ROMANIASupporting entrepreneurs in the cultural and creative industry sector

Research Report

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Table of Contents

Findings from the desk-based research .............................................................. 3

Findings from the empirical research (questionnaires)........................................ 8

List of Learning Outcomes................................................................................. 13

Conclusions and Recommendations ................................................................. 14

Annex: List of NACE codes as included in each sub-sector of CCIs ................ 15

Country / Regional Area: RomaniaPartner: University of Piteşti (UPIT)

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FINDINGS FROM THE DESK-BASED RESEARCH

How do your national or local agencies define cultural and creative industries?To our knowledge, based on our searches, the National Agency does not offer an official definition of cultural and creative industries.

How important are CCIs in your national or local area? From your understanding are CCIs in your national or local area aware of their role in the economy? The interest in creative industries is a fairly recent one in Romania, in comparison with Western Europe or the developed countries worldwide. Creative industries have started drawing attention in roughly the last decade of so, with a series of studies performed from 2008 to the present. These studies were performed either by various state organisms (even the Ministry of Culture) or by independent researchers or groups. Overall though, our assessment is that the perceived importance of cultural and creative industries in Romania is very low and not enough efforts are being made to develop and promote such industries.

As regards the awareness that such industries have of themselves regarding their role in the economy, it is difficult if not impossible to give a definitive answer, due to the above mentioned reason: not enough interest has been given to the subject so that there are no clear and powerful channels of communication or exposure (state-sponsored or otherwise) for actors in such industries to make known their status and perceptions about their role in the economy. However, judging by the difficulties in functioning, evident in most of the domains that comprise the creative industries in Romania (with the notable exception of IT - software and services), it is our assessment that cultural and creative industries in Romania are either not aware of their role in the economy and the potential they have to greatly contribute, or are aware of it but cannot fulfil it. That being said, the trend is positive. The Cultural and Creative Industries grew from 4.2% of GDP in 2009 to 6.5% of GDP in 2013 (with the IT services sector growing from being 41.9% of this sector in 2009 to 57.0% in 2013), as emphasized by the National Institute for Cultural Research and Training in 2015, in its report Cultural and creative sectors in Romania. The economic importance and competitive context.

Is VET in the CCI sector active in your national or local area? If yes, is it considered a priority from key stakeholders (government, educators, society)? Yes, VET is active in the cultural and creative industry sector in Romania. There are state-led initiatives as well as non-state-led ones in the various domains that together make up the cultural and creative industry sector.

The Ministry of Culture also supports initiatives from other actors by financing or co-financing them.

The non-state-led initiatives come from various foundations, NGOs or private sector entities.

Regarding the question of whether VET is considered a priority by key stakeholders in Romania, our assessment is that despite the various initiatives and the positive trend, it is not yet a priority and much more needs to be done in this direction.

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Are they any current policy priorities for CCIs in your national or local area? There exists a Sector Strategy in the Domain of Culture and National Heritage for the 2014-2020 Period (Strategia Sectorială in Domeniul Culturii și Patrimoniului Național pentru Perioada 2014-2020). The strategic objectives outlined in this paper are: (1) protecting the national cultural heritage; and (2) supporting and promoting contemporary cultural and artistic creation.

The National Strategy for Competitiveness 2014-2020 / Strategia Națională pentru Competitivitate 2014-2020 also mentions the ideal of “development of businesses on competitive bases within an ecosystem capable of supporting excellence at a global level, open and favourable to free initiative and innovation (...)”.

The city of Cluj-Napoca also issued its own local Strategy for Creative Industries 2014-2020.

Who are the key VET providers of the CCI sector in your national or local area? Can you provide some examples of VET courses in these industries? Of the state-led type of initiatives, the most notable example is the Institutul Național pentru Cercetare și Formare Culturală (INCFC) / The National Institute for Cultural Research and Training, which is organized under the Ministry of Culture. It has two main objectives: (1) study, research and statistics regarding the cultural sector; and (2) the lifelong training of those that choose a career in this occupational sector. In 2013 it absorbed two institutions which are well known on the cultural market: Centrul de Cercetare și Consultanță în Domeniul Culturii (CCCDC) / The Center for Research and Consultancy in the Cultural Domain and Centrul de Pregătire Profesională în Cultură (CPPC) / The Center for Professional Training in Culture.

Along the years, the INCFC boasts over 70 studies and statistical research papers, 31 participations at national and international conferences, over 6000 trained beneficiaries coming from approximately 700 cultural institutions as well as over 4000 evaluated candidates within sessions to evaluate various competencies, as reported by the National Institute for Cultural Research and Training on its official website.

The “CultIN Program” open for eligible entrepreneurs and the case of the “Institutul Balassi”, The Magyar Institute of Bucharest in 2016, with the program Cultural Training are examples of initiatives financed or co-financed by the state.

As regards initiatives from associations, NGOs or other private entities, here are some examples: Centrul de Formare Profesională a Adulților / Adults’ Professional Training Center with their Creative Romania Program; Fundația Post Privatizare / Post-Privatization Foundation with the Program Promoting Entrepreneurship in Creative Industries; Asociația Industrii Creative / Creative Industries Association with the Creative Iaşi program, in collaboration with the British Council etc.

Are you aware of any VET programme that integrates mentoring as part of its curriculum in your national or local area? If yes, provide an example how this takes place. In the wake of our research, we are unfortunately not aware of any VET programme in Romania, in the creative and cultural industries sector that integrates mentoring as part of its curriculum, though there are several VET

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programmes focused on other sectors that do implement mentoring in their curriculum. Perhaps this absence in the cultural and creative industries sector is due to the fact that they were taken into account and given interest (including by VET organizations) later than other domains, as mentioned previously.

Are you aware of any entrepreneurship training or training for starting your own business provided in your national or local area for students of VET in the CCIs? We are not aware of any examples in Romania of programs in which entrepreneurship training or training for starting your own business was provided specifically for students of VET in the cultural and creative industries. However, 2 of the programs mentioned previously did provide entrepreneurship training or training for starting your own business to their attendees: the Cultural Training Program promoted by the Ministry of Culture (and others) and the Promoting Entrepreneurship in Creative Industries Program led by the Fundaţia Post-Privatizare / Post-Privatization Foundation (and others).

If possible briefly provide a best practise in CCI entrepreneurship training in your countryDue to the very small number of cases in which entrepreneurship training was implemented regarding creative and cultural industries in Romania and the relative ‘new’ outlook on such industries (compared to developed Western economies), it is not possible to single out a best practise in this subject.

However, the Cultural Training Program promoted by the Ministry of Culture seems to have enjoyed a fair degree of popularity and has continued up to 2016, so it is a candidate for further analysis once sufficient other offers appear on the market.

What are the key skill areas that need to be addressed in the SHADOWS proposed entrepreneurship curriculum for CCIs? According to the research summary Examining the cultural skills gaps and shortages conducted by the Cultural Skills Unit of the British Council in 2014, the cultural sector is an area of growing importance for Romania, and has been labelled as one of the most dynamic sectors of the national economy. In UNESCO’s estimations from 2009, the share of cultural employment in total employment was at 1.54%, while the creative industries were deemed to contribute 5.95% to the national economy. The respondents of the research emphasized the fact that film sector (in the last years a lot of Romanian movies gained awards at important film festivals) and games sectors represent some areas of creative industries that registered a significant growth. The results of the research also showed that independent arts and cultural sector has also been flourishing in recent years. In some regions, cultural NGOs are perceived to be the most active players in the sector, implementing programmes that encourage greater citizen participation in cultural activities.

Even if in the last years Romania’s cultural sector registered improvements, there are still a lot of challenges to confront. The economical crisis affected the funding in culture which conducted to jobs losses and salaries diminish.

The EC formulated in June 2014 an advice to Romanian policy makers in order to “strengthen access to vocational education and training (VET), lifelong learning and apprenticeships, while better adapting the curriculum to meet labour market needs”. Regarding this aspect, research respondents cited a shortage of formal work placements in the cultural sector where young people could acquire an accredited recognition of learning (e.g. diploma).

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After analysing the resources, the conclusion is that Romanian education system lacks sufficient technical and administrative training programmes for the cultural sector. The key skill areas that need to be addressed in the SHADOWS are: lighting design, sound engineering, stage management, arts management, creative business and financing sources.

The research has shown also the fact that there is the need of soft skills training such as: introduction in creative industries, cultural management and leadership. According to the research, young people are mostly affected by a lack of international exposure to best practice, followed by a lack of relevant work experience and qualifications.

What are the key skill levels that are appropriate for your local target groups? In Romania, CCIs are divided in 3 categories: Cultural activities (Interactive leisure software, Music, Film and Video, Publishing, Television and Radio, Patrimony), Arts (Performing arts, Visual Arts, Creative Writing and Music Composition) and Creative activities (Architecture, Advertising, Design and Software). The professions/jobs in creative industries in Romania are comprised in the Annex of this report.Except crafts and sport & entertainment, for all the other professions, the level of required education is a bachelor’s degree. But, in order to support the growth of cultural and creative industry entrepreneurship, the required education - according to national legislation - is a VET training programme for cultural and creative entrepreneurial skills (a training course with accreditation from National Authority for Qualifications – a body of the Ministry of National Education and Scientific Research - which regulates professional education and training of the adults).

What existing resources could be used or re-designed for use in the new entrepreneurship curriculum for the CCIs to avoid duplication? As resources to be used, the base of the new curriculum could be the structure of the course Developing Entrepreneurial Competencies (http://www.evaf.ro/?q=content/dezvoltarea-abilit%C4%83%C8%9Bilor-antreprenoriale-0 ) which could be developed by adding modules according to the identified needs e.g.:• technical and administrative skills for theatre and film (lighting, sound, stage management, make-up,

directing, editing, scriptwriting); • technical skills for the textile and garment industry;• digitisation of cultural heritage and professional development for restorers, curators and heritage managers.• business, finance, marketing and audience development which need to be addressed.

What do you consider is the most effective way to ensure business mentoring is effective for the trainees?The most effective way for business mentoring would be know-how sharing from experienced and recognized entrepreneurs. In Romania there is a lack of best practice examples in CCIs. Also, mentoring could be performed by motivational seminars to encourage young people to give life to their creative ideas and to provide relevant information regarding the evolution and the potential of the sector at local/regional/national level. The following types of activities could represent the structure of mentoring:• Performing a market research• Creating innovation• Business plan development• Business diagnosis• Transferring know-how.

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What do you consider is the most effective way to monitor the quality of business mentoring? An effective way to monitor the quality of business mentoring would be periodic application of feedback questionnaires to the mentees. The questionnaires should be developed on the themes addressed during the mentoring.

What type of assessment framework would be most appropriate to facilitate the measurement of attainments? Due to the fact that the new curriculum has as goal to support the growth of cultural and creative industry entrepreneurship education, an appropriate method to facilitate the measurement of attainments would be Curriculum Embedded Assessment. Curriculum-embedded assessment (CEA) is an efficient and effective method for demonstrating the achievement of learning outcomes, as it is based on existing course requirements. CEA is based on the identification and collection of specific examples of student work (e.g. examinations, presentations, essays, group projects) which demonstrate mastery of disciplinary learning outcomes. Trainees are directly involved in selecting examples of work, which are then correlated directly with the specific instructional strategies that were intended to promote the development of these learning outcomes. One of most common CEA practices is trainees’ portfolios, which help to provide a progressive view of trainee learning overtime. Portfolios require that trainees reflect upon what they have learned, and individually select evidence which demonstrates their learning. One of the distinct advantages of portfolios is that it allows both students and instructors to work together to assess learning. CEA requires that learning outcomes become explicitly integrated and communicated throughout the curriculum. This way it is developed a collective awareness of the progressive development of the disciplinary knowledge and abilities over the course of the program.

What are the key challenges in VET in CCI sector in your national or regional area?Romania has made the first steps towards the idea of cultural and creative industries by including the terms in public policies documents, but the way to an integrated strategy focused on these industries, is still at the beginning. One of the most important challenges is the lack of data and research conducted of this field.

The main challenges for the VET sector are underfunding, quality of teachers, insufficient systematic links with the labour market (skills forecasts, employer involvement) and frequent legislative changes.

The absence from the Romanian Classification of Occupations of a qualification which to be specific to the training program that SHADOWS will develop, could be seen as another challenge – thus, the new SHADOWS curriculum addresses a new profession/occupation (i.e. ‘entrepreneur in Cultural and Creative Industries’).

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FINDINGS FROM THE EMPIRICAL RESEARCH (QUESTIONNAIRES)

Profile of the respondents

We applied the SHADOWS questionnaire to 9 persons, 2 women and 7 men. All of them currently work in Romania (one also owns two firms in Italy), 7 works in Piteşti (Romania), 1 in Piteşti and Trani (Italy) and 1 in Bucharest (Romania). The tenth questionnaire arrived after the deadline and we did not consider it.

Only 6 of our respondents provided information about their age. The youngest respondent is 29 years, while the eldest has 42 years (average = 34.1 years).

3 respondents are VET trainers, 1 is copywriter and 5 are entrepreneurs.

5 respondents have no more than 5 years in the current role (55.5%) and 4 of them between 7 and 18 years of service in the current role (44.5%).

R1 R2 R3 R4 R5 R6 R7 R8 R9

Age (years) - 42 33 30 - - 33 29 38

Gender M M M M M M F F M

Length of service 5 8 5 1 7 10 5 1 18

Besides the VET sector - for which we interviewed 3 trainers, the CCI sectors of the other 6 respondents are: Publishing; Advertising & Marketing; IT & Software; Film industry; Architecture; Design.

Below there are presented the findings from the respondents’ responses.

For the closed items, after calculating the statistics for each of the 5 levels of the Likert scale, we summarised the percentages for the answers below and above the neutral option (the most positive and the most negative answers). Thus the graphics below are more relevant and easier to interpret.

As shown in Figure 1, among the reasons in favour of performing VET studies in the field of CCIs, the most powerful reasons (89% of the respondents) justify that such studies: provide updated, new or improved skills; the teachers are better (they explain the subject better, are more understanding and attentive, friendlier and treat students as equals); the trainees come closer to what they want to specialise in; the motivation to return to the labour market increases.

Q1 Why it is better to study cultural and creative VET courses and programs?1 Updated, new or improved skills2 The studies are easier, more fun, more interesting, the study load is smaller 3 Students get a scholarship4 Better teachers (they explain the subject better, are more understanding and attentive, friendlier and treat students as equals)5 You become independent quicker6 Gets you ready to start your own business 7 Closer to what I want to specialise in 8 It is easier to continue studies9 Increased financial independence10 Increased motivation to return to the workforce11 Improved chance of being employed

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12 Increased self-esteem13 Improved quality of life generally14 Easier to promotes thinking “outside the box”15 Less structured learning

Criticism of the VET in CCIs emphasize on the big load of studies (78% of the respondents), the compulsory attendance and the existence of too many rules (67% of the respondents) and too much responsibility for the student (67% of the respondents) (Figure 2).

Q2 Why is it worse to study cultural and creative VET courses and programs?1 Bad image of vocational schools; negative public opinion towards them 2 Big load of studies3 Compulsory attendance, too many rules 4 Poor study environment (lack of technical equipment and rooms; need for repairs) 5 Students are noisier; poorer discipline; lack of general order and culture 6 Low teachers‘ competence and qualification 7 Most students have low motivation for learning; poor study results 8 Too easy to study as the level of teaching is low; teachers are too lenient to the students 9 Too much responsibility for the student (a lot of self-study) 10 Poor organization of practical training placement, not enough internships 11 After finishing a vocational programme it is difficult to find a well-paid job 12 Limited job opportunities13 Family responsibilities (raising children, pregnancy)14 Boring traditional way of teaching 15 Difficult to start your own business.

Figure 1

Figure 2

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Somehow controversial responses we got from question 3 (Figure 3), which requested the respondents to express agreement or disagreement with a series of statements regarding CCIs in their region and Romania. Controversial because the desk research revealed that despite the various initiatives and the positive trend, CCI is not yet a priority in Romania and they are either not aware of their role in the economy and the potential they have to greatly contribute, or are aware of it but cannot fulfil it. On the contrary, as shown by table 3, the highest percentage of our respondents (78%) stated that they are aware of VET in CCI in Romania or in their region. They also appreciated in a high extend (67%) the fact that people in CCI VET learn skills that are needed by employers and that CCI VET gives access to modern equipment (56%). The most negative perception refers to the fact that CCI VET leads to jobs which are not well regarded in society (67% of the respondents).

Q3 In the respondents’ region or in Romania:1 Society understands the role/what CCIs offer2 CCIs are an important part of our economy3 There are employment opportunities in CCIs4 It is easier to create our own employment in CCIs 5 I am aware of VET in CCIs in my nation / region 6 CCI VET is of high quality7 CCI VET gives access to modern equipment 8 Teachers and trainers’ in CCI VET are competent9 CCI VET enables people to continue with university10 People in CCI VET learn skills that are needed by employers11 CCI VET does not prepare people to set up their own business12 In CCI VET people do not learn skills such as communication or teamwork13 CCI VET leads to jobs which are well paid14 CCI VET leads to jobs which are not well regarded in society15 CCI VET is playing a role in reducing unemployment

The topics that we suggested for the CCI entrepreneurship were highly appreciated and considered as necessary by the respondents (7 out of 13 even with full majority), as shown by figure 4. However, 11% of the respondents believed that including basics about entrepreneurship in the curriculum is not necessary.

Figure 3

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Q4 Which are the most necessary topics for the CCI entrepreneurship curriculum?1 Management of team 2 Business model generation 3 Intellectual property issues4 Scalability: from small idea to larger firm5 Core Business Management Skills6 From New idea to action7 Risk management8 What is entrepreneurship9 Conducting market research10 Internationalization of Business 11 Valuation of Idea12 Testing and prototyping a product13 Creating a Lean Business Model

Q5: Is there any course that was not in the list of question 4 that is needed for the CCI entrepreneurship curriculum?

Only one respondent (11%) answered this question and mentioned “innovative models in business”.

Almost all our suggestions regarding skills necessary to be acquired through the implementation of the SHADOWS curriculum were highly compatible with the respondents’ perspective as shown in figure 5 (except time management skills and self-confidence, which were regarded by 11% of the respondents as less needed).

Q6 What would you consider the most necessary skills to be obtained as outcomes of the CCI entrepreneurship curriculum?1 Pitching ideas and presentation skills2 Managing a Team 3 Organizational Behaviour4 Self-Assessment5 Time management 6 Creative thinking 7 Self confidence

Figure 4

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8 Motivation 9 Problem solving10 Creating Networks11 Managing Resources

Q7: Are there any skills that were not in the list of question 6 that you think is needed?

All respondents answered negative.

Q8: In your opinion, what existing resources could be used or re-designed for use in the SHADOWS entrepreneurship curriculum to avoid duplication?

The respondents mentioned as resources: (a) European projects (i.e. http://ec.europa.eu/programmes/erasmus-plus/projects/#search/keyword=social networking; PROEDIT - a project of the Union of Publishers in Romania; Develop the leader in you – a project in Cluj-Napoca, etc.); (b) entrepreneurship training programs in other countries (i.e. in USA, in Silicon Valley); (c) reports; (d) training courses.

Q9: SHADOWS will offer a business mentoring scheme for trainers. What do you consider is the best way to ensure that the business mentoring is effective?

The most relevant responses were:- mutual understanding between mentor and mentee;- good understanding of the mentoring objectives, by the mentor;- lectures provided by VIPs from CCIs, creators of successful role models;- less theory, more practice (concrete examples of how to make real a business idea);- experienced mentors, able to adapt to the mentees’ needs;- mentors who were successful in the sector for which the mentees have an interest; - analysis of examples of good practices, real cases (case study of most frequent and successful

entrepreneurships from the CCI – which is a sector with own specificities);- providing assistance 3-6 months after the start of the business;- mentor’s attitude and character, his high skills of communication, interpersonal skills, planning and research

skills;- development of mentee’s necessary skills through initial training, induction and continuing training.

Figure 5

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Q10: What type of assessment framework would be most appropriate to facilitate the measurement of attainments of the SHADOWS entrepreneurship curriculum?

The participants in our survey emphasized a variety of assessment tools, the most frequent mentioned and described being the following:- multiple-choice test and presentation of a business plan;- practical test (project, idea implementation, business complex simulation);- quantitative evaluation (number of ideas/projects of high originality, generated per time unit);- qualitative evaluation (increase of notoriety, consecration and brand recognition);- test-based evaluation after each module;- game-based evaluation (i.e. trivia);- questionnaire-based evaluation followed by a discussion;- business plan based on novel ideas and imposed budget (i.e. 10.000 euro);- to study the training impact on the creative, entrepreneurial and organisational development and on

communication skills: (a) short-term evaluation (mainly theoretical); medium-term evaluation (assessing if there are or not consistent and measurable changes regarding the trainee’s economic activity in CCI – i.e. the start of a business, the development of an existing business, increased turnover, obtaining of national or international prizes); long term evaluation (assessing if the noticed changes on medium-term have continued or they were just episodic)

LIST OF LEARNING OUTCOMESThe most relevant Learning Outcomes (LOs) resulted from the desk-based and field-research that should be included in the CCI entrepreneurship curriculum are:• specific skills for designing, developing and properly managing businesses that protect the national cultural

heritage; • specific skills for designing, developing and properly managing businesses that support and promote

contemporary cultural and artistic creation;• soft skills (being able to define, describe, analyse, understand CCIs, cultural management skills, leadership

skills);• technical and administrative skills for theatre and film (lighting, sound, stage management, make-up,

directing, editing, scriptwriting); • technical skills for the textile and garment industry;• digitisation of cultural heritage and professional development for restorers, curators and heritage managers;• skills for business, finance, marketing and audience development.

After analysing the resources, we appreciate that in Romania there is a lack of mentoring in current CCI curricula. Regarding how the Business Mentoring should take place in Romania, based on the researched that we performed, we may conclude that this should be achieved through:• know-how sharing from experienced and recognized entrepreneurs;• motivational seminars for young people on creative ideas the potential of the CCI sector; • business diagnosis and development;• know-how transfer;• market research;• creation of innovation.

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CONCLUSIONS AND RECOMMENDATIONSRomania has made the first steps towards the idea of CCIs by including the terms in public policies documents, but the way to an integrated strategy focused on these industries, is still at the beginning. The interest in CCIs is a fairly recent one in Romania, in comparison with Western Europe or the developed countries worldwide.

The perceived importance of CCIs in Romania is very low and not enough efforts are being made to develop and promote such industries. But the trend is positive: the CCIs grew from 4.2% of GDP in 2009 to 6.5% of GDP in 2013 (2015 Report). There exists also a Sector Strategy in the Domain of Culture and National Heritage for the 2014-2020 Period.

VET is active in the CCI sector in Romania: there are state-led initiatives as well as non-state-led ones in the various domains that together make up the CCI sector. But the education system lacks sufficient technical and administrative training programmes for the cultural sector.

We are unfortunately not aware of any CCIs VET programme in Romania that integrates mentoring as part of its curriculum.

In Romania, CCIs are divided in 3 categories: Cultural activities (Interactive leisure software, Music, Film and Video, Publishing, Television and Radio, Patrimony), Arts (Performing arts, Visual Arts, Creative Writing and Music Composition) and Creative activities (Architecture, Advertising, Design and Software).

It is advisable that effective business mentoring to be achieved through know-how sharing from experienced and recognized entrepreneurs.

As a qualification specific to SHADOWS curriculum does not exist yet in the Romanian Classification of Occupations (COR), we recommend trying to develop and include this one in COR (i.e. the qualification of ‘entrepreneur in Cultural and Creative Industries’).

The key skill areas recommended to be addressed in SHADOWS are: lighting design, sound engineering, stage management, arts management, creative business and financing sources.

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ANNEXList of NACE codes as included in each sub-sector of CCIs

1. ADVERTISING7311–Activities of Advertising Agencies7312–Media representation services7320–Public pools and market analysis

2. ARCHITECTURE7111 -Architecture7112 –Engineering and technical consultancy in Architecture

3. ARTS AND CULTURE9001 –Artistic interpretation activities (shows)9002 –Supporting activities for shows9003 –Creative activities9102 –Activities held by museums

4. CRAFTS1391-Knitting and crocheting production1393-Production of carpets and small carpets1420-Production of fur articles1431-Knitting and crocheting socks and other haberdashery1439-Clothes knitting and crocheting1511-Leather products polishing and dyeing fur articles1512-Production of leather goods and other harness goods1520-Production of footwear

5. DESIGN7410 –Design activities

6. MEDIA1820 –Registrations reproduction5819–Other editing activities5911-Activities of cinematographic production, video and TV programs5912–Activities of cinematographic post-production, video and TV programs5914–Cinematographic films projection6010–Activities of radio programs broadcasting7420–Photography activities

7. SPORTS AND ENTERTAINMENT9311 –Activities of the sports facilities9312 –Activities of the sports clubs9313 –Activities of the fitness centers9319 –Other sports activities9321 –Fairs and amusement parks9329 –Other leisure and fun activities

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8. PUBLISHING5814 –Editing of magazines and other publications5819–Other editing activities7430 –Translations

9. PRINTING1811 –Newspaper printing1812 –Other printing activities1813 -Printing preview services1814 –Bookbinding and other similar activities5811 -Book editing5812 –Editing of guides, leaflets and similar products5813 –Newspaper editing

10. SOFTWARE6312 –Activities of the Web portals6311–Data analysis, web pages administration and similar activities5821–Computer games editing5829–Editing of other Software products

This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

Project Number: 2016-1-PT01-KA202-022767