3. Cultural and creative sectors
Romania
Last update: April, 2020
The concern for the preservation and valorisation of cultural heritage has an historical tradition in Romania, which has been allowing the strengthening of a dedicated administrative and legal system at present. All the cultural heritage fields are in focus: the moveable and immoveable heritage, the archaeological, industrial and intangible heritage, as well as the cultural landscape.
The central authority in the field of culture is the Ministry of Culture, which provides methodological coordination, monitoring and control over all specialised and non-specialised heritage owners, via its specialised department – the Directorate for Cultural Heritage (with services dedicated to the immoveable and archaeological heritage, as well as to the moveable and intangible heritage), and through the county and Bucharest culture directorates (decentralized services organized at the level of each territorial-administrative unit), and other subordinated institutions, such as the National Heritage Institute. There are also commissions that support the decisions of the Ministry of Culture, which have an advisory and / or endorsing role: the National Commission for Historical Monuments, the Zonal Commissions of Historical Monuments, the National Commission of Museums and Collections, the National Commission for Archaeology and the National Commission for the Safeguarding of the Intangible Cultural Heritage.
Cultural heritage has always been an important part of the cultural strategies, actions and politics in Romania. Even though at present we cannot speak about officially assumed and coherently implemented sectoral strategies, cultural heritage is distinctly highlighted within a general objective of the Strategy for culture and national heritage 2016-2022: A better protection of the cultural heritage, based on the acknowledgement of the situation and engaging in efficient partnerships (local-central and public private), subsumed to the priority axis 1, Culture-Factor of sustainable development.
The specific objectives included in the Strategy for culture and national heritage 2016-2022 are:
With the purpose of protecting historical monuments:
- Research, information and documenting on the situation of historical monuments through an integrated approach at local and regional level.
- Improvement and extension of public access to historical monuments and promotion of knowledge on these monuments via new technologies.
- Development of integrated programmes of scientific research, documentation, rehabilitation, management and usage of historical monuments prone to generate welfare and economic development, also through their inclusion into the travel circuit.
- Support for the cohesive values of historical monuments, as factors of social inclusion, of aggregation of social groups around them, considered as cultural and identity landmarks.
- Promotion of cultural diversity by preserving and promoting historical monuments representative for ethnic groups and minorities in Romania.
- Priority support for category A heritage monuments rehabilitation, at central level and for category B monuments, at local and regional level.
- Set up and management of Regional Restoration programmes.
- Improvement of the physical state of the historical monuments currently in a state of structural (pre)collapse.
- Protection and valorisation of the protected built areas.
With the purpose to protect moveable heritage:
- Consistent implementation of the legislation on the ex officio classification of the moveable cultural assets, including those belonging to private owners (e.g. cults) and monitoring the provisions related to incidents in the field.
- Inventorying and keeping records on the stored goods with a view to their conservation, restoration and valorisation.
- Support for a plan of reorganising storage spaces for moveable heritage, as well as for the set-up of declassification criteria.
- Enriching the national cultural heritage via research, acquisition and recovery of stolen or illegally exported goods.
- Putting an end to spoliations (thefts, unauthorized research, illegal exports, destructions etc.) and setting up an adequate protection and security system, including the activation of intra-community and cross-border cooperation instruments.
- Promotion of knowledge on moveable heritage via new technologies and support for focused campaigns of awareness and appreciation, and for valorisation of the moveable national cultural heritage assets.
- Promotion of knowledge on the moveable heritage through scientific methods, systematized database of current and future knowledge.
- Support for and promotion of public access to and participation in moveable heritage.
- Support for the development of Romania's art market for (classified and non-classified) cultural goods, as well as for contemporary creation.
- Regulation and support for professional training in specific professions and occupations and increasing specialists' competitiveness on the single market.
- Support for the activities of conservation and restoration of the classified moveable cultural goods.
- Support for the establishment of Regional Centres for the Conservation and Restoration of the Moveable National Cultural Heritage.
- Appraisal of moveable cultural goods with a view to maximise their value.
- Ensure implementing of the Hague Protocol for the Protection of cultural property in the event of armed conflict.
And with the purpose of safeguarding, protecting and valorising the intangible cultural heritage:
- Close monitoring of the protection degree for cultural goods listed in or proposed for the UNESCO Representative List of Intangible Cultural Heritage
- Closing the processes related to the repertoire and inventory of Romania's intangible cultural heritage.
- Adjustment of the national programme for the safeguarding, protection and valorisation of the intangible cultural heritage to the realities of a fast-changing society, especially in terms of preservation of traditions.
- Drafting of an inter-sectoral program for the creation and development of entrepreneurial skills, of business models adjusted for the economic development of communities, for the stability of working population in the field of crafts, for the decreased percentage of impoverished and nearly-impoverished rural population.
- Promotion of cultural diversity and intangible heritage elements through the preservation, development and expression of cultural and linguistic identity of minorities and ethnic groups in Romania, as well as within Romanian communities abroad.
In order to realise these goals, an important role is played by the systematisation and encoding of the legislation in the cultural heritage field – an initiative materialised in 2016, after long-lasting efforts, through the approval of the Cultural Heritage Theses, which is now part of a project financed from European funds. Thus, in the period July 2018-September 2021, the Ministry of Culture, in partnership with the National Heritage Institute, develops the project "Historical Monuments – strategic planning and optimized public policies", whose general objective is to optimize and stream the administrative, legislative and decisional act within the central administration and its decentralised services in the field of national cultural heritage. The specific objectives: "Systematisation and simplification of the active legal fund" and the "Drafting of the strategic and operational framework to achieve policies based on evidence in the field of immoveable heritage" are materialised through the following activities:
- Inventory and analysis of the legislation in the field of cultural heritage;
- Systematisation of legislation and drafting the Cultural Heritage Code project, accomplishing the process of public consultation; endorsement and approval of the legislative project;
- Ex-ante evaluation of the impact of evidence-based policies and integration of conclusions into the National Strategy on the protection of historical monuments;
- Drafting of the National Strategy on the protection of historical monuments.
The correlation between the processes of legislation encoding and of drafting the National Strategy on the protection of historical monuments is an advantage of this undertaking, allowing for the establishment of implementation mechanisms starting from the regulatory level.
Another development direction of great specificity, including the field of cultural heritage, is digitisation – a process that was boosted by the strategic initiatives at EU level. Since 2007-2008 Romania has benefited from a public policy on the digitisation of its national cultural resources and on the creation of Romania's Digital Library. Implementing this public policy has had an impact up to the present, and its results are based on a project of the Ministry of Culture, "E-Cultura", which is developing in the period July 2018 – July 2021 and whose specific objectives are: "Increasing the number of digitised and online-displayed elements of cultural heritage, in a single access point", "Increasing the degree of inter-operability between the institutions that own cultural heritage elements" and "Promoting the national cultural heritage by displaying the digitized cultural resources on europeana.eu". The project involves the digitisation of 550 000 resources and their display in Romania's Digital Library, as well as the creation of a platform – culturalia.ro. This project is also aimed to improve Romania's contribution to the europeana.ro platform.
Apart from the inherent deficiencies in implementing the heritage protection and administration mechanisms, we must emphasize that Romania is connected to all major directions of heritage protection proposed by UNESCO, EU, COE, ICOM, at international level. The accession/ratification and signing of all the international conventions relevant for the field of cultural heritage guarantee the highest principles of protection, while the constant fostering of proposals of elements for the UNESCO's Representative List of Intangible Cultural Heritage of Humanity and World Heritage List is aimed at international recognition of Romanian values and their integration in the global protection systems.
Last update: April, 2020
Law no. 334/2003 – the Law on Libraries – is the primary legal act that regulates the establishment, organisation and functioning of the public libraries and of those private libraries carrying out activities that are specific to public libraries and which together form the national library system. This system is a part of the national information system, which aims at ensuring a unified performance of library activities and to stimulate public reading. The national system of libraries includes the National Library of Romania, the Romanian Academy Library, university libraries, specialised libraries, public libraries and school libraries.
Amongst the specialised staff, which consists of librarians, bibliographers, researchers, editors, documentarists, conservators, system engineers, programmers, operators, analysts, custodians, handlers, store managers and other staff, there are no professionals to handle tasks such as public relations, liaison with the community or education (which requires school teaching or adult education skills).
An important provision (paragraph 8 of Article 70) related to solving the chronic lack of premises, specific facilities and equipment: namely stimulating private sponsors to invest in construction of library buildings; to purchase specific facilities, information technology devices and documentation; stimulation of private investments in funding programmes for ongoing training of librarians, expert exchanges, professional development scholarships and attending international congresses. In exchange for such investments, the investors would have been allowed tax incentives proportionate to the worth of the project or of the initiative funded, plus a 2% reduction of their income tax. Unfortunately, Law 334/2003 was repealed following the enactment of the 2003 Fiscal Code.
A provision of the Law no. 186/2003 on print culture items considered setting up a fund for the acquisition of publications (in the “print culture” category) for public libraries and for the granting of vouchers used to purchase such publications by public library users: pupils, students, people with an monthly income of less than the minimum national monthly wage, and impaired people. The fund was to be constituted from the 0.4% share of the net profit of the National Lottery Company SA and managed by the Ministry of Culture. In 2012, the provision regarding the granting of such vouchers (article 23 of the Law) was repealed.
Romania has aligned to the proposal of library digitisation launched by the European Commission as early as 1999 with a view to informational development, within successive initiatives (e-Europe, e-Europe 2005, the i2010 initiative) that promote economic growth and increasing employment rate in the information society and media industries.
Archive activity is regulated by the National Archives Law No. 16/1996, republished, which establishes the regulatory framework governing the organisation, functioning and the responsibilities of the National Archives as an institution with a methodological and control role in relation to all creators and owners of archives. The law also defines the National Archives Fund of Romania, comprising documents created over time by state bodies, public or private economic, social, cultural, military and religious organisations, by freelancers, professionals working under a special law and individuals, who benefit from special protection. Although the National Archives Directorate does not belong, from an administrative viewpoint, to the system of public cultural institutions, by its very activity this institution participates, along with libraries and museums, in the preservation and safeguarding of the cultural and historic resources, thereby falling under the category of institutions engaged in cultural and artistic activities. However, due to failure to include this type of activity amongst the creative and cultural ones, this very important sector cannot be monitored or reported across the cultural sectors, which is why the performance indicators for Romania show lower values compared to the other EU Member States (Eurostat).
Table. Economic performance – Archives and libraries
| 2011 | 2012 | 2013 | 2014 | 2015 |
Turnover evolution by CCS sub-sectors (thousand RON) | 480,250.9 | 483,399.6 | 489,356.3 | 533,552.1 | 689,948.3 |
Headcount evolution by sub-sectors | 4,783 | 5,390 | 5,060 | 5,366 | 6,233 |
Profit evolution by sub-sectors (thousand RON) | 51,528 | 45,431 | 50,499 | 51,983 | 88,078 |
Labour productivity evolution (turnover in thousand RON/headcount) | 100 | 90 | 97 | 99 | 111 |
Number of companies | 180 | 226 | 269 | 317 | 374 |
Source: Borg Design Database, INCFC analyses
Despite a slight positive trend recorded in the period under review, this sector ranks among the last in line in terms of economic performance. However, it is important to note that the performance indicators in the table above refer to the business conducted by private organisations, with the largest share represented by archive companies. Given the predominant preservation function of this sector and the very large share of public organisations, we believe that, in this case, the importance of this sector resides mostly in its social and community roles support and some clearer regulations are absolutely necessary.
Last update: April, 2020
In the public sector, the establishment, organisation and functioning of the entities engaged in performing arts are regulated by the GO No. 21/2007 regarding performing arts, concert institutions and artistic managers' activities. The regulatory framework was improved in 2016 by the provisions in the Ordinance 48/2016 amending some legal provisions in the field of culture, applicable, inter alia, to public performing arts institutions and concerts.
The functioning and organisation of this type of institutions and their specific activity would require some clearer regulations, but, in the absence of an applied study, the malfunctions reported by authorities and even by the relevant institutions in the field cannot be addressed yet. There is also an issue related to the statistical identification of these public or private performing arts entities, as some of the local public institutions are cultural centres with extremely diverse activities, which report performing arts activities, but are not strictly registered as this kind of institutions. This is why the differences between the number of units with performing arts activities and those registered as performing arts or concert institutions/organisations are quite high, at national level.
Although they are important sectors of a high economic impact, the music and entertainment sectors in Romania are not covered by any specific regulations. Depending on how they are organised, they may fall under the incidence of the Law no. 31/1990 – Law on companies, republished, of the relevant provisions of the Civil Code, of the Ordinance on associations and foundations (GO no. 26/2000) or under the incidence of the GEO No. 44/2008 on the activities of freelancers, individual and family enterprises, as amended and supplemented.
Table. Economic performance – Performing arts
| 2011 | 2012 | 2013 | 2014 | 2015 |
Turnover evolution by CCS sub-sectors (thousand RON) | 518,344.3 | 637,403.5 | 699,156.6 | 792,041.7 | 1,025,449 |
Employment evolution by sub-sectors | 5,875 | 6,425 | 7,152 | 7,681 | 9,161 |
Profit evolution by sub-sectors (thousand RON) | -8,198 | -6,329 | -2,604 | 11,553 | 95,456 |
Labour productivity evolution (thousand RON turnover/number of employees) | 88 | 99 | 98 | 103 | 112 |
Number of companies | 3,110 | 3,687 | 4,276 | 4,873 | 5,848 |
Source: Borg Design Database, INCFC analyses
The above table illustrates the performance of the private (profit and non-profit) businesses in this sector. By the very nature of the products it develops, the performing arts sector involves large ensembles of creators of various categories and therefore it requires rather complicated technical facilities to produce performances, which explains why very few active companies in this field are able to survive without consistent support. Although this sector is the least capable to survive in the absence of public intervention, its emergence on the market, mainly in cities, is an acknowledgment of the fact that public institutions cannot possibly satisfy all of the expectations of the general public.
Last update: April, 2020
In the visual arts field, the biggest problem encountered is linked to the fragility of the domestic art market, which is due to the low appetite of consumers for visual arts, as revealed by the 2015 Cultural Consumption Barometer. The total lack of specific tax and financial measures taking into account the characteristics of this domain perpetuates its vulnerabilities, with a direct impact on the incomes earned both by contemporary visual artists and by the specialised businesses (art galleries, auction houses etc.). The status, the nature and the specificity of the visual arts trades are approaches difficult to apply in the case of some public institutions. On the other hand, the state cannot interfere with the building of an art market. However, a quite significant number of Romanian artists are successfully harnessing their artistic works, thereby contributing to the economic growth of the country.
Table. Economic performance – Visual arts
| 2011 | 2012 | 2013 | 2014 | 2015 |
Turnover evolution by CCS sub-sectors (thousand RON) | 3,932,933 | 4,128,142 | 4,159,974 | 3,841,513 | 3,613,548 |
Employment evolution by sub-sectors | 17,555 | 18,425 | 18,496 | 17,519 | 16,790 |
Profit evolution by sub-sectors (thousand RON) | -74,708 | -129,469 | -8,326 | -76,685 | 192,710 |
Labour productivity evolution (thousand RON turnover/number of employees) | 224 | 224 | 225 | 219 | 215 |
Number of companies | 4,522 | 5,039 | 5,512 | 6,103 | 6,756 |
Source: Borg Design Database, INCFC analyses
Although the appetite of the general public for contemporary visual arts in general is very low, some forms of visual arts (design or photography) show a high performance trend in the analysed period, along with the related sales transactions. Besides, even though the number of artistic works sold is small, their economic value is, in some cases, much higher than that of other cultural products.
Last update: April, 2020
So far, there have been no explicit regulations and/or strategies/policies regarding the cultural and creative sectors (CCS) in Romania, though there are special laws governing certain segments of these sectors. These regulations are not systematically structured, which creates confusions, and conceptual and methodological difficulties.
The White Paper for Unlocking the Economic Potential of Cultural and Creative Sectors in Romania starts with a review of the performance of the cultural and creative sectors in recent years, highlighted by the evolution in turnover, number of employees, profit and labour productivity. The study also presents the issue of defining the cultural and creative sectors / industries. The European documents are still using both terms, i.e. “cultural and creative sectors” and “cultural and creative industries”, sometimes as synonyms, both referring to similar concepts such as the economy of culture, creative economy, knowledge-based economy/society etc. However, the European Commission document Green Paper - Unlocking the potential of cultural and creative sectors tries to harmonize the different approaches and to provide definitions that clarify the differences between the two concepts. According to this document, “cultural industries are those industries producing and distributing goods or services which at the time they are developed are considered to have a specific attribute, use or purpose which embodies or conveys cultural expressions, irrespective of the commercial value they may have”. Besides the traditional arts sectors (performing arts, visual arts, cultural heritage - including the public sector), they include film, DVD and video, television and radio, video games, new media, music, books and press. This concept is defined in relation to the cultural expression in the context of the 2005 UNESCO Convention on the protection and promotion of the diversity of cultural expressions.
The graphs below show the CCS’ dynamics over the period 2011-2015, with notice that the figures illustrate the evolution of the private sector only. It is worth mentioning that data regarding the evolution of the public sectors could not be isolated from the data on the overall public expenditures, simply because there are no itemized reports available as yet. This shortcoming can be addressed in the future, by a course of action designed to enable the clear determination of the exact share of public sector’s contribution to the development of the cultural and creative sectors.
The model suggested is of the ecosystem type and relies on the proximate type and on the specific difference between fields, taking into account not only the functions of culture and creativity, but also the way the cultural field is organised (public or private) and the type of stakeholders (independent artist, NGO, company or public institution). According to the given model in this document, there are three types of sectors: cultural, creative and transversal, with the following eleven sub-domains:
- Libraries and archives
- Cultural Heritage
- Crafts and handicrafts
- Performing Arts
- Architecture
- Book and Press
- Visual Arts
- Audiovisual and multimedia
- Advertising
- IT, software and electronic games
- Research – development
- The first three sub-domains are characterised by non-industrial cultural and artistic activities and are collectively referred to as culture and arts.
- The following three sub-domains have as a result the cultural expression and are regarded as cultural sectors.
- The following two sub-domains are functionality-oriented, but they have a cultural dimension and are deemed creative sectors.
- The last two sub-domains, known as transverse sectors, rely on creativity and innovation, are focused on functionality, but they are mainly used as support for the other sub-domains.
In some cases, the same domain or sector may be partly included in two groups, as it happens with crafts (included partly in the first group, as traditional crafts, partly in the intangible heritage category, and partly in the second group, as urban art crafts). Similarly, ICT is included partly in the third group, due to its computer games component, and partly in the fourth group, due to the rest of software activities.
Figure 1. Diagram of Cultural and creative sectors
Graph. Evolution in the total number of CCS businesses over the period 2011-2015
Source: Borg Design Database, INCFC processed data
Total CCS turnover has increased in the period 2011-2015, from about 6 billion to almost 10 billion EUR. The biggest turnovers and the highest increase are recorded in the ICT sector (including software and electronic games), followed by books and press, advertising, audiovisual and multimedia and visual arts sectors. As for heritage, the performance analysis did not take into account the historical monument restoration works carried out through European funds or through national financing programmes, of which only a very small part can be partially found in the architecture chapter. Likewise, the analysis of the architecture sector took into account only the actual design activities and disregarded the construction or research-development related activities. At the same time, no specific surveys could be made regarding the turnovers generated by the heritage sector within cultural / sustainable tourism, education, research-development activities.
Graph. Evolution in turnover over the period 2011-2015 (part 1)
Source: Borg Design Database, INCFC data processing
Graph. Evolution in turnover over the period 2011-2015 (part 2)
Source: Borg Design Database, INCFC data processing
Profit has recorded the most spectacular growth, as it tripled during the analysed period from about 250 million EUR in 2011 to 800 million EUR in 2015. It is important to highlight that, again, the ICT sector stands on top in terms of growth rate, followed remotely by advertising and books and press sectors. It is worth pointing out the remarkable turnaround from loss to profit of the companies active in audio visual, media and visual arts (particularly design, photography and retail) sectors, in 2015.
Graph. Profit evolution in the period 2011-2015 (part 1)
Source: Borg Design Database, INCFC data processing
Graph. Profit evolution in the period 2011-2015 (part 2)
Regarding the evolution of the labour productivity, the national average rate has registered a slight increase in the analysed period, remaining close to the amount of 40,000 EUR (ratio between turnover and headcount). This time, the best performances are recorded in advertising and audiovisual and multimedia sectors, followed by visual arts and ICT, all these sectors exceeding the national CCS average in the period 2014-2015.
Graph. Evolution in labour productivity in the period 2011-2015 (part 1)
Source: Borg Design Database, INCFC data processing
Graph. Evolution in labour productivity in the period 2011-2015 (part 2)
Source: Borg Design Database, INCFC data processing
The number of employees in the cultural and creative sectors (mainly in the private sector) has recorded a slight increase in the period under review, remaining generally constant or, at times, with small fluctuations in certain sub-sectors.
Graph. Evolution of the number of employees by sub-sectors in the period 2011-2015 (part 1)
Source: Borg Design Database, INCFC data processing
Graph. Evolution of the number of employees by sub-sectors in the period 2011-2015 (part 2)
Source: Borg Design Database, INCFC data processing
The following objectives are recommended:
- Providing the necessary institutional support for the CCS by aligning agendas of various institutions and agencies on relevant government initiatives, including those relating to intellectual property protection, natural and cultural heritage, public procurement, taxation etc.
- Commitment of the government to implement policies and strategies dealing with the cultural and creative sectors and to promote the responsibilities of the local public authorities.
- Improvement and facilitation of the access to banking and non-banking finance of economic operators in the CCS.
- Catalyzing the spillover effects of the CCS into as many economic and social contexts as possible.
- Creation of an organisational culture to encourage participation in the public decision-making in favor of CCS entrepreneurship.
Last update: April, 2020
Law no. 186/2003 regarding the support and promotion of written culture defines print culture as the domain that comprises books, magazines and other literary / artistic and technical / scientific publications, edited on any kind of support. This law applies to creative works, editorial production, printing, distribution and promotion of print culture. The law refers to the publishing industry and establishes financing systems based on editorial projects at central and local level. On the other hand, the publishing industry – the “print culture” – also benefits from additional financing systems, such as the National Programme for the purchase of books and subscriptions to magazines for libraries, established under the same law (Law 186/2003). Moreover, Law. 136/2015 on the funding of the representative Romanian cultural magazines establishes a special system for funds allocation from the state budget through the Ministry of Culture. An amount with a minimum of 4,500,000 RON (around one million euros), is dedicated exclusively to the funding of the publications issued by the unions of creators in Romania, members of the National Alliance of Creators’ Unions, which brings together only some of the creators' unions functioning in Romania.
It should be mentioned in this respect that, acting pursuant to Article 1 par. (2) of Law no. 136/2015 on funding representative Romanian cultural magazines, the Ministry of Culture put in place, in 2016, a separate scheme for the funding of cultural publications, other than those referred to in Article 1 par. (1) of the said law (magazines published by the creators’ union from Romania, members of the National Alliance of Creators’ Unions). Under this programme, a total funding of over 1.1 million RON is allocated to a total of 34 cultural publications. The eligibility criteria for the allocation of funds in this case are: magazine reputation and the value of its content; publication year; continuity; publication frequency, circulation and geographic coverage; the prestige of editorialists and contributors; technical and design features, online visibility and diversity of the promotion channels.
Law no. 186/2003 on print culture provides that central and local authorities and public institutions may allocate separate funds from their budgets to finance the publishing of books, magazines and other publications that match the "print culture" definition. Such funding may cover some of the publisher’s costs, as, for example, the editing and copyright costs, or all costs. This provision, like many others included in the various sectoral or sub-sectoral legislations, has no binding effect and, as such, it is rarely or never applied, depending on the degree of interest of the local governments in the domain concerned.
Table. Economic performance – Books and press
| 2011 | 2012 | 2013 | 2014 | 2015 |
Turnover evolution by CCS sub-sectors (thousand RON) | 4,621,136 | 4,769,791 | 4,865,673 | 5,141,686 | 5,399,796 |
Employment evolution by sub-sectors | 27,396 | 27,655 | 27,969 | 27,280 | 27,696 |
Profit evolution by sub-sectors (thousand RON) | 132,925 | 64,956 | 163,449 | 296,291 | 382,973 |
Labour productivity evolution (thousand RON turnover/number of employees) | 169 | 172 | 174 | 188 | 195 |
Number of companies | 4,466 | 4,849 | 5,184 | 5,438 | 5,557 |
Source: Borg Design Database, INCFC analyses
The positive trend recorded by the sector proves a slight rebound after the recession. As a matter of fact, the recession did not affect the structure of this domain, which remains in any case one of the most effective cultural and creative sectors. One possible explanation for the sector’s good performance is linked to the fact that it enjoys a favourable regulatory framework and a substantial public support.
Last update: April, 2020
The regulatory framework governing the audiovisual and multimedia industry consists of the Audiovisual Law no. 504/2002, as amended and supplemented, and the Law no. 41/1994 on the organisation and functioning of the Romanian Radio Broadcasting Company and the Romanian Television Company, republished. The drafting and updating of these texts of law regard for transposition of the provisions included in the Directive 2010/13/EU on audiovisual mass media services and the whole body of regulations and strategic approaches making up the acquis communautaire. Support from the public budget of the activities of the two public broadcasting services falls into the State aid category and is treated as such.
Of particular importance for the development of the domestic audiovisual and multimedia industry and independent employment within, are the provisions according to which broadcasters must reserve "for European works a majority proportion of their broadcasting time, excluding the time allotted to news, sports events, games, advertising, teletext services and teleshopping"; in addition, broadcasters are expected "to reserve at least 10% of their transmission time, excluding the time assigned for news, sports events, games, advertising, teletext services and teleshopping, or alternately, at the discretion of the Member State, at least 10% of their programming budget, for European works created by producers who are independent of broadcasters".
The audiovisual industry does not fall directly within the material competence of the Ministry of Culture, even though, in terms of governmental responsibility, this ministry is required to fulfil a duty of representation.
The importance of this industry cannot be sufficiently emphasized, given especially its role as the producer of audiovisual and media products of all genres, which employs or is expected to employ a significant share of the human resources specialised in the field in Romania and which, at the same time, generates significant economic growth. In this respect, we should also emphasize the fact that the aforementioned regulatory framework also covers the provision of audiovisual media services on demand, except for those web services that do not compete with the audiovisual media services.
Table. Economic performance – Audiovisual and multimedia
| 2011 | 2012 | 2013 | 2014 | 2015 |
Turnover evolution by CCS sub-sectors (thousand RON) | 3,373,213 | 3,788,566 | 4,059,569 | 4,665,031 | 4,667,413 |
Employment evolution by sub-sectors | 13,582 | 14,341 | 15,147 | 15,833 | 16,800 |
Profit evolution by sub-sectors (thousand RON) | -30,282 | -91,648 | -78,935 | -7,546 | 243,037 |
Labour productivity evolution (thousand RON turnover/number of employees) | 248 | 264 | 268 | 295 | 278 |
Number of companies | 3,212 | 3,553 | 3,899 | 4,232 | 4,538 |
Source: Borg Design Database, INCFC analyses
With a very high labour productivity (second only to advertising) and a spectacular rebound of turnover after the recession, the audiovisual sector sees a constant increase in the analysed period. Related to the economic performance of the advertising industry, which it follows in terms of turnover evolution, the sector is characterised by a large number of private organisations compared to the number of the public ones.
Last update: April, 2020
There is an ever-growing music industry in Romania, and this is supported by the set-up of important projects and events at national and international level. For example, the Mastering the Music Business (MMB) Conference is the leading Romanian music conference and showcase event. Initiated in 2016, it has counted three editions so far. This professional event is dedicated to all independent artists and professionals in the Romanian and international music industry. At MMB, key professionals from the local and international music business and related industries come together to discuss various relevant topics. Successful artists, business managers, booking agents, record company execs, PR agents, online and digital specialists, advertisers, radio broadcasters, publishers, songwriters etc. exchange know-how and ideas under the same roof.
The 2019 edition of the Music Moves Europe event was organised by the Ministry of Culture and National Identity – Project Management Unit, in the context of the Romanian Presidency of the Council of the European Union. The participants were able to attend a workshop on copyright in the music sector and a conference connected to the policy pillar of the Music Moves Europe initiative. The reunion was organised successively with another RO PRES conference, New Challenges Regarding Copyright in the Digital Single Market, with which it shared a workshop.
This conference aims at bringing together all aspects of the industry, thereby contributing to a better understanding of the music sector and the challenges it faces, and a closer cooperation at policy level, with the ultimate goal to enhance the European musical diversity and the competitiveness of Europe’s music sector. RO PRES 2019 worked towards identifying transferrable best practices in terms of public intervention for the music sector and suitable policy measures at national level. During the event, there were discussions about relevant topics for public policy making in the EU and its Member States, such as: urban development and music festivals, the promotion of European musical diversity, fair competitiveness in the sector, the cross-border circulation of music, and the entrepreneurial dimension of the industry.
Last update: April, 2020
In Romania's case, the design and creative services are not a field per se, they are an integral part of the Architecture, Advertising or Visual Arts fields, according to the type of CCS classification. Therefore, there are no cultural policies dedicated especially to the field of design and no suitable measuring instruments can be identified as yet for issuing statistics, except for simple financial data from the field, either for the public or for the private sector.
Last update: April, 2020
In Romania, the cultural sector is an activity field completely distinct from that of tourism. This does not mean that they should not be tackled together, but in Romania the culture-tourism symbiosis is not theorised, nor quite developed. Since the two sectors operate separately, no pertinent statistical measurements can be made.
However, the pressure generated by the promotion of the natural heritage, the sustainable policies for the immoveable heritage and the few initiatives regarding religious tourism will create the necessity of drafting public policies.