Priority within NESD Concept.


The UNCTAD and UNDP highlight increase in demand for creative products, which has been a significant driver of the creative economy’s growth. The inclusion of sports in several definition of creative activities, (for example in the United Kingdom and the United States of America), is probably linked to the demand for entertainment (competing therefore with other segments of the cultural industries such as movies, opera, and videogames). The link with tourism, especially coastal and eco-tourism, is of relevance, especially for many small island developing states where it is an important source of income and employment. Tourists are important consumers of recreational and cultural services, as well as creative products such as crafts and music. In particular circumstances during the COVID-19 pandemic, the demand-side plays an important role in explaining the short-term evolution of the creative economy, especially in its more traditional activities. The possible post-COVID scenarios may also change the role of the territory as “the” ecosystem: from the demand-side, households stopped attending cultural or sport events and consumed more on-line. From the supply-side, telepresence during the COVID-19 lockdown in 2020, showed that physical presence was not necessary for a large number of jobs. During the pandemic, businesses learned two things. First, online collaboration made enormous strides, thus opening the possibility of increasing international value chain development in the digital space, (by hiring partners in other countries). Second, a greater appreciation for the near-shoring processes opens important possibilities for countries that are physically and culturally proximate to main markets, such as those in Central America and the Caribbean to North America as well as Central and Eastern Europe to Western Europe. 

Looking at the creative economy from the demand side is also a novel source of data. Household Income Expenditure Surveys are now collected in many countries and can provide interesting information on the consumption of cultural goods and services. Yet, limited from the entire demand-side perspective, it can only show a sub-set requirement from the creative economy. In particular, all creative functions embodied into a wider value-chain will not be taken into consideration

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