The Cultural and Creative Sectors (CCS) in the EU-27 were economically fragile before COVID-19, characterized by over 1.1 million enterprises (5% of non-financial businesses) generating EUR 145 billion (2.3% of the non-financial business economy) in 2017, with growth rates slightly above the overall non-financial business economy (1.5% vs 1.4% annually between 2012-2017).
02
The COVID-19 pandemic severely impacted the CCS through measures like halting non-essential business, banning public events, and restricting movement, leading to significant income loss for suppliers (e.g., sound/lighting, caterers) and local economies dependent on festivals and events.
03
Freelance performing artists, who often rely on multiple income streams and networking at events, were particularly hard hit by movement bans and social distancing, with many unable to access public support.
04
While some digital-native CCS sub-sectors (e.g., gaming) and those with large IP portfolios thrived, content creators often did not receive fair remuneration from digital platforms, highlighting a need for equitable compensation models.
05
The crisis accelerated the adoption of digital income sources and online distribution for CCS sub-sectors traditionally reliant on physical/live components (e.g., performing arts, live music), demonstrating potential for crisis resistance.
06
Policy responses to support the CCS during COVID-19 were broad but largely insufficient to offset income losses, focusing more on emergency relief than long-term sustainability or innovation beyond traditional cultural funding.
07
Innovation in the CCS needs a broader definition to cover areas like social cohesion, arts and health, urban development, and ecological innovation, which are currently underrepresented in funding programs, alongside audience development to re-engage and attract new audiences.
Insights
01
The Cultural and Creative Sectors (CCS) in the EU-27 were economically fragile before COVID-19, characterized by over 1.1 million enterprises (5% of non-financial businesses) generating EUR 145 billion (2.3% of the non-financial business economy) in 2017, with growth rates slightly above the overall non-financial business economy (1.5% vs 1.4% annually between 2012-2017).
02
The COVID-19 pandemic severely impacted the CCS through measures like halting non-essential business, banning public events, and restricting movement, leading to significant income loss for suppliers (e.g., sound/lighting, caterers) and local economies dependent on festivals and events.
03
Freelance performing artists, who often rely on multiple income streams and networking at events, were particularly hard hit by movement bans and social distancing, with many unable to access public support.
04
While some digital-native CCS sub-sectors (e.g., gaming) and those with large IP portfolios thrived, content creators often did not receive fair remuneration from digital platforms, highlighting a need for equitable compensation models.
05
The crisis accelerated the adoption of digital income sources and online distribution for CCS sub-sectors traditionally reliant on physical/live components (e.g., performing arts, live music), demonstrating potential for crisis resistance.
06
Policy responses to support the CCS during COVID-19 were broad but largely insufficient to offset income losses, focusing more on emergency relief than long-term sustainability or innovation beyond traditional cultural funding.
07
Innovation in the CCS needs a broader definition to cover areas like social cohesion, arts and health, urban development, and ecological innovation, which are currently underrepresented in funding programs, alongside audience development to re-engage and attract new audiences.