Organizing of a Study Tour in Europe for Caribbean business people from the Cultural Industries. Roadmap and Recommendations

Transcription

1 Organizing of a Study Tour in Europe for Caribbean business people from the Cultural Industries Roadmap and Recommendations

2 Organizing of a Study Tour in Europe for Caribbean business people from the Cultural Industries Contrat No: C Project No. WP Caribbean Region By Ms. Taiana Mora and Ms. Paula Norris Submitted by ACE, International Consultants (Spain) This document has been produced with the financial assistance of the European Union. The views expressed herein can in no way be taken to reflect the official opinion of the European Union nor of those of the ACP Secretariat. ROADMAP AND RECOMMENDATIONS Page 1 36

3 REPORT COVER PAGE Project Title: Organizing of a Study Tour in Europe for Caribbean business people from the Cultural Industries Project No. WP Country: ACP countries (Caribbean Region) Contracting Authority Project Partner Contractor Name: BizClim - Programme Management Unit Caribbean Export ACE, International Consultants Address: 205 Rue Belliard 1040 Brussels Belgium Mailing Address: Mutual Building, Hastings Main Road Christ Church, BB15154 Sagunto Madrid/Spain Postal Address: P.O. Box 34B, Brittons Hill Post Office St. Michael, BB14000 BARBADOS Tel. number: (246) Fax number: (246) address: mhamed@acpbusinessclimate.org PCokeHamilton@caribexport.com CWharton@carib-export.com mmottin@ aceconsultants.eu Contact persons: M. M Hamed Cherif Ms. Pamela Coke Hamilton Mr. Carlos Wharton Ms. Maëva Mottin Date of report: 07 August 2012, revised 16 August 2012 Authors of report: Taiana Mora, Paula Norris Date of contract signature: 09 April 2012 Duration of project: 5 months Project completion: 09 September 2012 The content of this report is the sole responsibility of the authors and can in no way be taken to reflect the views of Caribbean Export, the European Union or the BizClim Programme. ROADMAP AND RECOMMENDATIONS Page 2 36

4 TABLE OF CONTENTS I. Executive Summary... 4 II. Introduction... 8 III. Methodology IV. Major findings from the study tour The selected market: Manchester and Liverpool: Germany France Other EU markets Companies readiness: Business environment: Cooperation V. Roadmap main elements: approach The integrated approach The two-tier approach: market ready and export potential VI. Roadmap Roadmap and main components Table: Synoptic presentation of the proposed roadmap ROADMAP AND RECOMMENDATIONS Page 3 36

5 I. Executive Summary The Study Tour for cultural industries to the European Union, financed by ACP Bizclim and Caribbean Export, sponsored 22 companies in music, audiovisual and fashion from 11 CARIFORUM countries to attend a study tour to Manchester, UK, Berlin, Germany and Paris, France from July 1-11th, The specific objective of the project was to contribute to enhancing dialogue between European and Caribbean business leaders and impacting the business and investment reform agenda in the Caribbean region, as well as helping the Caribbean reap the benefits of EPAs. One of the main outputs of the project was to develop a roadmap for the development of the cultural and creative industries in CARIFORUM which would identify the key areas of intervention. This document presents the roadmap for the consideration of the different stakeholders. Market findings: Whilst all different, the three selected cities offer interesting opportunities for the three subsectors. While Manchester is not as strong in fashion, it is a hub for audiovisual and music (along with Liverpool). In summary, the key market conclusions and recommendations are: There are opportunities for the creative industries in Europe in spite of the financial crisis affecting the entire EU. This sector has not been as severely affected as the rest of the economy. Berlin is the most important hub for the three subsectors. But priority markets would need to be revised based on priority subsectors and target niches. While the markets have important events for business (Music City in Liverpool, Berlin Fashion Week, etc), in order to penetrate a market, the companies need a yearlong presence in the target market, joint efforts by agents/distributors and strong branding support It is imperative that Caribbean firms have a good, updated and content filled website. They also need to know search engine optimization as well as other key strategies to improve online presence and image. The Caribbean creative industries, with important exceptions like Bob Marley, are relatively unknown in many EU market segments. Collaboration across subsectors is very important as well to support the collective branding efforts. It is essential to use the networks that have been established in the different countries. For this purpose a regional approach is more powerful than individual firms efforts. It is very important to use the Diaspora communities in the different EU markets. Whenever possible, joint promotion with Africa may be an interesting avenue to explore. For example, Black History Month celebration in Berlin or the Carnival celebrations in different EU countries. ROADMAP AND RECOMMENDATIONS Page 4 36

6 A combination of activities in the markets is needed in order to make significant progress in market penetration. Example: participation in Berlin Fashion Week as well as presentation to agents/distributors and local promotion; participation in music festivals, smaller concerts for agents/distributors, media participation, etc. In terms of the main recommendations and findings for product development, these are as follows: There is potential for CARIFORUM service providers into the EU market There is a lot of assistance needed to tailor products to the market requirements Creative industries need technical assistance and promotional support to develop an integrated presence in the key priority markets Collective efforts and regional approach to tap into the established network in the European markets are essential to facilitate access Caribbean branding is more powerful than any individual effort and needs to be exploited, but at the same time, coupled with individual firms marketing strategies Clustering and collaboration needs to be undertaken to support creative talents which do not have the business back office to sustain their efforts Access to finance is essential for the development of the sector. It is also important to attract the necessary investment for the sector from other private sector entities Cooperation and donor efforts need to be increased in support of the creative industries in order for them to fulfill their potential within EPA. Financial crisis in Europe has not affected the creative economy as severely as other sectors. But has made them more open to look at new markets for partnerships and opportunities, which offers a window to the Caribbean. Business environment: When the level of development is so different and there are so many issues to be addressed as indicated above, the strict business environment could not be separated from the necessary legal framework However, the specific recommendations and findings for business environment are: It is imperative to develop the legal and institutional support system for the development of the creative and cultural industries in any country Support for the creative industries have to be comprehensive and include both the public and private sector CARIFORUM member states need to accelerate the legal framework where there is none, and enhance the existing one through more regional collaboration. Incentives for films are one of the areas, but also IP legislation and telecommunications infrastructure are other key focus areas. ROADMAP AND RECOMMENDATIONS Page 5 36

7 There are several tasks within the EPA that need to be prioritized to support the creative industries, including negotiation of coproduction agreements, identification of a system to facilitate issuing of visas for temporary entry, double taxation treaties, national treatment/local content, access to financing. Roadmap: The methodology for the development of the roadmap is based on four major inputs: a) Initial research undertaken concerning the three target markets and some of the general market requirements b) Participating CARIFORUM firms profile, exchanges and feedback from all of them throughout the study tour c) Study tour meetings held with European firms and organizations and their interaction with the Caribbean firms d) Participants feedback through debriefing, conversation and after mission reports. While these inputs are not the total possible elements of the markets or the region, they are diverse enough in terms of CARIFORUM companies, as well as covering the 3 major markets for creative industries in Europe. The roadmap was presented and in principle approved at the 2 nd CARIFORUM-EU Business Forum held in London, UK on August 9 th, The roadmap has four main elements: Elements of roadmap: a) Improve business climate: as indicated above, there are key identified priorities to allow the creative industries to tap the potential for revenue earning and the usage of EPA by the region. These activities need to be undertaken mostly by CARIFORUM Governments, both at regional and national level. b) Product development and finance: This component will address the need to improve and enhance the capacity of the firms to do business in the international market. Actions will be divided into a two tier approach. Group A will be formed by the market ready firms and Group B will be companies with market potential, but which do not have a product or a business model ready for the EU market. c) Clustering, Collaboration and Capacity Building: Cities that have successfully developed the creative industries to support their economy, like Berlin, have established successful networks of public and private sector entities that collaborate with each other and create the necessary synergies without duplicating efforts. The Caribbean region needs to do the same. ROADMAP AND RECOMMENDATIONS Page 6 36

8 d) Marketing, branding, in market activities for export and investment: Once the group A is selected, a branding strategy to present these products to the world and to EU most be developed. The activities included in the roadmap are recommended to be integrated into a single programme per sector that would be called the Creative and Cultural Industries Integrated Programme (CCIIP) for music, audiovisual and fashion. The details are outlined in the matrix on page 32, ROADMAP AND RECOMMENDATIONS Page 7 36

9 II. Introduction For many years, the countries in the Caribbean region, along with the African and Pacific former European colonies, enjoyed a unilateral preference into the EU market with zero tariff for most goods/products as well as preferential quotas for selected commodities such as rice, sugar, banana and rum. The Cotonou Agreement (before 4 Lome Convention) presented not only the framework for cooperation between ACP and EU, but also the pathways towards the negotiation of Economic Partnership Agreements (EPA) which would maintain a quota free, tariff free market access to the 27 countries of the European Union in goods, as well as access in services, investment and trade related matters. The 15 member states of the CARIFORUM (ACP Forum for the Caribbean) were the first region to finalize an EPA. The European Union and the CARIFORUM member states signed the EPA in October The EPA is the first bi-regional agreement and grants, for the first time, access in services, investment and other trade related issues. The EPA is a trade agreement with a developmental dimension. This means that there are special considerations given by the European Union recognizing the big asymmetry of the two regions and the need for the CARIFORUM countries to develop in order to reap benefit of the agreement, it also needs to further its regional integration and it needs more time to make the adjustment to offer reciprocity to the EU. Among the provisions of the agreement there is a phaseout period which lasts as long as 25 years for specific items. The EPA also includes a cultural protocol which highlights the importance of the cultural industries for the success of this agreement. The CARIFORUM- EU BUSINESS FORUM as facilitator During its first phase, the ACP Business Climate Programme, Bizclim, financed and coordinated, along with key stakeholders in the Caribbean (Caribbean Export, CAIC and the CRNM, now Office of Trade Negotiations of CARICOM Secretariat) the first study tour to the European Union for the services sector (ICT and Creative Industries - Architecture and Film & audiovisual-) as well as the 1 st CARIFORUM-EU Business Forum held in Barbados in November As a result of those market visits to Brussels, London and Madrid, several business contacts and group initiatives were started 1. The first Forum brought several grouping initiatives such as the Contract Caribe for architects as the first discussions on MRA negotiations for architects. It also started discussions for the Caribbean Audiovisual Network (CAN) and ICT regional initiatives. The second phase of the ACP Business Climate Programme, Bizclim, agreed to organize the 2 nd CARIFORUM-EU Business Forum with Caribbean Export as the key 1 The TSL Group of Trinidad and Tobago reported during the 2nd CARIFORUM-EU Business Forum several business ventures as a result of their UK market visit which has increased their company and spread their business to Europe and Africa. ROADMAP AND RECOMMENDATIONS Page 8 36

10 regional stakeholder. The Programme included two study tours (agribusiness and cultural industries) and the 2 nd Business Forum to take place in the context of the several regional initiatives undertaken by Caribbean Export around London 2012 Olympic Games. This roadmap is based on the inputs from the study tour for cultural industries. The Project The project was developed at the request of the Caribbean Export Development Agency (Caribbean Export) to BizClim. BizClim s main objective is fostering a business-enabling environment in ACP countries and regions by improving legislation, institutional framework and financial measures relating to the enabling environment of the private sector. Caribbean Export is a CARIFORUM trade promotion agency which has supported the cultural industries for the last 6 years, including the elaboration of other CCI-EU initiatives in music and audiovisual. Caribbean Export has also promoted investment, as well as being the co-organizer of the 1 st CARIFORUM-EU Business Forum and the first Study tour, also financed by BizClim. The main objective of this project is To promote reforms in macroeconomic policy, improve legislation, the institutional setup and financial measures (the rules of the game) relating to the enabling environment of the private sector in ACP countries and/or regions. Reforms and amendments to the legal framework and other measures to improve the enabling environment should not be suggested based on concepts and abstract policy discussions, rather it is important that these policies are informed by practical cases and with the guidance of the practitioners that are or will be affected by the measures. Without direct contact with the markets, the private sector will not gain the experience necessary in providing informed feedback to be integrated into the process of enhancing the enabling environment. Therefore, the need for the types of activities, such as this study tour, which exposes the CARIFORUM firms to the EU market in a very direct and practical way is critical. This experience will also serve to inform the direct dialogue platform of the CARIFORUM- EU Business Forum as stated in the Terms of reference. The expected results of the projects were: Result 1: A Study and Networking Tour in Europe for 25 CARIFORUM Businesses from the cultural industries sector, with adequate visibility and communication material for a successful organization of the study tour. ROADMAP AND RECOMMENDATIONS Page 9 36

11 Result 2: One (1) Study including recommendations and roadmap for enhancing the business and investment climate in the Caribbean and creating business opportunities between the Caribbean and Europe in the cultural industries sector. Result 3: Recommendations and lessons learnt from the study tour for further dissemination or use in scoping and defining the content of the 2nd Business Forum. The specific objective of the project is to contribute to enhancing dialogue between European and Caribbean business leaders and impacting the business and investment reform agenda in the Caribbean region, as well as helping the Caribbean reap the benefits of EPAs. The main activities undertaken to achieve the results were: a) The Study tour took place from July 1 st - 11 th in Manchester (including Liverpool), United Kingdom; Berlin, Germany and Paris, France. In the end, 22 companies attended the tour with 2 companies dropping out 5 days before departure date and another one right before the start of the tour. The group included two cultural industries subsectors: music, film & audiovisual and the fashion sector which is more of a creative industry. Eleven of the 15 CARIFORUM member states were present: Antigua and Barbuda (1), Barbados (2), Dominica (1), Dominican Republic (1), Guyana (1), Haiti (1), Jamaica (3), St. Kitts and Nevis (1), St. Lucia (3), St. Vincent and the Grenadines (3) and Trinidad & Tobago (5). b) The present document is the roadmap with the recommendations on the way forward for CARIFORUM companies c) The main elements of the roadmap were prepared to be presented at the 2nd CARIFORUM-EU Business Forum, along with success stories, as well as impressions and recommendations from representatives of the three subsectors that attended the study tour. The trade policy context: the EPA and the creative industries The Economic Partnership Agreement (EPA) is the first comprehensive, reciprocal agreement signed by the CARICOM countries 2. The Dominican Republic, the other country to form the CARIFORUM, had already signed the DR-CAFTA agreement with 2 Caribbean Community (CARICOM) is comprise of 14 independent countries (Antigua and Barbuda, Bahamas, Barbados, Belize, Dominica, Grenada, Guyana, Haiti, Jamaica, St. Kitts and Nevis, St. Lucia, St. Vincent and the Grenadines, Suriname and Trinidad & Tobago as well as the island of Montserrat which is still a British colony. All but Montserrat are signatory of the EPA. ROADMAP AND RECOMMENDATIONS Page 10 36

12 the USA. The EPA assisted CARIFORUM in maintaining duty free quota free access to the European Union markets which had already been granted under the Cotonou Agreement. New WTO rules made necessary to substitute the non reciprocal preferential access with a free trade agreement. Many CARIFORUM countries remain skeptical about the benefit of this agreement in a region with few export commodities and an uncompetitive manufacturing base. Only 5 CARIFORUM countries and 10 EU member states have ratified the EPA, almost 4 years after its signature. The agreement is in many cases provisionally implemented in the EU and in some CARIFORUM countries. Services are the new area of this trade agreement where it is expected that the EPA makes a difference for the Caribbean region. The inclusion of a Cultural protocol highlights this expectation. The CARIFORUM-EU EPA is still the most comprehensive agreement in services signed by the EU. It provides access to 26 of the 27 member states for service providers in mode 3 and 4. Through the EPA, service providers in CARIFORUM could travel to the EU for promotional purposes and could also stay up to 6 months. There is also the framework for further cooperation and for inclusion of co-production agreements, access to innovation funds as well as mutual recognition agreements. However, most of those provisions still have to be negotiated. Visa issues have to be negotiated with the relevant EU authorities, co-production agreements have to be pursued with individual EU member states, although the agreement indicates it can be negotiated bilaterally or with the entire region. The study tour experience assisted in highlighting some of the priorities for follow up on the EPA and areas which are critical, should the agreement be utilized to full advantage by CARIFORUM. ROADMAP AND RECOMMENDATIONS Page 11 36

13 III. Methodology The present work will look at the development of a roadmap based on research and the feedback received both from CARIFORUM firms as well as EU firms and institutions from the three visited EU member states. The roadmap will not only outline the key actions identified, but also the modality for its implementation. It builds on previous experience and seeks to enhance what is already being done by CEDA and other stakeholders. The work also looks briefly at some of the funding sources, both from development cooperation, as well as some funding assigned in member states for the support of creative industries, and where some funding opportunity may be obtained by CARIFORUM firms partnering with French, British or German companies. The bases for the preparation of the roadmap are four: e) Initial research undertaken on the three target markets and some of the general market requirements f) Participating CARIFORUM firms profile, exchanges and feedback from all of them throughout the study tour g) Study tour meetings held with European firms and organizations and their interaction with the Caribbean firms h) Participants feedback through debriefing, conversation and after mission reports. The roadmap focuses on the three selected countries for the study tour, but it is not limited to those EU member states. In fact, it is strongly recommended to research and include other potential EU markets which may be more suited for the type of niche markets that feed the type of available products. For example, the tour organizers were told that the Netherlands and the Rotterdam Audiovisual Festival is more suitable to get contacts and sales of content for TV programmes across Europe. The roadmap outline is divided into three components: the findings and lessons learnt from the study tour, the recommended approach and the roadmap itself which in turn consists of four major areas of interventions: business climate, production, collaboration and marketing. ROADMAP AND RECOMMENDATIONS Page 12 36

14 IV. Major findings from the study tour 1. The selected market: The 3 countries included in the study tour: United Kingdom, Germany and France were preselected prior to the start of the project. As it relates to the Creative Industries, they are the 3 major economies in Europe in the three subsectors selected for the study tour: apparel/fashion, film and audiovisual and music. The total estimated volume of sales of more than 192,173 millions. The estimated breakdown for 2010 is as follows: Sector France Germany United Kingdom Film 19,750 21,814 26,500 &Audiovisual Music 1,552 3,500 2,459 Apparel/Fashion 37,800 57,790 21,004 Millions In general five countries in the European Union take three quarters of the market: United Kingdom, France, Germany, Italy and Spain. The three selected countries are the largest. The Creative Industries have also grown since 1997 faster than other sectors within the EU economy. Even in the middle of a very difficult financial crisis across the EU, the creative industries have been one of the few sectors which has not contracted. In 2010, creative industries were almost 7% of EU GDP and hired about 14 million persons which were about 6.5% of the EU workforce 3. Since this is one of the few sectors still experiencing a high level of economic activity, it is a fair assumption to indicate that creative industries are one of the few sectors where opportunities are still strong. Even in countries like Spain, the number of movies made has only decreased by 10-15%, according to the Spanish Film Producer Association (FAPAE). During the study tour, it was clear that local and national governments in the different EU member states are investing in the promotion of their creative industries sector. 1.1 Manchester and Liverpool: Being the center of the industrial revolution in the XVIII century is great for history, but it is not what maintains Manchester and the greater Manchester area nowadays. Old buildings and old industrial centers are being turned into cultural industries hubs. Mediacity, home of the different TV stations/broadcasting organizations, such as BBC and itvi, is only one example. Liverpool, famous birthplace of the Beatles, is also exploiting that heritage and it is promoting itself as a hub for the music business. 3 Building a digital economy: the importance of saving jobs in the EU s creative industries, Tera Consultants and International Chamber of Commerce. Paris. March ROADMAP AND RECOMMENDATIONS Page 13 36

15 Both cities within the Greater Manchester area are attracting investment and new business from the creative industries. They have incentives as well as interesting locations and facilities. They also do yearly events such as Music City which attracts on a yearly basis many of the industry s powerhouses as well as new and interesting start ups. Manchester was not, however, a good place for the fashion industry. They do have smaller stores and distributors, but the main department store house and fashion events are held in London. Manchester proved to be a good place to connect with small and medium size companies looking for a competitive edge and interested in expanding to a more international portfolio. The incentive to locate business in the area (more affordable than London) and the connectivity was attractive for the Caribbean firms. The UK has an interesting Diaspora, particularly from the West Indies. However, Manchester s West Indian population is not as big as the West Midlands or London areas, although there is still a significant Caribbean Diaspora there. The meetings in Liverpool made clear that there are promotional tools which could be used online in order to start connecting with the market. However, arrangement with local representatives and live performances are important in order to get the actual benefits of the business. 1.2 Germany After the fall of the Berlin wall and the reunification of Germany, the investment in the creative industry in Germany has grown both at the local and national level. The amount of institutions to support the industry has increased as well as the number of events being held in the city. Among the sectors leading the events are: the Berlinale, the Berlin Film Festival, which is among the most important in the world, the Bread and Butter event held within the Berlin Fashion Week, which is the biggest trade event in the industry in Europe and the Womex organization, which is the biggest trade show for (world) music in the world. Berlin also has many fashion agents, music organizations, events and festivals. They also give support at local and regional level for film production and other cultural initiatives. Organizations like Berlinale, Berlin Media, the Berlin Music Week organizers, Berlin Music Commission all offer to be good contact points for Caribbean firms. All networks are connected. and participation in the events, as well as having a well thought out plan and connection to agents and local firms, could prove the right strategy for Caribbean companies wanting to tap into the German market, or even using the German market as a point of entry for the EU market. Berlin is a casual, open city which welcomes the idea of being international and exposed to different cultural experiences. One on one with companies is not an easy approach, and therefore entering through network connections is essential. ROADMAP AND RECOMMENDATIONS Page 14 36

16 Participation in the key events such as Berlin Fashion Week (and its correlated event such as Bread and Butter), Berlin Music Week, Berlin Film Festival (or related event such as co-production meetings) are very important for the introduction and exposure to the market. It is essential to take concrete projects or project ideas to present while attending those events. Language does not seem to be a big barrier as everyone encountered during the meetings could speak fluent English. There seems to be room for both German production (Media) as well as international productions (World Cinema Forum). It was advised to the group that the key to success in Berlin was all about packaging. Even an ugly product (fashion) has a chance in this market with the right package/presentation. What it is clear is that in this market, without a good online presentation, full catalogue display, good online search optimization, presence on YouTube and others, etc., it is very difficult to be noticed or taken seriously. 1.3 France France has a long cultural tradition, as well as long standing support, for the cultural industry, especially cinema. It has also a very highly regarded fashion industry. France is also present in the Caribbean neighborhood through the Department of Guadeloupe, Martinique and French Guyana. However, through the experience of the study tour, Paris proved to be a difficult market to confirm and keep appointments. It is true that due to the time of the year, i.e. around the summer vacation season, several companies and institutions were not available. Initial contacts in the market indicate that there is potential, but getting contacts and visiting the market is often also a pre-requisite. The French authorities are also much protective of local content, so partnerships are advisable. The contribution of cultural industries to France GDP was the highest in Europe, with about 3.4% according to a KEA study on Culture in Europe. The successful experience of the animation firm, Full Circle during the study tour, indicates the potential of the subsector of the AV industry as it relates to the French market, which needs to be explored further. 2. Other EU markets In the course of the meetings, other EU market possibilities were brought up, as several of the contacts in the three countries mentioned events or activities which they did with other EU countries. For example, audiovisual for TV attends the Rotterdam Film Festival, Germany and France have several cooperation agreement and share music and film exhibition and festivals. Spain is an important market for film and audiovisual. It is 4 th in Europe and 9 th in the world. Spain already has some agreements with companies in the Dominican ROADMAP AND RECOMMENDATIONS Page 15 36

17 Republic (there is also a joint venture between UK (Pinewood) and DR (Vicini) firms to establish a film studio, Indomina. In summary, the key market conclusions and recommendations are: There are opportunities for the creative industries in Europe in spite of the financial crisis affecting the entire EU. This sector has not been as severely affected as the rest of the economy. Berlin is the most important hub for the three subsectors. But priority markets would need to be revised based on priority subsectors and target niches. While the markets have important events for business (Music City in Liverpool, Berlin Fashion Week, etc), in order to penetrate a market, the companies need a yearlong presence in the target market, joint efforts by agents/distributors and strong branding support It is imperative that Caribbean firms have a good, updated and content filled website. They also need to know search engine optimization as well as other key strategies to improve online presence and image. The Caribbean creative industries, with important exceptions like Bob Marley, are relatively unknown in many EU market segments. Collaboration across subsectors is very important, as well as support for the collective branding efforts. It is essential to use the networks that have been established in the different countries. For this purpose a regional approach is more powerful than individual firms efforts. It is very important to use the Diaspora communities in the different EU markets. Whenever possible joint promotion with Africa may be an interesting avenue to explore. For example, Black History Month celebration in Berlin or the Carnival celebrations in different EU countries. A combination of activities in the markets is needed in order to make significant progress in market penetration. Example: participation in Berlin Fashion Week as well as presentation to agents/distributors and local promotion. Participation in music festivals, smaller concerts for agents/distributors, media participation, etc. 3. Companies readiness: The group of companies attending the study tour was very diverse. Very few have export experience and only one of them was well prepared, by bringing a product to be tested in the EU market. Most participants, however, found that their products could be successful in the market provided they get the exposure and support to adapt the products. Out of the different interventions recommended, further networking and research were the top priority for most companies. In the case of fashion, several fashion designers already have collections which are on a par what was shown in the runaways or display in the stores. However, further ROADMAP AND RECOMMENDATIONS Page 16 36

18 work in adapting the product, including new fabric material, preparation of two collections per year instead of one, price adaptation, upgrade and update of the companies websites, all need to take place in order for the companies to be ready to return to an event like the Berlin Fashion Week. The music companies, with the exception of one (Studio J), were not ready for the market. They did not have a product to present (CD/music proposition) or promote and some of them do not have a business backup system. Music is, however, the stronger and most widely known creative product of the Caribbean. Names like Bob Marley or Rhianna help, as an important introduction, but further work and development needs to be done in order for those associations and companies to be ready to be promoted in festivals and events. It is important to develop the business side out of the creative expression of the Caribbean artists. Clustering and collaboration are also essential in establishing the strategic linkages needed to develop and promote the creative products. In the case of businesses like film productions, a lot of effort needs to be done to develop/produce the films, including co-production agreements and access to funding which are available in different EU countries at national and regional level. Companies also need to develop an online presence which will support their promotion and branding building. Not only establishing their own vibrant, content filled website, but also tapping into online resources, including search engine optimization, online applications for funding or presentation in festivals and other events, placing music in on demand site, sync agents, etc., is required. Not all creative products are suitable for the EU market, but the market is wide and diverse enough to offer important niches for the different products. Individual strategy and collective branding offer the best bet for higher return on investment. It is also important to develop strategy to support the investment of other sectors into the creative industries. Successful venture in film by the DR and TT private sectors show there is a way to improve the value chain and to take the creative industries to another level. The financial crisis in Europe has proven to be an interesting opportunity as companies are more open to look at new markets and different models of partnering which they may not have been as open to in the past. In summary the main recommendations and findings for product development are: There is potential for CARIFORUM service providers into the EU market There is a lot of assistance needed to tailor products into the market requirements Creative industries need technical assistance and promotional support to develop an integrated presence in the key priority markets ROADMAP AND RECOMMENDATIONS Page 17 36

19 Collective efforts and regional approach to tap into the established network in the European markets are essential to facilitate access Caribbean branding is more powerful than any individual effort and needs to be exploited, coupled with individual firms marketing strategies Clustering and collaboration needs to be undertaken to support creative talents which do not have the business back office to sustain its efforts Access to finance is essential for the development of the sector. It is also important to attract the necessary investment for the sector from other private sector entities Cooperation and donor efforts need to be increased in support of the creative industries in order for them to fulfill their potential within EPA. Financial crisis in Europe has not affected the creative economy as severely as other sectors. But, in fact, has made them more open to look at new markets for partnerships and opportunities, which offers a window to the Caribbean. 4. Business environment: One of the most interesting experiences in the study tour was to witness the amount of support offered by the EU local and national governments for the development of their creative economies. Manchester, Liverpool, Berlin, Brandenburg and Paris all offer funding to their intermediary institutions to develop the kind of events and programmes to highlight their cities as a hub for creative industries. The cities visited by the study tour have established industries parks and areas such as Mediacity in Manchester or Medienboard in Berlin/Brandenburg. They have also incubators projects like the one included in the Sharp Project in Manchester where they turned an old Sharp factory into a place for business for creative industries including a recording studio, film studies, training/meeting facilities and office space for startup companies at a very low price. There is also a substantial amount of support for the intermediary organizations which give guidance and assistance to local and foreign companies wanting to establish in those cities. There are also grants for film making and other projects as well as incentives for film locations. European organizations like the film commissions or the Music Commission also offer a model for collaboration at regional level. They organize joint events in third markets, but also do activities on each other s market. The main challenge in the EU is to promote the independent and smaller creative industries firms. Multinationals like Universal, Disney etc have the largest share of the market. In fact, the market is concentrated in a few hands: 1% of the EU firms have more than 40% of the market share. While SMEs are the biggest part of the rest of the industries, with firms of 1-3 employees making more than 60% of the total of creative industries. EC policies regarding the creative economy are directed to enhance collaboration and ROADMAP AND RECOMMENDATIONS Page 18 36

20 support to the SMEs. Similar policies need to be adopted to develop and support the sectors in the Caribbean. While getting accurate data about the creative industries is a challenge even in Europe, CARIFORUM data is almost non-existent and therefore there are considerable challenges to make informed policy decisions. But it is clear that without a programme of consistent support for the development of the different sectors, there could only be individual successes, without the critical mass which can transform a sector. There is also a clear difference between the incentives offered by CARIFORUM member states and that can affect individual countries that do not have a good legal framework. Countries like Trinidad & Tobago and Dominican Republic with incentives laws for film development, fiscal incentives or grant support, training schools and other facilities will be more attractive for co-productions or other agreements than those countries without it. Barbados, Antigua and Barbuda and others are discussing a new legislative framework, but they need to accelerate and others need to follow suit soon in order to benefit for a collective branding and promotion of the region as an important center for business within the creative industries. Regarding the EPA, it was clear during the interviews with the relevant EU authorities, that co-production agreements are a must for film industries. It offers a reliable framework which supports individual filmmakers and offers a certain degree of guarantee. It also facilitates the access to funding available in the EU countries and helps to give priority to the countries which already have co-production agreements. While the EPA grants facilities to CARIFORUM service providers for temporary entry into the EU, there are no guidelines or agreement with the competent Schengen, UK and other relevant authorities on how those facilities will be granted. Visas are issued to great costs on time, money and opportunities for many of the CARIFORUM service providers. Only Barbados and Antigua and Barbuda have visa waivers for both the UK and Schengen countries for temporary entry of up to 90 days, which would be for promotional purpose; however they will also need temporary entry permits to perform abroad or to participate for an extended period of time like working on a film or developing other programmes. Companies from countries like St. Vincent and the Grenadines, Dominica, Haiti or Guyana have to travel to third countries to obtain a Schengen visa. All Caribbean countries needing a visa to the UK, will need to send their passport to the British High Commission in Jamaica which takes 3 weeks to a month. There is no real market access in services without addressing these issues. Another issue which came up during the study tour was the need for double taxation treaties to be negotiated between EU and CARIFORUM member states in ROADMAP AND RECOMMENDATIONS Page 19 36

21 order to ensure the competitiveness of CARIFORUM firms. In the absence of these agreements, they stand to lose about 25% of total value of their programmes. Another area which needs to be revised and clarified in the context of the EPA relates to national treatment of CARIFORUM content and the qualification and access of CARIFORUM firms to the EU innovation programmes. CARIFORUM countries also need to strengthen their IP legislation and establish the necessary agreements to ensure proper collection at national, regional and international level. It is also urgent to improve the telecommunication infrastructure as more business is done online, including recording, delivering of audiovisual material, etc. Legislation related to the digital economy also needs to be updated or developed. 5. Cooperation There is funding at national and EDF level to support the cultural industries. However, CARIFORUM firms are making little use of this for various reasons. The ACP Cultural Programme was discussed with several stakeholders in Europe and the consensus is that they are very difficult to access; no one is really clear on the selection criteria and the availability of the resources. Other all-acp level programmes could also support the creative/cultural industries, like Bizclim or CDE, but in the context of supporting other sectors they do not have dedicated funding for it. The EU member states funding for the cultural industries are tailor made to the characteristics and need of the industries and are not made to fit profiles or criteria which are usually prepared for manufacturing or other type of firms. There is also cooperation funding at national level that needs to be explored such as the Goethe Institute in Germany, the French Development Agency (AFD) in France, UNESCO or UKAID in the UK. There is also a strong case for dedicated funding for the CARIFORUM creative industries. Development support within EPA has never been more critical if the desire to show significant difference in EPA is to be made. The proposed roadmap should be presented to a conference of donors and government and support obtained at all level. In summary the recommendations and findings for business environment are: It is imperative to develop the legal and institutional support system for the development of the creative and cultural industries in any country Support for the creative industries has to be comprehensive and include both the public and private sector CARIFORUM member states need to accelerate the legal framework where there is none and enhance the existing one through more regional collaboration. Incentives for films are one of the areas, but also IP legislation as well as telecommunication infrastructure, are others. ROADMAP AND RECOMMENDATIONS Page 20 36

22 There are several tasks within the EPA that need to be prioritized to support the creative industries, including negotiation of coproduction agreements, identification of a system to facilitate issuing of visas for temporary entry, double taxation treaties, national treatment/local content, access to financing. ROADMAP AND RECOMMENDATIONS Page 21 36

23 V. Roadmap main elements: approach The study tour contacts in Europe and companies own assessment indicated there is a potential in the EU market for CARIFORUM Creative Industries. However, the way forward for those Creative Industries depends not only on the activities to be implemented in order to achieve the objective of market penetration and increase in export, but also on the way the actions are to be coordinated for maximum effect. As indicated above, there are several issues to be addressed related to the size of the potential markets, the level of interventions needed to be able to penetrate the market in a sustainable way, the need to develop a comprehensive infrastructure in the region at regional and national level (legislation, clustering and cooperation and telecommunication, advancement on EPA related issues, etc) which requires the collaboration of all the key stakeholders, but it is also important to show early results. The recommendation to address these issues is the integrated programme approach. It is important to assist the companies that are more export ready and achieve early wins which pave the way for others. In order to advance the market development and market access discussions, concrete business needs to happen and be ongoing. Therefore a two tier approach is recommended where a group of companies are prepared to be promoted under a Caribbean branding while developing their marketing plan tailored to their unique products. Therefore the core elements of the roadmap are: a) The integration of the different initiatives, both present and future, into a coordinated programme for the selected markets. The market size is too large, the actors in each market so diverse and the amount to be invested so limited, that only a coherent, coordinated approach could make the expected difference in the creative industry market for CARIFORUM countries. b) The establishment of a two tier approach, where only the market ready companies are taken into the in-market events and activities, but where other service providers are supported and coached until they achieve the level required by the EU market. The complexity of the market described above for creative industries, the high expectation on EPA implementation and the considerable amount of support needed to develop the sectors make it indispensable that the roadmap is implemented taking these two factors into consideration. 1.1 The integrated approach As indicated above, small, isolated interventions, however successful, will not make the kind of transformation on the export opportunities of the Caribbean countries, unless the different initiatives and actions are implemented together. Except for ROADMAP AND RECOMMENDATIONS Page 22 36

24 music, the Caribbean is not on the map of most European institutions and firms. Branding the Caribbean and ensuring that the market connections are followed up at the level required by the market will be part of the key elements of success. Another finding in the study tour is how important networking and the inter-linkages and synergy among the different stakeholders is, to developing and strengthening the sector. It is also indispensable that the different stakeholders cooperate to make the necessary changes towards more competitive sectors. At regional level actions are needed to ensure the dialogue with the European Union is kept regarding the facilitation of the EPA implementation process and further negotiation within the build in agenda. National governments needs to legislate and facilitate their own countries environment in order to benefit from a region wide promotion 4 CHART 1 CARIFORUM Governments EPA Unit CSNC/CSIs Integrated Programme Regional sector Assoc. BSOs Donors The chart 1 describes the interrelation between the Creative and Cultural Industries Integrated Programme (CCIIP) for the EU market proposed, and the different stakeholders which must intervene in its implementation. The CCIIP (described below), will need to be coordinated by a regional institution which could be the Caribbean Export Development Agency (Caribbean Export), 4 For example, 3 CARIFORUM countries have very competitive incentive laws for their cinema industries, if other countries do not follow suit, the companies will lose competitiveness in co-productions arrangements. ROADMAP AND RECOMMENDATIONS Page 23 36

25 but will need the support of all the organizations which intervenes in the creative sectors. We describe briefly each groupping role: CARIFORUM Governments: Both at national as well as regional level (CARICOM/CARIFORUM). Governments need to prioritize the creative sectors, develop the necessary legislation, incentives and support. The issue about developping appropiate statistics on the creative economy is also important. Governemnts are also the ones representing CARIFORUM in the EPA institutions dialogue and could negotiate the needed agreements within the EPA and at government levels, such as double taxation treaties. Coalition of Services Industries (CSIs): Eleven countries within CARIFORUM have established a CSI and others are under discussion. The CSIs are dedicated public private partnership institutions for the promotion of non traditional services sector export and development. The creative industries are a priority for most of the CSIs, therefore their participation, along with the local associations, is critical for the development of the sector at the national level as well as regional, through the Caribbean Network of Service Coalitions (CNSC). BSOs: In countries with no or weak CSIs, there are other business support organizations dealing with the services sectors, where these entities are relevant to the creative industries they must also be included in decisions, for example the investment promotion agencies. Donors: As indicated before in this document, there is funding available, but very little is dedicated to the creative industries. Donors needs to be presented with the roadmap once it has been endorsed by the key CARIFORUM stakeholders. Further and specific support needs to be identified. Where applicable, funding already available could be synergized for optimum results. Regional Associations: The history of CARIFORUM or CARICOM level regional associations is very weak. Some recent experiences did not bear all the desired fruits, but do function at some level, including the Caribbean Audiovisual Network (CAN), the Caribbean Fashion Designer Association (CAFIA) and CAMINO for music. A revision of these efforts must be done and whenever possible, bring them into the activities. EPA Units: Most CARIFORUM countries have a dedicated trade or EPA unit or at least EPA coordinators in each member state. There is also a regional EPA Unit functioning at the CARIFORUM Directorate within the CARICOM Secretariat. It is very important that these Units are part of the programme as they are charged with addressing all issues arising from EPA implementation and must be kept abreast of development within the sector. They also implement activities, support private sector and recommend legal drafting for member states. The EPA Units also prepare the agenda of the EPA official bodies such as the Trade and Development Committee (TDC), Joint Council, etc. They are also in charge of monitoring the EPA. ROADMAP AND RECOMMENDATIONS Page 24 36

26 1.2 The two-tier approach: market ready and export potential As proven by the composition of the study tour, the characteristics of CARIFORUM creative industries are very diverse. There are companies which are market ready, have a good business platform, tradition of services and export and a clear plan for tapping into the EU and other markets. However there are also a considerable number of artists and companies which do not have the level required by the EU market. They may be talented, but do not have business support or experience. They lack the capital, know how or capacity for export. In order to make the creative sector across the 15 CARIFORUM member states a significant export sector, the CCIIP would need to work at two different levels. They need to support the export ready firms (group A) to tap into the market immediately while supporting the other SMEs (group B) in its development of their capacity, products and marketing. The project interactions will look as the chart below: CHART 2 EU integrated market programme New exporters development programme Existing EPA export development support Programmes As indicated in the image above, for this proposed approach to work, the new actions have to fit, build on, and synergize with the existing programmes being implemented by Caribbean Export and others. The most export ready firms in the region already receive some level of support from other programmes and projects. For real impact, it is necessary to pool the available resources and not duplicate efforts, or work in parallel. ROADMAP AND RECOMMENDATIONS Page 25 36

27 The implementation of the two tier approach will have two critical elements: the company selection and the actions to be developed. Below we make recommendations for both: Company selection: Company selection is not the same in the music subsector, as it is for film or audiovisual or fashion. Export readiness needs to be defined in terms of the EU target markets, but other factors need to be taken into consideration, including Management commitment, selected current market entry strategies, prepared product selected and capacity to serve international distributor prospects, resources available, previous experience, etc. For the purpose of company selection and assessment of their export potential, a project similar to the break point project of Caribbean Export could be one of the methodologies used. Clear criteria need to be developed by each subsector as well, but a panel of experts on the markets and the trade is needed to be able to evaluate the potential of the products and the businesses. It is important to integrate the regional trade associations as well as the BSOs and the CSIs on the ground in order to assist in getting the Micro and small CI service providers to an export ready capacity. Specialized support: Group A: market ready firms These companies are the ones which are either exporters or ready for export. They have clearly defined products to offer and with suitable characteristics for the EU target markets. Besides a ready product, they have business capacity to undertake the level of follow-up and business efforts needed. Most of all they have the commitment to the market. The CCIIP market intervention and product adaptation activities will be directed to this group. This group will also inform the EPA issues. The collective branding, clustering and collaboration will need to start with this group, but be flexible enough as to allow other firms to join once they are able to move from group B to A. The majority of actions described in the CCIIP and roadmap will begin with group A. The selection process needs to ensure that both the market leaders as well as the emerging market ready firms are part of the Programme. Representation needs to be as wide as possible across CARIFORUM member states. Final selection of EU target market needs to be done once the firms are selected in order to match the markets best suited for the type of companies/products. There will be one CCIIP per subsector, therefore in principle, there will be three CCIIP: music, fashion and audiovisual (including film and animation). ROADMAP AND RECOMMENDATIONS Page 26 36

28 Group B: export potential firms There is a need to prepare an integrated programme as well for Group B companies. They need to be trained and assisted to develop their products and their business, they need to have their business and marketing plans developed. It is very important at this stage to differentiate the individual artist from the businesses, although assistance must be given to both. For example, individual artists could be assisted to get representation to help them build a repertoire or to improve their image to meet those industry standards. There has to be well established and clear criteria to allow a company to move to group A as well as to be exposed to the market. It is important to avoid taking companies to the market before they are ready. Although the exposure could be a positive input, getting appointments with the most important firms in the field when they are not ready does not do any good to the company itself or to the Caribbean branding, with that key buyer or potential partner. ROADMAP AND RECOMMENDATIONS Page 27 36

29 VI. Roadmap 1. Roadmap and main components The roadmap consists of the elements of the integrated programmes for the support of the various subsectors (music, audiovisual and fashion). It has four main areas of intervention: a) Improve business climate: regional enabling environment and EU market access b) Product development and finance c) Clustering, collaboration and networking d) Marketing: branding, in market activities As indicated above, each area is foreseen to work in coordination with the other and all relevant stakeholders are expected to work together towards the same goal of successfully exporting CARIFORUM creative and cultural industries products and services to the EU markets. Through the implementation of this roadmap, the objective of the project and the region, to improve the business environment (in the broader of terms) and to increase CARIFORUM exports, assists in reaping the benefit of the EPA and improving the livelihood of the CARIFORUM people. Elements of roadmap: a) Improve business climate: as identified above, there are key identified priorities to allow the creative industries to tap the potential for revenue earning and the usage of EPA by the region. These activities need to be undertaken mostly by CARIFORUM Governments, both at regional and national level. Among the actions recommended are: Improvement of legislative framework: legislation is dissimilar between CARIFORUM member states, the most advanced legislation should be evaluated and perhaps copied by other member states. For example, IT legislation for film. Investment and financial regulations need to be revised to allow for a better environment for business of the creative economy. Incentive laws for the creative industries need to be approved in other CARIFORUM states as to give more opportunities of benefiting from a collective branding. IP infrastructure: Existing legislation related to the creative industries needs to be revised: Local content definition, IP regulations, agreements with collections agencies, particularly in Europe and intraregional, etc. Support institutions need to be strengthened to understand and give assistance to the CCIs. This includes the CSIs, the government departments/ministries (Foreign Trade, Finance, Culture, Education, Commerce, etc) ROADMAP AND RECOMMENDATIONS Page 28 36

30 Priority needs to be given within the country s export or national development strategies. In terms of EPA implementation: CARIFORUM member states should give priority to negotiation of coproduction agreements with relevant selected markets, double taxation treaties, negotiation of facilities on the procedure for temporary entry. These issues need to be high on the agenda of the joint EPA organisms. Training facilities need to be incentivized to address the need for specialized skills to develop the creative industries. The main indicators of these activities will be the number of legislations being implemented by the different CARIFORUM member states and the number of issues advanced and decided by the EPA organisms. The EPA monitoring progress should serve as a means of verification for these actions as well as the projects and annual reports of the different entities involved, like the EPA Units, Caribbean Export and the CSIs. b) Product development and finance: This component will address the need to improve and enhance the capacity of the firms to do business in the international market. It will be implemented by the coordinator of the CCIIP as well as organizations at national level like the CSIs. However, the companies themselves need to be the major stakeholders and the guarantors of its success. Group A: New products (collections, records) and services developed adapted to the EU target markets Branding and website and online tools developed Promote strategic alliances to support product development. This will include inter-sectoral links such as music video, styles for live performance, etc Provide appropriate market intelligence regarding trend in international and targeted markets. IT support for product development and marketing Links with financial institutions to develop solutions for creative industries Develop with EDF support, specific cultural funds for Caribbean Creative Industries Support application to programmes and funding available: World Cinema Fund, UNESCO, etc. Establish collaboration with funding entities at national level such as Goethe Institute, AFD, GIZ, UKAID, etc. GROUP B: Establish a training and entrepreneur programme for new business development Set criteria for establishing market readiness Give technical assistance ROADMAP AND RECOMMENDATIONS Page 29 36

31 Support clustering and partnership with other firms in the region c) Clustering, Collaboration and Capacity Building: Cities that have successfully developed the creative industries to support their economy, like Berlin, have established successful networks of public and private sector entities that collaborate with each other and create the necessary synergies without duplicating efforts. The Caribbean region needs to do the same. As stated in studies done before in the region, there are very few business entities, although that is changing. There are few investors for film, or music representation enterprises. It makes sense therefore, to promote collaboration, to adopt the value chain approach and bring the different actors in a cluster approach. Given the little tradition of joint work, capacity must be built to enhance joint efforts and support must be privileged to those establishing the synergies between artists, entrepreneurs, academia, festivals organizers, investors and other sectors such as tourism, manufacturing (clothing), etc The key activities to be implemented will be: Establish a collaboration platform at regional level, both sectoral as well as inter-sectoral in a clustering approach Support clustering at national level Give financial support for collaboration efforts. This could be done through the grant funding as well as through financial institutions Build capacity at association and CSIs level to support these processes d) Marketing: branding, in market activities for export and investment: Once the group A is selected, a branding strategy to present these products to the world and to EU most be developed. It may be that the fashion group would select their resort wear specialty as they have agreed to do or similar type of branding. Or it may be that a different branding strategy will be developed for the different countries or market segments. This will depend on the final mix of companies and products and their unique characteristics. Marketing activities in the priority market needs to be timed and coordinated to take advantage of the main market events, but also other events that could target the specific segment of the main CARIFORUM products. The main activities will include: Develop integrated subsector programmes in specific target market. It is suggested, based on the study tour to start with Germany and UK. Caribbean Branding campaign prepared and used. Prepare a marketing activity plan for at least the first year, per market and per sector (see examples in the roadmap matrix) ROADMAP AND RECOMMENDATIONS Page 30 36

32 Establish mix of companies and presence in the market. Ensure market leaders as well as new products are part of the mix. Support the request for funding and entrance in festivals and other events. Develop a monitoring system to evaluate value for money and promotional tool outcomes Develop web strategy to accompany in market activities. ROADMAP AND RECOMMENDATIONS Page 31 36

33 2. Table: Synoptic presentation of the proposed roadmap Key Objectives Main intervention areas Timeline Responsibility Capacity issues Improve business climate: regional enabling environment and market access Regional enabling environment: Improve legal framework for creative industries Incentives for the CCIs (particularly AV sector) Intellectual property legislation/agreement with collection agencies Develop statistic collection for CCI Revised legislation investment and finance Group B: Support to organizations for the training and development of the industries include CSIs, etc. Training facilities Support entrepreneurship for creative industries On going CARIFORUM Governments CARICOM/CARIFORUM Secretariat CSIs/trade associations Universities/training institutes - Lack of data on performance of the cultural and creative industries - Lack of institutional capabilities - Lack of funding support - Lack of public sector will/engagement - Need to address key issues of CCI within EPA institutions - Lack of training programmes for creative industries Market access: Establish framework for visa facilities under EPA Start co-production agreement in selected targeted market (Germany and UK) Double taxation treaties negotiated Access to innovation funding clarified Start August/Sept 2012 CARIFORUM Governments, EPA implementation Units, CEDA, CSIs - Resource limitations - Need to be addressed with proper authorities both at the regional and national level (visa, double taxation treaties) ROADMAP AND RECOMMENDATIONS Page 32 36

34 Liaise with administrative offices in EU markets (SACEM, etc) Establish institutional collaborations (re, collections and others) Product development and finance Product development: Group A: Training and technical assistance to service providers/companies IT support for application of latest technology Branding and website development Promote strategic alliances to support product development Provide appropriate market intelligence regarding target markets trend New products (collections, records) and services developed Sept Sept CARIFORUM BSOs CARIFORUM Firms CEDA - Limited resources of both BSOs and firms - Lack of knowhow, market intelligence Group B: Establish a training and entrepreneur programme for new business development Set criteria for establishing market readiness Give technical assistance Support clustering and partnership with other firms in the region ROADMAP AND RECOMMENDATIONS Page 33 36

35 Finance/banking: Liaise with financial institutions regarding guarantees and loans for sector (possible conference on the subject) Early 2013 CEDA/BSOs - Unwillingness of the bank to redefine collaterals for CCIs Finance/cooperation: Discussion with EC on possible Caribbean Cultural Fund Liaise with funding institutions in Europe, starting with Goethe Institute Support publication on regular basis on funding opportunities for CCI (Unesco, World Cinema, fund, etc) Sept.-Dec EC/CARIFORUM CEDA BSOs/CSIs - Need for collective efforts as individuals can t make and maintain the connection. Need for CEDA and CNSC interventions. Clustering, Collaboration and Capacity Building Establish a collaboration platform at regional level, both sectoral as well as intersectoral Support clustering at national level Give financial support for collaboration efforts Build capacity at association and CSIs level to support these processes On going. Start with study tour as a base in Sept CSIs/trade associations CEDA - Limited culture of collaboration within the region - Weak regional institutions with limited resources (human and financial) - Lack of regular information flow Marketing: branding, in market activities for export and investment Develop integrated subsector programmes in specific target market/s (Germany/UK) Branding as Caribbean Several market activities (one year?) Start August For 3 years CEDA CSIs/Trade associations Firms - Important follow up activity to Forum and study tour - Identification and resourcing of driving force/leading agency - Need strong commitment from companies to ROADMAP AND RECOMMENDATIONS Page 34 36

36 Develop a web strategy to support in market activities Support the request for entrance in festivals and other events participate in the full programme Need to include a monitoring approach to ensure incremental company participation SAMPLE INTEGRATED PROGRAMMES Music: Berlin Attendance to Berlin Music Week, other live performances Special show/ presentation for agents, representatives Promote collaboration and joint productions Joint ongoing activities/festival Agreement with local entities such as Music Commission, KuK, etc. Attend music business event such as Womex, Music Week, etc Negotiate sponsored (CEDA?) /franchised WOMEX event in the Caribbean for showcasing artists Develop intensive web promotion Funding/Co-ordination resource ROADMAP AND RECOMMENDATIONS Page 35 36

37 Collection rights agreements Film: Berlin Special showcase of Caribbean film tie to other cultural activities Participation in Berlinale activities Negotiation of coproduction agreement Liaising with Goethe Institute Digital media placement and promotion Fashion: Berlin Development of collections for the market Contacts with agents, distributors Caribbean Pavilion at Berlin Fashion Week Joint programme/ promotion for Bread & Butter Funding/Co-ordination resource Funding/Coordination resource ROADMAP AND RECOMMENDATIONS Page 36 36

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