THE 2009 UNESCO FRAMEWORK FOR CULTURAL STATISTICS

2nd D R A F T VERSION February 2009

UNESCO Institute for Statistics P.O. Box 6128 Succursale Centre-Ville Montreal, Quebec H3C 3J7 Canada Tel: (1 514) 343-6880 Fax: (1 514) 343-5740 Email: publications@uis.unesco.org http://www.uis.unesco.org DRAFT 2

- 4 -

Table of Contents

Page

Acknowledgements .......................................................................................................................4

Acronyms ........................................................................................................................................5

Executive summary........................................................................................................................8

1. Introduction .........................................................................................................................10

1.1 Rationale.........................................................................................................................10 1.2 Policy context of the framework revision ........................................................................12 1.3 Purpose and key objectives of the framework revision ..................................................14

2. The framework’s theoretical and conceptual basis ........................................................15

2.1 Framework revision: a new approach.............................................................................15 2.2 Definition cultural domains..............................................................................................16 2.3 The culture cycle ............................................................................................................17 2.4 Breadth of the cultural sector..........................................................................................19 2.5 Clarifying core cultural domains .....................................................................................20

3. The framework structure....................................................................................................29

3.1 Identifying cultural goods and services, cultural occupations and activities: from the economic to the social model .........................................................................................30

3.2 Dataset specification for the economic and socia model ...............................................32 3.3 Culture goods and services: Using the Central Product Classification (CPC) ...............33 3.4 International trade of culture: using HS and EBOPS…………………………….. 3.5 Cultural industries: Using the International Standard Industrial Classification (ISIC) ....35 3.6 Cultural employment: Using the International Standard Classification of Occupations

(ISCO) ............................................................................................................................36 3.7 The social model.............................................................................................................37 3.8 Data collection issues .....................................................................................................45

4. Tables of International classification codes ....................................................................48

4.1 Table 2: Cultural goods and services defined with the Central Product Classification (CPC) codes ...................................................................................................................48

4.2 Table 3: International trade in cultural goods defined with the Harmonised System 2007 codess………………………………………………………………………………………….59

3.3 Table 4: Cultural industries defined with the International Standard Industrial Classification revision 4 (ISIC) codes.............................................................................65

3.4 Table 5: Cultural occupations defined with the International Standard Classification of Occupations 08 (ISCO) codes……………………………………………………………….72

Glossary of terms ...............................................................................................................78

Bibliography ........................................................................................................................80

5. Appendices

Appendix I: List of consultees...............................................................................................86 Appendix II: Scoping study of selected cultural statistics frameworks..................................87

- 5 -

Acknowledgements

The revised 2009 UNESCO Framework for Cultural Statistics is based upon an initial draft produced for the UNESCO Institute for Statistics (UIS) by Richard Naylor and Paul Owens of BOP Consulting, Andy Pratt of the London School of Economics and Calvin Taylor of the University of Leeds. The framework has been intensively discussed at meetings across the world. The actual text of the framework has profited from discussions and comments around the world from many scholars, statisticians and experts from Ministries of culture, National statistical offices. In particular, we have learnt much from discussions with the UNESCO Culture Sector, which has ensured that the statistics remain policy-relevant.

- 6 -

Acronyms

ANZSCO Australian and New Zealand Standard Classification of Occupations ANZSIC Australian New Zealand Standard Industrial Classification BIMSTEC Bay of Bengal Initiative for Multi-Sectoral Technical and Economic Cooperation BOP BOP Consulting BPM Balance of Payments CPA Classification of Products by Activity CPC Central Product Classification DCMS Department of Culture, Media and Sport, United Kingdom EBOPS Extended Balance of Payments FCS Framework for Cultural Statistics ICTs Information Communication Technologies IIFB International Indigenous Forum on Biodiversity ILO International Labour Organization ISCED International Standard Classification of Education ISCO International Standard Classification of Occupations ISIC International Standard Industrial Classification LEG European Union Leadership Expert Group MDGs Millennium Development Goals NSO National statistical office OECD Organisation for Economic Co-operation and Development NACE Classification of Economic Activities in the European Community NAICS North American Industry Classification System NAPCS North American Product Classification System NEPAD New Partnership for Africa’s Development SIC Standard Industrial Classification SNA System of National Accounts UIS UNESCO Institute for Statistics UNCTAD United Nations Conference on Trade and Development UNPFII United Nations Permanent Forum on Indigenous Issues UNSD United Nations Statistics Division WIPO World Intellectual Property Organization

- 8 -

Executive summary The purpose of Framework for Cultural Statistics (FCS):

• The FCS is a classification instrument, which helps organising cultural statistics by using current economic standards: International Standard Industrial Classification (ISIC), the International Standard Classification of Occupations (ISCO), the Harmonised System and the Central Product Classification (CPC). It presents a conceptual model and a common methodology for obtaining internationally comparable economic statistics that cover the widest range possible of activities related with the production, distribution and uses of culture.

• The FCS attempts to build a consensus on depicting both social and economic perspective of culture. It reviews the realm of culture presented in the FCS 1986 by introducing the creative/cultural debate, the effects of globalisation on the production and dissemination of cultural products and practices and intellectual property issues.

• The FCS proposes consensual definitions, which are not associated with a cultural industry such as cultural participation, tangible and intangible heritage while acknowledging that specific measurement instruments need to be tested and developed to turn into statistical standard of global significance and relevance.

• Its assists countries in developing their own locally sensitive frameworks and determines some areas of internationally comparable statistics. It can be used by cultural policy-makers and practitioners and National Statistics Offices to agree a common approach to cultural statistics.

Defining culture: Core and periphery Culture is often a reflection of certain shared beliefs or values. It is not possible to measure such beliefs or values in a systematic or comparable fashion. Instead, this Framework for Culture Statistics aims to identify culture through the behaviour and activities resulting from those beliefs and values. The definition of culture is also very closely related to national and social identity. There is a core set of economic (production of goods and services) and social (participation/attendance in cultural ‘performances’) activities that most people and countries regard as forming part of culture. Other economic and social (e.g. sports) activities are not universally accepted as forming part of culture and are therefore peripheral.

It is not possible, or desirable, to construct a single proscriptive definition of cultural

activities. Instead, this framework suggests that statistical authorities select domains or sectors of activities which they consider to be central to their culture. Where countries select the same domain, they should use the definitions set out in this document, making data internationally comparable for that domain. Although the standards used for constructing these definitions are mostly economic, the interpretation of the resulting

- 9 -

domain is not limited to economic aspects of culture and extends to all aspects of that domain. Thus, the definition for the measurement of ‘performance’ includes all performances, whether these are amateur or professional and take place in a formal concert hall or in an open space in a rural village.

In addition, the framework emphasises three dimensions of cultural activity that should be measured across a range of sectoral activities or functions. Education and archiving and preserving, as well traditional and local knowledge are considered as transversal cultural domains. The inclusion of each of these three dimensions is key to measuring the full breadth of cultural activity.

Measuring culture: A pragmatic approach It is acknowledged that the capacities of countries for collecting statistics on culture vary, depending on policy priorities, statistical expertise, and human and financial resources. The framework is explicitly designed to allow statistical authorities to produce internationally comparable data within the limits of these constraints. The framework is built upon the most common international statistical standards – the– in order to maximise data comparability and the potential for using existing surveys to measure cultural activity. Countries with no cultural framework will be able to use the basic fundamental structure of the ISIC and ISCO classifications to define cultural activities. It will also serve as a guide to measure cultural activities through standard economic statistics, and household surveys such as labour force surveys and censuses. Countries with more resources and in priority domains will be able to collect more elaborate statistics using more finely tuned, or dedicated, statistical instruments. The framework is also built upon the concept of the cultural cycle model of cultural activity, which is used to help understand the relationships between different cultural activities. Specific indicators have not been defined in the framework. However, the development of a cultural indicators framework is an important next step at both the national and international levels. Rather, its purpose is to suggest how statistics derived from economic data, household or visitor surveys, and valuation of cultural assets can be brought together to present a holistic view of culture that will allow some international comparability in certain ‘core’ domains. It is more of a classification instrument than a tool for direct implementation. It is hoped that in the future specific guidelines may be developed for particular types of instruments or indicators, e.g. indicators for use in surveys of cultural participation or recommended indicators for measuring handicraft production.

- 10 -

1. Introduction

This framework replaces the 1986 UNESCO Framework for Cultural Statistics (FCS). Since the development of the first UNESCO FCS, many different approaches to defining or measuring culture sector have emerged, while social and technological changes have transformed the place of culture in the world.

A UNESCO statistical framework for culture has to maximise international comparability. At the national level, there are also demands for international comparable data. Countries want to see their most important cultural values and products recognised on the world stage.

This updated framework aims to be flexible and not proscriptive, but retaining key elements of comparability. It is expected that it will operate in a way that will leave countries free to select which major domains form part of their cultural statistics. Where two countries adopt the same domain, it is assumed that data will be collected using the same definition as defined by the FCS to maximise cross-national comparability.

The framework identifies a core set of domains so that a benchmark across a number of national and international cultural standards can be generated. Data in these ‘core’ domains will facilitate the collection of an internationally comparable dataset. The core data set may not necessarily give a complete picture of the culture sector at a national level.

The framework is a conceptual framework, which aims to provide conceptual foundations to evaluate the economic and social contribution of culture. It is a tool to help organise the collection and analysis of cultural statistics. It enables the dissemination of cross-national data on cultural statistics in order to support the work of UNESCO, other international agencies and data users. It can be adapted for use at country level for building their national cultural system.

1.1 Rationale Since the original FCS was published in 1986 (UNESCO, 1986), public policy has placed a higher priority on culture. There are a number of reasons for this, some of which represent long-term underlying trends; others are more recent and contingent.

Culture can be seen as both means and an end to development. It generates revenues through tourism; sales of crafts and artefacts but also contributes to the sustainable development of a country. Culture influences people’s behaviour, their contribution to the process of economic development, social development, and well-being (Sen, 2000).

The potential impact of culture is for economic and social development of developing countries can be summarized as:

• Community cultural assets, as traditional knowledge and intangible heritage, are particularly well suited to serve as a basis for sustainable local development, not only to for its economic impact as cultural industries, but also for its social and cultural revitalization effects.

- 11 -

• Culture offers opportunities for women and youth to participate in productive activities contributing to gender equality, self esteem and social awareness.

• The business units for several cultural industries are predominantly small business or even family business suited for locally based development.

The 2009 FCS maintains the principle of recognizing culture as a key element for development and has the particular objective to overcome the structural and operational challenges that represent measuring the multiple dimensions of culture and maximizing international comparability.

In the major economic centres of the global economy, increase in wealth and disposable income has led to increased discretionary spending on culture. This means that culture is an essential part of the cycle of economic reproduction rather than a luxury, or preference product, which is acquired through the allocation of surplus resources. Cultural consumption has grown, the range of products has expanded, and a ‘product’ now mediates most cultural experiences. For example, instead of simply listening to the live performance of a piece of music, a Compact Disc (CD) player is used as mediator. This creates a market for, and need for, the production of CD players and CDs.

These long-term trends have been intensified by four more recent and related phenomena:

• The Internet (and related technologies) is now a principal means for the production and distribution of culture (and related processes of education, conservation and critique); and

• The digital technology has drastically changed the mode of production and dissemination of cultural productions. The publishing industry is moving from the analogue to digital area. The new ICT tools help eliminate barriers entry in several cultural markets: digital production of cinema reduce drastically the investment necessary to produce a movie.

• The globalisation leads not only in an internationalisation of flows of goods and services but also global exchanges of ideas, people and capital. Multiculturalism and interculturality have originated new products, new practices and also multiple identities.

By comparison with the pre-digital era, new technologies have enabled the rapid commercial exploitation of even ‘one-off’ cultural production, such as a song. This transformation has led to a shift in the balance of economic power between cultural activities that are digitally reproducible – and potentially commercially tradable – and those that are not, which are generally more difficult to trade (Barrowclough and Kozul-Wright, 2006).

As a result, the cultural sector in some developed countries is more economically important (at least in employment terms) than a number of older established industries (e.g. mining and car manufacturing) and it contributes significantly to national export earnings. While the economic impact of the cultural sector in the developing world is at

- 12 -

present far less evident with regard to employment, export earnings may be disproportionately significant. Accordingly, the role of culture in development is being reconsidered (Barrowclough and Kozul-Wright, 2006).

Existing cultural policy frameworks are based on the status quo balance of power, preferences and resources of the pre-digital era. New forms of cultural production present a significant challenge to such frameworks – particularly in areas such as heritage conservation, intellectual property and diversity – and make them less effective at meeting their objectives. For example, while some forms of musical expression may become commercially stronger, other cultural forms that do not benefit from digital reproduction and distribution may, require further public investment if the cultural status quo is to be preserved. Equally, these changes may provoke a reassessment of the status quo.

New forms of cultural production have also generated a new sphere of cultural policy action that focuses on a distinct sub-group of activities – creative industries. A creative industry can also be taken to include activities that are ‘creative’ but may not produce a ‘cultural’ product e.g. advertising (see Section 2.2). However, the notion of a strong and vibrant inter-dependency between all the activities of the cultural sector, public or private, should be adopted. For example, practitioners may move between publicly- and privately-funded – or indeed paid and unpaid – work on a weekly basis, making it very difficult to position them in the public or private domain. If the focus is on practice, it is hoped that the framework will capture the fluidity of boundaries and appreciate the mutually reinforcing elements of both.

These transformations in the creation, production, distribution and consumption of culture mean that the cultural sector has grown in relative and absolute terms, often outstripping traditional areas of the economy. Due to the rapid rate of change, and the innovative and novel character of cultural production, more and better data are required to fully appreciate the extent and depth of such changes. As will be noted below, the cultural sector has not grown uniformly. This has created a number of tensions between commercial and non-commercial activities, traditional and modern and between international and indigenous, community sensibilities.

The 1986 FCS was conceived by UNESCO Member States that were largely from the developed world. A revised FCS needs to take into account the needs of developing countries. In particular, a revised FCS needs to consider the appropriateness and feasibility of incorporating elements such as intangible cultural heritage and traditional knowledge, as well as dealing with the issue of cultural diversity. Some cultural activities, such as craft production and the role of education, were either omitted or not given enough emphasis in the 1986 framework. 1.2 Policy context of the framework revision Another important consideration for the development of a new framework is the growing role of culture in public policy. A number of reasons can explain this trend:

• Increases in international trade in cultural products. This has major implications for intellectual property rights in the strict sense (their creation, ownership and exploitation) and for the wider question of cultural identity and its ownership (e.g. intangible heritage and transmissible folklore).

- 13 -

• The growth and concentration of market power in a few multinational conglomerates that operate across cultural industries. The organisation of cultural production in many markets favours oligopoly; hence, there is enormous ‘first mover advantage’, which lies almost exclusively with the developed world.

• The legal and policy institutions of cultural regulation and promotion were developed before the growth of cultural industries. As such, these institutions are ill equipped to meet present challenges. A key part in developing appropriate policy responses is having a robust evidential base. Cultural mapping documents that draw on statistical sources to analyse the cultural sector are a vital part of this process.

• Cultural policy as ‘cultural industries’ policy, which allows for the development of a sectoral and economic perspective. A consequence of this is that cultural policy needs to take cultural industries into account.

• There are complex inter-dependencies between the public and private spheres that go beyond simple dualism. For example, a number of commercial cultural activities will impact upon cultural policy aspirations. Frameworks that are limited to a dualism approach will become increasingly inadequate.

• The Paro Initiative (BIMSTEC, 2006) of the BIMSTEC countries states: “Cultural industries have the capacity to contribute to poverty reduction and have proven to be a powerful instrument for social reorganization and the vitalization of local communities, especially among the poorer groups of society, both in rural communities and in the urban slums.”

• In Africa, the Nairobi Plan of Action for Cultural Industries produced at the First Ordinary Session of AU Conference of Ministers of Culture (Nairobi, Kenya, 2005) reached similar conclusions and recommendations. In order to strengthen African cultural identity and creativity as well as broaden people’s participation in endogenous cultural development, it proposed three phases: 1) create an enabling environment to strengthen the framework for the African cultural industries; 2) establish cultural industries as key contributors to sustainable development of African countries; and 3) ensure the competitiveness of African cultural industries.

Since 1986, a very significant development has been the growing awareness of, and need for, active policy on cultural diversity. Considering the growing importance of creative assets in the economy, culture diversity is central to creativity and innovation. A stated by David Throsby “… the principles of maintaining cultural diversity would derive from the proposition that the diversity of ideas, beliefs, traditions and other artistic and cultural manifestations yields a flow of cultural services which is quite distinct from the services provided by the individual components... cultural diversity makes an important contribution to artistic and cultural dynamism which, in turn, has flow-on effects in the economy” (Throsby, 2005).

Cultural diversity is a multi-faceted policy area with a number of different roots, and with different emphasis and articulation at different territorial levels: intra-state, inter-state or transnational. In this latter context, the drive towards active policy on cultural diversity has a number of inter-connected aspects:

- 14 -

• In general terms, there has been a growing demand for cultural products originating in the developing world or, in some cases, a hybridisation of these products with those from the developed world. But developing countries are often poorly positioned to negotiate returns on their cultural exports that are comparable with those received by developed nations; this is partly due to a lack of local institutional capacity but also to the absolute power of an oligopolist industrial sector.

• The blurring of boundaries between (largely Western) notions of high and low culture, and between the West and ‘the rest’.

• The commercialisation of craft production and its role in strategies of economic development in the developing world.

A range of issues are emerging as a result of these changes; perhaps the most debated issue concerns intellectual property rights. As culture is increasingly seen as a commodity, a system of rights (and a definition of what rights individual producers may have) dictates the degree of protection that should be given to individuals for the exploitation of their ideas. As has been well publicised, there are particular problems – mainly argued on behalf of large corporations seeking to protect their assets – associated with copying or theft. At the same time, areas of culture that are untraded may not develop a robust identification of rights, leaving them vulnerable to theft. This problem exists in developing countries and often goes unreported, posing a threat to diversity of cultural expression. For this reason among others, UNESCO established the Convention on the Protection and Promotion of the Diversity of Cultural Expressions in 2005.. The 2005 UNESCO underlines the dual nature (economic and cultural) of cultural activities, goods and services, and their vulnerability. Two of its principles are equitable access to all cultural expressions and sustainable development.

1.3 Purpose and key objectives of the framework revision The proposed revised framework aims at establishing a conceptual foundation, common understanding and minimum dataset that will enable international comparison of a full range of activities in the production, circulation and use of culture. To do this, the framework revision encompasses the following guiding principles:

• Capture the full range of cultural expression, irrespective of the particular economic and social mode of its production;

• Address the breadth of cultural expression (cultural forms, practices, products and processes), including the manner of their production and consumption (cultural industries and the cultural component of intellectual property, or knowledge, industries);

• Assist countries in developing their own locally sensitive frameworks but with common reference points for the purposes of international comparison and benchmarking;

• Where possible, acknowledge and cross-reference to other international frameworks that possess overlapping concerns, e.g. the Nice Agreement Classification of

- 15 -

Trademarks (WIPO, 1957) and the World Intellectual Property Organisation’s International Patent Classification System (WIPO, 1971). The revised framework, however, should not be constrained by their sectional interest;

• Where possible, use categories translatable into international classifications, such as the Central Product Classification (CPC), the Harmonised System (HS) the International Standard Industrial Classification (ISIC) or the International Standard Classification by Occupations (ISCO).

2. The Framework’s theoretical and conceptual basis 2.1 Framework revision: New model's approach The challenge in developing a new framework for cultural statistics is to develop an approach that goes beyond some of the oppositions and dichotomies that are characteristic of debates in cultural policy, specifically about how to measure culture. The approach used here aims to address tension created by three regularly occurring cultural policy dichotomies:

i) Scope of culture (social-economic realms). The approach is based on an understanding of how cultural meaning is created and transmitted. This focus on the production and distribution of culture necessarily entails understanding how it is embedded within social and economic processes. Culture is not removed or separate from society and the economy. Many elements of culture, including those, which are outside the market sphere, can be tracked through indicators such as those on participation, time use, or social capital. Many other elements of the production and transmission of culture involve an economic transaction, which can be tracked.

ii) Governance mode (public-private). The approach is agnostic as to the funding and governance arrangements (private sector, public sector or civil society) for cultural production and transmission. Three sources of finance for culture are: i) public (mainly from government or public institutions) which results on direct (subsidies, grants etc.) or indirect (tax exemptions); ii) private (from the market); and iii) non-profit organisations or donors. Current data do not provide a clear picture of these three different sources of financing for culture. The Task Force on Cultural Expenditure and Finance recognised the extreme difficulty of obtaining comparable and harmonised data on public finance for culture in European countries (European Commission, 2001). The different structures of public finance (centralised or not) and methodologies used among different countries made the comparison extremely difficult.

In the Framework, the emphasis is on the relationships, connections and exchanges that cut across these lines in cultural practice.

iii) Degree of institutionalisation (formal-informal). The approach recognises that cultural production and distribution take place in the formal and informal economy and the social realm. Informal cultural production is a characteristic of the developed world and the developing world. However, if cultural production takes

- 16 -

place within the informal economy or non-monetary realm, it may be estimated. The approach here aims to do justice to the entire process of cultural creation, expression and meaning. (see Section 2.4).

However, the increasing division of labour in the developed world does not mean that the Western romantic notion of the artist as lone creator/visionary apart from society will prevail. This notion holds, for example, that a singer or performer is the art and that the mise-en-scène, the performance space, the training or the management somehow play a lesser part. The truth is that with the exception of a few craft producers, neither performer nor technician can exist alone. This is perhaps more readily grasped in the developing world, where a greater importance is given to folkloric expression and traditional and local knowledge, and culture is often a more collective and shared endeavour.

The logic behind the framework revision comprises three components:

• sectoral breadth (including activities considered as cultural) and depth (including performers, artists, and support workers and products without which performers and artists could not operate);

• the opportunity to move to a system of direct metrics; and

• the ability to make international comparative assessments. At the same time, it is important not to impose a ‘one size fits all’ framework. It needs to be both sensitive to local specificity and variety and suitable for comparison.

2.2 Definition cultural domains Researchers, experts and policymakers from around the world have not been able to reach a consensus on a single agreed definition of culture. Yet, identifying sectoral breadth is necessary for measuring the cultural sector and defining which categories belong to it and which do not.

All this requires a debate about what constitutes the cultural sector. There are three main aspects to such a debate:

• Symbolic: Culture is in some way about symbolic value; sometimes this may be contrasted with economic value. Debates about the culturalisation of economic life, or the economisation of cultural life create an unhelpful polarisation. While most products have a cultural dimension, some products are more likely to have a cultural end use than others. It is these products that are defined as cultural products and that are produced within the cultural sector.

• Creative: Many countries have used the term ‘creative’ to describe these industries, but many industries within a creative ‘sector’ may not be creative. The definition and measurement of creativity is in itself subject to much debate. Creative industries usually cover a broader scope than traditional artistic domains with the inclusion of all ICT industries, Research and Development. The term ‘cultural industry’ can be given a better operational definition in terms of sectors, products and activities and has accordingly formed the basis of this

- 17 -

work. The framework addresses this issue by allowing the inclusion of some specific creative industries (design, advertising) as separate domain.

• Domain: The cultural domain is comprised of a number of industries (commonly collectively termed cultural industries). For the purposes of the framework, a domain can include all cultural activity under the appropriate heading, including informal and social activities. For example, cinema statistics can include attendance at commercial cinemas and commercial film production, but they can also include home movie production and viewing. From the perspective of the UNESCO framework a domain includes all related activities whether economic or social.

2.3 The culture cycle The effect of developing a sectoral approach is that culture can be viewed as resulting of a cognate set of productive and distributive activities. These activities may or may not be institutionalised, and they may or may not be governed by the state. The broad conception of a sector that includes non-formal, amateur and activities unrelated to the market is termed a ‘domain’ here in order to indicate that the concept covers economic, market-related activity and as well social and non-market related activity.

The development of a perspective based on domains allows the processes of the production and distribution of culture to be mapped across production cycle. As the analysis of country and regional classifications in Annex III demonstrates, the concept of the culture cycle is already used by a number of UNESCO Member States. However, in some of these contexts, it is a latent concept and/or it is not consistently applied. The culture cycle approach is an aid for conceptualising how cultural production and activities actually takes place and goes beyond a simple grouping of domains.

The challenge for a robust and sustainable cultural statistical framework is to cover the contributory processes that enable culture to not only be created but distributed, received, used, critiqued, understood and preserved. A number of approaches have been developed that allow a fuller extension of the universe of activities that are required for the production and distribution of culture. These tend to resolve into a fifth-phase production cycle (See Figure 1), though clearly different cultural forms have different production cycles and therefore will not all require equal inputs at each and every stage.

1. Creation: the origination and authoring of ideas and content (e.g. sculptors, writers, design companies) and the making of both one-off production (e.g. crafts, fine arts)

2. Production: The mass reproducible cultural forms (e.g. TV), as well as the specialist tools, infrastructure and processes used in their realisation (e.g. the manufacture of musical instruments, the printing of newspapers).

3. Dissemination: bringing generally mass reproduced cultural products to consumers and exhibitors (e.g. the wholesale, retail and rental of recorded music and computer games, film distribution).

4. Exhibition/reception: the provision of live and/or unmediated cultural experiences to audiences by granting or selling restricted access to consume/

- 18 -

participate in often time-based cultural activities (e.g. festival organisation and production, opera houses, theatres, museums).

5. Consumption/participation: the activities of audiences and participants in consuming cultural products and taking part in cultural activities and experiences (e.g. book reading, dancing, participating in carnivals, listening to radio, visiting galleries).

Figure 1. Analytical model of the ‘culture cycle’

The term culture ‘cycle’ is helpful as it suggests the inter-connections across these activities, including the feedback processes by which activities (consumption) inspire the creation of new cultural products and artefacts. These feedback processes should be borne in mind when viewing the cyclical model of the cultural cycle presented in Figure 1.

The model is an abstract analytical aid for thinking about cultural production and dissemination; it should be seen in part as a sensitising model. In practice, some of the phases may be conflated. For instance, while musicians may compose (create) and perform (produce/disseminate), playwright write (create) but rarely act (produce/disseminate). The individual crafts person may collect raw materials (informal resource input) and uses traditional skills (informal training) and sells the resulting product at the roadside (informal distribution and retail) personifies the whole cycle in an informal setting. Understanding which part of the process is being measured is an important element in designing the consequent public policies for intervention in cultural production.

The culture cycle, then, seeks to highlight how what cultural production has its origins in the social realm. The culture cycle approach is agnostic as to the motivation for cultural production – be it profit or the transmission of cultural values. Since cultural activities, and actors, move continuously between market and non-market activities, one must acknowledge the part played by both as well as the difficulties in measuring them.

The cultural cycle is not concerned with making judgements on how cultural particular aspects of the cycle are. Rather, what is important is understanding and being able to track the totality of activities and necessary resources that are required to transform ideas into cultural goods and services that, in turn, reach consumers, participants or users. The artefact (whether painting, craft object, performance, etc.) is meaningless without a value system and a production system that gives it value/meaning. A country

- 19 -

will want a particular site recognised as being of outstanding cultural heritage and it will also want to mobilise the assets of tourism, transport, preservation and hotels to capture the value of paying guests.

The cultural cycle also has a spatial dimension. Some activities may be clustered in one place, region or country, while others may be articulated across the world. The exact nature of this articulation is only known through empirical enquiry, and this has important implications for both the regulation of the cultural sector and where the benefits (economic and social) accrue. An equally important spatial component of culture is dislocation, whereby people become separated from their original cultural milieu through migration. Globalisation has increased the potential for such dislocation, as well as the problems of cultural assimilation, disagreement and the sense of the exotic or foreign that may result.

The empirical data (quantitative and qualitative) that can be used to animate the cycle (as derived, in part, from the cultural statistical framework) are not readily available in all nations. For those nations that have invested in information gathering, the model has revealed that the scale of the contribution of culture, above and beyond its intrinsic worth, has been substantial. True worth though – and information upon which policy may be developed – will only be gauged when comparative information is available nation to nation, region to region.

Any particular cultural policy does not need to take in the whole cultural cycle. But policymaking must work with the knowledge that a smaller/limited intervention may have wider repercussions within the whole cycle.

The logic of the cultural cycle also allows one to see how some activities can be considered to be functions of other domains. In particular, a significant component of cultural heritage activities also have a function as the archiving and preserving components of the fine arts, crafts, design, architecture, publishing and audio-visual industries, while also serving in turn as creative inspirations for new production. For example, historic houses preserve (and exhibit) architecture; museums and galleries conserve (and exhibit) paintings, sculpture, jewellery and a wide array of other artefacts whose value resides principally in their design attributes (e.g. everything from furniture to cars); and archives preserve books, films, radio recordings, etc. In a similar vein, the category of ‘Art and Antiques’ is principally part of the dissemination function for a range of visual and applied arts industries, while many printing activities are part of the ‘producing’ function required to reproduce the products of the publishing industry. This analysis necessarily leads to a discussion of the breadth of the cultural sector.

2.4 Breadth of the cultural sector The review of selected cultural statistics frameworks from around the world (see Appendix III) shows that there is a consensus around the idea that culture is the product of a group of identifiable constituent activities. However, it also shows that this can be partly obscured by:

i) a lack of agreement in identifying how these activities should be grouped together at a higher level as domains; and

- 20 -

ii) little shared understanding as to what functions should be included in the analysis of the cultural sector.

In part, divergence related to the former (i) is a genuine reflection of local differences in culture. But it is also related to the lack of a fully developed underlying model or logic for the analysis, and this is the main root cause of the latter (ii).

However, in revising the framework for cultural statistics, applying a consistent and logical approach is not the only requirement. Consideration also has to be given to more pragmatic issues related to:

• implementation – the ability to implement the definition of activities and categories within statistical classification systems, whether this is the Central Product Classification (CPC) or the International Standard Industrial Classification (ISIC), International Standard Classification of Occupations (ISCO) and so on; and

• politics – ensuring that the framework will be used (and therefore be useful) will require backing and ratification from countries, many of whom have cultural institutions that represent powerful interests and that have to be able to ‘see themselves’ within the framework.

2.5 Clarifying core cultural domains The underlying understanding of culture for revising the Framework for Cultural Statistics draws on UNESCO’s use of the term, which includes:

i) The different manifestations of human intellectual and artistic creativity, past and present. These arts and cultural expressions, together with the individuals and institutions responsible for their transmission and renewal, constitute what is commonly regarded as the cultural sector, a demarcated policy domain concerned mainly with both artists and art forms broadly defined; and

ii) The broad understanding of culture as the all pervasive set of values, beliefs, attitudes and practices shared by a group. This anthropological view of culture spreads beyond the cultural sector and touches upon many other areas of human activity.

The definition of culture is very closely related to the ways in which societies, groups and communities define their identity.

UNESCO views culture and cultures in dynamic and interactive terms, eschewing the so-called “culturalist” vision of culture as a homogeneous, integral and coherent unit. Cultures can no longer be examined as if they were islands in an archipelago. The contemporary globalisation of economic, political and social life has resulted in even more cultural penetration and overlapping, the coexistence in a given social space of several cultural traditions. The current effort of updating the Framework for Cultural Statistics responds in a way to this new context intensified by globalisation.

However, for the purpose of the framework, which follows a pragmatic approach, an operational definition of culture must be used.

- 21 -

The purpose of this framework is to measure cultural activities, goods and services that are generated by industrial and non industrial processes. Cultural activities, as defined by David Throsby, “…involve some form of creativity in their production; they are concerned with the generation and communication of symbolic means; their output potentially embodies at least some form of intellectual property”. (Throsby, 2001) Cultural goods and services encompass artistic, aesthetic, symbolic and spiritual values.

The definition of cultural domains follows a hierarchical model that comprises core and related cultural domains. The core domains include cultural activities, goods and services that are involved in the different phases of the cultural production cycle model. The related domains are linked to the broader definition of culture, encompassing social and recreational activities.

The core domains are a common set of culturally productive industries and activities that can be listed under the following headings:

� Cultural and Natural Heritage; � Performance and Celebration; � Visual Arts, Crafts ; � Books and Press; � Audio-visual and Interactive Media; and � Design and Creative Services.

These categories are those considered to be 100% cultural and a domain related to creative activities “Design and creative services”. These core domains represent the minimum set of cultural activities for which UNESCO would want countries to collect comparative data. This allows for a specification of the breadth of the cultural sector but also gives a sense of its cohesion.

In addition, four transversal dimensions are proposed because they apply to all domains, and because they require special attention from policy-makers:

• Traditional and local knowledge

• Education and training

• Archiving and preservation

• Equipment and supporting materials

A two-stage model for describing the breadth of cultural domains is represented graphically in Figure 2. In order to avoid double counting, each activity can only be classified once within the framework, even though there are instances where activities logically span more than one domain. For instance, music would fall under both 'Audio-visual' and 'Performance and Celebration', as it consists of live music (Performance) and recorded music (Audio-visual). But, as much of the domain cannot be discretely separated within statistical classifications from other performing arts activities, and because it would not be good to split the integrality of music into more than one domain it makes sense for music to be a part of the 'Performance and Celebration' domain.

The different core cultural domains are defined as follows:

• A. Cultural and Natural Heritage

- 22 -

The domain cultural and natural heritage covers the museums, historical places (including archaeological sites and buildings), cultural landscapes, heritage goods and natural sites.

Cultural heritage - represents artefacts, monuments, a group of buildings and sites that have historic, artistic, aesthetic, ethnological or anthropological, scientific and social significance. Cultural landscape represents combined works of nature and by humans, and they express a long and intimate relationship between people and their natural environment (UNESCO, 2007).

Natural heritage - consists of natural features, geological and physiographical formations and delineated areas that constitute the habitat of threatened species of animals and plants and natural sites of value from the point of view of science, conservation or natural beauty. It includes nature parks and reserves, zoos and aquaria and botanical gardens (UNESCO, 1972).

Activities related to cultural and natural heritage encompass the management of sites and collections that have historic, aesthetic, scientific, environmental and social significance. Preservation and archiving activities undertaken in museums and libraries are also part of this category.

Although a large part of museums, activities could be considered to be a production function of the other domains, ultimately they are more properly part of the 'Cultural Heritage' domain. First, these activities encompass areas that lie outside the other cultural domains (e.g. museums of science and engineering). Second, a significant function of these activities is to curate and exhibit collections of cultural products and forms so that they may inform and stimulate new forms of cultural production. This has more typically taken place through influence, allusion and indirect quotation in, for example, the way visual artists may draw on traditional elements to do their contemporary work; however, as many elements of culture become reproducible, this increasingly also includes the direct incorporation of fragments of the earlier cultural form, as in the use of archive footage in documentary films or the practice of sampling within popular music. Third, the activities are carried out by a set of common institutions and practices that are distinct from the other domains and, more pragmatically, these institutions often have considerable political influence regarding cultural policy and need to be able to ‘see themselves’ within any revised framework. Museums can also include other forms such as virtual museums and living museums

• B. Performance and Celebration

This core cultural domain includes live performances, i.e. music performances and music composition. This covers other types of professional or amateur performing arts activities, such as theatre, dance, opera, puppetry, etc. Celebratory cultural events (e.g. festivals, feasts, fairs) are incorporated into contemporary definitions of the performing arts. Music is considered as a domain whatever its format, that is why music recordings, music downloads or uploads, music instruments are also included in this category.

- 23 -

• C. Visual Arts, Crafts

The core domain of visual arts includes fine arts, like paintings painting, sculpture, photography and crafts and art galleries.

Craft can be produced by industrial processes or manually. According to the International Trade Center (ITC) and UNESCO, artisanal products are defined as “those produced by artisans, either completely by hand or with the help of hand-tools or even mechanical means, as long as the direct manual contribution of the artisan remains the most substantial component of the finished product… The special nature of artisanal products derives from their distinctive features, which can be utilitarian, aesthetic, artistic, creative, culturally attached, decorative, functional, traditional, religiously and socially symbolic and significant” (UNESCO/ITC, 1997).

UNESCO’ (UNESCO/ITC, 1997) divides artisanal products under broad categories based on the materials used. The six main categories of this classification are: Baskets/wickers/vegetable fibre-works; Leather; Metal; Pottery; Textiles and Wood. The guide also identifies complementary categories comprising materials in craft production that are either very specific to a given area, or rare, or difficult to work, such as: stone, glass, ivory, bone, shell, mother-of-pearl, etc. Extra categories are also identified when different materials and techniques are applied at the same time and refer to decorations, jewellery, musical instruments, toys, works of art, etc.

- 24 -

Figure 2. Proposed domains and activities for a revised framework for cultural statistics

Appendix II

- 25 -

• D. Books and Press

This core category represents all publishing in different formats: book, newspaper and magazine publishing, as well online newspapers or e-books and digital distribution. It also includes libraries and book fairs.

Printing is not normally included in cultural classifications or definitions of creative industries. Using a production cycle model, printing would be included only as part of the production function of the publishing industry rather than as a cultural activity in its own right. In this way, not all printing is included but only that which has a predominantly cultural end use. The difficulty is to implement this distinction within statistical classifications. Generally, printing activities related to the publishing industry are included within the core 'Books and Press' domain as a production function of publishing, with other printing activities, e.g. the printing of business supply catalogues or ‘quick’ printing, excluded.

• E. Audio-visual and interactive Media

The core elements of this domain are radio and television, films and videos and interactive media, which encompass multimedia and new media ie. Web pages.

Interactive media and software are important emerging fields of activity. While many interactive media products and services have a cultural end use (computer and video games, interactive web and mobile content), the same cannot be said for the software industry. 'Interactive Media' is considered to be part of the core 'Audio-visual' domain. In practice, this will depend on the classification system used and its ability to discretely separate interactive media activities from mainstream software and telecommunications activities. The Central Product Classification used in Section 3 allows for some, but not all, interactive media activities to be accurately identified. When activities cannot be discretely identified in the CPC, or when other broader classifications are being used that do not allow accurate identification of interactive media activities, these activities are excluded.

Interactive media can be defined as Interactive within the new digital media means: 1 two or more objects having an effects on one another; 2- The ability of the user to effect a change on an object or within environment (e.g. users playing videos games) 3- Active participation of a user 4- A two way effect as opposed to one way or simple cause effect (Canadian heritage, 2008).

Video games are considered in this category because they represent an interactive activity. Software design is a ‘creative industry’ often involving for example 3D design with audio and animation. Such products may also involve cultural associations, and may ‘reincarnate’ cultural activity in a ‘virtual world’. On the other hand many video games, like some other forms of software and toys may be devoid of cultural content or value. So while acknowledging the role of creativity in much software, design video games are considered a ‘culture-related’ product/activity.

- 26 -

• F. Design and Creative Services

This category relies on creative services for which the primary purpose is to provide a creative service, or intermediary input, into a final product that is sometimes not cultural. It includes design, architecture, and advertising. The final product of architectural services is a building; the final product of creative advertising services is advertising copy or advertising products; and the final product of design is a functional or decorative product such as an automobile, furniture, or a house/office interior. These three components (Design, Advertising, and Architecture) should be part of the core domains, but only as services.

While the use of domain groupings clearly complicates the framework – as is highlighted by the example of music – higher level groupings are needed as statistical classifications do not allow for the finer disaggregation required to identify individual cultural activities. Larger groupings also have the added advantage of improving the robustness of the data that can be obtained from sampled business surveys.

Transversal dimensions

• Intangible Cultural Heritage

In the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (UNESCO, 2-2003), ICH is defined as “Expressions and practices, knowledge and skills that - are recognised by communities, groups, and in some cases individuals, as forming part of their cultural heritage; - are living, transmitted from generation to generation and constantly recreated ; - are crucial for the sense of identity and continuity of communities and groups - are in conformity with human rights and sustainable development”. Intangible heritage cannot be considered as a discrete domain of cultural activity or production, as it includes “practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associated therewith – that communities, groups and, in some cases, individuals recognise as part of their cultural heritage”. (UNESCO, 2003) It is, thus, considered as a transversal category spanning any and all of the domains proposed. Several non-exhaustive domains in which intangible heritage is manifested are: (a) oral traditions and expressions, including language; b) performing arts; (c) social practices, rituals and festive events; (d) knowledge and practices concerning nature and the universe; and (e) traditional craftsmanship.

Intangible heritage (practices, expressions, knowledge or associated tangible manifestations) can only be defined as such when invested by one or another community with the value of heritage. In other terms, there is nothing intrinsic in the expression or practice itself that would allow outsiders (governments, statisticians, researchers) to define it as intangible heritage. The identification as well as definition of intangible heritage therefore rests with the communities, groups, and where appropriate, individuals, that create, maintain and transmit such heritage, as defined in Article 2 of the Convention for the Safeguarding of the Intangible Cultural Heritage.

- 27 -

It covers oral traditions and expressions, rituals, languages, social practices, story telling, calligraphy, religious practices, body expressions, traditional medicine, culinary art, calligraphy, spiritual knowledge, scarification, cosmogony.

All domains in all cultures include elements of traditional knowledge or culture. This traditional knowledge often forms a fundamental part of cultural identity and yet is often the most under threat from more commercialised products and activities. Traditional, community, and informal activities also often form the basis from which ‘professional’ and commercial cultural products and services are developed. This area forms the link between the economic and social models of culture, and will be further discussed below. Traditional knowledge is included as a transverse domain to indicate that all culture depends on activities and traditions which have been developed over many centuries informal and community milieu which should be considered in both economic and social statistics.

• Archiving/preserving:

The conservation, collection and management of particular sites and repositories of cultural forms (material and immaterial) for the purposes of preserving for posterity, exhibition and re-use (e.g. the preservation of historic sites and buildings, sound archives, picture libraries).

Archiving and preserving can take place at any time in the cultural production cycle and in all domains (an author’s manuscript, the first performance of a work, a concert/exhibition programme). Archival material is a reference point which can serve as inspiration for new creation.

• Education/training:

Learning activities that support the development, understanding and reception of culture, including processes of critique (e.g. art and dance schools, literary criticism). Education is the means by which culture is transmitted between generations. It is also the means by which people learn appreciate or form value judgements about cultural activities or products – ‘critique’.

Education can be defined as input or outcome of culture: 1-education as input to the creation/making 2- Learning outcome of consumption or other social benefit 3- when people process participate as creators themselves: learning process: self education process.

Education and training thus play an important part in all cultural domains, and in all parts of the cultural cycle

• Equipment, tools and supporting materials

This category covers the “tools of cultural products and activities”. Core products (goods and services) defined in the different domains are those directly associated with cultural content, while Equipment and supporting materials are related to the supporting industries, as well as ancillary services (even if they are only partly cultural in their content), that facilitate or enable the creation, production and distribution of core cultural products.

- 28 -

Related domains

Sport and recreation, gambling, toys and games, and tourism fall outside the core set of cultural activities based on the definition given above and the review of current national classifications. That is why they are classified under the related domains. They represent categories that have a cultural character, but which have a main component that is not cultural.

• Tourism

Tourism is qualitatively different from the other cultural domains, as it cannot readily be classified as a sector in the traditional sense, i.e. as measured by either particular market or industrial outputs. Rather, tourism is better understood as a demand-driven, consumer-defined activity, and as such, it is intimately linked with all of the other domains within the cultural sector as each contain activities that are regularly undertaken by tourists. For this reason, there is also a now well-established international methodology for measuring the economic impact of tourism, based on constructing the tourism satellite accounts (TSA) (e.g. see Eurostat, OECD, UN and WTO, 2001). The statistical classification, definitions and collections of tourism statistics are the responsibility of the UN World Tourism Organisation, which brings together national government and industry interests.

The FCS is only covering cultural tourism. There is no international accepted definition of cultural tourism. It can vary from “customised excursions into other cultures and places to learn about their people, lifestyle, heritage and arts in an informed way that genuinely represents their values and historical context… Or it can be the experience of the difference” (Steinberg C, 2001). It can take the form of spiritual tourism or ecological tourism. Cultural tourism is a major source of income for the producers of cultural goods and services and tourist experience abroad can fuel demand for foreign goods in domestic markets. Indigenous and local knowledge and skills that can take the form of craft, performance, traditional healing and oral history become an asset for the countries.

However, it is often impossible to record the ‘cultural’ and non-cultural experiences of tourists without complex time use studies that collect information on travel expenditure by product and make the differentiation of the purpose of travel. The 2009 Framework thus considers tourism a ‘culture-related’ activity.

Tourism statistics following TSA is looking at the demand in goods and services of a visitor (international or domestic). It includes expenditure on travel, accommodation and other expenses. However, it should also cover the non-monetary data that focus on number of visitors, purpose of visits etc. Therefore, within this domain, core tourism activities were considered (e.g. tourist guides and tour operators) as well as those activities outside of the cultural sector in which tourists are likely to account for the bulk of activities (e.g. accommodation).

• Sports

For some countries, particular sports are closely related to their cultural identity and a sport may be related to social structures and traditions. An example might be sumo wrestling in Japan. In other countries sports may be no more than a recreational past time, or most commonly undertaken for little more than physical exercise. Moreover, the

- 29 -

same sport may have very different associations in different countries. In some classifications (European Commission 2002), it is spectator attendance in sports event or watching sports events on TV which is seen as cultural activity, while professional sport is not seen as cultural. These strong differences of approach, and a common interpretation that it is participation not sport as a ‘product’ or ‘sector’ which is ‘cultural’ have led us to consider sport as a ‘related activity’.

Toys

Toys are tools for leisure activities. Play is often the means by which children learn cultural behaviour they will adopt as adults. Yet many toys and play activities do not have cultural associations. Some toys may have ‘traditional’ value as artefacts, but some of them are mostly associated with leisure activities. These ambiguities have suggested that toys should be regarded as ‘related’ to culture.

Gambling

Many people would argue very strongly against gambling having any relationship with cultural activity. On the other hand, many traditional games include an element of gambling. In terms of data collection, and in working with the International statistical classifications it will often prove impossible to separate commercial gambling activity from that associated with cultural activity including sports and games. For this reason, gambling has been included in culture-related activity.

3. The framework structure

The previous section established the theoretical and analytical background for the framework. In this section the structure is outlined. The model includes all activities, services and goods produced by cultural industries by industrial or artisanal processes. It also includes all elements of participation in cultural activity, whether this is through formal employment or attendance at formal (i.e. performance in a theatre or subject to fees) or informal cultural events (communities events, family events) not subjects no monetary transactions, or through cultural activities at home. The model covers the entire cultural cycle. 3.1 Identifying cultural goods and services, occupations and activities: From the

economic to the social model

The underlying approach here is primarily based on an economic view. This is for both policy and pragmatic reasons. First, countries attach major importance to obtaining maximum economic benefits from their cultural products. Second, the economic representation of cultural exchange, while posing many problems, is the easiest to measure. However, this economic model has been adapted to a number of other areas: social participation, traditional and local knowledge, education, and heritage. Someone who is a cultural worker or who is engaged in cultural activities is also a social actor interacting with the community as both audience and inspiration for new creation.

- 30 -

The social elements of culture need to be captured by statistics to ensure that culture is not reduced to an economic phenomenon. The social dimension of culture helps to strengthen identity and social cohesion. It introduces key aspects of culture, such as education and traditional knowledge.

Education is a means of socialisation by which culture is imparted and develops creativity that can challenge existing cultural norms. The framework, thus, identifies education as a major transversal domain and a major concern and responsibility for UNESCO. It is generally accepted that culture is always evolving and never static, and in this education plays an important role.

Globalisation can result in traditional knowledge being both increasingly valued and under threat. Within the framework, traditional knowledge is another transversal theme which has a place in all sectors and links into UNESCO’s strategy on the intangible heritage. This helps to emphasise that, while traditional knowledge is difficult to measure, it is a rich resource for artistic inspiration and cultural identity.

From an economic viewpoint, heritage is an asset. The value of assets can be enhanced or devalued, depending on how they are maintained. Economic studies have analysed the economic value of cultural heritage in relation to the public’s preferences (Navrud, 2002). They calculate a value of use based on how much someone is willing to pay to preserve a cultural heritage or to go to a site. They also cover the non-use value of cultural heritage, by asking how much someone is willing to pay for the preservation of a heritage for future generations. However, such contingent value or travel cost techniques are difficult to aggregate into provincial or regional values because of substitution effects (Hoehn and Randall 1989).

Besides being an economic asset, cultural heritage is a social good. It incorporates aesthetic, historical, social, spiritual and educational values. Tangible heritage sites are often the locations for celebrations in which intangible heritage performances take place. In developed countries, attendance at cultural assets, such as monuments and museums, is often recorded. However, distinguishing cultural tourism data from regular tourism statistics requires further development, which is best undertaken within the ambit of the World Tourism Organization. Sample surveys of both tourists and local people at heritage sites are an important statistical tool. In developing countries, surveys of attendees at cultural heritage sites can be particularly cost-effective and play a large part in a cultural statistics framework, though they may present problems such as distinguishing performers from the audience. 3.2 Dataset specifications for the economic & social model This section focuses on data collection and instruments for identifying the cultural sector. Many national statistical offices (NSOs) will not be in a position to carry out such detailed data collection. Each NSO will adapt its data collection based on its own capacities, and NSOs will determine how far the model can be implemented. Comparability at different levels will depend on policy development in the country and the degree to which culture is a priority. Use of this framework at every level will still allow a country to compare itself with others.

Moreover, the creation of such a dataset will make international benchmarking feasible. While some groups of countries are likely to have a priority interest in some – but not

- 31 -

all – measures, our objective is to create a common framework that will facilitate maximum possible comparison and usage.

Economic data, on production and employment, can currently be produced by most national statistical offices by re-aggregating common economic statistics from existing economic surveys using the standard international statistical classifications (see Appendix III). They include: Annual business surveys;, Annual economic surveys; Business registers; earning surveys; labour Force Surveys; and censuses. None of these data collection instruments are designed to collect cultural data. Nevertheless, some cultural data can be derived from selected variables. The FCS suggests that countries focus the first stage of its implementation on economic indicators derived from the existing instruments/surveys. They help to identify the contribution of culture to the national economy in terms of GDP, cultural employment, and cultural consumption.

The FCS incorporates four international classifications: ISIC 4 (for the identification of cultural industries), CPC 2 and HS 2007 (international trade of cultural goods and services); ISCO 8 (for the identification of the cultural occupations). Theses classification systems are used in many statistical instruments or surveys used at national and international levels.. Each classification can be related to the national classification or regional classifications such as NAICS the North American Industry Classification System (NAICS), the Australian New Zealand Standard Industrial Classification (ANZSIC) or Classification of Economic Activities in the European Community (NACE) for classification by activities; - the North American Product Classification System (NAPCS), the Classification of Products by Activity (CPA) for Europe for classification by products. Correlation tables should be used to make the link between two classifications1.

Another economic model widely used is the System of National Accounts (SNA). SNA 08 is also compatible with ISIC 4 codes and CPC 2. In the Classifications of Expenditure According to Purpose Classifications of the functions of the government (COFOG); the COICOP; Classification of individual consumption by purpose (COICOP) and the Classification of the purposes of non-profit institutions serving households (COPNI); cultural domains can be identified. COIFOG serves for evaluating the cultural public expenditure. The main broad categories of culture are defined through the codes below:

08.1.0 - Recreational and sporting services (IS) 08.2.0 - Cultural services (IS) 08.3.0 - Broadcasting and publishing services (CS) 08.5.0 - R&D Recreation, culture and religion (CS) 08.6.0 - Recreation, culture and religion n.e.c. (CS)

In COICOP, culture is defined by the code 13 - Individual consumption expenditure of non-profit institutions serving households (NPISHs): 13.3 - Recreation and culture and in 14 - Individual consumption expenditure of general government: 14.3 - Recreation and culture.

1 Classifications and correlation tables are available at the UNSD classification registry and the European Site RAMON.

- 32 -

In COPNI; the codes which relate to culture are: 03 - Recreation and culture with 03.1 - Recreational and sporting services and 03.2 - Cultural services

Nevertheless, evaluating culture only through those codes would result in an underestimation of any spending in culture. That is why several countries have started the development of cultural satellite accounts. For example, the Conveno Andrés Bello (CAB), an international inter-governmental organisation working in Latin America and several countries such as Chile, Colombia and Spain are currently developing a methodological manual for the implementation of cultural satellite accounts which will assess the economic contribution of cultural industries and activities to GDP. This approach makes the valuation and integration of non-market cultural products and activities a particular challenge. FCS can serve as a conceptual model for the development of a national satellite accounts thanks to the use of the same classifications (ISIC, ISCO). 3.3 Culture goods and services: Using the Central Product Classification (CPC) This section looks at the use of CPC for the identification of the Cultural goods and services. The output produced by cultural industries and activities will be categorised using the Central Product Classification (CPC). The CPC constitutes a comprehensive classification of all goods and services. This section will mainly cover the first four phases of the production cycle: creation, production, dissemination and exhibition/reception. The participation phase reflects social behaviour, which is captured by different statistical tools and will be discussed in the section 3.7. However, cultural goods can also be produced on a non-commercial basis, for example through governmental institutions, by voluntary institutions, amateurs or ad hoc groupings of artists and creators.

Despite the fact that this statistical classification system is not yet commonly used, its greater level of detail can allow for a bridging between different international classifications, increased comparability and the more precise identification of cultural industries and services. .It is particularly pertinent for services data.

CPC codes provide only a current ‘best fit’ and there are cultural goods and services that cannot be populated using the CPC (or other current international statistical classifications). In particular, it is very difficult to identify education and training activities related to culture, whereas these have better coverage within the ISIC Rev 4 (8541 and 8542 covering ‘Sports and Recreation Education’ and ‘Cultural Education’ respectively), ISCO 08 and UNESCO’s own International Standard Classification of Education (ISCED) classification (UIS, 1997).

There are instances where CPC codes cover both cultural and non-cultural activities. In most instances, these CPC classes have not been included. Thus, while this measure may underestimate the scope of the cultural sector, it is a more robust measure.

Separate tables for each domain are provided in Appendix III and referenced according to the letters and numbers used in Figure 2.

- 33 -

3.4 International cultural trade: using the Harmonised System and the EBOPS This section studies the assessment of the international trade of cultural goods and services. Data on flows of cultural goods are compiled using the Harmonised System Commodity Description and Coding System version 2007 (also referred to as the “Harmonised System” (HS)) through customs statistics while cultural services are captured using the Extended Balance of Payments Services Classification (EBOPS). The country by using the list of codes provided in Annex IV will be able to determine the level of cultural flows in its economy. International flows of Cultural goods The Harmonised System classified goods by their observable physical characteristics and not according to the status of national content, cultural value or other similar criteria. It only captures the declared cross boundary physical goods. It is therefore important to couple the data with services data in order to have a complete picturesof cultural flows.

Some cultural domains are difficult to measure using customs based data:

• It is not possible to distinguish between the industry based and artisanal craft in HS. The codes refer to

5007: Woven fabrics of silk or silk waste 5111 to 5113 Woven fabrics of combed wool or animal hair 5208 to 5212 Cotton fabric 5309 to 5311: Woven fabrics of paper yarn 57 Carpets and other textile floor coverings 60: Knitted or crocheted fabrics

Should we include jewellery?

• Specific attention needs to be paid concerning cinema data where the values of customs statistics differ from a country to another.

Data need to be completed by intellectual property flows collected through copyrights society. Despite the limitations, the data help to identify the size of the cultural exchanges around the world and the direction of these trade flows.

International flows of cultural services

Data on the cultural trade of services should be compiled according to the latest classification provided by EBOPS derived from Balance of Payments version 6 (BPM6, IMF, 2008), which also used CPC 2 to categorise the different services. This version includes more detailed disaggregation of cultural services than in BPM. EBOPS 2010 will be available in the new version of the Manuel on Statistics of International Trade in Services (UN, 2002).

Balance of payments services transactions relate mainly to the cross-border supply of services (supplier and consumer remain in their respective countries and the services across the borders.

EBOPS, like other international classifications concerning culture does not present culture as a distinct category. In addition, cultural services appear as additional items

- 34 -

that are not statutory. Some changes in version 2010 should result in a better approximation of culture services.

The list of codes related to cultural services is shown in table 1:

Table 1: cultural services defined by EBOPS codes Core cultural services

BPM6 EBOPS

1.A.b. 8. 8. Charges for the use of intellectual property, n.i.e

8.1. Licenses to reproduce and/or distribute audiovisual and related services

8.?* Licenses to reproduce and/or distribute copyrights

1.A.b.9. 9. Telecommunication, computer and information services

1.A.b.9.3. 9.3 Information services

9.3.1 News agency services

1.A.b.10. 10. Other business services

1.A.b.10.2. 10.2. Professional and management consulting services

10.2.2 Advertising, market research and public opinion polling

1.A.b.10.3. 10.3 Technical and trade-related and other business services

10.3.1 Architectural services, engineering, scientific and other technical services

1.A.b.11. 11. Personal cultural and recreational services 1.A.b.11.1. 11.1. Audiovisual and related services

1.A.b.11.2. 11.2. Other personal cultural and recreational services

11.2.3 Other, other personal cultural and recreational services

Other cultural services

Equipments & supporting materials

b

Related cultural services

Tourismd

1.A.b.3.1 3 Sea transport

1.A.b.3.1.1 3.1 Passenger

1.A.b.3. 2 3.2 Air transport

1.A.b.3.2.1 3.2.1 Passenger

1.A.b.3.3 3.3 Other modes of transport

1.A.b.3.3.1 3.3.1 Passenger

1.A.b.4.2 4.2. Personal travel

1.A.b.4.2.3 4.2.3. Other personal travel (not health or education related)

* a Proposal from UIS for this missing category

b Do we include Computer services? Supplementary items proposals by UIS for EBOPS 2010

d. Transports by mode Cultural categories

Transport: Alternative groupings of transport are also proposed in BOPS such as breakdown transports by purpose of travel: business or personnel.

- 35 -

Most of tourism data in cultural services are recorded in Travel section, which refers only to the international visitors. Travel credits relate to goods and services acquired for their own use or to give it away from an economy by a non-resident during a visit to that economy. Travel debits are defined as goods and services acquired for their own use or to give it away from other economy by a resident during a visit. In BOPS, travel is split between business and personal travel. Most of cultural tourism are recorded in the category Personal travel “covers goods and services acquired by persons going abroad for purposes other than business, such as vacations, participation in recreational and cultural activities, visits with friends and relations, pilgrimage”.. (BPM6, 2008).

An alternative breakdown covering both business and personal travel is also proposed by product group (a-goods; b-local transport services; -c accommodation services; d food serving services; e- other services) to match the needs of TSA data.

3.5 Cultural industries: Using the International Standard Industrial Classification (ISIC)

This section looks at cultural organizations and how they are categorised by using the International Standard Industrial Classification (ISIC) version 4 (UN, 2008). The scope of ISIC in general covers productive activities, i.e., economic activities within the production boundary of the System of National Accounts. One of the main advantages of using ISIC is that, in contrast to CPC, it is widely used by countries.

ISIC, with only four digits, is less detailed than CPC; consequently, some cultural activities are often hidden in a broader category or grouped in a single code. The use of this classification alone to measure the economic contribution of culture within a country will necessitate defining multipliers in order to identify which portion of a broader industry can be attributed to cultural activities.

In ISIC 4, an information and communication category has been created in this version to reflect the current structure of this industry. It provides better coverage of broadcast and motion picture activities, but it is still not possible to identify cultural activities using the Internet, such as e-books, music downloads, etc.

Each cultural activity has been designated by an ISIC 4 code. In several cases, the ISIC code includes cultural activities that can be classified in all functions, such as creation, producing, etc.

However, since ISIC is an industrial classification, it does not allow specification of non-industrial cultural activities. There are two major drawbacks of using ISIC codes to measure cultural activities:

� Craft is not covered by ISIC; and

� Intangible heritage and traditional knowledge are not clearly identified. They are treated separately in Section 3.3 and deserve a different model.

The following two ISIC codes can be considered to be spread across all cultural categories:

- 36 -

i) 9000 (Creative Arts and Entertainment Activities): This code may be considered to cover all forms of creative activity associated with all the domains of the classification. While an authors’ co-operative or writers circle might not be considered as part of 581x 'Publishing', a similar approach could identify a business or co-operative of painters, a string quartet or indeed a major rock band, which surely have huge earnings as a business.

ii) 92911 (Cultural Education): This code has been included in every domain, because education can be seen as a cultural activity within all domains, whether as sector-specific training or as businesses and institutions which use educational means to promote the cultural activity of the domain concerned. It includes formal and non-formal education in cultural activities, such as in fine arts, architecture, music, dance, etc.

Another code that should to be mentioned is 3320 (Musical Instruments), which represents the manufacture of musical instruments. Based on the cultural cycle, making such instruments is considered a cultural activity since they form part of the production element of artistic expression.

It has been suggested that CPC contains the most appropriate existing classification to capture cultural activity and that ISIC, though more frequently used than CPC, provides too coarse a classification. Thus, this framework proposes that CPC codes be used to identify which aspects of a sector are appropriately placed in which domain of cultural activity. However, where possible, both classifications should be used together in order to obtain a clearer picture of the economic aspects of culture in terms of variables such as employment, turnover and productivity.

Even the less obviously economic parts of the framework can, to some degree, be studied in this way using these codes. For example, data on employment at historic sites and economic valuations of such sites as capital investment, staff employment or visitor revenue can be gathered together under domain 'A. Cultural Heritage'. Data on participation in cultural events, including ticket sales and revenue, can be gathered under domain 'B. Performing Arts'.

Separate tables for each core domain are provided in Appendix III and referenced according to the letters and numbers used in Figure 2. 3.6 Cultural employment: Using the International Standard Classification of

Occupations (ISCO)

This section looks at the creators, producers and distributors which are the people involved in the creation or production of cultural activities individually, in groups or in organizations. They can be categorised through occupations data using the International Standard Classification of Occupations (ISCO).. The following definitions of cultural occupations were primarily based on the Australian and New Zealand Standard Classification of Occupations (ANZSCO)2 and on Canadian definitions. Whereas the Australian and New Zealander definitions encompass leisure

2 ANZSCO: Alternative View: Culture and Leisure Occupations.

- 37 -

activities, the proposed definitions for the framework focus solely on core cultural occupations related to creativity and art within the core UNESCO domains defined in Figure 2.

Core cultural occupations include occupations involved in creative and artistic production, heritage collection and preservation. These occupations involve tasks and duties that are carried out:

� to generate, develop, preserve or reflect cultural or spiritual meaning;

� to create, produce and disseminate cultural goods and services, which generally contain intellectual property rights; and

� for the purpose of artistic expression (e.g. visual, music, writing, dance or dramatic arts).

The broader definition that encompasses related domains as defined in Figure 5 and which are usually associated with leisure activities, such as sports and travels, would include activities that involve sports or physical recreation skills and that provide enjoyment, relaxation, diversion or recreation.

Measurement of cultural employment

In order to define cultural employment, it is necessary to include both the occupations in cultural industries and cultural occupations in non-cultural industries, such as design activities (see Figure 3). Figure 3 delineates the culture sector as considered in the framework (grey shaded area). It indicates the different groups of cultural occupations (formal and informal). Non-cultural industries will only be included when assessing cultural employment if these include cultural workers. A designer working in the automobile industry is an example of someone in a cultural occupation working in a non-cultural sector.

Figure 3. Cultural employment

Handicraft sector

Cultural industries

Cultural occupations

Cultural occupations

Cultural occupations

Non-cultural industries

Non-cultural occupations

- 38 -

The contribution of cottage3 industries in cultural employment is quite significant. Cultural occupations are quite often a secondary occupation in developing countries. Agricultural labourers or other workers may have a second occupation in craft and, as such, are often not declared or captured in censuses and labour force surveys. These hidden or ‘embedded’ cultural occupations may not include a large enough number of practitioners to be accurately measured in sample surveys. In many cases, they involve self-employed or informal workers in small companies of less than ten people which are frequently not captured in business surveys. It is often considered that cultural and creative jobs are over-represented in small businesses, and in this respect, even European statistics may well underestimate cultural employment.

In addition, volunteer and non-paid activities often play an important role in cultural employment. Methodological research is required for better assessment of these activities.

In order to identify cultural occupations in non-cultural industries (see figure 3), it is important to couple employment data using ISCO with industry data using ISIC codes to obtain a more accurate value of total cultural employment for a country. (P. Higgs, Stuart Cunningham, 2008).

Identification of cultural occupations within ISCO 08

The ISCO classification is based on two concepts: job and skill. Job is defined in the forthcoming ISCO 08 as a “set of tasks and duties carried out, or meant to be carried out, by one person for a particular employer, including self-employment”. Skill is defined as “the ability to carry out the tasks and duties of a given job”. (ILO, 2007)

It is difficult to define a separate category for all cultural occupations since they cover many different types of occupations that require quite different skills. Nevertheless, ISCO 08 incorporates new codes for cultural occupations, derived from a joint proposal by the Organisation for Economic Co-operation and Development (OECD) and the UIS.

The following codes for key cultural occupations are used in ISCO 08 and the UIS 2009 Framework for Cultural Statistics:

• 262: Librarians, archivists and curators

• 264: Authors, journalists and linguists (new code)

• 265: Creative and performing artists

• 343 Artistic, cultural and culinary associate professionals

• 3521: Broadcasting and sound and vision recording technicians

• 73: Handicraft and printing workers (new category, which includes all handicraft workers using clay, metal, glass, wood, textiles, etc.)

However, some unresolved issues remain in assessing cultural occupations. Cultural occupations are spread across all ISCO categories and the classification is sometimes

3 An industry where the creation of products and services is home-based rather than factory-

based.

- 39 -

not detailed enough to distinguish them. In addition, the occupations may not include a large enough number of practitioners to allow a separate category within ISCO. For example, it is difficult to distinguish cultural occupations within these main categories:

� Heritage and conservation

The occupations related to heritage and conservation, such as archaeologists or curators and conservators, are not identified within ISCO. They are included in 2632 (Sociologists, anthropologists and related professionals). Professionals working in this field usually have scientific knowledge and a high skills level that can be associated with Major Group 2 Professionals in ISCO.

� Managers, senior officials and legislators

With regard to managers, senior officials and legislators, only code 1113 (Traditional chiefs and heads of village) can be related to cultural occupations. However, it is important to consider where occupations, such as director of an art company, could be included.

� Education

Teachers identified for culture are in the 'Other teachers' category, such as 2354 (Other music teachers) and 2355 (Other arts teachers). Generally, however, arts and humanities teachers at all levels of education (i.e. higher education, vocational education and secondary education) are not included in this category since they can be included in the formal and non-formal education and vocational education category. Australia also excludes language teachers from cultural occupations.

� Information and communication technologies (ICTs)

The cultural occupations related to ICTs are mainly related to audio-visual occupations and the new media, i.e. multimedia designer. They are spread across two domains audiovisual and interactive media and design and creative services. Nevertheless, no specific category for managers of broadcast and multimedia activities, including computer graphics is given in ISCO 08.

Appendix III proposes a list of codes that can serve as a basis for defining cultural occupations.

The relationship between this Framework and other approaches to measuring economic aspects of culture The World Intellectual Property Organization (WIPO) has developed guidelines to determine the contribution of the copyright industries to the economy (WIPO, 2003). The identification of goods and services that generate intellectual property rights is a key component of the contribution of culture to the economy and has the additional advantage of being associated with a defined legislative framework. Nevertheless, the WIPO definition of the cultural sector differs from that used in this framework because it does not cover areas where no intellectual property rights are involved, such as with cultural practices. Countries such as Finland and Colombia have developed cultural satellite accounts. This approach has the benefit of allowing a clear financial assessment of through accounting

- 40 -

methodologies. On the other hand the current Framework takes a broader view of measures of cultural activity and impact. 3.7 The social model The previous section discussed the measurement tools available to measure the economic aspects of culture using international classifications such as ISIC, ISCO and HS. This next section discusses the measurement of the social dimension of culture that is a key component of culture through the cultural practices and expressions. The social dimension of culture has to do with its symbolic value for giving a sense of identity, shared values and belonging, preventing exclusion and for building social cohesion and stability. It also refers to the non-commodified dimension of culture; practices which occur mainly within communities without money transactions therefore outside the market economic sphere. The social aspect of culture cannot be measured very easily and there are few commonly accepted statistical standards with some exceptions such as the measurement of cultural participation in Europe.

Household and time use survey are the main sources of data on cultural participation. Such surveys are expensive and countries tend to include a few culture-related questions in surveys used designed for other purposes. The production of internationally comparable and agreed indicators on the social aspect of culture will require many years of further development as regards both definitions, and standard instruments. The current framework therefore seeks to establish some broad agreement on the overall conception of the social model of culture and some general guidance on further statistical development. on defining the social element and identifying appropriate indicators and definitions.

Cultural participation

The consumers of cultural goods and services and participants in cultural activities are measured using expenditure data or household surveys. The term ‘consumption’ would normally be used of an activity for which the consumer has ‘paid’, while the term ‘participation’ is used to designate taking part in amateur or unpaid activity. In practice this distinction can be difficult to make as consumers/participants make take part in informal activities ‘paying’ in kind, or contributing to the ‘cost’ of the event in other ways. For example the ‘consumers’ may pay by ‘feeding’ or housing the artists, by themselves performing in a mutual exchange of services. At a religious ceremony the participants might reciprocate by praying for performers and artists. Equally amateur or informal artists can ‘turn professional’, sometimes on leaving school or training. Thus social and informal cultural activities are the origin of many cultural industries.

Cultural participation measures have been piloted mainly in the European Union (EU). The LEG Group (2000) attempted to produce a regional model, which was applied in the Eurobarameter. Three surveys were carried out since then to collect harmonised data on Europeans’ participation in cultural activities and to experiment the applicability. Bennett provides a useful definition of the European conception of cultural participation, where cultural participation includes the arts and also everyday life activities that are related to enjoyment. It refers to "the ways in which ethnically-marked differences in cultural tastes,

- 41 -

values and behaviours inform not just artistic and media preferences but are embedded in the daily rhythms of different ways of life; and of the ways in which these connect with other relevant social characteristics – those of class and gender, for example". (Bennett, 2001)

Cultural participation, thus, includes cultural practices that may involve consumption and activities that are undertaken within the community, reflecting quality of life, traditions and beliefs. It covers attending formal and payable events, such as going to a movie or to a concert, as well as informal cultural action, such as community cultural activities and amateur artistic productions or everyday activities like reading a book. Cultural participation is usually measured with regard to community, social group, ethnicity, age and gender. An analysis based on ethnic group, social group and gender would also be relevant for measuring the diversity of cultural expressions as it would indicate the diversity of groups participating in different cultural activities.

Moreover, cultural participation covers both active and passive behaviour. It includes the person who is listening to a concert and the amateur who practices music. The purpose of cultural participation surveys should be to assess overall participation levels, even though it may be very difficult to distinguish active from passive behaviour. For example, in some festivals individuals may at one time be performers (active, creating and inspiring others) and at other times be audience (passive or seeking inspiration). Cultural participation does not concern activities carried out for employment, however, which are defined by occupation (ILO, 1988); for example, cultural participation does include visitors to a museum but not the guide.

In 2006, the UIS commissioned a report to set the EU model (Eurobarameter) in the context of cultural activities in developing countries. The report (UIS, 2006) defines cultural practices according to three categories:

i) Home-based: which refers to the number of hours spent watching TV, listening to the radio or music, reading, etc.

ii) Going out: this includes going to the cinema, opera, theatre and visiting museums, monuments and archaeological sites.

iii) Identity building: this encompasses amateur cultural practices, cultural associations, popular culture, ethnic cultures, youth culture.

It is acknowledged that carrying out frequent cultural participation surveys require extensive resources for frequent surveys on cultural participation. This framework proposes that participation surveys concentrate on overall levels of participation and on recording the domain under which cultural activities take place. By using such surveys in a systematic way – for example to survey participation in activities such as music, dance and reading – it will be possible to examine social issues, as well as link amateur or informal cultural production with more formal activity. This link is vital for examining the key concern of commercialisation of the cultural sector and its impact on society as a whole.

- 42 -

Traditional and local knowledge

FCS defines Traditional and local knowledge as being a transversal dimension. The scope of traditional knowledge (TK) is wide and covers many types of knowledge. It can be regarded as an economic and cultural resource which has been developed in the past but which is not static but constantly evolving in response to a changing environment. The preservation of TK is not only a key component of the identity and a condition for the existence of numerous peoples, but also a central element of the cultural heritage of humanity.

Two definitions are proposed:

o First definition based on the Secretariat of the Pacific Community defintion

The definition of Traditional and local knowledge is “expressions of culture mean any way in which traditional knowledge appears or is manifested, irrespective of content, quality or purpose, whether tangible or intangible, and, without limiting the preceding words, includes: (a) names, stories, chants, riddles, histories and songs in oral narratives; and (b) art and craft, musical instruments, sculpture, painting, carving, pottery, terra-cotta mosaic, woodwork, metal ware, painting, jewellery, weaving, needlework, shell work, rugs, costumes and textiles; and (c) music, dances, theatre, literature, ceremonies, ritual performances and cultural practices; and (d) the delineated forms, parts and details of designs and visual compositions; and (e) architectural forms. Sacred-secret means any traditional knowledge or expressions of culture that have a secret or sacred significance according to the customary law and practices of the traditional owners concerned. Traditional knowledge includes any knowledge that generally: (a) is or has been created, acquired or inspired for traditional economic, spiritual, ritual, narrative, decorative or recreational purposes; and (b) is or has been transmitted from generation to generation; and (c) is regarded as pertaining to a particular traditional group, clan or community of people in [Enacting country]; and (d) is collectively originated and held.

Source: (SPC 2002)

o Second definition based on UNESCO and the Internal Council of Science definition

The definition proposed by UNESCO and the Internal Council of Science (ICSU) states: “Traditional knowledge is a cumulative body of knowledge, know-how, practices and representations maintained and developed by peoples with extended histories of interaction with the natural environment. These

- 43 -

sophisticated sets of understandings, interpretations and meanings are part and parcel of a cultural complex that encompasses language, naming and classification systems, resource use practices, ritual, spirituality and worldview.”

Traditional knowledge, with institutional and political support, can be a sustainable resource for development through the generation of employment, economic growth and trade based on the expression of diversity.

Traditional and local knowledge can be found in all societies. It is sometimes the intellectual property of a certain cultural milieu, or group of people, and there is increasing recognition of ownership of such intellectual rights by the appropriate community. The ownership of such intellectual property and knowledge make traditional knowledge in many senses a cultural product. UNESCO has recognised that traditional knowledge may be enshrined in a physical product or as an aspect of intangible heritage requiring guardianship, protection and enhancement in the same way as material or tangible heritage.

In the context of this statistical framework, traditional and local knowledge, as a service or product, can be found in almost any of the domains, products or sectors covered by the framework. It is, thus, a transversal dimension of the framework. The creative process for traditional knowledge may differ from the standard model of the creative process, as the three stages of creation, production and dissemination may be executed at the same time.

The production or creation of traditional knowledge is often in the hands of elders, shamans or simply ‘wise people’. A count of the numbers of such people might be attempted if their role/identity is clearly defined. The occupation of the production of traditional knowledge, or its transmission in an appropriate form/media (storytelling), is often not well defined. It may be considered a secondary occupation, as for example the production of craft/artisan goods in a predominantly agricultural household. Secondary occupations can be recognised in labour force and other household surveys through more intense questioning on different tasks undertaken in the day. It is not, however, recommended that countries indulge in a full-scale time use survey unless they have a considerable amount of human and financial resources.4

Some products of traditional and local knowledge are extremely difficult to measure in quantity or quality as they are intangible. .

A proxy for the level of production of traditional knowledge can be obtained, at least at country level, through key institutions. Many countries now have national institutions that are responsible for cataloguing and documenting traditional knowledge, for example collecting numbers of traditional medicines. It is possible to count at international level both the number of such institutions and the number of products they have documented. Ideally the creation of such institutions should lead to the patenting of traditional knowledge, in which ownership of the patent is vested in the community from which it

4 A time use survey may, of course, find further justification from the amount of information

obtained on other topics such as: household organization, family relations, craft/artisan production, religious observance, etc.

- 44 -

first originated, as well as to measures for safeguarding such knowledge (e.g. manage-ment and conservation of plants used in traditional medicine).

If traditional knowledge is transmitted through music, storytelling, dance or other forms of performance, other measures are possible. For example, surveys at an appropriate scale (local, regional, national) might document numbers of participants/performers.5 Surveys might also document content and mode of transmission.

The intangible aspects of traditional and local knowledge present major barriers to measurement. Nevertheless, several potential indicators can be proposed:

� number of persons involved in the creation or transmission of traditional knowledge, collected through labour force or household surveys involving questions about secondary occupations;

� number of institutions responsible for collecting or documenting traditional knowledge, as well as the number of elements/products documented;

� number of patents or other form of registration of traditional knowledge (closely related to previous indicators);

� number of participants/performers in events at which traditional knowledge is transmitted (traditional story tellers, dancers etc.;

� number of participants speaking traditional languages;

� number of persons practising/using traditional medicine; and

� production of crafts.

Evaluating data on endangered languages

UNESCO has developed a methodology for assessing language vitality and endangerment, based on nine criteria:

• Absolute number of speakers

• Proportion of speakers within the total population

• Availability of materials for language education and literacy

• Response to new domains and media

• Type and quality of documentation

• Intergenerational language transmission

• Community member’s attitudes towards their own language

• Shifts in domains of language use

• Governmental and institutional language attitudes and policies, including official status and use

Source : UNESCO, 3-2003.

5 In some cases, audience and performers may be the same people at different times in a

performance.

- 45 -

Box 1: Indicators for indigenous people

Traditional and local knowledge is often associated with indigenous knowledge. Uganda described indigenous knowledge as "traditional and local knowledge existing within and developed around the specific conditions of a community indigenous to a particular geographical area". (Uganda, 2006) The work undertaken by the Working Group on Indicators of the International Indigenous Forum on Biodiversity (IIFB) will likely contribute to the identification of indicators pertinent for indigenous peoples. This group, which was set up by the Secretariat of the Convention on Biological Diversity, is supported by the United Nations Permanent Forum on Indigenous Issues (UNPFII). The UNPFII had identified the need to develop indicators relevant to indigenous peoples and the Millennium Development Goals (MDGs). These indicators relate to indigenous rights, 'enabling environments'6, cultural practices and the use of traditional languages.

Other social dimensions of culture

The concepts of cultural capital and social capital could be very useful in measuring the contribution of culture to economic and social development. According to David Throsby, “an item of cultural capital can be defined as an asset that embodies or gives rise to cultural value in addition to whatever economic value it might possess… a heritage building may have some commercial value as a piece of real estate, but its true value to individuals or to the community is likely to have aesthetic, spiritual, symbolic or other elements that may transcend or lie outside of the economic calculus. These values can be called the building’s cultural value. Cultural capital defined in this way may exist in tangible form as buildings, locations, sites, artworks, artefacts, or in intangible form as ideas, practices, beliefs, traditions, etc.”

In the Hong Kong Creativity Index social capital is expressed “in terms of trust, reciprocity, cooperation and rich social networks… conducive to the enrichment of collective well-being, social expression and civic engagement… enable[ing] individual and collective creativity to flourish. It is measured by nine themes: Generalized trust, Institutional trust, Reciprocity, Sense of efficacy, Cooperation, Attitudes towards minorities, Espousal of modern values, Self-expression, and Participation in social activities” (Centre for Cultural Policy Research, Hong Kong, 2005).

Other dimensions of culture work are still required in order to fit some areas of culture into the framework, particularly for some social elements of culture and their impact on society. The relationship between culture and the environment which, to some extent, is included in the 'Cultural and Natural Heritage' domain needs further consideration, especially with regard to sustainability. The relationship between culture and well-being has been a major discussion point, leading to relationships between culture and health. Topics such as health and environment in the largest sense extend well beyond culture, and the debate here may be more about linkages between culture and other statistical domains. For example, this could include the potential impact on general health of practising a cultural activity, such as playing a musical instrument (Michalos, 2003 and 2005).

6 i.e. conditions (policies, infrastructure, etc.) in which indigenous practices can flourish.

- 46 -

3.8 Data collection issues Given the lack of data collected by even the countries that have taken the time and resources to develop statistical frameworks for the cultural industries, it is perhaps worth summarising some of the main difficulties associated with this task.

Structural challenges

The most insurmountable of these difficulties is that policy and management tend to focus upon activities as defined in terms of their markets (e.g. film, television, music), while the most commonly used statistical classifications (country-specific versions of the ISIC) work predominantly on a classificatory principle of industrial output7 (e.g. the manufacture of printed items and reproduction by computer media). Thus, attempting to use these classifications to describe industries defined by market is problematic.

With regard to culture, the relevant classes are scattered across the classifications, and these then have to be artificially re-aggregated. This is a specialist and time-consuming task.

Statistical systems of industrial classification also struggle to keep pace with the rate of industrial change. They provide the most detailed coverage for traditional areas of the economy, such as primary and extractive industries, and manufacturing. Consequently, the service sector in general is poorly served and the classifications are particularly weak for areas in which there is rapid technological and market change; both of which generate difficulties for implementing a revised cultural statistical framework that takes into account the increasing influence of new digital ICTs.

Operational challenges

Cultural activities can generally be accurately identified within statistical industrial classification systems only at the greatest level of disaggregation (four- or five-digit classes). This creates difficulties as data from sources provided by national statistical offices for many variables (e.g. exports) are often only available for industry sectors at a higher level of aggregation, typically in the two- or three-digit class.

The fine grain level of industrial disaggregation required to accurately identify cultural activities has further implications. It makes detailed sub-national analysis – which is particularly important for the cultural sector due to agglomeration tendencies – problematic, as the combination of four-digit analysis within a local or regional area unit decreases reliability for many business surveys undertaken by national statistical offices (due to sample size issues). Many cross-economy business surveys also have insufficient coverage of micro-enterprises and sole traders, which are disproportionately represented in the cultural sector.

There are some ‘work-arounds’ that can be used in the instances where cultural activity is combined with other activities in individual classes. In particular, estimations can be

7 Although the primary logic is classification by output, this is not consistent. In some cases it is

process or the raw material used that forms the taxonomic principle.

- 47 -

used to distinguish the cultural component from the non-cultural component within these classes, and these weightings or co-efficients can then be used in analysis of data from business surveys. But, there has to be some empirical basis on which the weightings are derived, and this implies that there is ready access to a data source containing a census of all businesses. Once again – presupposing that such a business register exists – analysing this to produce the co-efficients is a time- and resource-intensive task.

Finally, producing data on the social aspects of culture, to a standard that is in line with other data produced by national statistical offices, also presents a number of operational challenges.

There may be opportunities to use aspects from existing cross-departmental surveys, such as household or time use surveys. However, the data that can be gained from these sources may not be sufficient to be able to support the cultural/social policymaking process. This is due to the limitations of the areas covered within these generalist surveys. However, it may also be due to problems of robustness when survey results are disaggregated to identify particular sub-populations (e.g. by age, gender, racial, ethnic groups, etc.) and especially where measurement of change is required. The problem of robustness can also affect even dedicated surveys of cultural participation, such as the Eurobarometer Survey, which, because it is only on a limited sample of approximately 1,000 respondents per country, can only really provide contextual information at the country level rather than the more detailed and reliable data required to support policy.

Obviously, the alternative to using data gleaned from existing national statistical sources and/or more focused international sources of data is to launch a bespoke, national survey of cultural participation – but this is very costly. It should be noted that, in part, these difficulties are not so much universal but relate more to the level of sophistication of the cultural policymaking process itself, and particularly the degree to which evidence is used to underpin decision-making.

- 48 -

4. Tables of international classification codes

4.1 Cultural goods and services defined with the Central Product Classification (CPC.2) codes Do we need to replace codes CPCP 1 by HS or ISIC ?

A. Cultural and Natural Heritage: Museums/Built Heritage, Libraries, Archives, Natural Heritage

Function CPC 2 Description CPC 1

Dissemination

38962

Postage or revenue stamps, stamp-postmarks, first-day covers, postal stationery (stamped paper) and the like; collections and collectors' pieces of zoological, botanical, mineralogical, anatomical, historical, ethnographic or numismatic interest; antiques

38960

Exhibition/reception 96411 Museum services except for historical sites and buildings 96411

96421 Botanical and zoological garden services 96421

96422 Nature reserve services including wildlife preservation services 96422

Archiving/preserving 83214 Historical restoration architectural services 83211*, 83212*, 83219*

96412 Preservation services of historical sites and buildings 96412

84520 Archive services 84520

Education/training 92911 Cultural education services (museum education services) 92900*

* All codes under CPC 1 marked with an asterisk (*) signal that only some of the activities under the CPC 1 code fall under the CPC 2 code.

- 49 -

B. Performance and Celebration: Performing Arts, Music1, Celebratory Cultural Events (festivals, fairs, feasts, etc.)

Function CPC 2 Description CPC 1

Creation 96310 Services of performing artists 96310

Producing 96111 Sound recording services 96111*, 96130*

96112 Live recording services 96111*, 96130*

96113 Sound recording originals -

38310 Pianos and other keyboard stringed musical instruments 38310

38320 Other string musical instruments 38320

38330 Wind musical instruments (including pipe organs, accordions and brass-wind instruments) 38330

38340 Musical instruments, the sound of which is produced, or must be amplified, electrically 38340

38350

Other musical instruments (including percussion instruments, musical boxes and fairground organs); decoy calls; whistles, call horns and other mouth-blown sound signalling instruments 38350

Exhibition/reception 96230 Performing arts facility operation services 96230

96290 Other performing arts and live entertainment services 96290

96220 Performing arts event production and presentation services 96220

Dissemination 96210 Performing arts event promotion and organization services 96210

95997 Cultural and recreational associations (other than sports or games) 95999*

89122 Reproduction services of recorded media, on a fee or contract basis 84321 Musical audio downloads

32520 Music, printed or in manuscript 32260

73320 Licensing services for the right to use entertainment, literary or acoustic originals

Education/training 92911 Cultural education services 92900*

1 Music is problematic in that it logically spans the 'Audio-visual' domain as well as 'Performance and Celebration'. Activities related to recorded music are mostly included in this category.

However, activities such as the distributive activities of wholesale and retail are included within the 'Audio-visual' domain when these codes combine audio, video and broadcast activities.

Expanded; Equipment and support materials

Function CPC 2 Description CPC 1

Creation

Producing 38991 Festive, carnival or other entertainment articles, including conjuring tricks and novelty jokes 38991

38360 Parts and accessories of musical instruments; metronomes, tuning forks and pitch pipes 38360

47610 Musical audio disks, tapes or other physical media 47520*

473211 Sound recording or reproducing apparatus 47321, 47322

Dissemination 47610 Musical audio disks, tapes or other physical media 47520*

Education/training 92911 Cultural education services 92900*

1 It should include sound recording apparatus for music recording only.

- 50 -

C. Visual Arts, Crafts1: Fine Arts, Crafts photography

Function CPC 2 Description CPC 1

Creation 81229 Research and experimental development services in other humanities 81210*, 81290*

83814 Specialty photography services

83813 Action photography services

83811 Portrait photography services

Producing 38220 Cultured pearls, precious or semi-precious stones, and reconstructed precious or semi-

precious stones (except industrial diamonds) 38220

83820 Photography processing services

83819 Other photographic services

38942 Photographic plates and film, exposed and developed, other than cinematographic film 38942

38941 Photographic plates, film, paper, paperboard and textiles, exposed but not developed 38941

32540 Printed pictures, designs and photographs 32540

38240 Jewellery, other articles of precious metal/metal clad with precious metal; articles of

natural or cultured pearls or precious or semi-precious stones 38240

38961 Paintings, drawings and pastels; original engravings, prints and lithographs; original

sculptures and statuary, in any material 38960

38210 Pearls, natural or cultured and unworked 38210

Archiving/preserving 83815 Restoration and retouching services of photography

Education/training 92911 Cultural education services (for visual arts, design and craft) 92900*

1 The CPC does not offer any real solutions to the essential difficulty of measuring craft activity within statistical classifications. That is, products are generally defined by their form or type (e.g. ‘statuettes and other ceramic articles’, ‘carpets and other textile floor coverings’) and not by the method of their production, i.e. artisanal or industrialised. Thus, our approach is to use codes where the materials used and/or product types indicate that the activities are least likely to involve mass production and comparatively more likely to be crafts-based.

- 51 -

Expanded: Equipment & support Materials

Function CPC 2 Description CPC 1

35120 Artists', students' or signboard painters' colours, modifying tints, amusement colours and the

like 35120

Producing 48342 Chemical preparations for photographic uses

48341 Photographic plates and film and instant print film, sensitized, unexposed

48323 Cinematographic projectors, slide projectors and other image projectors, except microform

readers

48322 Photographic (including cinematographic) cameras Dissemination 46520 Photographic flashbulbs, flashcubes and the like

Note:

The code 32550 ('Plans and drawings for architectural, engineering, industrial, commercial, topographical or similar purposes, being originals drawn by hand; hand-written texts; photographic reproductions and carbon copies of the foregoing related to plans and drawing of architecture') is not included because it does not make the distinction between cultural and non-cultural products.

- 52 -

D. Books and Press: Book Publishing, Press and Magazine Publishing, libraries

Function CPC 2 Description CPC 1

Creation 963201 Services of authors, composers, sculptors and other artists, except performing artists 96230

96330 Original works of authors, composers and other artists except performing artists, painters and sculptors

81229 Research and experimental development services in other humanities 81210*, 81290*

Producing2 89110 Publishing, on a fee or contract basis 89110

84410 News agency services to newspapers and periodicals 84410

32300 Newspapers, journals and periodicals, appearing at least four times a week 32300

32410 General interest newspapers and periodicals, other than daily, in print 32400

32420 Business, professional or academic newspapers and periodicals, other than daily, in print 32400

32490 Other newspapers and periodicals, other than daily, in print 32400

32510 Maps, similar charts and wall maps other than in book-form 32250

32210 Educational textbooks, in print 32210*, 32230*

32220

General reference books, in print

32210*, 32220*, 32230*, 32240

32291 Professional, technical and scholarly books, in print 32210*, 32230*

32292 Children's books, in print 32210*, 32230*

32299 Other books n.e.c., in print 32210*, 32230*

81221 Research and experimental development services in languages and literature 81240*

81229 Research and experimental development services in other humanities 81210*, 81290*

Dissemination 84311 On-line books 84300*

84312 On-line newspapers and periodicals 84300*

47691 Audio books on disk, tape or other physical media 47520*

47692 Text-based disks, tapes or other physical media 47520*

62551 Retail trade services on a fee or contract basis, of books, newspapers, magazines and stationery 62551

62451 Other non-store retail trade services, of books, newspapers, magazines and stationery 62451

62351 Mail order retail trade services, of books, newspapers, magazines and stationery 62351

62251 Specialized store retail trade services, of books, newspapers, magazines and stationery 62251

62151 Non-specialized store retail trade services, of books, newspapers, magazines and stationery 62151

61251 Wholesale trade services on a fee or contract basis, of books, newspapers, magazines and stationery 61251

61151 Wholesale trade services, except on fee or contract basis, of books, newspapers, magazines and stationery 61151

84510 Library services 84510

- 53 -

Expanded : Equipment and support materials

Function CPC 2 Description CPC 1

Creation

Producing2

32800

Composed type, prepared printing plates or cylinders, impressed lithographic stones or other impressed media for use in printing

32700

44914

Bookbinding machinery; machinery for type-setting and the like; printing machinery and machines for uses ancillary to printing (except office type sheet fed offset printing machinery)

44914*

89121 Printing services and services related to printing, on a fee or contract basis 89121

1 This is a problematic code as, while it clearly covers authors, it also covers many other types of (individual) cultural creation activities. Empirical investigation would be required on a country-by-country basis to establish how to more accurately allocate activities within this class across the domains.

2 The inability to distinguish between printing of items with a cultural end use, e.g. books and newspapers, within the generalised CPC 'Printing' category 89121 means that this has been omitted from this table.

- 54 -

E. Audio-visual and Interactive Media: Broadcasting, Film and Video, Interactive Media

Function CPC 2 Description CPC 1

Creation 96121 Motion picture, videotape and television programme production services 96121*, 96130*, 96149*

96122 Radio programme production services 96122, 96130*, 96149*

Producing 96139 Other post-production services 96142*

96137 Sound editing and design services 96112*, 96142*

96136 Captioning, titling and subtitling services 96142*

96135 Animation services 96121*

96134 Visual effects services 96142*

96133 Colour correction and digital restoration services 96142*

96132 Transfers and duplication of masters services 96112*, 96142*

96131 Audio-visual editing services 96112*, 96142*

96123 Motion picture, videotape, television and radio programme originals -

84631 Broadcasting (programming and scheduling) services 96160

84622 Television channel programmes -

84621 Radio channel programmes -

84612 Television broadcast originals -

84611 Radio broadcast originals -

84420 News agency services to audio-visual media

47699 Other non-musical audio disks and tapes 47520*

47620 Films and other video content on disks, tape or other physical media 47520*

38950 Motion picture film, exposed and developed, whether or not incorporating sound track or

consisting only of sound track

Dissemination 96140 Motion picture, videotape, television and radio programme distribution services 96141

84634 Home programme distribution services, pay-per-view 84170*

84633 Home programme distribution services, discretionary programming package 84170*

84632 Home programme distribution services, basic programming package 84170*

84332 Streaming video content 84300*

84331 Films and other video downloads -

84322 Streaming audio content 84300*

73220 Leasing or rental services concerning videotapes and disks

62542 Retail trade services of radio and television equipment and recorded audio and video disks

and tapes 62542

62442 Other non-store retail trade services, radio and television equipment and recorded audio and

video disks and tapes 62442

62342 Mail order retail trade services, of radio and television equipment and recorded audio and

video disks and tapes 62342

62242 Specialized store retail trade services, of radio and television equipment and recorded audio

and video disks and tapes 62242

62142

Non-specialized store retail trade services, of radio and television equipment and recorded 62142

- 55 -

audio and video disks and tapes

61242 Wholesale trade services, on a fee contract basis of radio and television equipment and

recorded audio and video disks and tapes 61242

61142 Wholesale trade services, except on a fee contract basis of radio and television equipment

and recorded audio and video disks and tapes 61142

Exhibition/reception 96151 Motion picture projection services

96152 Videotape projection services

Education/training 92911 Cultural education services (broadcast and film) 92900*

Expanded: Equipment and support materials

Function CPC 2 Description CPC 1

Producing 47530 Magnetic media, not recorded, except cards with a magnetic stripe 47510*

47590 Other recording media, including matrices and masters for the production of disks 47510*

38580 Video games of a kind used with a television receiver 38580

47530 Magnetic media, not recorded, except cards with a magnetic stripe 47510*

47540 Optical media, not recorded 47510*

47550 Solid-state non-volatile storage devices 47510*

47590 Other recording media, including matrices and masters for the production of disks 47510* Dissemination

47311 Radio broadcast receivers (except of a kind used in motor vehicles), whether or not combined with sound recording or reproducing apparatus or a clock

47311, 47332

47312 Radio broadcast receivers not capable of operating without an external source of power, of a

kind used in motor vehicles 47312

47211 Transmission apparatus for radio-telephony, radio-telegraphy, radio-broadcasting or

television

47220 Electrical apparatus for line telephony or line telegraphy; video phones 47323 Video recording or reproducing apparatus 47323*

47313

Television receivers, whether or not combined with radio-broadcast receivers or sound or video recording or reproducing apparatus

47313*

47215 Digital cameras 47323*

47214 Video camera recorders 47323*

47213 Television cameras 47212

47212 Transmission apparatus not incorporating reception apparatus

Notes:

As with other classifications, the CPC has a good coverage of audio-visual activities. However, there are still a number of issues in using the classification to fully and accurately capture audio-visual activities:

• 73320 ‘Licensing services for the right to use entertainment, literary or acoustic originals’ clearly covers both audio-visual activities and those that fall within other cultural domains. Empirical investigation would be required on a country-by-country basis to establish how to more accurately allocate activities within this class across the different domains.

• Distributive activities related to photography (wholesale and retail) are insufficiently disaggregated within the CPC as they are combined with ‘Optical and precision equipment’, these codes were thus omitted from the framework.

- 56 -

• Retail trade services of radio and television equipment and recorded audio and video disks and tapes cover both core and expanded domains. Empirical investigation would be required on a country-by-country basis to establish how to more accurately allocate activities within this class across both domains.

F. Design and Creative services

Function CPC 2 Description CPC 1

Creation 83911 Interior design services 83410

83919 Other specialty design services 83490

83920 Design originals

83211 Architectural advisory services 83211*

83212 Architectural services for residential building projects 83211*, 83212*, 83219*

83213 Architectural services for non-residential building projects 83211*, 83212*, 83219*

83231 Landscape architectural advisory services 83222

83232 Landscape architectural services 83222

83611 Planning, creating and placement services of advertising 83610

83613 Advertising design and concept development 83610

Producing 83619 Other advertising services 83690

Dissemination 83620 Purchase or sale of advertising space or time, on commission 83620

83631 Sale of advertising space in print media (except on commission) 83631

83633 Sale of Internet advertising space (except on commission) 83633

83639 Sale of other advertising space or time (except on commission) 83639

83632 Sale of TV/radio advertising time (except on commission) 83632

G. Tourism: Visitor Attractions

Function CPC 2 Description CPC 1

Creation 85522 Time-share exchange services 67813*

85540 Tour operator services 67812

85550 Tourist guide services 67820

85561 Tourism promotion services 67813*

85562 Visitor information services 67813*

Producing 63111 Room or unit accommodation services for visitors, with daily housekeeping services 63110

63112 Room or unit accommodation services for visitors, without daily housekeeping services 63191*, 63192*

63113 Room or unit accommodation services for visitors, in time-share properties 63191*, 63192*

63114 Accommodation services for visitors, in rooms for multiple occupancy 63193, 63199*

63120 Camp site services 63195

63130 Recreational vacation camp services 63191*, 63194

63220 Room or unit accommodation services for workers in workers hostels or camps 63199*

- 57 -

63290 All other room or unit accommodation services 63199*

91136 Administrative services related to tourism affairs 91136

Dissemination 85511 Reservation services for air transportation 67811*, 67813*

85512 Reservation services for rail transportation 67811*, 67813*

85513 Reservation services for bus transportation 67811*, 67813*

85514 Reservation services for vehicle rental 67811*, 67813*

85519 Other transportation arrangement and reservation services, n.e.c. 67811*, 67813*

85521 Reservation services for accommodation 67811*, 67813*

85523 Reservation services for cruises 67811*, 67813*

85524 Reservation services for package tours 67811*, 67813*

85531 Reservation services for convention centers, congress centers and exhibit halls 67813*

85539 Reservation services for event tickets, entertainment and recreational services and other

reservation services 96230*, 96411*, 96421*, 96422*, 96520*, 96910*

85539 Reservation services for event tickets, entertainment and recreational services and other reservation services

96230*, 96411*, 96421*, 96422*, 96520*, 96910*

64131 Sightseeing services by rail 64212

64132 Sightseeing services by land, except rail 64319

64133 Sightseeing services by water 65219

64134 Sightseeing services by air 66120*

Notes:

H. Sport and Leisure: Sport and Recreation, Physical Well-being , games and toys

Function CPC 2 Description CPC 1

Creation 96510 Sports and recreational sports event promotion services 96510

96610 Services of athletes 96610

97230 Physical well-being services 97230

Producing 96512 Services of sports clubs 96510

96990 Other recreation and amusement services n.e.c. 96990

96620 Support services related to sports and recreation 96620

96590 Other sports and recreational sports services 96590

63130 Recreational vacation camp services 63191*, 63194

Exhibition/reception 96520 Sports and recreational sports facility operation services 96520

96910 Amusement park and similar attraction services 96910

Education/training 92912 Sports and recreation education services 96620*

- 58 -

Expanded: Equipment and support materials

Function CPC 2 Description CPC 1

Producing 96930 Coin-operated amusement machine services 96930

38600 Roundabouts, swings, shooting galleries and other fairground amusements 38600

38590 Other articles for funfair or table games except video games of a kind used with a TV receiver 38590

49490 Other vessels for pleasure or sports; rowing boats and canoes 49490

49410 Sailboats (except inflatable), with or without auxiliary motor 49410

38450 Fishing rods and other line fishing tackle; fish landing nets, butterfly nets and similar nets 38450

38440 Other articles and equipment for sports or outdoor games 38440

38440 Gymnasium or athletics articles and equipment 38430

38420 Water-skis, surf-boards, sailboards and other water-sport equipment 38420

38410 Snow-skis and other snow-ski equipment; ice-skates and roller-skates 38410

29490 Other sports footwear, except skating boots 29490

29420 Tennis shoes, basketball shoes, gym shoes, training shoes and the like 29420

29410 Ski-boots, snowboard boots and cross-country ski footwear 29410

29210 Saddlery and harness, for any animal, of any material 29210

28236 Track suits, ski suits, swimwear and other garments, of textile fabric, not knitted 28236

28228 Track suits, ski suits, swimwear and other garments, knitted or crocheted n.e.c. 28228

38510 Dolls' carriages; wheeled toys designed to be ridden by children 38510

38520 Dolls representing human beings; toys representing animals or non-human creatures 38520

38530 Parts and accessories of dolls representing human beings 38530

38540 Toy electric trains, and tracks, signals and other accessories therefore; reduced-size ("scale") model assembly kits and other construction sets and constructional toys

38540

38550 Puzzles 38550

38560 Other toys (including toy musical instruments) 38560

38570 Playing cards 38570

38580 Video games of a kind used with a television receiver 38580 38590 Other articles for funfair, table or parlour games (including articles for billiards, pintables,

special tables for casino games and automatic bowling alley equipment), except video games of a kind used with a television receiver

38590

Exhibition/reception 96921 On-line gambling services 96920

96929 Other gambling and betting services 96920

53270 Outdoor sport and recreation facilities 53270

Dissemination 62555 Retail trade services on a fee or contract basis, of sports goods (incl. bicycles) 62555

62355 Mail order retail trade services, of sports goods (incl. bicycles) 62355

62255 Specialized store retail trade services, of sports goods (incl. bicycles) 62255

- 59 -

62455 Other non-store retail trade services, of sports goods (incl. bicycles) 62455

62155 Non-specialized store retail trade services, of sports goods (incl. bicycles) 62155

61255 Wholesale trade services on a fee or contract basis, of sports goods (incl. bicycles) 61255

61155 Wholesale trade services, except on a fee or contract basis, of sports goods (incl. bicycles) 61155

73240 Leasing or rental services concerning pleasure and leisure equipment Archiving/preserving

Education/training

- 60 -

4.2. International trade of cultural goods and services defined with the Harmonised System 2007 When 4 digits code are provided it means that all 6 digit codes associated with this heading should be included.

FCS Category HS 07 HS 07 label SITC 4 SITC 4 Label

A. Cultural and Natural Heritage

9705 Collections and collectors' pieces of zoological, botanical, mineralogical, anatomical, historical, archaeological, palaeontological, ethnographic or numismatic interest

8965* Collections and collectors' pieces of zoological, botanical, mineralogical, anatomical, historical, archaeological, palaeontological, ethnographic or numismatic interest

Antiques 9706 Antiques of an age exceeding one hundred years 8966 Antiques of an age exceeding one hundred years

B. Performance & celebration

Musical instruments 830610 Bells, gongs and the like

920110 Upright pianos 8981 Pianos and other string musical instuments

920120 Grand pianos

920190 Harpsichords and other keyboard stringed instruments (excl. pianos)

920210 Other string musical instruments (for example violins, harps) played with a bow

8982 Other musical instruments; not 898.1-

920290 Guitars, harps and other string musical instruments (excl. with keyboard and those played with a bow)

920510 Brass wind instruments (for example, clarinets, trumpets bagpipes)

920590 Wind musical instruments (excl. brass-wind instruments)

920600 Percussion musical instruments (for example drums, xylophones, cymbals, castanets, maracas)

920710 Keyboard instruments other than accordions

920790 Accordions and musical instruments without keyboards, the sound of which is produced, or must be amplified, electrically

920810 Musical boxes

920890

Fairground organs, mechanical street organs, mechanical singing birds, musical saws and other musical instrument; decoy calls of all kinds; whistles, call horn and other mouth blown sound signalling instruments

920930 Musical instrument strings

In equipment? 920991 Parts and accessories for pianos 8989 Parts of and accessories for musical instruments

920992 Parts and accessories for the musical instruments of heading 9202

920994 Parts and accessories for the musical instruments of heading 9207

920999 Parts and accessories for musical instruments "e.g. mechanisms for musical boxes, cards, discs and rolls for mechanical instruments" n.e.s.; metronomes, tuning forks and pitch pipes of all kinds

Recorded media 1 852321 Cards incorporating a magnetic stripe

- 61 -

852329 Magnetic media for the recording of sound or of other phenomena (excl. cards incorporating a magnetic stripe and goods of chapter 37)

852351 Solid-state non-volatile storage devices

852352 Smart cards""

852359 Semiconductor media, unrecorded, for the recording of sound or of

other phenomena

852380 Gramophone records and other media for the recording of sound or of

other phenomena, whether or not recorded, incl. matrices and masters for the production of discs

In print?? 490400 Music, printed or in manuscript, whether or not bound or illustrated 89285 Music, printed or in manuscript, whether or not bound or illustrated

C. Visual Arts & Craft

Paintings 970110

Paintings, drawings and pastels, executed entirely by hand, other than drawings of heading 4906 and other than hand-painted or hand-decorated manufactured articles, collages and similar decorative plaques

8961 Paintings, drawings and pastels, executed entirely by hand, other than drawings of heading 892.82 and other than hand-painted or hand-decorated manufactured

970190 Collages and similar decorative plaques 8962 Paintings, drawings and pastels, executed entirely by hand, other than drawings of heading 892.82 and other than hand-painted or hand-decorated manufactured

491191 Pictures, designs and photographs 89287 Pictures, designs and photographs

Other visual arts 970200 Original engravings, prints and lithographs 8962 Original engravings, prints and lithographs

970300 Original sculptures and statuary, in any material 8963 Original sculptures and statuary, in any material

392640 Statuettes and other ornamental articles in plastic 89399* Articles of plastics, n.e.s.

442010 Statuettes and other ornaments, of wood 63549*

Wood marquetry and inlaid wood; caskets and cases for jewellery or cutlery, and similar articles; statuettes and other ornaments; wooden articles of furniture not falling within division 82

442090 Wood marquetry and inlaid wood; caskets and cases for jewellery or cutlery, and similar articles, of wood; wooden articles of furniture

691310 Statuettes and other ornamental ceramic articles of porcelain or China 6662 Statuettes and other ornamental ceramic articles

691390 Statuettes and other ornamental ceramic articles, n.e.s. (excl. of

porcelain or china)

701890 Glassware articles including statuettes 66593* Glass beads, imitation pearls, imitation precious or semiprecious stones and similar glass smallwares, and articles thereof

830621 Statuettes and other ornaments, of base metal plated with precious

metal

830629 Statuettes and other ornaments, of base metal, not plated with

precious metal (excl. works of art, collectors'' pieces and antiques)

69782* Statuettes and other ornaments, of base metal; photograph, picture or similar frames, of base metal; mirrors of base metal

960110 Worked ivory and ivory articles 89911* Worked ivory, bone, tortoiseshell, horn, antlers, coral, mother-of-pearl and other animal carving material, and articles of these materials

960190 Bone, tortoiseshell, horn, antlers, coral, mother-of-pearl and other animal carving material, and articles of these materials (including articles obtained by moulding)

Craft 580500 Hand-woven tapestries of the type Gobelins, Flanders, Aubusson, Beauvais and the like and needle-worked tapestries

580600 Narrow Woven fabrics

- 62 -

580800 Braids in the piece; ornamental trimmings in the piece, without embroidery; other than knitted or crocheted

580900 Woven fabrics of metal thread and woven fabrics of metallised yarn of heading 5605 of a kind used in apparels as furnishing fabrics or for similar purposes

5810 Embroidery in the piece, in strips or in motifs

581100 Quilted textile products in the piece

Photography 370510 Photographic plates and film, exposed and developed, other than cinematographic film for offset reproduction

370590 Photographic plates and film, exposed and developed (excl for offset production)

8826* Photographic plates and film, exposed and developed, other than cinematographic film

D. Books and press

Books 89215 Books, brochures & similar printed matter, in sheets

490110

Printed reading books, brochures, leaflets and similar printed matter whether in single sheets whether or not folded

490191 Dictionaries and encyclopaedias and serial instalments thereof 89216 Dictionaries & encyclopaedias, not in single sheets

490199 Printed books, brochures and similar printed matter 89219 Other books, brochures & simil., printed, excluding sheets

Newspaper 490210 Newspapers, journals and periodicals, whether or not illustrated or containing advertising material appearing at least four times a week 8922 Newspapers, journals & periodicals

490290 Other newspapers, journals and periodicals

Other Printed matter 490300 Children's picture, drawing or colouring books 89212 Children's picture, drawing or colouring books

89213 Maps & charts in book form

4905

Maps and hydrographical or similar charts of all kinds

89214 Maps & hydrog. or similar charts, print., excluding books

490900 Postcards, printed or illustrated; printed greeting cards 8924 Postcards, announcement cards, etc., transfers, print.

491000 Calendars of any kind, printed, including calendar blocks 89284 Calendars of any kind, printed (including calendar blocks)

E. Audio-visual and interactive media

Cinema 370610 Cinematograph film, exposed and developed whether or not incorporating sound track or only consisting of sound track of a width of 35 mn or more

883 Cinematograph films, exposed & developed

370690 Cinematographic film, exposed and developed, whether or not incorporating soundtrack or consisting only of soundtrack, width < 35 mm

950410 'Video games used with a television receiver 89431 'Video games used with a television receiver

F. Design and creative services

Architecture and design 490600

Plans and drawings for architectural, engineering, industrial, commercial, topographical or similar purposes, being originals drawn by hand; hand-written texts; photographic reproductions on sensitised paper and carbon copies of the foregoing

89282*

Plans and drawings for architectural, engineering, industrial, commercial, topographical or similar purposes, being originals drawn by hand; handwritten texts; photographic reproductions on sensitized paper and carbon copies of the foregoing

Advertising 491110 Trade advertising material, commercial catalogue and the like 89286 Trade advertising material, commercial catalogues and the like

- 63 -

Notes 1 Includes recorded and non recorded media. Needs to exclude them. Some of them should be in expanded

RELATED CULTURAL GOODS

G. Tourism2

F. Sports & leisure3

Notes 2 Only covers as cultural tourism services 3 Only covers sports & leisure services

EQUIPMENT, TOOLS AND MATERIALS OF CORE CULTURAL GOODS

B. Performance and celebration

Celebration 950510 Articles for Christmas festivities

950590 Festival, carnival or other entertainment articles, incl. conjuring tricks and novelty jokes, n.e.s.

950810 Travelling circuses and travelling menageries

Music recorder 851930 Turntables (record decks) 7633 Turntables, record player

8518 Microphones and stands therefore, loudspeakers, headphones earphones..

C. Visual arts, Craft & Photography

370120 Instant print film 8822

Photographic plates and film in the flat, sensitized, unexposed, of any material other than paper, paperboard or textiles; instant print film in the flat, sensitized, unexposed, whether or not in packs

370130 Other plates and film, with any side exceeding 255mm

370191 Photographic plates and film in the flat sensitised, unexposed for colour photography

370199

Photographic plates and film in the flat for monochrome photography, sensitised, unexposed, of any material other than paper, paperboard or textiles (excl. X-ray film and photographic plates, film in the flat with any side > 255 mm, and instant print film)

3702 1

Photograph film, rolls, sensitised, unexposed, of any material other than paper, paperboard or textile

8823 Photographic film in rolls, sensitized, unexposed, of any material other than paper, paperboard or textiles; instant print film in rolls, sensitized, unexposed

3703 Photographic paper, paperboard and textiles, sensitised, unexposed 8824 Photographic paper, paperboard and textiles, sensitized, unexposed

3704 Photographic paper, paperboard and textiles, exposed but not developed

8825 Photographic plates, film, paper, paperboard and textiles, exposed but not developed

3707 Chemical preparations for photographic uses

9006 2 Photographic cameras (except cine), accessories 881 Photographic apparatus and equipment, n.e.s.

9010 Equipment for photographic laboratories n.e.s

- 64 -

D. Books & press3

E. Audiovisual & interactive media

852110 Video recording and reproducing apparatus, magnetic tape-type 7638 Sound-recording and other sound-reproducing apparatus; video-recording or reproducing apparatus, whether or not

incorporating a video tuner

852190 Video recording or reproducing apparatus, whether or not incorporating a video tuner (excl. magnetic tape-type and video camera recorders)

8525

Transmission apparatus for radio-broadcasting or television whether or not incorporating reception apparatus or sound recording or reproducing apparatus; television cameras, digital cameras and video cameras recorders

761 Television receivers

8527 Reception apparatus for radio-broadcasting, whether or not combined in the same housing, with sound recording or reproducing apparatus or a clock

762 Radio-broadcast receivers, whether or not incorporating sound-recording or reproducing apparatus or a clock

8528 Monitors, projectors, not incorporating television reception apparatus; reception apparatus for TV, whether or not incorporating radio-broadcast receivers or sound video recording reproducing apparatus

9007 Cinematographic cameras and projectors, whether or not incorporating sound recording or reproducing apparatus

9008 Image projectors, photographic enlargers and reducers

Notes 1 Does not include code 370219 photographic film in rolls or X-ray 2 Does not include code 900630? 3 Does not include printing machines

EQUIPMENT AND SUPPORT MATERIALS AND TOOLS FOR RELATED CATEGORIES

G. Tourism

8901.10 - Cruise ships

F. Sports & leisure2

890310 Inflatable vessels for pleasure or sports

890391 Sailboats

890392 Motor boats

950300 Tricycles, scooters, pedal cars and similar wheeled toys; dolls'' carriages; dolls; other toys; reduced-size "scale" recreational models, working or not; puzzles of all kinds

950420 Articles and accessories for billiards of all kinds

950430 Games with screens, flipper and other games, operated by coins, banknotes, bank cards, tokens or by other means of payment (excl. bowling alley equipment)

- 65 -

950440 Playing cards

950490

Tables for casino games, automatic bowling alley equipment, and other funfair, table or parlour games, incl. pintables (excl. operated by coins, banknotes "paper currency", discs or other similar articles, billiards, video games for use with a television receiver, and playing cards)

950611 Skis

950612 Ski-fastenings (ski-bindings)

950619 Ski equipment for winter sports (other than skis and ski-fastenings [ski-bindings])

950621 Sailboards

950629 Water-skis, surfboards and other water-sport equipment (other than sailboards)

950631 Clubs

950632 Balls

950639 Golf equipment (excl. balls and complete clubs)

950640 Articles and equipment for table-tennis

950651 Lawn-tennis rackets

950659 Badminton and similar rackets, whether or not strung (other than tennis rackets and table-tennis bats)

950661 Lawn-tennis balls

950662 Inflatable

950669 Balls (excl. inflatable, tennis balls, golf balls, and table-tennis balls)

950670 Ice skates and roller skates

950691 Articles and equipment for general physical exercise

950699 Articles and equipment for sport and outdoor games n.e.s; swimming and paddling pools

950890 Roundabouts, swings, shooting galleries and other fairground amusements; travelling theatres

950710 Fishing rods

950720 Fish-hooks

950730 Fishing reels

950790 Line fishing tackle n.e.s; fish landing nets

950710 Fishing rods

950720 Fish-hooks

950730 Fishing reels

950790 Line fishing tackle n.e.s; fish landing nets

Notes: 2 Should we include ski boots? 640219

Should we include yacht ? (8903? Should we include footwear 6404? Should we include 4201 Saddlery and harness for any animal (CPC 29210) Should we include 6211 Tracksuits

- 66 -

4.3 Table 4: Cultural industries defined with the International Standard Industrial Classification Revision 4

A. Cultural and Natural Heritage: Museums/Built Heritage

ISIC 4 Description Function Code CPC 2

9102 1 Museums activities and operation of historical sites and buildings

Exhibition/Reception, Archiving/Preserving

96411, 96412

4773 2 Other retail sale of new goods in specialized stores Dissemination

9103 Botanical and zoological gardens and nature reserves activities Exhibition/Reception, Archiving/Preserving

96421, 96422

4774 3 Retail sale of second-hand goods Dissemination

8522 Technical and vocational secondary education in heritage Education/Training 92911

8530 Higher education in heritage Education/Training 92911

8542 Other education: Cultural education in heritage Education/Training 92911

1 Excludes restoration of works of art and museum collection objects (in 9000)

2 Activities of commercial art galleries, of antiques, activities of auctioning houses (retail)

3 Includes Retail sale of antiques

4 Restoring of historical sites and buildings are included in the code 4100 Construction of buildings, but is not included here

- 67 -

B. Performance and Celebration: Performing Arts, Music, Celebratory Cultural Events (festivals, fairs, feasts, etc.)

ISIC 4 Description Function CPC 2

9000 1 Creative, arts and entertainment activities

Creation, exhibition/Reception

96210, 96220, 96230, 96290, 96310

3220 Manufacture of musical instruments Making

38310, 38320, 38360, 38330, 38340, 38350, 38360

7490 2 Other professional, scientific and technical activities n.e.c.

4759 3 Retail sale of electrical household appliances, furniture, lighting equipment and other household articles in specialized stores

Dissemination

5920 Sound recording and music publishing activities Dissemination 32520

4762 Retail sale of music and video recordings in specialized stores Dissemination

4649 4 Wholesale of other household goods Dissemination

8522 Technical and vocational secondary education in performing arts Education/Training 92911

8530 Higher education in performing arts Education/Training 92911

8542 Other education: Cultural education in performing arts Education/Training 92911

Notes 1 Production of live theatrical presentations, concerts and opera or dance productions and other stage productions. Activities of groups, circuses or companies, orchestras or bands. Activities of individual artists such as musicians, authors. Activities of producers or entrepreneurs of arts live events with or without facilities. 2 Activities carried on by agents and agencies on behalf of individuals usually involving the obtaining of engagements in motion picture, theatrical production or other entertainment or sports attractions and the placement of books, plays, artworks, photographs etc., with publishers, producers etc.

3 Retail sale of musical instruments and scores 4 Wholesale of recorded audio and video tapes, CDs, DVDs. The code comprise as well wholesale of consumer electronics: radio and TV equipment; CD and DVD players and recorders; stereo equipment; video game consoles. In the calculation, countries should put if possible them in expanded domain.

Expanded: Equipment and support materials

ISIC 4 Description Function CPC 2

4652 1 Wholesale of electronic and telecommunications equipment and parts Making

1820 Reproduction of recorded media Making, dissemination 89122

1 Wholesale of blank audio and video tapes and diskettes, magnetic and optical disks

- 68 -

C. Visual Arts, Crafts, Photography

Code Description Function CPC 2

9000 2 Creative, arts and entertainment activities Creation, exhibition/Reception

96210, 96220, 96230, 96290, 96310

7420 Photographic activities Producing 83811, 83813, 83814, 83815, 83819, 83820, 38941, 38942

4773 3 Other retail sale of new goods in specialized stores Dissemination

8522 Technical and vocational secondary education in visual arts Education/Training 92911

8530 Higher education in visual arts Education/Training 92911

8542 Other education: Cultural education in visual arts Education/Training 92911

Notes:

1 The ISIC covering industrial activities, it quite impossible to measure craft. 1392 Manufacture of made-up textile articles, except apparel includes: manufacture

of hand-woven tapestries. 2826 Manufacture of machinery for textile, apparel and leather production includes weaving machines (looms), including hand looms

2 Activities of sculptors, painters, cartoonists, engravers, etchers etc.. Restoring of works of art such as paintings etc..

3 Retail sale of souvenirs, craftwork and religious articles .

2. Expanded: Equipment & support materials

Code Description Function CPC 2

3211 Manufacture of jewellery and related articles Producing 38220, 38240

4773 1 Other retail sale of new goods in specialized stores

1 Retail sale of photographic, optical and precision equipment

- 69 -

D. Books and Press: Book Publishing, Press and Magazine Publishing

Code Description Function CPC 2

9101 Library and archives activities Dissemination, Archiving/Preserving

84510, 84520

5811 Book publishing Creation, Producing 32210, 32220, 32291, 32292, 32299, 32510, 47691, 47692, 84311

9000 1 Creative arts and entertainment activities

6391 News agency activities

Producing, dissemination

84410

5813 Publishing of newspapers, journals and periodicals Producing 32300, 32410, 3240, 32490, 84312

4649 2 Wholesale of other household goods Dissemination

4761 Retail sale of books, newspapers and stationary in specialized stores Dissemination 62551

4774 3 Retail sale of second-hand goods Dissemination 62551

4789 4 Retail sale via stalls and markets of other goods 62551

8522 Technical and vocational secondary education in books & press Education/Training 92911

8530 Higher education in book & press Education/Training 92911

8542 Other education: Cultural education in books and press Education/Training 92911

1 Activities of individual writers & independent journalists 2 Includes wholesale of stationery, books, magazines and newspapers 3 Retail sale of second-hand books 4 Retail sale of books via stalls or markets

Expanded: Equipment and support materials

Code Description Function CPC 2

1811 Printing Producing 89121 1812 Service activities related to printing Producing 89121

- 70 -

E. Audio-visual and Interactive Media: Broadcasting, Film and Video, Interactive Media

Code Description Function CPC2

5911 Motion picture, video and television programme production activities Producing 38950, 47620, 84331, 5911

5912 Motion picture, video and television programme post-production activities Producing 38950, 96131, 96132, 96133, 96134, 96135, 96136, 96137, 96139

5913 Motion picture, video and television programme distribution activities Dissemination, Archiving/Preserving

96140

5914 Motion picture projection activities Exhibition/Reception 96151, 59152

6010 Radio broadcasting Producing, dissemination 84611, 84621, 84631*, 96122

6020 Television programming and broadcasting activities Producing, dissemination 84612, 84622, 84631*, 96121

7722 Renting of video tapes and disks Dissemination 73220

5819 1 Other publishing activities Producing 32540

6321 News agency activities Producing 84420

8522 Technical and vocational secondary education in media Education/Training 92911

8530 Higher education in media Education/Training 92911

8542 Other education: Cultural education in media Education/Training 92911

1 Printed pictures, designs and photographs.

Expanded: Equipment and support materials

Code Description Function CPC2

4742 Retail sale of audio and video equipment in specialized stores Dissemination 62142

6201 Computer programming activities Producing

5820 1 Software publishing

2680 Manufacture of magnetic and optical media Producing 47530, 47590

2670 2 Manufacture of optical instruments and equipment Producing, dissemination 47215, 48322, 48323

2640 2 Manufacture of consumer electronics Producing, dissemination

47214, 47220, 47311, 47312, 47313, 47321, 47323, 88234*

2630 3 Manufacture of communication equipment Producing, dissemination 47211, 47212, 47213, 47323 88234*

6110 2 Wired telecommunications activities Dissemination 84632

6120 2 Wireless telecommunications activities Dissemination 84633

6130 2 Satellite telecommunications activities Dissemination 84634

1 Only part related to video games

3 Only part related to audio, broadcast and cinema activities: manufacture of radio and television studio and broadcasting equipment, including, television cameras, manufacture of radio and television transmitters

- 71 -

F. Design & Creative services; Core: Design & creative services

Code Description Function CPC 2

7410 1 Specialized design activities Creation 83911, 83919, 83920

7110 2 Architectural and engineering activities and related technical consultancy Creation

83211, 83212, 83213, 83214, 83231, 83232

7310 Advertising Creation, Dissemination 83611, 83613, 83919, 83920

8522 Technical and vocational secondary education in design and creative sector Education/Training 92911

8530 Higher education in design and creative sector Education/Training 92911

8542 Other education: Cultural education in design and creative sector Education/Training 92911

Notes

1 It includes: - fashion design related to textiles, wearing apparel, shoes, jewellery, furniture and other interior decoration and other fashion goods as well as other personal or household goods:- activities of graphic designers; activities of interior decorators

2. It is necessary to evaluate the part that relates to architectural activities. ISIC codes don't distinguish the different types of architectural activities (landscape, historical restoration etc..)

G. Tourism

Code Description Function CPC 2

7911 Travel agency activities Dissemination 85511

7912 Tour operator activities Dissemination 85511

7990 Other reservation service and related activities Dissemination

5510 Short term accommodation activities Dissemination 63110, 63191, 63192, 63193, 63194, 63195,

5520 Camping grounds, recreational vehicle parks and trailer parks Dissemination 63120

- 72 -

H. Sports, Leisure: Sport and Recreation, Physical Well-being, Visitor Attractions, games and toys

Code Description Function CPC 2

4763 Retail sale of sporting equipment in specialized stores Dissemination

7721 Renting and leasing of recreational and sports goods Dissemination 73220

9311 Operation of sports facilities Producing, dissemination 96520

9312 Activities of sports clubs Producing, dissemination 96512

9319 Other sports activities Producing, dissemination 96610

9321 Activities of amusement parks and theme parks Producing, dissemination 96910

9329 Other amusement and recreation activities n.e.c. Producing, dissemination 96990

4764 Retail sale of games and toys in specialized stores Producing 38410, 38420, 38430, 38440

8541 Sports and recreation education Education/Training 92911

2. Expanded: Equipment and support materials

Code Description Function CPC 2

3240 Manufacture of games and toys Producing 38510 3230 Manufacture of sports goods Producing 38410, 38420, 38430, 38440, 38450

3012 Building of pleasure and sporting boats Producing 4764 Retail sale of games and toys in specialized stores Dissemination 62553

4789 1 Retail sale via stalls and markets of other goods Dissemination 62553

9200 Gambling and betting activities Dissemination 96921, 96929

1 Retail sale of games and toys via stalls or markets

- 73 -

4.4. Table 5: Cultural occupations defined with International Standard Classification of Occupations 2008 codes

A. Cultural and Natural Heritage: Museums/Built Heritage, Natural Heritage

Function ISCO 08 Description ISCO 88

Creation 26321 Sociologists, anthropologists and related professionals 2442

11202 Managing directors and chief executives 1210

Producing 14313 Sports, recreation and cultural centre managers 1319 part

Dissemination 3443 Gallery, library and museum technicians New group

Exhibition/reception 1346 Other professional services managers: museum manager, archives manager 1319 part

5154 Pet groomers and animal care workers: It includes zookeeper

Archiving/preserving 21334 Environmental protection professionals 2211 part

2621 Archivists and curators 2431

1 Include archeologists and conservators. 2 Include managers of cultural enterprises and institutions, and directors of museums. 3 Include managers of art galleries or museums. 4 Include professionals working in protected areas.

- 74 -

B. Performance and Celebration: Performing Arts, Music1, Celebratory Cultural Events (festivals, fairs, feasts, etc.)

Function ISCO 08 Description ISCO 88

Creation

2659

Creative and performing artists not elsewhere classified: Other live performers (music hall artists, ventriloquists, bull fighters, tap dancers etc.); community arts worker, clowns, magicians and related workers

3474

Producing 2653 Dancers and choreographers 2454 - 3473, part

2652 Musicians, singers and composers 2453, 3473, part

5142 Beauticians and related workers: make-up artists 5141 part

5141 Hairdressers: wig dressers 5141 part

7312 Musical instrument makers and tuners 7312

Exhibition/reception 1346 Other professional services managers: Performing arts and festival managers 1319 part

Education/training 2353 Other language teachers 2359, part

2354 Other music teachers 2359, part

2355 Other arts teachers 2359, part

2310 University and higher education teachers in music

2320 Vocational education teachers in music 2310, 2320

2330 Secondary education teachers in music 2320

2340 Primary school teachers in music 2331, 3310

1 Music is problematic in that it logically spans the 'Audio-visual' domain as well as 'Performance and Celebration'. Activities related to recorded

music are mostly included in this category. However, activities such as the distributive activities of wholesale and retail are included within the 'Audio-visual' domain when these codes combine audio, video and broadcast activities

- 75 -

C. Visual Arts, Crafts , photography

Function Code Description ISCO 88

Creation 2651 Visual artists 2452

3431 Photographers 3131, part

Producing 3118 Draughtspersons 3118

7314 Potters and related workers (handicraft workers) 7321

7315 Glass makers, cutters, grinders and finishers (handicraft workers) 7322

7316 Sign writers, decorative painters, engravers and etchers (handicraft workers) 7323, 7324

7317 Handicraft workers in wood, basketry and related materials 7331, 7431, 7432

7318 Handicraft workers in textile, leather and related materials 7332

7319 Handicraft workers not elsewhere classified 7221, part

7522 Cabinet-makers and related workers (handicraft workers) 7422

7531 Tailors, dressmakers, furriers and hatters 7433, 7434

7532 Textile, leather and related pattern-makers and cutters 7435

7533 Sewers, embroiderers and related workers 7436

7113 Stonemasons, stone cutters, splitters and carvers (handicraft workers) 7113, 7122, part

7115 Carpenters and joiners (handicraft workers) 7124

7313 Jewellery and precious-metal workers 7313

7534 Upholsterers and related workers (handicraft workers) 7437

7535 Pelt dressers, tanners and fellmongers (handicraft workers) 7441

7536 Shoemakers and related workers (handicraft workers) 7442

Dissemination 1346 Other professional services managers: art gallery manager 1319 part

Education/Training 2310 University and higher education teachers in visual arts

2320 Vocational education teachers in visual arts 2310, 2320

2330 Secondary education teachers in visual arts 2320

2340 Primary school teachers in visual arts 2331, 3310

2355 Other arts teachers in visual arts 2359, part

- 76 -

Expanded: Occupations related to equipment and supporting materials

Function Code Description ISCO 88

Producing 7322 Printers: Silk-screen, block and textile printers (handicraft workers) 7346, 8161

7521 Wood treaters 7421

7341 Compositors, typesetters and related workers 7341

7343 Printing engravers and etchers 7343

7523 Woodworking-machine setters and setter-operators 7423

8132 Photographic products machine operators 7344, 8224 D. Books and Press: Book Publishing, Press and Magazine Publishing, Library

Function Code Description ISCO 88

Creation 2641 Authors and related writers 2451

2646 Journalists 2451

Archiving/Preserving 4411 Library and filing clerks 4141

2622 Librarians and related information professionals 2432

Occupations related to equipment and supporting materials

Function ISCO 08 Description ISCO 88

Creation Producing

7341

Pre-press technicians (includes: compositors, typesetters and related workers, printing engravers and etchers)

7341, 7342, 7343

7322 Printers 7346, 8161

7343 Print finishing and binding workers 7345, 8162

- 77 -

E. Audio-visual and Interactive Media: Broadcasting, Film and Video

Function ISCO 08 Description ISCO 88

Producing 2654 Film, stage and related directors and producers 2455, part - 1229, part

2655 Film, stage and related actors 2455, part

3449 Artistic associate professionals not elsewhere classified: Includes script-girl/boy, prompter, stage manager 3449

Dissemination 2656 Announcers on radio, television and other media 3472

Education/training 2310 University and higher education teachers in audio-visual and multimedia 2310, 2320

2320 Vocational education teachers in audio-visual and multimedia 2310, 2320

Expanded: Occupations related to equipment and supporting materials

Function ISCO 08 Description ISCO 88

Dissemination 3521 Broadcasting and sound and vision recording technicians 3131, part 3132

F Design and Creative Services: design, architecture & advertising

Function Code Description ISCO 88

Creation 2163 Product and garment designers 3471

2166 Graphic and multimedia designers 3471 part

3442 Interior designers and decorators 3471, part

2161 Building architects 2141, part

2162 Landscape architects 2141, part

2164 Town and traffic planners 2141, part

2165 Cartographers and surveyors 2148

Producing 3118 Draughtspersons 3118

Dissemination 1222 Advertising and public relations managers 1234, 1317 part

2431 Advertising and marketing professionals 2419, part

Education/Training 2310 University and higher education teachers in Design, creative services

2320 Vocational education teachers in Design, creative services 2310, 2320

2330 Secondary education teachers in visual arts 2320

- 78 -

G. Tourism

Function ISCO 08 Description ISCO 88

Dissemination 4221 Travel agency and related clerks 4221

5111 Travel attendants and travel stewards

5113 Travel guides

H. Sports & leisure: Sport and Recreation, Physical Well-being, Visitor Attractions ,Gambling and Toys

Intangible Heritage

ISCO is the only classification that could allow some assessment of the number of occupations related to traditional knowledge. The following codes have been identified as pertinent for this domain but further work is required for the identification of these professions such as the integration of some craft professions.

Function ISCO 08 Description ISCO 88

Producing 1113 Traditional chiefs and heads of village 1130

2636 Religious professionals 2460

5169 Personal services workers not elsewhere classified: Faith healers 3242

2230 Traditional and complementary medicine professionals 3241, 3229 part

3230 Traditional and complementary medicine associate professionals

Dissemination 3422 Religious associate professionals 3480

Function ISCO 08 Description ISCO 88

Making 3441 Athletes and sports players 3475 part

Dissemination 1432 Sports, recreation and cultural centre managers 1319 part

4212 Bookmakers, croupiers and related gambling workers 4213

4213 Pawnbrokers and money-lenders 4214

Education/Training 3442 Sports coaches, instructors and officials 3475, part

3443 Fitness and recreation instructors and program leaders 3475, part

- 79 -

GLOSSARY OF TERMS Administrative survey: A statistical survey conducted by sources external to statistical offices originally collected for non-statistical purposes (UNSC, 2000). Collection of data from administrative records, in which data are derived from files. Business register: A register describing the properties of business establishments (UNSC, 2000) Census surveys: A survey conducted on the full set of observation objects belonging to a given population or universe (UNSC, 2000)

Central Product Classification: The main purpose of the Central Product Classification is to provide a framework for the international comparison of statistics dealing with products and to serve as a guide for developing or revising existing classification schemes for products in order to make them compatible with international standards. The CPC was developed primarily to enhance harmonization among various fields of economic and related statistics and to strengthen the role of national accounts as an instrument for the coordination of economic statistics. It provides a basis for recompiling basic statistics from their original classifications into a standard classification for analytical use. (UNSD, 2008)

Cultural goods are defined as consumer goods that convey ideas, symbols and ways of life, i.e. books, magazines, multimedia products, software, recordings, films, videos, audio-visual programmes, crafts and fashion. Cultural services are aimed at satisfying cultural interests or needs. Cultural services do not represent cultural material goods in themselves but facilitate their production and distribution. For example, cultural services include licensing activities and other copyright-related services, audio-visual distribution activities, promotion of performing arts and cultural events, as well as cultural information services and the preservation of books, recordings and artefacts (in libraries, documentation centres, museums), etc. Cultural activities embody or convey cultural expressions, irrespective of the commercial value they may have. Cultural activities may be an end in themselves or they may contribute to the production of cultural goods and services.

Culture cycle refers to the production of culture as a result of a series of interlinked processes or stages that together form the cultural cycle, value chain or supply chain. Cultural industries produce and distribute cultural goods or services as defined above. Cultural diversity refers to the many ways in which the different cultures of groups and societies find expression. These cultural expressions are passed on within and among groups and societies, and from generation to generation. Cultural diversity, however, is evident not only in the varied ways in which cultural heritage is expressed, augmented and transmitted but also in the different modes of artistic creation, production, dissemination, distribution and enjoyment, whatever the means and technologies that are used.

- 80 -

Cultural participation is participation in the arts and everyday life activities that may be associated with a particular culture. It refers to “the ways in which ethnically-marked differences in cultural tastes, values and behaviours inform not just artistic and media preferences but are embedded in the daily rhythms of different ways of life; and of the ways in which these connect with other relevant social characteristics – those of class and gender, for example”. (Bennett, 2001) Household expenditure surveys: Sample surveys of households in which the households are asked to provide data, or estimates, of the amounts they spend on consumption goods and services and for other purposes over a given period of time. Also called Household consumption surveys or Household budget surveys (OECD, 2008) Informal sector is broadly characterised as comprising production units that operate on a small scale and at a low level of organization, with little or no division between labour and capital as factors of production, and with the primary objective of generating income and employment for the persons concerned. Operationally, the sector is defined on a country-specific basis as the set of unincorporated enterprises owned by households which produce at least some products for the market but which either have less than a specified number of employees and/or are not registered under national legislation referring, for example, to tax or social security obligations or regulatory acts. (OECD, 1993)

Intangible heritage is defined as “the practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associated therewith – that communities, groups and, in some cases, individuals recognise as part of their cultural heritage. This intangible cultural heritage, transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity”. (UNESCO, 2003) Indigenous and tribal peoples include:

� “tribal peoples in independent countries whose social, cultural and economic conditions distinguish them from other sections of the national community, and whose status is regulated wholly or partially by their own customs or traditions or by special laws or regulations; and

� peoples in independent countries who are regarded as indigenous on account of their descent from the populations which inhabited the country, or a geographical region to which the country belongs, at the time of conquest or colonisation or the establishment of present state boundaries and who, irrespective of their legal status, retain some or all of their own social, economic, cultural and political institutions." (ILO, 1989)

The International Standard Industrial Classification of All Economic Activities (ISIC) consists of a coherent and consistent classification structure of economic activities based on a set of internationally agreed concepts, definitions, principles and classification rules. It provides a comprehensive framework within which economic data

- 81 -

can be collected and reported in a format that is designed for purposes of economic analysis, decision-taking and policy-making. The classification structure represents a standard format to organize detailed information about the state of an economy according to economic principles and perceptions. 2. In practice, the classification is used for providing a continuing flow of information that is indispensable for the monitoring, analysis and evaluation of the performance of an economy over time. Labour force survey: is a standard household-based survey of work-related statistics (ILO)

Opinion survey: A sample survey which aims at ascertaining or elucidating opinions possessed by the members of a given human population with regard to certain topics.(OECD, 2008) Traditional knowledge “refers to the knowledge, innovations and practices of indigenous and local communities around the world. Developed from experience gained over the centuries and adapted to the local culture and environment, traditional knowledge is transmitted orally from generation to generation. It tends to be collectively owned and takes the form of stories, songs, folklore, proverbs, cultural values, beliefs, rituals, community laws, local language and agricultural practices, including the development of plant species and animal breeds. Traditional knowledge is mainly of a practical nature, particularly in such fields as agriculture, fisheries, health, horticulture, forestry and environmental management in general”. (SCBD, 2007)

- 82 -

Bibliography

African Union (AU). (2005). Nairobi Plan of Action for Cultural Industries, at the First Ordinary Session of African Union Conference of Ministers of Culture, Nairobi, Kenya.

Australian Bureau of Statistics (2001). Australian Culture and Leisure Classifications. Adelaide.

Australian Bureau of Statistics (2002). ABS Culture, Sport and Recreation Statistics: Current Activities and Future Strategy. Adelaide.

Australian Bureau of Statistics (2006). Discussion paper: Arts and Cultural Heritage in Australia - Key issues for an information development Plan. Adelaide.

Barrowclough, D. and Z. Kozul-Wright (Eds.) (2006). Creative Industries and Developing Countries: Voice, Choice and Economic Growth. London.

Bennett, Tony (2001). Differing Diversity: Cultural Policy and Cultural Diversity. Strasbourg: Council of Europe Publishing.

BIMSTEC countries (2006). Paro initiative and Plan of Actions, at the First BISMTEC on Cultural Cooperation, Paro, Bhutan, May 2006.

Canadian Heritage (2008). (not publicly available) Comments on the UNESCO FCS Draft 2007.

Caribbean Regional Negotiating Machinery (2006). The cultural industries in CARICOM: trade and development challenges.

Centre for Cultural Policy Research (2003). Baseline Study on Hong Kong’s Creative Industries. Central Policy Unit, Hong Kong Special Administrative Region Government: University of Hong Kong.

Centre for Cultural Policy Research, Home Affairs Bureau (2005). A study on creativity index. Home Affairs Bureau, Hong Kong Special Administrative Region Government: University of Hong Kong.

Centro de Estudios Regionales Cafeteros Y Empresaiales (2005). Guide for Drawing up Regional Mapping of Creative Industries. Bogota.

Christensen, L. et al (2001). Refuge for Integration: A Study of How the Ethnic Minorities in Denmark Use the Libraries. Moellegade: Aarhus Public Libraries, pp.1-23. http://www.aakb.dk/graphics/pub/refuge.pdf.

Council for Cultural Affairs (2004). Cultural Policy White Paper. Taiwan Council for Cultural Affairs.

Culture, Tourism and the Center for Education Statistics (2004). Canadian Framework for Cultural Statistics. Ottawa: Statistics Canada.

Culture, Tourism and the Center for Education Statistics (2004). Economic Contribution of Culture in Canada. Ottawa: Statistics Canada.

Culture, Tourism and the Center for Education Statistics (2004). Economic Contribution of the Culture Sector in Canada – A Provincial Perspective. Ottawa: Statistics Canada.

Cunningham, S. (2003). The Evolving Creative Industries. Transcript of a seminar, 9 May 2003. Brisbane: QUT.

Cunningham Stuart and Peter Higgs (2008). Creative Industries Mapping: Where have we come from and where are we going? In Creative Industries Journal, Vol 1.1, Hockley, United Kingdom.

DCMS (2001). Creative Industries Mapping Document. London: Department of Culture, Media and Sport.

- 83 -

DCMS (2003). Regional Data Framework for the Creative Industries: Final Technical Report for the Department of Culture, Media and Sport and the Regional Cultural Consortia. London: Department of Culture, Media and Sport.

Economic Review Committee, Services Subcommittee Workgroup on the Creative Industries (2002). Creative Industries Development Strategy: Propelling Singapore’s Creative Economy.

Ståle Navrud and Richard C. Ready (2002). Valuing Cultural Heritage: Applying Environmental Valuation Techniques to Historic Buildings, Monuments and Artefacts. London: Edward Elgar Publishing Ltd.

European Commission (2006). The economy of culture in Europe. Luxembourg.

European Commission (2001). Report by the Task Force on Cultural Expenditure and Finance. Luxembourg.

European Commission, Eurostat (2002). European’s Participation in Cultural Activity: A Eurobarometer Survey, Executive Summary.

Eurostat, OECD, UN and WTO (2001). Tourism Satellite Account: Recommended Methodological Framework. www.world-tourism.org.

Eurostat. (2007). Eurostat Pocket book: Cultural statistics, European communities. Luxembourg

Girard, A. (1982). Creative Industries: A Challenge for the Future of Culture. Paris: UNESCO.

Girard, A. (1982a). "Cultural industries: A handicap or a new opportunity for cultural development?" In UNESCO, Cultural Industries: A Challenge for the Future of Culture, pp. 24-39. Paris: UNESCO.

Gupta, A. and J. Ferguson (Eds.) (1999). Culture, Power, Place: Explorations in Critical Anthropology. Durham, North Carolina: Duke University Press.

Held, T., C. Kruse, M. Sondermann and A. Weckerle (2005). Zurich’s Creative Industries Synthesis Report. Zurich: Office for Economy and Labour of the Canton of Zurich and City of Zurich Economic Development.

Higgs P, Cunningham S. (2008). “Creative industries Mapping: Where have we come from and where we are going?”, Creative Industries Journal, Volume 1, Number 1.

Hoehn, J., and A. Randall (1989), ‘Too Many Proposals Pass the Benefit Cost Test’, The American Economic Review, Vol. 79.3, pp. 544-551.

Hui, D. (2005). "Learning from Mapping Exercises: from Baseline Study to Creativity Index", paper presented to the conference "Asia Pacific Creative Communities: A Strategy for the 21

st

Century", UNESCO Senior Expert Symposium on Cultural Industries, Jodhpur, India, 22-26 February 2005.

Inter American Development Bank (IABD) (2007), Cultural Industries in Latin America and the Caribbean: Challenges and Opportunities, Washington: IABD.

International Labour Organisation (ILO) (1988). International Standard Classification of Occupations. Geneva: ILO.

ILO (1989). Indigenous and Tribal Peoples Convention, (No. 169). Geneva: ILO.

International Monetary Fund (2008). Balance of Payments and International Investment Position Manual, Six Edition (BPM6), pre-publication draft. December 2008. Statistics Department, IMF.

Keaney, E. (2006). From Access to Participation: Cultural Policy and Civil Renewal. London: IPPR.

LEG Eurostat (2000). "Cultural statistics in the EU", Eurostat Working Paper; Population and Social Conditions Series, 3/2000/E/No1. Final report of the LEG. Luxembourg.

- 84 -

Manninen, A. (2002). Cultural Consumption and Practices: A National and Cross-National Perspective. City of Helsinki, Department of Urban Facts. Proceedings of the International Symposium on Culture Statistics, UNESCO Institute for Statistics, Montreal, 21-23 October 2002.

Michalos, A. (2003). Essays on the Quality of Life, Social Indicators Research Series, Vol. 19. Kluwer, Dordrecht.

Michalos, A. (ed.) (2005). Citation Classics from Social Indicators Research: The most cited articles, Social Indicators Research Series, Vol. 26. Springer, Dordrecht.

Ministry of Cultural Affairs, Statistics New Zealand (1996). Household Spending on Culture.

Ministry of Cultural Affairs, Statistics New Zealand (1995). New Zealand Framework for Cultural Statistics 1995.

Ministry for Culture and Heritage, Statistics New Zealand (2003). A Measure of Culture: Cultural Experiences and Cultural Spending in New Zealand.

Ministry for Culture and Heritage, Statistics New Zealand (2005). Employment in the Cultural Sector 2005.

Ministry of Education (1998). Cultural Industry Committee Final Report. Helsinki: Ministry of Education.

Myerscough, J. (1988). The Economic Importance of the Arts in Britain. London: Policy Studies Institute.

Observatoire de la culture et des communications du Québec (2003). Québec Culture and Communications Activity Classification System 2004. Québec City: Institut de la statistique du Québec.

Observatory of Cultural Policies in Africa (OCPA), Interarts, UNESCO (2004). Cultural Indicators of Human Development in Africa, final report, International Seminar., Maputo 3-5 March 2004.

Observatory of Cultural Policies in Africa (OCPA). (2006) Indicateurs culturels pour le développement humain en Afrique, projet de recherche. Maputo

OECD (1993). The System of National Accounts, 1993 – Glossary. Paris: OECD.

OECD (2007). International Measurement of the Economic and Social Importance of Culture.

OECD (2008). OECD Glossary of Statistical Terms.

Organisation Internationale de la Francophonie. (2002), Les industries culturelles des pays du Sud: Enjeux du projet de convention internationale sur la diversité culturelle.

Pratt, A. C. and N’deck Ndiaye (2004). The Music Industry in Senegal: The Potential for Economic Development, report for UNCTAD. London.

Pratt, A. C. (2001). "Understanding the cultural industries: Is more less?" Culturelink 35, pp. 51-68.

Scanlon, R. and R. Longley (1984). "The arts as an industry: the economic importance to the New York-New Jersey Metropolitan Region" in W. Hendon, D. Shaw and N. Grant (Eds.) The Economics of Cultural Industries, pp. 93-100. Association for Cultural Economics, United States of America: University of Arkon.

Secretariat of the Convention on Biological Diversity (SCBD) (2007). "Article 8(j): Traditional knowledge and the convention on biological diversity". Montreal. http://www.cbd.int/programmes/socio-eco/traditional/default.shtml

Secretariat of the Pacific Community.(SPC) (2002). Regional Framework for the Protection of Traditional Knowledge and Expressions of Culture.

Sen Amartya (2000). Culture and development. World Bank Tokyo Meeting, 11-13 December 2000.

- 85 -

Siwek S. (2002). Copyright Industries in the U.S. Economy: The 2002 Report. Washington, D.C.: The International Intellectual Property Alliance.

South African Cultural Observatory. The Economics of Culture & Cultural Statistics in South Africa, : http://www.culturalobservatory.org.za/pdf_files/econ_of_culture.pdf

Statistics Canada (1997). Canada’s Culture, Heritage and Identity: A Statistical Perspective. Ottawa: Statistics Canada.

Statistics Canada (1998). Quality Guidelines. 12-539-XIE. Third Edition - October 1998

Statistics Finland (2005). Cultural Statistics [Online] (http://www.stat.fi/til /klt_en.html).

Statistics Finland (2005). Leisure Survey [Online] (http://www.stat.fi/til /klt_en.html).

Statistics Finland (2006). Mass Media [Online] (http://www.stat.fi/til /klt_en.html).

Statistics Finland (2006). Mass Media Market 2000 – 2004 [Online] (http://www.stat.fi/til/klt_en.html).

Statistics Finland (2006). Time Use Survey [Online] (http://www.stat.fi/til /klt_en.html).

Statistics New Zealand (2003). Cultural Experience Survey [Online] (http://stats.gov.nz/NR/exeres).

Statistics New Zealand (2000). Government Spending on Culture – article [Online] (http://stats.gov.nz/products-and-services/Articles/spemd-on-cult-90-99).

Steinberg, C. (2001). “Culture & sustainable tourism”. Recognising culture: a series of briefing papers on culture and development. Comedia, Department of Canadian Heritage, UNESCO

Thorhauge, J. (2003). “Danish Strategies in Public Library Services to Ethnic Minorities”, paper prepared for the World Library and Information Congress: 69

th IFLA General Conference and

Council, Berlin, 1-9 August 2003.

Throsby, D. (2001). Economics and culture. Cambridge University Press.

Throsby, David. (2005). On the Sustainability of Cultural Capital.

Uganda, Ministry of Gender Labour and Social Development. (2006). Uganda National culture policy. Kampala.

United Nations (2008). International Standard Industrial Classification of All Economics Activities (ISIC), Revision 4. Statistical Papers: Series M, No 4, Rev. 4. UN New York.

United Nations (2002), European Commission, IMF, OECD, UNCTAD, WTO. the Manuel on Statistics of International Trade in Services. Statistical Papers, Series M No 86.

UNCTAD/WIPO (2001). Developing Countries Becoming a Global Player: Opportunities in the Music Industry. Cuban Music Industry Development and Marketing Plan. Geneva: UNCTAD/ WIPO.

United Nations Development Programme (UNDP, 2005). Human Development report 2004: Cultural Liberty in Today’s Diverse World.

UNESCO (1972). Convention Concerning the Protection of the World Cultural and Natural Heritage. Paris: UNESCO.

UNESCO (1986). The UNESCO Framework for Cultural Statistics. Paris: UNESCO.

UNESCO. (1992) Culture industries for development in Africa: Dakar plan of action, Organization of African Unity. Dakar.

UNESCO (1997), Methodological Guide to the Collection of Data on Crafts.

UNESCO (1999). The value of culture. Paper for the Forum Development and Culture. IADB-UNESCO, Paris 11-12 March 1999.

- 86 -

UNESCO (1-2003). Atelier sur la culture et le développement dans le programme d’action du NEPAD.

UNESCO (2-2003). Convention for the Safeguarding of the Intangible Cultural Heritage. Paris: UNESCO.

UNESCO (3-2003), Language Vitality and Endangerment, Paris: UNESCO

UNESCO (2005). Convention on the Protection and Promotion of the Diversity of Cultural Expressions. Paris: UNESCO.

UNESCO (2005) Diagnostico y metodología para diseñar indicadores culturales en los países centroamericanos. Documento de Trabajo, Seminario subregional sobre indicadores culturales en Centroamérica, San José Costa Rica, 6-8 de septiembre de 2005. Oficina de la UNESCO en México.

UNESCO (2007). http://whc.unesco.org/en/culturallandscape/

UNESCO (2008). La cultura en números: hacia un sistema de indicadores culturales para Centroamérica. UNESCO San José: CECC. San José, Costa Rica.

UNESCO Institute for Statistics (2006). Guidelines for Measuring Cultural Participation. Montreal: UNESCO Institute of Statistics.

UNESCO International Trade Center. (1997). “International Symposium on “Crafts and the International Market: Trade & Customs Codification”, Manila.

United Nations Statistical Commission (UNSC) and Economic Commission for Europe. 2000. Terminology on Statistical Metadata. Conference of European Statisticians Statistical Standards and Studies – No. 53. UN, New York.

Wallis, R. (2001). Best Practice Cases in the Music Industry and their Relevance for Government Policies in Developing Countries, report for WIPO-UNCTAD.

Williams, R. (1977). Marxism and literature. London: Oxford University Press.

World Intellectual Property Organisation (WIPO) (1957). International Classification of Goods and Services for the Purposes of the Registration of Marks under the Nice Agreement. Geneva: WIPO.

WIPO (1971). International Patent Classification. Geneva: WIPO.

WIPO (2003). Guide on Surveying the Economic Contribution of the Copyright-based Industries. Geneva: WIPO.

WTO (2004). Indicators of Sustainable Development for Tourism Destinations, a Guidebook. Madrid: WTO.

- 87 -

Appendix I: List of consultees Meetings and networks at which the framework was presented:

• Asia Cultural Co-operation Forum, Hong Kong Special Administrative Region of China, 2006

• China International Cultural Industries Forum, Shenzhen, China, 2007

• Convenio Andrés Bello, Bogota, Colombia, 2007

• Friederich Nauman Stiftung, 4th Conference on Creative Industries, Berlin, Germany 2007

• IFACCA Researchers Network, Singapore, 2007

• 7th Northumbria Conference on Library Performance Statistics, Stellenbosch, South

Africa, 2007

• OECD Expert Meeting on Cultural Statistics, Paris, France, 2006

• UNESCO Expert Group on Measuring Cultural Diversity, Montreal, Canada, 2007

• UNESCO Conceptual Workshop for the World Report on Cultural Diversity, Paris, 2007

• Round table: The interactions between public and private financing of the arts and culture, Erasmus University and Boekman Foundation, Amsterdam, 2007

• EUROSTAT Working Group on Cultural statistics, Luxembourg, 2008

• 2nd International Cultural Industries (ICI) Forum, Beijing, CHINA, 2008,

• National Advisory Committee on Cultural Statistics (Canada) Ottawa, CANADA, 2008

• The 2nd WIPO International Conference on IP and the Creative Industries, Bali, Indonesia, 2008

• 2nd Expert Group on the Measurement of the Diversity of Cultural Expressions, Barcelona, SPAIN, 2008

• International Seminar on Culture Statistics, organised by the Instituto Brasileiro de Geografia e Estatística – IBGE, Rio de Janeiro, 2008

• Task Force Meeting on FCS, Montreal, Canada, 2009

UIS Regional consultative workshops

• Arab States, Amman, JORDAN, June 2008

• Sub-Saharan Africa, Maputo, MOZAMBIQUE, September 2008

• Asia-Pacific, Bangkok, THAILAND, October 2008

• Latin America and the Caribbean, San-José, COSTA-RICA, January 2009

- 88 -

Appendix II: Scoping study on existing cultural statistics frameworks II.1. Review of existing cultural statistics frameworks

The following review, which was conducted by BOP Consulting with Andy Pratt of the London School of Economics and Calvin Taylor of the University of Leeds, covered 14 different cultural statistical frameworks. It has been updated based on comments received from UNESCO member countries as part of the formal consultation, which took place in 2008. The coverage was not intended to be exhaustive, but to be indicative of frameworks for culture, creative industries and copyright industries. It takes into consideration:

• the global North and the global South;

• developed and developing countries;

• supra-national or regional blocs;

• intra-state ‘cultural exceptionalism’; and

• multi-lateral agencies.

Wherever possible, classification frameworks were selected that were developed by national statistical agencies or by national culture ministries, departments or agencies, i.e. they are not simply mapping studies but frameworks that have in some way been commissioned, adopted and supported by government.

The frameworks reviewed collectively span the decade between 1995 and 2005, and relate to the following territories:

• Australia, 2000/01 (Culture)

• Canada,8 2004 (Culture)

• China, 2005 (Culture)

• Colombia, 2004 (Creative Industries) – to be adopted by the countries that are parties to the Andrés Bello Agreement

• European Union Leadership Expert Group (LEG), 1999 (Culture)

• Finland, 1999 (Culture)

• Hong Kong, Chine 2003 (Creative Industries)

• New Zealand, 1995 (Culture)

• Quebec, 2004 (Culture)

• Singapore, 2002 (Creative Industries)

• Taiwan, Chine 2004 (Creative and Cultural Industries)

• United Kingdom, 2004 (Culture)

• WIPO, 2002 (Copyright Industries)

• Zurich, 2005 (Creative Industries) – close in approach to other national European frameworks, such as the one for Austria.

8 Includes all Canadian provinces and territories.

- 89 -

II.2. Summary of major findings across selected existing frameworks

To varying degrees, the frameworks reviewed are each a product of the following competing/contrasting factors:

• Political demands – the frameworks are closely linked to the needs and internal policies of individual countries.

• The ‘art of the possible’ – technical considerations regarding classifications and data availability have a pragmatic influence over definitions and frameworks.

• Aspirational – the frameworks highlight what each country/regional bloc considers to be important in the field of culture; sometimes regardless of whether or not it is possible to incorporate this into present statistical classification and data collection systems.

In the earlier frameworks reviewed (e.g. New Zealand), pragmatic demands are more to the fore and the cultural frameworks were based predominantly on what statistics and codes were available. Later frameworks (e.g. in Canada and potentially the United Kingdom) and definitions use weightings to apply to existing Standard Industrial Classification (SIC) codes. Some of the frameworks go further than this (e.g. Australia and Quebec) to produce their own statistical nomenclature for culture, separate from the ISIC. However, not all of the surveys in these countries currently use the new classifications and the data collected remain limited. In this general context, it should be noted that:

• With regard to emphasis and focus of the frameworks, European countries are more concerned with consumption and the ownership of organisations engaged in cultural industries. Other countries seek to measure cultural creation and consumption as a means to support the sustainability of their indigenous cultures; while countries in the developing world are relatively more interested in how they can measure and harness crafts and the unregulated trade in cultural activities for economic development.

• The collection of statistics lags significantly behind the development and establishment of frameworks for defining and classifying culture in statistical terms.

• The lack of data collected using the country classification frameworks is related to a number of serious challenges to data collection in the cultural field. These challenges are both structural and operational, and also related to the nature of the policymaking process itself in each country, including the role that evidence plays, the effectiveness of communication and the willingness of other agencies and organisations to use the classifications that have been developed for culture.

• Frameworks with reliable cultural data collection tend to be the ones where national statistical agencies are heavily involved (i.e. Australia, Canada and Finland). Correspondingly, frameworks produced solely by culture departments/agencies seem less successful in actually populating frameworks with data.

- 90 -

In general, the cultural data that do exist relate to governance concerns either of countries (whose concern is with the management of cultural assets or the promotion of cultural heritage and the arts) or of corporations (whose concerns are sales). The data that exist are seldom fit for the purposes set out earlier in this document. Some countries have sought to either adapt existing data sources to be more appropriate for meeting set objectives or to collect new data. Both exercises are costly and time consuming. This is the challenge and the opportunity that a cultural framework and database must address. II.3 Breadth of the cultural sector in selected frameworks Analysis shows that there is a considerable range of activities that are taken to be cultural/creative across the 14 frameworks. Frameworks either categorise activities solely according to a list of individual industries, generally defined in terms of their market (e.g. film) or also aggregate these activities into a smaller number of cultural domains (e.g. audio-visual). As these higher level groupings may consist of different constituent activities, even if they have the same name (see below), it is important to start first with an analysis at the level of individual cultural activities (e.g. broadcasting or crafts) to avoid confusion.

Once this is taken as a starting point, it is possible to identify relative agreement across a significant sub-set of the 25+ separate cultural/creative activities contained within the country classifications. This has been represented graphically in Figure 1 below,9 with the activities for which there is greater commonality listed at the top and those that are specific to only one or two countries/blocs/multi-lateral organisations listed at the bottom.

Leaving aside the ‘tail’ (i.e. activities that are included in only one or two of the country classifications), the key areas of variation relate to:

1. Interactive Media; 2. Software; 3. Printing; 4. Celebratory Cultural Events: festivals, fairs and feasts; 5. Intangible and Natural Cultural Heritage; and 6. wider Leisure Activities: gambling, sport, tourism.

In part, this is a reflection of whether the classification frameworks analysed relate to cultural industries or the related concepts of creative and intellectual property industries. The first three activities highlighted above (interactive media, software and printing) are typically absent from cultural frameworks, while celebratory events (intangible and natural heritage and – to a lesser extent – also libraries and archives) are excluded from most creative industries classifications, with Colombia/Andrés Bello Agreement countries being an important exception. Finally, only a few countries include wider leisure activities in culture – the United Kingdom and the Anglophone countries in the Southern hemisphere (Australia and New Zealand), as well as China.

9 Figure 1 does not include all the activities covered under the WIPO Copyright Industries

Framework. Activities are shown here to illustrate overlaps with cultural and creative industries.

- 91 -

Figure 1. Review of the ‘breadth’ of cultural and creative activities across the 14 frameworks UPDATED

Activities Cultural Statistical Frameworks for Countries/Territories/Blocs/Multi-lateral organisations Total

Publishing/literature AU NZ CA UK EU FI CL HK SG TW CN WIPO Qc Zu 14

Performing arts AU NZ CA UK EU FI CL HK SG TW CN WIPO Qc Zu 14

Music AU NZ CA UK EU FI CL HK SG TW CN WIPO Qc Zu 14

Film AU NZ CA UK EU FI CL HK SG TW CN WIPO Qc Zu 14

Broadcasting (TV and radio) AU NZ CA UK EU FI CL HK SG TW CN WIPO Qc Zu 14

Fine arts AU NZ CA UK EU FI CL HK SG TW CN WIPO Qc Zu 14

Advertising AU NZ CA UK FI CL HK SG TW CN WIPO Qc Zu 13

Architecture AU NZ CA UK EU FI CL HK SG TW WIPO Qc Zu 13

Design (inc fashion) AU NZ CA UK FI CL HK SG TW WIPO Qc Zu 12

Museums, built/landscape environment AU NZ CA UK EU FI CL SG TW CN Qc Zu 12

Photography AU NZ CA UK EU FI CL HK SG WIPO Qc 11

Libraries and archives AU NZ CA UK EU FI CL SG Qc Zu 10

Interactive media (web, games, mobile etc.) AU UK EU CL HK SG TW CN WIPO Qc 10

Crafts AU CA UK FI CL HK SG TW Qc Zu 10

Software UK FI CL HK SG TW CN WIPO Qc 9

Printing AU CA UK CL HK SG WIPO 7

Community and government activities AU NZ FI CL CN Qc 6

Gambling and visitor attractions AU NZ UK FI TW 5

Sports and recreation AU NZ UK CL CN 5

Festivals, fairs, feasts CA UK FI CL SG 5

Intangible cultural heritage NZ FI CL Qc 4

Tourism AU UK CL CN 4

Natural environment AU NZ CL 3

Toys and games CL WIPO 2

Other information services (inc trade unions) CA 1

Mass cultural services CN 1

Innovative lifestyle TW 1

Establishment in more than 1 field of culture Qc 1

AU Australia NZ New Zealand

CA Canada UK United Kingdom EU European Union FI Finland

CL Colombia HK Hong Kong, SAR China

SG Singapore TW Taiwan, China CN China

WIPO World Intellectual Property Organisation Qc Quebec Zu Zurich

- 92 -

Aggregation into domains

As implied above, there is much greater agreement over which activities make up the breadth of the cultural sector than there is over how these activities should be aggregated into higher level groupings or domains. For instance:

• the European Union (EU) Leadership Expert Group (LEG) culture framework uses eight domains: Cultural Heritage, Archives, Libraries, Books and Press, Visual Arts, Architecture, Performing Arts, Audio and Audio-visual/Multimedia;

• the Singapore creative industries classification uses three sub-sectors: Arts and Culture, Design, Media; and

• the United Kingdom framework uses seven domains: Audio-visual, Books and Press, Visual Arts, Performance, Heritage, Sport, Tourism.

In addition to varying numbers of sub-sector groupings with different category headings, the constituent activities are often aggregated into different groupings depending on the country or framework context. For example, ‘Photography’ is part of the ‘Arts and Culture’ grouping in the Singapore framework, but part of a smaller ‘Visual Arts’ domain in the EU LEG framework and part of the ‘Audio-visual’ domain in the United Kingdom.

Section 3 outlines a proposal for dealing with the issues raised in this analysis of existing classification frameworks. II.4 Depth of the sector Understanding how countries establish the depth of the cultural sector is more complex than dealing with its breadth. In part, this is because the breadth is not always explicitly stated, whether this concerns the rationale or the list of activities that are included or excluded. However, once again, by analysing the individual activities that are included within the technical SIC definition of the sector, it is possible to establish what the implicit notion of the depth of the sector is in instances where no explicit mention is made. Understanding the depth of the sector is also complicated by the fact that there are different models for this kind of analysis across frameworks.

Figure 2 maps the different stages (or functions) that were identified in the review of the ‘depth’ of cultural and creative activities across the 14 frameworks, and colour codes the frameworks according to which of the three models they are based on:

Model A: The production of culture is the result of a series of interlinked processes or stages that together form the cultural production, value and supply chains or cycles (AU, CA, CL, EU, FI, HK, NZ, UK). The model is agnostic as to how these activities are funded or what the economic business model is that predominates in these activities. The production cycle approach often also emphasises the importance of education and critique processes for both the supply and consumption of culture.

Model B: This is an essentially hierarchical model, organised according to a core + periphery or core + related axiom that prescribes activities as either part of culture or in some way outside of it (but related to it). The defining characteristics that govern the inclusion-exclusion logic of this model are intellectual property or symbolic value:

- 93 -

i) Intellectual property: Based on copyright industries (SG10), the core in this case includes activities that focus exclusively on the exploitation of intellectual property and other functions that are either partial copyright activities or in some ways linked to the first tier of core activities.

ii) Symbolic value: Functions are essentially defined by an assessment of how cultural they are, to again produce a core and related set of cultural activities. In this model (e.g. China), the core consists of activities that are most concerned with the creation of symbolic value, while related activities are concerned with the distribution and manufacturing of cultural products and services.

Model C: Activities in this model are defined and classified not by their function (e.g. creation or retail), but by their funding and governance arrangements: private sector, state/public sector or civil society, not-for-profit (e.g. Zurich).

The production cycle model is the most commonly used across the frameworks (see Figure 2). The major issue for a production chain/cycle model is establishing a principle that determines how far back up the supply chain activities should be included. For example, the Australian framework stops at what is referred to as ‘one step’ removed. Effectively this means gauging what the end use of the product or service will be. If it is primarily for cultural purposes, as with a TV set, then the manufacture of TV sets is included in cultural industries. But, if the end use is not clear because the good or service can be put to a number of uses of which culture is only one (as with the components of a TV set), then it is not included in the culture cycle.

Data collection

As Figure 3 below illustrates, there is very little actual data collection related to the cultural statistical frameworks under review. While Australia, New Zealand, Finland and Canada have received funding to conduct unique culture surveys, Australia and Finland are the only countries that obtain regular funding for this purpose.

• The European countries (with the exception of the United Kingdom) are, in general, more concerned with consumption and with the ownership of organisations engaged in cultural industries than other countries. This is related to the positioning of culture within government policies and public funding regimes.

• A number of countries and regions (New Zealand, Colombia, Taiwan and Quebec) seek to measure cultural creation and consumption as a means to support their indigenous cultures.

Countries in the developing world (e.g. Colombia) are relatively more interested in how they can measure and harness crafts and the unregulated trade in cultural activities for economic development.

10 Although this is not covered in the review of country classifications, it should be noted that the notion of copyright industries used by Singapore largely stems from work undertaken in the United States by Economists Incorporated, which produced the first of a series of reports on the United States Copyright Industries for the International Intellectual Property Alliance 1990.

- 94 -

Figure 2. Review of the ‘depth’ of cultural and creative activities across the 14 frameworks UPDATED

etc. model 1 2 3 4 5 6

CA Creative chain Creation (creative/artistic ideas) Production (one-production, means to

support one-off production)

Manufacturing (means of mass

reproduction)

Distribution (distribution, wholesale,

retail, exhibition)

Support services (agents, managers,

promoters)

Education (art schools, colleges)

Qc Production scheme Creation (creation of ideas, IP) Production (mass reproduction) Dissemination/distribution (incl. retail,

exhibition, Internet distribution)

Training (of cultural creators/workers)

NZ Cycle of production and consumption Creators (undertaking specific cultural

activities to produce cultural goods or

services)

Organisations (involved in cultural

production and distribution)

Products (goods/services produced as

a result of cultural activities - at

retail/wholesale)

Consumers (business and organisations

consuming cultural products)

AU Does not apply a supply chain model N/A N/A N/A N/A N/A N/A

UK Production chain Creation (content origination, authoring) Making (one-off production, tools,

infrastructure, mass reproduction)

Dissemination (distribution, wholesale,

retail)

Exhibition/reception Archiving/preservation Education

EU LEG Production chain Creation Production Dissemination Trade/sales Education Preservation

FI Production chain (but implicit) Creation Production Dissemination/participation Trade/sales Preservation Education

CL Value chain Creation Production Distribution Consumption Preservation

HK Value chain Content origination & creation Production input (incl. manufacturing /

infrastructure)

Reproduction and distribution (incl.

exhibition)

TW Production chain (but implicit) Content origination & creation Production (one-off and mass

reproduction, tools & infrastructure)

Distribution Cultural education services

WIPO Copyright industries Core copyright industries (IP

owners/exploiters)

Partial copyright industries (industries

where IP is only part of the business

model, e.g. Architecture, Advertising)

Distributive copyright industries

(distribution, wholesale, retail)

Interdependent copyright industries

(manufacture, distribution and retail of

the means of playback/reception, e.g.

DVD players, TVs, game consoles)

Non-dedicated support industries

(general, i.e. non-dedicated wholesale,

retail, distribution, e.g. of copyright

products in supermarkets, over the

web)

SG Copyright industries Core copyright industries (IP

owners/exploiters)

Partial copyright industries (industries

where IP is only part of the business

model, e.g. Architecture, Advertising)

Distributive copyright industries

(distribution, wholesale, retail)

CN Core-periphery-supporting Core cultural industries (defined by how

'cultural' the end use is )

Periphery cultural industries Related cultural services (wholesale,

retail, manufacturing)

Education (cultural studies)

ZU Narrow-broad (based on

governance/funding model)

Economy/private sector (cultural

industries e.g. film, publishing, design)

State/public sector (performing arts,

museums & galleries)

Civil society/intermediary sector (e.g not-

for -profit arts organisations,

foundations)

- 95 -

Figure 3. Review of statistical indicators collected according to cultural and creative industries frameworks UPDATED

Cultural Statistical Frameworks for Countries/Territories/Blocs/Multi-lateral organisations

Indicators AU1

CA CL CN EU FI HK NZ SG TW UK WIPO Zu Qc

Labour market

Employment

Occupation (incl self-employment)

Employment status (PT/FT)

Income

Age of employees

Gender of employees

Education of employees

Ethnicity of employees

Hours worked

Unpaid work

Economic performance

Number of businesses

Size of business

Turnover

GDP

GVA

Capital expenditure

Trade / Export

Value of sales

Products (classification)

Sponsorship revenues

Public support

Government expenditure

Participation and consumption

Attendance numbers by activity

Participation numbers by activity

Consumption (unit sales)

Volunteer numbers

Household expenditure

Possession of cultural storage formats/methods for

receiving/playback (books, TV etc.)

Cultural time use and frequency

Genre (e.g music, TV)

Intangible cultural assets

Language: no of speakers