Management Summary

Knowledge Partner

Research Report

Creative Industries in Flanders: Mapping and economic analysis SUMMARY

Alain Guiette Sofie Jacobs Annick Schramme Koen Vandenbempt April 2011

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FLANDERS DISTRICT OF CREATIVITY

Flanders DC is the Flemish organisation for entrepreneurial creativity and was established by the )OHPLVK *RYHUQPHQW LQ )ODQGHUV '&¶V PLVVLRQ LV to make enterprising Flanders more creative and to make creative Flanders more entrepreneurial.

Flanders DC builds knowledge, raises awareness and designs practical tools for anyone wishing to launch a creative and enterprising project. To this end Flanders DC established a Knowledge Centre at Vlerick Leuven Gent Management School and the Antwerp Management School. Research themes include: innovation, intra/entrepreneurship, internationalisation and the creative industries.

Flanders DC focuses on entrepreneurs, teachers, students, policy-makers and the general public.

Among the many options Flanders DC offers are: a free online training in creative thinking, a creativity test, a brainstorm kit, invite an entrepreneur to speak in your class or at your event, take part in the De Bedenkers (The Inventors) Classroom competition and an online game to discover how you score as an innovative manager.

Entrepreneurial creativity is not an end in itself for Flanders DC but a means to turn Flanders into an international top region with increased competitiveness. This is necessary to ensure that Flanders remains economically healthy and to create new jobs. Flanders DC wishes to contribute to this with more entrepreneurial creativity on the one hand and a stronger creative industry on the other hand.

Thanks to entrepreneurial creativity companies find new innovative and more creative responses to their current and future challenges. They can anticipate change. This gives them a competitive edge.

Entrepreneurial creativity encompasses the non-technological aspects of innovation.

Flanders DC believes that creativity and innovation originate in new combinations. Flanders DC therefore wants to be a networking platform where various initiatives, companies and regions can easily find one another. In this way Flanders DC aims to facilitate fast and new combinations between players in different domains.

More information: www.flandersdc.be - tel. + 32 16 24 29 24 - e-mail info@flandersdc.be

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TABLE OF CONTENTS

FLANDERS DISTRICT OF CREATIVITY ------------------------------------------------------------------------------ 1 TABLE OF CONTENTS ---------------------------------------------------------------------------------------------------- 2 MANAGEMENT SUMMARY----------------------------------------------------------------------------------------------- 3 SUMMARY OF CREATIVE INDUSTRIES TOTAL FIGURES ------------------------------------------------------------------------------- 6

INTRODUCTION TO THE STUDY --------------------------------------------------------------------------------------- 8 OBJECTIVES OF THE STUDY ------------------------------------------------------------------------------------------- 9 MAPPING VALUE NETWORKS ---------------------------------------------------------------------------------------------------- 10

METHODOLOGY ----------------------------------------------------------------------------------------------------------- 10 ECONOMIC IMPACT ANALYSIS --------------------------------------------------------------------------------------------------- 13

ECONOMIC IMPACT ANALYSIS SUMMARY ---------------------------------------------------------------------- 23 SUMMARY TABLE --------------------------------------------------------------------------------------------------------------------- 24

CONCLUSION -------------------------------------------------------------------------------------------------------------- 26 APPENDIX: VALUE NETWORKS ------------------------------------------------------------------------------------- 28 LITERATURE -------------------------------------------------------------------------------------------------------------------------------- 41

BIBLIOGRAPHY ------------------------------------------------------------------------------------------------------------ 41 WEBSITES ----------------------------------------------------------------------------------------------------------------------------------- 49 INTERVIEWEES ----------------------------------------------------------------------------------------------------------------------------- 53 FOCUS GROUPS ---------------------------------------------------------------------------------------------------------------------------- 56

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MANAGEMENT SUMMARY This study report from the Flanders DC - Antwerp Management School Centre of Expertise aims to map the Creative Industries as a source of value creation for Flanders.

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In the initial study by the Centre of Expertise, &UHDWLYH ,QGXVWULHV ZHUH GHILQHG DV ¾The entire set of sectors and activities that call on the input of creativity for the creation of economic, symbolic and social net added value, broken down according to various stages of the value chain (creation, production, distribution, and consumption), and which contribute to the expansion of the "creative DGYDQWDJH´ LQ )ODQGHUV ´ Using this definition, the Creative Industries in Flanders were divided into 12 sectors: architecture, audiovisual sector, visual arts, design, heritage, gaming, printed media, fashion, music, new media, performing arts, and advertising & communication.

Well-developed and thriving Creative Industries help Flanders to progress. By investing in these, Flanders can become an international trendsetter, and thus create employment, welfare and prosperity. Indeed, studies show that these industries make a significant contribution to both economy and society, and provide a source of employment: $FFRUGLQJ WR WKH 8QLWHG 1DWLRQVÂś &UHDWLYH (FRQRP\ 5HSRUW JOREDO H[SRUWV RI FUHDWLYH goods and services doubled between 2002 and 2008. Belgium ranked 11th in the top 20 of 2 the most important exporters, ahead of countries such as Canada and Spain; The European Competitiveness Report 2010 states that Creative Industries are responsible for 6.7 million jobs, some 3% of total EU employment in 2008, and 3.3% of European GDP in 3 2006; Between 2000 and 2007, employment in European Creative Industries grew by an annual 4 average of 3.5%, compared to 1% in the general EU-27 economy; In some European regions, these industries are heading towards providing more than 10% of 5 the employment.

This current study also shows that the Creative Industries provide a significant contribution to the economy and to employment in Flanders.

To achieve a comprehensive and current picture of the economic impact of Creative Industries in Flanders, the Flanders DC Centre of Expertise at Antwerp Management School presents in this document an economic impact analysis for the Creative Industries in Flanders. This analysis is based on the most recent figures (2008) and was conducted for all 12 sectors of the Flemish Creative Industries.

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Guiette, A., Schramme, A., & Vandenbempt, K. (2010). Creatieve IndustrieĂŤn in Vlaanderen anno 2010: een voorstudie.

Antwerp Management School Âą Flanders DC Kenniscentrum.

2 Creative Economy Report 2010, United Nations, 2010, page 132.

3 European Competitiveness Report 2010, European Commission, 2010, page 195.

4 Ibid., page 196.

5 The contribution of culture to local and regional development, Centre for Strategy & Evaluation Services, ERICarts, 2010, page 20.

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A methodology was developed for the analysis, which allows the economic impact of the various subsectors of the Creative Industries to be comparably and effectively mapped. To demarcate which components are included in this analysis, a value network was drawn up for each sector that identified the core creative and supporting creative components within that sector.

Then the number of self-employed, the number of employers, the number of employees, the revenue, and the net added value were calculated for each sector. Figures were gathered both top-down, based on the NACE-BEL nomenclature, and bottom-up, based on a combination of sources from the various sectors.

Starting from the top-down and bottom-up approaches, one total figure was calculated for each variable. For this calculation, the researchers chose either the top-down or bottom-up result for each FRPSRQHQW RI WKH YDULRXV VHFWRUV 7KLV FKRLFH ZDV EDVHG RQ WKH UHVHDUFKHUV¶ MXGJHPHQW RI GDWD completeness, accuracy and reliability.

The study produced the following totals for the Creative Industries in Flanders: Number of self-employed

51,900

Number of employers

8,170

Number of employees (FTEs)

Revenue

69,900

23.9

(EUR Billions)

Net added value (EUR Billions) 7.0

These figures show that the Creative Industries represent 3% of Gross Domestic Product (GDP) of Flanders. They create work for 13.5% of the total number of self-employed (in primary occupation) in Flanders. The graphics on the following page also underline the importance of the Creative Industries.

Besides the demonstrated importance of Creative Industries for Flanders, there appears to be a great need for the development of a reliable and complete data compendium for the Creative Industries. The economic impact presented in this report can be considered as an initial attempt, taking into account the shortcomings identified in the methodology section. If Flanders wants to introduce an instrument that regularly measures the economic impact of its Creative Industries, a consensus must be reached to develop a common methodology in consultation with the various sectors and taking into account the individual characteristics of these different sectors.

Finally, as a result of this initial mapping and impact exercise, drivers and barriers for growth and development of the Creative Industries in Flanders will be further investigated. This will provide key stakeholders with better insight into the dynamics that operate in the various sectors. These insights will result in specific recommendations for the various actors in the field, and will provide a platform for specifying sub-themes within this research project.

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The Creative Industries account for 3% of Gross Domestic Product (GDP) of Flanders* Share of the Creative Industries in the 'Flemish' GDP, 2008

The Creative Industries account for 13.5% of the total number of self-­‐employed (in main occupation) in Flanders* Proportion of self-­‐employed in the Creative Industries (Flemish Region, 2008)

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The  Creative  Industries  account  for  3%  of  the  total  number  of  employees  in  Flanders*  Proportion  of  employees  in  the  Creative  Industries  (Flemish  Region,  2008)  Â

  SUMMARY  OF  CREATIVE  INDUSTRIES  TOTAL  FIGURES   The economic impact analysis performed using the top-down and bottom-up methodology is very detailed and results in a range between both approaches. To enhance result clarity to the general public, we have opted to reduce the elaborated range to one digit for each sector using a qualitative estimate of the available data for each component of the various value networks.

Starting from the top-down and bottom-up approaches, one total figure was calculated for each variable and each value network component. For this calculation, the researchers chose either the top-down or bottom-up result for each component of the various sectors. This choice was based on WKH UHVHDUFKHUVÂś MXGJHPHQW RQ GDWD FRPSOHWHQHVV DFFXUDF\ DQG UHOLDELOLW\

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Sector

Self-­‐employed No. of employers Employees Revenue Net added value (no. of people) (no. of FTEs) (EUR millions) (EUR millions)

Architecture

14,600

1,850

14,300

4,610

1,690

Audiovisual sector

4,220

286

7,020

2,100

721

Visual Arts

2,130

131

508

191

78

Design

4,010

206

740

416

171

Gaming

55

39

101

148

19

Printed media

6,960

1,320

15,740

4,470

1,380

Fashion

3,420

3,330

20,600

7,610

1,470

Music

8,590

322

2,940

1,470

700

Performing Arts

5,910

352

4,770

1,370

444

Advertising & Communication

2,020

334

3,190

1,520

330

51,900

8,170

69,900

23,900

7,000

CREATIVE INDUSTRIES

Note: These figures represent the results of impact analysis conducted by the Flanders DC - Antwerp Management School Centre of Expertise. It was decided not to include the non-extrapolated heritage figures in this summary table. This table also does not contain any figures for new media because of the overlap with other sectors. Please refer to the full report for the complete analysis.

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INTRODUCTION TO THE STUDY Â In a preliminary study by the Centre of Expertise (Guiette, Schramme & Vandenbempt, 2010) the foundations were laid for a delineation of a blueprint for the impact analysis of the Creative Industries LQ )ODQGHUV 7KH &UHDWLYH ,QGXVWULHV LQ )ODQGHUV ZHUH GHILQHG DV Âľthe entire set of sectors and activities that call on the input of human creativity for the creation of economic, social, and symbolic value, broken down according to various stages of the value chain (creation, production, distribution, DQG FRQVXPSWLRQ DQG ZKLFK FRQWULEXWH WR WKH H[SDQVLRQ RI WKH ÂľFUHDWLYH DGYDQWDJH LQ )ODQGHUV Âś This specifically concerns the following sectors: Architecture, Audiovisual sector, Visual Arts, Heritage, Design, Gaming, Printed Media, Fashion, Music, New Media, Performing Arts, and Advertising & Communication.

This study report is part of the mission of the Flanders DC - Antwerp Management School Centre of Expertise to make Creative Flanders more entrepreneurial. In this context, the value networks were initially mapped for each sector, as well as their economic impact. In the international literature, Creative Industries are also increasingly highlighted as an important contributor to economic reality.

On the one hand, as a result of their very specific character, they contribute significantly to a favourable climate for attracting knowledge workers and the broadening of everyone's vision so that new combinations are created (Florida, 2002). On the other hand, the Creative Industries are also increasingly attracting more attention as an economic entity on its own.

Recently, however, there have been many efforts to map the Creative Industries, to quantify their net added value, and calculate their impact. Although each study emphasises the lack of effective comparable data and variables to quantify the sector, there are occasional attempts to present the sector in a creative manner. To date, the economic position of the Creative Industries in Flanders has only been presented in a highly aggregated manner. The aim of this study is therefore not to avoid the limitations concerning the data and to approach the Creative Industries in Flanders from different angles and create tools that realistically identify the wealth of the sectors.

This document highlights the most important conclusions of the study. For more details, please refer to the full text of the study, which can be downloaded from the website of Flanders DC and the Antwerp Management School (www.flandersdc.be and www.antwerpmanagementschool.be, full text in Dutch).

Finally we would like to thank the sectors themselves for their cooperation, the people interviewed, the participants in the focus groups, and those people who have critically gone through this report in advance. Their cooperation and commitment was extremely important for the mapping of the Creative Industries in Flanders in a reliable and well-founded manner. Â

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OBJECTIVES OF THE STUDY

This research report has the following objectives: To map the value networks for each identified sector of the Creative Industries; To describe the various value network components and their interaction with other stakeholders; To analyse and catalogue the various value network components according to the definition used in the preliminary study; To conduct an analysis of the economic impact for each sector; To map the impact of each sector quantitatively and aggregate the various sectors into one level to present the total impact of the Creative Industries in Flanders.

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METHODOLOGY

 MAPPING VALUE NETWORKS Objectives and context A first objective of this study consists of mapping the sectors of the Creative Industries. This mapping was performed in two phases: first, each sector was presented and described using a value chain or value network. This network includes the various actors involved in the process of value creation.

These actors or components are then objectively described concerning their role in the value network and in value creation. This concerns an objective and somewhat static view of each sector, a sector image. In a second step, the various actors are divided into various categories, and the sector image obtains an initial, subjective, colouring. We distinguish four different categories: Core creative components: actors that directly contribute to the creation of the product or service consumed by the final consumer.

Supporting creative components: actors that either indirectly contribute to the creation of the product or the service consumed/used by the final consumer, or actors who play a supporting role in the process from creation to consumption.

Facilitators and peripheral organisations: supporting actors and organisations that are not directly involved in the process of value creation, in the narrow sense, but do actually play relevant roles, such as for valorisation, support, professionalisation, etc.

Actors from other sectors: actors that belong to another sector in a strict sense, but which have a direct or indirect effect on the value creation process, and are included in the value network for the sake of completeness.

The objectives of this mapping are twofold: on the one hand, each sector of the Creative Industries is objectively mapped, on the other, the value network serves as a demarcation of the sector and identification of the components that are included in the economic impact analysis. These include the core creative and supporting creative components within each sector. There are, however, a significant number of peripheral actors and facilitators that are not included, neither in the mapping, nor in the economic impact analysis. Likewise, each sector has a large number of suppliers that are also not included in the analysis.

The value networks schematically present the various actors involved in a sector, and make deliberate abstractions from the diversity of products, services and experiences that are created and/or produced.

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The value networks should also be interpreted as part of interdependent sectors, not only in terms of the sector studied, but also in the broader society in which numerous interactions and convergence movements occur with other industries. The focus of this mapping lies in outlining the most important economic actors and their role in the creation of economic and social value. For reasons of clarity, the value networks are presented as a semi-linear process that in reality must be interpreted as ecologies in which interactions between the various actors follow a complex and iterative process. Interaction patterns thus do not follow linear patterns. Therefore it was decided not to draw arrows between the various actors. Several reasons justify this choice: since interactions demonstrate various flows (ideas, goods, services, money, etc.), the meaning of an arrow can be interpreted ambiguously. Furthermore, the various value network components are increasingly linked together so that the various actors all become mutually interconnected. Finally, we work at a high-level of abstraction, so that it is unrealistic to make any general statements about flows between actors that can take on very different forms in reality.

The mapping can best be compared to an objective black and white photograph of the sector. This REMHFWLYH SKRWR LV WKHQ ¶FRORXUHGµ by showing the observed dynamics. The objective, static view of the sector is elaborated by mapping trends, developments, barriers and drivers. This enables each sector to be approached more dynamically, which enables interactions between actors to emerge.

In this context, we emphasise that all the displayed value networks are strongly intertwined with other sectors, both sectors within and outside the Creative Industries. The exhaustive representation and description of this intertwining would take us too far in the context of this study. We also want to add that the terms 'sector' and 'industry' are used as synonyms throughout the text.

Finally, this mapping must be interpreted as complementary to other research initiatives in the sectors of the Creative Industries in Flanders. Various institutes and assessment committees are working on landscape drawings and other studies around one particular sector of the Creative Industries. This VWXG\¶V VFRSH RI DQDO\VLV HQFRPSDVVHV WKH &UHDWLYH ,QGXVWULHV DV RSSRVHG to one specific sector, implying different objectives and sensitivities. We consider this complementariness as an asset for the field, given that sectors are approached from different angles.

Methodology For the mapping of the value networks, the following process was pursued:

1. Literature research In an initial phase, existing literature was examined and processed. This particularly involved the following elements: National and international research reports and articles on the Creative Industries in general.

National and international research reports, articles, websites, and other relevant information about the various sectors of the Creative Industries.

Websites and publications of institutes, sector and professional organisations, and other umbrella associations within the sectors of the Creative Industries.

2. Interviews After initial processing of information from the literature, a number of people were selected, in consultation with Flanders DC, and with whom semi-structured interviews were conducted. These

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were key people who possess expertise from various perspectives: sector, research, and policy oriented. During these semi-structured interviews, three themes were systematically dealt with: Mapping of the sector: role of the actors, dynamics between actors, trends and developments.

Impact of the sector: existing figures, economic and social impact.

Additional information and further contacts.

Please refer to the bibliographic references for a summary of the people interviewed.

3. Analysis The literature and information from interviews was analysed to draw up an initial synthesis of each sector.

4. Focus groups To discuss an initial version of the value networks for each sector, focus groups were organised in collaboration with Flanders DC. For these focus groups, 10 to 15 key people from the sector were invited, again from different perspectives. The objective of these focus groups was to further optimise the value networks in terms of completeness and accuracy as well as to accurately represent the different sectors. A second objective of the focus group was to discuss and validate the economic impact analysis. In an initial phase, eight focus groups were organised for the following sectors: audiovisual, music, books, visual arts, performing arts, fashion, advertising, and heritage. Focus groups with comparable objectives are to follow for the other five sectors: newspaper and periodical press, gaming, architecture, new media, and design.

5. Reporting After the focus groups, all the information was analysed in more detail and incorporated into a draft report. This version of the report was sent for review to all the interviewees and participants of the focus groups. The feedback that was immediately in line with the objectives of the report was incorporated in the final report, after validation.

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ECONOMIC IMPACT ANALYSIS Conducting an impact analysis of the Creative Industries in Flanders aims to provide an indication of the employment and net added value generated by these sectors on the one hand, i.e. an economic impact analysis, and describing the wider symbolic net added value on the other, i.e. a social impact analysis.

This chapter briefly describes the methodology used, and places the results in the proper context. To date, little macro and microeconomic data is available on these sectors, as is identified in the majority of Creative Industries studies that assessed economic impact in some way. Reasons include: Inappropriateness of the national statistical nomenclatures for the activities of the Creative Industries; The huge majority of self-employed people and small organisations in the Creative Industries, which are not subject to full financial reporting obligations; The increasing level of crossover between different activities within a sector and between different industries; The fact that companies report their financial figures for the national Âą and not regional Âą territory, making regional shares difficult to estimate; The difficulty to define boundaries of a particular function, activity, or sector within the Creative Industries.

In this report, the approach used for the economic impact analysis is highlighted. The social impact analysis will be discussed in a subsequent report.

Direct economic impact analysis In the context of the economic impact analysis for the Creative Industries in Flanders, the following variables were investigated: Number of self-employed Number of employers Number of employees Revenue Net added value A self-employed person is broadly defined in this context as anyone who is not employed by an employer for the performance of his or her professional activity, including freelancers, self-employed entrepreneurs, etc. An employee is an individual who is employed by an employer. An employer is an organisation that employs at least one staff member. For employers, revenue is defined according to generally accepted accounting principles; for the self-employed, revenue is defined as total invoiced amounts, excluding VAT. Net added value is defined as the difference between revenues and the cost of purchased goods, raw materials and consumables, services, and miscellaneous goods.

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To achieve the best possible and most complete estimates for these variables, two paths were followed. On the one hand, a top-down approach was used, based on the NACE-BEL nomenclature, and on the other a bottom-up approach was used, based on data from the various sectors. For both approaches, we clearly report explicit shortcomings and assumptions made, so that the results can be placed in the right perspective and working methods can be further refined in the future.

Method 1: top-down analysis Traditionally, industrial sectors are defined using statistical nomenclatures, which divide the activities of the economy into sectors and then differentiate these into more specific activities. Belgium uses the NACE-BEL nomenclature, which has been in its second revision since 2008. To demarcate and economically map the 12 sectors within the Creative Industries, we therefore used this nomenclature as our basis. To work as precisely as possible, we used the NACE-BEL codes at the most granular level, i.e. to five digits, which provides us with the greatest level of detail for activities.

For each sector, the corresponding five-digit code was looked up in the NACE-BEL nomenclature for each component in the value network. This was where we immediately encountered a first major shortcoming: for a large number of activities or components of the value networks, there is either absolutely no corresponding code included in the nomenclature, or there is only a partial overlap between the activity or component and the code, or the component does not constitute a subsection of an existing code that can be estimated.

Shortcoming 1: Only a portion of the activities of the Creative Industries is encapsulated by the NACE-BEL nomenclature. For the majority of the activities, there is no NACE-BEL code, or a component in the value network spans different NACE-BEL codes, or one NACE-BEL code covers different components in the value network.

Then a summary of the corresponding primary NACE-BEL codes was obtained for each sector of the Creative Industries. It should immediately be noted that many irregularities were identified in the alignment between the specified activity code on the one hand, and the actual activity of the organisation on the other. A high degree of variability was identified for the codes used, which creates the following shortcomings: The companies that are summarised under a certain nomenclature actually perform a different activity, either related or not, and should not be attributed to the activity concerned.

On the other hand, companies that actually perform the activity for which searches are made using the activities nomenclature, are included under a different nomenclature and are therefore not included in the nomenclature to which they belong.

Shortcoming 2: There is a high degree of variability of activity within the universe of companies that fall under a specific NACE-BEL activities nomenclature. There are often discrepancies between the attributed activity code and the actual activities carried out, which means that the definition of the population for each definition is incorrect.

After the available NACE-BEL codes were tracked down, data was retrieved using these codes from various sources, specifically Belfirst and the Belgian National Social Security Office.

A primary source is Belfirst, a statistical database of Bureau Van Dijk, which presents the data of the financial statements and ancillary information for all economic entities. Economic entities whose primary activity fall under the relevant five-digit NACE-BEL codes were retrieved from Belfirst. All entities were retrieved that are established in the Flemish and Brussels-Capital Regions. For the organisations established in the Brussels Capital Region, only those entities are considered that state

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either Dutch as their language, or state that they are bilingual, or leave the language field empty.

Entities that give French as their language are not included in the study population, because this impact study covers the Creative Industries in Flanders.

The results from Belfirst include both companies with various legal forms and self-employed people.

For the companies, all available data are reported according to the reporting requirements of the legal form; for self-employed people, only address details and activities nomenclature are shown, without financial data.

For each relevant five-digit NACEL-BEL code, the following information was extracted from Belfirst: For companies: number of employers, address details, legal form, language, revenue of the latest available year, net added value of the latest available year, average number of full-time equivalents of the latest available year.

For self-employed people: names and address details of the self-employed people.

At the time of the analysis and the data download, from September to December 2010, the year for which the most recent data were available was 2008. For a limited number of entities, data were already available for 2009; however, this number was too small compared to the available data for 2008 to use 2009 as the reference year.

Shortcoming 3: Statistics and data from financial statements are only publicly available after a certain time lag, which means that the most recent data are two to three years in arrears.

A second source is the employment statistics from the Belgian National Social Security Office (NSSO).

For the relevant five-digit NACE-BEL codes, the number of employers and the number of employees were requested in the Flemish and Brussels Capital Regions. NSSO employment statistics are available for each quarter. To maintain consistency with the data from Belfirst, we based the statistics on the fourth quarter of 2008. The most recent figures at the time of retrieval, i.e. the first quarter of 2010, were also obtained. For employers established in the Brussels Capital Region, we also retrieved WKH µSUHIHUUHG FRPPXQLFDWLRQ ODQJXDJH¶ 7KLV SUHIHUUHG FRPPXQLFDWLRQ ODQJXDJH LV VSHcific to the NSSO statistics, and represents the language chosen by a company to communicate with the NSSO GHSDUWPHQWV $OWKRXJK WKLV SUHIHUUHG FRPPXQLFDWLRQ ODQJXDJH JLYHV DQ LQGLFDWLRQ RI WKH µODQJXDJH¶ RI the company, this by no means represents a conclusive argument to decide whether a company is Flemish or not. Since no better criteria are available and this study covers the Flemish territory, we filtered out the companies that have French as their preferred communication language from the data, with the aim of filtering out the larger non-Flemish entities from the impact analysis.

Shortcoming 4: The attributing to Flanders of entities established in the Brussels Capital Region was relatively arbitrary, depending on the language specified to the NSSO or the language recorded in the Belfirst database.

Besides the issue of attributing an entity to Flanders, there are also restrictions concerning the financial reports of companies that operate nationally. After all, companies report their financial data at national level, making it difficult to discover which part of the impact concerns a region, Flanders in this case.

Shortcoming 5: Economic entities report at national level. In the context of an impact analysis at Flemish level, national reporting must be divided arbitrarily into regional reports according to an 'appropriate' allocation ratio, which is not always actually consistent among the different sectors or activities around them.

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Larger organisations are often further subdivided into different legal entities. It is then not always clear which entity records which income, and how employees are charged internally, e.g. in holding companies. The legal structure of an organisation can also be constructed such that the company name differs from the name of the legal entity that files financial statements. This also causes difficulties in gathering financial data.

Shortcoming 6: The complexity of organisational structures in economic and legal areas causes potential discrepancies in the data collection process.

Moreover, many organisations operate with various different activities, possibly in different sectors, both within and outside the Creative Industries. In the economic impact analysis framework, we generally take the total figures of an entire organisation, irrespective of whether or not it operates with various activities. However, deviations from this can occur in cases when ignoring this economic reality would lead to too great a distortion of the size of a component in the value network.

Shortcoming 7: For the economic impact analysis, account is taken of the total figures for each company. Since in reality companies operate in various sectors, in a different sector of the Creative Industries, or outside the Creative Industries, these figures are also included in the analysis.

After data has been collected from both sources, a total is calculated for each identified variable for each component in the value network, specifically the number of self-employed people, the number of employers, the number of employees, the revenue, and the net added value.

During this analysis it was found that only a limited number of companies report on the various variables: revenue is the least reported, followed by average full-time equivalents and net added value. As a result, these basic figures always relate to a population that is composed of different entities.

For example: if N companies fall under one NACE-BEL code, there are only X companies reporting revenue, Y companies that report average number of full-time equivalents, and Z companies that UHSRUW WKHLU QHW DGGHG YDOXH ZKHUH ; Â? < Â? = DQG ; 1 < 1 = 1 Since many small businesses are present in the data, which do not report their revenue, their net added value, or their full-time equivalents, this leads not only to a significant underestimate, but also to a distortion of the mutual relationship between various variables if there is no extrapolation.

No financial details are reported for self-employed people. Since the Creative Industries are characterised by a large number of self-employed people, this also leads to a significant underestimation of the net added value of the Creative Industries if no extrapolations are made.

Shortcoming 8: Available financial data of entities within the relevant activities nomenclature represent only a limited and different proportion of the total population for each variable. There must be extrapolation using a limited number of basic figures to obtain total figures.

Starting from the basic figures from Belfirst, some adjustments are then made to extrapolate the available figures to the total population. In this context, assumptions must be made in terms of an 'educated guess' about the total size of the studied variables. The assumptions made and adjustments performed on the basic figures are briefly explained below.

For the number of employers and employees, we rely on the official reporting from the National Social Security Office, since these figures provide a complete picture of employment. In the impact analysis for the reporting of the number of employers and employees, the figures from Belfirst are overwritten by the number from the NSSO; the difference, i.e. the number of entities that do not report

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employment to the NSSO, is considered as an independent company and is counted with the number of self-employed people.

The basic figures from Belfirst also include entities that report no employees, shown in the database either by '0', or by an empty field. These entities are not regarded as employers, but as independent companies, and are counted with the number of self-employed people. This and the previous adjustment mean that the employers and employees reported in the top-down approach represent the official figures of the NSSO. For revenue of companies, the following working method is applied to estimate the revenue of the entire population of companies: First, the number of employees is calculated for the companies that actually do report their revenue. Consequently, an adjustment must be made for the remaining number of employees, i.e. the number of employees of companies that do not report their revenue.

The companies that actually do report their revenue are generally larger companies or companies that are subject to financial reporting obligation. The companies that do not report their revenue are smaller structures with no financial reporting obligation. Since these two types of companies are so different structurally, and since in many cases only a very small number of companies report their revenue, it is not a reliable choice to perform extrapolations using the average revenue per employee based on the companies that do report their revenue.

As an alternative, we have calculated median revenue per employee on the basis of a number of criteria to compose a population in Belfirst that consists of small businesses within the regions and sectors studied.

- Enterprises in the Flemish Region - Employment of between zero and five employees - All NACE-BEL nomenclatures used in the impact analysis - Revenue reporting in 2008 591 organisations satisfy these criteria. The median revenue per employee was calculated for these 591 organisations. The median was chosen because a small number of outliers significantly distorted the average value. The median value came to EUR 214,750 per employee.

Consequently, for the employees of companies that do not report any revenue, revenue per employee of EUR 214,750 will be used for extrapolation. This adjustment will be used for the 12 sectors.

We are aware of the fact that this extrapolation does not take account of differences between the components within a sector, or of differences between sectors. We believe that applying an average revenue per employee calculated on the basis of the companies that do actually report their revenue means a greater distortion, because of (1) the magnitude of these companies that are not representative for small businesses, and (2) the very small number of companies reporting their revenue within each population. In the absence of more accurate and comprehensive information, this LPSOHPHQWHG DGMXVWPHQW LV D EHWWHU RSWLRQ WR DSSUR[LPDWH WKH ÂľWRWDO UHYHQXHÂś WKDQ VLPSO\ LJQRULQJ ZKDW

17 Â

is not reported. Within the time frame available for this study, a more individualised estimate, e.g. using sampling, was also not possible.

For net added value of companies, a similar argument is applied. The net added value median was calculated for the same 591 companies. This value amounts to EUR 57,000 per employee. This adjustment is only used in exceptional cases, since the net added value of companies is the most frequently reported variable in Belfirst. If the number of employees of companies that report their net added value is less than the total number of employees, this adjustment is applied. There is also the assumption in this context that the median value of the net added value can be extended to all companies within the Creative Industries.

Shortcoming 9: Revenue and net added value are only reported for some of the companies within the relevant activities nomenclature. Total revenue and total net added value are approximated using the best possible extrapolation. This provides an approximation of the total values of the studied variable, but not an exact value that is statistically correct.

For self-employed people, the basic information from the Belfirst database only contains the number of self-employed people and address details. Their contribution to the total revenue and total net added value of the component must therefore be extrapolated using assumptions. Self-employed people represent an extremely diversified set of activities, professions, and practicalities. Financial details concerning self-employed people are scarce.

To enable an estimate to be made of the revenue and net added value of the self-employed people in the Creative Industries, the following assumptions are made and adjustments implemented.

The average revenue RI µD VHOI-employed person' was derived from a doctoral study at Utrecht University concerning the professionalisation of self-HPSOR\HG SHRSOH µ7KH GULYHUV RI FDUHHU success of the job-hopping professional in the new networked economy or the challenges of 6 EHLQJ DQ HQWUHSUHQHXU DQG DQ HPSOR\HH¶ This study included research on the average revenue for various professional categories of self-employed people. We have selected four of the 15 categories that occur within the Creative Industries, and have calculated the average of them:

Category Technical professional Media professional Journalist Artist Average Source: Van den Born (2009)

Average revenue EUR 80,300 EUR 67,600 EUR 41,300 EUR 37,900 EUR 56,775

The value of EUR 56.775 was therefore used as the value for the average revenue of a (full-time equivalent) self-employed person, for all self-employed people in the 12 sectors of the Creative Industries.

We pay special attention to the creative crew. The economic impact analysis often uses the number of self-employed people instead of the number of 'full-time equivalent self-employed SHRSOH¶ 7R DYRLG RYHUHVWLPDWLQg the revenue and net added value of this heterogeneous 6

J.A. VAN DEN BORN, (2009). The drivers of career success of the job-hopping professional in the new networked economy or the challenges of being an entrepreneur and an employee. Doctoral thesis for obtaining a doctorate at Utrecht University ISBN: 978-90-9023961-3.

18

group of self-employed people, we reduce the number of self-employed people to the number of FTE self-employed people by using a ratio of 57.5%, which converts one self-employed person into 0.575 full-time equivalent self-employed people. This ratio was calculated on the 7 basis of a study performed by Kunstenloket (in Dutch) that shows the time spent by an artist.

Using this time spent, we estimate the conversion from self-employed person to full-time equivalent self-employed person:

Time spent Number of FTEs % Full-time 1 FTE 42% Part-time 0.5 FTEs 31% Very irregular 0 FTEs 27% Total 100% 0.575 FTEs Source: Kunstenloket (2008), Antwerp Management School.

This approach is also hampered by a number of significant shortcomings: -

The average revenue figures apply to freelancers in the Netherlands. The assumption on whether these figures can also be used for Belgium can be questioned.

-

An average revenue for a self-employed person makes such an abstraction of sector and function that the average can and will deviate significantly from the reality.

-

It is also very difficult to gain any insight into the relationship of the self-employed person to the FTE. Certainly in the Creative Industries, and especially in the creative crews, there are numerous details that once again make the calculation of an average impossible.

Despite these shortcomings, we have found no other, usable and substantiated, method for estimating the average revenue of a large group of self-employed people within the limits of this study.

The average net added value of a self-employed person was derived from the official statistics of the Belgian National Institute for the Social Security of the Self-Employed (NISSE). The average income of a self-employed person in main occupation is used in this context as an approximation for the net added value. This amounted to EUR 23,329 for the Belgian State st on December 1 ,2008. This amount is used as an approximation of the net added value of a self-employed person in the economic impact analysis.

We note once again that our objective is to determine as good an approximation as possible for the real net added value and revenue, which are unknown. This method used will always lead us closer to the real revenue and net added value than ignoring the revenue and net added value of self-employed people. Moreover, we apply the principle of prudence in this context by working with figures that are nearer to the lower limit than the upper limit.

Shortcoming 10: Financial data for self-employed people are scarce. Consequently, the revenue and net added value of self-employed people are approximated by using assumptions based on the µDYHUDJH¶ QHW LQFRPH RI D VHOI-employed person. This extrapolation is therefore only an estimate and not an exact statistically responsible calculation of revenue and net added value of the self-employed group.

7

KUNSTENLOKET (2008). Mogelijkheden van microkredieten aan kunstenaars. Onderzoek in opdracht van het Departement Cultuur, Jeugd, Sport en Media ± Afdeling Beleid, Brussel.

19

In contrast to employees, who are reported as full-time equivalents, there is no clarity for the full-time equivalent percentage of a self-employed person. After all, the Creative Industries are characterised by a majority of self-employed people and freelancers who work under very diverse forms and statutes. Not only is the estimation of the number of self-employed people extremely complex, the conversion of the number of self-employed people to their full-time equivalents borders on the impossible.

Shortcoming 11: The ratio of the number of self-employed people and their full-time equivalent is an unknown variable that can only be approximated by using an educated guess.

The implementation of these adjustments and extrapolations provides adjusted figures for each component in the value network. As already mentioned, these figures are an approximation of the reality, in which step-by-step attempts are made to fill in large gaps in the available data by extrapolations using an 'educated guess' and discussion about the approach used with a focus group or industry experts.

It is also one of the objectives to refine the approach used in future updates. There is currently no method in Flanders for calculating the economic impact of Creative Industries in Flanders. This approach, combined with the bottom-up analysis, can be considered as an effort to provide the fullest possible picture of the economic impact of the Creative Industries from different angles, taking into account the identified limitations and shortcomings.

The top-down approach has the disadvantage that it is based on the NACE-BEL nomenclature, which is so poorly aligned to the individual characteristics of the Creative Industries that there are very many gaps in data availability. Moreover, we discovered that the alignment of the NACE-BEL codes with the actual activity of the companies varies very significantly. For these reasons, we developed a second approach to perform the economic impact analysis bottom-up, starting from the sector itself and not from statistical nomenclatures. This bottom-up analysis is explained in the section below.

Method 2: bottom-up analysis The bottom-up approach aims to approach the economic impact from the sector itself. Starting from a combination of various sources, the population of companies (employers) and self-employed people for each component of the value network is composed. This provides the major advantage that the components and functions for which no NACE-BEL nomenclature exists can still be incorporated into the economic impact analysis.

In practice, however, it is not easy to define every component exactly for the Creative Industries. In the creation phase of the value network particularly, there are many interconnected functions and professions, making it impossible to clearly assign functions to one component. We are also limited to the available resources in identifying the companies and self-employed people, so we cannot work exhaustively. Various sectors and components of the value networks are also represented in varying degrees by well-substantiated sources. We frequently encountered a 'nobody knows' phenomenon in which no party involved has any idea about the availability, completeness and accuracy of the figures.

Consequently, the demarcation of the various components in a value network is neither exclusive nor exhaustive, and is heavily dependent on the reliability and completeness of the available data sources.

An initial step in the bottom-up analysis is to identify organisations that represent the sector or the relevant component of a sector. These include institutes, lobbyists, sector organisations, professional associations, social funds, occupational guilds, or even the Yellow Pages and other unofficial listings.

This listing of actors is by no means complete, but represents the best information available within the

20 Â

objectives of this study and the time available. Using these sources, we attempted to compile as complete a list as possible of actors, i.e. employers and self-employed people, in each value network component. Often different sources were used for the same component, the results were compared and duplicates eliminated where possible.

This exercise provided a total number of self-employed people and employers that were entered in the Belfirst database to obtain the number of employees, the revenue and the net added value. This provided basic figures on number of self-employed people, number of employers, number of employees, revenue and net added value.

The following steps in the bottom-up approach are similar to those in the top-down approach: for extrapolating the partial data to the total population, assumptions were made to approximate the 'real ILJXUHVÂś The number of companies that report no employment is considered as an independent company and counted in the economic impact analysis as one self-employed person.

NSSO figures are not used in this context, since NSSO figures are only available at the level of the NACE-BEL nomenclature and not for individual entities.

Revenue figures are only available to a limited extent for the companies entered. To approximate the total revenue of all identified companies, the missing revenue was estimated using the average revenue per employee, in the same way as in the top-down approach.

The net added value is also not reported by all the entered companies. As in the top-down approach, we make an estimate of the total net added value on the basis of the calculated median value for the net added value.

Finally, for the self-employed people, the same assumptions are made and adjustments implemented as in the top-down approach.

Consequently, the shortcomings and limitations of the analysis as explained in the top-down approach also apply for the bottom-up approach.

Total figures After the top-down and bottom-up approaches are applied at the sector level, we obtain four sets of figures: Basic figures according to the top-down approach Adjusted figures according to the top-down approach Basic figures according to the bottom-up approach Adjusted figures according to the bottom-up approach To calculate the total figures for each sector, however, we do not possess a top-down and bottom-up set of figures for each component of the value network. If a specific set of figures is missing for one component, the available set of figures is adopted for calculating the total in order to enable construction of a representative range.

These four sets of figures indicate the range within which there is a high probability that the studied variables lie. The range of the basic figures has been narrowed by the adjustments implemented, so

21 Â

that we are reasonably certain that the reality will be located between the adjusted figures from the top-down and bottom-up approaches.

In addition to the above-mentioned issues related to the methodology pursued and sources used, the following elements must still be taken into account to place the results of the impact analysis and the study in the correct context: Boundaries are relative. The impact analysis performed applies to Creative Industries in Flanders. In a global world, however, the boundaries of a region are relative: industrial sectors are subject to effects of an international nature; organisations in Flanders are not necessarily Flemish and operate across national boundaries; organisations abroad may also exercise a significant effect on the regional economy; Flemish actors can operate abroad and generate significant net added value, as can foreign players that operate in Flanders. The impact study performed therefore relates to the net added value of entities that are established in Flanders and are officially registered in Flanders.

Importance of the consumer. The presented impact analysis focuses on the net added value generated by the Creative Industries. An element that should not be overlooked in this context is the major importance and the central position that the consumer occupies in the value network. In many sectors within the Creative Industries, the consumer plays the role of cocreator, and his or her contribution to the generated value cannot be ignored.

Centralised sources. Considering the scope of the sectors and the time limitations of the study on the one hand, and ensuring consistency across the various sectors on the other, we focus on the use of centralised statistics as previously mentioned. However, these centralised sources do not capture the entire population of organisations and entities that must be involved in the study, e.g. non-profit organisations, self-employed people, not-for-profit associations, companies subject to abbreviated reporting of their financial statements, etc.

Where, in view of the time constraints, this provides real net added value to the study, by way of exception we have retrieved individual reports, such as financial statements, annual reports, etc.

Taking subsidies into account. Creative industries, the one somewhat more than the other, are subsidised via various channels. It is not the aim of this impact analysis to zoom in on these subsidies. Thus subsidies are included in the revenue and net added value of organisations that report the received subsidies as part of their company income.

Aggregation of the two approaches The economic impact analysis performed using the top-down and bottom-up methodology is very detailed and results in a range between the two approaches. For clear communication of the results of the study to the general public, we have opted to reduce the elaborated range to one digit for each sector using a qualitative estimate of the available data for each component of the various value networks.

Starting from the top-down and bottom-up approaches, one total figure was calculated for each variable and each component. For this calculation, the researchers chose either the top-down or bottom-up result for each component of the various sectors. This choice was based on the UHVHDUFKHUVÂś H[SHULHQFHV RQ FRPSOHWHQHVs, accuracy and reliability of the collected figures.

22 Â

ECONOMIC IMPACT ANALYSIS SUMMARY Â Â The following table provides a summary of economic impact analysis performed. For each sector of the Creative Industries in Flanders, the table shows the adjusted totals according to the top-down and bottom-up approaches and for each of the variables studied: number of independent entities, number of employers, number of employees in full-time equivalents, revenue, net added value.

To calculate the total figures for each sector, however, we do not possess a top-down and bottom-up set of figures for each component of the value network. If a specific set of figures is missing for one component, the available set of figures is adopted for calculating the total in order to enable construction of a representative range. Specifically: The top-down total contains the top-down figures of the components for which a top-down approximation is available. If no top-down approximation is available, the bottom-up figures are used.

The bottom-up total contains the bottom-up figures of the components for which a bottom-up approximation is available. If no bottom-up approximation is available, the top-down figures are used.

Notes In the top-down approach, several NACE-BEL codes have been used repeatedly across various sectors. The totals of these codes are shown in the "double counting" row in the table below. This concerns the following codes: 74.101 was used for fashion and design 90.021 was used for music and performing arts 90.022 was used for music and performing arts 90.023 was used for audiovisual sector, music and performing arts 90.041 was used for music and performing arts 90.042 was used for music and performing arts

23 Â

SUMMARY TABLE Notes The sum of the revenue is purely indicative and has no economic significance.

The figures of the cultural heritage sector have not been extrapolated and only relate to the subsidised and recognised heritage organisations. In other words, they are a major underestimate of the actual situation. Moreover, not all employers reported figures for number of employees and revenue. More detailed information can be found in the description of the economic impact analysis of the cultural heritage.

24 Â

Sector

Approach

Architecture

Audiovisual

Visual Arts

Design

8 Heritage

Gaming

Printed Media -­‐ Books

Printed Media ʹ Press

Fashion

Music

New Media

Performing Arts

Advertising & Communications

Double counting

Top-­‐down Bottom-­‐up Top-­‐down Bottom-­‐up Top-­‐down Bottom-­‐up Top-­‐down Bottom-­‐up Top-­‐down Bottom-­‐up Top-­‐down Bottom-­‐up Top-­‐down Bottom-­‐up Top-­‐down Bottom-­‐up Top-­‐down Bottom-­‐up Top-­‐down Bottom-­‐up Top-­‐down Bottom-­‐up Top-­‐down Bottom-­‐up Top-­‐down Bottom-­‐up Top-­‐down Bottom-­‐up

CREATIVE INDUSTRIES

Top-­‐down Bottom-­‐up

8

Self-­‐employed (no. of people) 14,616 11,494 5,898 4,045 4,292 2,127 4,011 -­‐ -­‐ -­‐ -­‐ 55 3,256 3,004 4,999 3,132

No. of employers

Employees (FTEs)

Revenue (EUR)

Net added value (EUR)

1,852 822 652 245 250 131 206 -­‐ 2,424 2,424 -­‐ 39 193 508 964 772

14,350 3,054 8,034 6,932 800 508 740 -­‐ 1,529 1,529 -­‐ 101 3,262 6,978 6,729 8,907

4,611,432,337 1,344,447,212 2,701,165,654 2,136,872,079 485,263,250 190,487,208 415,858,025 -­‐ 76,626,345 76,626,345 -­‐ 148,200,000 823,360,200 1,184,443,100 2,880,226,075 3,265,492,400

1,692,075,579 605,818,578 1,103,122,300 869,782,981 187,020,815 78,362,799 171,328,619 -­‐ -­‐ -­‐ -­‐ 19,320,374 370,395,822 508,734,975 725,638,471 850,475,228

8,307 3,415 8,961 6,435 -­‐ -­‐ 8,610 5,910 10,631 2,017 -­‐ 4,936 -­‐

3,989 3,328 647 106 -­‐ -­‐ 662 352 1,048 334 -­‐ 713 -­‐

26,926 20,576 3,674 1,333 -­‐ -­‐ 4,632 4,765 6,812 3,188 -­‐ 3,679 -­‐

6,826,644,000 7,613,998,874 1,654,130,620 806,467,745 -­‐ -­‐ 1,634,330,175 1,367,030,463 3,865,654,875 1,519,923,625 -­‐ 1,520,614,550 -­‐

2,230,488,956 1,470,420,493 762,032,544 331,506,975 -­‐ -­‐ 719,257,945 444,380,029 1,216,611,420 330,477,322 -­‐ 778,881,190 -­‐

68,700 45,645

12,213 9,267

73,910 58,611

24,602,277,006 20,069,847,076

8,418,411,655 5,680,608,373

In view of the specific limitations of these figures, they are not taken into account in the aggregated figures of the management summary.

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CONCLUSION Â This study report has mapped the Creative Industries in Flanders: on the one hand by outlining the value networks of the 12 different sectors, and on the other by estimating the direct economic impact.

This clearly shows the importance of the Creative Industries in Flanders in 2008: some 51,900 self-employed people, some 69,900 full-time equivalent employees employed by 8,170 employers, an economic contribution to the Flemish economy with EUR 23.9 billion of total revenue generated and net added value of EUR 7.0 billion.

However, there are a number of factors that currently make it impossible to make an accurate calculation of the economic value of Creative Industries in Flanders. The most important of these are: An activities nomenclature (NACE-BEL), which is largely unsuited to the demarcation of sectors in a digital knowledge economy, and which in no way matches the demarcation of the Creative Industries.

The often erroneous or arbitrary allocation of NACE-BEL codes to legal entities, from which there are sometimes large discrepancies between the description of the NACE-BEL code and the activities of the population of legal entities covered by it.

Activities nomenclatures are based on sectors and sub-sectors in the economy, and to a lesser extent on professions or jobs. This is problematic for mapping the economy of the Creative Industries.

As the impact analysis shows, the share of independent entities in the Creative Industries is nearly a third of the total employment. There is extremely little data available for this group alone.

There is therefore a great need to develop a reliable and complete database for the Creative Industries. The economic impact presented in this report can be considered as an initial attempt, taking into account the shortcomings identified in the methodology section. If Flanders wants to introduce an instrument that regularly measures the economic impact of its Creative Industries, a consensus must be created to develop a common methodology in consultation with the various sectors. Ideally, such a methodology should be set up centrally in consultation with the sectors, after which the various sectors will locally proceed to decentralised data collection in a uniform and consistent manner, but taking the individual characteristics of the various sectors into account.

With respect to value creation, it can be said that the Creative Industries demonstrate a high degree of interdependence at several levels: between the Creative Industries and other sectors of the Flemish economy, between the various sectors within the Creative Industries sector, and finally between the various components within a sector of the Creative Industries. This interdependence between different sectors generates many crossovers and various forms of cross-fertilisation. At the same time, this trend leads to a blurring of boundaries between sectors: they cannot be clearly demarcated according to the various components of the traditional value network. To respond to this trend, the Creative Industries would do better to present a unified front if they want to profile themselves more nationally

26 Â

and internationally. This also requires good coordination among the many supporting organisations and the development of a transversal vision at policy level.

Creation as an interdependent process cannot just be equated with radical innovation; creation must also be seen as continuing to build on the existing wealth in many sectors, or as the creation of innovative forms of cooperation between various actors. Therefore, it is important to overcome different and sometimes conflicting interests within a sector, and work towards win-win situations in which the inherent potential can be utilised as much as possible. In this context, an appropriate balance must be sought between the artistic and cultural interests and economic order.

The Creative Industries, just like other industrial sectors, are at a crossroads at which trends in digitisation, globalisation, privacy and intellectual property right, are deeply affecting the existing models. The traditional way of working is no longer sufficient to respond to these developments. Many perceive these developments as a threat, but they also offer opportunities for growth and professionalisation. However, this presupposes an open and well-considered attitude that is aimed at finding appropriate and innovative solutions.

Creative Industries LQ )ODQGHUV DUH DOVR LQ D SRVLWLRQ LQ ZKLFK WKH\ VXEMHFW WKHPVHOYHV WR WKH ÂľUXOHV DQG ODZVÂś DW QDWLRQDO DQG LQWHUQDWLRQDO OHYHO UDWKHU WKDQ FR-determining these themselves. There is a need to outline a clear vision for growth and continued development of the Creative Industries, in which choices must be made and priorities must be set.

Finally, as a result of this initial mapping and impact exercise, there must be further investigation of drivers and barriers for growth and development of the Creative Industries in Flanders. This will provide us with even better insights into the dynamics that operate in the various sectors. These insights will result in specific recommendations to the various actors in the field, and will also form the basis for further elaboration of specific sub-themes within this research process.

27 Â

APPENDIX: VALUE NETWORKS

 This appendix shows the various value networks as they have been identified by the study. They provide an overview of the most important task or tasks of each component in the sector, with the size of the blocks having no significance.

For a full explanation and interpretation of these value networks, please refer to the full text of the study, which can be downloaded from the website of Flanders DC and the Antwerp Management School (www.flandersdc.be and www.antwerpmanagementschool.be).

28 Â

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31

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DE VINCK, S. (2009), Omgevingsanalyse digitale (online) distributiemodellen in de filmindustrie, [Environmental Analysis of digital (online) distribution models in the film industry], commissioned by Institute for Visual, Audio-visual and Media art (Beeldende, Audiovisuele en Mediakunst).

DE VOEGHT, L. (2005). De galerij voor hedendaagse kunst. Brussel als casestudy [The gallery for contemporary art. Brussels as a case study]. 7KHVLV VXEPLWWHG WR REWDLQ WKH 0DVWHU¶V GHJUHH LQ Cultural Studies, VUB. DE VOLDERE, I., & MAENHOUT, T. (2007). 3 sectoren in de Vlaamse Creatieve Industrie. [3 sectors in the Flemish Creative Industry] Vlerick Leuven Gent Management School.

DE VOLDERE, I., MAENHOUT, T., & DEBRUYNE, M. (2007). Fashionate about creativity. Vlerick Leuven Gent Management School.

DE WIITE RAAF (2003). Kunstgids [Art guide] 2003. Brussels: Ministry of the Flemish Community, Cultural Administration, Department for Visual Arts and Museums.

DE WIT, D., & SAMYN, N. (2011). Media, art and digital culture in Flanders, Belgium.

DECREET of 23 May 2008 houdende de ontwikkeling, de organisatie en de subsidiëring van het Vlaams cultureel-erfgoedbeleid [maintaining the development, organisation and funding of the Flemish cultural heritage policy]. (23/05/08) Flemish Government DEPARTEMENT WERK EN SOCIALE ECONOMIE [DEPARTMENT OF WORK AND SOCIAL ECONOMY] (2008). Sector photo of audio-visual sector 2008. Brussels.

DESIGN VLAANDEREN [DESIGN FLANDERS] (2006). Vormgeving in cijfers [Design in figures].

Study commissioned by Design Flanders conducted by &Compangie.

DESIGN VLAANDEREN (2007). The Economic Impact of design on companies in Flanders. Study commissioned by Design Vlaanderen conducted by &Compangie.

DESMET, L. (2008), De strijd achter uw scherm: de televisiemarkt in Vlaanderen [The battle behind your screen: the television market in Flanders], Trends 28-08-2008.

DILLEMANS, R., & SCHRAMME, A. (2005). Wegwijs cultuur [culture guide]. Leuven: Davidsfonds.

ELIASHBERG, J., ELBERSE, A., LEENDERS, M. (2006), The motion picture industry: critical issues in practice, current research, and new research directions, Marketing Science, Vol.25(6):638-661.

ESPEEL, A. (2006). Zakelijke ondersteuning voor kunstenaars: managementbureaus voor beeldende kunst [Business support for artists, management agencies for the visual arts]. Thesis submitted to REWDLQ WKH 0DVWHU¶V GHJUHH LQ &XOWXUDO 0DQDJHPHQW, UAMS, Antwerpen.

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EUROPEAN DESIGN TRAINING INCUBATOR, Design domains.

EUROPEAN INVESTMENT BANK (2001). The European audiovisual industry: an overview. EIB Sector Papers, FARO (2010). Uit het oog, in het hart. Erfgoeddepots: aanbevelingen bij het bouwen, verbouwen en inrichten [Out of sight, in the heart. Heritage Deposits: recommendations for building, rebuilding and furbishing]. Brussels: FARO. FLANDERS INVESTMENT & TRADE (2010). The business of fashion for new to market designers. A New York contemporary & high-end fashion industry roadmap. Flanders Investment & Trade New York.

GIELEN, P., & LAERMANS, R. (2004). Een omgeving voor actuele kunst, een toekomstperspectief voor het beeldende-kunstenlandschap in Vlaanderen [An environment for contemporary art, a future prospect for the visual arts landscape in Flanders]. Tielt, Lannoo.

GIELEN, P., & LAERMANS, R. (2005). Cultureel goed. Over het nieuwe erfgoedregiem [Cultural good.

About the new heritage regime]. Leuven, Lannoo.

GIELEN, P. (2007). De onbereikbare binnenkant van het verleden. Over de enscenering van het culturele erfgoed [The inaccessible interior of the past. On the staging of cultural heritage]. Leuven: Lannoo.

GRAHAM, G., BURNES, B., LEWIS, G.J., LANGER, J. (2004). The transformation of the music industry supply chain A major label perspective. International Journal of Operations & Production Management, Vol. 24 No.11.

HA, L. S., & McCANN, K. (2008). An Integrated Model of Advertising Clutter in Offline and Online Media. International Journal of Advertising, 27(4), 569-592.

HET NIEUWSBLAD (05/06/2009). De 4 trends van de game-industrie [The 4 trends of the gaming industry].

HUNTER-TILNEY, L. (2010). 7KH PXVLF LQGXVWU\¶V QHZ EXVLQHVV PRGHO. Financial Times, 10-09-2010.

HUYBRECHTS, L. (2008). Cross-over: Kunst, media en technologie in Vlaanderen [Art, Media and Technology in Flanders]. Lannoo Campus.

HUYPENS, J., & VAN DEN BULCK, H. (2008). Hoelang betalen we nog voor onze krant? [How long must we still pay for our newspaper?] Abraham Verhoeven Chair, University of Antwerp.

IAB (2010). Interactive marketing book 2010. Brussels: IAB Belgium.

IBBT (2009). Activiteitenverslag [Activities report] 2009.

IDEA CONSULT, VLERICK LEUVEN GENT MANAGEMENT SCHOOL (2010). De Vlaamse audiovisuele sector in beeld: socio-economische profilering [The Flemish audio-visual sector in the picture: socio-economic profiling]. Study commissioned by the Flemish Audiovisual Fund, Brussels.

IMEC (2008). Creatief Vlaanderen moet investeren in game-industrie. [Creative Flanders must invest in game industry]. Interconnect n°28, November 2008.

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INTERNATIONAL FEDERATION OF THE PHONOGRAPHIC INDUSTRY (2010). IFPI Digital Music Report 2010.

INTERNATIONAL FEDERATION OF THE PHONOGRAPHIC INDUSTRY (2010). Investing in Music.

How music companies discover, develop & promote talent.

JACOBS, M. e.a. Synergie² (2010). Het cultureel erfgoedconvenant als hedenhaags beleidsinstrument [The cultural heritage covenant as contemporary policy instrument]. FARO JANSSENS, J. (2010). 8EL VXQW" 'H ¾ZKHUHDERXWVœ YDQ GH DFWHXUV DFWLHI LQ -1994. In: Over ¾VSHOHQœ HQ ¾PDNHQœ >7KH ZKHUHDERXWV RI WKH DFWRUV DFWLYH LQ -1994. In: About 'playing' and 'making', pages 18-26, 92 Courant. Brussels: Flemish Theatre Institute.

JANSSENS, J., & MOREELS, D. (2008). Survival in de podiumjungle. De loopbaan van performers in de podiumkunsten (1993-2005) [Survival in the stage jungle. The career of performers in the performing arts (1993-2005). Brussels: Flemish Theatre Institute.

JORIS, G. (2011). Het (e-)boek een (r)evolutie? [The (e-)book a (r)evolution? Series of Lessons for Publishers and Booksellers, current issues. University of Antwerp & Boek.be JORIS, G. (2011). Het boekenvak: een introductie. [The book: an introduction. Series of Lessons for Publishers and Booksellers, current issues. University of Antwerp & Boek.be KUNSTENLOKET (2006). Inkomsten beeldende kunstenaars [Income of visual artists]. Antwerp: Kunstenloket.

KUNSTENLOKET (2008). Mogelijkheden van microkredieten aan kunstenaars. [Opportunities for micro-loans to artists]. Study commissioned by the Department of Culture, Youth, Sports and Media Policy Division, Brussels.

LANJOUW, D. (2004). Wie werkt als vormgever? [Who works as a designer?] Centre for Policy Statistics 04002, CBS Âą Statistics Netherlands.

LOGIE, M. (2005). Beschikbaarheid van audiovisuele creaties in Vlaanderen 2005. [Availability of audiovisual creations in Flanders 2005. Audiovisual Arts Initiative (IAK), Ghent.

LORENZEN, M. (2009). Creativity in context: content, cost, chance and collection in the organization of the film industry. In: PRATT, A.C., & JEFFCUTT, P. (2009), Creativity, Innovation and the Cultural Economy, Routledge Studies in Global Competition, London.

MAENHOUT, T., DE VOLDERE, I., ONKELINX, J., & SLEUWAEGEN, L. (2006). Creatieve Industrie in Vlaanderen [Creative Industry in Flanders], Flanders District of Creativity.

MAES, J. (2011). Welke toekomst voor het boek? [What future for the book?] Series of Lessons for Publishers and Booksellers, current issues. University of Antwerp & Boek.be MAES, P. (2010). Kan de radio van harder aub? Hoe je het maximum uit radioreclame haalt, [Can the radio louder please? How do you get the most of radio advertising], VAR, Brussels MUSSCHOOT, I., & LOMBAERTS, B. (2008). Media in Beweging. Handboek voor de professional.

[Media in Motion. Manual for professionals]. Leuven: Lannoo Campus.

MUZIEKCENTRUM VLAANDEREN [FLANDERS MUSIC CENTRE] (2009). Er zit muziek in de subsidies. [There is music in the subsidies] Brussels.

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MUZIEKCENTRUM VLAANDEREN [FLANDERS MUSIC CENTRE] (2009). Music is Life. Manifest van de Muzieksector. [Manifesto of the Music sector] MUZIEKCENTRUM VLAANDEREN [FLANDERS MUSIC CENTRE] (2009). Verslag Studiedag Muziek Digitaal [Digital Music Workshop Day Report]. 28 October 2009, Beursschouwburg [Exhibition hall theatre], Brussels.

MUZIEKCENTRUM VLAANDEREN [FLANDERS MUSIC CENTRE] (2010). Music is Life!

Een integrale visie voor de muzieksector [An integral vision for the music industry].

NAV (2009). Reeds 1/3 van Vlaamse architecten overweegt een ander beroep. Gemiddeld 50% van hun bouwprojecten bestaat uit administratie [Already 1/3 of Flemish architects are considering another profession. On average, 50% of their projects includes administration. NAV Press Release on 17 October 2009.

NAV (2010a). Resultaten NAV enquête: werkt de Vlaamse architect al in het buitenland? [NAV survey results: is the Flemish architect already working abroad?] NAV Press Release on 27 October 2009.

NAV (2010b). Verantwoordelijkheid grootste zorgenkind van een architect. [Responsibility is the biggest source of concern for an architect.] NAV Press Release on 10 November 2010.

NOELS, G., WELLENS, G. (2010). De Vlaamse Audiovisuele sector: Speerpunt van innovatie, talentmagneet en jobcreator. [The Flemish Audio-visual sector: Spearhead of innovation, talent magnet and job creator.] Econostrategy, Antwerp.

OMD (2010). Media Digest Belgium 2010.

PARIKH, M. (1999). The Music Industry in the Digital World: Waves of Changes. Institute for Technology and Enterprise.

RAEMAN, V. (2008). Are the Times A-&KDQJLQ¶" Een exploratief onderzoek naar de rol van de platenmaatschappij als gatekeeper in de Vlaamse muziekindustrie anno 2008. [An exploratory study into the role of the record company as gatekeeper in the Flemish music industry in 2008.] Thesis VXEPLWWHG WR REWDLQ WKH 0DVWHU¶V GHJUHH LQ $JRJLFDO 6FLHQFHV Free University, Brussels.

ROELANDT, E. (2008). Een actieve positie voor kunstenaars in een open institutioneel kader. [An active position for artists in an open institutional framework.] <H>art, 45.

RUTTEN, P. (2007). Economisch Belang van de Muziekindustrie in Nederland. [Economic Importance of the Music Industry in the Netherlands.] Study commissioned by the Audio Division of the Dutch Association of Producers and Importers of Image and Sound Carriers.

SABAM (2010). Jaarverslag 2009. [2009 Annual Report] Brussels.

SCHAUVLIEGE, J. (2010). Een beleid voor immaterieel cultureel erfgoed in Vlaanderen ± Visienota.

[A policy for intangible cultural heritage in Flanders - Vision Document].

SCHROOTEN, T. (2008). De meerwaarde van design bij de ontwikkeling van succesvolle nieuwe producten. [The net added value of design in the development of successful new products.] Final thesis for Master of Applied Economics, Hasselt University.

SCOTT, A.J. (2002). A New Map of Hollywood: The Production and Distribution of American Motion Pictures, Regional Studies Vol.36(9):957-975.

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SENTERNOVEM. (2009). Innovation intelligence verkenning creatieve industrie. [Innovation Intelligence exploring creative industry.] The Hague: Ministry of Economic Affairs.

SERV (2004), Beroepsprofielen kledingindustrie: [Clothing industry occupation profiles:] http://www.serv.be/bp.

SIFFER, S., & VANDERMARLIERE, K. (2011). Internationaal werken in de architectuursector.

[Working internationally in the architectural sector.] In: Joining the dots, Courant 96, Brussels: VTI. TER HAAR, D. & VAN DER LINDEN, F. (2007). Vormgevers in Nederland. [Designers in the Netherlands.] Centre for Policy Statistics 07001, CBS Âą Statistics Netherlands.

TRENDS (24/08/2006). De miljoenen van de Belgische game-industrie. [The millions of the Belgian game industry.

UNCTAD (2010). Creative Economy Report 2010.

VACATURE (31/10/2010). Hoeveel krijgt een auteur voor 1 verkocht boek? [How much does an author receive for one book sold?]

VAN DEN BORN, J.A. (2009). The drivers of career success of the job-hopping professional in the new networked economy or the challenges of being an entrepreneur and an employee. Thesis to obtain a doctoral degree at Utrecht University.

VAN DEN BULCK, H. (2010). Media: structuur en werking. [Media: structure and operation] University of Antwerp. Acco: Antwerp VAN DER PLAS, J., & VASTESAEGER, T. (2009). De muzikantengids. Handboek voor muzikant en DJ. >7KH PXVLFLDQVÂś JXLGH 0DQXDO IRU PXVLFLDQV DQG '-V @ 'MDQJR 0XVLF 3XEOLVKLQJ .DWZLMN & Poppunt, Brussels.

VANDERVOORT, A. (2010). Ken jij de cultuurcentra al? [Do you already know the cultural centers?]

Courant 94, pages 24-32. Brussels: VTi. VAN LOOY, J. (2008). De computergamesector in Vlaanderen: van klein broertje tot volwassen entertainmentindustrie? [The computer games industry in Flanders: from little brother to adult entertainment industry?] Technology Upgrade No. 3, , HoWest, Kortrijk.

VAN LOOY, J. (2010). De gamesector: een doorsnede. [The game industry: a cross-section.]

Presentation IBBT-MICT Ghent University.

VERLEYEN, T. (2006). Printmedia in Vlaanderen. [Print media in Flanders.] Wolters Plantyn: Mechelen.

VISSER, I. (2003). De boekenindustrie in beweging. Een verkennend onderzoek naar de relaties tussen ontwikkelingen in de boekenindustrie en de pluriformiteit van het literaire aanbod. [The book industry in motion. An exploratory study of the relationships between developments in the books industry and the diversity of literary offerings.] Doctoral Thesis in Art and Culture Studies, Erasmus University Rotterdam.

VIWTA (2008). Game On! We krijgen er niet genoeg van. [We cannot get enough of it.] Flemish Institute for Science and Technological Assessment, File 14, Flemish Parliament, Brussels.

FLANDERS AUDIO-VISUAL FUND (2009). 2009 Annual Report. Brussels.

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FLEMISH PARLIAMENT (2008). Draft resolution on the support for the games industry in Flanders.

VLAAMS THEATER INSTITUUT (2007). Metamorfose in podiumland. Een veldanalyse.

[Metamorphosis in podium country. A field analysis.] Brussels: Flemish Theatre Institute.

VLAAMS THEATER INSTITUUT (2010). Landschapsschets theater april 2010. [Landscape Sketch of Theatre in April 2010. Brussels: Flemish Theatre Institute.

VLAAMS THEATER INSTITUUT (2011). De ins & outs van podiumland. Een veldanalyse. [The ins and outs of podium country. A field analysis. Brussels: Flemish Theatre Institute.

VLAAMSE [FLEMISH] MEDIA REGULATOR (2009). Mediaconcentratie in Vlaanderen 2009. [Media concentration in Flanders 2009.] Brussels.

VLAAMSE ONAFHANKELIJKE TELEVISIE PRODUCENTEN (2008). Recht op rechten. [FLEMISH INDEPENDENT TELEVISION PRODUCERS (2008). Entitled to rights.] Brussels.

VLAAMSE ONAFHANKELIJKE TELEVISIE PRODUCENTEN (2009). De televisie valt in herhaling.

[FLEMISH INDEPENDENT TELEVISION PRODUCERS (2009). The TV is showing repeats] Brussels.

VLAAMSE REGULATOR VOOR DE MEDIA (2010). Mediaconcentratie in Vlaanderen: [Flemish Regulator for the Media (2010). Media concentration in Flanders:] Report 2010. Brussels.

ZEC, P. & JACOB, B. (2010). Design Value, a strategy for business success. Red Dot Edition: Essen, Germany.

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WEBSITES www.abdf-­‐vfdb.be www.accbelgium.be www.ajp.be www.ajpp-­‐vjpp.be www.architect.be www.auteursvereniging.be www.bamart.be www.bastt.be www.belgacom.be www.belgianentertainment.be www.belgianfashion.be www.b-­‐esa.be www.betonvzw.be www.bibliotheekstatistieken.be www.bibnet.be www.bima.be www.bno.nl www.boek.be www.boekenvak.be www.bondvlaamsearchitecten.be www.cer-­‐leuven.be/cerleuven/Vewa/index.htm www.cinenews.be www.cjsm.vlaanderen.be/gaming/index.shtml www.clubcircuit.be www.comeos.be www.creativeclub.be

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www.dagbladpers.org www.demorgen.be www.designcouncil.org.uk www.designvlaanderen.be www.edti.eu www.erfgoedcellen.be www.europa.eu www.faronet.be/ www.febelmar.be www.ffi.be www.flandersinshape.be www.fmiv.be www.fondsvoordeletteren.be www.galm.be www.gotim.be/BUP/galeries.html www.goudengids.truvo.be www.grp.be www.howest.be www.humin.be www.iab-­‐belgium.be www.icom.museum www.icsid.org www.iscm-­‐vlaanderen.be www.journalist.be www.keynet.be www.kinepolis.be www.kunstenenerfgoed.be/ake/view/nl

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www.kunstenloket.be www.locusnet.be www.mediarte.be www.mm.be www.mmaf-­‐belgium.be www.modeunie.be www.modobrussels.be www.museumvereniging.be www.musicpublishers.be www.muziekcentrum.be www.nav.be www.nbb.be www.newzoo.com www.nicc.be www.nl.wikipedia.org/wiki/Reclame www.overlegkunsten.org www.podiumkunsten.be www.poppunt.be www.radiocentrum.be www.rsvz.be www.sabam.be www.scenaristengilde.be www.standaard.be www.telenet.be www.theppress.be www.ubabelgium.be www.udb.org

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www.ugc.be www.uma.be www.unctad.org www.vaf.be www.vai.be www.vfpb.be www.vioe.be www.vlaamsbouwmeester.be www.vlaamseregulatormedia.be www.vobk.be www.votf.be www.votp.be www.vowb.be www.vrm.be www.vrt.be www.vti.be www.vvbad.be www.vvbj.be www.vvio.be

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INTERVIEWEES Adriaan Raemdonck (Belgium Association of Galleries± Galerie De Zwarte Panter) Alain Heureux (IAB) Alain Lambrechts (The Ppress) An Moons (SMIT ± VUB) An Renard (Flemish Heritage Library) Ann Overbergh (BAM)

Johan Valcke (Design Vlaanderen) Johan Vansteenkiste (Art policy coordinator for City of Antwerp) Katrien Kiekens (Vlaamse Dagbladpers ± Flemish daily newspapers) Liesbeth Dejonghe (oKo) Liesbeth Huybrechts (Media, Arts & Design Faculty, KH Limburg) Maarten Bresseleers (Social Fund for the performing arts) Marc Michils (Saatchi & Saatchi)

Ann Rydant, Vlaamse Media Maatschappij (VMMa ± Flemish Media Company)

Marie Van Looveren (WES)

Anne Chapelle (BVBA 32)

Mark Coenen (VRT)

Bart Temmerman (Cultuurnet Vlaanderen ± Flanders Culture Network)

Michiel Verhaegen (Osar)

Bart Verstraete (NAV)

Nico Vranckaert (independent consultant)

Carlo van Baelen (Vlaams Fonds voor de Letteren - Flemish Literature Fund)

Nikol Wellens en Joris Janssens (VTi)

Carolien Coenen (Department of Culture, Youth, Media and Sport) Christel De Maeyer (The Studios, HoWest Kortrijk) Dany Snockx (Humin)

Nikolaas De Belie (Belgian Entertainment Association) Olivier Braet (SMIT ± VUB) Peter Bouckaert (Flemish film producers association) Peter Swinnen (Vlaams Bouwmeester ± Flemish master builder)

Debbie Esmans (Adviseur Media & Cultuur ± Media and culture consultant)

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Dr. Jan Van Looy (Universiteit Gent - Ghent University)

Philippe Martens (Flanders Inshape)

Edith Vervliet (Flanders Fashion Institute ± until April 2011)

Piet Callens (CultuurInvest)

Ellen Onkelinx (Flemish Independent Television Producers)

Prof. Dirk De Corte (UA ± Culture management)

Erik Magnus (Creamoda)

Prof. Dr. Patrick De Pelsmacker (UA)

Gabriel Fehervari (Alfacam)

Prof. Filip Vermeylen (Erasmus University, Rotterdam)

Geert Joris (Boek.be)

Prof. Jos Huypens (UA)

Günther Broucke (Brussels Philarmonic)

Prof. Katia Segers (VUB)

Hans Everaert (VAF)

Prof. Paul Rutten (Leiden University)

Heleen Van Loon (Design Platform Limburg)

Prof.Dr. Karolien Poels (UA)

Inge Schoups (Antwerps stadsarchief ± Antwerp city archive)

Rik Leenknegt (HoWest Kortrijk)

Jan Hautekiet (VRT)

Sam Eggermont (BAM)

Jan Timmermans (Kunstenloket)

Serge Platel (Federation of Music festivals in Flanders)

Jan Vermoesen (Mediarte)

Shaju Hendrikx (Mediarte)

Jari De Meulemeester (Ancienne Belgique)

Stef Coninx (Muziekcentrum Vlaanderen ± Flanders Music Centre)

Jef Maes (Boek.be)

Stefan Siffer (Vai)

Jeroen Walterus (FARO)

Sven De Koninck (Radiocentrum Vlaanderen ± Flanders Eadio Centre)

Jerry Aerts (De Singel)

Swen Vincke (Larian Studios)

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Trui Moerkerke (Weekend Knack)

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FOCUS GROUPS Adriaan Raemdonck (Belgium Association of Galleries ± Galerie De Zwarte Panter)

Luc Vandervelpen (Colibro)

Alexander Vanderstichelen (FARO)

Maarten Bresseleers (Social Fonds voor de Podiumkunsten ± Performing Arts Social Fund)

Babila Poma (Muziekcentrum Vlaanderen ± Flanders Music Centre)

Majo De Saedeleer (Stichting Lezen ± Reading foundation)

Bruno Vermeeren (VVBAD)

Marc Steens (Club circuit)

Carlo Van Baelen (Vlaams Fonds voor de Letteren - Flemish Literature Fund)

Marie Delbeke (FFI) Marko Galovic (ontwerper - designer)

Christophe Depreter (Sabam) Michel Van Buyten (EMI Music) Danielle Sioen (Sioen Industries NV) Olivier Maeterlinck (Belgian Entertainment Association) Dinie Van den Heuvel (patroontekenaar ± pattern draughtswoman) Pascal Ennaert (Vlaamse kunstcollectie ± Flemish art collection) Ellen Loots ( UA ± Culture management) Patrick de Borchgrave (Roularta - CIM) Els De Bodt (theatre festival) Patrick Marck (IAB) Erik Lejeune (Free Record Shop) Paul Corthouts (oKo) Geert Joris (Boek.be) Peter Heyrman (Kadoc) Geert Van Goethem (Amsab) Pieter De Buysser (toneelschrijver - playwright) Hans Vanderlinden (CJSM Vlaanderen) Raf Coenjaerts (Kunst in Huis ± Art at Home) Isabel Peeters (Duval Guillaume) Rudy Vanschoonbeek (Uitgeverij Vrijdag - publisher)

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Isabelle Santens (Andres NV)

Sam Eggermont (BAM)

Jan Braeckman ( Bibnet)

Saskia Westerduin (KASK Gent)

Jan Hautekiet (VRT)

Siebe Dumon (Vlaams Audiovisueel Fonds ± Flemish Audio-Visual Fund)

Jan Verheyen (Regisseur ± (theatre/film Director)

Sofie Decaigny (Vai)

Jef Malliet (Erfgoedplus)

Stef Coninx (Muziekcentrum Vlaanderen ± Flanders Music Centre)

Johan de Koning (WPG Uitgevers - publishers)

Stef Van Bellingen (curator)

Joris Janssens (VTi)

Steven Allcock (Studio 100)

Josine De Roover (NICC)

Steven Van Roy (Just In Case)

Katleen Herroelen (Creamoda)

Stijn Maes (Studio Hans Op de Beeck)

Katrien Van Eeckhoutte (Concertgebouw Brugge ± Bruges Concert Hall)

Stijn Verlinden (PR/blogger)

Kurt Melens (NTGent)

Trudi Noordermeer (UA)

Luc Delrue (Museum M)

Wim Coryn (publisher & music consultant)

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ISBN-NUMMER: 9789077615102 www.flandersdc.be www.antwerpmanagementschool.be

www

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