 140,262 25,828 67,043 166,090Publishing 109,818 190,746 300,564 82,860 192,678 383,424Software, Computer Games 166,584 207,452 374,036 209,935 376,519 583,971& Electronic PublishingTotal of all Segments 552,170 690,641 1,242,811 645,067 1,197,237 1,887,878Source: Analysis by CCI of custom 2001 Census data tables from the Offi ce for National Statistics102
While the total level of employment between – and to a lesser extent between specialist and 2001 to 2006 changed by less than 100,000, and embedded employment. We cannot rule Table 61 shows there were quite major shifts in out however that some degree of this could the proportions between specialist and support result from the lower level of detail of the 2001 staff – with an apparent increase in the number Census Industry classifi specialist staff and decrease in support staff Table 61: Creative segments’ specialist, support and embedded employment for Non-creative Creative Occupations Occupations Creative Occupations Creative within within Industryin Non-Occupations TotalUK Employment By Creative Creative (Sub-Total)creative(Sub-Total)TridentCreative Segment 2006Segment Segment Industries(Specialist)(Specialist)(Embedded) Advertising and Marketing 44,609 46,634 91,243 134,775 179,384 226,018Architecture, Visual Arts and Design 168,493 53,150 221,643 213,727 382,220 435,370Film, TV, Radio and Photography 101,938 53,211 155,149 19,980 121,918 175,129Music and Performing Arts 53,052 134,857 187,909 14,180 67,232 202,089Publishing 138,667 122,235 260,902 73,180 211,847 334,082Software, Computer Games 193,172 175,024 368,196 242,402 435,574 610,598& Electronic PublishingTotal of All Segments 699,931 585,111 1,285,042 698,244 1,398,175 1,983,286Source: Analysis by CCI of custom 2006 LFS data tables from the Offi ce for National Statistics103
The following fi gures show the degree of correlation between CCI’s estimates employment within the segments and those in the DCMS Economic 7: Comparison of the CCI employment estimates for each segment with those of the DCMS Economic ,000,0001,500,0001,000,000500,000019811991200120022003200420052006Advertising and MarketingMusic and Performing ArtsArchitecture, Visual Arts and DesignPublishingSoftware, Computer Games Film, TV, Radio and Photographyand Electronic PublishingSource: Analysis by CCI of DCMS reports, and custom Census and LFS data tables from the Offi ce for National Statistics CCIEach segment’s share of total creative employment is shown in Figure 8, which also illustrates the long-run growth in the Software, Computer Games and Electronic Publishing segment and the declining shares of the Publishing and Architecture, Visual Arts and Design
Figure 8: Comparison of the shares of segment employment estimates from CCI with those of the DCMS Economic %90%80%70%Advertising and Marketing60%Architecture, Visual Arts and Design50%Film, TV, Radio and PhotographyMusic and Performing Arts40%Publishing30%Software, Computer Games and Electronic Publishing20%10%0%45. The average income for embedded music is so low 19811991200120022003200420052006as to cause concern: either the sample size is too small to provide accurate fi gures Source: Analysis by CCI of DCMS reports and custom Census and LFS data tables from the Offi ce for National Statisticsor else the 25,000 people (Census 2001) who are employed in their main job as embedded musicians have other sources of fi nancial Figure 9 shows how the average annual are embedded professionals in Music and of most specialist, support and Performing Arts, and Publishing, but even embedded staff working in the creative there the average income of music has grown economy are higher than those of the national strongly and recovered some of the gap with average. The poorest performing areas the national 9: Comparison of the average annual incomes of specialist, support and embedded creatives within each segment with that of the national average for 2001 to 2006.£40,000£35,000£30,000£25,000£20,000£15,000SpecialistSupportEmbedded£10,000Creative EmploymentUK workforce£5,000Software, Computer GamesAdvertisingTotal of allFilm, TV, RadioArchitecture, Visual PublishingMusic and& Electronic Publishingand Marketingsegmentsand PhotographyArts and DesignPerforming ArtsSource: Analysis by CCI of DCMS reports and custom Census and LFS data tables from the Offi ce for National Statistics1052001Census20022003Census200420052006Census2001Economic2002Estimates200320042005LFS2006Economic2001Estimates20022003LFS20042005Economic2006Estimates2001LFS200220032004Economic2005Estimates2006LFS20012002Economic2003Estimates20042005LFS2006Economic2001Estimates20022003200420052006200120022003200420052006
Appendix 14: Embeddedness by Two-digit IndustriesTable 62: The 25 sub-divisions with the highest proportion of embedded employment 2001 UK census 25 sub-divisions with the highest Total Embedded Embedded proportion of embedded employment Employment(declining Shareorder)2001 UK Census Data (disaggregated)74 Other business activities 2,202,127 112,061 %80 Education 2,058,329 43,026 %52 Retail trade, except of motor vehicles and motorcycles; 2,617,565 36,298 %repair of personal and household goods 75 Public administration and defence; Compulsory social security 1,573,466 35,325 %65 Financial intermediation, except insurance and pension funding 739,672 34,668 %36 Manufacture of furniture, manufacturing not elsewhere classified 308,076 34,336 %64 Post and Telecommunications 712,437 30,676 %85 Health and social work 2,922,064 28,041 %22 Publishing, printing and reproduction of recorded media 417,407 25,555 %51 Wholesale trade and commission trade, except of 1,171,828 21,190 %motor vehicles and motorcycles45 Construction 1,830,962 21,049 %72 Computer and related activities 540,295 19,816 %26 Manufacture of other non-metallic mineral products 121,251 18,026 %66 Insurance and pension funding, except compulsory 301,046 14,456 %social security35 Manufacture of other transport equipment 214,923 8,646 %70 Real Estate activities 372,855 8,223 %29 Manufacture of machinery and equipment 325,743 8,190 %not elsewhere classified67 Activities auxiliary to financial intermediation 201,557 8,026 %55 Hotels and restaurants 1,286,375 7,987 %24 Manufacture of chemicals and chemical products 272,837 7,700 %63 Supporting and auxiliary transport activities; activities 379,980 7,508 %of travel agents91 Activities of membership organisations 185,958 7,435 %73 Research and development 115,074 7,395 %32 Manufacture of radio, television and communication 119,341 6,669 %equipment and apparatus30 Manufacture of office machinery and computers 69,250 6,653 %12 Mining of uranium and thorium ores 46 3 %Grand Total 26,575,780 645,067 %Source: Analysis by CCI of custom Census 2001 table from the Offi ce for National Statistics106
Table 63: Growth in embedded creative employment across the Industry UK Industry at 2 Digitsfrom 1981 to 200119811991 200101 Agriculture, hunting and related service activities % % % %02 Forestry, logging and related service activities % % % %05 Fishing, operation of fish hatcheries and fish farms % %10 Mining of coal and lignite; extraction of peat % %11 Extraction of crude petroleum and natural gas; service % % % %activities incidental to oil and gas extraction excluding surveying12 Mining of uranium and thorium ores % % % %13 Mining of metal ores % % % %14 Other mining and quarrying % % % %15 Manufacture of food products and beverages % % % %16 Manufacture of tobacco products % % % %17 Manufacture of textiles % % % %18 Manufacture of wearing apparel; dressing and dyeing of fur % % % %19 Tanning and dressing of leather; Manufacture of luggage, % %handbags, saddlery harness and footwear20 Manufacture of wood and products of wood and cork, except % % % %furniture; manufacture of articles of straw and plaiting materials21 Manufacture of pulp, paper and paper products % % % %22 Publishing, printing and reproduction of recorded media % % % %23 Manufacture of coke, refined petroleum products and % % % %nuclear fuel24 Manufacture of chemicals and chemical products % % % %25 Manufacture of rubber and plastic products % % % %26 Manufacture of other non-metallic mineral products % % % %27 Manufacture of basic metals % %28 Manufacture of fabricated metal products, % %except machinery and equipment29 Manufacture of machinery and equipment not elsewhere % %classified30 Manufacture of office machinery and computers % %31 Manufacture of electrical machinery and apparatus not % % % %elsewhere classified32 Manufacture of radio, television and communication % % % %equipment33 Manufacture of medical, precision and optical % % % %instruments, watches and clocks34 Manufacture of motor vehicles, trailers and semi-trailers % % % %35 Manufacture of other transport equipment % % % %107
CensusDifference UK Industry at 2 Digitsfrom 1981 to 200119811991200136 Manufacture of furniture, manufacturing not % % % %elsewhere classified37 Recycling % % % %40 Electricity, gas, steam and hot water supply % %41 Collection, purification and distribution of water % % % %45 Construction % %50 Sale, maintenance and repair of motor vehicles and % % % %motorcycles; Retail sale of automotive fuel51 Wholesale trade and commission trade, except of % % % %motor vehicles and motorcycles52 Retail trade, except of motor vehicles and motorcycles; % % % %repair of personal and household goods55 Hotels and restaurants % % % %60 Land transport; Transport via pipelines % % % %61 Water transport % % % %62 Airtransport % % % %63 Supporting and auxiliary transport activities; activities % % % %of travel agents64 Post and Telecommunications % % % %65 Financial intermediation, except insurance and pension funding % % % %66 Insurance and pension funding, except compulsory % % % %social security67 Activities auxiliary to financial intermediation % % % %70 Real Estate activities % %71 Renting of machinery and equipment without operator % % % %72 Computer and related activities % % % %73 Research and development % % % %74 Other business activities % % % %75 Public administration and defence; Compulsory social security % % % %80 Education % % % %85 Health and social work % % % %90 Sewage and refuse disposal, sanitation and similar activities % %91 Activities of membership organisations % % % %92 Recreational, cultural and sporting activities % % % %93 Other service activities % % % %95 Private households with employed persons % %99 Extra-territorial organisations and bodies % % %Grand Total % % % %Source: Analysis by CCI of custom Census data tables from the Offi ce for National Statistics108
A similar table constructed for the years from the two sources will be similar but rarely 2001 to 2006 (Table 64) uses a different data the same and this is refl ected in the different source, the LFS, to construct the level of total; per cent from census and per embeddedness. As a result the fi gures for 2001 cent from 64: The changes in the creative embedded share of two-digit industries employment between 2001 and 2006 using LFS 2001 2002 2003 2004 2005 2006 % change01:Agriculture hunting etc. % % % % % 332%41:Water collection purif. supply etc. % % % % % % 115%18:Clothing, fur manufacture % % % % % % 90%92:Recreational cultural sporting activ. % % % % % % 53%17:Textile manufacture % % % % % % 44%50:Sales of motor vehs parts fuel etc. % % % % % % 42%19:Leather leather goods manufacture % % % % % % 40%70:Real estate activities % % % % % % 32%32:Radio TV communication eqt man. % % % % % % 31%29:Mach. eqt. manufacture % % % % % % 30%11:Oil gas extractn etc. (not surveying) % % % % % % 22%21:Pulp paper paper prods manufacture % % % % % % 21%55:Hotels restaurants % % % % % % 21%36:Furniture etc. manufacture % % % % % % 19%52:Retail trade (not motor veh.) repairs % % % % % % 19%91:Activ. of membership organisations % % % % % % 17%90:Sanitation sewage refuse disposal etc. % % % % % % 16%75:Public admin defence social security % % % % % % 16%24:Chemicals chemical products man. % % % % % % 15%20:Wood straw cork wood prods (not furn) % % % % % % 14%62:Air transport % % % % % % 7%72:Computer-related activities % % % % % % 6%30:Office mach. computer manufacture % % % % % % 6%35:Other transport eqt manufacture % % % % % % 5%73:Research development % % % % % % 4%74:Other business activities % % % % % % 4%85:Health social work % % % % % % 4%65:Financl intermed (not insur. pensn.) % % % % % % 2%61:Water transport % % % % % % 1%109
Subdivision 2001 2002 2003 2004 2005 2006 % change51:Wsale commiss. trade (fee contract) % % % % % % -1%67:Other financial (not insur. pensn.) % % % % % % -1%Embedded share in total employment % % % % % % -2%28:Fabric-metal prod (not mach. eqt) man. % % % % % % -2%60:Transport by land pipeline % % % % % % -3%71:Personal hhld mach. eqt rental (no op) % % % % % % -5%33:Medical precision optical eqt man. % % % % % % -6%80:Education % % % % % % -7%22:Printing publishing recorded media % % % % % % -7%15:Food beverage manufacture % % % % % % -8%64:Post telecommunications % % % % % % -11%40:Elec. gas steam etc. supply % % % % % % -12%31:Elec. mach eqt manufacture % % % % % % -13%45:Construction % % % % % % -15%34:Motor veh. trailer etc. manufacture % % % % % % -16%25:Rubber plastic products manufacture % % % % % % -17%63:Aux. transport activ. travel agents % % % % % % -21%93:Other service activities % % % % % % -22%66:Insurance pensions (not Social Sec.) % % % % % % -27%26:Other non-metallic products man. % % % % % % -30%23:Coke petrol prods nuclear fuel man. % % % % % % -45%14:Other mining quarrying % % % % % % -45%27:Basic metals manufacture % % % % % % -45%95:Private hhlds with employed persons % % % % % % -75%02:Forestry logging etc. % % % % % % -77%16:Tobacco products manufacture % % % % % % -79%61:Water transport % % % % % %22:Printing publishing recorded media % % % % % %19:Leather leather goods manufacture % % % % % %12 Mining of uranium and thorium ores % % % %26:Other non-metallic products man. % % % % % %13:Mining of metal ores % % % % % %Source: Analysis by CCI of custom LFS data tables from the Offi ce for National Statistics110
Appendix 15: The use of the Trident methodology with alternative defi nitionsThe Trident methodology can be applied to a Trident generated from a selection of cultural full dataset using any well formed defi nition industries and occupations used in the UK of occupations and industries classifi cations. 1981, 1991 and 2001 censuses (Table 65).The following is an example of a Cultural Table 65: The classifi cations selected in the Cultural Industries defi nition and the number of people employed in 1981, 1991 and Selected Cultural Industries in use Total Employed1981 3452 Gramophone records and pre-recorded tapes 10,700 4751 Printing and publishing of newspapers 190,260 4752 Printing and publishing of periodicals 45,640 4753 Printing and publishing of books 22,180 4754 Other printing and publishing 470,180 4920 Musical instruments 8,340 9711 Film production, distribution and exhibition 38,580 9741 Radio and television services, theatres, etc. 134,180 9760 Authors, music composers and other own account artists not 102,940 elsewhere specified 9770 Libraries, museums, art galleries, etc. 113,6201981 Total 1,136,620111
Year Selected Cultural Industries in use Total Employed1991 3452 Gramophone records and pre-recorded tapes 10,400 4751 Printing and publishing of newspapers 156,240 4752 Printing and publishing of periodicals 42,380 4753 Printing and publishing of books 39,660 4754 Other printing and publishing 480,160 4920 Musical instruments 8,520 9711 Film production, distribution and exhibition 48,500 9741 Radio and television services, theatres, etc. 160,080 9760 Authors, music composers and other own account artists not 168,260 elsewhere specified 9770 Libraries, museums, art galleries, etc. 140,8401991 Total 1,255,0402001 220 Printing and publishing . 418 221 Publishing 355,184 223 Reproduction of recorded media 7,354 363 Manufacture of musical instruments 8,298 920 Recreational, cultural and sporting activities . 2,478 921 Motion picture and video activities 69,684 922 Radio and television activities 221,296 923 Other entertainment activities 278,046 924 News agency activities 35,682 925 Library, archives, museums and other cultural activities 210,2622001 Total 1,188,702Source: CCI analysis of custom census tables from Offi ce for National Statistics112
Table 66: The classifi cations selected as within the Cultural Occupations defi nition and the number of people employed in Selected Cultural Industries in use Total Employed1981 271 Archivists and curators 12,120 380 Authors, writers, journalists 52,710 381 Artists, commercial artists, graphic designers 32,600 383 Clothing designers 3,710 384 Actors, entertainers, stage managers, producers and directors 28,770 385 Musicians 16,480 386 Photographers, camera, sound and video equipment operators 32,770 518 Goldsmiths, silversmiths, precious stone workers 9,190 525 Radio, TV and video engineers 31,380 590 Glass product and ceramics makers 23,770 591 Glass product and ceramic finishers and decorators 22,770 593 Musical instrument makers, piano tuners 3,3301981 Total 269,600Source: CCI analysis of custom census tables from Offi ce for National StatisticsTable 67: The classifi cations selected as within the Cultural Occupations defi nition and the number of people employed in Selected Cultural Industries in use Total Employed1991 270 Librarians 15,180 271 Archivists and curators 6,160 380 Authors, writers, journalists 75,680 381 Artists, commercial artists, graphic designers 82,380 383 Clothing designers 6,990 384 Actors, entertainers, stage managers, producers and directors 42,600 385 Musicians 18,690 386 Photographers, camera, sound and video equipment operators 36,190 421 Library assistants/clerks 32,430 518 Goldsmiths, silversmiths, precious stone workers 8,620 525 Radio, TV and video engineers 19,660 590 Glass product and ceramics makers 37,850 591 Glass product and ceramics finishers and decorators 12,070 562 Bookbinders and print finishers 13,240 593 Musical instrument makers, piano tuners 3,8801991 Total 411,620Source: CCI analysis of custom census tables from Offi ce for National Statistics113
Table 68: The classifi cations selected as within the Cultural Occupations defi nition and the number of people employed in Selected Cultural Industries in use Total Employed2001 2451 Librarians 24,782 2452 Archivists and curators 8,708 3411 Artists 24,007 3412 Authors, writers 44,142 3413 Actors, entertainers 33,137 3414 Dancers and choreographers 7,034 3415 Musicians 26,872 3416 Arts officers, producers and directors 21,653 3431 Journalists, newspaper and periodical editors 64,667 3432 Broadcasting associate professionals 40,309 3434 Photographers and audio-visual equipment operators 45,130 3551 Conservation and environmental protection officers 12,779 4135 Library assistants/clerks 39,293 5244 TV, video and audio engineers 15,412 5423 Bookbinders and print finishers 30,903 5491 Glass and ceramics makers, decorators and finishers 23,135 5492 Furniture makers, other craft woodworkers 43,521 5494 Musical instrument makers and tuners 3,158 5495 Goldsmiths, silversmiths, precious stone workers 6,6972001 Total 515,339Table 69: Cultural Trident in 1981 for each segment and mode. Cultural Cultural Cultural Cultural Cultural Cultural 1981 EmploymentSpecialistsSupportIndustriesEmbeddedOccupations Film, TV, Radio and Photography 224,030 12,880 159,880 172,760 51,270 64,150 Music & Performing Arts 133,640 36,920 85,060 121,980 11,660 48,580 Publishing 870,850 35,860 806,020 841,880 28,970 64,830 Visual Arts 92,040 15,560 - 15,560 76,480 92,040 Total Cultural Segment 1,320,560 101,220 1,050,960 1,152,180 168,380 269,600 Source: CCI analysis of custom Census tables from Offi ce for National Statistics114
Table 70: Cultural Trident in 1991 for each segment and mode. Cultural Cultural Cultural Cultural Cultural Cultural 1991 EmploymentSpecialistsSupportIndustriesEmbeddedOccupations Film, TV, Radio and Photography 251,040 13,390 195,190 208,580 42,460 55,850 Music & Performing Arts 198,320 54,030 133,150 187,180 11,140 65,170 Publishing 909,950 92,020 767,260 859,280 50,670 142,690 Visual Arts 147,910 42,180 - 42,180 105,730 147,910 Total Cultural Segment 1,507,220 201,620 1,095,600 1,297,220 210,000 411,620 Source: CCI analysis of custom census tables from Offi ce for National StatisticsTable 71: Cultural Trident in 2001 for each segment and mode. Cultural Cultural Cultural Cultural Cultural Cultural 2001 EmploymentSpecialistsSupportIndustriesEmbeddedOccupations Film, TV, Radio and Photography 353,954 59,530 231,450 290,980 62,974 122,504 Music & Performing Arts 324,090 42,287 253,889 296,176 27,914 70,201 Publishing 681,820 101,318 500,228 601,546 80,274 181,592 Visual Arts 141,042 11,754 - 11,754 129,288 141,042 Total Cultural Segment 1,500,906 214,889 985,567 1,200,456 300,450 515,339 Source: CCI analysis of custom census tables from Offi ce for National StatisticsTable 72: Long-run annualised growth in Cultural Trident employment between 1981 and -run annualised growth Cultural Cultural Cultural Cultural Cultural Cultural 1981 to 2001 Employment Specialists Support Industries Embedded Occupations Film, TV, Radio and Photography % % % % % % Music & Performing Arts % % % % % % Publishing % % % % % % Visual Arts % % % Total Cultural Segment % % % % % %Source: CCI analysis of custom census tables from Offi ce for National Statistics115
NESTA1 Plough Place London EC4A 1DEresearch@ also have offi ces in Cardiff, Belfast, Stirling, Dundee and Newcastle-upon-TynePublished: January 2008BCI/07
