creative vitality index state of oregon

Creative Vitality Index State of Oregon

2007 Update December 2008

Project ManagerWestern States Arts Federation

A Measure of Arts-Related Economic Activity

Contact informationProduced for theOregon Arts Commission775 Summer Street NE, Suite 200Salem, Oregon 97301-1280(503) [email protected] www.oregonartscommission.org

Project Managerwestaf1743 Wazee Street, Suite 300Denver, Colorado 80202Phone: (303) 629-1166www.WESTAF.org

ResearchRyan Stubbs Wazee Street, Suite 300 Denver, Colorado 80218 Phone: (303) 629-1166

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Cover photos, top to bottom:DaKine is a global leader in the design of outdoor gear and active wear. Industrial and graphic designers – such as senior graphic designer Justin Mooney – develop the company’s products at the heaquarters in Hood River. Photo: Sabina Samiee

Breedlove Guitar Company is a $10 million company with a worldwide following for the high end, custom and one of a kind guitars it makes in its Bend factory. Working with hand tools, craftsman Matt Kruger hand shapes the neck for a custom guitar in the Breedlove shop. Photo: Thomas Osborne

XPLANE, based in Portland, is a leader in visual communications. XPLANE’s consultants and designers work with corporate clients to visualize their story, value proposition, change initiative, strategy – virtually any complex business issue that challenges today’s organizations. XPLANE calls these meetings with clients Discovery Sessions, and they include drawing, questioning, brainstorming, challenging and clarifying of content and goals. Photo: Jerry Naunheim Jr.

Executive Summary

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IntroductionThis report details the findings of research designed to establish an index-type indicator of the relative health of an economy’s arts-related creative sector. The new index is called the “Creative Vitality Index” (CVI). Designed to be updated annually, it can be configured to reflect activity in any U.S. geographic or political subdivision. The purpose of the research was to develop a more inclusive and robust diag-nostic tool related to the arts elements of the creative economy. A related goal was to develop a credible data source that could be used for arts advocacy purposes.

The CVI DefinedThe Creative Vitality Index (CVI) is an annual measure of the health of the arts-related creative economy in a specified geographic area. In the CVI, an area’s creative economy is defined as including for-profit and nonprofit arts-related creative enterprises and the key support and service activities that sustain them. The CVI is anchored in an aggregation of established, longitudinal, and annually maintained data sets that have been determined, through research and analysis, to serve as an indicator of the vitality of an area’s arts-oriented economy.

Definition of an IndexAn index is a mechanism that summarizes the content, scope, and dynamics of a phenomenon. It provides a single indicator to describe a complex set of variables, activities, or events related to that phenomenon. Differences among index values reflect changes in the dynamics of the longitudinal streams of the aggregated data on which the index is based.

Centered on the ArtsThe Index is centered on creative vitality related to the arts as they are broadly defined, and not the culture field in general. Cultural institutions that are not included in the scope of this study are his-tory museums, science museums, and natural history museums; botanical gardens; and the affiliated external education and outreach programs of these types of endeavors. That said, if any of these in-stitutions offers an extensive series of arts activities then they may be included on a case-by-case basis, and details about them will be found in the data detail in the later part of the report. This project is organized around the concept that while these other “cultural” activities have strong creative ele-ments, they differ substantially from the creative work that traditionally has a nexus with the arts.

Index Data StreamsThe CVI draws data from four major sources: the Oregon Employment Department, the Urban Institute’s National Center for Charitable Statistics, the Oregon Department of Revenue, and the commercial data source Nielson Claritas.

Index ComponentsThe Index has two major components, referred to here as sub-indexes. Each of these sub-indexes has been weighted. Sixty percent of the weight has been allocated to the “Community-Participation Sub-Index” which contains seven community participation indicators. The weighted indicators are: non-profit arts organization income, nonprofit “arts-active” organizational income, per capita book store sales, per capita music store sales, per capita photography store sales, motion picture attendance, and museum and art gallery sales. A 40% weighting has been assigned to the “Occupational Sub Index” that captures the incidence of jobs in the creative sector. The rationale for this approach relates to consideration of the cause-and-effect relationship between participation levels and jobs. The underly-

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ing theory is that public participation in the arts or public demand for arts experiences and events ultimately are what drive budgets and organizational funding levels, which in turn support artists and art-related jobs within the economy.

Geographic Boundaries The CVI is an indicator of the relative economic health of the creative economy in a specified geographic region. Although any defined geographic region can be studied, the basic geographic building blocks for the CVI are Workforce Development Areas (WDAs). A WDA is an artificial geographic subdivision of a state designated for employment-development purposes. For the purposes of this study, the CVI is focused on only one part of a Workforce Development Area. However, because WDAs are composed of blocks of counties, it is relatively easy to extract information about one county in particular.

The Relationship of the CVI to Economic Impact Studies Economic impact studies are enumerations of the total economic value and impact of a specific cat-egory of arts activities on the community, taking into account estimates of the ripple effect on jobs and revenues in other non-related industries. The majority of such studies focus on the nonprofit art sector and either measure its impact exclusively or introduce measures of the impact of selected for-profit activities in a supplementary manner. The CVI utilizes some of the data typically included in arts economic impact studies. However, it draws on many more data streams, and its goal is quite different in that it seeks to provide an indicator of the relative health of the economic elements of the creative economy.

Making Use of the Creative Vitality Index The Creative Vitality Index is designed to serve as a tool to inform public policy decision making and to support the work of advocates for the development of the creative economy. The Index can be used for the following purposes: 1) As a way to define the parameters of a locality’s creative economy; 2) As a means of educating the community at large concerning the components and dynamics of the creative economy; 3) As a source of information for arts advocacy messaging; 4) To call the attention of the public to significant changes in the creative economy ecosystem; 5) To underscore the economic relationships between the for-profit sector and the nonprofit sector; and 6) As a tool to benchmark the status of a local creative economy and as a means to diagnose weaknesses in that economy.

FindingsThe nationwide aggregate Index value is “1,” thus Index values greater than one reflect a creative economy more vibrant than the national average. The Index value for the state of Oregon was 1.11, while the Index value ranged between 0.38 and 1.75 in the fifteen county WDAs. This report contains a complete summary, as well as a breakdown of these values.

Table of ContentsIntroduction 1

Definition of an Index 1The CVI Defined 1Cultural Policy Context for the Development of the CVI 1The Economic Development Context for the Development of the CVI 2The Relationship of the CVI to Economic Impact Studies 2Making Use of the Creative Vitality Index 3

The Creative Vitality Index: Method of Development 5Initial Parameters for the Index Design 5Limitations of the Research Method 6Unreported and Underground Activity 6Index Data Streams 7Workforce Development Areas 8Weighting Considerations 9The Community Arts Participation Sub-Index 9The Occupational Sub-Index of the Arts 10Indexing to the Nation as a Whole 10Per Capita Calculations 10

The Community Arts Participation Index 11Non-profit Arts Organization Income 11Per Capita Calculations 11Non-profit Arts Organization Income in the State of Oregon 13Non-profit Arts-Active Organization Income in the State of Oregon 15

Per Capita Sales 17Per Capita Bookstore Sales 17Per Capita Music Store Sales 18Per Capita Photography Store Sales 19Motion Picture Theater Attendance 20Per Capita Museum and Art Gallery Sales 21

The Occupational Index of the Arts 22State of Oregon 27WDA 1 Clatsop, Columbia and Tillamook Counties 24WDA 2 Multnomah and Washington Counties 25WDA 3 Marion, Polk and Yamhill Counties 26WDA 4 Benton, Lincoln and Linn Counties 27WDA 5 Lane County 28WDA 6 Douglas County 29WDA 7 Coos and Curry counties 30WDA 8 Jackson and Josephine Counties 31WDA 9 Gilliam, Hood River, Sherman, Wheeler and Wasco Counties 32WDA 10 Crook, Deschutes and Jefferson Counties 33WDA 11 Klamath and Lake Counties 34WDA 12 Morrow and Umatilla Counties 35WDA 13 Baker, Union and Wallowa Counties 36WDA 14 Grant, Harney and Malheur Counties 37WDA 15 Clackamas County 38

The Creative Vitality Index 39Oregon Creative Vitality Index 40Appendix A: Standard Occupational Arts Categories 41

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IntroductionThis technical report details the results of a research project designed to establish an indicator of the relative health of an economy’s arts-related creative sector. The intent of the project was to develop a more inclusive and robust diagnostic tool related to the arts elements of the creative economy and to expand the array of advocacy tools available to the arts.

This report summarizes the results of the research conducted for this project. It details the project’s core assumptions, reports on the construction and rationale for the formulae used to arrive at an index value, and provides a rationale for the use of various annual streams of data that underground what is being called the Creative Vitality Index (CVI). The sponsors and the researchers will consider making out-year refinements to the Index’s formulae and data sources, but the research is considered complete.

Definition of an IndexIn discussions regarding their needs, the project sponsors, in consultation with the project research-ers, arrived at an understanding that they were seeking to develop a mechanism that could summarize and track the economic dimensions of the arts across a wide array of activities. The project sponsors concluded that what they were looking at developing was an index. An index is a mechanism that sum-marizes the content, scope, and dynamics of a phenomenon and provides a single indicator to describe a complex set of variables, activities, or events related to that phenomenon. Differences among index values reflect changes in the dynamics of the longitudinal streams of the aggregated data on which the index is based. These data are weighted to reflect the complex relationships of the components under study.

The CVI DefinedThe Creative Vitality Index (CVI) is an annual measure of the health of the arts-related creative economy in a specified geographic area. In the CVI, an area’s creative economy is defined as including for-profit and nonprofit arts-related creative enterprises and the key support and service activities that sustain them. The CVI is anchored in an aggregation of established, longitudinal, annually maintained data sets that have been determined, through research and analysis, to serve as an indicator of the vitality of an area’s arts-oriented economy. The Index is set on a geographic framework and can be reported for a nation, state, county, city, or special district.

The Index is centered on creative vitality related to the arts as they are broadly defined and not the cul-ture field in general. Cultural activities that are not included in the scope of this study are endeavors such as history museums, science museums, and natural history museums; botanical gardens; and the affiliated external education and outreach programs of these types of endeavors. This project is or-ganized around the concept that while these other “cultural” activities have strong creative elements, they differ substantially from the creative work that traditionally has a nexus with the arts.

The Cultural Policy Context for the Development of the CVIThe CVI was developed to help public sector arts agencies more overtly communicate that their work appropriately embraces a much larger segment of creative economic activity than had previously been the case. This was necessary because, beginning in the mid 1960s, when state arts agencies were es-tablished and city arts agencies were either founded or significantly expanded, the primary focus of the entities was on the expansion of the supply and quality of primarily nonprofit-based arts activities. These entities have made great progress with this area of focus so that there are arts organizations across the country of all types and at all levels of size, scope, and quality that offer a broad menu of arts activities. Once the supply and quality of nonprofit arts activities were greatly bolstered, however, the public sector funders of the nonprofit arts field began to consider how their goals and the work of the nonprofit arts were part of a much larger creative system. They also became aware that the nonprofit arts and public arts policy depended on the health of that larger system to survive in the present and thrive in the future.


Simultaneous with these developments, practitioners from fields representing for-profit creative ac-tivities and occupations began to discuss the creative economy in broad, highly inclusionary terms. The arts field and public sector arts funders embraced this broader concept as reflective of how they now envisioned their work—as a stimulative part of an overall creative system and not simply as sup-pliers of funding to maintain a supply of nonprofit-sourced arts opportunities. The CVI reflects this broader systems-oriented thinking and reinforces the fact that the nonprofit arts and public arts agen-cies are part of an interdependent whole called the creative sector.

The Economic Development Context for the Development of the CVIThe CVI grew out of a conversation in Washington State about whether or not to undertake an economic impact study of the arts. The staff leadership of the Washington State Arts Commission and the Seattle Office of Arts & Cultural Affairs, in collaboration with others, explored ways to expand and enrich the economic argument for support of the arts and especially public funding of the arts. In doing so, the group was influenced by two national conversations concerning economic development: the defin-ing of a creative economy and the outlining of the concept of economic development clusters. Those conversations did something the nonprofit arts community was very late in doing—they included the related for-profit creative sector in a universe normally reserved for nonprofits.

The public value work articulated by Mark Moore also played a role in the development of the CVI. That work helped the public sector component of the nonprofit arts funding community move away from a perspective oriented toward saving the arts to considering ways to be responsive to what citizens wanted in the arts. The approach also worked to shape agency deliverables to reflect their actual value to the public rather than the value that arts aficionados considered them to have for the public. One result of this influence was that the CVI was developed in a context of thinking in which individuals are assumed to have choices and that, to remain viable, public sector arts funders need to offer choices the public will value and thus select. In this concept of selection is the understanding that choice in the arts ranges outside the nonprofit arts and that the public sector arts agency needs to ensure that such choice is available.

The Relationship of the CVI to Economic Impact StudiesAlthough it evolved from a discussion of whether to commission an economic impact study, the CVI is not an economic impact study of the arts. Economic impact studies are enumerations of the total economic value and impact of a specific category of arts activities on the community, taking into ac-count estimates of the ripple effect on jobs and revenues in other non-related industries. The majority of such studies focus on the nonprofit art sector and either measure its impact exclusively or introduce measures of the impact of selected for-profit activities in a supplementary manner. The CVI utilizes some of the data typically included in arts economic impact studies. However, it draws on many more data streams, and its goal is quite different in that it seeks to provide an indicator of the relative health of the economic elements of the creative economy.

Economic impact studies are rooted in advocacy and generally have as a core purpose the definition of the nonprofit arts sector as a meaningful component of the larger economic system. The results of such studies are commonly used to argue for the allocation of scarce budget dollars to the arts be-cause a dollar invested in the arts multiplies many times over and helps nurture a more robust overall economy. These studies have also been used to help the arts compete with other discretionary forms of government spending--and often these other interests have their own economic impact studies. The studies have been used most effectively to counteract the misguided notion that funds invested in the nonprofit arts are removed from the economy and thus play no role in building or sustaining it.

Economic impact studies have also been commissioned to call attention to the size and scope of arts and culture as a component of the overall economic activity of an area. Often, community leaders and the public are only familiar with one segment of the arts through their personal acquaintance with a single institution or discipline. The economic impact study aggregates information in ways that call attention to the size and scope of a cluster of endeavors that are often considered to be of minor


importance in economic terms. As a result, the prestige of the arts-and-culture community in an area is enhanced, and the ability of the sector to be heard is often increased.

Although the CVI can partially address each of the uses to which economic impact studies are employed, it has a different purpose. The CVI is about exploring a complex set of relationships and changes in the dynamics of those relationships over time. It is not a replacement for economic impact studies; it can be used to complement them.

Making Use of the Creative Vitality IndexThe Creative Vitality Index is designed to serve as a tool to inform public policy decision making and to support the work of advocates for the development of the creative economy. The Index has the fol-lowing major uses:

• Asadefinitionaltool,theIndexcanbeusedtocallattentiontoandeducatethecommunityatlargeconcerning the components and dynamics of the creative economy. Of particular significance is the promotion of the concept that the creative economy includes both the for-profit and the non-profit arts-related activities of an area. Many economic studies centered on the arts have focused almost entirely on the nonprofit sector, and the inclusion of for-profit activities is, for many, a new conceptualization of the role of the arts in an economy. Essentially, the creative-economy approach places all arts and arts-related creative activities in a continuum of creative activities.

• TheIndexcanserveasasourceofinformationforadvocacymessaging.Individualsengagedinadvocacy on behalf of the creative economy as a whole or elements of it can use the Index to do some of the following:

– Call the attention of the public to significant changes in the creative economy ecosystem. For example, if contributions from private foundations drop substantially in a year and three major architectural firms leave the area, advocates for a healthy creative economy can call attention to these factors as negative elements that will affect an overall ecosys-tem. Similarly, if nonprofit arts groups at the same time experience increases in income from individuals and there are substantial increases in employment within other major creative occupations such as graphic design and advertising, the negative impact of the events noted above may be cushioned or alleviated altogether.

– Underscore the economic relationships between the for-profit sector and the nonprofit sec-tor and make the point that a healthy nonprofit arts sector is important to the development of a healthy for-profit sector.

– Advocate for improvements to the allocation of resources or the creation of policies that will increase the Index numbers through the expansion of the role of a creative economy in a region.

• TheIndexcanserveasaframeworkuponwhichtodefineandbuildacreativecoalition.Withthe components of the Index setting forth a vision for a creative community rather than a nonprofit arts community, those who wish to build coalitions to influence change that will benefit the development of the creative economy have a broader and deeper platform from which to begin the conversation.

• TheIndexcanbeusedtobenchmarkanareaofendeavorandlaythegroundworkfortheim-provement of one or more aspects of the creative economy. The Index can serve as an initial diagnostic tool to create a baseline that can be used to measure progress in that area. Elected officials and civic leaders can use the Index as a starting point for discussing ways in which an area’s local economy can be enriched through the development of the creative-economy segment of that community.


The research team that designed the Index cautions against using it solely as a tool for cross-com-munity comparison. The CVI reports on the relative health of an area’s creative economy; however, it was not designed to serve as a comparative absolute. The Index has greater utility as a measure of each community’s creative vitality and is more valuable as a self-set benchmark than as a cross-community evaluative measure.


The Creative Vitality Index:

Method of Development

Following is a summary of the key sources of data and the methods used in the development of the Creative Vitality Index. Also noted are the assumptions used in the process of weighting the factors included in the Index.

Initial Parameters for the Index DesignWhen this project was initially conceptualized, certain parameters were established that affected its structure. One was to ensure that the Index could be updated on an annual basis in a cost-effective manner. The second was to ensure that the scope of the Index was broad enough to capture the core ele-ments of the creative economy, yet not be so broad as to be considered aggressively inclusive. Finally, the Index needed to be constructed in a manner that would make it credible to experts as well as the public.

Early in the planning stages of the Index, a decision was made to identify and utilize existing data streams. Doing so provided the project with a low-cost means of securing in-depth data of quality. These data streams were considered to be more accurate and reliable than what could affordably be col-lected by the project sponsors on an annual basis. In addition, conducting an annual series of surveys to obtain the data was not considered cost- effective for the project sponsors.

The definition of the project universe was another important dimension of the project design. Con-ceptualizations of the persons and activities to be included vary greatly among those using the term creative economy. For example, Richard Florida includes a vast array of occupations and endeavors in his definition of the term and features the technology sector as a major element of the creative economy. This research steps back from Florida’s wide definitional scope and takes a more conserva-tive stance that is grounded in a nonprofit arts sector perspective. From this perspective, the project sponsors considered traditional nonprofit arts organizations to be an important part--but only one part--of the creative economy. Cultural institutions that are not included in the scope of this study are history museums, science museums, and natural history museums; botanical gardens; and the affiliated external education and outreach programs of these types of endeavors. That said, if any of these institutions offers an extensive series of arts activities then they may be included on a case-by-case basis, and details about them will be found in the data detail in the later part of the report. Also included were for-profit businesses directly involved in arts and activities, such as music stores and bookstores. Those working in the creative economy in areas such as graphic design and architecture were also included.

The universe for the Index is one in which the nonprofit arts become part of a continuum of activities in the creative economy. This continuum includes amateurs engaged in the making of art, participat-ing in the arts, and reading about art. It also includes the nonprofit arts in all its forms and finally com-mercial arts activities such as occupations in professional design and the sales of musical instruments and music as well as books and records. This expanded scope of areas of endeavor represents a more encompassing creative economy perspective for the arts community. In constructing this universe, however, the researchers exercised discipline by stopping short of being overly inclusive in claiming all things that could possibly be considered creative. This study does not criticize those who make the wider claim as to the components of the creative economy; however, this study does not attempt such a reach.

Another parameter of the Index is that it was intended to measure the economic dimensions of arts and culture based on creativity in a community and does not pretend to provide an overall indicator of


creativity. The possibility exists that a community may have a relatively low Index score yet is highly creative. This Index limits its measure of creativity to the arts and culture-based economic manifesta-tions of creativity related to the arts and culture and to the immediate support mechanisms for such economic creativity, such as the number of art teachers.

To be useful, an index must have validity in the eyes of research experts, the arts community, and the public. Though usually only a few experts know or care about the structure and dynamics of most com-monly used indices such as the Consumer Price Index and the Dow Jones Industrial Average, there ap-pears to be a broader interest in the composition of the CVI. Such interest appears rooted in a concern that the Index could become a version of listings such as the “places rated” or “Ten best communities” that clearly have winners and losers. Thus, in order to be credible, the Index needs to find agreement among leaders that the factors in it and the dynamics captured by it measure what is actually occur-ring. This work attempts to do that by transparently setting forth the method of the Index and by being responsive to the suggestions for change made during its development. Even though the CVI has been reviewed by a number of experts, the arts community, and the public needs to embrace it in order for it to serve as a useful tool in the long term.

Limitations of the Research MethodOne minor limitation of the Index is that it relies on aggregated data from other sources and is not rooted in a stream of data collected through a customized data-collection tool. By relying on data streams from other endeavors, there will inevitably be some lost sensitivity to the capture of certain elements of the dynamics of the creative economy of a community. Such a possible lack of sensitivity, however, is offset by the fact that the data streams used in this work are far more robust than what the arts and culture field have historically developed on their own. In addition, the wide range of different indicators used to describe or represent creative activity helps guard against the excessive impact that any one variable may have in a given area. For example, if the indicators happen to under-count the amount of participation in creative activities in terms of ticket sales or organizational revenues for art events, the data and index values for the number of jobs in those particular sectors can capture these levels of activity and help offset the limitation in the other variables. Issues of limitations related to this study are most likely to be related to the selection of factors and the analysis of their dynamics rather than to the actual data themselves.

Unreported and Underground ActivityBecause of the inherent limitations of designing a study of broad scope and scale, an index may not capture all of the individuals working in the universe under study or all of the relevant transactions. The researchers have reviewed these possibilities and are comfortable that, although there will be limitations to the overall inclusiveness of the data, the structure of the Index model is such that com-pensations will be made that appropriately capture activities for an index. An example of this is an individual graphic designer who works at home on a part time basis and thus may not be counted in the occupation category. Although the person may not be counted in the occupation numbers, many of the economic dimensions of that individual will be picked up in other ways. That designer purchases sup-plies, buys books, and possibly attends arts events. These non-occupation direct aspects of the work of the designer influence the volume of a variety of measures in the Index. In addition to the secondary and tertiary activities captured by the Index, the undercounting is presumed to have a negligible effect on the Index for another reason. There is no reason to believe that undercounted and underreported phenomena occur on a proportional basis in any greater density in some geographic areas than they do in other geographic areas, and the researchers for this study have not found such variation. If, in the future, mechanisms such as the Internet begin to play a more important role in the creative economy (for example, art sales) and such Internet activity can be proven to occur in disproportionate ways across geographic communities, then the Index will be adjusted. Indices are regularly updated when such factors become significant enough to render prior formulae for calculation no longer viable.

Another element essential to understanding the treatment of underreporting is the fact that the In-dex, although built on numbers rooted in data that are actually indicators of activity, are not absolute


measures of activity. For example, the number of set designers in an area is meant to indicate the relationship of the number of stage set designers to the overall size of the economy and population being examined and how this number compares with other communities. It is not meant to be a census or an absolute value.

Index Data StreamsThe CVI draws data from three major sources: the Bureau of Labor Statistics, the Urban Institute’s National Center for Charitable Statistics, and the commercial data source Nielson Claritas. Following are brief summaries of each:

• TheBureauofLaborStatisticsoftheU.S.DepartmentofLaboroverseesanationwidesystemthat collects and analyzes data related to employment and is locally administered by employ-ment specialists within state government. The Oregon Employment Department collects these data in accordance with the Bureau’s national standards and guidelines. Part of that effort is the identification of occupations and estimates of employment in each occupation. The numbers of employees reported out by occupation are the result of computations using data based on confidential surveys of employers and employed workers, existing data sets, data reflecting nonprofit employment, and data considering home workers. The result is a scientific estimate of current employment by occupation and not an absolute census number. The figures are regularly updated based on current estimates of industry employment produced by the state employment department in cooperation with the Bureau of Labor Statistics, together with estimates of the proportion of industry employment in each specific occupational category. While the quar-terly industry employment series is based on employer surveys, information on the occupations within industries is based on a survey of employed workers conducted every three years. The annual occupational estimates are made using mid-year (2nd quarter) industry-employment data together with the latest available data on what proportion of industry jobs are attributed to each specific occupation. The data provided by the Bureau of Labor Statistics are reported by Workforce Development Area (WDA). These areas are geographic regions within each state that have been segmented to provide an area of focus and concentration for programs designed to address employment development.

• The Urban Institute’s National Center for Charitable Statistics aggregates information fromthe Internal Revenue Service’s 990 forms. The forms are required to be submitted by nonprofit 501(c) (3) organizations with annual gross receipts of $25,000 or more. Organizations with less than $25,000 in annual gross receipts can file a 990 EZ form that collects less information. The CVI uses the information contained in the 990 forms to identify changes in charitable giving in an area. These numbers are the best available, but are not absolute; some numbers may not be reported because of errors made in the completion of the form. These include nested fund transfers within larger fund allocations that include the arts in a significant way but are not broken out, and/or the failure to capture data because an organization is either not required to file a 990 or does not file the full 990 form thus limiting the level of data available.

• NielsonClaritasisaleadingnationalprivatedataproviderofbusinessandconsumerinforma-tion for firms engaged in consumer and business-to-business marketing. The organization has roots in the scientific community and features work in the area of geodemography. It has access to the most comprehensive and accurate database of demographics, consumer spending, and current business revenues available on a national basis, and all of their data are available at virtually any geographic level down to the Census block. It utilizes government data from the 1990 and 2000 Census, and the national Consumer Expenditure Survey and business data from InfoUSA (one of the two largest business databases, together with Dunn & Bradstreet). Claritas makes adjustments to the government and business data using a variety of regularly updated private and public sector databases to provide accurate annual estimates for individual areas.


Figure #1Geographic Boundaries of Oregon State Workforce Development Area

WDA 1 Clatsop, Columbia and Tillamook CountiesWDA 2 Multnomah and Washington CountiesWDA 3 Marion, Polk and Yamhill CountiesWDA 4 Benton, Lincoln and Linn CountiesWDA 5 Lane CountyWDA 6 Douglas CountyWDA 7 Coos and Curry CountiesWDA 8 Jackson and Josephine Counties

WDA 9 Gilliam, Hood River, Sherman, Wheeler, Wasco CountiesWDA 10 Crook, Deschutes and Jefferson CountiesWDA 11 Klamath and Lake CountiesWDA 12 Morrow and Umatilla CountiesWDA 13 Baker, Union and Wallowa CountiesWDA 14 Grant, Harney and Malheur CountiesWDA 15 Clackamas County

1 1

1 2 2

3 15

33

13

13

13

14

14 14

12 12

1111

10

10

10

99 9 9

9

87 8

7 6

5

444

Tale #1Oregon State Workforce Development Areas

Workforce Development AreasThe CVI is an indicator of the relative economic health of the creative economy in a specified geographic region. Although any defined geographic region can be studied, the basic geographic building block for the CVI is Workforce Development Areas (WDAs). A WDA is an artificial geographic subdivision of a state designated for employment-development purposes. Their boundaries coincide with county or multi-county borders. Although constructed on a county/multi-county basis, the WDA occupation statistics can be further broken down into much smaller geographic regions. The data can also be aggregated to encompass larger sub-state regions or an entire state.

The Oregon Employment Department system of Workforce Development Areas (or “WDAs”) was se-lected as an efficient means of accessing existing and annually updated data. There are 15 WDAs in the State of Oregon at the level of a single county or cluster of counties. This system of classification is administered in a consistent way nationwide (through contracts with the Bureau of Labor Statistics) and allows for national comparisons.

The WDA regional system was adopted in this study for purposes of consistency and data availability. A regional breakdown is provided in the following map:


1. Source: Urban Institute, National Center for Charitable Giving, 501 (c) (3) Arts Organizations Revenue Sources, 2006

Weighting ConsiderationsThe Index has two major components, referred to here as sub-indexes. Each of these two sub-indexes has been weighted. Sixty percent of the weight has been allocated to the “Community Participation Sub-Index,” which contains seven community participation indicators. A forty percent weighting has been assigned to the “Occupational Sub Index.” The rationale for this approach relates to consider-ation of the cause-and-effect relationship between participation levels and jobs. The underlying theory is that public participation in the arts or public demand for arts experiences and events ultimately is what drives budgets and organizational funding levels, which in turn support artists and arts-related jobs within the economy. While this is not a completely market-driven model due to the somewhat independent roles of state government and national foundations, it can be argued that employment is more of a dependent variable in the equation as it is affected and largely determined by changes in participation levels (the independent variable).

Weighting the occupational sub-index lower than 40% did not seem appropriate given the richness of the available data on the various types of arts jobs and their ability to help describe the art-related ac-tivities taking place within an area. The reasoning was that in places where the participation variables are lacking in detail or in their ability to fully describe the realities of local art and creative vitality, the employment data can help to fill in the gaps by testifying to the overall health of the arts as a local industry as well as the health of its major components such as music, visual arts, and creative design work. The Creative Vitality Index therefore does not attempt to include only completely independent factors but allows some degree of double counting of interrelated influences with the goal of seek-ing the most inclusive and representative overall picture of art, cultural and creative vitality within a given community.

• The Community Arts Participation Sub-Index (60% of Total Weight)

The Community Arts Participation Index measures changes in seven selected indicators that point to the degree of connectedness between local residents and the arts. The theory behind this concept is that communities with higher levels of participation will not only benefit directly from this exposure on an individual basis but also will tend to support a social and cultural en-vironment that is more conducive to producing and enjoying art and related creative activities. Those geographic areas that score higher on this Index can be said to have a stronger demand for art and, by implication, a stronger potential base of public support for the arts in all their forms. Areas with a higher demand for participation would be expected to offer better funding, more arts organizations, more arts events and activities, and more opportunities to experience art.

Income for nonprofit arts organizations1 is generated from both charitable and non-charitable sources. When examined on a per-capita basis, it serves as a measurement of the level of com-munity participation statewide and regionally as compared to national levels of participation. State and regional values were determined by first dividing the aggregate of the incomes of local arts organizations against the population of the local area. This value was then divided by the national ratio. In those instances where the local index is 1.0 or greater, the area is interpreted as having a level of arts-related activity (funded by these income sources) that is generally higher than average for the country as a whole on a per-person basis. The non-profit arts organization data were supplied by the National Center for Charitable Statistics (NCCS) from the Unified Da-tabase Arts Organizations (UDAO), which collects specific organizational data from tax-exempt organizations that are filers of IRS form 990. The data available from NCCS includes revenues, expenses, assets, and gross income.

The UDAO database has two major categories—arts organizations and arts-active organizations. Artistic endeavors are the primary mission of the category of arts organizations. Examples of


arts organizations are performing groups, art museums, and studios. Arts-active organizations are non-arts organizations with a record of arts activity, such as media groups, historical societ-ies, and festivals.

• The Occupational Sub-Index of the Arts (40% of Total Weight)

The Occupational Index of the Arts compares the concentrations of arts-related employment at the state and local levels with the nation as a whole. The index examines 22 primary and 8 secondary occupations as a ratio of the population. The aggregate of these occupations nation-wide, divided by the total U.S. population, is the national ratio. State and regional values are determined by dividing the aggregate of the local arts occupations against the population of the local area. This value is then divided by the national ratio to compare the size of the ratio relative to the benchmark. In those instances where the local index exceeds 1.0, the area is interpreted as having a higher than average level of art, cultural or creative activity based strictly on the number of art-related jobs per person that is supported within each community. In those instances where the local index is less than 1.00, the area is seen as having a somewhat lower level of activity.

The Occupational Index indicates that the state of Oregon has a moderate level of arts-related employ-ment activity. The 2007 index for the state was 1.02. WDA 2 (Multnomah and Washington Counties) was the most vibrant region, with an index of 1.74.

Indexing to the Nation as a WholeThe Creative Vitality Index is capable of making comparisons between each individual area and the nation as a whole for each indicator. Rather than ranking areas within the state relative to each other, with the state itself serving as the benchmark or standard, the decision to make national comparisons with each area allowed the State of Oregon as a single entity to be evaluated and tracked each year to measure and monitor progress in meeting goals and targets on a statewide basis. This method also allows ease of comparison with other states and cities across the country.

Per-Capita CalculationsPer-capita calculations were made using the latest available population estimates from the U.S Census Bureau, reflecting counts as of 2007. Local and state governments nationwide do not report year-end or average annual population totals but always issue population estimates for a particular point in time.


The Communty Arts Participation Index

2. Urban Institute, National Center for Charitable Giving, 501(c)(3) Arts Organizations Revenue Sources, 2005 Edition Database for Oregon State

The Community Arts Participation Index measures changes in seven selected indicators that point to the degree of connectedness between local residents and the arts. The theory behind this concept is that communities with higher levels of participation will not only benefit directly from this exposure on an individual basis but will also tend to support a social and cultural environment that is more conducive to producing and enjoying art and related creative activities. Those geographic areas that score higher on this index can be said to have a stronger demand for art, and by implication, a stronger potential base of public support for the arts in all its forms. Areas with a higher demand for participation would be expected to offer better funding, more arts organizations, more arts events and activities, and more opportunities to experience art.

This index is comprised of the following components:

• Non-profitartsorganizationincome(10%)• Non-profit“arts-active”organizationincome(10%)• Percapitabookstoreandrecordstoresales(8%)• Percapitamusicstoresalesofinstrumentsandequipment(8%)• Percapitaphotographystoresales(8%)• Motionpicturetheaterattendance(8%)• Museumandartgalleryrevenues(8%)

Non-Profit Arts Organization Income2 Non-profit arts organization income is generated from both charitable and non-charitable sources. When examined on a per capita basis it serves as a measurement of the level of community participa-tion levels statewide and regionally as compared to national levels of participation. State and regional values were determined by first dividing the aggregate of the local arts organization incomes against the population of the local area. This value was then divided by the national ratio. In those instances where the local index is 1.0 or greater the area is interpreted as having a level of art-related activity (funded by these income sources) that is generally higher than average for the country as a whole on a per person basis. The major categories of income are explained below:

• SpecialEventsIncomeincludesreceiptsfromticketsalesforfundraisingeventssuchasdin-ners, payments received in connection with fundraising activities, etc.

• Contributions,GiftsandGrantsincludesincomefrompublicfoundations,individualsandcor-porations.

• InvestmentIncomeisincomefromprogramrelatedinvestments,interestonsavings,earningson bonds and securities, rental income, and capital gains.

• ProgramServicesandContractsareadmissionstoperformingartsevents,royaltiesreceivedasan author, registration fees received in connection with a meeting or convention, government contracts and contracts for specific services.

• Dues,NetsalesandOtherIncomeincludesmembershipduesandgainsonthesaleofassets.

Per-Capita CalculationsPer-capita calculations were made using the latest available population estimates from the U.S. Census Bureau, reflecting counts as of 2006. Local and state governments nationwide do not report year-end or average annual population totals but always issue population estimates for a particular point in time.


Arts-Active Organization Number Share

Management & Technical Assistance 1 0.33

Professional Societies & Associations 10 3.34%

Research Institutes & Public Policy Analysis 0 0.00%

Single Organization Support 26 8.70%

Fund Raising & Fund Distribution 11 3.68%

Non-Financial Organization Support 7 2.34%

Cultural & Ethnic Awareness 33 11.04%

Community Celebrations 2 0.67%

Media & Communications 10 3.34%

Television 6 2.01%

Printing & Publishing 9 3.01%

Radio 4 1.34%

Museums 26 8.70%

Children’s Museums 6 2.01%

History Museums 20 6.69%

Natural History & Natural Science Museums 2 0.67%

Science & Technology Museums 2 0.67%

Performing Arts Schools 11 3.68%

Humanities 20 6.69%

Historical Organizations 29 9.7-%

Historical Societies

& Related Historic Preservation 57 19.06%

Commemorative Events 5 1.67%

Arts, Culture & Humanities (not classified) 2 0.67%

Total 299 100.00%

Arts Organizations Number Share

Alliances & Advocacy 3 0.95%

Arts & Culture 13 4.11%

Folk Arts 5 1.58%

Arts Education 21 6.65%

Arts Councils & Agencies 14 4.43%

Film & Video 5 1.58%

Visual Arts 25 7.91%

Art Museums 4 1.27%

Performing Arts 15 4.75%

Performing Arts Centers 6 1.90%

Dance 19 6.01%

Ballet 8 2.53%

Theater 68 21.52%

Music 33 10.44%

Symphony Orchestras 22 6.96%

Opera 6 1.90%

Singing & Choral Groups 34 10.76%

Bands & Ensembles 15 4.75%

Arts Services o 0.00%

Total 316 100.00%

Table #2: Type and Share of Arts and Arts Active Organizations in Oregon State

Source: Urban Institute, National Center for Charitable Giving, 501(c)(3) Arts Organizations Revenue Sources, 2006 Edition Database for Oregon State

The non-profit arts organization data was supplied by the National Center for Charitable Statistics (NCCS). The data available from NCCS includes revenues, expenses and assets as well as gross income. Organizations with a primary National Taxonomy of Exempt Entity (NTEE) code of ‘A’ for arts organiza-tion were included and then separated into the CVI categories of “Arts Organizations” and “Arts-Active Organization” by NTEE core codes.

For the 2005 CVI there were 260 Arts Organizations and 274 Arts-Active Organizations in the Oregon database for total of 534 organizations. For 2006, there were 243 Arts Organizations and 284 Arts-Ac-tive Organizations for a total of 527 organizations. This year there are a total of 615 organizations as reported through the NCCS database. A breakdown of these organizations, by type, is provided below. This increase could be due to a greater number of organizations coming in over the $25,000 reporting requirement for IRS 990 forms. An increase in small organizations is also likely since total revenues did not fluctuate greatly when compared with prior years.


WDA

ProgramRevenues

Contributions,Gifts, Grants

InvestmentIncome

SpecialEventsDues

TotalRevenue

Source: Urban Institute, National Center for Charitable Giving, 501(c)(3) Arts Organizations Revenue Sources, 2006 Edition Database for Oregon State

Nonprofit Arts Organization Income in the State of Oregon WDA 8 (Jackson and Josephine Counties) had the highest nonprofit arts sector income per capita. This region’s non-profit arts organizations index score was 2.14 for 2007, again showing a healthy arts non-profit sector. The overall State of Oregon index score was 0.80, with a per capita income level of $37, a decrease from last year’s per capita income and index score. Last year, this category showed $145 million in total revenues and per capita revenues of nearly $40 for the State of Oregon. The decrease in state-wide per capita income in this category was exacerbated by growth in national arts organization revenues which increased at a rate of approximately $6 per capita (from $40 to $46). Table #3 shows a comparison of revenues per category in 2006 and 2007. This comparison shows Contributions, Gifts and Grants as the category generating the most change within the overall revenue picture. The $6 mil-lion change in Oregon for 2007 is almost entirely accounted for within this category. This information indicates generally level revenues for arts organizations in 2007 from a majority of income sources, but a decrease in contributions, gifts and grants available to these organizations. Unfortunately, con-tributions, gifts and grants are the largest revenue source for these organizations.

WDA1: Clatsop, Columbia and Tillamook $610,655 $9,803 $9,591 $34,459 $421,281 $1,085,789

WDA2: Multnomah and Washington $30,936,778 $3,293,373 $1,639,126 $1,887,831 $42,853,091 $80,610,199

WDA3: Marion, Polk and Yamhill $2,033,630 $304,090 $43,118 $887,994 $871,365 $4,140,197

WDA4: Benton, Lincoln and Linn $1,101,830 $41,243 $44,997 $207,302 $1,098,162 $2,493,534

WDA5: Lane County $5,824,503 $180,343 $41,676 $642,684 $5,686,876 $12,376,082

WDA6: Douglas County $89,388 $16,341 $8,465 $168,774 $393,308 $676,276

WDA7: Coos and Curry $356,968 $37,693 $28,790 $127,112 $466,512 $1,017,075

WDA8: Jackson and Josephine $17,714,267 $374,016 $1,704,012 $305,086 $7,978,446 $28,075,827

WDA9: Gilliam, Hood River, Sherman, Wheeler, Wasco $218,741 $22,303 $1,597 $54,699 $781,750 $1,079,090

WDA10: Crook, Deschutes and Jefferson $1,519,602 $94,540 $13,087 $529,153 $1,471,802 $3,628,184

WDA11: Klamath and Lake $643,066 $162,107 $878 $1,785 $270,642 $1,078,478

WDA12: Morrow and Umatilla $72,601 $9,885 $3,913 $34,597 $327,216 $448,212

WDA13: Baker, Union and Wallowa $130,870 $15,357 $9,711 $151,704 $490,000 $797,642

WDA14: Grant, Harney and Malheur $21,458 $0 $57 $13,575 $5,101 $40,191

WDA15: Clackamas County $1,185,615 $65,195 $22,064 $323,066 $405,440 $2,001,380

Oregon Total 07 $62,459,972 $4,626,289 $3,571,082 $5,369,821 $63,520,992 $139,548,156

Oregon Total 06 $60,870,106 $4,572,967 $3,120,996 $4,995,325 $71,122,960 $145,126,596

Table #3State of Oregon Arts Organizations: Sources of Revenue


Table #4Total Revenues for 2007 and Index History: Oregon Arts Organizations

OREGON WORKFORCE AREA TOTAL REVENUE POPULATION INDEX 05 INDEX 06 INDEX 07

WDA1 Clatsop, Columbia and Tillamook Counties $1,085,789 111,398 0.13 0.11 0.21

WDA2 Multnomah and Washington Counties $80,610,199 1,224,500 1.78 1.85 1.41

WDA3 Marion, Polk and Yamhill Counties $4,140,197 483,287 0.25 0.19 0.18

WDA4 Benton, Lincoln and Linn Counties $2,493,534 240,558 0.15 0.13 0.22

WDA5 Lane County $12,376,082 343,591 0.81 0.91 0.77

WDA6 Douglas County $676,276 104,119 0.13 0.13 0.14

WDA7 Coos and Curry Counties $1,017,075 85,272 0.17 0.18 0.26

WDA8 Jackson and Josephine Counties $28,075,827 280,351 2.55 2.73 2.14

WDA9 Gilliam, Hood River, Sherman, Wheeler and Wasco Counties $1,079,090 49,786 0.34 0.55 0.46

WDA10 Crook, Deschutes and Jefferson Counties $3,628,184 197,621 0.59 0.38 0.39

WDA11 Klamath and Lake Counties $1,078,478 73,789 0.30 0.37 0.31

WDA12 Morrow and Umatilla Counties $448,212 84,690 0.13 0.14 0.11

WDA13 Baker, Union and Wallowa Counties $797,642 47,436 0.30 0.38 0.36

WDA14 Grant, Harney and Malheur Counties $40,191 44,806 0.02 0.02 0.02

WDA15 Clackamas County $2,001,380 376,251 0.14 0.10 0.11

Statewide $139,548,156 3,747,455 0.96 0.98 0.80

Sources: Revenue: Urban Institute; Population: US Census Bureau;Indexes: Compiled by WESTAF


WDA

ProgramRevenues

Contributions,Gifts, Grants

InvestmentIncome

SpecialEventsDues

TotalRevenue

Non-Profit Arts-Active Organization IncomeWDA 2 (Multnomah and Washington Counties) had the highest per capita arts income and index score at $73 and 1.79, respectively. While this was a decrease over the prior year, this index figure remains above 2005 levels. Total arts-active revenue figures in WDA 2 actually increased slightly from 2006 to 2007, but at a rate that did not keep pace with national growth in this category. In 2007, arts-active revenues increased at a rate of $5 per capita for the nation as a whole. In Oregon, revenues increased at a rate of $4 per capita as total revenues in this category increased from $125 Million to $139 Million. The national growth of $5 per capita equates to an approximate increase of $2 Billion in arts-active revenues. Since this national growth rate outpaced Oregon, the Index in this category decreased slightly in 2007. This statewide trend is played out almost exactly in WDA 2 (Multnomah and Wash-ington Counties). Overall, revenues increased at a rate of nearly $3 per capita between 2006 and 2007. In this significantly sized county, this equates to an increase of approximately $4 Million or 4% of total revenues. While this increase shows positive growth, it was not at a rate outpacing the nation. When looking at individual WDAs, we again see that a majority of variation between years comes from differences in the Contributions, Gifts and Grants category. A significant gain was shown in WDA 6 (Douglas County), which saw a sharp increase in contributions, grants and gifts. As seen in other CVI reports, non-profit gifts can have a significant impact on area indexes, especially in smaller localities. For 2007, it appears that these variations are not due to organizational turnover, but in the ability to fundraise at existing organizations. The NCCS data indicates that the number of organizations is growing across the state, but this trend is not necessarily translating into increased fundraising at individual organizations. Overall, the State of Oregon index score in this category was down slightly from .94 to .91.

WDA1: Clatsop, Columbia and Tillamook $1,073,382 $293,255 $472,028 $167,960 $1,853,358 $3,859,983

WDA2: Multnomah and Washington $33,853,288 $3,009,873 $2,139,917 $3,915,916 $45,910,258 $88,829,252

WDA3: Marion, Polk and Yamhill $1,363,293 $229,482 $180,138 $250,515 $3,192,486 $5,215,914

WDA4: Benton, Lincoln and Linn $473,707 $42,882 $119,343 $41,194 $771,588 $1,448,714

WDA5: Lane County $3,402,037 $99,600 $84,290 $248,821 $1,301,691 $5,136,439

WDA6: Douglas County $1,363,352 $200,273 $9,655 $124,611 $5,108,740 $6,806,631

WDA7: Coos and Curry $44,686 $10,205 $31,486 $20,315 $185,148 $291,840

WDA8: Jackson and Josephine $4,992,592 $992,448 $1,051,390 $249,094 $7,424,030 $14,709,554

WDA9: Gilliam, Hood River, Sherman, Wheeler,Wasco $708,234 $48,186 $14,519 $39,343 $877,689 $1,687,971

WDA10: Crook, Deschutes and Jefferson $1,564,852 $415,322 $223,030 $300,054 $3,784,327 $6,287,585

WDA11: Klamath and Lake $0 $2,685 $11,199 $7,222 $42,907 $64,013

WDA12: Morrow and Umatilla $37,855 $17,671 $31,760 $133,594 $482,590 $703,470

WDA13: Baker, Union and Wallowa $223,846 $12,452 $16,914 $16,045 $510,369 $779,626

WDA14: Grant, Harney and Malheur $7,036 $1,450 $4,037 $0 $387,804 $400,327

WDA15: Clackamas County $534,538 $155,317 $58,065 $161,958 $994,275 $1,904,153

Oregon Total 2007 $49,642,698 $5,531,101 $4,447,771 $5,676,642 $72,827,260 $138,125,472

Oregon Total 2006 $46,694,484 $4,353,637 $3,066,565 $5,186,612 $60,836,227 $125,683,369

Table #5State of Oregon Arts Active Organizations: Sources of Revenue

Source: Urban Institute, National Center for Charitable Giving, 501 (c) (3) Arts Organizations Revenue Sources, 2006 Edition Database for State of Oregon


Table #6Total Revenues for 2007 and Index History: Oregon Arts Active Organizations

OREGON WORKFORCE AREA TOTAL REVENUE POPULATION INDEX 05 INDEX 06 INDEX 07

WDA1 Clatsop, Columbia and Tillamook Counties $3,859,983 111,398 0.59 1.71 0.86

WDA2 Multnomah and Washington Counties $88,829,252 1,224,500 1.70 1.97 1.79

WDA3 Marion, Polk and Yamhill Counties $5,215,914 483,287 0.23 0.37 0.27

WDA4 Benton, Lincoln and Linn Counties $1,448,714 240,558 0.24 0.34 0.15

WDA5 Lane County $5,136,439 343,591 0.35 0.32 0.37

WDA6 Douglas County $6,806,631 104,119 0.19 0.22 1.61

WDA7 Coos and Curry Counties $291,840 85,272 0.23 0.12 0.08

WDA8 Jackson and Josephine Counties $14,709,554 280,351 0.97 0.88 1.29

WDA9 Gilliam, Hood River, Sherman, Wheeler and Wasco Counties $1,687,971 49,786 0.40 0.21 0.84

WDA10 Crook, Deschutes and Jefferson Counties $6,287,585 197,621 0.58 0.72 0.79

WDA11 Klamath and Lake Counties $64,013 73,789 0.10 0.21 0.02

WDA12 Morrow and Umatilla Counties $703,470 84,690 0.23 0.25 0.20

WDA13 Baker, Union and Wallowa Counties $779,626 47,436 0.73 1.19 0.41

WDA14 Grant, Harney and Malheur Counties $400,327 44,806 0.12 0.28 0.22

WDA15 Clackamas County $1,904,153 376,251 0.28 0.14 0.12

Statewide $138,125,472 3,747,455 0.81 0.94 0.91

Source: Revenue: Urban Institute; Population: US Census Bureau; Indexes: Compiled by WESTAF


Per Capita Sales

Per Capita Bookstore and Record Store SalesPer capita bookstore sales are measurements of the local purchases at bookstores and record/CD stores as compared to the purchases of books and pre-recorded music on a nationwide basis. Record store and bookstore sales were combined because they both share the same parent industrial classification (NAICS code 4512), and larger bookstores generally include a department of pre-recorded music. The decline of the recorded music industry has been well documented. A 2007 Rolling Stone article exam-ined these trends showing a steady decline in album sales since 2000, the year that Napster became a household name. While the industry has been able to increase sales through pay downloading sites such as iTunes, the revenues are not making up for the sharp decline in CD sales (www.rollingstone.com/news/story/15137581/the_record_industrys_decline/1). CVI research shows this trend as well. Nielson Claritas data for music industry sales as gathered for the CVI calculations, shows continued declines in national music store revenues for the past 3 years. While the bookstore component of this indicator has stayed relatively even at $9.4 Billion in sales, national record store sales have declined over $2.5 Billion since the 2005 Oregon CVI. Given this national decline in sales, the index over the past 3 years shows that Oregon Bookstore and Record Store Sales remain relatively strong. In Oregon, sales revenues for this category did decrease along the lines of national trends with sales decreasing from $520 million to $480 million, but still maintained a high index score of 1.66. Both WDA 2 and WDA 15 maintained high index scores of 1.83 and 4.61, respectively, though the decline in WDA 2 from 2006 contributed to the slight decline in the overall Bookstore sales index. The State of Oregon index score for 2007 was 1.66, below 2006 mark, but still greater than 2005, showing that Oregon may be weathering the storm in this industry better than the nation as a whole.

Table # 7State of Oregon: Per Capita Book Store Sales

WDA Book & Record Store Sales Per Capita Index 05 Index 06 Index 07

1 $6,500,000 $58 0.88 0.83 0.75

2 $174,900,000 $143 1.61 2.12 1.83

3 $27,100,000 $56 1.04 0.79 0.72

4 $24,900,000 $104 2.64 1.56 1.33

5 $34,300,000 $100 2.23 1.38 1.28

6 $9,400,000 $90 0.94 1.11 1.16

7 $6,500,000 $76 0.75 0.89 0.98

8 $37,000,000 $132 1.41 1.37 1.69

9 $2,500,000 $50 0.65 0.59 0.64

10 $14,300,000 $72 0.89 1.09 0.93

11 $4,800,000 $65 0.44 0.85 0.83

12 $1,700,000 $20 0.38 0.39 0.26

13 $2,500,000 $53 1.36 0.67 0.68

14 $2,200,000 $49 1.07 0.51 0.63

15 $135,200,000 $359 1.32 4.24 4.61

Oregon $483,800,000 $129 1.44 1.73 1.66

Nation $23,472,900,000 $78 1.00 1.00 1.00

Source: U.S. Estimate by Nielson Claritas Inc.


Per Capita Music Store SalesPer capita music store sales are a measurement of local musical instrument and supply purchases as compared to the purchases of musical instruments and supplies on a nationwide basis. Although the recorded music industry continues to see declining sales figures, CVI data does show increased sales figures for musical instrument stores on a nationwide basis for the past 3 years. As the internet has decreased the recorded music industry’s ability to gain revenue, it has also increased the accessibility of music from a larger number of artists, allowing more individuals to make music as well as a series of new products that artists use to directly interface with their customers on the internet. For example, digital music composition software like Garageband for Apple, allows for people to easily compose music at home in a digital format, and then easily share their compositions through Myspace or other internet sites. The tools needed to create these compositions such as instruments, MIDI interfaces and software products are sold at musical instrument stores such as Guitar Center. The two highest grossing stores in Oregon for both 2007 and 2008 were Guitar Centers. In 2007, there was a slight decline in music store sales revenues in Oregon of $600,000 or about 0.3%. This very small decline indicates that music store sales in Oregon are not significantly suffering, but they are not keeping pace with the increases shown in the rest of the nation. The individual data also does not indicate a significant change in any particular location, only small sales fluctuations at individual store loca-tions, which lead to the small decrease in aggregated sales figures. Though it was lower than 2006, WDA 2 (Multnomah and Washington Counties) continued to show the highest music store purchasing index score of 1.90 for 2007, but continued a declining trend from the prior two years. Given the size of WDA 2, this downward trend contributes significantly to small decline in the index for this category. Many of the WDAs stayed relatively even or even advanced over prior year numbers.

Table #8State of Oregon: Per Capita Music Store Sales

WDA Musical Instrument Stores Sales Per Capita Index 05 Index 06 Index 07

1 $700,000 $6 0.39 0.24 0.18

2 $79,500,000 $65 2.38 2.08 1.90

3 $9,900,000 $20 1.37 0.69 0.60

4 $7,000,000 $29 0.32 0.84 0.85

5 $15,600,000 $45 0.73 0.97 1.33

6 $4,700,000 $45 0.60 1.27 1.32

7 $4,100,000 $48 0.23 1.02 1.40

8 $9,200,000 $33 0.94 0.86 0.96

9 $900,000 $18 0.73 0.53 0.53

10 $3,600,000 $18 0.55 0.45 0.53

11 $600,000 $8 0.16 0.32 0.24

12 $800,000 $9 0.02 0.28 0.28

13 $500,000 $11 1.29 0.19 0.31

14 $1,900,000 $42 0.26 1.24 1.24

15 $12,300,000 $33 0.29 1.17 0.95

Oregon $151,300,000 $40 1.23 1.22 1.18

Nation $10,317,900,000 $34 1.00 1.00 1.00



Per Capita Photography Store SalesPer capita photography store sales are a measurement of local photography and camera supply store purchases as compared to the purchases of photography supplies on a nationwide basis. WDA 2 (Mult-nomah and Washington Counties) had the highest index of 2.53, showing a significant increase over prior year’s data. Also, several other WDAs saw significant increases including WDAs 1, 4, 6 and 8. The data indicates that Oregon photography stores remain healthy when compared to the rest of the nation. The overall state index was up from 1.12 to 1.35 in 2007. This data continued to trend upwards for the state. While State of Oregon revenues have been increasing, national revenue figures in this category have been decreasing for the past three years. A major challenge to businesses that fit within this industry category is competition with big box retailers such as Best Buy. When looking at the individual business data for Oregon, Ritz Camera Centers, have some of the highest revenue figures in this category around the state. This retailer continues to do well, maintaining its market share when photography stores across the nation are dwindling.

Table #9State of Oregon Per Capita Photography Store Sales

Camera & Photographic

WDA Supply Stores Sales Per Capita Index 05 Index 06 Index 07

1 $800,000 $7 0.00 0.00 0.56

2 $39,500,000 $32 1.85 2.09 2.53

3 $5,200,000 $11 1.36 0.99 0.84

4 $4,400,000 $18 1.64 1.17 1.43

5 $3,200,000 $9 0.19 0.51 0.73

6 $1,400,000 $13 0.61 0.88 1.05

7 $600,000 $7 0.73 0.45 0.55

8 $5,600,000 $20 0.46 1.27 1.57

9 $400,000 $8 0.64 0.52 0.63

10 $1,400,000 $7 0.35 0.48 0.56

11 $0 $0 0.87 0.00 0.00

12 $0 $0 0.00 0.00 0.00

13 $0 $0 0.00 0.00 0.00

14 $0 $0 0.35 0.00 0.00

15 $2,000,000 $5 0.35 0.35 0.42

Oregon $64,500,000 $17 1.04 1.12 1.35

Nation $3,842,300,000 $13 1.00 1.00 1.00



Motion Picture Theater AttendanceMotion picture attendance is a measure of the average weekly movie theater attendance compared to attendance nationwide. In Oregon, the state index score again increased as national average atten-dance stayed relatively level. The overall state index score continued to trend upwards with a statewide index score of 1.37. There was a significant increase in WDA 8 (Jackson and Josephine Counties) this year. This is accounted for in the data by the inclusion of the Oregon Shakespeare Festival in Ashland (http://www.osfashland.org/index.aspx) within the Motion Picture Theater Attendance box office rev-enue data. While this particular festival was not included in past year’s data, a small number of theater venues cross over into this industrial code classification since a number of these theaters may also show motion pictures in addition to producing stage theater. In 2007, this theater festival has crossed over into this industrial classification and its revenues are the highest when compared to any annual revenues for any movie theater across the state. The inclusion of this data does show a significant cultural contribution taking place in Jackson County that would not otherwise be counted within the CVI. Also, there was no data within current year Nielson Claritas estimates for WDA 7 (Coos and Curry Counties). Last year, there was only one theater listed in WDA, the Ellensberg Theater in Gold Beach. Without this theater, the WDA 7 index for this category drops to zero.

Table #10State of Oregon: Average Weekly Motion Picture Attendance

Motion Picture Avg Weekly

WDA Attendance Attendance Index 05 Index 06 Index 07

1 997,265 0.17 1.69 1.57 1.93

2 8,217,461 0.13 1.27 1.54 1.44

3 1,994,529 0.08 0.80 0.81 0.89

4 1,555,733 0.12 1.60 1.53 1.39

5 1,196,718 0.07 0.56 0.66 0.75

6 319,125 0.06 0.90 0.71 0.66

7 0 0.00 1.07 0.43 0.00

8 4,587,417 0.31 1.01 1.16 3.52

9 638,249 0.25 1.87 2.96 2.76

10 1,077,046 0.10 1.02 1.30 1.17

11 359,015 0.09 0.95 0.63 1.05

12 478,687 0.11 2.45 1.31 1.22

13 518,578 0.21 3.41 1.95 2.35

14 319,125 0.14 3.07 0.82 1.53

15 1,675,405 0.09 0.76 1.04 0.96

Oregon 23,934,351 0.12 1.00 1.22 1.37

Source: Motion Picture Association of America, “Market Statistics 2007,” for average sales per visitor, and total revenue data from Claritas Inc. Business Summary using InfoUSA


Museum and Art Gallery RevenuesPer capita museum and art gallery revenues are a measurement of participation through the ticket purchases of local visitors as well as sales of art-related products, as compared to per capita revenues on a nationwide basis. The Oregon index score decreased from 1.20 to 1.09. The WDA 13 (Baker, Union, and Wallowa Counties) region continued, with its strong index score of 3.32.

Table #11State of Oregon: Per Capita Museum and Art Gallery Sales

WDA Museum and Art Gallery Sales Per Capita Index 05 Index 06 Index 07

1 $2,900,000 $26 1.91 1.92 1.52

2 $30,700,000 $25 1.43 1.68 1.46

3 $6,600,000 $14 0.60 0.81 0.80

4 $5,500,000 $23 1.20 1.31 1.33

5 $4,100,000 $12 0.83 0.71 0.70

6 $300,000 $3 0.00 0.18 0.17

7 $2,200,000 $26 2.41 1.52 1.51

8 $4,600,000 $16 1.27 1.18 0.96

9 $2,200,000 $44 4.21 2.02 2.58

10 $2,500,000 $13 0.76 0.76 0.74

11 $800,000 $11 1.90 1.71 0.63

12 $1,000,000 $12 0.82 1.05 0.69

13 $2,700,000 $57 1.46 2.93 3.32

14 $800,000 $18 3.46 0.28 1.04

15 $2,900,000 $8 0.57 0.49 0.45

Oregon $69,800,000 $19 1.13 1.20 1.09

Nation $5,161,200,000 $17 1.00 1.00 1.00

Source: U.S. Estimates by Nielson Claritas Inc


The Occupational Index of the Arts

The Occupational Index of the Arts compares the concentrations of arts-related employment at the state and local levels with the nation as a whole. The index examines 26 primary and 14 secondary occupations as a ratio of the population. The aggregate of these occupations nationwide, divided by the total U.S. population, is the national ratio. State and regional values were determined by dividing the aggregate of the local arts occupations against the population of the local area. This value was then divided by the national ratio to compare the size of the ratio relative to the benchmark. In those instances where the local index exceeds 1.0, the area is interpreted as having a higher-than-average level of art, cultural, or creative activity - based strictly on the number of arts-related jobs per person that are supported within each community. In those instances were the local index score is less than 1.00, the area is seen as having a somewhat lower than average level of activity.

The 2007 Oregon Occupational Index of 1.03 indicates that the state had a slightly better than average level of arts-related employment activity as compared to the nation as a whole, and its arts-related employment stayed relatively level with the nation from 2006 to 2007, as the index moved from 1.01 to 1.03. WDA 2 (Multnomah and Washington Counties) was again the most vibrant region, with an index score of 1.76.

The State of Oregon In 2006, there were a total of 24,213 jobs in arts-related occupations, according to the Oregon Em-ployment Department current database. The majority or 15,004 jobs were classified as “primary arts” occupations. The remaining 9,209 jobs are classified as “secondary arts” occupations.


Table #12State of Oregon: Primary Occupations in the Creative Economy

Primary Occupations 2005 2006 2007

Actors 249 301 305

Architects, Except Landscape and Naval 1,771 1,756 1,797

Art and Design Workers, All Other 81 114 117

Art Directors 266 380 389

Choreographers 124 197 203

Commercial and Industrial Designers 328 382 387

Dancers 154 152 155

Editors 997 1,149 1,160

Fashion Designers 473 464 476

Fine Artists, Including Painters, Sculptors, and Illustrators 133 214 218

Floral Designers 727 793 801

Graphic Designers 1,966 2,438 2,476

Interior Designers 610 656 674

Landscape Architects 338 348 356

Multi-Media Artists and Animators 287 380 388

Music Directors and Composers 326 604 613

Musicians and Singers 705 1,172 1,189

Photographers 804 634 642

Producers and Directors 690 818 829

Radio and Television Announcers n/a 478 482

Set and Exhibit Designers 116 129 131

Technical Writers 737 691 699

Writers and Authors 441 509 517

Total 12,323 14,759 15,004

Source: Oregon State Department of Employment Security

Table #13Oregon State: Secondary Occupations in the Creative Economy

Secondary Occupations 2005 2006 2007

Advertising and Promotions Managers 681 684 695

Agents and Business Managers of Artists, Performers, and Athletes 60 62 63

Audio and Video Equipment Technicians 627 742 751

Broadcast Technicians 394 411 415

Camera Operators, Television, Video, and Motion Picture 293 247 250

Directors, Religious Activities and Education 956 1,541 1,565

Film and Video Editors 83 120 122

Librarians 1,681 1,617 1,636

Media and Communication Equipment Workers, All Other 284 184 186

Media and Communication Workers, All Other 544 407 413

Musical Instrument Repairers and Tuners 44 92 93

Public Relations Managers 833 1,061 1,079

Public Relations Specialists 1,859 1,818 1,844

Sound Engineering Technicians 58 96 97

Total 8,397 9,082 9,209

Total All Occupations 20,720 23,841 24,213



Clatsop, Columbia, and Tillamook Counties WDA1The Clatsop, Columbia, and Tillamook Counties (WDA 1) Occupational Index score in 2007 stayed even at 0.34 — less than the national and Oregon averages, indicating a lower number of arts occupations in that region. Arts occupations in this region decreased from 215 to 229 from year to year.

Table #14WDA 1: Clatsop, Columbia and Tillamook Counties: Primary Occupations in the Creative Economy


Actors 0 0 0

Architects, Except Landscape and Naval 18 11 11


Art Directors 2 0 0



Dancers 3 0 0

Editors 10 13 13




Graphic Designers 22 13 13





Musicians and Singers 12 7 7



Radio and Television Announcers 0 0 13




Total 149 112 125

Table #15WDA 1: Clatsop, Columbia and Tillamook Counties: Secondary Occupations in the Creative EconomySecondary Occupations 2005 2006 2007






Directors, Religious Activities and Education 22 25 26


Librarians 43 41 41




Public Relations Managers 8 8 8

Public Relations Specialists 12 9 9


TOTAL 116 103 107

TOTAL ALL OCCUPATIONS 265 215 232




WDA 2 Multnomah and Washington Counties Multnomah and Washington Counties (WDA 2) had the highest arts occupational index score in the state in 2007. This region had the largest concentration of art related jobs with a total of 12,840 in the primary and secondary occupations.

Table #16WDA2: Multnomah and Washington Counties: Primary Occupations in the Creative Economy

Table #17WDA2: Multnomah and Washington Counties: Secondary Occupations in the Creative Economy


Actors 117 70 71

Architects, Except Landscape and Naval 1,454 1,528 1,568





Dancers 106 69 70

Editors 474 592 597




Graphic Designers 1,057 1,321 1,342












Total 7,195 8,081 8,369









Librarians 616 587 594





Public Relations Specialists 1,051 1,172 1,191


Total 4,054 4,531 4,595




Marion, Polk, and Yamhill Counties WDA 3 In 2004, there were 1,659 arts-related jobs in the Marion, Polk, and Yamhill Counties (WDA 3). The number of total arts related jobs (primary and secondary) increased in 2006 to 1,715, and again in 2007 to 1,734.


Actors 8 7 7






Dancers 10 8 8

Editors 91 96 96
















Total 760 857 872

Table #18WDA3: Marion, Polk and Yamhill Counties: Primary Occupations in the Creative Economy

Table #19WDA3: Marion, Polk and Yamhill Counties: Secondary Occupations in the Creative EconomySecondary Occupations 2005 2006 2007















Total 899 858 870




Benton, Lincoln, and Linn Counties WDA 4The occupational index for Benton, Lincoln, and Linn Counties (WDA 4) was again 0.57, though the number of overall jobs within the region increased.

Table #20WDA4: Benton, Lincoln and Linn Counties: Primary Occupations in the Creative Economy

Table #21WDA4: Benton, Lincoln and Linn Counties: Secondary Occupations in the Creative Economy


Actors 1 1 1



Art Directors 8 6 6



Dancers 0 0 0

Editors 56 36 37
















Total 427 411 450
















Total 412 380 383

Total All Occupations 839 791 833



WDA 5 Lane County Lane County (WDA 5) received an occupational index score of 1.12, the second highest in the state. This region scored higher than the State of Oregon index of 1.03. Lane County again saw a strong increase in creative occupations

Table #22WDA5: Lane County: Primary Occupations in the Creative Economy

Table #23WDA5: Lane County: Secondary Occupations in the Creative Economy


Actors 2 0 0






Dancers 9 5 4

Editors 122 128 129
















Total 1,288 1,423 1,530
















Total 810 806 815




Douglas County WDA 6With 286 total arts jobs, Douglas County (WDA 6) received an index score of 0.46. This is an increase in jobs compared to the 2006 CVI. There were 145 jobs in the primary occupation category and 141 listed as secondary art occupations.

Table #24WDA6 Douglas County: Primary Occupations in the Creative Economy

Table #25WDA6 Douglas County: Secondary Occupations in the Creative Economy


Actors 0 0 0



Art Directors 3 2 2



Dancers 1 2 2

Editors 16 14 14
















Total 134 130 145









Librarians 68 59 60







Total 161 142 143




Table #26WDA7 Coos and Curry Counties: Primary Occupations in the Creative Economy

Table #27WDA7 Coos and Curry Counties: Secondary Occupations in the Creative Economy

Coos and Curry Counties WDA 7Coos and Curry Counties (WDA 7) had a lower than average arts occupa-tional index score of 0.46, but this was an increase over the 2006 index score of 0.45. This region also experienced an increase in total jobs.


Actors 0 0 0



Art Directors 1 0 0



Dancers 2 1 1

Editors 12 14 14
















Total 101 123 150









Librarians 33 31 31







Total 103 90 90




Table #28WDA8 Jackson and Josephine Counties: Primary Occupations in the Creative Economy

Table #29WDA8 Jackson and Josephine Counties: Secondary Occupations in the Creative Economy

Jackson and Josephine Counties WDA 8With 1,395 arts related jobs, the occupational index score for Jackson and Josephine Counties (WDA 8) was .83, a slight increase from 2006.


Actors 97 102 104



Art Directors 9 6 6



Dancers 4 4 4

Editors 64 73 74
















Total 687 800 853









Librarians 87 83 83







Total 532 546 553




Table #30WDA 9 Gilliam, Hood River. Sherman, Wheeler and Wasco Counties: Primary Occupations in the Creative Economy

Table #31WDA 9 Gilliam, Hood River. Sherman, Wheeler and Wasco Counties: Secondary Occupations in the Creative Economy

Gilliam, Hood River, Sherman, Wheeler and Wasco Counties WDA 9The occupational arts index for Gilliam, Hood River, Sherman, Wheeler, and Wasco Counties (WDA 9) was 0.51. There were a total of 153 jobs in the primary and secondary categories.


Actors 6 0 0



Art Directors 2 1 1



Dancers 0 0 0

Editors 6 5 5










Photographers 8 8 8






Total 100 89 94









Librarians 11 12 12







Total 63 59 59




Table #32WDA10 Crook, Deschutes Counties: Primary Occupations in the Creative Economy

Table #33WDA10 Crook, Deschutes Counties: Secondary Occupations in the Creative Economy

WDA 10 Crook, Deschutes, and Jefferson Counties The Crook, Deschutes, and Jefferson Counties (WDA 10) region was fourth in the state with an index of .77. Overall, there was a significant increase in arts related jobs in this region, from 867 in 2006 to 919 in 2007.


Actors 13 14 15






Dancers 0 28 29

Editors 54 57 57
















Total 469 595 646









Librarians 35 35 36







Total 249 272 278




Table #34WDA11 Klamath and Lake Counties: Primary Occupations in the Creative Economy

Table #35WDA11 Klamath and Lake Counties: Secondary Occupations in the Creative Economy

WDA 11 Klamath and Lake Counties Klamath and Lake Counties (WDA 11) had an occupational index score of 0.52 for 2007. This was below the State of Oregon index of 1.02. There were a total of 231 arts related jobs in this region in 2007, staying even with the 230 reported by the Oregon Employment Department in 2006.


Actors 0 0 0



Art Directors 0 4 4



Dancers 11 10 10

Editors 7 13 13
















Total 100 130 136









Librarians 23 32 32







Total 89 101 101




Table #36WDA12 Morrow and Umatilla Counties: Primary Occupations in the Creative Economy

Table #37WDA12 Morrow and Umatilla Counties: Secondary Occupations in the Creative Economy

WDA 12 Morrow and Umatilla Counties There were a total of 192 arts related jobs in the Morrow and Umatilla Counties (WDA 12) region in 2007. The 2006 occupational arts index score was 0.38, which was below the State of Oregon index score of 1.03.


Actors 0 0 0



Art Directors 0 0 0



Dancers 1 1 1

Editors 14 16 16










Photographers 3 8 8






Total 80 94 102









Librarians 50 47 48







Total 101 91 92




Table #38WDA 13 Baker, Union and Wallowa Counties: Primary Occupations in the Creative Economy

Table #39WDA 13 Baker, Union and Wallowa Counties: Secondary Occupations in the Creative Economy

Baker, Union, and Wallowa Counties WDA 13The occupational arts index for Baker, Union, and Wallowa Counties (WDA 13) was 0.50. This was below the Oregon index of 1.02. Total arts employment stayed relatively even at 143 and 142 in 2006 and 2007, respectively.


Actors 2 3 0



Art Directors 1 2 2



Dancers 1 0 0

Editors 7 10 10










Photographers 9 6 6






Total 63 77 76









Librarians 30 24 24







Total 86 66 68




Table #40WDA 14 Grant, Harney and Malheur Counties: Primary Occupations in the Creative Economy

Table #41WDA 14 Grant, Harney and Malheur Counties: Secondary Occupations in the Creative Economy

WDA 14 Grant, Harney, and Malheur Counties There were a total of 99 art occupations in Grant, Harney, and Malheur Counties (WDA 14). The oc-cupational index score for this region in 2006 was 0.37.


Actors 0 0 0



Art Directors 0 0 0



Dancers 0 0 0

Editors 6 5 5










Photographers 7 6 6






Total 39 41 48









Librarians 21 19 19







Total 69 54 54




Table #42WDA 15 Clackamas County: Primary Occupations in the Creative Economy

Table #43WDA 15 Clackamas County: Secondary Occupations in the Creative Economy

Clackamas County WDA 15In Clackamas County (WDA 15) the occupational art index score was .65. There were a total of 1,468 arts related occupations for this region, an increase over the 2006 numbers.


Actors 3 5 5






Dancers 6 8 8

Designers, All Other 0 0 5

Editors 58 64 65
















Total 731 839 855
















Total 653 613 620



The Creative Vitality Index

The overall Creative Vitality Index is a composite of the Community Arts Participation Index and the Occupational Index of the Arts. The State of Oregon Creative Vitality Index score for the 2007 calendar year was 1.11. WDA 2 (Multnomah and Washington Counties) again had the highest regional index number, with an overall value of 2.13. Two other WDAs outpaced both the state and and the nation: WDA 8 (Jackson and Josephine Counties), which received a 1.37, and WDA 5 (Lane County), which received a 1.12. Jackson and Josephine Counties had the greatest increase among any WDA for 2007.

The Creative Vitality Index for Oregon State by Workforce Development Area

0.74

0.5 1.0 1.5 2.0

Oregon State

Source: WESTAF, 2008

0.71

2.162.27

2005

2006

WDA9 (Gilliam, Hood River, Sherman, Wheeler, Wasco)

WDA1 (Clatsop, Columbia, Tillamook)

WDA2 (Multnomah, Washington)

WDA4 (Benton, Lincoln, Linn)

WDA3 (Marion, Polk, Yamhill)

WDA5 (Lane)

WDA6 (Douglas)

WDA7(Coos, Curry)

WDA8 (Jackson, Josephine)

WDA10 (Crook, Deschutes, Jefferson)

WDA11 (Klamath, Lake)

WDA12 (Morrow, Umatilla)

WDA13 (Baker, Union, Wallowa)

WDA14 (Grant, Harney, Malheur)

WDA15 (Clackamas)

0.73

2.13

0.870.81

0.91

1.071.00

0.97

1.171.11

1.12

0.580.55

0.63

0.690.69

0.67

1.281.22

1.37

1.061.07

1.05

0.850.83

0.84

0.660.65

0.60

0.530.53

0.48

0.990.98

0.95

0.790.89

0.83

0.860.69

0.88

1.121.05

1.11

2007


WDA Region CVI 05 CVI 06* CVI 07*

WDA 1 Clatsop, Columbia and Tillamook Counties 0.71 0.74 0.73

WDA 2 Multnomah and Washington Counties 2.16 2.27 2.13

WDA 3 Marion, Polk and Yamhill Counties 0.81 0.87 0.91

WDA 4 Benton, Lincoln and Linn Counties 1.00 1.07 0.97

WDA 5 Lane County 1.11 1.17 1.12

WDA 6 Douglas County 0.55 0.58 0.63

WDA 7 Coos and Curry Counties 0.69 0.69 0.67

WDA 8 Jackson and Josephine Counties 1.22 1.28 1.37

WDA 9 Gilliam, Hood River, Sherman, Wheeler,Wasco 1.07 1.06 1.05

WDA 10 Crook, Deschutes and Jefferson Counties 0.83 0.85 0.84

WDA 11 Klamath and Lake Counties 0.65 0.66 0.60

WDA 12 Morrow and Umatilla Counties 0.53 0.53 0.48

WDA 13 Baker, Union and Wallowa Counties 0.98 0.99 0.95

WDA 14 Grant, Harney and Malheur Counties 0.89 0.79 0.83

WDA 15 Clackamas County 0.69 0.86 0.88

State of Oregon 1.05 1.12 1.11

Source: WESTAF, 2008

Table #43Oregon Creative Vitality Index (CVI)by Workforce Development Area (WDA)

* The index values for the regional WDAs have been adjusted to re-duce the impact of high levels of variability reported in some of the data sets and more accurately reflect the overall trends in the state. Adjustments are made based on statewide trends and the 2005 baseline data.


Appendix A:

Standard Occupational Arts Categories4

4. Source: Bureau of Labor Statistics; Standard Occupational Categories (SOC) Definitions

Primary Occupations

27-1021 Commercial and Industrial DesignersDevelop and design manufactured products, such as cars, home appliances, and children’s toys. Combine artistic talent with research on product use, marketing, and materials to create the most functional and appealing product design.

27-1022 Fashion DesignersDesign clothing and accessories. Create original garments or design garments that follow well estab-lished fashion trends. May develop the line of color and kinds of materials.

27-1023 Floral DesignersDesign, cut, and arrange live, dried, or artificial flowers and foliage.

27-1024 Graphic DesignersDesign or create graphics to meet a client’s specific commercial or promotional needs, such as packag-ing, displays, or logos. May use a variety of mediums to achieve artistic or decorative effects.

27-1025 Interior DesignersPlan, design, and furnish interiors of residential, commercial, or industrial buildings. Formulate de-sign, which is practical, aesthetic, and conducive to intended purposes, such as raising productivity, selling merchandise, or improving life style. May specialize in a particular field, style, or phase of interior design. Exclude “Merchandise Displayers and Window Trimmers” (27-1026).

27-1027 Set and Exhibit DesignersDesign special exhibits and movie, television, and theater sets. May study scripts, confer with direc-tors, and conduct research to determine appropriate architectural styles.

17-1011 Architects, Except Landscape and NavalPlan and design structures, such as private residences, office buildings, theaters, factories, and other structural property.

17-1012 Landscape ArchitectsPlan and design land areas for such projects as parks and other recreational facilities, airports, high-ways, hospitals, schools, land subdivisions, and commercial, industrial, and residential sites.

27-1011 Art DirectorsFormulate design concepts and presentation approaches, and direct workers engaged in art work, layout design, and copy writing for visual communications media, such as magazines, books, newspa-pers, and packaging.


27-3011 Radio and Television AnnouncersTalk on radio or television. May interview guests, act as master of ceremonies, read news flashes, iden-tify station by giving call letters, or announce song title and artist.

27-1014 Multi-Media Artists and AnimatorsCreate special effects, animation, or other visual images using film, video, computers, or other elec-tronic tools and media for use in products or creations, such as computer games, movies, music videos, and commercials.

27-1029 Designers, All OtherAll designers not listed separately.

27-3042 Technical WritersWrite technical materials, such as equipment manuals, appendices, or operating and maintenance instructions. May assist in layout work.

27-3043 Writers and AuthorsOriginate and prepare written material, such as scripts, stories, advertisements, and other material. Exclude “Public Relations Specialists” (27-3031) and “Technical Writers” (27-3042).

27-3041 EditorsPerform variety of editorial duties, such as laying out, indexing, and revising content of written mate-rials, in preparation for final publication. Include technical editors.

27-4021 PhotographersPhotograph persons, subjects, merchandise, or other commercial products. May develop negatives and produce finished prints. Include scientific photographers, aerial photographers, and photojournalists.

Teachers

25-1031 Architecture Teachers, PostsecondaryTeach courses in architecture and architectural design, such as architectural environmental design, interior architecture/design, and landscape architecture. Include both teachers primarily engaged in teaching and those who do a combination of both teaching and research

25-1121 Art, Drama, and Music Teachers, PostsecondaryTeach courses in drama, music, and the arts including fine and applied art, such as painting and sculp-ture, or design and crafts. Include both teachers primarily engaged in teaching and those who do a combination of both teaching and research.

25-1123 English Language and Literature Teachers, PostsecondaryTeach courses in English language and literature, including linguistics and comparative literature. Include both teachers primarily engaged in teaching and those who do a combination of both teaching and research.

Artists and Art Workers

27-1013 Fine Artists including Painters, Sculptors, and IllustratorsCreate original artwork using any of a wide variety of mediums and techniques, such as painting and sculpture.


27-2011 ActorsPlay parts in stage, television, radio, video, or motion picture productions for entertainment, informa-tion, or instruction. Interpret serious or comic role by speech, gesture, and body movement to entertain or inform audience. May dance and sing.

27-2012 Producers and DirectorsProduce or direct stage, television, radio, video, or motion picture productions for entertainment, information, or instruction. Responsible for creative decisions, such as interpretation of script, choice of guests, set design, sound, special effects, and choreography.

27-2041 Music Directors and ComposersConduct, direct, plan, and lead instrumental or vocal performances by musical groups, such as orches-tras, choirs, and glee clubs. Include arrangers, composers, choral directors, and orchestrators.

27-2042 Musicians and SingersPlay one or more musical instruments or entertain by singing songs in recital, in accompaniment, or as a member of an orchestra, band, or other musical group. Musical performers may entertain on-stage, radio, TV, film, video, or record in studios. Exclude “Dancers” (27-2031).

27-2031 DancersPerform dances. May also sing or act.

27-2032 ChoreographersCreate and teach dance. May direct and stage presentations.

Secondary Occupations

11-2011 Advertising and Promotions ManagersPlan and direct advertising policies and programs or produce collateral materials, such as posters, contests, coupons, or give-aways, to create extra interest in the purchase of a product or service for a department, an entire organization, or on an account basis.

11-2031 Public Relations ManagersPlan and direct public relations programs designed to create and maintain a favorable public image for employer or client; or if engaged in fundraising, plan and direct activities to solicit and maintain funds for special projects and nonprofit organizations.

25-4021 LibrariansAdminister libraries and perform related library services. Work in a variety of settings, including public libraries, schools, colleges and universities, museums, corporations, government agencies, law firms, non-profit organizations, and healthcare providers. Tasks may include selecting, acquiring, cataloguing, classifying, circulating, and maintaining library materials; and furnishing reference, bib-liographical, and readers’ advisory services. May perform in-depth, strategic research, and synthesize, analyze, edit, and filter information. May set up or work with databases and information systems to catalogue and access information.

27-3031 Public Relations SpecialistsEngage in promoting or creating good will for individuals, groups, or organizations by writing or selecting favorable publicity material and releasing it through various communications media. May prepare and arrange displays, and make speeches.

27-3099 Media and Communication Workers, All OtherAll media and communication workers not listed separately.


27-4011 Audio and Video Equipment TechniciansSet up or set up and operate audio and video equipment including microphones, sound speakers, video screens, projectors, video monitors, recording equipment, connecting wires and cables, sound and mixing boards, and related electronic equipment for concerts, sports events, meetings and conven-tions, presentations, and news conferences. May also set up and operate associated spotlights and other custom lighting systems. Exclude “Sound Engineering Technicians” (27-4014).

27-4012 Broadcast TechniciansSet up, operate, and maintain the electronic equipment used to transmit radio and television programs. Control audio equipment to regulate volume level and quality of sound during radio and television broadcasts. Operate radio transmitter to broadcast radio and television programs.

27-4014 Sound Engineering TechniciansOperate machines and equipment to record, synchronize, mix, or reproduce music, voices, or sound effects in sporting arenas, theater productions, recording studios, or movie and video productions.

13-1011 Agents and Business Managers of Artists, Performers, and AthletesRepresent and promote artists, performers, and athletes to prospective employers. May handle con-tract negotiation and other business matters for clients.

27-4031 Camera Operators, Television, Video, and Motion PictureOperate television, video, or motion picture camera to photograph images or scenes for various pur-poses, such as TV broadcasts, advertising, video production, or motion pictures.

27-4032 Film and Video EditorsEdit motion picture soundtracks, film, and video.

21-2021 Directors, Religious Activities Direct and coordinate activities of a denominational group to meet the religious needs of students. Plan, direct, or coordinate church school programs designed to promote religious education among church membership. May provide counseling and guidance relative to marital, health, financial, and religious problems.

49-9063 Musical Instrument Repairers and TunersRepair percussion, stringed, reed, or wind instruments. May specialize in one area, such as piano tuning. Exclude “Electronic Home Entertainment Equipment Installers and Repairers” (49-2097) who repair electrical and electronic musical instruments.

creative vitality index state of oregon

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