December 2013
National Endowment for the Arts
1100 Pennsylvania Avenue, NW
Washington, DC 20506
Telephone: 202-682-5400
arts.gov
Sunil Iyengar, Director
Other staff contributors: Steven Shewfelt and Tamika Shingler
Wassall of Northeastern University for his valuable assistance while this document
was in production.
202-682-5496 Voice/TTY
(a device for individuals who are deaf or hearing impaired)
Individuals who do not use conventional print materials may contact the Arts
an alternate format.
This publication is available free of charge in PDF format at arts.gov, the website of
the National Endowment for the Arts.
Preface ������������������������������������������������������������������������������������������������������������������������������������������������������������v
PART I: Accounting for the Nation’s Arts and Cultural Industries: Why, What, and How? ������������ 1
Section 1� Why a Satellite Account on Arts and Culture? ���������������������������������������������������������������������� 1
Section 2� What Does the ACPSA Measure? ������������������������������������������������������������������������������������������� 3
Section 3� How Were the ACPSA Commodities and Industries Selected? ������������������������������������������ 9
Table 3� Commodities Included in the ACPSA ������������������������������������������������������������������������������������� 15
Section 4� Future ACPSA Products and Frequently Asked Questions ����������������������������������������������� 18
FAQs ������������������������������������������������������������������������������������������������������������������������������������������������������������ 20
PART II: Accounting for the Nation’s Arts and Cultural Workforce �������������������������������������������������� 22
Section 1� Adding Value to the Satellite Account: A New Taxonomy for Arts and Cultural
Occupations ����������������������������������������������������������������������������������������������������������������������������������������������� 22
Section 2� Locating All Occupations (Arts and Non-Arts) Within Arts and Cultural Industries �� 31
Section 3� Computing the Monetary Value of Arts and Cultural Volunteers ������������������������������������ 34
List of Tables Accompanying Part II and Online ���������������������������������������������������������������������������������� 37
Acknowledgements ����������������������������������������������������������������������������������������������������������������������������������� 38
APPENDIX A� ������������������������������������������������������������������������������������������������������������������������������������������� 39
Understanding Industry Classications ������������������������������������������������������������������������������������������������� 39
APPENDIX B� ������������������������������������������������������������������������������������������������������������������������������������������ 40
Illustration of the Standard Occupation Classication System ����������������������������������������������������������� 40
References and Further Reading ������������������������������������������������������������������������������������������������������������ 42
In 2012, the National Endowment for the Arts (NEA) and the U.S. Department of Commerce’s
Bureau of Economic Analysis (BEA) agreed to devise a system for valuing arts and culture as a
distinct sector of the nation’s economy.
Thereafter, in consultation with the NEA, the BEA made arrangements to track a cohort of arts
and cultural commodities and industries and compute their annual impact on gross domestic
(ACPSA), preliminary estimates from which are being released with this guide.
taken steps to account for arts and cultural contributions more comprehensively.
In the spring of 2013, the BEA announced that it would begin to consider spending on
recordings, commercial stock photography, and greeting card designs) as capital assets rather
(This revision occurred outside the ACPSA development process, and while the result is not
Other countries also have shown the way. Economists in the UK, Canada, Australia, Spain,
and Colombia, to name a few examples, have proposed or established arts-related satellite
accounts for their countries—whether the organizing principle is creative production,
cultural activity, or some hybrid of both concepts.
Analysis has taken every opportunity to avail of these resources. This white paper is partly
an attempt to repay the debt, by taking the reader through the U.S. process for assigning
economic value to industries and commodities.
information it ultimately will provide, how the BEA and NEA tackled complex issues of
Midway through work on the satellite account, however, the NEA’s research staff decided that
the white paper could serve a second purpose. In conversations with multiple stakeholders
about the ACPSA project, there frequently arose confusion—or, at any rate, unanswered
questions—about how the choice of arts and cultural commodities might bear on future
recognition of arts/cultural workers (and not just industries) as a critical component of
economic value.
This line of inquiry led NEA researchers to advance a new taxonomy of arts and cultural
occupations, to supplement use of the commodities that appear in the satellite account. This
list stems from an evaluation of Bureau of Labor Statistics occupation codes, but it allows
for individual and combined estimates of economic value—which, again, may be examined
v
Another method presented here is more empirical. Instead of a top-down approach for
determining which occupations merit inclusion in an arts/cultural workforce taxonomy,
this method consists of analyzing the presence of all types of occupation within arts and
represented within each industry.
blueprint for building a comparable robustness in the methodology used to track arts
and cultural occupations at the U.S. level. Likewise, a section on capturing the economic
value of the nation’s arts/cultural volunteers supports the NEA’s long-term aim of more
comprehensive accounting for this sector.
Economic outcomes from the arts fall into one domain of impacts under investigation by
the NEA seeks to “advance public knowledge about the arts’ contributions to American life.”
Other research projects bid to achieve the following goals: to quantify audience members’
levels of engagement with NEA-funded arts programming; to track the long-term
relationship between the arts and livability in communities throughout the nation; evaluate
the effects of creative arts therapies in military personnel experiencing psychological
illnesses and mild traumatic brain injury; and to address knowledge gaps concerning the
arts’ link to human development at every stage of the lifespan. For many of these studies,
the NEA is collaborating with one or more federal agencies to realize a shared objective.
Finally, the length of this paper and the variegated ground it attempts to cover are
testimony to the wide-ranging ambition behind satellite accounts in general. As the BEA
sectors that are treated more summarily in the main industry accounts. As the NEA
embarks on the second year of this experiment with the BEA, we hope this white paper will
illumine the factors and choices that informed the account’s creation, even while we know
that there will be ample scope for improvement in the months ahead.
Sunil Iyengar
National Endowment for the Arts
vi
1
The Bureau of Economic Analysis (BEA),
nestled within the U.S. Department of
Commerce, produces a system of accounts
that measure what the U.S. economy
produces, how much is earned by that
production, and how earnings are spent.
The BEA’s national income and product
accounts (NIPAs) include gross domestic
product
value of the goods and services produced in
the United States over a given period—and
personal consumption expenditures
(PCE), which make up 70 percent of the total
Complementing the NIPAs are the BEA’s
industry accounts, which provide a
framework to measure and analyze, by
industry, the production of goods and
services. These accounts depict the internal
workings of the U.S. economy.
The BEA releases industry accounts in
industry accounts, which report estimates
for 65 industries, and the second are the
“benchmark” industry accounts, which are
for 425 detailed industries. For example, the
BEA’s annual industry accounts show that
the performing arts, spectator sports, and
museums, combined, added $83 billion to
the U.S. economy in 2011. The more detailed
benchmark accounts, by contrast, reveal that
the performing arts, as distinct from sports
and museum industries, contributed $7.2
Despite the wealth of information available
from the BEA’s industry accounts, they
do not visibly capture every aspect of the
economy. Satellite accounts, alternatively,
expand the capacity of the national
accounting system. Linked to, but distinct
from, the main industry system, they cut
across sectors and arrange industry data
to show detail without overburdening the
main industry accounts. Because they are
supplemental, satellite accounts also permit
conceptual development—in effect, they
can serve as laboratories for economic
accounting.
The BEA, for example, produces a satellite
account on travel and tourism (the Travel
and Tourism Satellite Account, or TTSA)
1
.
Travel and tourism services are provided,
in either large or small part, by a variety
of industries spanning accommodation,
transportation, entertainment, and retail
sales. Consequently, the value of travel and
tourism is not evident in the main system of
accounts.
To illustrate: the BEA estimates that 75
percent of the services provided by the
accommodations industry (e.g., hotels and
percent of gas-station sales stem from
1 In addition to the TTSA, the BEA has
produced a satellite account on transportation
(last updated in May 2000) and is in the midst of
producing a satellite account on healthcare. For more
literature on these accounts.
2
travel and tourism. The TTSA teases out the
portion of each relevant industry’s travel
and tourism production to arrive at a total
for the sector—in 2011, travel and tourism
added $415 billion to the U.S. economy.
A Satellite Account on Arts and Cultural
Production
Arts and cultural production is included in
accounts. However, economic contributions
for the production of arts and cultural goods
and services, therefore, the NEA and the
BEA agreed to develop an Arts and Cultural
Production Satellite Account (ACPSA).
This account will ensure, for example,
that estimates for the performing arts are
reported not only in aggregate, but also for
troupes, and symphony orchestras.
Moreover, there are a number of industries
whose production is only partly related to
arts and culture. To include the entire
amounts produced by these industries
the arts and culture, while excluding the
industries in their entirety would result in
underestimation.
To rectify this matter, the ACPSA, like the
TTSA, includes only the share of production
related to the arts. For example, the ACPSA
includes only the percentage of software
publishing related to computer games,
computer-assisted design (CAD), and other
arts-related software. Similarly, entries for
computer design systems (a professional
services industry) are restricted to
production supporting the motion picture
and sound recording industries. The ACPSA
also includes fractional production by
advertising services, educational services
(e.g., colleges and universities), and printing,
to name a few.
As a satellite account, the ACPSA has the
arts and cultural production in the U.S.,
providing an unprecedented amount of
detail about the economic value created by
this sector.
3
Before addressing the commodities and
industries captured by the ACPSA, it is
helpful to understand some of the inner
workings of the account. This section
summarizes the data sources used to
generate the account. It introduces the
concept of “I-O” tables and their resulting
measures such as consumption and
value added, which are part of the BEA’s
framework for measuring economic activity.
At the time of producing this white paper, the
NEA did not have access to the 2013 ACPSA,
examples shown below, consequently, draw
recording industries reported in the BEA’s
most recent 2011 annual industry accounts.
Data Sources
The BEA uses a wide range of data sources
and methods to prepare the National
Income and Product Accounts (NIPAs) and
industry estimates. Data produced by the
U.S. Census Bureau and the U.S. Bureau of
Labor Statistics are key data sources, as are
government administrative data such as tax
returns.
Because they do not interfere with the BEA’s
main industry estimates, satellite accounts
can also draw from less conventional data
sources, including data collected by private
industry.
Below is a partial summary of data sources
the BEA used or accessed in preparing the
ACPSA:
Data from the U.S. Census Bureau
Economic Census; Services Annual Survey
(SAS); Non-Employer Statistics; Census of
Governments
Among the most important data sources
used by the BEA is the Economic Census,
which is conducted by the U.S. Census
Bureau in years ending in “2” and “7.”
The Economic Census provides the most
comprehensive data available in terms of
industry coverage and in the measurement
of the economic units in those industries.
the BEA also draws from the Census Bureau’s
annual surveys of business establishments.
The Service Annual Survey (SAS) is sent to
72,000 service businesses (both taxable and
tax-exempt) with paid employees. Many of
the industries included in the ACPSA are
service industries, including motion picture
and sound recording, publishing, designer
services, and the performing arts.
Workers in a number of arts and cultural
occupations, however, report high rates of
self-employment. For example, 68 percent of
writers and authors are self-employed, as are
60 percent of photographers, art directors,
and craft artists.
The ACPSA measures the production and
earnings of the self-employed through the
Census Bureau’s non-employer statistics,
which are based, in turn, on Schedule
C applies to the self-employed if the primary
purpose of the work is to generate income or
criteria are met, Schedule C attachments
are required of self-employed workers with
business income of $400 over and above
expenses.
The ACPSA also includes arts and cultural
production by government, including
government-operated libraries and
museums. Source data for these estimates
like the Economic Census, is conducted by
ending in “2” and “7.”
4
Data from the U.S. Bureau of Labor Statistics
and the U.S. Department of Labor
Quarterly Census of Employment and Wages;
Consumer Expenditure Survey; LM2 Reports
The Quarterly Census of Employment
and Wages (QCEW) program produces a
comprehensive tabulation of employment
and wage information for workers covered
by unemployment insurance programs.
2
The QCEW program publishes employment
and wage data down to the six-digit NAICS
industry level, if disclosure restrictions are
met.
Conducted by the Census Bureau for the
BLS is the Consumer Expenditure Survey
(CES), which consists of interview and
diary components. The CES is the only
federal survey to provide information on the
complete range of consumers’ expenditures
and incomes.
The ACPSA includes estimates for arts-
related unions such as organizations
representing stage and screen actors. Labor
organizations with $250,000 or more in
Standards within the Department of Labor.
Data from Non-Government Sources
The ACPSA also draws on non-government
source data. For example, the ACPSA
includes the construction of educational and
recreational buildings such as libraries and
museums. These estimates were derived,
As another example, detail within the
architectural services industry was
estimated using the Work-on-the-Boards
2 Excluded from the QCEW are members of
the armed forces, the self-employed, proprietors,
domestic workers, unpaid family workers,
and railroad workers covered by the railroad
unemployment insurance system.
Survey and Panel, which is conducted by the
American Institute of Architects’ Economics
NAICS Codes
Central to the workings of the ACPSA is the
System (NAICS), a two- through six-digit
groups business establishments (page 39)
into industries according to similarity in the
process used to produce goods and services.
As explained by the U.S. Census Bureau, each
digit in the NAICS code is part of a series of
progressively narrower categories: more
detail.
3
and incorporated into the BEA’s industry
iteration of the ACPSA is measured using
wave of the account (planned for release in
accounts to more accurately portray the
dynamic U.S. economy and permit better
international comparisons with economic
data from other countries. For example, the
ACPSA includes “Internet publishing and
broadcasting” among its arts and cultural
better accounted for this industry than
which combined Internet publishing and
broadcasting with other industries, such as
newspapers and periodicals.
Appendix A illustrates the NAICS hierarchy
for performing arts industries.
The Inner Workings of the ACPSA: I-O
Accounts
While it is beyond the scope of this
document to attempt to fully explain the
3 Please see Appendix A for an illustration of
the NAICS hierarchy.
5
BEA’s methods of calculating national
income and product accounts (NIPA) and
industry estimates, this section draws on
the agency’s annual industry accounts to
highlight the ACPSA’s inner workers through
“input-output” (I-O) accounts.
4
As a satellite account, the ACPSA expands
on the BEA’s main industry accounts, which,
in turn, consist of the “input-output” (I-
and services among industries in the
production process.
5
I-O accounts, as the
BEA explains, show the interdependence
among the producers and the consumers in
the U.S. economy. Two main tables in the I-O
accounts are the standard “make” and “use”
tables.
The standard make table shows the value
of commodities (e.g., goods, merchandise,
or services) produced by each industry in a
given year. For example, virtually all motion
picture and sound recording merchandise
and services are produced by motion picture
and sound recording industries (NAICS
512)—$102.7 billion in 2011.
6
The standard use table, alternatively, is a
matrix showing the use of commodities by
industries as “intermediate inputs” and by
the BEA’s methods of calculating NIPAs and industry
estimates should refer to the bureau’s technical
documentation, shown in the references section of
this document.
5 Because the I-O accounts drive the BEA’s
industry estimates, I-O accounts are also released on
most recent annual I-O accounts report estimates for
2011, while the current benchmark I-O accounts are
shown for 2002.
6 The BEA’s make table reports that computer
systems design industries and miscellaneous
industries produced $481 million and $156 million,
respectively, in motion picture and sound recording
commodities in 2011.
Intermediate and Final Uses
Of the $102.9 billion in motion picture and
sound recording commodities produced in
2011, roughly 60 percent were purchased
as intermediate inputs—i.e., the goods and
services that are used in the production
process to produce other goods and
services.
The remaining 40 percent of motion picture
and sound recording merchandise and
users,” composed of: U.S. consumers, who
U.S. businesses; and foreign purchasers
(exports). In 2011, U.S. consumers
purchased $36 billion in motion picture
and sound recording merchandise and
purchases. An additional $11.1 billion was
exported to foreign purchasers, while the
U.S. imported $5.2 million.
Change in private inventories shows that,
in 2011, $156 million more in motion
picture and sound recording merchandise
and services was sold than produced—
businesses drew down their inventories.
Selling more than what was produced in a
given period, a year in this case, is a sign
that motion picture and sound recording
industries may step up production in the
next year.
6
Because BEA’s 2011 annual tables were
produced prior to the 2013 revisions to
the national accounts, they do not capture
artistic originals (e.g., movies and music
recordings) as investments.
7
Consequently,
for motion picture and sound recording
commodities.
Key Measures of Arts and Cultural
Production
Industry Output and Value Added
Two key measures provided by the ACPSA
are “industry output,” and its closely related
measure, “value added.”
8
Industry output is
the market value of the goods and services
produced by an industry. Value added,
alternatively, is gross domestic product by
industry.
7 See the text box on artistic originals in Part I,
Section 4.
8 In the BEA’s annual industry accounts,
“industry output” is referred to as “gross output.”
Industry output includes sales or receipts
and other operating income, commodity
taxes (e.g., sales and property taxes), and
inventory change.
9
Value added is industry
output minus intermediate inputs (i.e.,
and purchased services)—i.e., value added
is the industry’s contribution to the national
In 2011, industry output for motion picture
and sound recording industries was $103.6
goods and services used by motion pictures
and sound recording, but not produced by
9 Inventory change is the difference between
last year’s ending inventory and the current year’s
inventory.
The ACPSA measures arts and cultural producon by business establishments. The U.S.
Census Bureau denes a business establishment as a single physical locaon where business
is conducted or where services or industrial operaons are performed. An enterprise, on the
other hand, may consist of more than one locaon performing the same or dierent types
of economic acvies.
As an illustraon, the Madison Square Garden Company is a sports, media, and
entertainment enterprise. Madison Square Garden establishments include Radio City Music
Hall (home to the Rockees), the Beacon Theater, the Chicago Theatre, the Forum, and
the Madison Square Garden Arena. Each of these establishments falls into NAICS 71131,
“promoters of performing arts, sports, and similar events, with facilies,” which is “parally”
in scope of the ACPSA. (In other words, the ACPSA restricts producon from this industry to
the performing arts.)
The Madison Square Garden Company also owns and operates Fuse, a music television
network within broadcasng, which is another industry captured by the ACPSA.
Industry Output
Value Added
7
(Millions of dollars)
Uses:
$61,167
$41,771
Personal consumpon expenditures $36,014
Change in private inventories –$156
Private xed investment —
Exports $11,098
Imports –$5,185
Source: 2011 Use Table, U.S. Bureau of Economic Analysis
their own labor and capital. The electricity
used by the industry was generated by the
energy sector. Camera and sound-recording
equipment and set lighting were made by
the manufacturing sector.
Subtracting these kinds of intermediate
costs from industry output yields $60.2
billion in value added by motion picture and
sound recording industries. In other words,
using their own labor and capital, motion
picture and sound recording industries
2011.
10
10 Due to disclosure controls, industry
output and value added reported in the ACPSA
are aggregated. For example, industry output and
value added by motion picture and sound recording
industries are subsumed within the ACPSA’s industry
aggregate titled “information, electronic.” However,
industry output and value added for motion pucture
and sound recording industries can be calculated
by combining data from the ACPSA with estimates
reported in the Economic Census. For more
information, go online to see the NEA’s arts data
Employment, Compensation, and Measures of
Indirect Production
As part of the ACPSA, the BEA also
estimates arts and cultural employment
and employment compensation. In 2011,
for example, motion pictures and sound
recording industries staffed 371,000
(full- and part-time) employees; their
compensation totaled $28.9 billion.
11
The ACPSA also includes estimates of
“direct” and “total” output, as well as “total
commodity output multipliers.” While an
in-depth discussion of these measures
is beyond the scope of this document, it
is worth noting simply that measures of
direct and indirect output derive from I-O
requirements tables.
11 Compensation of employees consists of
wages and salaries in cash; wages and salaries in
kind (e.g., transit subsidies); and supplements to
wages and salaries such as employer contributions to
pension, health, and unemployment insurance funds.
The BEA’s structure for measuring employment
differs from that used by the BLS’s OES program,
which is the subject of Part II of this document. For
example, employment measured by the BEA includes
self-employed workers, but it excludes estimates by
occupation. Please see Part II of this document for
more information.
8
The BEA reports direct and total
requirements (the sum of direct and
for a commodity increases, there will be
an increase in output of that commodity—
sometimes called the direct effect. As
producers of this commodity increase their
production, there will also be an increase in
the output of their suppliers—the indirect
effect.
To illustrate direct and total requirements,
assume that U.S. consumers (a component
for motion picture and sound recording
merchandise and services by $1. In
response, as reported in the BEA’s 2011
industry requirements table, motion picture
and sound recording industries increase
their output by $1.14.
But as motion picture and sound recording
industries increase output, their suppliers
must increase their production as well.
For example, the $1 increase in consumer
demand for motion picture and sound
recording merchandise and services leads to
a $0.11 increase in output by “miscellaneous
services” (e.g. electronic communication
services, appraisal services), and nearly
$0.02 in production by the legal services
industry. The $1 increase in demand
cascades through many industries, reaching
$1.71 in “total industry output requirement.”
Because moon picture and sound
recording industries are predominantly
for-prot and therefore taxable, measuring
their industry output and value added can
be accurately measured using revenue or
sales. However, relying solely on revenue
may understate the value of nonprot
tax-exempt business establishments. These
instuons typically oer discounted or
free services not captured by revenue or
sales.
Consequently, the ACPSA draws on
expenditures in addion to revenue to
measure industry output and value added
for educaonal services such as ne arts
schools, performing arts companies,
museums and historical sites, grant-
making services, and business and labor
organizaons such as unions.
9
The selection of commodities (i.e., goods and
services) for the ACPSA, and, consequently,
the selection of industries producing arts
and cultural commodities, was based on
of arts and cultural commodities; (2) the
construction of a basic framework for the
account; and (3) examples of arts and cultural
statistical frameworks formulated by other
countries and international organizations.
distinct arts and cultural commodities, shown
in Table 3 in this chapter.
12
In addition to
performing arts and museum commodities,
the ACPSA includes goods and services
that span sectors as varied as construction,
manufacturing, professional services, and
government.
Commodities
the detailed commodities to be included
in the ACPSA. Commodities, or goods and
services, are strongly linked to the industries
producing them. For example, motion
pictures, as a commodity, were selected
for inclusion. The motion picture industry,
consequently, became an ACPSA industry.
industries for the ACPSA was to consider
Artistic and cultural commodities are those
or cultural engagement, or are intended
primarily to facilitate access to such
commodities.
12 Commodities are goods and services such as
musical instruments (good) and dance performances
(service).
The ACPSA, therefore, includes not only
commodities whose primary activities are
arts and cultural, but also commodities
and industries that support the production
of arts and culture—i.e., the “creative
chain.” For example, the ACPSA includes
estimates for “symphony orchestras and
the production cycle of music performance,
the ACPSA also includes musical instrument
manufacturing, wholesale distribution of
music supplies, and musical instrument
stores.
As an additional example of the ACPSA’s
creative chain, consider that the account
includes newspaper, periodical, and book
publishing. However, printing is often
necessary for publishing. Consequently,
selected printing commodities and
industries are also included as arts and
cultural commodities and industries.
Determining the extent of the ACPSA’s
creative chain was in itself a highly selective,
and to some extent, an idiosyncratic
process. For example, the ACPSA includes
jewelry design and jewelry manufacturing
(an industry employing many jewelers
and precious stone and metal workers),
considered here as craft arts. However,
the ties between cultural production and
wholesale and retail sales of jewelry were
thought to be tenuous and outside the scope
of the account. Consequently, jewelry sales
were excluded from the ACPSA.
13
Similarly, the ACPSA includes fashion design,
but excludes clothing manufacturing and
apparel sales.
13 Wholesale and retail jewelery sales margins
commodities at the purchasers’ value.
10
ACPSA Framework
The process of selecting arts and cultural
commodities and industries was also
aided by considering the BEA’s provisional
framework for the ACPSA. Not all
and the reporting of ACPSA estimates
is not organized within its domains.
14
Nevertheless, the framework served as an
early tool for choosing ACPSA commodities
and industries.
The ACPSA framework is divided into three
domains: core; applied arts and design
services; and transversal. Each of these
domains, in turn, is further partitioned into
sub-domains.
Core Domains
A wide variety of ACPSA commodities
museums, libraries, and cultural centers;
live performance and music; visual arts;
written works; and audio-visual and
interactive media.
Museums,
libraries, and
cultural centers
Live performance
and music
Visual arts Wrien works
Audio-visual
and interacve
media
Adversing
services
Other design
services
Educaon
Governance,
funding, and
professional
support services
Infrastructure
14 ACPSA commodities unaligned with the
framework include electronic shopping for books
and music and rentals of theatrical costumes and
equipment.
“Museums, libraries, and cultural centers”
include museums, libraries and archives
(including government-operated libraries),
botanical gardens and zoos, and nature
parks. The “transversal” ACPSA domain
capturing governance also includes
operated museums.
Commodities falling under live performance
and music include performing arts
companies, such as music, dance, and
theater groups, as well as goods and
services supporting music such as sound
recording, the manufacture of musical
instruments, and music stores.
The visual arts sub-domain comprises
a number of detailed manufacturing
commodities representing craft arts.
Examples include the manufacture of
china and glass, jewelry and silverware,
and custom architectural woodwork. The
visual arts also contain several retail sales
shops, and camera and photographic supply
stores, as well as commodities supporting
the visual arts (i.e., the creative chain)
such as lead pencils and art goods and
photographic equipment.
11
Publishing (newspaper, periodical, and
book), along with its supporting printing
activities, make up the core sub-domain
labeled “written works”; motion picture
production and broadcasting feature
prominently in “audio-visual and interactive
media.”
15
Applied Arts and Design Services
The applied arts and design services domain
features advertising services. In order to
emphasize creative production, advertising
within the ACPSA excludes public relations,
media buying, distribution, and sign
painting.
16
This domain also includes architectural
services (including historical restoration
services) related to arts and cultural
structures, as well as all landscape
architectural services.
17
Additionally, this domain includes four
design services: interior design services;
industrial design services; graphic design
services; and “other design services” such
as jewelry and fur design. The ACPSA also
reports estimates for fashion design, a
detailed commodity within other design
services.
Transversal Domains
There are three transversal ACPSA domains:
education; governance, funding, and
professional services; and infrastructure.
Education includes “educational services,”
arts, and media arts (e.g., graphic design)
15 The ACPSA excludes sports from its
estimates of publishing and broadcasting production.
16 Media-buying agencies purchase advertising
time from media outlets and resell it to advertising
agencies.
17
architectural services to cultural institutional
projects, which represent approximately 2 percent
of all architectural services. An expanded measure
of architectural services will be considered for the
revised ACPSA planned for release in the fall of 2014.
departments of colleges and universities
(including state colleges and universities),
and music schools (except academic).
services feature art promoters and agents,
arts-related granting organizations and
unions, and government-operated museums
and parks. (Non-government museums are
included in the ACPSA’s core domain.)
The account’s transversal domain also
includes the construction sector—
educational facilities such as museums and
libraries, as well as selected amusement and
recreational structures related to the arts
(e.g., theaters, performing arts centers).
International Comparisons
Other arts and cultural satellite accounts
have been produced by countries including
Colombia, Spain, Finland, and, through its
United Kingdom.
Statistical frameworks (i.e., plans or
outlines) for measuring arts and culture
production have also been undertaken by
a number of international organizations,
including the World Intellectual Property
Organization (WIPO); the Organization for
Economic Cooperation and Development
(OECD); and the United Nations Conference
on Trade and Development (UNCTAD).
By country, or by organization, some
accounts or frameworks emphasize arts
and culture, while others accentuate
creative industries. (The WIPO model,
alternatively, is a copyright-based model.)
That distinction, however, is based on
perspective. For example, the performing
arts, motion picture and sound recording,
and publishing are included in most
statistical models, whether framed as
arts and cultural production or creative
production.
12
Differences between models tend rather to
be at the margins. In its seminal document,
Creative Economy Report 2010, the UNCTAD
writes: “There is no ‘right’ or ‘wrong’
model of the creative industries, simply
different ways of interpreting the structural
characteristics of creative production.”
The design of the ACPSA was guided, in
part, by examples set by international
models, particularly the arts and cultural
frameworks designed by Statistics Canada,
the Australian Bureau of Statistics, and the
Cultural Organization (UNESCO).
18
There is
broad alignment of the types of production
selected for the ACPSA and those included
in the international models. For example,
the ACPSA and the three international
models considered include performing arts,
museums and libraries, motion pictures
and sound recording, publishing, and
architectural and design services.
However, differences tend to appear in
the production cycles captured by the
various models. For example, like the three
international models considered here, the
ACPSA includes music performance. As
part of music’s creative chain, the ACPSA,
along with the Australian and UNESCO
models, includes the manufacture of musical
instruments. The Canadian model does
not. The Canadian framework restricts the
production of musical instruments to the
expenses incurred when performing music
groups acquire musical instruments. In
other words, under the Canadian model,
the manufacture of musical instruments
18 As of November 2013, Australian and
Canadian satellite accounts were still under
development. The Australian and Canadian
frameworks discussed in this report may differ from
the ultimate satellite accounts of each country.
performing music groups.
19
Differences also appear in fashion and
jewelry production. The ACPSA and the
Canadian and UNESCO models include
fashion design but exclude the manufacture
of clothing and the wholesale and retail
sales of clothes.
20
The Australian model,
however, includes each of these in their
production cycle of clothing.
The Australian model also includes the
full production cycle of jewelry—design,
manufacture, and sales. The ACPSA, on the
other hand, includes jewelry design and
the manufacture of jewelry, but excludes
jewelry sales as a commodity. UNESCO
does likewise, but the Canadian model is
restricted to jewelry design.
21
The inclusion of computer systems design
also varies among the models considered.
The ACPSA includes computer systems
design, but it is restricted to custom
web design and computer applications
necessary to support motion picture and
sound recording production. The Canadian
framework also includes computer systems
design, but it is limited to custom web
design.
Alternatively, the Australian and UNESCO
frameworks include all computer systems
design production.
19 In the ACPSA, expenses incurred by
the total production of performing music groups
(e.g., symphony orchestras and chamber groups) .
But musical instruments are intermediate inputs to
performing music groups.
20 Fashion and jewelry design are part of
“other specialized design” within the ACPSA and the
three international models considered.
21 Ibid.
13
U.S. ACPSA Canada UNESCO Australia
Live performance of music Yes Yes Yes Yes
Manufacture of musical instruments Yes No Yes Yes
Fashion design Yes Yes Yes Yes
Clothing manufacturing No No No Yes
Wholesale/retail sales of clothing No No No Yes
Jewelry design Yes Yes Yes Yes
Jewelry manufacturing Yes No Yes Yes
Jewelry wholesale and retail sales No No No Yes
Computer systems design
Yes,
parally
in scope
1
Yes,
parally
in scope
2
Yes, fully
in scope
Yes, fully
in scope
1
Custom web design and applicaons supporng moon pictures and sound recording.
2
Custom web design.
14
A number of models have been developed to provide a systemac understanding of
the structural characteriscs of arts and culture industries. Chief among these are the
“concentric circles model” and the “WIPO copyright model.” The concentric circles model,
authored by Australian economist David Throsby, argues that the more pronounced the
cultural content of a parcular good or service, the stronger is the claim for inclusion of the
industry reporng it. Within the ACPSA, for example, moon pictures were selected as an
arts and cultural commodity. The moon picture industry, consequently, became an ACPSA
industry.
The WIPO (World Intellectual Property Organizaon) model, alternavely, captures
industries that produce or distribute copyrighted goods. ACPSA industries matching the
WIPO model include adversing, moon pictures, sound recording, publishing, design,
and television and radio broadcasng. The ACPSA does not, however, include WIPO-model
industries such as the manufacture and sales of toys and consumer electronics.
Recently, a new method of classifying “creave” industries was developed by Nesta, the
U.K.’s nonprot innovaon foundaon. The Nesta method emphasizes “creave intensity,”
which refers to the share of total employment within an industry that is engaged in creave
occupaons. Within the Nesta model, occupaons are scored on a grid of ve criteria:
(1) process novelty; (2) resistant to mechanizaon; (3) non-repeang output; (4) creave
funcon in process; and (5) interpretaon not transformaon. An occupaon’s creave
intensity is the composite of these scores.
Compared with the ACPSA and other internaonal models, parcularly the creave
industries dened by the U.K’s Department of Culture, Media & Sport, which Nesta targeted
for its analysis, the Nesta model results in a dierent set of industries. One dierence is
prinng. Because the occupaon of printers did not score highly on Nesta’s grid, prinng
industries are excluded from its list of creave industries. The ACPSA, alternavely, includes
prinng associated with newspapers, periodicals, books, and art reproducons.
A more pointed dierence is the ACPSA’s inclusion, and Nesta’s exclusion, of orist shops.
The decision to include “retail sales, orists” in the ACPSA stemmed from the industry’s
principal occupaon—oral designers. Data issued by the U.S. Bureau of Labor Stascs
show that in 2012 nearly half of the workers employed by orist shops were oral designers,
an occupaon classied among “art and design workers” within the Standard Occupaon
Classicaon (SOC) system.
However, “oral arrangers” earned a low score of two on Nesta’s creave grid. Florist shops,
consequently, are excluded from Nesta’s denion of creave industries.
15
ACPSA Commodities
Table 3. Commodities Included in the ACPSA
Theater
Dance
Opera
Symphonies
Circuses
Other
Independent arsts, writers, and
performers
Museums (art)
Museums (botanical and zoological)
Museums (children’s)
Museums (historical sites)
Museums (history)
Museums (natural history)
Museums (nature parks)
Museums (science)
Museums (other)
Fine arts
Other
Moon picture and video
Sound recording
Broadcasng
Telecommunicaons
16
Internet publishing and broadcasng
Other informaon services
Publishing:
Newspapers and periodicals
Cards, calendars, and related publishing
Books:
Educaon (K-12)
Higher educaon
Professional
Scholarly
All other professional, technical, and
scholarly books, in print
Adult con
Adult noncon
Juvenile con
Juvenile noncon
Religion
All other adult trade books
Children’s books
All other books
Soware publishing
Interior design services
Industrial design services
Graphic design services
Fashion design services
All other design services
Architectural services, historic restoraon
All other architectural services
Landscape architectural services
Computer systems design
Adversing
Photography services
17
Photonishing
Grant-making and giving services
Unions
Manufacturing (prinng)
Manufacturing (jewelry and silverware)
Manufacturing (other)
Wholesale trade
Retail trade
Construcon
Government
libraries
Rental and leasing
18
the federal government to measure and
document U.S. arts and cultural production
and its effect on the national economy. In
FY 2014, the ACPSA is subject to further
various stakeholders, including members
of the arts community, cultural researchers,
and international colleagues who
themselves are producing satellite accounts
on arts and culture.
The revised ACPSA estimates are planned
for release in the fall of 2014.
NAICS (North American Industrial
the NAICS. All revisions to the 2014 ACPSA
will be carried out for the full time series of
1998-2012. Additionally, the 2014 estimates
will include investment from “artistic
originals” (see text box below).
22
Moreover, the revised ACPSA will be
featured in a fall 2014 article in the BEA’s
Survey of Current Business.
22 The inclusion of artistic originals as
investment spending was part of the BEA’s recently
released comprehensive revisions to the national
income and product accounts. These revisions were
not available for the 2013 iteration of the ACPSA.
Typically conducted at ve-year intervals, comprehensive revisions of the industry economic
accounts allow the BEA’s esmates to beer reect the evolving nature of the U.S. economy.
These revisions also facilitate internaonal comparisons with economic data available from
other countries. The most recent of these revisions, scheduled for release in December
2013, will include the “capitalizaon” of entertainment, literary, and other arsc originals.
Under this new treatment, long-lived artwork produced by arsts, studios, and publishers
will be capitalized; that is, producon of long-lived artwork will be treated as an investment,
adding to the U.S. capital stock.
The BEA denes long-lived art works, or arsc originals, as theatrical movies, recorded
music, books, television programs, and “miscellaneous artworks” such as play scripts,
greeng card designs, and stock photography. Prior to the December 2013 revisions, arsc
producon costs were treated as current expenses, much like adversing or shipping costs,
and therefore had a limited role in the calculaon of GDP.
However, arsc originals can connue to earn revenue for decades aer producon.
(They are, therefore, “long-lived.”) As noted by the BEA, capitalizing arsc originals is an
important step toward fully recognizing the contribuon of intellectual property products to
economic growth. Recent esmates show that the capitalizaon of entertainment, literary,
and arsc originals added $73.8 billion to the U.S. economy in 2011.
19
Capitalization of Entertainment, Literary, and Artistic Originals
Additions to Gross Private Domestic Investment, and to GDP
Source: U.S. Bureau of Economic Analysis
20
What timeframe does the ACPSA reference?
The ACPSA features a full time series of
estimates. For the current iteration of the
ACPSA, estimates are provided for the years
spanning 1998 to 2011. The revised ACPSA,
planned for release in the fall of 2014, will
contain estimates for 1998 through 2012.
Does the ACPSA include work done by self-
employed artists?
Yes. Self-employed workers, or “sole
proprietors,” are required to attach a
Form 1040 individual tax return if their
work meets certain requirements. First, the
primary purpose for engaging in the activity
must be for the purpose of generating
work must be done regularly.
If these criteria are met, Schedule C
attachments are required of self-employed
workers with business income of $400 over
and above expenses.
to indicate the industry of their principal
business (self-employed workers engaged
in more than one business must attach
multiple Schedules). The industries listed on
the Schedule C are in four-digit NAICS codes.
Examples include: “independent artists,
writers, and performers” (NAICS 7115);
“promoters of performing arts, sports,
and similar events” (NAICS 7113); and
“agents and managers for artists, athletes,
(NAICS 7114).
The U.S. Census Bureau calculates “non-
which non-employer statistics are available),
the bureau reported 987,714 individual
proprietorships in “performing arts,
spectator sports, and related industries”
(NAICS 711). Of those, 704,356 (more than
70 percent) were “independent artists,
writers, and performers.”
The BEA draws on the Census Bureau’s
non-employer statistics to calculate NIPAs
and industry accounts, including the ACPSA.
Notably, the BEA adjusts the non-employer
estimates of Schedule C noncompliance.
Does the ACPSA capture independent
musicians who work on contract?
As discussed above, the ACPSA includes
production by self-employed workers,
including musicians and other artists.
Within the NAICS system, freelance
musicians are included in NAICS 71113,
“musical groups and artists.”
Are there special considerations for tax-
exempt arts organizations?
For many of the arts and cultural industries
included in the ACPSA, output and value
added are based on the industries’ revenues
(i.e., sales). However, basing production on
the revenue of tax-exempt organizations
would likely understate that value. Tax-
exempt performing arts groups and
museums, for example, often provide special
discounted or free services, resulting,
naturally, in lower revenue.
To correct for this potential under-
estimation, expenditures in addition
to revenues are used to measure the
production of tax-exempt arts and cultural
organizations.
Are there special considerations for museums
and museum workers?
Within NAICS, the museum industry (NAICS
71211) excludes college and government-
colleges and government are represented
21
by their respective sectors—educational
services (NAICS 61) and government, which
23
What is value added?
The value added of an industry, also
referred to as the industry’s gross domestic
product, is the contribution of a private
industry or government sector to overall
between and industry’s output and the cost
of intermediate inputs such as energy costs
goods, and services.
To illustrate, the output of dance companies
includes the cost of pointe shoes (the shoes
worn by ballet dancers when dancing
en pointe). The value added of dance
companies excludes the cost of pointe shoes,
which were produced by other industries
such as shoe manufacturers.
The ACPSA draws on “inter-industry” or I-O
analysis, which, in turn, comprises “make”
and “use” tables. The make table shows the
production of commodities (i.e., goods and
services), while the use table shows the uses
Final demand consists of the transactions
change in private inventories; exports
and imports; and government. Put simply,
arts and cultural production purchased by
U.S. households (personal consumption);
change in private inventories); foreign
purchases (exports); and government.
23 Estimates for the government sector draw
the Economic Census, is conducted by the U.S. Census
Imports are U.S. purchases of foreign-
produced arts and cultural commodities,
Are the ACPSA estimates adjusted for
The current ACPSA estimates, and those
planned for release in the fall of 2014, are
the BEA’s process for generating “real”
estimates is complex, the agency warns
will likely result in more distortion than is
present in current-dollar ACPSA estimates.
Can I use the ACPSA to generate measures of
arts and cultural production for my state or
metro area?
Current ACPSA estimates (and the revised
ACPSA estimates planned for the fall
of 2014) are national calculations and
production. Because the BEA has access to
data and methodologies unavailable to the
public, national ACPSA estimates cannot
regional production.
22
A comprehensive measure of arts and
cultural production would include not only
commodities and industries, but also the
work done by arts and cultural workers,
regardless of the industries employing
them. The ACPSA, for example, measures
employment in performing arts industries.
In 2012, the performing arts employed
22,500 musicians and singers. However,
the ACPSA excludes religious organizations
(e.g., churches, synagogues, missions), an
industry that employed more than 8,000
musicians in that year.
This section outlines the occupational
dimension to arts and cultural production
using data from the Occupational
Employment Survey (OES), produced by the
U.S. Bureau of Labor Statistics (BLS). Unlike
the ACPSA, which captures arts and cultural
production by sole proprietors (i.e., non-
employers), the OES excludes self-employed
workers. It does, nonetheless, provide
employment and earnings data for detailed
occupations by industry. Consequently, the
OES is well-suited to examining arts and
cultural workers and the industries in which
they are employed.
This section presents three tiers of arts
and cultural occupations: (1) core arts and
cultural occupations; (2) technical and
supporting occupations; and (3) managers
working in arts and cultural industries.
Including all three tiers of arts and cultural
occupations reveals the share of the labor
force directly responsible for the production
of arts and cultural goods.
Page 37 lists the data tables that accompany
Part II of this document.
Occupaon Employment Stascs (OES) is a collaborave program between the BLS and
state workforce agencies. The OES surveys 200,000 non-farm establishments every six
months, taking three years to fully collect the sample of 1.2 million establishments. OES
data are used to report employment and wage esmates for about 800 occupaons at
naonal, state, metropolitan, and non-metropolitan levels.
The OES also reports employment and wage esmates by industry. At the naonal level,
esmates are reported for 450 industries, which are categorized by the North American
Industry Classicaon System (NAICS).
23
In accordance with the approach used
of U.S. arts and cultural occupations
was guided by asking if the considered
occupation would cease to exist if the
tasks and responsibilities of creative work
were removed. Answering this question
yielded the three tiers of arts and cultural
occupations discussed below.
Workers in core arts and cultural
occupations are responsible for the creative
element of arts and cultural products,
whether produced by an arts and cultural
industry or not. This tier includes 39
distinct occupations—in 2012, employment
in core arts and cultural occupations totaled
1.5 million wage and salary workers, while
annual median earnings ranged from
$80,880 for art directors to roughly $24,000
Occupations included in Tier 1 span jobs as
varied as architects and designers, reporters
and photographers, and multimedia artists
and jewelry makers. Nearly three out of
four occupations on this list are grouped
under the major occupation group labeled
“arts, design, entertainment, sports, and
media occupations,” or major standard
occupation code 270000.
24
This major
occupation group is divided into several
broad occupation groups comprising core
arts and cultural occupations. Drawing on
OES data for wage and salary workers in
2012, core occupations in the major groups
are summarized below.
As noted above, the OES excludes self-
employed workers from its datasets.
Therefore, recognizing that self-employed
workers make up a large portion of the U.S.
arts workforce, this section uses another
data source (the Current Population Survey)
24 Please see Appendix B for a discussion on
standard occupation codes.
to estimate the percentage of self-employed
workers within each occupational category
described below.
Artists and Related Workers (i.e., Visual
Artists)
multimedia artists and animators; artists and
related workers, all others (e.g., calligraphers,
tattoo artists)
Main industries: advertising and public
relations; publishing; independent artists,
writers, and performers; motion pictures
Art directors make up the greatest number
of workers in this occupation group
(31,570), while “other artists,” such as
calligraphers and tattoo artists, are the
smallest (6,850). Art directors are also the
best paid, earning an average annual salary
of $80,880 in 2012; earnings are lowest for
craft artists, whose annual salaries averaged
$29,600.
Among core arts and cultural workers,
artists and related workers hold some of the
highest rates of self-employment. In 2010,
nearly 60 percent of the artists in this group
were self-employed.
The industries employing the greatest
numbers of salaried artists and related
workers include: advertising and public
relations; independent artists, writers, and
performers; and motion pictures.
25
In 2012,
for example, advertising and public relations
than one-third of all salaried art directors.
Of the 29,270 salaried multimedia artists
and animators, 9,130 (30 percent) worked
in the motion picture industry.
25 The U.S. Census Bureau denes “independent
artists, writers, and performers” (NAICS 71151) as
freelance individuals primarily engaged in performing
in artistic productions, in creating artistic and cultural
works, or in providing technical expertise necessary for
these productions. The independent artists, writers, and
performers shown here refer to business establishments
with workers on payrolls.
24
Designers
designers; interior designers; merchandise
displayers and window trimmers; set and
exhibit designers; designers, all other (e.g.,
jewelry and fur designers)
Main industries: specialized design services;
publishing; manufacturing; retail sales
In this group, graphic designers number the
largest. In 2012, 191,440 salaried graphic
designers were employed. Alternatively,
set and exhibit designers and designers
designers) make up the smallest number
of workers in this group—roughly 8,000
employed in both occupations.
Among design professionals, fashion
designers and industrial designers earn
the highest annual salaries—$62,860 and
$59,610, respectively, on average, in 2012.
Like visual artists, high percentages of
designers are self-employed—about 30
percent of each design occupation. However,
among salaried workers in this group,
industries employing the greatest numbers
vary by type of designer. Specialized design
companies (companies that specialize in
graphic, industrial, and fashion design),
manufacturing, and publishing industries
In 2012, for example, publishing industries
staffed roughly 25,000 graphic designers
(nearly the same number staffed by
shops, under retail sales, employed 31,220
the salaried workers in that occupation.
Performing Artists
Actors; producers and directors; dancers;
choreographers; music directors and
composers; musicians and singers; other
entertainers (e.g., comedians, jugglers,
acrobats)
Main industries: performing arts; motion
pictures; educational services; broadcasting
In 2012, salaried actors numbered 70,540,
and producers and directors numbered
87,010. Employment for salaried dancers
and choreographers was lower—11,390 and
7,400, respectively. Musicians and singers
totaled 42,100, while music directors and
composers were 24,940 in number. In 2012,
16,630 wage and salary workers were
employed as “other entertainers.”
Due to disclosure concerns, OES data omit
earnings for many of the performing arts
occupations in this group. Of those tracked,
however, producers and directors earn the
highest salaries—annual median earnings of
$71,350 in 2012.
Among performing artists, rates of self-
employment range from a high of about 43
percent of musicians and other entertainers,
to a low of 9-10 percent of dancers and
choreographers.
Not surprisingly, the performing arts
industry hires many performing artists.
However, motion pictures, schools,
broadcasting, and even religious
organizations factor in, too. In 2012, for
example, almost 80 percent of salaried
choreographers were employed by “other
private schools,” an industry that includes
The motion picture industry employs more
producers and directors than any other
a close second, however, is radio and
television, which staffed roughly 20,000
producers and directors. And of the 42,100
salaried musicians in 2012, half were
25
employed by performing arts companies,
but another 20 percent were on staff at
religious organizations such as churches and
synagogues.
In 2012, motion pictures and the performing
arts, combined, employed roughly three
number of actors, 15,400 in 2012, are
employed by “accounting, tax preparation,
bookkeeping, and payroll services.” This
forming separate companies to carry out
their payroll functions, including paying
engaged actors.
Announcers
Radio and television announcers; public
address system and other public announcers
Main industries: radio and television
broadcasting; drinking places (i.e., bars);
independent artists, writers, and performers
Although radio and television announcers
far outnumber public address and other
public announcers (31,340 vs. 8,120),
earnings among workers in these
occupations are comparable, with radio
and television announcers earning an
average salary of $28,020 in 2012, and
public address announcers earning $26,230.
Additionally, 35 percent of workers in both
occupations are self-employed.
Differences exist, however, in the industries
employing the two occupations. Most radio
and television broadcasters work in radio,
rather than television broadcasting (25,440
announcers in 2012), while most public
address system announcers (which includes
disc jockeys at weddings, parties, and other
public events) work in drinking places, i.e.,
bars (2,590), and in the industry labeled
independent artists, performers, and writers
(1,970).
Media Occupations
Broadcast news analysts; reporters and
correspondents; editors; writers and authors;
photographers
Main industries: newspaper publishers;
television broadcasting; photographic
services
Of the media occupations included in Tier 1,
editors number the largest—99,000 salaried
workers in 2012. Next in employment rank
are photographers (56,140); reporters
and correspondents (45,570); writers and
authors (41,990); and broadcast news
analysts (5,170).
Editors, writers and authors, and broadcast
news analysts all earn roughly $54,000
to $55,000, annually, on average, while
photographers earn an average of $28,490.
Photographers also have high self-
employment rates (almost 63 percent in
2012), compared with self-employment
rates of 14-16 percent of reporters and
correspondents and of editors.
Among all workers in arts and cultural
occupations, writers and authors have the
highest self-employment rate—68 percent
in 2012.
Among wage and salary media workers,
however, newspaper publishing is a
main employer. In 2012, newspaper
publishers staffed 25,980 reporters and
correspondents and 21,760 editors.
Although newspaper publishers hire writers
and authors (3,550 in 2012), salaried
workers in this occupation are also likely
to be employed by advertising and public
industries (3,300), and independent artists,
writers, and performers (3,060).
In 2012, newspaper publishers staffed 3,480
photographers. However, most salaried
photographers (37,560) work in photo-
graphic services, which includes portrait
and commercial photography studios.
26
Education and Library Occupations
Art, drama, and music teachers,
postsecondary; English language and
literature teachers, postsecondary;
communications teachers, postsecondary;
archivists; curators; audio-visual and
multimedia collection specialists; librarians
Main industries: colleges and universities;
elementary and secondary schools;
government; museums and historical sites
Among this group of core arts and cultural
occupations, librarians and postsecondary
art and drama teachers number the largest.
In 2012, librarian employment totaled
140,280 and college art teachers totaled
92,570.
26
Postsecondary art, drama, and
music teachers, however, are better paid,
earning an annual average of $62,160
in 2012 compared with average annual
earnings of $55,370 for librarians.
The postsecondary education occupations
included here also include English language
and literature teachers and communications
teachers, and architcture teachers,
numbering 72,680, 30,030, and 7,290
workers, respectively, in 2012. In that same
year, postsecondary teachers in English and
in communications earned between $60,000
and $62,000, on average; architecture
teachers earned an average annual salary of
$71,610.
In 2012, salaried curators numbered 10,370,
while archivists numbered roughly half that
number (5,640). Employment among audio-
visual and multimedia collection specialists
totaled 8,690 in 2012. Average annual
earnings for workers in these occupations
ranged from $49,590 for curators and
$47,340 for archivists, to $43,350 for audio-
visual and multimedia collection specialists.
Few workers in education and library
occupations are self-employed—virtually no
26 Includes design and craft teachers and art
history professors.
librarians and only 2.6 percent of curators
employ many of the people in these
professions. For example, local governments
(including public libraries and public
elementary and secondary schools) staffed
96,700 librarians, or almost 70 percent of
employs many curators (1,500 in 2012).
However, curators are more commonly
employed by museums and historical
sites—5,660 in 2012.
Architects
Architects; landscape architects
Main industries: architectural and
engineering services; government
Measuring salaried workers, the OES reports
82,720 architects and 15,750 landscape
architects in 2012. Annual median earnings
for the two occupations were $73,090 and
$64,180, respectively.
occupations are self-employed. But
among salaried architects and landscape
architects, most work in architectural and
engineering services (an industry that
2012, architectural and engineering services
employed 71,160 architects (86 percent
of the salaried profession) and 9,090
landscape architects (58 percent of salaried
landscape architects).
Agents and Business Managers of Artists,
Performers, and Athletes
Main industries: agents and managers for
artists, entertainers, athletes, and other
sports, and similar events
Half of all agents and business managers are
self-employed. However, the OES reported
11,770 salaried workers in this occupation
27
in 2012; their average annual salary was
$63,370.
Most salaried agents and managers of
artists, performers, and athletes work in the
industry producing their services, “agents
and managers for artists, athletes, and
performing arts, sports, and similar events.”
In 2012, these two industries employed
7,320 and 1,000 agents and managers,
respectively.
Jewelers and Precious Stone and Metal
Workers
Jewelers and precious stone and metal
workers, a specialized type of craft artist,
numbered 22,060 in 2012—their average
annual earnings were $35,350.
Most jewelers and precious stone/metal
workers are employed by jewelry, luggage,
and leather goods stores (10,700) or by
manufacturers of jewelry and silverware
(6,930).
27
27 Most OES statistics by occupation are reported
at the four-digit industry level. “Jewelry, luggage, and
leather goods stores,” NAICS 4483, includes the more
detailed industry, “jewelry stores,” NAICS 44831. Most
jewelers working in this retail trade industry are likely
employed by jewelry stores, rather than by luggage or
leather goods stores.
While the occupations listed in Tier 1
represent the primary source of arts
and cultural creativity, the technical and
supporting occupations in Tier 2 are
required to assemble and distribute arts
and cultural products. This tier comprises
23 occupations spanning jobs as varied
as library technicians, printers, and forest
conservationists. Employment in salaried
technical and supporting occupations
totaled 715,700 in 2012, and median annual
wages for workers in these occupations
ranged from a high of $64,450 (theatrical
and performance make-up artists) to a low
of $18,750 (models).
technical and supporting occupations. For
editors and camera operators are self-
employed. Alternatively, self-employment
rates are virtually zero among library
technicians, costume attendants, and print
binders.
The following summarizes the technical and
supporting occupations in Tier 2.
Museum and Library Technicians
Main industries: museums; government
Library technicians—100,230 employed in
2012—largley work in local government
(i.e., local government libraries) and in local
government schools. Museum technicians
and conservators—10,430 employed in
2012—generally work in the industry
labeled “museums, historical sites, and
similar institutions,” and for the federal
government.
Workers in both occupations earned median
annual salaries of roughly $30,000 to
$38,000; few library or museum technicians
are self-employed.
28
Media and Communication Equipment
Workers
Audio and video equipment technicians;
broadcast technicians; radio operators; sound
engineering technicians; camera operators,
editors
Main industries: motion pictures;
broadcasting
Among media and communication
equipment workers, audio and video
technicians are the most prevelant—54,310
salaried workers in this occupation in
2012. Broadcast technicians, who set up
and operate the electronic equipment
used to transmit radio and television
programs, numbered 31,640. Film and
video editors, though fewer in number, are
the best paid media and communication
equipment workers—in 2012, workers in
this occupation earned an annual average of
$51,300.
Motion picture and video industries (NAICS
5121) are a major employer of media and
communication equipment workers. In
2012, for example, this industry staffed
audio and video equipment technicians.
Broadcasting, too, employs media and
communication equipment workers—three
out of four salaried broadcast technicians
works in the radio and television
broadcasting industry (NAICS 5151).
Personal Care and Service Occupations
Motion picture projectionists; costume
attendants; makeup artists, theatrical and
performance
Main industries: motion pictures; performing
arts
In 2012, employment numbered 8,030
motion picture projectionists; 5,660
costume attendants; and 1,950 makeup
artists. Although small in number, makeup
artists earn the most among the personal
care and service occupations on Tier
2—$64,450, on average, in 2012; makeup
artists are also more likely to be self-
employed.
Motion picture and video industries employ
90 percent of motion picture projectionists
and more than 50 percent of theatrical
and performance makeup artists. Costume
attendants also work in motion pictures
and videos (about 20 percent of wage and
salary attendants), but they are more likely
to work for performing arts companies,
who staff more than 35 percent of costume
attendants.
Installation, Repair, and Maintenance
Occupations
Camera and photographic equipment
repairers; musical instrument repairers and
tuners
Main industries: professional and commercial
equipment supplies merchant wholesalers;
sporting goods, hobbies, and musical
instrument stores; personal and household
goods repair and maintenance
Wage and salary employment among
camera and photographic equipment
repairers and musical instrument repairers
and tuners totaled 2,590 and 7,130,
respectively, in 2012.
occupations are self-employed. Among
wage and salary workers, however, camera
and photographic equipment repairers
generally work in wholesale trade of
commercial equipment and supplies (i.e.,
photographic equipment and supplies).
Musical instrument repairers and tuners
tend to work in music stores (part of the
industry labeled “sporting goods, hobbies,
and musical instrument stores”) and
personal and household goods repair and
maintenance, an industry that includes
musical instrument repair shops.
29
Production Occupations
Printing press operators; print binding and
pre-press technicians and workers;
photographic process workers; molders,
shapers, and castors (i.e., manufacturing
potters)
Main industries: printing; manufacturing;
warehouse clubs and supercenters
The production occupations included in
Tier 2 are jobs related to printing, as well
as photographic process workers and
manufacturing potters. By far, printing press
operators number the largest—173,010
in 2012—and are among the better-paid
production occupations listed in Tier 2—
average annual salary of $34,690 in 2012.
Other printing-related occupations included
(52,960 employed), etchers and engravers
(8,610 employed), and pre-press technicians
and workers (41,420 employed).
28
With the exception of etchers and engravers,
who have a self-employment rate of about
26 percent, few workers in production
occupations are self-employed. Printing
industries employ many production
workers. For example, in 2012, 100,810
printing press operators (almost 60 percent
of the profession) worked in the industry
labeled “printing and related support
activities” (NAICS 323100). The percentage
working in printing is even larger (82
workers.
Manufacturing potters (i.e., molders,
shapers, and castors) are similarly
concentrated in the manufacture of
nonmetallic mineral products (e.g.,
clay)—60 percent of the occupation, while
photographic processing workers are likely
to be employed in general merchandise
28 “Pre-press technicians and workers” format
and proof text and images submitted by designers
Digital and photo type-setting is part of this work.
merchandise stores (e.g., warehouse
clubs and supercenters) employed 18,630
photographic processing workers in 2012.
Other Technical and Supporting Occupations
Forest and conservation technicians; models;
desktop publishers
Main industries: government; clothing and
clothing accessory stores; publishing
Four other occupations round out the list of
arts and cultural technical and supporting
occupations: forest and conservation
workers, tour guides, models, and desktop
publishers. Forest and conservation
technicians, an occupation category that
includes forest rangers, predominately work
in government, the federal government,
in particular. In 2012, there were 31,720
employed forest and conservation
technicians. Of these, 30,220 worked in
government—23,460 in federal government.
In 2012, annual median earnings for forest
and conservation technicians was $33,920.
In 2012, tour guides numbered nearly
35,500, and many (12,280 in 2012) worked
in museums and historical sites.
The OES reports 4,330 employed wage and
salary models in 2012; their average annual
earnings were $18,750. Most models work
in clothing and clothing accessory stores,
though 14.5 percent are self-employed.
Among desktop publishers, 9 percent are
self-employed. Salaried desktop publishers,
numbering 15,960 in 2012, earned an
annual average of $37,040, and many (5,320
in 2012) work in publishing.
30
but required for their production, are
management occupations. Using the OES,
Tier 3 combines management occupations
and selected industry data to enumerate
arts and cultural managers.
29
The OES does not provide the level of detail
reported in the ACPSA. For example, the
ACPSA includes advertising agencies among
its arts and cultural commodities and
industries. The ACPSA, however, excludes
and direct mail advertising (i.e., coupons
detail available from the OES, alternatively,
aggregates each of these industries into
NAICS 5418, “advertising, public relations,
and related services.”
Consequently, the management occupations
listed in Tier 3 relate to 16 broadly
ACPSA, alternatively, delineates roughly
69 industries. Even so, Tier 3 provides an
ample picture of the contributions of arts
and cultural managers.
In 2012, the arts and cultural industries
presented in Tier 3 employed nearly
153,000 managers. Advertising and public
relations (and related services) staffed the
greatest number of managers (48,300),
followed by newspaper, periodical, book and
directory publishers, with 32,310 managers
in 2012.
30
Combined, these two industries
staffed 50 percent of all the managers
employed by the arts and cultural industries
captured in Tier 3.
Advertising and public relations also
employ the best-paid managers included
in Tier 3. Among all management workers
29 The managers reported in Tier 3 are
represented by SOC code 11-0000, a broad category
that includes chief executives, marketing managers,
and human resource managers.
30 The ACPSA excludes directory publishers.
in advertising and public relations (and
related services), annual earnings averaged
$127,940 in 2012. Notably, this high average
was propelled by the industry’s 4,000
marketing managers earning an average of
$134,080 in 2012.
Managers working in television
broadcasting and motion picture industries
also earned comparatively high salaries—
averaging roughly $118,000 in annual
earnings for managers in both industries.
Television broadcasting employed 300
marketing managers (earning an average of
$136,930), and motion picture industries
staffed 1,090 marketing managers (earning
an average of $132,740).
Managers working in the performing
arts and in museums and historical sites,
alternatively, are among the lowest paid. In
2012, management earnings in the arts and
museums averaged $73,510 and $79,740,
respectively.
Training and development managers,
though few in number, are among the best
paid managers working in the performing
arts. In 2012, training managers, an
occupation that includes the title of
“education director,” numbered only 30
in the performing arts. Their earnings,
however, averaged $102,680 in 2012,
an amount second only to the earnings
reported for the 360 chief executives
working in the performing arts, and who
earned an average salary of $157,660.
In 2012, the museums and historical sites
industry employed 1,610 “operations
and specialty managers,” a management-
occupation group that includes managers
of computer and information systems,
managers are the industry’s best paid
management workers, earning an
annual average of $95,690 and $92,710,
respectively, in 2012.
31
Section 1 examined arts and cultural
occupations, and their associated industries,
in core, technical and supporting, and
management categories. This section further
sifts through OES data to show the wider
occupational range of workers employed
in arts and cultural industries. These
tabulations show that arts, design, and
in many, but not all, arts and cultural
industries.
OES data are used to examine the
occupations employed by 12 selected arts
and cultural industries. These selections
represent some of the main industries
within the ACPSA. They include: performing
arts; independent artists, writers, and
performers; museums, historical sites and
similar institutions; motion picture and
video industries; sound recording; radio
and television broadcasting; publishing;
specialized design; photographic services;
jewelry and silverware manufacturers.
Table A is a summary of the top occupation
arts and cultural industries captured by the
OES. Tables B-M show 2012 occupations
ranked by number of employees. For
example, “arts, design, entertainment,
sports, and media occupations” (SOC 27-
12 arts and cultural industries considered.
This occupation group contains many of the
visual and performing artists, designers,
and media occupations (e.g., reporters,
photographers, editors) discussed above in
Tier 1 and Tier 2 occupations.
However, arts, design, and media occupations
of arts and cultural industries. Workers in
computer occupations, food preparation and
support positions, to name just a few, are also
employed by arts and cultural industries.
The following are highlights from Tables
B-M.
Performing Arts Companies
X Arts occupations such as actors and
musicians compose the largest number
of workers employed by the performing
arts industry (56,370 workers in 2012).
But the performing arts industry also
administrative-support occupations
(e.g., bookkeepers and secretaries) and
nearly 10,000 personal care and service
occupations (e.g., ushers and ticket-
takers).
X In 2012, the performing arts employed
8,400 food preparation and serving-
related workers (e.g., cooks, bartenders,
waitresses).
Independent Artists, Writers, and Performers
X Arts, design, and media occupations rank
artists, writers, and performers—30,410
administrative support positions (7,110
operations occupations (2,560 workers).
Museums, Historical Sites, and Similar
Institutions
X Of the selected arts and cultural
industries considered here, museums,
historical sites, and similar institutions
employ workers from the widest variety
of jobs—22 different occupation groups
in 2012.
32
X Service occupations, including tour
guides, account for the largest number of
jobs in this industry (25,370 jobs), while
education and library occupations rank
second (20,430).
X In 2012, museums, historical sites, and
similar institutions (e.g., nature parks)
employed 7,850 protective service
wardens) and 1,860 life, physical, and
social science occupations (including
zoologists and wildlife biologists).
Motion Picture and Video Industries
X In addition to employing 146,000 arts
and design workers (such as multimedia
artists, actors, and producers and
directors), motion picture and video
industries employed 44,770 food
preparation and serving-related
workers such as cooks, bartenders, and
waitresses.
Sound Recording
X In 2012, the sound recording industry
employed 6,070 workers in arts and
design professions such as producers
and directors and public relations
specialists. However, the industry
employed nearly the same number
operations occupations. Combined,
sound recording industry workers
employed in these two occupation
groups numbered 6,130 in 2012.
Radio and Television Broadcasting
X While occupations such as radio and
television announcers and reporters
number greatly in television and radio
broadcasting, this industry also employs
31,330 workers in sales occupations—
mainly advertising sales agents.
X Advertising sales agents and other sales
workers employed by the industry
earned an average annual salary of
$45,570 in 2012.
Publishing
X
employment in the publishing industry.
In 2012, publishing employed 164,030
workers in this occupation group,
software developers and computer
support specialists, in particular.
X The publishing industry’s computer
workers are also among the best-paid
workers in arts and cultural industries,
earning a median annual salary of
$85,700 in 2012.
Specialized Design Services
X Occupations such as designers and
art directors make up the majority of
workers employed by specialized design
businesses. In 2012, however, this
and administrative support workers,
and 8,160 workers in production
occupations such as printing workers
and assemblers and fabricators.
Photographic Services
X Workers in arts and design occupations
(mostly photographers and designers)
are also prevalent in the photographic
services industry—40,570 employed
in 2012. However, the industry also
4,560 production workers—mainly
photographic processing workers.
X Photographers/designers and
photographic processing workers
employed by the photographic services
industry generally earn the same
annual wages—$25,800 and $25,900,
respectively, in 2012.
33
Book Stores and News Dealers
X Sales occupations such as retail sales
workers and cashiers make up the
largest occupation group employed by
book stores and news dealers—77,790
workers in 2012.
Florists
X While 46 percent of all wage and salary
designers, this industry also employs
sizable numbers of retail sales workers
and transportation workers, such as light
truck and delivery-service drivers. In
12,080 workers in those occupations,
respectively.
Jewelry and Silverware Manufacturing
X Of the 28,820 jewelry and silverware
manufacturing workers in 2012, more
than half were employed as production
workers—namely jewelers and precious
stone and metal workers, tool-cutting
setters, and assemblers.
X The ACPSA includes self-employed workers.
X The ACPSA distinguishes between all workers employed by a particular industry
from workers engaged in the production of arts and cultural commodities. For
advertising, a separate count from all workers employed by the advertising industry
as a whole.
X The ACPSA excludes employment by occupation.
X The OES Program excludes self-employed workers.
X The OES reports counts of workers for broad industry categories.
X The OES contains detailed estimates of employment by occupation.
34
The ACPSA, following from the national
income and product accounts, excludes
production by volunteer workers—
volunteers are not compensated, so no
monetary transaction is recorded. In
response to this limitation, this section
estimates the value of volunteer hours by
arts and cultural volunteers—volunteers
with arts and cultural organizations and
volunteers performing music and other
arts for non-arts groups such as religious
organizations.
value to volunteer time, the estimates
presented here were based on the wages
performed by arts and cultural volunteers,
fundraising. Based on that method, the NEA
value of work donated by arts and cultural
volunteers at $13.1 billion in 2012.
Data Sources
In addition to being derived from OES data,
the value of arts and cultural volunteer
work was estimated using data from the
2012 Volunteer Supplement. The Volunteer
Supplement is conducted each September
as a supplement to the Current Population
Survey, and is sponsored by the U.S. Bureau
of Labor Statistics and the Corporation for
National and Community Service. The 2012
Volunteer Supplement obtained interviews
with 54,000 U.S. housing units. Those
interviews, in turn, show that 64.5 million
people, ages 16 and older, volunteered
through or for an organization at least once
between September 2011 and September
2012.
Volunteers with Arts and Cultural
Organizations
In 2012, 2.2 million people volunteered
210 million hours with arts and cultural
organizations. To value these hours in
kind of work volunteers perform for arts
and cultural organizations.
As shown below, the most common type
of work offered by volunteers with arts
and cultural organizations is management
services, including serving on a board
or committee. In 2012, 21.3 percent of
volunteers for arts and cultural groups did
this type of work. An additional 13 percent
perform music and other arts, and nearly
the same share, 12.8 percent, do general
Nearly 8 percent of volunteers with arts and
cultural organizations tutor or teach, and 5
to 6 percent serve as ushers and greeters or
do fundraising. Another 2 percent collect,
make, or distribute clothing, crafts, or other
goods, and almost 1 percent prepare or
serve food. The remaining 31.9 percent
perform a variety of duties such as general
labor and transportation and other tasks not
35
Management 21.3%
Music and performance 13.0%
General oce work 12.8%
Teach 7.7%
Usher or greeter 5.8%
Fundraise 4.8%
Distribute goods 2.1%
Serve food 0.7%
1
Examples include general labor and transportaon, providing
medical care and protecve services, mentoring youth and
coaching sports, and other services not specied in the
Volunteer Supplement.
Data Source: 2012 Volunteer Supplement, U.S. Census Bureau
The value of work donated by volunteers
with arts and cultural organizations
was calculated by distributing the total
number of hours donated (210 million)
in accordance with the share of tasks
performed, multiplied by the hourly wage
associated with that work.
For example, 21.3 percent of volunteers
with arts and cultural groups perform
management work. Applying that share to
the 210 million hours yields 44.8 million
wage paid to management workers in 2012
($45.15), plus an additional 12 percent
31
In other words, the
management work donated by volunteers
with arts and cultural organizations is
valued at $2.3 billion in 2012. Or, as an
31 Adding 12 percent to the base median
wage is recommended by Independent Sector to
alternative interpretation, arts and cultural
organizations would need to pay $2.3 billion
for the management services supplied by
their volunteers.
This same procedure was applied to the
other tasks performed. For example, the
wages earned by retail sales people and by
food and beverage-serving workers were
assigned to the hours tallied for distributing
goods and serving food, respectively.
Volunteer hours spent fundraising and
ushering were valued at $27.29 and $10.09,
workers in these occupations.
was applied to hours spent teaching and
“other” tasks, and to hours spent playing
music or performing other arts. The OES
does not report hourly wages for teachers,
and the other tasks performed represent a
variety of services such as general labor and
by the Volunteer Supplement. The dollar
value of hours spent teaching and providing
other services was calculated by applying a
general wage of $22.14, which represents
the hourly wage earned by all production
and non-supervisory workers on payrolls
in 2012, and is the value assigned to total
volunteer hours by Independent Sector.
32
The OES shows that the median hourly
wage earned by musicians and singers was
$23.50 in 2012. It is assumed, however, that
the value of the hours spent by volunteers
performing music and other arts is
somewhat below the wages typically earned
by professional musicians. Therefore, the
hourly value assigned to this volunteer work
is $9.87—the hourly tenth percentile wage
earned by musicians and singers in 2012,
32 The $22.14 value used by Independent
36
In total, it is estimated that the national
value of volunteer time with arts and
cultural organizations was $5.2 billion in
2012.
Volunteers Performing Music and Other Arts
for Non-Arts and Cultural Groups
In addition to the 2.2 million volunteers
with arts and cultural organizations, the
nearly 5.1 million volunteers who perform
music and other arts, but for organizations
that are not arts or cultural. In fact,
volunteers performing music with religious
organizations compose the largest share
of this group—three million or almost 60
percent of volunteers performing music and
other arts for non-arts groups.
Valuing the hours volunteers spend
performing music and other arts for non-
arts groups was calculated by multiplying
the hourly tenth percentile wage earned
by musicians and singers, plus 12 percent
donated in 2012. By this calculation, the
hours volunteers spent playing music
or performing other arts for non-arts
groups in 2012 is valued at $7.8 billion.
Total Value of Arts and Cultural Volunteers
The total value of time donated by arts and
cultural volunteers is the sum of the value
of hours donated by volunteers with arts
and cultural organizations ($5.2 billion) and
the value of hours by volunteers performing
with non-arts groups ($7.8 billion). As
summarized in Table N, the dollar value
of all arts and cultural volunteers is
estimated at $13.1 billion in 2012.
37
Tier 1. Core Arts and Cultural Occupations, 2012
Tier 2. Technical and Support Occupations, 2012
Tier 3. Management Occupations for Arts and Cultural Industries, 2012
(Occupations are ranked by number of employees.)
Table B. Performing Arts Companies
Table C. Independent Artists, Writers, and Performers
Table D. Museums, Historical Sites, and Similar Institutions
Table E. Motion Picture and Video Industries
Table H. Publishing
Table I. Specialized Design
Table J. Photographic Services
Table K. Bookstores and News Dealers
Table L. Florists
Table M. Jewelry and Silverware Manufacturing
Table N. Estimated Value of Arts and Cultural Volunteers, 2012
38
would like to thank the following individuals
for their valuable counsel in preparing this
work:
Neil Alper, Northeastern University
Victoria Maria Ateca Amestoy (Spain),
University of the Basque Country
Felipe Buitrago (Colombia), SAIS, Johns
Hopkins University
Economics, the Mayor of London’s Economic
Analysis Unit
Ann Markusen, University of Minnesota
Stephen Sheppard, Williams College
Beth Siegel, Mt. Auburn Associates
David Throsby (Australia), Macquarie
University
Bureau of Statistics
39
As reported by the U.S. Census Bureau, the
System (NAICS) is used by federal
statistical agencies in classifying business
establishments for the collection, tabulation,
and presentation of statistical data
describing the U.S. economy. The NAICS
structure is hierarchical and begins at
the two-digit level, which represents the
33
Sector 71: Arts, entertainment, and recreaon
Subsector 711: Performing arts, spectator sports, and related industry
Industry group 7111: Performing arts companies
Industry 71111: Theater companies and dinner theaters
Industry 71112: Dance companies
Industry 71113: Musical groups and arsts
Industry71119: Other performing arts companies
33
for most of the NAICS sectors across the three
countries participating in NAICS (the United States,
Canada, and Mexico). The six-digit level allows for
the United States, Canada, and Mexico each to have
code contains six digits.
Any codes greater than six digits are “NAICS-based
codes” and are reported only in the Economic Census.
For example, the performing arts is part of
sector 71, “arts, entertainment, and
recreation” and subsector 711, “performing
arts, spectator sports, and related
industries.” The performing arts is the
industry group that comprises the industries
of theater companies and dinner theaters;
dance companies; musical groups and
artists; and “other performing arts
companies” such as circuses and magic acts.
40
As reported by the U.S. Bureau of Labor
Statistics, the Standard Occupational
federal statistical agencies to classify
workers and jobs into occupational
categories for the purpose of collecting,
calculating, analyzing, or disseminating
data.
34
occupational structure of the United States,
organizing principle of the SOC system is
work performed rather than job title, so
there are fewer occupation codes in the SOC
than jobs in the economy.
27-0000 Arts, design, entertainment, sports, and media occupaons
27-1000 Art and design workers
27-1010 Arsts and related workers
27-1011 Art directors
27-1012 Cra arsts
27-1013 Fine arsts, including painters, sculptors, and illustrators
27-1014 Mulmedia arsts and animators
27-1015 Arsts and related workers, all others
34 All U.S. federal agencies that publish
occupational data for statistical purposes
are required to use the SOC to increase data
comparability across federal programs.
The SOC is organized in a tiered system with
four levels ranging from major groups to
detailed occupations. Under the current,
2010 SOC system there are 23 major groups,
broken into 97 minor groups. Each minor
group is broken into broad groups, of which
there are 461. There are, at the most
Major group SOC codes end with “0000,”
35
while minor groups generally end with
“000.” Broad occupations end with “0,” and
detailed occupations end with a number
other than 0.
Below is a schematic of SOC codes related to
visual artists. It begins with the major group
27-0000, “arts, design, entertainment,
35 The exceptions are minor groups 15-1100,
computer occupations, and 15-5100, printing
workers.
41
sports, and media occupations.” This is
followed by the minor group, 27-1000, “art
and design workers,” and next by the broad
occupation, 27-1010, “artists and related
workers.”
The detailed occupations under “artists
and related workers” include art directors
artists, including painters, sculptors,
and illustrators (27-1014); multimedia
artists and animators (27-1014); and
artists and related workers, all others (27-
1015), a residual SOC code that includes
calligraphers and tattoo artists.
42
Bakhshi, H., Freeman, A., and Higgs, P.
(2013). A Dynamic Mapping of the U.K’s
Creative Industries.
from http://www.nesta.org.uk/library/
documents/Dynamic_mappingV12.pdf.
Harris, C., Collins, M., and Cheek, D. (2013).
America’s Creative Economy: A Study
Approaches to Measurement Across the USA.
from http://nationalcreativitynetwork.org/
Independent Sector. Independent Sector’s
Value of Volunteer Time
http://www.independentsector.org/
volunteer_time.
Pink, B. (2013). Discussion Paper: Cultural
and Creative Activity Satellite Accounts,
Australia. Australian Bureau of Statistics.
http://www.abs.gov.au/
ausstats/[email protected]/mf/5271.0.55.001.
Statistics Canada, Minister of Industry.
(2011). Canadian Framework for Culture
Statistics: Conceptual Framework for Culture
Statistics 2011http://
www.statcan.gc.ca/pub/87-542-x/87-542-
x2011001-eng.pdf.
Streitwieser, M.L. (June 2009). A Primer on
BEA’s Industry Accounts. Survey of Current
Businesshttp://www.bea.
gov/scb/pdf/2009/06%20June/0609_
indyaccts_primer_a.pdf.
UNESCO Institute for Statistics. (2010).
The 2009 UNESCO Framework for
Cultural Statistics (FCS)
from http://unesdoc.unesco.org/
images/0019/001910/191061e.pdf.
United Nations Statistics Division. System
of National Accounts 2008
from http://unstats.un.org/unsd/
nationalaccount/sna2008.asp.
United Nations, UNCTAD. (2010). Creative
Economy, Report 2010
http://unctad.org/en/Docs/ditctab20103_
en.pdf.
U.S. Bureau of Economic Analysis.
(2006). Concepts and Methods of the
U.S. Input Output Accounts
from http://www.bea.gov/papers/pdf/
IOmanual_092906.pdf.
U.S. Bureau of Economic Analysis. Industry
http://www.bea.gov/
industry/iedguide.htm#bioa.
U.S. Bureau of Economic Analysis. RIMS II:
An Essential Tool for Regional Developers and
Plannershttp://bea.gov/
.
U.S. Bureau of Labor Statistics. (2010). 2010
SOC User’s Guidehttp://
www.bls.gov/soc/soc_2010_user_guide.pdf
U.S. Bureau of Labor Statistics. (April 2013).
Technical Notes for May 2013 OES Estimates.
http://www.bls.gov/oes/
current/oes_tec.htm.
U.S. Bureau of Labor Statistics. (February
2013). Volunteering in the United
States—2012http://www.
bls.gov/news.release/pdf/volun.pdf.
43
