Creative Initiatives: Economic Impact on Downtown Cairo I. Toolkit

CREATIVE INITIATIVES: ECONOMIC IMPACT ON DOWNTOWN CAIRO I. TOOLKIT

© 2018 British Council and CLUSTER All Rights Reserved ISBN: 978-0-9980983-5-7

CONTENTS

I.

P RE FAC E

5

II.

IN TR O DUC TION

11

III.

TO O L KIT

23

IV.

FURTH E R READINGS AND RESOURCES

67

V.

AC KN OWL EDGMENTS

73

1. Purpose 2.

Intended Outcome 3. Timeline 1. Mapping 2.

Documentation and Analysis 3. Synthesis 4. Conclusion

I.

owntown Cairo, Khedival Cairo, or Wasat al-Balad, are all different designations referring to the area primarily defined by Khedive Isma‘il’s plan of al-Isma‘iliya in the last third of the 19th century. Since that time, the city centre of Cairo has undergone development, both internally and in terms of its relation to the city at large, culminating in Downtown’s status as a cosmopolitan commercial and entertainment centre and business hub. By

the middle of the twentieth century, however, Downtown had experienced a gradual decline, first due to nationalization policies, then to the departure of the upper classes to the new suburbs, through a process of degentrification.

By the end of the twentieth century, downtown Cairo had become a vibrant shopping centre for limited-income families, and a hub for low-cost entertainment, particularly at the street level.

Headquarters of national banks and insurance companies, along with tourist agencies, provided white-collar jobs. Offices and clinics of middle-class professionals, including doctors, lawyers and engineers, occupied the upper levels of Downtown’s decaying buildings, while rooftops hosted groups of service workers, rooms for students and low-income families as well as an array of storage spaces.

6

Since the year 2000, downtown Cairo has been a focal point for new energies and revivalist movements. An array of publications, art productions and literary works “rediscovering� the atmosphere of Khedival Cairo have been complemented by the re-migration of younger generations and foreign communities interested in Downtown’s vintage cafes, bars, hotels and hostels. Starting with the opening of Townhouse Gallery in Downtown in 1998, art galleries and cultural institutions have popped up, and seminars and workshops now take place on a regular basis.

Today groups of artists, journalists, scholars and activists are frequenting Downtown to experience and document what some perceive as a vanishing landscape, potentially under threat by both gentrification and securitisation measures.1 Beginning in 2010, a new vision for the redevelopment of Downtown emerged under the umbrella of two prominent national organisations. While the General Organisation for Physical Planning (GOPP) offered a grand vision for the Greater Cairo

Region, culminating in its 2050 Strategic Plan (2009), the National Organisation for Urban Harmony (NOUH) focused on revitalisation and redevelopment projects in and around Downtown. Along with these institutional visions and professional plans, private investors such as Al-Ismaelia for Real Estate Investment have been identifying key heritage buildings and spaces as potential real-

7

estate development assets and nuclei for broader redevelopment frameworks. Yet Al-Ismaelia’s proclaimed goals to restore the architectural and urban legacy of Khedival Cairo have raised concerns among some Downtown residents and visitors, for fear of gentrification and potential displacement.

The Presidential Committee for Khedival Cairo was established in 2017, headed by former Prime Minister Ibrahim Mahlab, and includes the heads of relevant national executive organisations, such as the Cairo Governorate, GOPP, and NOUH. The committee is empowered to develop visions for the revitalisation of Downtown in collaboration with major stakeholders in the district, including representatives from the private sector such as Al-Ismaelia for Real Estate Investment and the American University in Cairo, amongst others.

Creative initiatives have consistently played an important role in downtown Cairo’s appeal and dynamism, carving out a third space between state institutions and the private sector, leading small-scale urban regeneration initiatives that are more diverse and inclusive. This project is an attempt to showcase the positive economic contributions of the arts to Downtown, and argue for their incorporation into future government plans for Downtown’s redevelopment.

8

9

II.

PURPO SE This Creative Initiatives Toolkit offers stakeholders and researchers alike a guide to measuring the economic impact of the independent arts and culture sector as a segment of the creative sector on a district, in this study, downtown Cairo. Through an economic impact assessment of the arts on the district, it aims to demonstrate the importance of this industry sector to Downtown’s revitalisation.

The ultimate aim of this study is to produce an economic analysis

of the arts, focused on cultural initiatives’ level of investment and reinvestment in the Downtown district. The toolkit and reports produced may be used as tools to advocate for governmental support for the arts sector.

12

13

I NTEN DED O U TCOM E This document is a step-by-step toolkit to help researchers, business owners, cultural workers and funders assess the economic impact of art and cultural initiatives.

The toolkit explains how to analyse the impact of both regular expenditure cycle and event-based expenditures by creative initiatives on the economy of the district in which they are located and hold their events. The regular expenditures cycle refers to monthly expenditures generated in the district by the cultural

initiative (gallery, art centre, etc.) through regular operations and everyday functions not including programmed events. Examples of regular expenditures include rent, salaries, maintenance, etc.

The event-based expenditures are additional expenditures by the cultural organisation, also referred to as event organisers, due to staging an event. Event-based expenditures may be incurred, for example, in relation to festivals, workshops, openings, screenings, and lectures.

14

This study examines three levels of encounters between the creative initiatives and the district under study, referred to as the direct, indirect, and induced impacts. Within each level, businesses engaged by the creative initiative are broken down by category.2

15

A. REGULAR EXPENDITURE CYCLE

The diagram on page 17 illustrates regular expenditures needed to run a creative initiative, including groceries, maintenance and electricity. The diagram further classifies the service providers by location; within the district and outside the district. In addition to these service providers, there is an exchange of services between creative initiatives that often manifest as in-kind contributions that can be estimated. The number and type of expenditures may expand or contract depending on an initiative’s spending patterns.

16

Creative Initiative

Regular Expenditures Cycle in the District

$ No. of Employees

Spending on the Workspace

Spending on Building

Spending in the District

Printing

Average Salary

Workspace Area

Janitor

Maintenance

Sum Contract Value

Utilities

TAX

Building Maintenance

Rent

Operating Costs

Office Supplies

Parking

Groceries

ACTIVITY WITHIN DOWNTOWN

Taxes

Staff Expenditures

Equipment and Furnishing

ACTIVITY OUTSIDE OF DOWNTOWN

17

B. EVENT-BASED EXPENDITURE As creative economy consultant Tom Fleming has noted, creative events and festivals are vital catalysts for many different types of creative services, including photography, communications, design, gaming and animation. They can drive innovation and growth in an overall ecosystem or cluster.3 First, the direct impact is the total additional expenditure generated within the district by both the event organisers and the event audience, which can be directly attributed to staging the event.

Second, the indirect impact is the benefit to businesses that is not the result of direct spending by event organisers or audiences.

An example of this is the increased business that a poultry supplier may experience as a result of an increased need by local restaurants due to increased patronage (as a result of festival/ audience expenditures).

The induced impact is the money re-circulated in the neighbourhood as a result of an increase in employment in the area. The staff of creative initiatives will have salaries to spend, and if they are located in Downtown, they will hypothetically spend some of their money there.

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Creative Event

Event-based Expenditures in the District

Audience

Event

Induced Impact

Indirect Impact

Direct Impact

ADMIT ONE

Retail

Kiosks

Coffee shops

Restaurants and Bars

Catering

Accommodation

Printing and Distribution

Transportation

Branding

Equipment

Construction and Furniture

Performers

P Supplies

New Employees

Supplies

New Employees

Paper Supply

Car Repairs

Money recirculated in the district as a result of increase in salaries

Gas New Parking Station Employees

19

T I MELIN E In order to assess the economic impact of events produced by creative initiatives, it is important to strategically document and analyse the variables outlined before, during and after the event.

Event The diagram on page 21 temporally categorises the businesses activated either before, during, or after an initiative’s irregular cycle. It also indicates the type of research actions to be conducted by the researchers at any given moment.

Audience

Research on an initiative’s regular expenditure cycle can be conducted at any time.

Researchers

20

During Event

Before Event

Post Event report

Installation Equipment

Distribution Transportation Accommodation

Catering

Artists

Transportation De-installation

Spending Report

ADMIT ONE

Bars/ Restaurants

Coffee Shops

Kiosks

Tickets

Bars/ Restaurants

Coffee Shops

Kiosks

report

Research Material Preparation

Mapping

Audience Survey

Interviews

Interviews Analysis

Spending Report

EGP

Spending Analysis

21

III.

24

ME THOD OLOGY The toolkit is divided into three parts:

1. MAPPING

2. DOCUMENTATION AND ANALYSIS

3. SYNTHESIS

The first step is to create a map of all venues being assessed. As data is collected, you will also incorporate all relevant businesses that benefit from this initiative’s existence.

This toolkit depends on documenting information from four entities:

The collected data will be used to calculate impact values and indicators.

Formulae and representation suggestions are included in this toolkit to simplify this step.

A. Event organisers B. Audience C. Affiliated businesses D. Non-affiliated businesses

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MA PPIN G The first step of the research is mapping. As you collect information regarding the categories presented throughout the toolkit, add it to your map. You will find more details regarding these categories on pages 36-51. Engagement and partnership between the different Downtown stakeholders are integral to the

mapping process. Only by building a community interested in the mapping project will quality information be generated. This can be done by organising workshops both on mapping and on the creative ecosystem of Downtown, as well as by holding interviews with key strategic stakeholders.4 To begin with, incorporate all venue locations into your map. For each venue, draw the venue spillover, discussed on pages 3033. Next, based on the information collected, add all businesses

26

directly impacted, followed by indirectly impacted businesses, by category. Finally, add the businesses in Downtown that are not in these spillover zones but which will, regardless of their location, attract patrons such as popular restaurants, bars or shops. On page 33 you will find a template for this map, with a code you can replicate. Please note that these are notational suggestions you may choose to disregard, depending on the event size and scope.

The directory on pages 28-29 will also serve to complete the map.

The listed venues are all creative initiatives based in downtown Cairo, as mapped by Cairo Lab for Urban Studies, Training and Environmental Research (CLUSTER), as part of the Cairo Urban Initiatives Platform (CUIP). Launched in 2013, CUIP is a directory and calendar of emerging initiatives focusing on the city and public space. CUIP was initiated to document the proliferation of art, culture and urban initiatives following the 2011 revolution.

Launched with 35 initiatives, CUIP now hosts over 300 initiatives and offers valuable resources including an archive of events. It should be noted that while CUIP online is a dynamic platform (www.cuipcairo.org), where venues’ locations may be changed, certain venues mapped for this study and presented on pages 28 and 29, notably CIC and Zawya, have since moved to new locations Downtown.5

27

A

A. DIRECTORY

CREATIVE INDUSTRIES IN DOWNTOWN CAIRO

B

The following index provides specific venues in downtown Cairo for different categories of

1

2

3

4 20 16

al-

bi

13

‘A

ar

C

qiy

aM

ar

‘URABI

ke

t

Al-Alfi Bey

12

rb

0624

Ha

Saray al-Azbakiya

09 19 01 44 05 17 11 ‘Adli Pasha 36 28 35 03 02 07 25 45 37 27 ‘Abd al-Khaliq Tharwat 08 51 03

ollion

sis m Ra

12

Th

at

05 53r al-Nil 02

ida

rb

Al-B h

am mad 38 02 09 Sab ri A bu ‘Ala m 54 06 12 14 21 10 18 39 H 04 40 04 uda Sh a‘ 17 20 rawi

Pa

sh

a

ha

az

lum

Pas

Mu

08

AL-FALAKI

29

ri A

bu

‘Ala

alam ‘Arif

m

‘Abd al-S

‘Ali Pas

ha Zulfiq

ar

ur

Fahm i

Mans

22 50 05

rir

mud St.

11

Sab

alam ‘Arif

Muha

mmad

Mahm

Gawi sh

04

32

mad

‘Abd al-S

Abde l Aziz

mad Mah

Rushdi Pasha

Al-Tah

Al-Falak i

Yusuf al-J indi Muham

02

r

07

ham

Al-Tahrir

Al-TAHRIR

Qasr al-Nil

Nuba

Sid

Maz

qi

Mu

10

Al-F alak i

Hif

bu

aA staf

tan

43

M

lum

Ha Tal‘

at

Al-Bus

34 46 07 48

‘Ulwi

Abu Bakr Khayrat

rb

Mer

E

42 Bank Masr

11

03

06

MUSTAFA KAMIL

Opera

-Gad

Ha Mu

Qas

al ursa

at Tal‘ TAL‘AT HARB

10

il

r al-N

Qas

05

01 13

ritt Pa

16

uni

08 Al-Fadl

Al-Qadi al-Fadel

ri ma al-

ha nP as Basy

41 01

09

sa y

mud

Hu

Mah

sha

21

52

Mi'

33 01

13

17

ud St.

26

Muhammad Farid

ch am po llio n

uf

47

Jumhuriya

Ma 14 5519 'r

D

arw

Muhammad Farid

liq

‘id

J awad Hus ni

ha

15

Sa

S harif Pas ha

id

Sharif Pasha

am

18 16

Al- S harifayn

l-H

l-K

Ahmed Abdel Aziz

da

04

Muhammad Farid

26th July

Champ

‘Ab

14

14

at

July

Tal‘

26th

22

wfi

Jumhuriya

Ta

15

Sulayman al-Halabi

nb

Al-

49

la

Bu rs a

Ra

Ha

‘I mad al-Din

m

sis

an

Zakariya Ahmed

‘Urabi

ym

t

la

ra nta Qa an a Mid akk Ald

Su

id

da

23

Naguib al-Rihani

Sa

‘Ab

30 31

© CLUSTER 03

01

10 Mahmoud Bassiouny

D1

26

El Dammah Theater for Free Arts

E3

02

100 Copies Music Space

D1

27

Doum Cultural Foundation

C3

03

Aftro

C3

28

Eish + Malh

C3

04

‘Ali Muhammad al-'Assal

D2

29

Falaki Theater

E1

05

Antro Studio

C3

30

El Fan Medan / The Independent Culture

E4

06

Al-’Arise Studio

D1

07

Artistic

D3

31

Gallery Grant

E4

08

Awan Contemporary Art Gallery

D2

32

Gz Corner

D3

09

Cairo Atelier (Atelier du Caire)

D2

33

HaRaKa

D1

10

Catsaros Auctioneers

C3

34

Isma‘il Antique

D3

11

Cimatheque

C3

35

K Project Space

C3

12

Cinema Cairo Palace

C3

36

Kunst Gallery Café

C3

13

Cinema Cosmos

B3

37

Lehnert & Landrock*

C3

14

Cinema Diana

C3

38

L’Orientaliste Bookstore

D2

15

Cinema Karim

B4

39

Louvre meuble - Abdou Awad shop for

D2

16

Cinema Ledo

B4

17

Cinema Metro

C3

40

Mahrus Muhammad al-'Assal

D2

18

Cinema Miami

C2

41

Mashrabia Gallery of Contemporary Art

D1

19

Cinema Odeon

C2

42

Mu'ataz al-Masri Antiques

D3

20

Cinema Piegal

B4

43

October Manufacture for Drawing

D3

21

Cinema Radio

D2

22

Cinema Renaissance

B3

44

Piano Boulos

23

Cinema Ritz

B4

45

Piano Marzouk Music Store

C3

24

Cinema Rivoli

C2

46

Sa’id Meuble

D3

25

Contemporary Image Collective (CIC)*

C3

47

Senouhi Gallery of Art

C4

Al-

Ja

la’

Art and Culture Design Media Food and Beverages

non-affiliated businesses that can be included in the mapping exercise.

Coalition (closed)

antique

Furniture and Arabesk C3

48

Al-Shimi Photo Stores

D3

49

Studio Emad Eddin Foundation

B3

50

The GrEEK Campus

E2

11

Egypt Media Development Program

D3

(EMDP) 12

General Egyptian Book Organisation

C2

(GEBO)

01

After Eight

D1

02

Cafe Riche

D2

03

Estoril

D1

04

Felfela

D1

A Al Mahka

E2

B Geb Raa - Egyptian Handcrafted Treasures

E2

13

Madbouly Bookstore

D2

05

Grillon

D1

51

The Reader’s Corner Bookstore

C3

14

Merit Publishing House

D2

06

Greek Club

D1

52

The Townhouse Gallery

D2

15

Misr International Films

C2

07

Horeya

D2

53

VENT (closed)

D1

16

Mosireen (closed)

C2

08

Kafein

C3

54

Yasir Sami

D2

17

Nevro Bookstore

D2

09

L’Americaine Coffee Shop

C3

55

Zawya*

C2

18

Omar Bookstore

D2

10

Lotus

D1

01

CLUSTER

C3

19

Al Sawt Al Hurr

C3

11

Oldish

E2

02

EECA Egyptian Earth Construction

C3

20

Sharqiyat Publishing House

D2

12

Stella

D2

21

Tanmia Bookstore

D2

13

Sheherazad

C2

22

The GrEEK Campus

E2

14

Windsor

C4

Association 03

Al Ismaelia for Real Estate Investment

C3

04

Misr Real Estate Assets Management

C4

A Animation 8

E2

15

Zawya cafe

C2

05

The GrEEK Campus

E2

B CORD

E2

16

Zigzag

D1

A apt-9 Propertunities

E2

C Digital Essence

E2

17

Cairoma

D2

B Duco

E2

D E-Chance

E2

E2

E MasrdotBokra for Skills Development

E2

06

C Kemet Art & Design The Society of Egyptian Architects (SEA)

C2

F MO4 Group

E2

01

Afaq Cairo

D2

G Pencil Media Production

E2

02

Aswat Masriya

D3

H Pro House

E2

03

AUC Press

E1

I Zone Plus

E2

04

El Balad Bookstore Café

E2

05

Dar El-Ain

D2

06

Dar Dawen

D2

07

Al Dar Al Masriah Al Lubnaniah

C3

08

Dar El Ma’aref

C3

09

Dar El Shorouk Bookstore

D2

10

Dar al-Tanweer

E2

*This map indicates the location of the creative initiative at the time of study. This initiative has since moved to a new location Downtown.

B. SPILLOVER ANALYSIS According to a study conducted in 2015 by the Tom Fleming Creative Consultancy, entitled ‘’Cultural and Creative Spillovers in Europe: Report on a Preliminary Evidence Review” the zone of influence of a venue, or ‘spillover’ area is defined as follows:

“We understand [...] spillover(s) to be the process by which an activity in one area has a subsequent broader impact on places, society or the economy, through the overflow of concepts, ideas, skills, knowledge and different types of capital. Spillovers can take place over varying time-frames, and can be intentional or unintentional, planned or unplanned, direct or indirect, [and] negative as well as positive.

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•

Knowledge spillovers refer to the new ideas, innovations and processes developed within arts organisations and by artists and creative businesses which spill over into the wider economy and society without directly rewarding those who created them.

•

Industry spillovers refer to the vertical value chain and horizontal cross-sector benefits to the economy and society in terms of productivity and innovation that stem from the influence of a dynamic creative industry, businesses, artists, arts organisations or artistic events.

•

Network spillovers relate to the impacts and outcomes to the economy and society that spill over from the presence of a high density of arts and/or creative industries in a specific location (such as a cluster or cultural quarter). The effects seen in these are those associated with clustering (such as the spread of tacit knowledge) and agglomeration, and the benefits are particularly wide, including economic growth and regional attractiveness and identity. Negative outcomes are

“

also common – e.g. exclusive gentrification.6

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It is important to note that spillover effects are broader than just quantitative impacts; they may also be of a qualitative nature, in that they foster a strong sense of creative collectivity and confidence in both the district and the artists involved. Qualitative spillover effects include but are not limited to: •

Promoting positive place identity

•

Promoting the district as a touristic destination

•

Positively affecting artists by showcasing their work

•

Fostering an entrepreneurial spirit

•

Encouraging sharing of resources between creative initiatives

•

Stimulating collaborations

•

Creation of ‘community’ spirit amongst the creative class

The spillover area of 7 sample initiatives, indicated in the map on page 33, is demarcated as a radius of 100 metres. This is an attempt to measure the quantitative spillover of these cultural initiatives in the immediate neighbourhood.

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Cultural Initiatives and Venues

Businesses Dependent on Venue Location

Cimatheque 7

CreativeINITIATIVES initiatives RetailIN DOWNTOWN CAIRO CULTURAL IMPACT ON BUSINESSES

Non-Affilated Businesses

â—?Cultural RetailInitiatives and Venues

Kiosks and coffee shops

Non-affiliated Businesses

Hotels Kiosks and coffee shops Printing Retail

Transportation

Affiliated Businesses Equipment rentals Hotels

Construction businesses

Business that could be either categories depending Restaurants and bars (Catering) on Construction/installation the whether hired by the organisers during an event Restaurants and Bar/Catering Transportation

CIC

Townhouse

Businesses Independent of Venue Location

Affiliated Businesses Restaurants and bars

Printing

Zawya

Koshks and Ahawi

Staff/Performers/Audience Accomodation Restaurants and Bar Printing Transportation Equipment Construction Catering

Mashrabieya

Studio Emad Eddin Foundation

Venue Spillover radius =100 m

VenueSpillover Spillover Venue CLUSTER

Cimatheque Zawya*

CIC*

Townhouse

Mashrabieya

*This map indicates the location of the creative initiative at the time of study. This initiative has since moved to a new location in Downtown.

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D O C U MEN TAT I ON A N D A N A LYS I S The following section details the data you will be required to collect from each of the following entities: A. Event organisers B. Event audience C. Non-affiliated businesses D. Affiliated businesses The method of data collection may vary depending on the entity. For instance, data from event organisers may be based on those entities’ recorded expenses, while collecting information from audiences, affiliated businesses, and non-affiliated businesses will require fieldwork. This section further provides methods and formulae required in order to analyse the data collected.

34

35

A. EVENT ORGANISERS I. DOCUMENTATION This section details data to be collected directly from event organisers. Start by tracking and recording expenditures in the categories below, based on information provided by initiative. You will have to differentiate between regular expenses and event-based expenses.

Remember, each event is unique and might require a specific set of expenses, and that not all categories of expenses are necessarily included below. Also remember that even if the focus of your study is one event, rather than the general operation of a cultural initiative, do not neglect to collect data on regular expenses generated by the initiative.

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REGULAR EXPENSES

EVENT- BASED EXPENSES

A. Rental B. Maintenance i. Initiative space ii. Building C. Building security D. Supplies E. Groceries F. Water/electricity G. Cleaning H. Salaries of regular staff

A. Equipment/furniture

Cameras, equipment, other electronics, etc.

B. Construction

Workers hired to conduct renovation

C. D. E. F. G.

work, painting, etc.

Transportation/ Parking Printing/distribution Catering Photography Graphic design

K. Artists and Delegates i. Fees ii. Accommodation L. Event i. Number of Events ii. Ratio of Different Genres M. Audience

i. Audience Count at Free Events

ii. Audience Count at Ticketed Events

H. Event venue/s rental I. Rehearsal space/s rental J. Salaries of additional staff hired specifically for the event

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II. ANALYSIS

Once you have collected all the information from the event organiser, you can begin to visualise and analyse the data. The table below shows recommended charts for data representation.

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REGULAR CYCLE DATA

REPRESENTATION

A. Total regular expenses B. Percentage of staff members living in Downtown C. Average spending of staff living in downtown Cairo in the district per month (obtained by interviewing staff) D. Average spending of staff living outside of downtown Cairo in the district per month (obtained by interviewing staff) E. Total staff spending in Downtown per month (weighted average of staff spending in the district)

Number Pie chart Number Number Number

EVENT-BASED

REPRESENTATION

A. B. C. D. E. F. G. H. I.

Number Number Map Number Pie chart Pie chart Pie chart Number Pie chart

Number of events Number of participants [artists and delegates] Participants’ place of residency Average artists’ fees Audience count at ticketed events Audience count at free events Ratio between audiences at ticketed versus free events Weighted average ticket price8 Different genres per event by percentage

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FORMULAE WEIGHTED AVERAGE

9

(x1.c1)+(x2.c2)+ (x3.c3)+ (x4.c4)+………..+ (xn.cn) c1 + c2+ c3+ c4+..............+ cn Where x is the individual data point and c is the weight (percentage) of each data point

PERCENTAGE

Part .100 Whole

40

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B. EVENT AUDIENCE I. SURVEY

To determine the event audience expenditure, a survey or interview allows you to obtain a sample from the audience, The average of the data collected can be upscaled to evaluate the total expenditure of event attendees. The following is a sample survey that may be distributed by event organisers prior to or following an event.

This survey aims at measuring the economic impact of the creative sector in downtown Cairo. Your input would be very valuable to develop a better understanding that may potentially feed into future policies to support the creative sector in Egypt. We would like to request 5 minutes of your time to ask you some questions about your experience of the EVENT and of downtown Cairo.

1. Age: 2. Gender: 3. Place of residence: 4. Profession: 5. Where do you commute to the EVENT from and how?

6. How many of the EVENTS do you plan on attending?

7. What type of EVENTS are you planning to attend?

(You may choose several options.)

8. At what time of the day do you plan to attend the EVENT? a. In the morning only b. In the evening only c. Depends on the event

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9. On what days do you plan on attending the EVENT? (You may choose several options.)

a. Sundays

b. Mondays

c. Tuesdays

d. Wednesdays e.Thursdays

f. Fridays

g. Saturdays

h. It entirely depends on the event 10. Did you discover aspects of and/or places in downtown Cairo you didn’t know about prior to the EVENT? 11. What are your primary activities in downtown Cairo prior to and after the EVENT?

a. Sitting for coffee

b. Restaurants and Bars

c. Shopping

d. Strolling

e. Other (please specify) 12. Where do you plan on going after these events?

(Please specify destination names.)

13. What is your average length of stay in downtown Cairo prior to and after the EVENT?

a. I’m only here for the event

b. Under an hour

c. One to three hours

d. Three hours or more

e. Other (please specify) 14. On average, how much did you spend on the day of the EVENT in DOWNTOWN excluding the ticket price (food, drinks, retail, etc.)?

15. Do you come to downtown Cairo when the EVENT is not on?

a. Yes, very often

b. Occasionally, when needed

c. For similar events

d. No, barely ever

e. Other (please specify) 16. In addition to the EVENT, What are your general reasons for coming to downtown Cairo?

(You may choose several options.)

a. Living

b. Working

c. Shopping

d. Movies e. Arts and culture f. Dining and drinking/cafes g. Other (please specify)

17. How often do you come to downtown Cairo?

a. Everyday

b. 3-5 days a week

c. 1-2 days a week

d. 1-2 times a month

e. 1-5 Times a year

f. Never 18. Would you like to spend more time in downtown Cairo independently of the EVENT?

a. Yes

b. No

The anonymity of all respondents is guaranteed. Your personal information will not be disseminated without your consent.

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II. ANALYSIS Now that you have collected the necessary information from the audience, you can begin to analyse and visualise the data. To do so, input the survey responses into an excel sheet, and create a chart that reflects the results for each question. The table below shows recommended charts for data representation.

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DATA

REPRESENTATION

A. B. C. D. E. F. G. H.

Pie chart Pie chart Pie chart Bar graph Bar graph Bar graph Pie chart Number

Attendance by age Attendance by occupation Audience provenance Activity before and after event Activities related to event Time spent in the district around the time of the event Weighted Average spending Total audience expenditure in the district10

FORMULAE WEIGHTED AVERAGE (x1.c1)+(x2.c2)+ (x3.c3)+ (x4.c4)+………..+ (xn.cn) c1 + c2+ c3+ c4+..............+ cn Where x is the individual data point and c is the weight (percentage) of each data point

PERCENTAGE

Part .100 Whole

45

C. NON-AFFILIATED BUSINESSES I. DOCUMENTATION Non-affiliated businesses are businesses that are not directly involved in the organisation of an event, but are impacted by event/s occurring in their vicinity.

Start by categorising potential non-affiliated businesses under study by location and by type of business. It is imperative to visit the non-affiliated businesses under study before, during and after an event in order to observe any changes.

Classify the location of relevant non-affiliated businesses into two different sets; businesses inside the spillover area and businesses outside the spillover area. To map the businesses inside the spillover area, establish a radius of 100 metres within which to conduct your interviews and observations. Businesses frequented by the event audience may be determined through the audience survey. These businesses may or may not fall within the spillover area.

For a further explanation and illustration of mapping businesses in the spillover area refer to pages 30-33. The map on pages 28-29 may be used to identify businesses associated with the creative industries in downtown Cairo.

Further classify the non-affiliated businesses by type of activity (retail, restaurant, etc.). This classification will determine what questions to ask business owner/employees and what observations are needed to complete your assessment as shown below. Make sure to collect data both on the day/s of the event and on regular days.

46

REQUIRED DATA BY BUSINESS TYPE

BARS AND RESTAURANTS

COLLECTED BY OBSERVATION A. Location B. Capacity C. Average dinner expenditure D. Average drinks expenditure COLLECTED THROUGH INTERVIEWS

E. F. G. H. I. J.

Average turnover Turnover during event Staff residence Average staff salary Suppliers’ location (inside/ outside of Downtown) Marketing/Operation change for event

KIOSKS AND COFFEE SHOPS

COLLECTED BY OBSERVATION

A. Location B. Average expenditure COLLECTED THROUGH INTERVIEWS

C. Average turnover D. Turnover during event E. Average expenditure per table F. Average staff salary G. Staff residence H. Suppliers location (inside/ outside of Downtown

CULTURAL INITIATIVES

COLLECTED BY OBSERVATION A. Location COLLECTED THROUGH INTERVIEWS B. Change in number of visits during event

IF AN INITIATIVE ACKNOWLEDGES AN EFFECT ON THEIR OPERATIONS, COLLECT THE FOLLOWING INFORMATION:

C. Printers’ costs D. Suppliers’ location (inside/ outside of Downtown).

E. Average staff salary

RETAIL

COLLECTED BY OBSERVATION A. Location COLLECTED THROUGH INTERVIEWS B. Change in number of visits during event C. Average number of sales D. Average number of sales during event E. Suppliers’ location (inside/ outside of Downtown) F. Staff provenance(inside/ outside of Downtown)

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II. ANALYSIS

Once you have all the information collected, you can proceed to quantify and chart the results. Map out the location of each of the businesses. The formula below describes the method of calculating the percentage change of turnover during the event.

BUSINESSES IN SPILLOVER AREA:

BUSINESSES OUTSIDE SPILLOVER AREA:

DATA

DATA

A. Revenue generated per venue B. Patron % increase C. Average revenue % increase

A. Revenue generated per venue B. Patron % increase C. Average revenue % increase

FORMULA PERCENTAGE CHANGE IN TURNOVER Average turnover during event - average turnover X 100 Average turnover

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49

D. AFFILIATED BUSINESSES I. DATA COLLECTION Affiliated businesses are those contracted by the event organisers directly. A comprehensive list of these may be obtained from event organisers directly, including the expenditures spent on affiliated businesses. If the affiliated businesses are in the district under study, you should conduct interviews in order to estimate how these businesses contributed to the indirect economic impact of the event on the district. Please note that there may be an unwillingness on the part of businesses interviewed to fully disclose information.

MARKETING

PRODUCTION

COLLECTED FROM EVENT ORGANISERS

COLLECTED FROM EVENT ORGANISERS

COLLECTED THROUGH INTERVIEWS

COLLECTED THROUGH INTERVIEWS

A. Location B. Fee of the service

C. Staff increase during event D. Increased exposure due to event E. Average staff salary F. Staff provenance G. Suppliers’ location (inside/ outside of Downtown) H. Average revenue 50

A. Location B. Fee of the service

C. Staff increase during event D. Increased exposure due to event E. Staff provenance F. Suppliers’ location (inside/ outside of Downtown)

ACCOMMODATION COLLECTED FROM EVENT ORGANISERS

A. Location B. Accommodation cost for event participants (artists, delegates, etc) COLLECTED THROUGH INTERVIEWS

C. Average occupancy D. Average occupancy during event E. Average room rate F. Average room rate during event

VENUES COLLECTED FROM EVENT ORGANISERS

A. Location B. Venue Rent Fee C. Venue preparation cost COLLECTED THROUGH INTERVIEWS

D. Staff increase during event E. Workforce provenance

II. ANALYSIS Once you have all the information collected, you can proceed to quantifying and charting the results.

Map out the location of each of the businesses on the map.

DATA A. Staff from district’s average salary B. Average revenue increase

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SYN THESIS A. SYNTHESISE YOUR FINDINGS Finally, you can synthesise your findings into a comprehensive document.

In addition, you can utilise the diagrams on pages 55 and 56 and the associated toolkit formulae to track spending per category and efficiently calculate and present the total gross spending.

The diagram on page 55 can be used for an initiative’s spending during its regular expenditure cycle, while the diagram on page 56 can be used to represent an initiative’s spending during an event.

The cultural initiatives mapped in this study are based on CLUSTER’s Cairo Urban Initiatives Platform (www.cuipcairo.org).

At the time of writing there are 103 active independent cultural initiatives mapped in downtown Cairo.

There are three large-scale annual festivals based in downtown Cairo: Downtown Contemporary Arts Festival (D-CAF), Cairo Cinema Days (CCD) and the Panorama Film Festival.

52

53

54

Creative Initiative

Regular Expenditures Cycle in District

$ Average Salary EGP

No. of Employees persons

Spending on the Workspace

Printing

EGP/Month

Utilities

EGP/Month

EGP/Month

TAX

Building Maintenance EGP/Month

Spending in the District

Sum Contract Value EGP

Janitor

Maintenance EGP/Month

Spending on Building

Workspace Area m2

Office Supplies EGP/Month

Rent

Operating Costs

Parking

Groceries

EGP/Month

EGP/Month

Taxes

EGP/Month

EGP/Month

EGP/Month

Staff Expenditures

Equipment and Furnishing

EGP/Month

TOTAL SPENDING WITHIN DISTRICT/ MONTH

=

Spending in the + Spending on + Spending on District the Workspace Building

EGP/Month

TOTAL SPENDING OUTSIDE OF DISTRICT/ MONTH

=

Sum of the above

55

Creative Event

Direct Impact

Audience

Retail

Induced Impact

Indirect Impact

EGP

56

Event

ADMIT ONE

Koshks Coffee Restaurants Catering Shops and Bars EGP

EGP

Supplies EGP

Total

Event-based Expenditures in District

EGP

EGP

Supplies New Employees EGP

Accomm- Printing and TransGraphic Equip- Construction Performers odation Distribution portation Designers ment and Furniture EGP

New Employees

EGP

Paper Supply EGP

EGP

EGP

EGP

New Gas Car Repairs Station Employees

Money recirculated in the district as a result of employees’ expenditures

EGP

EGP

EGP

Sum Direct Impact Expindeture /EGP

EGP

Sum Indirect Impact Expindeture /EGP

57

B. ANALYSE YOUR FINDINGS The annual direct economic impact of the creative sector on a certain geographical area is the total sum of the annual regular expenditure and any event-based expenditure generated in the area by the creative sector. To calculate the regular expenditure, first categorise initiatives by size, as each size initiative has a different average expenditure. You can then estimate the overall annual expenditure of the creative sector: Creative Intiative Size

Number of Initiatives in Downtown

Estimated Average Spending Per Year (using Diagram on page 55)

Large Creative Intiatives Staff = 70-100

Medium Creative Intiatives Staff = 20-70

N

N

N x Average total spending per month x 12

N x Average total spending per month x 12

Small Creative Intiatives Staff = 5-20

N

N x Average total spending per month x 12

Sum of Row 2 =

Creative Sector Regular Cycle Annual Economic Impact 58

Average Sum Direct Impact Expenditure/EGP x Number of Creative Events =

Event-based Economic Impact in a Specific Year

Event-Based Economic Annual Impact Cycle + Creative Initiative Regular Cycle Annual Economic Impact =

TOTAL CREATIVE INDUSTRIES ANNUAL ECONOMIC CONTRIBUTION TO DOWNTOWN

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CO N C LU S I ON This project was undertaken to identify and quantify the economic value of the arts in downtown Cairo. Art and cultural activities offer many direct and indirect benefits to the economy.

Understanding the role and impact of different sectors in downtown Cairo is crucial to the future revitalisation of the neighbourhood. By determining the economic impact of cultural activities in Downtown, both as a result of time-specific events and ongoing cultural initiatives, it is possible to better estimate the cultural sector’s economic contribution to the Downtown district.

Most cultural initiatives Downtown utilise resources and businesses within the neighbourhood. Therefore, wealth generated in Downtown is recycled and spent in Downtown, creating its own ‘economic cycle’. Downtown Cairo contains a sustainable creative class that activates and serves its creative economy.

It is important to note that many of Cairo’s cultural initiatives in Downtown are funded by independent entities and that their impact on the area remains unaccounted for in the industry

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sector. This may explain the lack of impact of the cultural sector on Egypt’s GDP (less than 0.07%).11 In other words, formalising the creative economy is set to result in the growth of the sector, which, in turn, would generate more wealth and jobs to serve the Downtown district and Cairo’s economy at large.

This study further proposes that art and cultural initiatives contribute to the Downtown district not only quantitatively but also qualitatively. The spillover from the cultural sector into the broader economy, specifically the injection of knowledge and talent into the area, fosters an engaging community and an environment “capable of attracting talent and inward investment.”12 Ultimately, the evidence gathered in the production of this study suggests that the creative industries positively contribute to the economy of the Downtown district. A recognition of the economic impact of the creative sector on Downtown may help to develop policies that would foster and nourish these initiatives and events, as a key asset for the revitalisation and sensitive regeneration of Downtown.

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63

ENDNOTES 1 For more on creative initiatives in Cairo, visit the Cairo Urban Initiatives Platform, developed by CLUSTER. <http://www.cuipcairo.org>

7 This map is based on CLUSTER’s CUIP mapping project <http://www.cuipcairo.org> and Cairo Downtown Passageways study <http://passageways.clustermappinginitiative.org>.

2 This model is based on NESTA’s impact theory. See: Hassan Bakhshi, et al, A Manifesto for the Creative Economy, 2013. <http://www.nesta.org.uk/publications/manifesto-creativeeconomy>

8 If the organisers provide total box office revenue, use this data rather than estimating the box office revenue based on ticket price.

3 T. Fleming. Personal communication. Aug 8, 2017. Electronic mail.

9 The weighted average formula is used to calculate the average of a set of data points where some data points contribute to the final average more than others.

4 Ibid 5 For an updated list, see CLUSTER’s CUIP mapping project <http://www.cuipcairo.org> and Appendix to Creative Cities: Re-framing Downtown Cairo <http://www.creativecitiescairo. org>.

6 Tom Fleming Creative Consultancy, Cultural and Creative Spillovers in Europe: Report on a Preliminary Evidence Review, 2015.

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10 To calculate the gross number of visitors you first have to calculate the weighted average expenditure. This number is calculated using the weighted average formula on page 45.

The number of visitors spending a certain average amount would represent the weight (c) and the spending average itself would be the individual data point (x). The gross expenditure is obtained by multiplying the weighted average spending by the total number of audience members.

In the case of events where audiences attended several shows/events per day as part of the same festival, make sure to request the number of actual attendees. If such data cannot be tracked by the organisers, use questions 6 and 9

of the survey on page 42 to estimate the number of repeat attendees.

11 For more Information see: <http://www.tradingeconomics.com> 12 It is important to note that a number of these initiatives remain informally organised and independently funded.

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IV.

DOWNTOWN CAIRO

El Kadi, Galila. Cairo: a Centre in Movement. Marseille: Institut de Recherche pour le Développement, 2012.

Abu-Lughod, Janet L. Cairo: 1001 Years of the City Victorious.

Princeton, N.J: Princeton University Press, 1971.

Mehrez, Samia. The Literary Life of Cairo: One Hundred Years in the Heart of the City. Cairo; New York: The American University in Cairo Press, 2011.

Books

ʻAlī, ʻArafah ʻAbduh. al-Qāhirah fī ʻAsṛ Ismāʻīl. al-Qāhirah: al-Dār al-Misṛīyah al-Lubnānīyah, 1998.

Arnaud, Jean-Luc. Le Caire: Mise en Place d’une Ville Moderne, 1867-1907: des intérêts du prince aux sociétés privées.

Arles: Sindbad: Actes Sud, 1998.

Capresi, Vittoria and Barbara Pampe. Eds. Discovering Downtown Cairo: Architecture and Stories. Berlin: Jovis Verlag, 2015.

Dal, Mikala Hydlig. Ed. Cairo: Images of Transition, Perspectives on Visuality in Egypt 2011-2013. Bielefeld: Transcript-Verlag, 2014.

Myntti, Cynthia. Paris Along the Nile: Architecture in Cairo from the Belle Epoque. Cairo: The American University in Cairo Press, 1999.

Naaman, Mara. Urban Space in Contemporary Egyptian Literature: Portraits of Cairo. New York: Palgrave Macmillan, 2011.

Raafat, Samir W. Cairo, The Glory Years: Who built what, when, why, and for whom…. Alexandria: Harpocrates Publishing, 2003.

Reynolds, Nancy, Y. A City Consumed:urban commerce, the Cairo fire, and the politics of decolonization in Egypt. California: Stanford University Press, 2012.

Rodenbeck, Max. Cairo: The City Victorious. London: Picador, 1998.

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Scharabi, Mohamed. Kairo: Stadt und Architektur im Zeitalter des Europaischen Kolonialismus. TuĚ&#x2C6;bingen: E. Wasmuth, 1989.

CREATIVE CITIES Books

Seif, Ola et al. Downtown Cairo= WasatĚŁ al-Balad, Cairo: Zeitouna, 2014.

Andersson, David E. et al, Handbook of Creative Cities. Cheltenham: Edward Elgar,2011.

Websites

Castells, Manuel. The Informational City: Information Technology, Economic Restructuring and the Urban-Regional Process.

Oxford: Blackwell, 1998.

CLUSTER. Cairo Urban Initiatives Platform. <www.http://www.cuipcairo.org> CLUSTER. Cairo Downtown Passageways. <http://passageways.clustermappinginitiative.org>

Castells, Manuel. The Rise of the Network Society. Oxford: Blackwell, 1996.

Castells. M and and Peter G. Hall. Technopoles of the World: The Making of 21st Century Industrial Complexes. London: Routledge,1994.

Department of Culture, Media and Sport. Creative Industries Mapping Document 2001, London: UK Government.

Available at <http://www.creativitycultureeducation.org/ creative-industries-mapping-document-2001>

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Florida, Richard. The rise of the creative classâ&#x20AC;&#x201D;and how it is transforming leisure, community and everyday life. New York: Basic Books, 2002.

Howkins, John. The Creative Economy: How people make money from ideas. London: Penguin, 2001.

Landry, Charles. The Creative City: A toolkit for urban innovators.

London: Earthscan, 2000.

Landry, Charles and Phil Wood. The Intercultural City: Planning for Diversity Advantage. London: Taylor & Francis Ltd, 2008.

Nagati, Omar and Beth Stryker. Creative Cities: Re-framing Downtown Cairo. Cairo: CLUSTER, 2016.

Nagati, Omar and Beth Stryker. Creative Cities: Re-framing Downtown Cairo Appendix. Cairo: CLUSTER, 2016.

CREATIVE ECONOMY Books

Bakhshi, H., Hargreaves, I. and Mateos-Garcia, J.. A Manifesto for the Creative Economy. London: Nesta, 2013.

Bakhshi, H., Freeman, A. and Higgs, P.. A Dynamic Mapping of the UKâ&#x20AC;&#x2122;s Creative Industries. London: Nesta, 2013.

BOP Consulting. Mapping the Creative Industries: A Toolkit. London: British Council, 2010.

BOP Consulting, Newbigin, John. The Creative Economy: An Introductory Guide. London: British Council, 2010.

Fleming, Tom. Cultural and creative spillovers in Europe: Report on a preliminary evidence review. London: Tom Fleming Creative Consultancy, 2015.

Florida, Richard. Cities and the Creative Class. Pennsylvania: Carnegie Mellon University, 2003.

Fringe World Festival Impact Report. Perth: Fringe World, 2016.

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71

V.

Principal Researchers:

Consultants:

Image Credits:

Omar Nagati and Beth Stryker

Tom Fleming Tamer Taha

Cover Page: Ahmed Kadry © CLUSTER page 2: Alya Souror © CLUSTER page 4: Mostafa Abdel Aty © D-CAF page 9: Alya Souror © CLUSTER page 10: Alya Souror © CLUSTER page 13: Alya Souror © CLUSTER page 15: Alya Souror © CLUSTER page 22: Alya Souror © CLUSTER page 24: Alya Souror © CLUSTER page 35: Mostafa Abdel Aty © D-CAF page 41: Alya Souror © CLUSTER page 49: Alya Souror © CLUSTER page 53: Mostafa Abdel Aty © D-CAF page 54: Alya Souror © CLUSTER page 57: Mostafa Abdel Aty © D-CAF page 60: Alya Souror © CLUSTER page 63: Alya Souror © CLUSTER page 66: Mostafa Abdel Aty © D-CAF page 71: Alya Souror © CLUSTER page 72: Alya Souror © CLUSTER

Researchers: Eman Elhoufy Eman Farouk Ferial Massoud Shuruk Mohamed Heba Mourad Marina Najjar Yomna Osman Alya Sorour Marwa Shykhon

Copyediting: Ghaidaa Kotb Laura Meynier

Lead Graphic Designer: Eman Farouk

Additional Graphic Support: Martina Abualam 74

Special thanks to: Cathy Costain at British Council Egypt, Ahmed El Attar and his team at D-CAF, Youssef Shazli and the team at Zawya, Diaa Hamed and the team at Medrar, and the many Downtown initiatives and businesses that helped enliven and enrich this study.