Fifth, since men generally hold leadership positions in trade unions, women may have less say here, let alone the impetus to start their own unions.<sup>21</sup> Sixth — and this point extends to all sectors — there is an “erroneous perception that women's income is supplementary rather than central to households’ well-being. Gender stereotypes perpetuated through social norms assign women to unpaid social reproduction roles and functions, such as primary caregivers in the family and as those responsible for household chores, leaving women with very little time to improve their skills or seek new work opportunities.”<sup>22</sup> Indeed, wage gaps between men and women persist even in rich countries.

_The Near Invisible Nature of Trade in Creative Output_ Although the creative sector is increasingly becoming recognized, it is not yet fully understood. In many countries this is the case.<sup>23</sup> Consider the following points: In 2012, Wasant Bharath, the Government of the Republic of Trinidad and Tobago’s Minister of Trade, Industry, and Investment remarked: “The creative industries sector's economics, operations and commercial potential is not fully understood in many countries around the world.” This is from a minister from a nation where a “‘study on the local music industry has shown that it is estimated to generate TT $169 million annually, [about USD$26.5 million] employing some 5,600 persons. [And where at] a national level, [the] Carnival remains by far the largest generator of revenues within the music/entertainment sector, [contributing] TT $154 million [about USD$24.2 million] and employing over 3,500 persons.’”<sup>24</sup> In <u>Creative Industries and Economic Evolution Jason Potts goes on to conclude: while</u> creative industries play an important role in the innovation process, this contribution is both under-appreciated and widely misunderstood: The creative industries have been under appreciated as drivers of innovation because they have been over-represented as a welfare problem. Their role has been misunderstood because we have not taken enough notice of the deep similarity of artists and entrepreneurs.<sup>25</sup> Moreover, creative work is encompassed in a long list of names. While this in a way reflects the diversity of the creative sector, it potentially adds to the confusion — policy makers

> 21 International Labour Organization (ILO), _Gender Equality at the Heart of Decent Work_ (Geneva: ILO, 2009), accessed April 6, 2015, <u>http://www.ilo.org/wcmsp5/groups/public/@ed_norm/@relconf/documents/meetingdocument/wcms_105119.pdf.</u>

> 22 IANWGE, “Gender Equality and Trade Policy.” In a way this issue is related to the first point.

> 23 Mexico News, “Mexico, Latin America Leader in Creative Industries,” October 30, 2014,

> accessed April 7, 2015, http://www.mexiconewsnetwork.com/news/creative-industries/.

> 24 Government Information Services Limited, “Creative Industry Misunderstood Globally - - - Bharath,” November 6, 2013, accessed April 7, 2015, <u>http://www.news.gov.tt/content/creative industry misunderstood-globally-bharath#.VSP9i2Yvbok.</u>

> 25 Jason Potts, _Creative Industries and Economic Evolution_ (Cheltenham Glos (UK); Northampton (USA): Edward Elgar, 2011), 196.

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