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• A01 —A] I iances and Advocacy • A02 — Management and Technical Assistance • A03 — Professional Societies and Associations • A05 — Research Institutes and Public Policy Analysis • Al 1 — Single Organization Support • Al2 — Fund Raising and Fund Distribution • A19 — Support (not elsewhere classified) • A20 — Arts and Culture (general) • A23 — Cultural and Ethnic A%vareness • A24 — Folk Arts • A25 — Arts Education • A26 — Arts and Humanities Councils and Agencies • A27 — Community Celebrations • A30 — Media and Communications (general) • A31 — Film and Video • A32 — Television • A33 — Printing and Publishing • A34 — Radio • A40 — Visual Arts (general) • A50 — Museums (general) • A51 —Art Museums • A52 — Children's Museums • A53 — Folk Arts Museums • A54 — History Museums • A56 — Natural History and Natural Science Museums • A57 — Science and Technology Museums • A60 — Performing Arts (general) • A61 — Performing Arts Centers • A62 — Dance • A63 — Ballet • A65 — Theatre • A68 — Music • A69 — Symphony Orchestras • A6A — Opera • A613 — Singing and Choral Groups • A6C — Bands and Ensembles • A6E — Performing Arts Schools • A70 — Humanities (general) • A80 — Historical Organizations (general) • A82 — Historical Societies and Historic Preservation • A84 —Commemorative Events • A90 — Arts Services (general) • A99 — Arts, Culture, and Humanities (miscellaneous) In addition to the organization types listed above, the study partners were encouraged to include other types of eligible organizations if they play a 20 .substantial role in the cultural life of the community or if their primary purpose is to promote participation in, appreciation for, and understanding of the visual, performing, folk, literary arts, and/or media arts. These include government-owned and government - operated cultural facilities and institutions, municipal arts agencies and councils, private community arts organizations, unincorporated arts groups, living collections (such as zoos, aquariums, and botanical gardens), university presenters and cultural facilities, and arts programs that are embedded under the umbrella of a nonarts organization or facility (such as a community center or church). In short, if it displays the characteristics of a nonprofit arts and cultural organization, it is included. With rare exception, for- profit businesses and individual artists are excluded from this study. To collect the required financial and attendance information from eligible organizations, researchers implemented a multipronged data collection process. Americans for the Arts partnered with DataArts to collect detailed budget and attendance information about each organization's fiscal year that ended in 2015. DataArts' Cultural Data Profile (CDP) is a unique system that enables arts and cultural organizations to enter financial, programmatic, and operational data into a standardized online form. To reduce the survey response burden on participating organizations, and because the CDP collects the detailed information required for this economic impact analysis, researchers used confidential CDP data as the primary organizational data collection mechanism for the Arts & Economic Prosperity 5 study. This primary data collection effort was - supplemented with an abbreviated one-page paper version of the survey that was administered to organizations that did not respond to the CDP survey. Nationally, information was collected from 14,439 eligible organizations about their fiscal year 2015 expenditures, event attendance, in-kind contributions, and volunteerism. Responding organizations had AMERICANS FOR THE ARTS I Arts & Economic Prosperity 5