2. A new source of data about the
creative industries
Evidence is central to LDA creative strategy
Until now our data was from official sources
only
– Very little information about local areas
– Information about individual sectors quite
unreliable
Microdata provides better information
– about local areas
– about individual industries
– about firm size
But is inconsistent with official data
3. Micro-data
Inter-Departmental Business Register
(IDBR)
Commercial company databases
– Additional information
– Statistically more reliable (100 times more
records)
Raw data is not consistent with official data
Has to be transformed to make it
comparable
Costly to use – very labour-intensive
4. The creative and sector data project
We have now completed a pilot
– commissioned from Trends Business Research
Economics (TBR economics)
Data from this phase will be analysed
Next phase starts 2006
– will inform creative strategy
– will monitor and evaluate impacts
– will be extended to other LDA sectors
What do you want to know?
5. Questions, questions
Questions we can answer now
– Where are the Creative Industries? Are they
found where other industries are not?
– Do they cluster (do businesses of the same type
like to be close to each other)?
– Do they co-locate (do businesses of different
types like to be close to each other)?
Questions we would like to answer later
– How do they grow? Do they grow differently from
other industries?
– What is the structure of specific subsectors, eg
Music?
7. Some cluster more than others
100%
90%
Total Creative
70%
Radio and Television
60%
50%
40%
Total All Industries 2003
(SOAs)
30%
20%
Film and Video
10%
0%
0%
5%
10%
15%
20%
25%
30%
35%
40%
45%
50%
55%
60%
65%
70%
75%
80%
85%
90%
95%
100
Percent of employees
80%
Percent of London's Standard Output Areas
8. Some cluster in a similar way
100%
90%
Publishing
70%
Advertising
60%
50%
40%
Architecture
30%
20%
Total All Industries 2003
(SOAs)
10%
0%
0%
5%
10%
15%
20%
25%
30%
35%
40%
45%
50%
55%
60%
65%
70%
75%
80%
85%
90%
95%
100
Percent of employees
80%
Percent of London's Standard Output Areas
9. Some less than others
100%
90%
Music, Performing Arts
70%
Leisure Software
60%
50%
Art and Antiques
40%
30%
20%
Total All Industries 2003
(SOAs)
10%
0%
0%
5%
10%
15%
20%
25%
30%
35%
40%
45%
50%
55%
60%
65%
70%
75%
80%
85%
90%
95%
100
Percent of employees
80%
Percent of London's Standard Output Areas
25. Some unexpected benefits
SIC 5-digit codes
–
–
–
–
IDBR contains 5-digit codes, ABI and LFS do not
TBR economics extract 5-digit ‘multipliers’ from the IDBR
we can apply these to ABI and LFS data
this should work for other sectors such as retailing or
construction
More accurate treatment of self-employed
– partners, sole traders, professionals
A possible cross-check on the ABI itself
– we know there are discrepancies between the LFS and the
ABI
– the data may help us find out why
26. Consistency
We asked for consistency in the overall total
and for four DET ‘domains’
This is new: DCMS and others including GLA
still use the ‘DCMS Mapping’ framework
For individual SIC codes and sectors
complete consistency cannot be guaranteed
– ABI Architecture = 20,000
– TBR Architecture = 10,000
This can be improved on but not perfected
27. Time
No Creative Industry before 1992
– The SIC codes which allow the industry to be defined did
not exist
Micro-data itself does not go back very far
Reliability of time-series data
– the size and scope of the database may change
Micro-data is costly
– To repeat for ten years would reach a 6-figure sum
– Does the marginal cost justify the marginal benefit?
A compromise
– We could do the analysis for one or two years (1994 and
1999) and estimate intervening years using the ABI and/or
the LFS
28. The credits
The idea: DCMS
The work: Trends Business Research
The groundwork: Kingston University, Leeds
University, NIERC, Comedia
The researchers: Rupika Madhura, Rajesh
Gami
29. Appendix: the DET sectors
Number of workforce jobs in London
Audio-visual
Books & Press
Performance
Visual Arts
All Domains
Creation Dissemination Exhibition
158,902
32,090
1,995
11,958
11,893
63,079
3,585
3,090
221,981
47,633
16,978
Number of firms in
London
Creation
Audio-visual
Books & Press
Performance
Visual Arts
All Domains
Making
14,979
107,748
18,108
140,835
All Functions
207,967
119,706
30,001
69,753
427,427
Dissemination Exhibition Making All Functions
54,233
45,679
4,445
112 3,998
19,095
3,233
15,861
12,593
5,558 7,034
34,213
32,639
1,347
227
78,317
9,025
5,898 26,893
120,133
Notes de l'éditeur
Since the 1990s the Department of Culture, Media and Sport (DCMS) has sought to coordinate an evidence-based strategy for the creative industries.
GLAE uses DCMS methodology
1999 DCMS mapping framework. 11 sectors, using Standard Industrial Codes (SIC) and Standard Occupational Codes (SOC) to identify creative businesses and creative workers.
2004 ‘DCMS Evidence Toolkit (DET) – a new framework for classifying Creative Industries, distinguishing four ‘domains’ (Audio-Visual, Performance, Books and Press, Visual and Performing Arts) and four ‘stages in the value chain’ (Creation, Making, Dissemination, Exhibition and Performance)
Official data is based on surveys
The Annual Business Survey (ABI) for firms and the Labour Force Survey (LFS) for employees
The LFS for London is based on a survey of only 22,900 people
The ABI nationwide is based on a survey of about 330,000 firms
The IDBR covers all tax-registered companies and is protected by disclosure regulations.
a smaller version covering VAT-registered companies only is available to the GLA
a larger version covering additional Inland Revenue-registered companies was used for this study
Company databases such as that provided by TBR economics for this study are:
more commonly used for credit checking, market research, etc.
based on Companies House, telephone, and other records
include sole traders, partnerships
provide additional information such as company self-description, financial records, etc
LDA and GLAE pilot study started November 2004 to obtain micro-data for the Creative Industries
constrained to be consistent with official sources, in particular ABI
at the ‘gross’ level (the DET sectors)
Complete consistency is not possible, because these are two different data sources
Data is based on ‘Standard Output Areas’ which are designed so that they do not change over time (unlike wards and boroughs). These vary in size but contain broadly comparable populations.
In some Standard Output Areas (15), there are more creative businesses than the industry total.
This is a consequence of our choice to gross the creative industry data to make it consistent with ABI data on creative industries.
In consequence, a firm which is shown in the base TBR microdata as having, say, 20 employees, may be ‘grossed’ (adjusted) up or down for consistency with the ABI. In a small number of cases, therefore, the total creative firms in a small area will be larger than the (unadjusted) total in the same small area
Writers who have suggested a relation between firm location and waterways:
Eli Heckscher
Ferdinand Braudel
Whiteman Fox
Examples: architecture, software
The micro-data is cross-checked against the ABI
Hence we can test ideas such as:
the discrepancies might be worse for firms of a particular size such as small firms
the discrepancies might be worse for particular sectors such as agencies
DET domains are: Audio-Visual, Visual Arts, Books and Press, Performance
DET functions are: Creation, Making, Dissemination, and Exhibition/Performance
DCMS Mapping sectors are: Advertising, Architecture, Arts and Antiques, Fashion, Leisure Software, Music and the Visual and Performing Arts, Publishing, Radio and Television,Video
There are two additional sectors which are only defined for occupations: Crafts, Design