Creative industries: An untapped, but promising, economic sector in Oman
Published: 04:05 PM,May 07,2024 | EDITED : 08:05 PM,May 07,2024
Omani folk dances represent a key part of the country’s creative economy.
MUSCAT, MAY 7
The economic value of creative industries, while accounting for a 3.1% share of global GDP in 2022, is yet to be ascertained in the Sultanate of Oman – a shortcoming that the newly launched Oman Creative Industries Roadmap will seek to address.
According to Suliman al Rawahi, Head of Communications and Public Relations at the Oman Creative Industries Roadmap – unveiled recently at a forum held under the supervision of the Ministry of Youth Sports and Culture - serves as the first research and evidence-based guideline to creative industries in Oman.
“The roadmap is based on international experiences and scientific evidence to define and understand the reality and challenges of these creative industries. It also offers indicators and outcomes that assist decision-makers and policymakers in the cultural and creative sector in the Sultanate to develop strategic plans and initiatives,” he said.
According to the report, the United Nations Conference on Trade and Development (UNCTAD) has defined creative industries as: 'cycles of creation, production, and distribution of goods and services that rely on creativity and intellectual capital as their primary inputs and encompass a range of knowledge-based activities, which produce tangible and intangible goods or services with creative content, economic value, and market objectives.'
The roadmap represents the findings of a two-year-long research project, encompassing details relating to more than 1,000 professions within the creative sector, including 483 creative and cultural activities and 411 creative goods. More than 200 participants also participated in individual surveys and creativity laboratories as part of the initiative.
Additionally, the project features interviews with 30 local industry experts and includes the findings of six case studies conducted locally. It also incorporates analysis from 20 international cases and observations of seven major international organizations, notably the UNESCO, UNCTAD and the British Council.
Importantly, the underlying structure of the project is the UNESCO framework for cultural statistics, which was selected due to its global use and its comprehensive analysis of inputs and outputs of the cultural and creative productive cycle.
According to Al Rawahi, key insights from the report indicate that performing arts represented the highest sector within the creative industry in Oman (12%), followed by digital arts (9.6%), while television and broadcast and culinary arts represented the lowest, at 0.6% and 1.2% respectively.
Significantly, 53.6% of creators reported working in the field full-time, while 46.4% of participants reported working part-time. However, 65.7% of creators shared that that they cannot achieve financial independence from creative work, which the report attributed to irregular income from creative work. As a result, 57.2% of participating creators reported turning to freelancing work to obtain additional income.
According to the survey, a majority of creators reported an income of less than RO 250 per month (27.1%), while 22.9% reported an income ranging from RO 501-1000 per month, followed by 18.1% monthly income of more than RO 1000 per month. A further 16.3% of creators shared that their income depends on the type of job, while 15.7% reported an income ranging from RO 250-500 per month.
Monthly incomes can fluctuate based on the individual's influence, creative experience, geographic location (Muscat Governorate representing the largest creative cluster in the country), reputation within social network markets, and whether the individual works independently or within a larger institution, the report noted.
Furthermore, 52% of creators cited financial assistance as the most important support required by creators in the future.
Regarding funding, a majority of respondents (48.7%) indicated that they were self-funded, while 20.1% relied on investment capital. This was followed by 16.9% who relied on public funding, 13.0% who depended on crowdfunding, and 12.3% who relied on bank loans.
According to a UN report, creative industries represent 6.2% of total global professions, with an export value estimated at $524 billion in 2022.
Earlier this year, the National Programme for Investment and Export Development (Nazdehar) and the Ministry of Culture, Sports, and Youth identified projects in the creative field with an estimated investment value of RO 34.5 million.
The economic value of creative industries, while accounting for a 3.1% share of global GDP in 2022, is yet to be ascertained in the Sultanate of Oman – a shortcoming that the newly launched Oman Creative Industries Roadmap will seek to address.
According to Suliman al Rawahi, Head of Communications and Public Relations at the Oman Creative Industries Roadmap – unveiled recently at a forum held under the supervision of the Ministry of Youth Sports and Culture - serves as the first research and evidence-based guideline to creative industries in Oman.
“The roadmap is based on international experiences and scientific evidence to define and understand the reality and challenges of these creative industries. It also offers indicators and outcomes that assist decision-makers and policymakers in the cultural and creative sector in the Sultanate to develop strategic plans and initiatives,” he said.
According to the report, the United Nations Conference on Trade and Development (UNCTAD) has defined creative industries as: 'cycles of creation, production, and distribution of goods and services that rely on creativity and intellectual capital as their primary inputs and encompass a range of knowledge-based activities, which produce tangible and intangible goods or services with creative content, economic value, and market objectives.'
The roadmap represents the findings of a two-year-long research project, encompassing details relating to more than 1,000 professions within the creative sector, including 483 creative and cultural activities and 411 creative goods. More than 200 participants also participated in individual surveys and creativity laboratories as part of the initiative.
Additionally, the project features interviews with 30 local industry experts and includes the findings of six case studies conducted locally. It also incorporates analysis from 20 international cases and observations of seven major international organizations, notably the UNESCO, UNCTAD and the British Council.
Importantly, the underlying structure of the project is the UNESCO framework for cultural statistics, which was selected due to its global use and its comprehensive analysis of inputs and outputs of the cultural and creative productive cycle.
According to Al Rawahi, key insights from the report indicate that performing arts represented the highest sector within the creative industry in Oman (12%), followed by digital arts (9.6%), while television and broadcast and culinary arts represented the lowest, at 0.6% and 1.2% respectively.
Significantly, 53.6% of creators reported working in the field full-time, while 46.4% of participants reported working part-time. However, 65.7% of creators shared that that they cannot achieve financial independence from creative work, which the report attributed to irregular income from creative work. As a result, 57.2% of participating creators reported turning to freelancing work to obtain additional income.
According to the survey, a majority of creators reported an income of less than RO 250 per month (27.1%), while 22.9% reported an income ranging from RO 501-1000 per month, followed by 18.1% monthly income of more than RO 1000 per month. A further 16.3% of creators shared that their income depends on the type of job, while 15.7% reported an income ranging from RO 250-500 per month.
Monthly incomes can fluctuate based on the individual's influence, creative experience, geographic location (Muscat Governorate representing the largest creative cluster in the country), reputation within social network markets, and whether the individual works independently or within a larger institution, the report noted.
Furthermore, 52% of creators cited financial assistance as the most important support required by creators in the future.
Regarding funding, a majority of respondents (48.7%) indicated that they were self-funded, while 20.1% relied on investment capital. This was followed by 16.9% who relied on public funding, 13.0% who depended on crowdfunding, and 12.3% who relied on bank loans.
According to a UN report, creative industries represent 6.2% of total global professions, with an export value estimated at $524 billion in 2022.
Earlier this year, the National Programme for Investment and Export Development (Nazdehar) and the Ministry of Culture, Sports, and Youth identified projects in the creative field with an estimated investment value of RO 34.5 million.