# EUR-Lex - 52012DC0537 - EN

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# 52012DC0537

**COMMUNICATION FROM THE COMMISSION TO THE EUROPEAN PARLIAMENT, THE COUNCIL, THE EUROPEAN ECONOMIC AND SOCIAL COMMITTEE AND THE COMMITTEE OF THE REGIONS Promoting cultural and creative sectors for growth and jobs in the EU /* COM/2012/0537 final */**

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COMMUNICATION FROM THE COMMISSION TO
THE EUROPEAN PARLIAMENT, THE COUNCIL, THE EUROPEAN ECONOMIC AND SOCIAL
COMMITTEE AND THE COMMITTEE OF THE REGIONS

Promoting cultural and creative sectors
for growth and jobs in the EU

1.           A largely untapped resource for the EU
2020 strategy

At the heart of our social fabric, culture shapes our identities, aspirations and
relations to others and the world. It also shapes the places and landscapes
where we live, the lifestyles we develop. Heritage, visual and performing arts,
cinema, music, publishing, fashion or design manifest themselves strongly in
daily life but the contribution that cultural and creative sectors[1] can bring to social and economic development
in the EU is still not fully recognised. Furthermore, major challenges are brought
about by globalisation and the digital shift but the necessary adaptations are
yet to be promoted to allow these sectors to realise their full potential and Europe's long-standing excellence to be better valorised as a comparative advantage on the
world scene. This Communication proposes a strategy to exploit further the
potential of these sectors in the EU to contribute to growth and jobs.

High growth sectors

The economic performance of the cultural
and creative sectors is recognised: in the EU they account for 3.3% of GDP and employ
6.7 million people (3 % of total employment)[2].

Figures
are also important if one considers the fashion[3]
and high-end[4]
industries, which rely on a strong cultural and creative input. They account
for 3% of the EU GDP each and employ respectively 5 and 1 million people, with
employment in the high-end industries expected to reach 2 million by 2020[5].

Between 2008 and 2011, employment in the
cultural and creative sectors proved more resilient than in the EU economy as a
whole[6]
with growth rates varying however between sub-sectors. This tendency is all the
more interesting because some sectors have a higher percentage of youth
employment than the rest of the economy.

In some
cases, at local and regional level, strategic investments in these sectors have
delivered spectacular results. In particular, festivals and European Capitals
of Culture produce important economic benefits, with sometimes more than ten
times leverage for each euro invested.

Catalysts
for innovation

Being at the crossroads between arts,
business and technology, cultural and creative sectors are in a strategic
position to trigger spill-overs in other industries. They fuel content for ICT
applications, creating a demand for sophisticated consumer electronics and
telecommunication devices. Culture and creativity have also direct impacts on
sectors such as tourism and are integrated at all stages of the value chain of other
sectors such as fashion and high-end industries, where their importance as key underlying
assets is increasing[7].

More generally, these sectors have an
impact on innovation in other industries. As highlighted in the Innovation
Union[8],
innovation is increasingly driven by non-technological factors such as
creativity, design and new organisational processes or business models. It heavily
relies on creative eco-systems in which the quality and diversity of
partnerships across different sectors and types of actors is decisive. The most
obvious example is the wider use of design in manufacturing industries, adding
value to products, services, processes and market structures. Firms spending
twice the average amount on creative inputs are 25% more likely to introduce
product innovations[9].

This catalytic potential can also
constitute a fundamental resource for social innovation and responses to major
societal challenges, such as climate change, sustainable development,
demographic changes or cultural diversity[10].
For example, in partnership with the education and vocational training sector, the
cultural and creative sectors can contribute to developing the blend of skills
around creativity and entrepreneurship, critical thinking, risk taking and
engagement, which is needed for EU's competitiveness in the knowledge society.

A key element in global competition and
soft power

Europe's
international partners already invest a lot in the cultural and creative
sectors. The US has been investing in them for decades both as strategic
economic sectors and a tool to affirm their presence globally. Others, such as China, South Korea or India, are also making massive investments to boost their economic potential
and 'soft power'. To do so, they enter into a global competition for creative
talents. For example, in China, public investment in culture has grown by 23%
annually since 2007, and plans are to raise the sectors' share of GDP from 2.5%
to 5-6% by 2015[11].

While
European fashion and high-end industries contribute increasingly to EU exports[12] and the promotion of European
excellence in the world, the potential of other sectors, such as cinema or music,
is still not strategically exploited abroad. The challenge is both to increase
exports to the benefit of EU's economy, and forge a dynamic image of an
attractive and creative Europe open to cultures and talents from across the
world.

2.           Turning challenges into new growth and
jobs opportunities

The cultural and creative sectors are faced
with a rapidly changing environment driven by the digital shift and
globalisation, leading to the emergence of new players, the coexistence
of very big structures with micro-entities, a progressive transformation of
value chains and evolving consumer behaviour and expectations. While these
changes offer great opportunities in terms of lower production costs or new
distribution channels, they call for action at different levels.

In this changing context, access to
finance remains a major difficulty: the banking sector does not have the
necessary expertise to analyse business models in these sectors and does not
adequately value their intangible assets. The financial and economic crisis
only makes this situation more critical at the very time when investments are
needed to adapt.

These sectors are also characterized by a
high fragmentation along national and linguistic lines. While the
resulting cultural diversity is a clear European asset, this leads to limited
and sub-optimal transnational circulation of cultural and creative works and
operators within and outside the EU, geographical imbalances and - subsequently
- a limited choice for consumers.

Powerful dynamics take place at the
borderlines between various sectors (for instance, through increased
linkages between gaming, film and music) and with other industries (such as fashion,
high-end or tourism). However, the sectors and policies are still often
organised in sectoral silos, limiting the scope for synergies and the emergence
of new solutions and businesses.

All these challenges affect the various
sectors in different ways, but they call for a comprehensive strategic response
involving all actors starting from the local up to the EU level.

3.           The need for a multi-layered strategy – the
role of Member States

A holistic approach for integrated
strategies

Despite the great diversity of national and
regional contexts, the development of successful strategies that can turn the
challenges above into new growth and jobs opportunities in the EU usually follows
the same pattern of logical steps[13].

As
a general rule successful strategies for the cultural and creative sectors build
on a full mapping and mobilisation of the cultural and creative resources of a
given territory. They are holistic, calling for partnerships between various
departments (culture, industry, economy, education, tourism, territorial
planning etc.) and involving all relevant public and private stakeholders to
increase ownership. Strategies must also be underpinned by research to ensure effectiveness,
efficiency and sustainability. For each relevant issue - from skills development to access to finance or access to world markets
etc. - these strategies identify what can be tackled by generic policies and
instruments and what requires a tailored approach. This
is true for all levels of governance: the local, regional, national up through
to the European level.

In recent years, while some Member States,
regions and cities, such as the UK, Estonia, Wallonia, Puglia, Barcelona, Amsterdam to name a few, have
been good at tapping into the extraordinary potential of the cultural and
creative sectors as a way to promote socio-economic development and progressively developed ad hoc strategies, others are only just starting. Where strategies have emerged, they
tend to focus on the strengthening of these sectors and not yet on stimulating
partnerships and spill-overs with other sectors.

Key policy drivers

To respond to the major challenges
identified, concerted action is needed in particular in the following key
areas.

Addressing changing skills needs

There is a need for stronger partnerships
between the cultural and creative sectors, social partners and education and
training providers, both through initial training and continuing professional
development. This should provide sectors with the mix of skills needed for
creative entrepreneurship in a rapidly changing environment. Furthermore, some
sectors are confronted with a shortage of employees with technical and
traditional skills and crafts, because young people in particular are less
attracted to take up such skills.

Creative skills need to be learnt from an
early age, in order to lay the foundations for a constant replenishment of
creative talents and stimulate demand for more diverse and sophisticated
creative contents and products. In a lifelong learning perspective, creative
skills and competences can help to respond to changes in requirements of the
labour market.

Partnerships with education can also
contribute to a stimulating learning environment, helping learners, notably
those in difficulty, acquire basic skills and develop competences required for
their future professional life, thus improving their employability. Creative
and cultural initiatives at the local level can contribute to the integration
of marginalised communities and offer opportunities for people in deprived
neighbourhoods.

Improving access to finance

The small size of cultural and creative businesses,
the uncertainty about the demand for their products, the complexity of their
business plans and their lack of tangible assets are obstacles for obtaining
external financing. While equity finance, angel investment, venture capital and
guarantees are alternative financing possibilities, they remain widely
under-used. There is also anecdotal evidence of a market gap for export
operations financing.

Therefore, financial institutions need to increase
their awareness of the economic potential of these sectors and develop their capacity
to assess businesses relying on intangible assets. In parallel, entrepreneurs
in these sectors should be helped in better understanding the requirements of business
planning and allocation of funds to finance their activities and growth.

Enlarging the marketplace: new
partnerships and business models

Cultural and arts institutions and services
need to strengthen their audience development capacity, seize new opportunities
(in particular across borders) and respond to changes in audience behaviour and
expectations. New services exploiting the possibilities offered by ICT and
online service delivery are emerging, offering ways to better address
consumers' demand for access to a wide variety of contents and products and for
greater participation in the creative process. These new approaches and
services should also translate into new revenue streams.

To push ahead with the creation, production and
distribution on all platforms of digital content, the cultural and creative
sectors must enter strategic and fair partnerships with other sectors which can
lead to innovative business models, through which content is accessed in
different ways, achieving a balance between right-holders' revenues and the
general public's access to content and knowledge, thus promoting cultural and
media literacy. In that context, the full potential of Europeana[14], the single access platform
linking the digital collections of Europe's libraries, museums and archives,
should be increasingly exploited as a basis for a new eco-system of
applications and digital products targeting tourism, education, creation and
culture.

Expanding international reach

Smart internationalisation and export
promotion policies are needed to allow a wide majority of small organisations
and companies to operate in a global environment and
reach new audiences and markets worldwide. It is necessary to identify the most
effective support services, facilitate access to foreign markets, reinforce regulatory
dialogues and assess possible risk sharing facilities. Pooling of resources and
increased cooperation between various actors in the EU could be further
explored to promote a stronger cultural and creative presence of Europe on the world scene and an attractive European image bridging our excellence in the
field of heritage to vibrant cutting edge creativity.

Reinforcing cross-sectoral fertilisation

The cultural and creative sectors need
multi-disciplinary environments where they can meet with businesses from other
industries. Any public intervention aiming to further develop them calls for
cross-sectoral fertilisation. This requires the development and testing of
better business support instruments and policies that aim to facilitate
cross-sectoral linkages and spill-overs. It implies fostering change amongst the
sectors themselves while adding new skills and competencies into other
industries and vice versa.

It also requires further cooperation
between different policies, embracing in particular economic affairs, industry,
education, tourism, innovation, urban and regional development and territorial
planning.

In view of the above, Member States, at all territorial levels and
involving – when appropriate – all relevant public and private
stakeholders, are invited to:

- Fully assess the potential of CCS[15]
for smart, inclusive and sustainable growth and further integrate them in their
development strategies at all levels, in particular in the context of smart
specialisation strategies[16]

- Reinforce cooperation across CCS and with other sectors such as
ICT, tourism etc., including through joint initiatives to foster understanding
across sectors and contribute to developing a more open, innovative and
entrepreneurial mind-set in the economy

- Encourage and facilitate the setting up of platforms, networks and
clusters between all public and private stakeholders that are relevant for CCS

- Encourage structured partnerships between the CCS, social partners
and all types of education and training providers, including apprenticeships

- Promote the recognition of qualifications in informal and non-formal
education and training in fields that are relevant to CCS

- Improve investor-readiness of financial institutions and
investment-readiness of CCS, and devise dedicated financial engineering
instruments, in particular guarantee schemes, including through an appropriate
use of the forthcoming Creative Europe Programme and the Cohesion Policy Funds

- Support CCS in exploring and testing new audience development
strategies and business models which are relevant in the digital shift

- Support the digitisation of cultural content and the development
of online platforms in compliance with relevant EU state aid rules

- Encourage CCS to explore and reinforce their presence on international
markets, including through the development of international partnerships and
cooperation with third countries

4.           Added value for action at EU level

The EU has clearly a role to play in
helping to put in place the right environment and supporting this agenda of
adaptation.

Promoting the right regulatory
environment

As part of the Small Business Act
for Europe, the EU is putting in place a SME policy framework for the EU and
its Member States aiming to improve the overall approach to entrepreneurship[17]. It is particularly relevant
for the cultural and creative sectors where small and micro-enterprises are
predominant.

Focusing on the need to make progress in
the achievement of a fully integrated digital European Single Market, the Communication "A Single
Market for Intellectual Property Rights"[18] sets
out a blueprint for initiatives to deliver an EU IPR
framework rewarding creative efforts and facilitating cross-border activities
in the internal market. As a result, the Commission adopted
legislative proposals on orphan works[19]
and collective rights management[20].
Assessment of the audiovisual sector is being taken forward following the Green
Paper on the Online Distribution of Audiovisual Works in the EU[21]. The Commission is fostering a
mediation process with stakeholders on private copying levies. Work is also foreseen
to improve the valuation of intangible assets, a crucial issue for access to
private financing.

For those cultural and creative sectors relying
on brands and customers' loyalty, modernisation and adaptation of the trademark
system are crucial. In the context of the EU Observatory on IPR infringements,
better analysis of reliable data on IPR value and infringement, sharing of best
practices and awareness-raising are needed to combat counterfeiting and piracy
in an effective and efficient manner. Against this background, the Commission facilitates cooperation between intellectual property
rightholders and Internet platforms in the context of the Memorandum of
Understanding on the sale of counterfeit goods via the Internet, which
seeks to reduce, at a pan-European level, the offer of fake cultural goods on
the internet[22].

Under the Digital Agenda for Europe[23], which includes actions to address barriers to the development of Europe's online markets, certain aspects of the initiatives on re-use of public
sector information can contribute to a better exploitation of and
access to cultural assets.

One of the priority actions set out by the Communication
on the future of VAT[24]
is a review of the current VAT rates structure. According to one of the
principles guiding that review, similar goods and services should be subject to
the same VAT rate and progress in technology should be taken into account, so
that the challenge of convergence between the online and the physical
environment is addressed.

For an efficient digital market also offering
new opportunities to the cultural and creative sectors, the Commission will continue to implement the initiatives set out in
the action plan on Digital Single Market for e-commerce and online services[25], including an initiative on
"Notice and action" procedures and an initiative on net neutrality.

In the context of State Aid Modernisation[26], exemption from notification
will be considered for aid in the cultural sector. Furthermore, support to innovation,
including non-technological innovation, will be considered in the next review
of the Community framework for state aid for research,
development and innovation.

Facilitating the exchange of good
practices and peer-learning

Initiatives at EU level can accelerate the
pace of adaptation, foster the dissemination of good practices and improve
networking within cultural and creative sectors. Since the adoption of the
European Agenda for Culture[27]
in 2007, national authorities have been cooperating in this field. An Expert Group has
been set up to discuss and validate national or regional best practices and
make proposals for cooperation initiatives. The group published a handbook on
strategic use of the EU Cohesion Policy Funds to foster the potential of
culture for local, regional and national development, in particular by
contributing to smart specialisation strategies[28]. The group will now focus on
internationalisation and export strategies. Another
example is the Policy Learning Platform set up under the European Creative
Industries Alliance[29],
in order to promote exchanges and cooperation in better business support,
access to funding and cluster excellence and cooperation.

The Commission also intends to support peer
learning among city administrations, to allow local policymakers to share and
compare experience on the impact of culture in the social and economic
revitalisation of cities.

Towards 2020: Mobilising a wide range
of specific and generic financial supports

The Commission's proposals for
programmes and instruments for the new Multi-annual Financial Framework
2014-2020, notably Creative Europe[30],
Erasmus for all[31], the Cohesion Policy Funds[32],
Horizon 2020[33], COSME[34]
and Connecting Europe Facility[35] can make a decisive contribution to support the further development
of the cultural and creative sectors and strengthen their contribution to the
Europe 2020 Strategy for jobs and growth.

Creative Europe aims to promote cultural and linguistic diversity in Europe and reinforce the competitiveness of the cultural and creative sectors. It will:

- Support cross-border networking,
partnership and peer-learning activities to strengthen the sectors' capacity to
operate beyond national borders and help respond to challenges such as the digital
shift, globalisation and fragmented European markets

- Set up a dedicated Financial
Facility, providing guarantees to make access to bank loans easier for
small enterprises and organisations; this facility, included in the future
Financial Debt Instrument for SMEs together with the Horizon 2020 and COSME
Facilities, will also seek to achieve a systemic impact on the financial
sector, by improving the capacity of financial institutions to assess cultural
and creative projects, pooling current limited expertise across national
borders, and support initiatives aiming to strengthen the investment-readiness in
the sectors

- Support actions for capacity building
aimed at audience development and the testing of business models

- Support measures to help the sectors operate
internationally

Erasmus for All will support investment in education and training, both in the form
of learning mobility, partnerships for innovation and policy support. As part
of its endeavour to promote cooperation for innovation, the programme will
support large-scale partnerships (Knowledge Alliances) between higher education
and businesses and partnerships between vocational education and training and
businesses (Sectoral Skills Alliances). This provides important opportunities for
partnerships between cultural and creative sectors and the education and
training sector.

Building on the ample opportunities already
provided[36],
the Cohesion Policy Funds will keep on supporting investments in the
cultural and creative sectors, to maximise the contribution of culture as a
tool for local and regional development, urban regeneration, rural development,
employability and social inclusion. Examples of investments could include
research, innovation, SME competitiveness and entrepreneurship in cultural and
creative industries, or the protection and enhancement of cultural heritage and
landscapes[37].
In addition, the European Agricultural Fund for Rural Development will
continue its support for the upgrade of rural cultural heritage and for
improving access to cultural services in rural areas by providing investment
and training support to cultural and creative businesses, stimulating also
their networking and cluster development, in particular through LEADER[38].

In this context, the use of dedicated financial
engineering instruments will be further encouraged, including in relation to the
cultural and creative sectors. In its vision for the
future Cohesion Policy, the Commission has pointed to these sectors in the
context of the development of smart specialisation strategies for local and regional development[39]. This calls for a stronger integration between strategies at local/regional
levels and those at national levels. The focus should
now be on assessing the potential of the sectors in regional development
strategies in the forthcoming definition of Partnership Agreements and
Operational and Rural Development Programmes, taking into account the dynamic
links between traditional cultural assets, the development of creative
businesses and the response to social and environmental challenges, and
favouring a better mix of investments in infrastructure and human capital[40].

COSME aims to strengthen the competitiveness and sustainability of EU
enterprises and SMEs and encourage an entrepreneurial culture. The Commission is proposing actions to foster the development of
world-class clusters and business networks, and to accelerate the emergence of
competitive industries based on cross-sectoral activities, which is
particularly relevant for cultural and creative sectors. Concrete actions are
proposed to encourage adoption of new business models and commercial use of
creative ideas which lead to customised and personalised goods and services
meeting consumers' demand. The Commission also proposes to develop actions linking
and adding skills and competencies in the fields of design, creativity and
manufacturing.

Horizon 2020 will govern the EU support to research and innovation activities
and promote a better exploitation of the industrial potential of policies of
innovation, research and technological development. It aims to reinforce
competitiveness across a range of emerging industries and sectors, which is of
particular relevance for cultural and creative sectors. It will support
technological developments in relation to these sectors, such as innovative
technologies for the creation and use of creative content and innovative
materials for creative industries. Horizon 2020 will also explore new forms of
innovation, such as social innovation and creativity, in order to enhance
positive inter-cultural dynamics in Europe and with international partners.

Connecting Europe Facility aims to boost Europe's transport, energy and digital networks. It will
provide sustainable funding to Europeana and will support related activities such
as mechanisms for the exchange of rights information and licensing or
competence centres on digitisation and preservation of digital cultural
heritage.

At the international level policy dialogue between the EU and third countries, both at
bilateral and regional level, can be used to build up trust and open
opportunities to engage in win-win partnerships, including for the cultural and
creative sectors[41]. Through cooperation, culture will continue
being an essential vector of socio-economic development and of strengthening
human rights, democracy, civil society and other key elements of good
governance[42].

The Commission will:

- Continue to improve the EU regulatory
framework for CCS

- Negotiate with the European Parliament and the Council its
proposals for EU funding instruments for 2014-2020, and prepare their
implementation

- Support the exchange of good practices within the EU

Shorter term actions at EU level to
support the key policy drivers

In a shorter term, efforts deployed in
Member States, at all territorial levels, will be completed by a number of EU
initiatives to support the emergence of creative ecosystems across sectors at
various stages of the value chain:

- Addressing changing skills needs

Knowledge Alliances are being tested between higher education and
businesses to promote innovation. A Cinema and Industry Alliance for Knowledge
and Learning[43]
will report on its work in 2013.

The EU is funding the first phase of a European Sectoral Skills
Council in the audiovisual and live performance sectors[44], and it is also funding a
European Sectoral Skills Council in the textile, clothing and leather sectors[45] to analyse skills needs.

By end 2013, a Member States Expert Group set up in the framework of
the European Agenda for Culture will produce a report on the promotion of Creative
Partnerships between schools and cultural and creative businesses and
organisations.

- Improving access to finance

In the framework of the European Creative Industries Alliance, the
EU is funding two partnerships on better access to finance (FAME and C-I
Factor) until 2014.

The MEDIA Production Guarantee Fund[46] is facilitating film
producers' access to private sources of financing.

The Commission will assess the possibility of setting up a similar
Guarantee Fund for fashion businesses.

Under the IPR Strategy, the Commission will formulate policy proposals
aiming to improve the economic exploitation of IPR[47].

- Enlarging
the marketplace

In 2012, the Commission will:

- Fund a preparatory action on the circulation of European films in
the digital era[48]

- Fund a pilot project on innovative uses of ICT in CCS[49]

- Fund a Thematic Network on new business
models for publishing in the digital age[50]

- Organise a European exchange of practice
conference[51]
on audience development

- Adopt a recommendation on European film in the digital era

By end 2012, a Member States Expert Group set up in the framework of the European Agenda for Culture will produce a
report on policies and good practices of public institutions to promote better
access to and participation in culture.

In 2013, the Commission will:

- Support the production of more powerful and
interactive tools for creative industries and anticipate future trends in
research and innovation through interaction in and between different segments of
these industries[52]

- Launch a WORTH Pilot Project to stimulate market oriented support and
advice to SMEs in fashion or design-based personal goods sector, in order to
develop new creative products and services through cooperation with designers

The European Heritage Label[53] and the European
Capitals of Culture[54]
initiatives will also be further used as laboratories for audience development
and citizen participation.

- Expanding international reach

In 2012-2013 the Commission will organise in
third countries specific matchmaking events to support SME internationalisation
through clusters, including for CCS.

Cooperation on CCS under the EU-China Trade Project as a testing
phase for reinforced cooperation in this area will continue.

Policy dialogues on culture with emerging partners will focus on the
environment for cooperation and exchanges in CCS.

The Commission will also:

- Test the feasibility of sharing the risk of existing export credit
insurance schemes for SMEs

- Explore in close consultation with EEAS ways and means to
strengthen culture in external relations

In 2013, a Member States Expert Group set up
in the framework of the European Agenda for Culture will produce a handbook on internationalisation
support strategies for CCS.

- Reinforcing cross-sectoral fertilisation

As of 2012, the Commission has been:

- Fostering cross-sectoral linkages, under the European Creative
Industries Alliance

- Supporting three large-scale demonstrators in support of cultural
tourism under the European Mobile and Mobility Industries Alliance

In 2012-2013, it will also:

- Establish a European Service Innovation Centre to provide advisory
support to regional organisations on service innovation and creativity for
promoting industrial change

- Publish a Smart Guide on how to better use Cohesion
Policy Funds for capitalising on service innovation, particularly relevant for
CCS

- Start funding a pilot project supporting two traditional industrial regions in their transition towards
"European Creative Districts"[55]

- Review challenges and options for measures to
strengthen competitiveness of the EU fashion and high-end industries and take
due account of the corresponding Staff Working Documents

- Assess the recommendations to be presented by the European Design
Leadership Board in 2012 and formulate an action plan for accelerating the take
up of design in innovation policies

- Develop and test under
the European Cluster Excellence Initiative training modules to promote the role
of creativity, creative skills and creative sectors for the change of traditional
industrial activities

- Launch a stakeholder consultation on the relevance of setting up a
European Experience Economy Alliance, to foster cross-sectoral interaction
between CCS, leisure, sport and tourism and support the development of new
industrial value chains

5.           Monitoring progress

Harnessing the full potential of CCS can
make a major contribution to growth and jobs and accelerate the shift towards a
knowledge based innovation society. To realise this potential, action is needed,
at national, regional and local level, and at EU level, to support the
implementation of the multi-layered strategy delineated above, focusing in the
short and longer terms in particular on the five key policy drivers: developing
skills; improving access to finance; promoting new business models and
enlarging audiences; facilitating cooperation with other sectors and policies;
and expanding international reach. This strategy will also promote cooperation
with the EU's partners. It will count on the support of other European
institutions and stakeholders.

To monitor progress in the implementation
of the strategy, the Commission proposes to use the existing framework for
co-operation, that is the Culture Open Method of Coordination.

[1]               Covering in particular architecture, archives and
libraries, artistic crafts, audio-visual (including film, television, video
games and multimedia), cultural heritage, design (including fashion design), festivals,
music, performing and visual arts, publishing and radio

[2]               2010 European Competitiveness Report. Other sources
have estimated it higher at 4.5% of GDP and 8.5 million people employed (TERA
Consultants, 2010).

[3]               Including design, manufacturing of fashion materials
and goods, and their distribution

[4]               Covering in particular high-end fashion, jewellery
and watches, accessories, leather goods, perfumes and cosmetics, furniture and
household appliances, cars, boats, as well as gastronomy, hotels and leisure

[5]               Competitiveness of the EU fashion industries, Idea
Consult, 2012; The value of the cultural and creative industries to the
European economy, Frontier Economics, 2012

[6]               Source: Eurostat (EU-LFS)

[7]               As seen in "fast fashion", bringing to
market several new collections a year

[8]               COM(2010) 546

[9]               Creating Innovation: Do the creative industries
support innovation in the wider economy?, NESTA 2008

[10]             Sostenuto – Culture as a factor of economic and social
innovation, 2012. KEA European Affairs – Study on the impact of culture on
creativity, 2009

[11]             China 12th Five-Year
Plan (2011–2015)

[12]             For instance 62% of all goods manufactured by European
high-end brands are sold outside Europe and the value of their exports is
estimated at € 260 billion (e.g. approximately 10% of all European exports).

[13]             See http://ec.europa.eu/culture/our-policy-development/documents/120505-cci-policy-handbook.pdf

[14]             www.europeana.eu

[15]             Stands for cultural and creative sectors

[16]             See page 10

[17]             http://ec.europa.eu/enterprise/policies/sme/small-business-act/

[18]             COM(2011) 287

[19]             COM(2011) 289

[20]             COM(2012) 372

[21]             COM(2011) 427

[22]             http://ec.europa.eu/internal_market/iprenforcement/stakeholders/index_en.htm#maincontentSec2

[23]             COM(2010) 245

[24]             COM(2011) 851

[25]             COM(2011)942

[26]             COM(2012) 209

[27]             COM(2007) 242

[28]             http://ec.europa.eu/culture/news/cci_en.htm

[29]             https://www.howtogrow.eu/ecia/

[30]             COM(2011) 785

[31]             COM(2011) 788

[32]             http://ec.europa.eu/regional_policy/what/future/proposals_2014_2020_en.cfm

[33]             COM(2011) 809

[34]             COM(2011) 834

[35]             COM(2011) 665

[36]             Study on the contribution of culture to local and
regional development, 2010

[37]             SWD(2012) 61, part II

[38]             http://enrd.ec.europa.eu/leader/en/leader_en.cfm

[39]             http://s3platform.jrc.ec.europa.eu/c/document_library/get_file?uuid=a39fd20b-9fbc-402b-be8c-b51d03450946&groupId=10157

[40]             Ibid.

[41]                    Policy dialogues could in particular be
supported under the Partnership Instrument (PI)

[42]             Such objectives will be supported both under
geographical and thematic cooperation through the Development Cooperation
Instrument (DCI), the European Neighbourhood Instrument (ENI), the Instrument
for Pre-Accession Assistance (IPA) and the 11th European Development
Fund (EDF)

[43]             http://ec.europa.eu/education/higher-education/ka1_en.htm

[44]             http://www.pearle.ws/en/projects/detail/16

[45]             http://europeanskillscouncil.t-c-l.eu/eng/

[46]             http://ec.europa.eu/culture/media/programme/overview/funding/index_en.htm

[47]             http://ec.europa.eu/enterprise/policies/innovation/policy/intellectual-property/index_en.htm

[48]             http://ec.europa.eu/culture/media/programme/overview/digitaldistrib/prepaction/index_en.htm

[49]             http://ec.europa.eu/culture/news/12062012-pilotproject-eac10_en.htm

[50]             WP ICT PSP 2012, p.19

[51]             http://ec.europa.eu/culture/news/20120316-conference-audience_en.htm

[52]             WP ICT PSP 2013, pp. 10, 81-85

[53]             http://ec.europa.eu/culture/our-programmes-and-actions/label/european-heritage-label_en.htm

[54]             http://ec.europa.eu/culture/our-programmes-and-actions/capitals/european-capitals-of-culture_en.htm

[55]             http://ec.europa.eu/enterprise/newsroom/cf/itemdetail.cfm?item_id=5782&lang=en