Between 2023 and 2024, the gross value added (GVA) of the creative economy in the Philippines reflected an 8.7 percent growth. The industry's growth was driven by the symbols and images and other related activities segment.

The creative economy in the Philippines contributed 7.3 percent to the country's gross domestic product (GDP), consistent with the previous year. The GDP contribution of the creative economy remained at around seven percent since 2018.

Taiwan GTIndex: Stock: Cultural and Creative Industries data was reported at 84.430 03Jan2014=100 in Nov 2018. This records an increase from the previous number of 75.450 03Jan2014=100 for Oct 2018. Taiwan GTIndex: Stock: Cultural and Creative Industries data is updated monthly, averaging 99.470 03Jan2014=100 from Jan 2014 (Median) to Nov 2018, with 59 observations. The data reached an all-time high of 136.150 03Jan2014=100 in Jun 2014 and a record low of 75.450 03Jan2014=100 in Oct 2018. Taiwan GTIndex: Stock: Cultural and Creative Industries data remains active status in CEIC and is reported by GreTai Securities Market. The data is categorized under Global Database’s Taiwan – Table TW.Z011: GreTai (Over-the-Counter) Securities Market (GTSM): Indices.

United Kingdom SIT: Creative, Arts & Entertainment Services data was reported at 934.200 GBP mn in Sep 2018. This records an increase from the previous number of 787.000 GBP mn for Aug 2018. United Kingdom SIT: Creative, Arts & Entertainment Services data is updated monthly, averaging 529.000 GBP mn from Jan 1998 (Median) to Sep 2018, with 249 observations. The data reached an all-time high of 968.900 GBP mn in Jul 2018 and a record low of 279.400 GBP mn in Apr 1998. United Kingdom SIT: Creative, Arts & Entertainment Services data remains active status in CEIC and is reported by Office for National Statistics. The data is categorized under Global Database’s United Kingdom – Table UK.C002: Industrial Turnover Value: Services.

The gross value added (GVA) of the creative economy in the Philippines amounted to 1.94 trillion Philippine pesos in 2024. The GVA of the creative economy in the country gradually increased since 2020.

Taiwan GTNumber of Registered Companies: Cultural and Creative Industries data was reported at 26.000 Unit in Oct 2018. This stayed constant from the previous number of 26.000 Unit for Sep 2018. Taiwan GTNumber of Registered Companies: Cultural and Creative Industries data is updated monthly, averaging 22.500 Unit from Jan 2014 (Median) to Oct 2018, with 58 observations. The data reached an all-time high of 26.000 Unit in Oct 2018 and a record low of 17.000 Unit in Jun 2014. Taiwan GTNumber of Registered Companies: Cultural and Creative Industries data remains active status in CEIC and is reported by GreTai Securities Market. The data is categorized under Global Database’s Taiwan – Table TW.Z018: GreTai (Over-the-Counter) Securities Market (GTSM): Number of Registered Companies.

Hong Kong Employment: Female: SP: AE: Creative & Performing Arts Activities data was reported at 2,226.000 Person in Jun 2018. This records an increase from the previous number of 2,200.000 Person for Mar 2018. Hong Kong Employment: Female: SP: AE: Creative & Performing Arts Activities data is updated quarterly, averaging 1,069.000 Person from Mar 2000 (Median) to Jun 2018, with 74 observations. The data reached an all-time high of 2,396.000 Person in Sep 2016 and a record low of 708.000 Person in Sep 2005. Hong Kong Employment: Female: SP: AE: Creative & Performing Arts Activities data remains active status in CEIC and is reported by Census and Statistics Department. The data is categorized under Global Database’s Hong Kong – Table HK.G033: Employment: Quarterly Survey of Employment and Vacancies: by Industry: HSIC 2.0.

The number of persons employed in the creative economy (both for-profit and non-profit). This number does not count those persons who identify themselves as being artists and does not count sole proprietorships or persons who work part-time in the arts. The same industries used to calculate the rate businesses in the creative economy are used to calculate total employment in the creative economy. Source: InfoUSA Years Available: 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021, 2022, 2023

The total number of people working in creative industries in the Philippines reached 7.51 million in 2024. The number of people working in the creative economy gradually increased since 2020.

The number of persons employed in the creative economy (both for-profit and non-profit). This number does not count those persons who identify themselves as being artists and does not count sole proprietorships or persons who work part-time in the arts. The same industries used to calculate the rate businesses in the creative economy are used to calculate total employment in the creative economy. Source: InfoUSA Years Available: 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021, 2022, 2023

The rate of businesses (both for-profit and non-profit) that are in the creative economy per 1,000 residents. The creative economy is defined as industries that use and support artistic and cultural skillsets to attract and generate capital, knowledge, and information. Arts-based businesses are included in the creative economy. In addition to the industries included in the rate of arts-based businesses indictor, the following industries are identified by their primary NAICS code: Textiles (313220); Commercial Printing (323111, 323113); Book Printers and Publishers (323117, 511130); Print Media (451212, 511110, 511120, 511199, 519110); Motion Picture & Video Production (512110); Music Publishers (512230); Sound Recording (512240); Radio (515112); Architecture (541310, 541320); Interior Design (541410); Graphic Design (541430); Advertising (541810, 541890); and Photography (541921, 541922). In addition to the industries included in the rate of arts-based businesses indictor, the following industries are identified by their primary SIC code: Print Media (271101, 271102, 271198, 272101, 272102, 272104, 273101, 273198, 596302, 599401); Publishers (273298, 274104, 274105, 874205); Printers (275202, 275202, 275902, 275998); Bookbinders (278902); Radio (483201); Television (483301, 484101, 792205, 824911); Textiles (513122, 594904); Advertising (519917, 731101, 731115, 731305, 731999); Fashion Designers (569901, 594408); Photography (722101, 722113, 722120, 733501, 738401); Graphic Design (733603); Commercial Artists (733604); Website Design (737311); General Media (738301); Interior Design (738902); Restoration (764112); Landscape Design (781030); Motion Picture and Video Support (781205, 781211, 781901); Architecture (871202, 871207, 871209, 874892); and Business Writers (899902). Source: InfoUSA Years Available: 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021, 2022, 2023

This research draws on social network data of organisations in the creative industries and cultural sector in George Town UNESCO World Heritage Site. We collected five types of network: 1) Collaborative Network 2) Advice Network 3) Funding Network (giving and receiving) 4) Training 5) Talents. The data set also contains the background information of the organisation (anonymised) and their corresponding quantitative answers on Entrepreneurial Orientation (innovativeness, risk-taking behaviour, pro-activeness of the organisation, based on 5-point Likert scale). This data enables the identification of the type of actors and their networks, and the respective organisation's entrepreneurial orientation.

This research addresses the phenomenon of creative and cultural cluster in a site with a rich cultural heritage. The project will explore questions regarding the role of different actors in developing businesses in cultural districts while preserving and disseminating their cultural heritage. Hence, the research is positioned in a wider debate regarding the links between cultural preservation, urban regeneration and tourism. The selected site is George Town, a post-British colonial town in Malaysian. The town has experienced gentrification since 1997, exacerbated with the growth of tourism and influx of external capital investment in properties, after it has been inscribed as a UNESCO World Heritage Site in 2008. Gentrification induces displacement of long-term residents and causes erosion of local culture and heritage - a global phenomenon in many World Heritage Sites. Nonetheless, a cluster of creative industries and cultural sector has been developed with involvement of various local and external actors. The development of cultural district has become an important tool for many urban planners aiming to foster the development of urban centres and revitalise neighbourhoods-in-decline. Reviewing the existing models of innovation and entrepreneurship ecosystem, there is a gap in the scope of these models in capturing civil society actors and insufficiently explaining the phenomena of cultural clusters. Thereby, they are inadequate in informing urban planning policy makers, the innovation community, cultural organisations and small businesses. The main objectives of this project are: 1) To develop a relational model of innovation and entrepreneurship ecosystem for creative and cultural districts, 2) To provide social network insights for the development of creative economy and conservation of cultural heritage in George Town. 3) To produce a policy brief on strategies for developing creative and cultural districts in George Town. This research deployed Social Network Analysis to identify actors and their networks. Understanding these networks and roles will enable the conceptual development of a novel relational model of entrepreneurship and innovation ecosystem, specifically for cultural districts. This research will collect, via face-to-face administrated questionnaires, data on network relations of actors in the creative industries and cultural sector in George Town. We used UCINET to analyse and map this network and identify its strengths and weaknesses. We also conducted six in-depth case studies of core actors in the networks to gain rich qualitative insights on how they build innovative and entrepreneurial networks. The model is applicable more generally to other small/medium size towns and cities, particularly world heritage sites, where there is a potential to build a creative and cultural district empowering local residents with development opportunities in terms of culture, social and economy.

Year-by-year comparison of the evaluation and analysis of the level of high-quality development of digital creative industries in the YRD region—2018 raw data.

Taiwan GTDividend Yield: Stock: Cultural and Creative Industries data was reported at 3.370 % in Nov 2018. This records a decrease from the previous number of 3.770 % for Oct 2018. Taiwan GTDividend Yield: Stock: Cultural and Creative Industries data is updated monthly, averaging 2.360 % from Jan 2014 (Median) to Nov 2018, with 59 observations. The data reached an all-time high of 3.770 % in Oct 2018 and a record low of 1.570 % in Dec 2014. Taiwan GTDividend Yield: Stock: Cultural and Creative Industries data remains active status in CEIC and is reported by GreTai Securities Market. The data is categorized under Global Database’s Taiwan – Table TW.Z015: GreTai (Over-the-Counter) Securities Market (GTSM): Dividend Yield.

Taiwan GTTurnover: Value: Stock: Cultural and Creative Industries data was reported at 25,581.529 NTD mn in Jun 2018. This records a decrease from the previous number of 50,659.896 NTD mn for May 2018. Taiwan GTTurnover: Value: Stock: Cultural and Creative Industries data is updated monthly, averaging 23,151.500 NTD mn from Jan 2014 (Median) to Jun 2018, with 54 observations. The data reached an all-time high of 61,246.000 NTD mn in Mar 2016 and a record low of 8,040.000 NTD mn in Feb 2015. Taiwan GTTurnover: Value: Stock: Cultural and Creative Industries data remains active status in CEIC and is reported by GreTai Securities Market. The data is categorized under Global Database’s Taiwan – Table TW.Z016: GreTai (Over-the-Counter) Securities Market (GTSM): Turnover.

Workplace safety and injury data for Creative Industries