Latest news with #creativeindustries
Yahoo
an hour ago
- Business
- Yahoo
Creative industries to get £380m boost ahead of industrial strategy launch
Britain's film, music and video game industries are set to receive millions of pounds of investment as the Government seeks to ensure the UK's place as a creative superpower. The investment, announced by Culture Secretary Lisa Nandy, will see £380 million spent on a range of projects intended to double private investment in the creative industries. Ms Nandy said the investment would 'boost regional growth, stimulate private investment, and create thousands more high-quality jobs'. The figure includes £25 million for research into cutting-edge technologies such as the virtual avatars used in Abba Voyage, and £75 million to support the film industry. It will also see £30 million put towards backing start-up video games companies – an industry worth billions of pounds to the UK – and another £30 million for the music industry, including an increase in funding for grassroots venues. Another £150 million will be split between the mayors of Manchester, Liverpool, the West Midlands, West Yorkshire, the North East and the West of England to support creative businesses in their regions. The announcement comes as the Government prepares to publish its industrial strategy next week, billed as a 10-year, multibillion-pound plan to back certain sectors and secure growth for the UK economy. The creative industries are set to be one of the winners, with a plan for the sector expected to be published alongside the wider industrial strategy. Business Secretary Jonathan Reynolds said: 'The UK's creative industries are world-leading and have a huge cultural impact globally, which is why we're championing them at home and abroad as a key growth sector in our modern industrial strategy.' But earlier this month, the Government also rejected a planning application for a major new film studio near Holyport, in Berkshire, over its impact on the green belt. The £380 million has been welcomed by the industry, with the Broadcasting, Entertainment, Communications and Theatre Union (Bectu) saying it was a 'show of commitment to the sector'. But Bectu chief Philippa Childs said creative workers would also be looking for 'sustained support' from the Government as the sector 'recovers from a series of external shocks'. Recent years have seen the sector rocked by Covid, the cost-of-living crisis and concerns about the impact of AI and Donald Trump's threat to impose tariffs on films made outside the US. Conservative shadow culture secretary Stuart Andrew accused Labour of threatening the 'very survival' of the creative industries. He said: 'From their national insurance jobs tax to their business rates hike, Labour are pushing creative businesses to the brink, and we now know that Rachel Reeves has a secret plan to raise taxes – meaning things will only get worse. 'Labour must recognise that their economic mismanagement is dealing a devasting blow to the sector.'
The Independent
an hour ago
- Business
- The Independent
Creative industries to get £380m boost ahead of industrial strategy launch
Britain's film, music and video game industries are set to receive millions of pounds of investment as the Government seeks to ensure the UK's place as a creative superpower. The investment, announced by Culture Secretary Lisa Nandy, will see £380 million spent on a range of projects intended to double private investment in the creative industries. Ms Nandy said the investment would 'boost regional growth, stimulate private investment, and create thousands more high-quality jobs'. The figure includes £25 million for research into cutting-edge technologies such as the virtual avatars used in Abba Voyage, and £75 million to support the film industry. It will also see £30 million put towards backing start-up video games companies – an industry worth billions of pounds to the UK – and another £30 million for the music industry, including an increase in funding for grassroots venues. Another £150 million will be split between the mayors of Manchester, Liverpool, the West Midlands, West Yorkshire, the North East and the West of England to support creative businesses in their regions. The announcement comes as the Government prepares to publish its industrial strategy next week, billed as a 10-year, multibillion-pound plan to back certain sectors and secure growth for the UK economy. The creative industries are set to be one of the winners, with a plan for the sector expected to be published alongside the wider industrial strategy. Business Secretary Jonathan Reynolds said: 'The UK's creative industries are world-leading and have a huge cultural impact globally, which is why we're championing them at home and abroad as a key growth sector in our modern industrial strategy.' But earlier this month, the Government also rejected a planning application for a major new film studio near Holyport, in Berkshire, over its impact on the green belt. The £380 million has been welcomed by the industry, with the Broadcasting, Entertainment, Communications and Theatre Union (Bectu) saying it was a 'show of commitment to the sector'. But Bectu chief Philippa Childs said creative workers would also be looking for 'sustained support' from the Government as the sector 'recovers from a series of external shocks'. Recent years have seen the sector rocked by Covid, the cost-of-living crisis and concerns about the impact of AI and Donald Trump's threat to impose tariffs on films made outside the US. Conservative shadow culture secretary Stuart Andrew accused Labour of threatening the 'very survival' of the creative industries. He said: 'From their national insurance jobs tax to their business rates hike, Labour are pushing creative businesses to the brink, and we now know that Rachel Reeves has a secret plan to raise taxes – meaning things will only get worse. 'Labour must recognise that their economic mismanagement is dealing a devasting blow to the sector.'
The Guardian
5 days ago
- Entertainment
- The Guardian
‘We put our money where our mouth is': how the arts are transforming the north-east of England
There has been no shortage of creative talent from the north-east. The region's writers have created work that has educated generations (Terry Deary's Horrible Histories) and been reimagined by Hollywood (Lee Hall's Billy Elliot). Even those not from the region have chosen to base their most famous creations there (Ann Cleeves' Vera). Approximately 60,000 people are now working in the wider region's creative and cultural industries, and north-east mayor Kim McGuinness wants to see this increase. Her 10-year local growth plan aims to transform the north-east into a cultural powerhouse to rival current heavyweights, such as London and Glasgow. 'We want to treat our culture and creative industries the same way we treat green energy, advanced manufacturing or other traditional sectors that you would expect of the north-east,' McGuinness says. 'As mayor, I'm going to make sure we put our money where our mouth is.' At the heart of this plan is Northumbria University, which has produced a host of distinguished creative alumni, including Apple's former chief design officer Sir Jony Ive, Oscar-winning cinematographer Lol Crawley (The Brutalist), and bestselling author Cally Taylor, better known as CL Taylor. 'Northumbria [University] plays a strong role in helping us build an ecosystem of culture and creativity,' explains McGuinness. 'They're a really important partner.' One significant recent investment is £5m from the Department for Culture, Media and Sport to create a new writing centre for the region. The campaign to establish the new centre, set to be based within Newcastle's historic cultural and creative zone, known as Creative Central NCL, was led by the charity New Writing North in partnership with the university. Including audio studios and event spaces, the centre will have extensive collaborative working and teaching spaces dedicated to Northumbria University. Academics are collaborating with the likes of Hachette UK, Faber & Faber and Simon & Schuster to drive innovation within the publishing industry and provide students with sector-specific learning experiences. This is part of a broader, ambitious plan to integrate such opportunities across all undergraduate courses. 'We're keen to widen access to the publishing industry,' says Dr Neil Percival, co-director of cultural partnerships at the university. 'The real-world learning experiences students will gain from working with these partners will make them a key part of the future of the creative and cultural sector in the region.' McGuinness agrees, adding that 'the national centre for writing will be a jewel in our crown'. The university has other key partnerships, including Live Theatre, a theatre company specialising in new writing that provides students with access to rehearsals and delivers an industry-focused module; North East Museums, which includes teaching and research around heritage, curation and community wellbeing; and the Baltic Centre for Contemporary Art, which offers bespoke postgraduate training designed especially for Northumbria students. 'With Live Theatre, our creative writing students have been able to see their scripts read on stage, with professional actors and a creative director,' says Percival. 'Our partnership with North East Museums provides placement opportunities and projects on their sites all over the region for students across many subject areas including education, health and law, not only within the arts, and our fine art students have their graduation show professionally curated at Baltic and other galleries in Newcastle. 'You can't replicate that kind of real-world experience. They are very powerful, transformational opportunities that would be difficult to come by without the cultural connections we provide,' he says. And the university's involvement doesn't just benefit its students, with its research opening up opportunities for communities that don't traditionally have access to creative industries. The university was an instrumental founder of A Writing Chance, working with actor and philanthropist Michael Sheen, New Writing North and other partners to open access to the writing industries for writers from working class, low income or minority backgrounds, and it is leading on a national £3.9m research programme that fosters creative communities and promotes the devolution of powers over culture and the creative industries. 'Our research with our partners helps to break down barriers to access within the creative industries,' says Percival. 'We're able to give our cultural partners solid, evidence-based understanding of the impact of what they do … That, in turn, helps them meet local needs and bid for funding for further development, as well as helping to shape policy decisions much further afield in Westminster.' Known for its natural beauty (the region has two Unesco world heritage sites in Durham Cathedral and Hadrian's Wall and more than 300 miles of coastline), the north-east also hopes to further cement its place as a prime film location. A major move in this direction is the plan for the new Crown Works Studio in Sunderland, which will grow to include 19 sound stages, a vendor village and backlot. Crown Works received a £25m investment from the north-east devolution deal and will help create more than 8,000 jobs. Northumbria already has a partnership with the British Film Institute, and, through its work with all five regional universities to maximise opportunities for graduates and producers, can see enormous potential emerging from the development, making the region an even more attractive destination for students wanting to work in a vast range of roles connected with the film-making industry. It's something Gabriel Brown is excited for. Graduating from the university's film and TV production course in 2021, Brown now combines work on productions such as ITV's Vera and BBC's Smoggie Queens, with running his own company, Terabithia Pictures. 'There is just so much opportunity and so much experience in this region,' he says. 'The north-east as a whole is very much on the rise. It's fully deserving of that chance and that funding. 'There's a mass of incredibly talented crew and cast [here],' he says. 'It's an incredibly beautiful place to film, and a very friendly place to film as well, and in general, the locations and studios go unsung in terms of praise, because the attention is focused on London, Manchester or Glasgow.' Like the film industry, the music industry is now seeing the enormous potential in the north-east too. The 2025 Mobo awards were held in February at Newcastle's Utilita Arena and the Mercury Prize will also be hosted there in October, the first time this event has been held outside London. Meanwhile, industry giant Warner Music UK has announced ambitious plans to open a major studio facility in the heart of Newcastle, working closely with Generator, an organisation dedicated to nurturing and growing musical talent in the region – all of which is contributing to the north-east's transformation into a region that meets cultural needs. 'Having access to things you enjoy, whether that be a choir in your local community centre, or going to the Stadium of Light to see Bruce Springsteen – that whole range of cultural opportunities should exist for you,' says McGuinness. 'It's about mass participation.' Percival agrees. 'Go out and see things,' he says. 'Get your kids involved. Let your young people see the career routes available to them in the north-east, so that they have a fair crack at the whip.' Find out more about how Northumbria University is shaping futures and driving change
Arab News
5 days ago
- Business
- Arab News
Harnessing Africa's creative boom
In February, Afrobeats singer Tems won the Grammy for Best African Music Performance. Her achievement underscores the genre's growing popularity, exemplified by more than 15 billion streams on Spotify. It is also part of a broader cultural renaissance, as Africa's creative industries — from music and film to fashion — rapidly expand their global reach. African culture's rise to prominence could play a major role in the continent's economic transformation, offering significant opportunities for a large and growing youth population. The creative industries are projected to account for 4 percent of Africa's gross domestic product and up to 10 percent of global creative exports by 2030, creating more than 20 million new jobs. As I highlight in a new report, the growth of Africa's creative industries is driven by two major forces: digitalization and demographic shifts. But to unlock the sector's full economic potential, policymakers must make strategic investments and implement targeted reforms. Digital innovation is rapidly reshaping Africa's cultural landscape, creating new pathways to economic development. Increased access to emerging technologies is fueling the rise of digital payment platforms, while social media, streaming services and online marketplaces are lowering entry barriers for creators and entrepreneurs. Artificial intelligence alone is projected to add nearly $1.5 trillion to the continent's GDP by 2030, transforming how creative work is produced, distributed and consumed. Between 2016 and 2022, Netflix invested $175 million in South Africa, Nigeria and Kenya, reflecting its confidence in Africa's creative output. Demographic shifts are equally transformative, as the rapid expansion of Africa's middle class and consumer base is driving demand for locally produced creative goods. By 2060, the middle class is expected to comprise more than 40 percent of the continent's population. At the same time, Africa's youth population is projected to double by 2050, making it the only region in the world with a growing working-age population. In addition to expanding Africa's domestic markets, this demographic dividend is poised to transform the global cultural landscape, with African creators playing an increasingly influential role. African policymakers must harness this cultural momentum to advance economic, social and development goals. Notably, creative industries tend to employ a higher proportion of young people than other parts of the economy. With an estimated 11 million young Africans expected to enter the workforce annually through 2030, targeted investment in these industries could be a highly effective strategy for addressing the continent's youth unemployment problem. In sectors like fashion, about 90 percent of micro, small and medium-size enterprises operate informally. Formalizing these businesses could boost productivity, broaden access to finance and foster long-term growth. A more structured creative economy could also advance gender equality, especially in countries like Ethiopia, where women comprise roughly 85 percent to 90 percent of the apparel workforce. African governments should adopt business-friendly policies tailored to the unique needs of African entrepreneurs and creators. Landry Signe To be sure, significant obstacles must be overcome to realize the sector's full potential. Africa currently accounts for just 1.5 percent of the global creative economy and 5 percent of the world's cultural and creative industry jobs, and the sector faces persistent funding gaps, chronic underinvestment and weak regulatory frameworks. Many African governments allocate less than 1 percent of their national budgets to creative industries. Intellectual property protections remain a key vulnerability as well, with UNESCO estimating that 50 percent to 75 percent of African film and audiovisual revenues are lost to piracy. To tackle this challenge, governments must bolster antipiracy laws and improve enforcement mechanisms. The African Union's Plan of Action on Cultural and Creative Industries is a step in the right direction, but its success will depend on coordinated national implementation, the development of clear intellectual property guidelines and more robust institutional capacity. Alongside intellectual property reform, African governments should adopt business-friendly policies tailored to the unique needs of African entrepreneurs and creators. Given the high levels of informality across the sector, these frameworks must be flexible and inclusive. A prime example is Morocco's rebate system, which attracted international productions and helped the country's film industry achieve record profits in 2023. Access to funding is essential. The financial measures introduced during the COVID-19 pandemic to aid the arts sector provide a useful model for how direct public investment can support creative industries. Strategic investment in digital infrastructure is also critical, especially for creative industries like fashion e-commerce. National governments should also collaborate with regional and international funders. Encouragingly, the African Export-Import Bank announced last year that it would double its investment — to $2 billion over the next three years — in the Creative Africa Nexus initiative, which connects creative professionals and investors from across the continent. More broadly, African governments must develop forward-looking policies that accelerate the growth of creative industries. By tapping into the talent, innovation and entrepreneurial drive of Africa's youth, the continent has the potential to position its creative economy as a global powerhouse, driving GDP growth, expanding cultural influence and shaping a future defined by African-led prosperity.
News.com.au
6 days ago
- Business
- News.com.au
Sing, dance, play, act: Policy helps put SA talent in the spotlight
A 10-year cultural policy will help ensure South Australia's arts, cultural and creative industries thrive throughout the next decade. CreateSA executive director Clare Mockler says the recently-released policy – titled A Place to Create – is backed by an $80 million State Government investment to help support these sectors within the state. 'South Australia has a long and proud history of being national leaders when it comes to arts, culture and creative industries and having a 10-year policy builds on this,.' she says. 'Its purpose is to enrich South Australia's future by strengthening our communities, enlivening our places and connecting us through arts, culture and creativity. 'It supports more artists and creatives to thrive and will ensure our state's arts organisations, creative businesses and cultural institutions are robust and sustainable for the future. 'This policy underscores the Government's commitment to the arts as central to South Australians' quality of life and collective identity – and sits as a companion to the state's Economic Statement.' Speaking during a brief visit to the Adelaide Festival Centre – which is in the midst of a comprehensive $35.5 million upgrade – Mockler says key funding initiatives include a $2.5 million injection to 'kickstart' opportunities for children and young people to develop their creativity and more than $2.3 million in investment into First Nations arts and culture in SA. She says much-loved established events such as the Adelaide Fringe and the recent Chihuly glass exhibition at the Adelaide Botanic Garden – are all part of the rich cultural landscape that plays a crucial role in South Australia. 'Evidence shows that a strong arts, culture and creative sector has a great impact on people's mental health, their wellbeing and their community participation,' she says. 'It's absolutely an essential part of the community's social fabric. 'It allows people to get out, to celebrate, to think about who they are as South Australians – to be challenged about who they are and to hear different stories and experiences.' Aside from helping shape South Australia's cultural identity, the sector is also a billion-dollar economic driver. 'The economic contribution of the sector to the state is more than 10,000 creative businesses employing more than 15,000 people and contributing more than $1.8 billion to the state's economy,' Mockler says. 'We know that people will visit South Australia for artistic and cultural experiences. 'We see that across many of our festivals and events – for example, WOMADelaide and Adelaide Festival to name just two – people will travel for artistic experiences.' Mockler says a thriving arts industry has lasting benefits for all South Australians – now and in the future. 'Arts, cultural and creative industries create opportunities for young people to develop their creativity to become participants in our state's future,' she says. 'A thriving sector enhances the state's global reputation and contributes to the international export of film, music, art, performance and more. It also attracts foreign and domestic investment, supports tourism and creates further motivation for migration.' SA talent takes centre stage A rising audience seeking a night out at the theatre is having an increasingly powerful impact on the state's economy, creating employment not only for the actors on stage but a host of other workers. State Theatre Company audiences have grown by almost 20 per cent in the past five years, with 50,000 people in Adelaide alone attending 130 performances in 2023-24. The company's nine seasons of work last financial year employed more than 140 artists, including 116 freelance actors, directors and designers as well as stage management, production and technical personnel. However, touring productions nationally also is bringing money back to the state, with thousands more people attending seasons in theatres interstate. Artistic director Petra Kalive says its play The Dictionary of Lost Words, for example, has had enormous success, with seasons at the Sydney Opera House and Arts Centre Melbourne counting towards its more than 200 performances. 'I think it's one of the few works that's not a musical that's gone on to over 200 performances,' she says. 'Not only is this work – and the works that we want to continue to create – creating work for actors in the state, but we're providing an economic uplift for these actors for longer seasons.' Kalive says even when shows have only one or a few actors on stage, the 'machine behind it is massive'. 'There's a full workforce that helps to develop and deliver the show,' she says. 'We've got full-time staff in the workshop – builders, prop makers, scenic designers, wardrobe costumers – but also, if a show is big, we will recruit casual employees. 'That's also why I'm keen to continue to do large-scale works like The Dictionary of Lost Words so we can open up and continue to create pathways for young people to get trained up in these very skilled jobs. 'Casual contracts and larger shows give us the opportunity to see who's out there and to train them.' Kalive says its influence on the economy is also occurring outside theatres, with patrons often coupling their theatre visit with dinner, a pre-show drink or even a hotel stay. 'We know that those audiences who come into these theatres at night have such an impact on the night-time economy,' she says. 'We add $2 million to the night-time economy – we're stimulating local business and we're boosting tourism, creating employment and creativity and innovation to the state. 'The cultural and social factor of what we do can't go unrecognised as well. 'What we do for the economy goes without saying, but it's also the audiences that we reach, it's the pathways that we create and the way that theatre is able to foster dialogue.' Looking forward, the company anticipates its growing value will continue. 'There's lots of other works that we've got in the pipeline that could be as impactful as something like The Dictionary of Lost Words and in this way, I think State Theatre Company is punching well above its weight compared to other theatre companies around the country – it's really exciting,' she says. 'We've got this incredible talent pool of South Australian artists, actors, performers, musicians that I'd like to make sure stay in South Australia so I want to be creating work that celebrates their talent and then showcases them to Australia and the world.' Next generation dreams big South Australia's heart of the arts is enhancing the learning experience for students throughout their school years when they are building their creativity skills. Adelaide Festival Centre's centrED program, supported by the Department for Education, is also giving students greater access to artistic performers and performances to help them engage with and be inspired by the arts. The centrED program co-ordinates workshops for students from preschool through to secondary school, complementing and linking what is taught at school with the artists and festivals that occur during the year. It also hosts matinees for performances from home and visiting theatre companies, which can break down access barriers, particularly for students from disadvantaged backgrounds or regional areas who may find it difficult to attend performances outside of school hours. Renee Gibson, centrED's education manager, says activities are held year-round at schools or on-site at the Adelaide Festival Centre while tours, work experience and traineeships also are available. 'We look at each festival and find the best ways we can curate the program to fit into the curriculum,' she says. 'We'll look at where there are gaps in engagement, in year levels or subjects and try to respond to those as well as work with teachers about what they'd be like to be able to do.' Activities range from Adelaide Guitar Festival performers visiting preschools to Year 11 and 12 students embarking on the five-month, SACE-credited Class of Cabaret program, which culminates in their own performance at the Adelaide Cabaret Festival. Meanwhile, Asian-Australian relations and cultural understanding is fostered through workshops run during the OzAsia Festival, above. 'One of the national curriculum's cross-curriculum priorities is Asia and Australia's engagement with Asia, so the OzAsia Festival is really valued by teachers because it gives students the opportunity to connect with Asian and Australian artists and creatives,' Gibson says. School activities such as performances, exhibitions and interactive workshops also are a focus of the DreamBIG Children's Festival. 'We very much believe all young people should have the opportunity to participate in the arts, not only because of the career benefits or artistic benefits but also those connections around wellbeing,' Gibson says. 'We receive a lot of feedback from teachers about the positive impact on wellbeing; attendance at school is increased because kids want to be able to participate; and by having philanthropy programs where we provide transport and free tickets to performances like Beauty and the Beast, we are making sure that all young people have the opportunity to learn, engage, feel inspired and have that transformative arts learning experience.' Online centrED programs help schools and students engage when it is not logistically possible for activities to be held in person.
