Abstract
In Poland, the creative sector constitutes both a ‘new’ and an ‘old’ component of its social and economic system. It is an ‘old’ component because economic activities connected with the exploitation of Poland’s human creative potential have been present in the economy for many years. It is worth mentioning the international successes of some Polish film-makers, architects, writers, industrial designers, and people involved in the world of fashion before World War II, as well as during the times of a centrally planned economy, and also during and after its systemic transformation.
On the other hand, the sector seems like a ‘new’ phenomenon in national economic development policy, as reflected in its growing presence in many regional development strategies. Creative industries have become increasingly visible to institutions involved in the pursuit of economic policies. In addition, resources from the EU Structural Funds available under various schemes in Regional Operational Programmes in Poland have often targeted this sector, which, by exploiting the natural creativity of human beings, combines creativity with the potential of traditional fields of economic activities. This chapter discusses the economic potential of creative industries and attempts to identify the factors which condition it, following the advent of the financial crisis, in the context of the present state of the Polish economy. The study includes quantitative indices describing creative sector dynamics in Poland and proposes a new model – the IDEA model – to analyse the key changes in the creative sector environment which have occurred in Poland since the post-crisis period.
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Notes
- 1.
This typology is one of many attempts to scale and analyse the creative sector. Although it is the most popular approach in Poland, there are also other typologies. A complex presentation of typologies which can be used for creative sector analysis is presented in, inter alia, KEA European Affairs (2006).
- 2.
In the Republic of Poland, the Ministry of Culture and National Heritage and the Ministry of Economy are assigned responsibility for the coordination of economic policy towards the creative sector. The Ministry of Culture and National Heritage focuses on the coordination of the governmental part of the sector, as it provides funding for cultural organisations and creates the legal environment for most of them. The Ministry of Economy develops legal regulations and supporting instruments addressed to private enterprises in the sector.
- 3.
Key sources are public funds distributed by governmental organisations (which, however, are managed by governmental bodies and local governments), private funds distributed by NGOs (many organisations at both the national and local levels), and other private funds (very rare in the Polish economy). The majority of funding is distributed via public organisations, which requires a lot of coordination effort and is difficult to implement.
- 4.
Many counties are strengthening their promotional efforts, using the possibilities offered by the creative sector (i.e. cultural events, great artists, creative districts in cities, amusement parks, etc.). However, in Poland there are many institutions responsible for international promotion, which makes the task of coordination a real challenge.
- 5.
The REGON register (National Official Business Register) is a continuously actualised set of information on entities of the national economy. It was established in 1995 and is managed by the Central Statistical Office of Poland.
- 6.
Following changes in the administrative division in Poland launched in 1999, the Republic of Poland consists of 16 regions (called voivodeship). They are listed here together with the main city(ies) falling within their jurisdiction: Dolnoslaskie (Wroclaw); Kujawsko-Pomorskie (Torun and Bydgoszcz); Lubelskie (Lublin); Lubuskie (Gorzow Wielkopolski and Zielona Gora); Lodzkie (Lodz); Malopolskie (Krakow); Mazowieckie (Warsaw); Opolskie (Opole); Podkarpackie (Rzeszow); Podlaskie (Bialystok); Pomorskie (the Tri-City of Gdansk, Gdynia, and Sopot); Slaskie (Katowice); Swietokrzyskie (Kielce); Warminsko-mazurskie (Olsztyn); Wielkopolskie (Poznan); and Zachodniopomorskie (Szczecin).
- 7.
The gaming industry was enrolled as a national scientific specialisation, which means that this group of activities has a greater possibility to raise public funds for research and development. Moreover, the Ministry of the Economy and some regional authorities introduced tailored grant schemes to foster their development. The list of National Scientific Specializations was accepted by the Polish government on 8 April of 2004; see Ministry of the Economy (2014).
- 8.
Based on the information available on the website of the Ministry of Culture and National Heritage, www.mkidn.gov.pl (22.07.2015).
- 9.
The PARP Cluster Map is a tool, available online, which provides up-to-date basic data about clusters operating in Poland, received directly from their coordinators. Website: http://www.pi.gov.pl/PARP/data/klastry/index_en.html (27.07.2015).
- 10.
Every year the Minister of Culture and National Heritage announces a call for proposals for grant schemes, addressed to various organisations from the creative sector. Grant schemes finance various cultural and creative activities introduced by the sector which are non-profit oriented and have a low possibility of raising private support. Grant schemes are usually branch-oriented (i.e. cultural education, literature, artistic events) and in certain years may be addressed to support a sector celebrating the achievements of key persons from the Polish culture (e.g. the 2010 Chopin anniversary and the 2013 Lutosławski anniversary).
- 11.
They are annually presented by the Central Statistical Office of Poland in the section ‘Living Conditions’.
- 12.
4 PLN is approximately equal to 1 euro.
- 13.
- 14.
Within the framework of the Common Agricultural Policy’s funds earmarked for change of the economic structure in rural areas.
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Appendix
Appendix
In the NACE rev. 1.2 classification in Poland, the following codes were used to assess the number of a creative sector in the national economy (Table 8.4).
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Kasprzak, R. (2017). Creative Industries in the Polish Economy: Growth and Operating Conditions. In: Chapain, C., Stryjakiewicz, T. (eds) Creative Industries in Europe. Springer, Cham. https://doi.org/10.1007/978-3-319-56497-5_8
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