Global Journal of Human Social Science, E: Economics, Volume 21 Issue 5

gaming and toys (Ministry of Culture Spain, 2007), these activities provided estimations of economic value and contribution of culture. It was the basis for the development of culture satellite accounts in Spain, published in 2010. The Spanish CSA model is based on a combination of cultural activities and activities related to intellectual property. While cultural activities are the key of this model, it also includes cultural-related activities that are not strictly cultural but essential for the understanding the creative sector as a whole (Ministry of Culture Spain, 2009). Although these efforts, data limitation is still the main problem in most European countries. As statistics for cultural industries and statistical methodologies have not yet been harmonized in a systematic manner, economic measures of cultural industries can only be interpreted in their local and regional contexts. However, these measures can be effective for analyzing certain areas of cultural industries and their contribution to economic growth; they are still not enough as measures for cultural industries' contribution. That may lead to suggest the need for more elaborate evolution to new common concepts and measurements of the economic contribution of cultural industries to be more comparable at both regional and international levels. In both Canada and United States, approaches for measuring the economic contribution of cultural industries are multiplier analysis and economic size analysis (Appendix, A. 2). In Canada, the economic contribution of culture includes direct, indirect, and induced economic impact s 59 59 Direct impacts include the value-added to the economy by firms directly producing cultural goods and services. Indirect impacts include the added value that the “direct impact firms” generate economically through their demand for intermediate inputs or other support services. In contrast, induced impacts are derived when employees of industries (both direct and indirect) spend their earnings and industry owners spend their profits (Conference Board of Canada, 2008). (Conference Board of Canada, 2008) (Appendix, A. 2). In 2009, an additional multiplier was calculated for measuring indirect spin-off of culture sector on employment (Board of Trade of Metropolitan Montreal, 2009). In the USA, measuring of the economic contribution of cultural industries (Appendix, A. 2) presented as systematic data on business statistics (number of organizations and employees) by U.S. state and U.S. Congressional District (Creative Industries: Business & Employment in the Arts 2008; 2010; 2011). Moreover, The base of calculating multipliers was I-O tables were constructed for 156 study regions (116 cities and counties, 35 multicounty regions and five states). Data were collected from 6080 non-profit arts and cultural organizations, while impacts were measured as total expenditure, full-time equivalent jobs, resident household income, local government revenue, state government revenue and federal income tax revenue (Americans for the Arts, 2009). In the Asia-pacific region, measurement tools of economic contribution for cultural industries are evident in Australia (Appendix, A. 2), based on numerous mapping studies and conducted researches. Moreover, the production chain model is used and also focused on creative activities in Australia. The mapping studies, which used for analyzing cultural industries, were consisting of five stages: pre-creatio n 60 , creation 61 , realizatio n 62 , consumptio n 63 , and post-sale 64 . Only the pre-creation and creation stages are including for measuring the economic contributio n 65 In Africa, researches that dealt with measuring the economic contribution of cultural industries are scarce(Snowball et al ., 2017; Oyekunle, 2017; Oyekunle and Fillis 2016; Hadisi and Snowball 2017; Nawa and Sirayi 2014, Ghoneim, 2005; 2002), and most of their interests were focusing on the case of South Africa (Shafi et al ., 2020; Oyekunle and Sirayi 2018; O’Brien et al. , 2016; National Planning Commission 2013; Joffe and . The applied approach for measuring the economic contribution of cultural industries in this region is economic size and structural analysis in both Australia and China(Appendix, A. 2). In contrast, structural analysis is used for studying the structure of the culture studies in India and also for analyzing the distribution of macro-economic aggregates by sub- sectors (UNESCO, 2012). In the South America region, MERCOSUR countries constructed I-O matrix with 29 products and 29 branches of activities, based on the CSA system and culturality of goods and services, using both monetary and non-monetary indicators. Moreover, cultural activities in these countries are included in mapping and other methodological approaches for the creation of cultural satellite accounts. The objective was to develop a CSA system to achieve supporting decision-making process and evaluation of cultural policies set comparable information system and economic measures at international and cross-country levels, and provide information for structural analysis (p. 25). 60 Including libraries and museums, which are essential resources for creative people. 61 Including primary creative activities. 62 Including replication and distribution of the creative product. 63 For example, television and stereo equipment . 64 Including repair, maintenance, support, second-hand sales. 65 In Australia, the creative trident model has also been used for analyzing the economic contribution of cultural industries, known as the employment-based classification model. This model is used for measuring the scope of the creative economy in Australia (Higgs and Cunningham, 2007). Volume XXI Issue V Version I 32 ( E ) Global Journal of Human Social Science - Year 2021 © 2021 Global Journals Economic Contribution of Cultural Industries: Evidence from Some Selected Countries