The creative industry in Brazil refers to various economic sectors of Brazil that depend on the talents and creativity to develop. [1] In other words, these economic sectors generate wealth for the region through knowledge, culture and creativity, and contribute to sustainable development (environmental, economic and social). [2] The term 'creative industries' was coined by the United Kingdom in 1990 and, in 2001, was augmented by two important additions: by researcher John Howkins, who applied an entrepreneurial vision when focusing on the transformation of creativity in product; [note 1] and professor Richard Florida, whose research focused on the professionals involved in the creative processes of production, and addressed the social aspects and the "potential contribution to the development" of the "creative class".
The first international study emerged in 2008, conducted by the United Nations Conference on Trade and Development (UNCTAD). In the same year, another study by FIRJAN was published, this time concentrating on the economic impact of creativity on Brazil. [3] The creative economy in Latin America has since been referred to as the “Orange Economy” [4] in a publication released by the Inter-American Development Bank (IDB). This 2013 study claimed that Brazil's Orange Economy could be valued at US$66.87 billion providing 5,280,000 jobs. At the time and to provide a comparative value, Venezuelan oil exports amounted to US$62 billion. Brazil's Orange Economy was responsible for US$9,414 million in exports, a figure that is higher than the US$8,016 million value of coffee exports over the same period.
A 2021 study on Intellectual Property Intensive Sectors in the Brazilian Economy [5] was undertaken as part of the National Strategy on Intellectual Property 2021–2030 [6] and the creation of the Intellectual Property website.
The Classificação Brasileira de Ocupações - CBO (read "Brazilian Classification of Occupations") [7] from the Ministry of Labour and Employment lists of all professions in the country [note 2] and has mapped the creative work market in Brazil. The study isolated fourteen creative professions [3] in which knowledge is a transforming input of production:
The first initiative to map the creative industries from any country was from the United Kingdom [note 3] at the end of 1990. The goal was to prove that these sectors have an important role to the culture and the potential to generate jobs and wealth to the country. Then, these creative industries were mapped, and all others who maintained relations with them as well. Thus, it was built a view of the weight of the creative chains in the production process.
Three years after this pioneering work, specifically in 2001, two others arose from:
It did not take long for the United Nations Conference on Trade and Development (UNCTAD, 2008) to launch another study on the subject, only this time with an international scope. According to the survey, the exports of the creative industries in the world exceeded 500 billion dollars. [8]
Given the importance of the issue to the world and specifically to Brazil, the study A Cadeia da Indústria Criativa no Brasil (read "The Chain of Creative Industry in Brazil"), was undertaken. It was updated in 2011 and published in 2012. [3] This tool to map the creative industry in the country is able to list information about each of these professions, such as the number of jobs and the amount of wages and the education level required. Thus, it unites information from both the Classificação Nacional de Atividades Econômicas (i.e. "National Classification of Economic Activities") and the "Brazilian Classification of Occupations".
In general, the creative industries encompass "economic activity directly related to the art world - especially the visual arts, performing arts, literature and publishing, photography, crafts, libraries, museums, galleries, archives, spots designated by the National Historic Landmark and festivals of arts (...) electronic media and other recent media (...) design-related activities. [9]
The theme is sometimes confused with the term "cultural industry". However, "the scope of the creative economy is determined by the extent of the creative industries." [10] In other words, cultural products and services would be part of a larger category of creative products and services.
For the United Nations Conference on Trade and Development (UNCTAD), the chain of creative industry comprises the "cycles of creation, production and distribution of goods and services that use creativity and intellectual capital as primary inputs." [8] Thus, it can be divided into three major areas:
The United Kingdom's Department for Culture, Media and Sport considers as creative industries activities "that have their origin in creativity, skill and individual talent and which have a potential for creating wealth and jobs through the generation and exploitation of intellectual property."
Based on this concept, it can be said that Brazil is very important when it comes to creative industry. After all, it is one of the largest producers in the world of creativity. Analyzing the remuneration of the Brazilian people, it was found that the wages of those working in the creative industry in Brazil are almost three times higher than the national average wage (comparison value: R$4,693 and R$1,733, respectively). And among creative professionals, those from Rio de Janeiro, São Paulo and the Federal District receive the best salaries. These are data from the "Creative Industries Mapping", [3] which was based on information from 2011. The study addresses issues such as jobs, wages, average wage per state, number of employees by segment and even from the GDP creative country.
In 2015 the World Intellectual Property Organization (WIPO) assisted in the preparation of over 50 national studies [11] to measure the size of copyright industries around the world.
In May 2012, the Brazilian president Dilma Rousseff decreed the creation of the Secretaria da Economia Criativa ("Creative Economy Secretariat"). [12] The goal of SEC is to create, implement and monitor public policy that have the culture as a strategic axis, "prioritizing support and encouragement to professionals and to the micro and small Brazilian creative endeavors." [13]
According to a report from the United Nations, Brazil was not among the top twenty producers in the industry yet, [14] but the initiative of creating the SEC indicated the government's desire to reposition the "culture as development axis of the Brazilian state." [15] To the President of the National Bank for Economic and Social Development (BNDES), Luciano Coutinho, this is a recognition that creative activities are important for the country "in a long-term perspective, having as a goal a more inclusive and sustainable development. [16]
Globally, the countries that have excelled in the industry are China, in the first place, followed by the United States and Germany. But Brazil has contributed greatly in the fields of architecture, fashion and design, revealing its creative potential worldwide. [17]
In December, 2021, the National Intellectual Property Strategy [6] was enacted through Decree 10.886/2021. [18] Among the macro objectives of the national strategy is to map the Brazilian creative industry and the action to approximate innovation clusters of the creative industry to intellectual property. Concomitantly, the Brazilian Federal Government also created the portal on intellectual property.
In 2014, the Creative Economy Secretary of the Ministry of Culture, Cláudia Leitão, claimed that the country was learning to grow in this area, to transform "Brazilian creativity into innovation and innovation into wealth." [15] The creative industry in Brazil gathers, generally, "young, educated and well-paid professionals" that earn 42% above the average wage in the country. [1]
It is difficult to know how much an idea or innovation costs, as they are intangible assets. One way of measuring their impact is to create metrics and to use qualitative and quantitative research. A first study in 2013 [3] identified the general economic data related to the Creative Industry in Brazil, such as:
In 2019, the Federation of industries of Rio Janeiro (FIRJAN) updated its previous 2017 research [19] and published a national study [20] that mapped the Brazilian creative industries indicating that in 2017 there were 837,200 employees, a decrease of 3,9 in comparison to 2015. It also concluded that the overall remuneration in the creative industries was higher than the Brazilian average.
A 2021 study on Intellectual Property Intensive Sectors in the Brazilian Economy [5] was undertaken as part of the National Strategy on Intellectual Property 2021–2030 [6] and the creation of the Intellectual Property website. [21] The main findings of the study were:
The economy of Brazil is historically the largest in Latin America and the Southern Hemisphere in nominal terms. The Brazilian economy is the third largest in the Americas. It is an upper-middle income developing mixed economy. In 2024, according to International Monetary Fund (IMF), Brazil has the 8th largest gross domestic product (GDP) in the world and has the 8th largest purchasing power parity in the world. In 2024, according to Forbes, Brazil was the 7th largest country in the world by number of billionaires. Brazil is one of the ten chief industrial states in the world according to International Labour Organization. According to International Monetary Fund (IMF), Brazilian nominal GDP was US$2.331 trillion, the country has a long history of being among the largest economies in the world and the GDP per capita was US$11,178 per inhabitant.
The creative industries refers to a range of economic activities which are concerned with the generation or exploitation of knowledge and information. They may variously also be referred to as the cultural industries or the creative economy, and most recently they have been denominated as the Orange Economy in Latin America and the Caribbean.
Macaé is a municipality located in the Brazilian state of Rio de Janeiro, 180 km northeast of the state capital. It is the birthplace of the 13th president of Brazil, Washington Luís.
Celso Monteiro Furtado was a Brazilian economist and one of the most distinguished intellectuals of the 20th century. His work focuses on development and underdevelopment and on the persistence of poverty in peripheral countries throughout the world. He is viewed, along with Raúl Prebisch, as one of the main formulators of economic structuralism, an economics school that is largely identified with CEPAL, which achieved prominence in Latin America and other developing regions during the 1960s and 1970s and sought to stimulate economic development through governmental intervention, largely inspired on the views of John Maynard Keynes. As a politician, Furtado was appointed Minister of Planning and Minister of Culture.
The economy of South America comprises approximately 434 million people living in the 12 sovereign states and three dependent territories of South America, which encompasses 6 percent of the world's population. South America ranks fifth in terms of nominal GDP by continent, behind North America and after Oceania.
Itajubá is a municipality in southeastern Minas Gerais state of the Federative Republic of Brazil. It lies in a valley by the Sapucaí river and has terrain elevations ranging from 827 to 1500 metres, occupying an area of 290.45 km2 (112.14 mi2), with a population of 97,334 people. Neighboring the city are the mountain slopes of the Serra da Mantiqueira range. The climate sees heavy rain in the summer months with dry weather in the winter.
The Trans-Amazonian Highway was introduced on September 27, 1972. It is 4,000 km long, making it the third longest highway in Brazil. It runs through the Amazon forest and the Brazilian states of Paraíba, Ceará, Piauí, Maranhão, Tocantins, Pará, and Amazonas, from the proximities of Saboeiro up until the town of Lábrea.
Brazilian industry has its earliest origin in workshops dating from the beginning of the 19th century. Most of the country's industrial establishments appeared in the Brazilian southeast, and, according to the Commerce, Agriculture, Factories and Navigation Joint, 77 establishments registered between 1808 and 1840 were classified as "factories" or "manufacturers". However, most, about 56 establishments, would be considered workshops by today's standards, directed toward the production of soap and tallow candles, snuff, spinning and weaving, foods, melting of iron and metals, wool and silk, amongst others. They used both slaves and free laborers.
The Brazilian automotive industry is coordinated by the Associação Nacional dos Fabricantes de Veículos Automotores (Anfavea), created in 1956, which includes automakers with factories in Brazil. Anfavea is part of the Organisation Internationale des Constructeurs d'Automobiles (OICA), based in Paris. In 2021, the annual production exceeded 2.2 million vehicles, the 8th largest in the world.
A creative economy is based on people's use of their creative imagination to increase an idea's value. John Howkins developed the concept in 2001 to describe economic systems where value is based on novel imaginative qualities rather than the traditional resources of land, labour and capital.: Compared to creative industries, which are limited to specific sectors, the term is used to describe creativity throughout a whole economy.
Euvaldo Lodi Institute of Rio de Janeiro is the equivalent of the Brazilian Euvaldo Lodi Institute, created by the National Confederation of Industry along with the Industry Social Service (SESI) and the National Industrial Training Service in 1969. Except it only covers Rio de Janeiro state, instead of all the Brazilian territory.
The Industry Social Service of the State of Rio de Janeiro comprehends SESI's work in Rio de Janeiro state. The institution focuses in improving work environments, quality of life and education levels of collaborators from Rio de Janeiro's enterprises. Through programs and mobile units, it carries out actions related to health, education, sports, leisure, culture, occupational health, work safety and environmental protection. These activities are aimed at workers and companies, as much as to society in general. SENAI Rio's history is parallel to the Brazilian industrial development and its designation accompanies Rio de Janeiro's changes, as when it became a capital and was renamed Guanabara state.
The Industry Federation of the State of Rio de Janeiro (FIRJAN) is a Brazilian industrial federation from the state of Rio de Janeiro that acts as a representative of the state's industries at municipal, state and national levels. The organization, one of the five that comprehend the FIRJAN System, also promotes debates and produces researches, studies and projects aiming Rio de Janeiro's sustainable development. The provision of services to companies affiliated to it targets the industrial, social and economic growth of Rio de Janeiro state.
Rose Marie Muraro was a Brazilian sociologist, writer, intellectual and feminist. Born nearly blind, she was the author of over 40 books and also served as publisher and director of Vozes.
FIRJAN System is a network of private nonprofit organizations with more than ten thousand associates. Its mission is to promote business competitiveness, education and quality of life of industrial workers and the whole society, in the state of Rio de Janeiro. FIRJAN System consists of five institutions that work in an integrated manner for the growth of the industry of RJ. Together, FIRJAN, Industrial Center of Rio de Janeiro (CIRJ), Industry Social Service of the State of Rio de Janeiro, National Industrial Training Service of the State of Rio de Janeiro and Euvaldo Lodi Institute of Rio de Janeiro promote actions in economic, political and social levels to ensure a prominent position to the state on the national scenery. Today, all institutions act as service providers to enterprises and society.
Maria da Conceição Tavares was a Portuguese naturalized Brazilian economist. She was a full professor at the State University of Campinas (Unicamp) and professor emeritus of the Federal University of Rio de Janeiro (UFRJ). Her students included the former president of Brazil, Dilma Rousseff. Tavares was affiliated with the Workers' Party, and she was a Federal Deputy representing the state of Rio de Janeiro between 1995 and 1999. Left-wing focused, she was the author of several books on Brazil's economic development as well as numerous journal articles.
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Paulo Roberto Nunes Guedes is a Brazilian economist and co-founder of the investment bank BTG Pactual. He is also a co-founder of the think-tank Instituto Millenium, and was the economic advisor for the campaign of President Jair Bolsonaro. Guedes served as the Minister of the Economy of Brazil through the entirety of the Bolsonaro presidency, from 1 January 2019 to 1 January 2023.
Abraão Vicente is Cape Verdean politician currently serving as both Minister of Culture and Creative Industries and Minister of the Sea. Vicente is a sociologist, painter and self-taught photographer.
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