Unique ID MeasureUnique ID ReportYear of Periodic ReportCountryMeasureEditorialized titleSDGsAreas of MonitoringSpecial CategoriesCultural DomainsFull URLCanonical URLInnovativeb. Key objectives of the measurec. What isc.1. the scope of the measurec.2. the nature of the measurec.3. the main feature of the measureContext of the measureCultural Value Chaind. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?Does it specifically target young people?Does this measure/initiative receive or has it received International Fund for Cultural Diversity (IFCD) funding?e. What are the results expected through the implementation of the measure?f.1 Name of agency responsible for the implementation of the measuref.2 Financial resources allocated to implement the measureh. Was this measure introduced or revised in order toh.1. Implement the provisions of the Convention?h.2. Support/nurture policy discussion inspired by the Convention?h.3. Other reasons unrelated to the Convention?i. Has the implementation of the measure been evaluated?i.1 At what level the evaluation was conducted?i.2 What were the main conclusions?i.3 Which indicators were used to determine impact?List targeted individual/social groupsPartner(s) engaged in the implementation of the measureSpecial CategoriesWebsite
11083110802016NoruegaThe Audio and Visual FundSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCine / Artes audiovisuales, Música, Las artes escénicas, Artes visualeshttps://es.unesco.org/creativity/policy-monitoring-platform/audio-visual-fundhttps://es.unesco.org/creativity/node/11083To promote the production and dissemination of recorded sound and film, including the international promotion and dissemination of works.NationalfinancialGrants from the Audio and Visual Fund are allocated in accordance with the interests of right holders in the music, film, stage and visual arts sectors. The Fund is also a collective compensation to right holders for the legal reproduction of copyright-protected works for private use. It is distributed as project grants with all the applications being assessed by expert committees and the grants awarded by the Board of the Fund.CULTURAL POLICIES AND MEASURESProducción, DistribuciónNoTo increase the production and dissemination of high quality artistic works within a wide range of genres, cf. the key objectives mentioned above.Arts Council NorwayUSD 4 369 158 in 2016 (NOK 37.4 million).NoNoYesNO
11100110802016NoruegaMainstreaming Children and Young People as a Cross-Cutting Priority in the Norwegian Cultural FundSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/mainstreaming-children-younghttps://es.unesco.org/creativity/node/11100To further enhance the quality of artistic expressions and products for children and young people; and to allocate an equal status to arts and culture for children, young people and adults.NationalinstitutionalTo mainstream children and young people as a cross-cutting priority in all activities and all evaluations of applications undertaken by the Norwegian Culture Fund, which is administered by Arts Council Norway, cf. Norway's first report. This work is being integrated in existing schemes, and the mainstreaming is subject to a continuous monitoring, accompanied by awareness-raising initiatives within the Arts Council.YOUTHCreación, Producción, Distribución, ParticipaciónNoA wider and greater appreciation of arts and culture for children and young people. Arts and culture for children and young people should have an equal status to arts and culture for adults.Arts Council NorwayNot applicable.NoNoYesNOJóvenes
11097110802016NoruegaFrifondSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, Alianza con la sociedad civilJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/frifondhttps://es.unesco.org/creativity/node/11097To support and stimulate children's and young people's activities and participation, and to enhance the conditions of volunteer organisations and other membership-based groups at local level. Financial support is given to organisations and independent groups and associations with children and young people, and includes a huge variety of objectives and activities.   NationalfinancialMore than 15 000 local organisations for children and youth are awarded funding for their activities. Funding is distributed by two national umbrella organisations for children and youth organisations.YOUTHParticipaciónNoChildren and young people are encouraged to participate as creators, producers and beneficiaries of cultural activities. Organisations led by children and young people are strengthened at local level.Norwegian Ministry of CultureUSD 23 364 486 in 2016 (NOK 200 million). Frifond receives its funding both from the Ministry of Culture and from the proceeds of the Norwegian national lottery, which are allocated by Royal Decree.NoNoYesYESNationalThe main conclusion of the evaluations were that the funding is supporting children's and young people's local activities and that is an important contribution to organisations, independent groups and associations at local level.The number of local groups receiving funding in different parts of the country.Jóvenes
11094110802016NoruegaThe Aspirant SchemeLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/aspirant-schemehttps://es.unesco.org/creativity/node/11094To enhance and strengthen employment opportunities for young artists and cultural workers with ethnic minority backgrounds, and to ensure that cultural institutions reflect the diversity and composition in the Norwegian population when it comes to ethnic minorities and people with different cultural and social backgrounds.The scheme will be evaluated by an external research institution in 2017.Nationalfinancial, institutionalInstitutions and enterprises in the arts and cultural sector can apply for grants to employ a newly educated artist or cultural worker with minority background. Grants are given to applicants who can document the necessary qualifications and the ability to provide the candidate with appropriate tasks and experiences to fulfil the objective of the scheme. Since the scheme started in 2012, Arts Council Norway has received a total of 162 applications. 9 million NOK have been awarded to a total of 30 grants.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, ParticipaciónYesA gradual increase of artists and cultural workers in Norway from minority backgrounds with an appropriate education. The scheme is also expected to increase the proportion of employees in cultural industries and in the Norwegian working population as a whole with an arts or cultural education – and in particular artists and cultural workers with minority backgrounds.Arts Council NorwayUSD 1 051 401 (NOK 9 million) in the period 2012-2016.YesYesYesNOMinorities and indigenous peoplesJóvenes
11091110802016NoruegaThe Norwegian Government's High North Initiative. Cultural cooperation. Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturalesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/norwegian-governments-high-northhttps://es.unesco.org/creativity/node/11091The Government considers the High North as Norway's most important foreign policy field of interest. The main objective is to ensure continued stability, predictability and peaceful development. In this work, international cooperation is a high priority. The arts and cultural sector can contribute on many levels and in different ways to establish, develop and strengthen cooperation across borders. Culture, arts and cultural initiatives are therefore considered an important element in the High North policy area.Regional, National, Internationalfinancial, institutionalParticipation in international organisations and fora that aim at supporting and developing international cooperation in the High North; practical and financial contributions to measures facilitating the development of cultural cooperation in the High North, and practical and financial contributions to the implementation of cultural cooperation projects.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónNoMaintaining and further developing contacts, knowledge exchange and development and cooperation across borders in the High North.Norwegian Ministry of CultureUSD 1 285 046 (NOK 11 million) from the budget of the Norwegian Ministry of Culture in 2016. In addition, other grants and financial contributions to the arts and cultural sector in Northern Norway, whether from the Ministry of Culture, Arts Council Norway or local and regional authorities, underpin the aims of the High North Initiative.NoNoYesNONationalAn evaluation report from August 2015 concluded that the scheme has been managed well and that it has reached its objectives. The scheme is contributing to a strengthening of musical activities amongst both professional musicians and amateurs.
1503872512012OmánMeasures taken at international level to promote cultural diversityIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturales, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/measures-taken-internationalhttps://es.unesco.org/creativity/node/150380Respecting the culture and intellectual diversity is one of the most important pillars of Omani culture. It is the essence of the Sultanate's policy in its relations with the outside community. The Sultanate calls in various international events to respect cultural diversLy and human cmativity. Thus, it was one of the leading countries to host the international activities. The initiatives of the Sultanate can be summarized in the following points:The Royal Oprah House bas been opened in Muscat, and through this entity the Sultanate works to host a number of international musical bands in order to reflect the message of the House, which is to spread the musical culture through hosting those bands. Many international teams participated in performing their music, including teams from China, the United States of America and Italy as well asto Arab countries like Egypt, Lebanon and Syria.The Royal orchestra symphony is strongly driven and taken care by HM the Sultan Qaboos bin Said. It preformed its concerts with a number of international music artists. It also appeared in many countries of the world such as the UAE.Assuring and crowing the message of love and peace, the Sultanate participates in different world commercial, tourist and cultural exnibitions. It seeks to spread out and exchange the Sultanate's culture with the other countries' cultures confirming the respect of the Sultanate to the cultural diversity and mutual dialogue.The Sultanate, through the Omani government, organizes the annual Muscat International Book Fair. International publishing houses participate to present in a freedom and transparency atmosphere their intellectual and literary issues. On the sidelines of the exhibition, a number of lectures and seminars are held that discuss the cultural and intellectual aspects.In 2011, the International Conference on Education for Sustainable Development was held in the Sultanate to support the cultural and biological diversity. The conference witnessed a large participation from different countries of the world, as well as the international organizations. The most important objectives of conference: how to overcome the issues arising between cultures in order to improve the cultural and biological diversity and raise awareness among the various sects of the community with the strategies and methodologies designed to respect the cultural and biological diversity. A number of global experts attended the conference and it concluded with important recommendations that left a sound effect in raising the international and local awareness for the cultural and biological diversity.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, Participación
1503772512012OmánMeasures taken at local level to promote cultural diversitySistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/measures-taken-local-levelhttps://es.unesco.org/creativity/node/150370The Sultanate has worked to involve various segments of society in its annual plans. The five-year development programs and projects aim at Omani people in their places of residence in the plain and the mountain. This helped the people to maintain their culture emanating from the environment where the customs were born.The Sultanate adopted the princip le of "opportunity for all" in various events and activities. The Annual Muscat Festival holds a competition dedicated to each State to allow it to present its different performs, arts, customs and traditions of different.In the State Basic Law, which was issued in 1996, it gives the right for all people to express their views, ideas and provides a respect for different races and lineages, and all citizens are equal before the law.Different environments are represented equally in all occasions; we find the Bedouins, marine and rural environments with all their details producing a harmony of cultures that maintains the Omani identity.Cultural diversity in Oman can be witnessed in the dialects, races and origins of the society; in return, the government was able to absorb it all in one place. There are many cultural practices preformed with local dialects in an efficient manner and freedom.The Omani govemment works through the Ministry of Heritage and Culture to organize a theater competition, which witnesses a large and wide participation from the theater groups and various sectors of the society. This festival provides an opportunity for the players to present their creativity and to highlight the cultural elements of each group or actor.The Ministry of Awqaf and Religious Affairs publishes a magazine titled "Understanding" in order to deepen the tolerance among the people of the society and promote the dialogue between different religions and jurisprudence doctrines of the world. The Ministry also holds a seminar on the development of the sciences of Jurisprudence where a number of scholars and thinkers deliver worksheets to stand on the various aspects of the intellectuals and bdieves of the Islamic religion.The Omani govemment gives the opportunity to the art works production institutes, through the art permits, to produce art works, whether documentary or dramatic. The number of institutions of the artistic production in the Sultamte has reached 115.The Sultan Qaboos University is one of the main supporters of Oman's cultural diversity as man f programs and events held in the field of poetry, stories in addition to the university theater.The Omani craft innovat .on is specially supported by the Public Authority for Craft lndm tries. lt off ers many kinds of support for the creative craftsmanship providing an opportunity for craftsmen to market their products at the local and international levels as well as protecting the creative crafts through implementing laws and regulations that guarantee the craftsmen their Iiterary and intellectual rights.The Omani govemment attaches a great importance to the scientific research as the core of the progress of civilizations and nations. The Omani researches gain a special support from the Scientific Research Council as it adopts the forwarded researches presented and provides the financial and technical aids for researchers.The civil associations are partner with the govemment in the implementation of its plans and programs. The law in Oman allows formation of civil associations that have clear objectives and programs. The Sultanate looks at these associations as the primary engine of govemment action and a good partner through the programs and events offered by the associations. The associations enjoy financial and administrative independence.The Sultanate's govemment has paid great importance to education at ali levels and stages. Schools in various regions and villages of the country were established and the public and private universities that include all academic disciplines were opened.The Sultanate issued several laws and regulations that serve the intellectual creativity and contribute to the promotion of cultural creation as the publications and printings law and intellectual property law. The Sultanate also encourages the young Omani writers to produce their works througt the Omani writers support programs.Respecting for the diversity of arts and musical creativity, a number of music bands and folklore groups can be found in different regions of the Sultanate. The bands are civil entities formed by the local community in order to maintain their art and musical inheritance that is presented to the world. The number of folk groups reached 202, while the number of bands is 54 at the time wh en the report is produced. CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
1012487422016OmánSupport Cultural and Educational Centers abroad.Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/support-cultural-educationalhttps://es.unesco.org/creativity/node/10124The Sultanate provides financial and moral support to various overseas institutions concerned with cultural affairs where this support is represented in sending missions and delegations, holding workshops on the Sultanate’s experiments in related fields as well as exchanging expertise to build and rehabilitate some of these cultural centers.Regional, Internationalregulatory, institutionalThe main features of the measure are:1. Encourages the exchange of cultural experiences between the Sultanate and its counterparts.2. Enhances benefit of other countries’ experiences.PREFERENTIAL TREATMENTCreación, Producción, Distribución, ParticipaciónYesThe results expected through the implementation of the measure are:1. Existence of national expertise competencies in various cultural sectors.2. Publishing Omani cultural versions in external cultural centers.3. Benefits from other cultures and linking it Oman’s culture.Ministry of Heritage and Culture., Ministry of EducationThe financial support is provided by Ministry of Heritage and Culture and Ministry of Education.YesYesYesNOCultural Specialist., Writers, litterateur, Archaeologists
1011887422016OmánOmani Studies Centre at Sultan Qaboos UniversitySistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, Entorno digitalIFCDIndustria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/omani-studies-centre-sultanhttps://es.unesco.org/creativity/node/10118The Center aims to engage in science and culture and preserve the Omani identity, publish it, make it available to the learner and researcher by various means. it pays a high attention to conduct studies and research in social, economic, historical, development and other issues within the joint action system with the competent authorities. It is also working on activating its scientific position through holding many seminars, conferences and various events such as training courses, cultural lectures as well as printing cultural, scientific and intellectual versions, collect manuscripts and making available to the researchers. The Center is also keen to vary its participations (Internal and External), expand horizons of cooperation with researchers and students from inside and outside the Sultanate to achieve the goals of scientific and cultural communication. It works to strengthen and build bridges through continuous actual actions and activities. Omani Studies Center seeks to activate its scientific role through organizing a number of seminars and conferences that are exploring Omani historical, social, economic, literary and cultural status within the annual program which takes into account the diversity and innovation. The most important seminars are:ActivitiesTargeted Category Year11th International Scientific Conference: "Literary and Linguistic Contemporary Movement in Oman"Researchers and scholars who are interested from inside and outside the Sultanate. it was held in the Kingdom of Jordan2015Seminar "Sheikh Hamoud bin Humaid Sawafi School: between past and present streaky bright as part of the revival of the biography of the eminent scientists and documenting their actions and save them for reference for future generationsResearchers and scholars who are interested.2015Seminar on “Thinker Amrow AlNami and his relationship with Oman’s scientists“ to highlight the AlNami , his research, writings, and his relationship with Omanis scientists and thinkers.Researchers and scholars who are interested.2014Localregulatory, institutionalThe Center has a specialized library of studies and publications. It strives to collect Omani intellectual production, work to save them and make them available to researchers and scholars. The library contains several halls: Omani Books Hall, Theses Hall, Government Publications Hall, Manuscripts Hall, Researchers Hall and Digital Hall. Advantages of the library’s electronic contents can be found through computers distributed throughout the library which includes nearly (4000) books title on various topics and more than 2,300 theses of Omani university as well as publications issued by government and private institutions in the Sultanate and the Gulf countries. The library’s classification of its collections based on the classification of Congress, which is followed in the various university libraries.CULTURAL POLICIES AND MEASURESParticipaciónYesThe results expected through the implementation of the measure are:1. Spread Oman culture, literature and raise the Omani Studies standing in the world.2. Give a chance to those who are interested to see the Omani literature.3. Held Seminars, conferences and events aimed to preserve Oman's national identity.4. Existence of a research stocks on culture, literature and art in the center's library.Sultan Qaboos University.The financial support is provided by Sultan Qaboos University.YesYesYesNOCultural Specialist, Researchers, Society MembersIFCD
1004687422016OmánAwareness forum for craft industriesSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosDiseñohttps://es.unesco.org/creativity/policy-monitoring-platform/awareness-forum-craft-industrieshttps://es.unesco.org/creativity/node/10046The first awareness forum for Craft Industries organized by the Public Authority for Craft Industries in 2012 under the slogan "Our Crafts Our Identity" with the participation of a number of Omani craftsmen.The forum included recreational and educational activities as well as providing literal shows about the stages of processing and producing crafts. The forum came as means to attract attention on the importance of crafts, establish a culture of demand for local craft industries among the junior generation and introduce craft heritage and its importance to the public in order to raise awareness about the national crafts.Localregulatory, institutional The main features of the measure are:.1. Highlights the importance of craft industries in the concept of cultural diversity.2. Spread awareness about the importance of craft industries.3. Linking the craft and the identity of Omani people.4. Helps to show craft industries throughout the ages and its role to transfer traditional and cultural life for future generations.CULTURAL POLICIES AND MEASURESCreación, Producción, DistribuciónYesthe results expected through the implementation of the measure are:1. Increase the category of young people who are interested in the Omani craft industries.2. Create creative craftsmen producing craft industries and its decoration.3. Compete creative craftsman.4. Maintain the craft from extinction.5. Encourage young people to continue craft industries field.Public Authority for Craft Industries.Public Authority for Craft Industries provides financial support.YesYesYesNOcraftsmen, Society Members
1001587422016OmánOpening permanent pavilion for Craft Industries at Scientific Exploration Museum Hall in the (Ibrra).Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosDiseñohttps://es.unesco.org/creativity/policy-monitoring-platform/opening-permanent-pavilion-crafthttps://es.unesco.org/creativity/node/10015This measure strengthens crafts promotion and investment of craftsman through community outreach, highlight plans and programs carried out by the Public Authority for Craft Industries through training centers and craft production which develop Omani craftsmen skills. It also displays craft’s products, provides a microcosm of the employment opportunities offered by these industries, the extent of diversity, modernity in its mechanisms, technologies and its popularity in the Sultanate. The pavilion includes a live show of the outputs of the training centers of Al-Sharqiyah North governorate in several crafts industries such as Saviac, silverware, sculpture on bones to give the public details of the various crafts and steps to learn its manufacture as well as displaying a diverse, sophisticated, high-quality and efficient crafts products. The pavilion includes an interactive electronic touch screens to display different types of traditional crafts, explain its steps minutely to facilitate the learning and mastery process where this pavilion will be used as a workshop to implement training of various craft industries.LocalinstitutionalThe main features of the measure are:1. Promotes investment opportunities in the field of craft industries.2. Promotes various craft products.3. Highlights the Authority efforts to support of the craftsmen.4. Displays skills and mechanics of handicrafts production.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, ParticipaciónYesThe results expected through the implementation of the measure are:1. Facilitate access to the required craft and market it probably.2. Find allocated place to the sale and display of craft industries.3. Continuous of crafts creativity and produces sophisticated crafts industries.4. Turnout of young people to work in the field of craft industries.The Public Authority For Craft IndustriesThe financial support is provided by thePublic Authority For Craft Industries.YesYesYesNOCraftmen
1001287422016OmánInvolvement of female in various cultural events.Derechos humanos y libertades fundamentales, Igualdad de géneroCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/involvement-female-varioushttps://es.unesco.org/creativity/node/10012This measure aims to involve both genders in various cultural events and forums through folk bands and crafts, especially female ornaments and traditional women's clothes. The Sultanate provides training workshops, awareness and educational seminars to highlight the role of women. A large number of women  have been involved in international exhibitions such as Brazil in 2015 and Brunei Darussalam 2014, Russia 2013, Zanzibar 2012, through providing a number of traditional arts   and crafts  like silverwear, copperplate and Saviac.Local, Regional, InternationalinstitutionalThe main features of the measure are:1. The measure confirms the effective role of women in the cultural sector development.2. Highlights the Sultanate's efforts in gender equality.3. Encourages women to continue by their efforts to build cultural diversity in the Sultanate.CURRENT UNESCO GLOBAL PRIORITY: GENDER EQUALITYCreación, ParticipaciónYesThe results expected through the implementation of the measure are:1. Prove the prominent role of women in all cultural events and traditional arts.2. Establish the principles of gender equality in all cultural events.Ministry of Heritage and Culture., The Public Authority for Craft Industries., Royal Court Affairs., Ministry of EducationThe financial support is provided by the varios cu;tural institutions.YesYesYesNOFemale and Male
1000787422016OmánEvents of Oman Centre for Traditional Music.Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosMúsicahttps://es.unesco.org/creativity/policy-monitoring-platform/events-oman-centre-traditionalhttps://es.unesco.org/creativity/node/10007Hereinafter the most important activities undertaken by Oman Centre for Traditional Music relevant to (2014-2015):Firstly: Cultural activities and events of the center for 2014.First forum for Arab historians’ musicians was held in 15 -18 December 2014, entitled: “Towards a new reading in the history of Arabic music”. The forum was attended by the elite of the music scholars from Oman and most of the Arab countries. The forum discussed 23 researches dealt with musical themes, a variety of historical and analytical orientation. Secondly: cultural activities and events of the center for 2015.Printed and audio versions:The book entitled "The Illustrated Guide, Omani traditional music styles, its equipment and their performance occasions". This book includes comprehensive accounting Omani traditional musical styles, its machinery and occasions. It highlights the diversity of Omani musical expression in the various provinces of the Sultanate.Research book of the first forum for Arab musicians and historians entitled “Toward a new reading in the history of Arabic music". The version includes the full researches presented by Arab musicians and historians which highlight an important aspect of cultural diversity in the Arab and Omani music as well.Compact disc (CD) with booklet explains its contents (scientific and artistic analysis) entitled: “From The Traditional Oman Songs”. This version has singled out the documentation for the three traditional musical styles considered as Oman's traditional songs and aesthetic characteristics icons. Namely: (Bozlv and Sheh Shah,).(515) records of Oman old music (discs + cassettes) were collected, documented and annexed to the audio-visual documentation library.Organize a competition of improvisation skills in poetry, singing and performing Heptagon. This competetion takes place in the most important geographical and social environment of it which are: Batinah south coastal + Khaboura. The aim of this competition is to protect the endangered traditional musical art of (Heptagon)LocalregulatoryThe main features of the measure are:1. Review the ancient history of Arab music heritage.2. Displays the most important studies that have been made in the field of Omani music and kinds.3. Highlights the Sultanate's efforts in the field of preservation traditional Omani music.4. Maintains authentic Omani musical art.INTERNATIONAL CULTURAL COOPERATIONDistribución, ParticipaciónYesThe results expected through the implementation of the measure are:1. Preserving the heritage music of Oman.2. Delivering Omani heritage to international forums to enable Omani artist.3. Transfering the Omani music for future generations.4. Preserving the Omani diverse musical style.5. Preservation and documentation of traditional Omani music especially endangered.Sultan Qaboos Higher Centre for Culture and Science.The financial support is provided by Diwan of Royal Court.NoYesYesNOSingers, Artists
1000287422016OmánSupport International Cooperation and ParticipationIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/support-international-0https://es.unesco.org/creativity/node/10002The Sultanate participates in cultural exchanges with most countries of the world. It supports activities which build awareness, understanding and continuing growth of Omani cultural sector abroad. The Sultanate involves a wide range of artists and writers of community members to participate internationally where this support is provided by involving them in a group of international events that the Sultanate participate in , which allows artists and innovators to develop, deploy their works abroad and create professional development opportunities through participation in cultural forums and festivals.InternationalinstitutionalThe main feature of the measure are:1. Gives artists and writers an opportunity to meet their counterparts in other countries.2. Highlights the Sultanate's efforts in supporting the international cultural cooperation.3. Creates opportunities to exchange experiences, posts literary, intellectual and artistic between the Sultanate and other countries.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónNoThe results expected through the implementation of the measure are:1. Export the Omani creativity to other countries.2. Participation of Omani literary and artistic in forums that are held in other countries.3. Existence of the fingerprint of the Omani culture in international forums.4. Strengthen the presence of the Sultanate in the international cultural forums.5. Spared Omani cultural and literary products in international forums.6. Presence of generation possesses a variety of experiences in the cultural field.Mnistry of Heritage and Culture.The financial support is provided by Ministry of Heritage and Culture.YesYesYesNOLocal
999987422016OmánRegulation of Theater GroupsSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosLas artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/regulation-theater-groupshttps://es.unesco.org/creativity/node/9999    This measure was made to encourage the theater group to perform theatrical performances, develop theater productions, consolidate Omani society values, customs, and traditions, discover talented in this field, rehabilitate them and develop of their artistic level.   The measure also aims to raise public awareness about theater arts, spirit of cooperation and brotherhood between the members of the band, bringing up national and social issues, engaging youth spare time which will return benefit for them and their homeland. This measure looks forward to provide studies and research related to culture and arts of theater, represent the Sultanate in various forums related to theatrical work and revive the Omani popular tradition and ritual theater.Locallegislative, regulatory, institutionalthe main features of this measure are:1. Organize theatrical work in Oman.2. Develop artistic and theatrical side.3. Deals with the most important issues facing the youth and issues related to theatrical work.CULTURAL POLICIES AND MEASURESCreación, ParticipaciónYesthere are many results expeted from implementing this measure such as:Spread of local national theater ideas and abundance of creative youth. Bringing together the present and the past of theatrical works. Emergence of Omani creative artists in theater. Increase the number of theater groups.5Take advantage of the spare times of youth and invest it in theatrical creativity.Development of theater performances, level of theater groups to compete at the domestic and international Ministry of Heritage and CultureThe financial resources allocated to implement the measure is from the ministry's budget.YesYesYesNOTheatrical Groups
1012387422016OmánHosting Cultural EventsIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturales, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/hosting-cultural-eventshttps://es.unesco.org/creativity/node/10123The Sultanate represented by the Ministry of Heritage and Culture hosts cultural events with Arab and foreign countries in order to spread awareness and openness about other cultures, and to support concept of international cultural exchange where a number of poets, writers, and theatrical of both genders were hosted in 2015. The Sultanate facilitates their transition in order to exchange experiences and participation in cultural events hosted by the Sultanate.Regional, Internationalregulatory, institutionalThe main features of the measure are:1. This procedure enhances the cultural exchange between the Sultanate and its counterparts of Arab and foreign countries.2. Enriches and develops the cultural experiences of the members of the community through access to the experiences of other countries.3. Creates opportunities to learn about other cultures and practical knowledge exchange.PREFERENTIAL TREATMENTDistribución, ParticipaciónYes The results expected through the implementation of the measure are:1. Emerging a generation respect other cultures.2. Promoting cultural diversity in Oman through imitating other tradition, customs and cultures.3. Exchanging cultural experiences between Omani intellectuals and others.4. Access Omani culture to other countries.Ministry of Heritage and Culture.the financial support is provided by Ministry of Heritage and CultureYesYesYesNOCultural Specialist, Artists, Theatrical Groups, Archaeologists
1004887422016OmánReading competition for juniors.Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesIndustria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/reading-competition-juniorshttps://es.unesco.org/creativity/node/10048Sultan Qaboos Higher Center for Culture and Science organized many activities and lectures that aim to increase the intellectual and cultural awareness. The most prominent activity is “read competition for juniors” in order to develop junior’s tendencies and trends towards reading, emphasize social and cultural importance of reading, train them on search skills for information from its sources and connect them to libraries. The competition’s idea summed up in dividing competitors to the two levels, each level has its own pattern which quadrates with mental and cognitive level of juniors. Specific books are determined for both levels where objective and theory questions have been made taking into account the age category. The competitor gets a period of time which does not exceed two weeks to answer questions. The answer should be answered in fifteen centers across the governorates of the Sultanate in order to connect competitors to the sources of information and ensure their ability to answer by themselves.Estimated number of contestants in (2012-2015):YearLevel 1Level 22012316294201342030220145103672015180157Total14261320Total of both levels2746LocalinstitutionalThe main features of the measure are:1. Highlights the importance of reading and its cultural and civilizational role.2. Spreads importance of reading among the juniors.3. Spreads awareness about the importance and methods of research and information gathering among the juniors.4. Develops and raises the literacy abilities of young people.CULTURAL POLICIES AND MEASURESParticipaciónYesThe results expected through the implementation of the measure are:1. Increasinf the reading turnout and awareness of its importance.2. Developing reading skills among juniors.3. Elevating the level of reading across the Sultanate.4. Existence of aware generation of the importance and civilizational and cultural role of reading.Sultan Qaboos Higher Centre for Culture and Science.The financial support are provided by Royal Court AffairsYesYesYesNOThe public.Jóvenes
1004587422016OmánA workshop entitled "National capacity-building for the preparation of projects submitted to the International Fund for Cultural Diversity UNESCO.Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosIFCDCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/workshop-entitled-nationalhttps://es.unesco.org/creativity/node/10045The Sultanate organized a workshop entitled "National capacity-building for the preparation of projects submitted to the International Fund for Cultural Diversity UNESCO". The workshop talked about the role of the Sultanate in the 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions and its role at the International Fund for Cultural Diversity.The workshop aimed to spread awareness of the importance of the conventions that the Sultanate has joint and its role to create an effective environment for such conventions, as well as the role of the International Fund for Cultural Diversity (IFCD) to support cultural projects. It also aimed to highlight the great role of the Sultanate after its membership in 2007. The workshop was presented by:Ferdinand Richard - Coordinator of the Committee of Experts of UNESCO, France, Paris.Bilal ALAboudi - Expert of Convention of Cultural Diversity, Tunisia.Khamis Abdullah Al-Shammakhi - Director General Assistant of Organizations and Cultural Relations - Ministry of Heritage and Culture.The workshop focused on the following points:Protection and promotion of cultural expressions.Encouragement of dialogue between cultures.Promotion of cultural communication between nations.Promote respect for diversity of cultural expressions and raise awareness of it.Principle of respecting human rights.Principle of sovereignty.Principle of sustainable development.Principle of economic and cultural integration of development.Concept of cultural diversity:Concept of cultural expressionsConcept of protection and reinforcementLocalregulatory, institutional1. Highlights UNESCO efforts towards states member.2. Spread the importance of protecting and promoting the diversity of cultural expressions.3. Highlights the role of UNESCO in the adopting and supporting cultural projects.4. Develop and refine national competencies and direct it to submit cultural projects.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónYesThe results expected through the implementation of the measure are:1. Existence of interested category providing cultural projects to (IFCD).2. Understand the importance of such projects to the Sultanate.3. Showing Sultanate's experience and its success in providing projects.4. Increase the number of projects submitted by the Sultanate.5. Spread awareness among community members about UNESCO's efforts to promote the cultural diversity.6. Clarify the role of the Sultanate and the importance of its membership to the 2005 Convention on the Protection and Promotion of the Diversity of Cultural ExpressionsMinistry of Heritage and Culture., Ministry of Education Represented in the Oman National Commission for Education, Culture and Science.The financial support is provided by Ministry of Education.YesYesYesNOSpecialist of cultural field.IFCD
1001487422016OmánSupport Traditional Arts in Oman.Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosDiseño, Música, Las artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/support-traditional-arts-omanhttps://es.unesco.org/creativity/node/10014This policy aims to preserve Omani traditional art, revive it and protect it from contemporary art globalization considering it as a special legacy of the country. The Sultanate pays great attention to this policy through providing financial support to the folk art bands, organizing local competitions and involving them in international events. The Ministry of Heritage and Culture is providing material support to teams of folk art, recording their products, display  it in the media (print and broadcast) and organizing events and competitions on a regular basis such as "a festival of Omani song," which is held every two years. The ministry also gives an opportunity to folk groups to participate in international forums continuously to support their varied shows, encourage them to continue innovation and excellence. The Sultanate believes that creating such opportunities is very important to preserve the Omani heritage, capacity building, maintenance and transfer of culture, generate income and employment opportunities. Local, Regional, Internationalregulatory, institutional The main features of the measure are:1. Encourage providing financial and moral support of Traditional Arts of Oman.2. Highlights the Sultanate's efforts in supporting the Omani traditional arts at the local and international level.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, ParticipaciónYesThe results expected through the implementation of the measure are:1. Development of traditional arts.2. Creating a aware generation of the importance of traditional arts.3. Preserving traditional arts in the Sultanate.4. Multi participation of Omani traditional bands in international forums.Ministry of Heritage and CultureThe financial support is provided by Ministry of Heritage and Culture.YesYesYesNOTraditional Bands of both Genders
1000987422016OmánTraditional Crafts Week in Kuwait.Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturales, Movilidad de los artistas y profesionales de la culturaDiseñohttps://es.unesco.org/creativity/policy-monitoring-platform/traditional-crafts-week-kuwaithttps://es.unesco.org/creativity/node/10009The cultural week for craft included an exhibition of advanced craft products which hold a UNESCO Award for Excellence from the various Member States of World Council of crafts. The cultural celebration had workshops on the status of the craft production and its relation to available opportunities as well as the skills and innovations which develop crafts work and performance.A working paper on the achievements of the Public Authority for Craft Industries and its role in changing the stereotypical image of the crafts was presented emphasis the emphasizing cultural and social dimension of the legacy of craftsmanship, keenness continuity of training of the production and development in order to preserve the identity of the community. The paper pointed out the economic importance derived from the craft work by absorbing job-seekers and the ability of the craft sector to establish a core productivity of small and medium-sized projects that will contribute to economic growth and promote the diversity of income sources.The Council work session was discussed and craft education were reviewed in addition to displaying the common areas of work (co-work field) between the Council and the United Nations Educational, Scientific and Cultural Organization as the Sultanate is making a great effort in various areas of protection and development of crafts, many plans and programs were implemented to ensure the continuity of the inherited craft industries.RegionalinstitutionalThe main features of the measure are:1. This measure provides opportunities to exchange experiences at the GCC level.2. Supports participation and strengthens cooperation between the Sultanate and Traditional Crafts Council.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT INTERNATIONAL LEVELDistribución, ParticipaciónYesThe results expected through the implementation of the measure are:1. Marketing craft products at regional level.2. Giving craftsmen an opportunity to interact with their counterparts in other countries.  The Public Aothority for Craft Industries.The financial support is provided by The Public Authority for Crafts Industries.NoYesYesNOCraftmen
1000687422016OmánInternational Forum of Fine ArtistsIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaArtes visualeshttps://es.unesco.org/creativity/policy-monitoring-platform/international-forum-fine-artistshttps://es.unesco.org/creativity/node/10006Observance of the Omani Society for Fine Arts to develop Omani Fine Artists skills and the exchange of experiences, an international forum was set up with participation of 45 foreign artists from   around the world, 45 Omani artists and 10 non-Omani artists residing in the Sultanate. Each artist produced various sizes of paint like 100 × 100 cm, 120 × 130 cm and 100 × 80 cm. The varied outcome based on experiences and technical communities. These differences have succeed  of the artistic Forum.InternationalinstitutionalThe main features of the measure are:1. Promotes the exchange of experiences of Fine Arts field between Omani and international artists in other countries.2. Enhance the Sultanate's efforts in the field of exchanging experiences in Fine Arts field.INTERNATIONAL CULTURAL COOPERATIONCreación, ParticipaciónYesThe results expected through the implementation of the measure are:1. Increasing the Sultanate’s interest in fine arts and ensure access to international experiences that enrich this area.2. Highlighting the Omani Fine Arts in international forums.Royal Court AffairsThe financial support is provided by Royal Court Affairs.YesYesYesNOArtists
1000187422016OmánRegulation of Folk Art.Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosMúsica, Las artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/regulation-folk-arthttps://es.unesco.org/creativity/node/10001The measure aims to practice Omani folk art, preserves it from disappearing, revive what Omani society inherited through performing different works of traditional songs and work to highlight and develop the folk art and provide it in sophisticated way that commensurate with its originality and requirement of contemporary performance. It also aims to highlight the authentic Omani heritage, train and develop young talent of both genders in the field of folk art with all its components in order to finding a continuously interested generations in these arts and working to continue its revival.Local, Nationallegislative, regulatory, institutionalThe main features are:Reviving and developing traditional folk arts.Maintaining Sultanate’s traditional achievements.Promoting the goals of popular bands.CULTURAL POLICIES AND MEASURESParticipaciónYesThe results expected through the implementation of the measure are:Practicing traditional modern arts of character.Increasing the number of folk bands.Maintaining the popular tradition and ensure its continuity.Ministry of Heritage and CultureMinistry's budget covers the financial requirementsYesYesYesNOFolk Art Bands
1011987422016OmánEstablishment a national working team of the International Fund for Cultural Diversity (IFCD)Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosIFCDCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/establishment-national-workinghttps://es.unesco.org/creativity/node/10119A national working team in Oman was established consisting of a number of specialists in cultural affairs from various governmental units which are involved in cultural diversity issues to be a response to the requirements of the 2005 Convention on the protection and promotion of cultural expressions and a focal point between the various government and private agencies in the Sultanate and UNESCO.The team works on activating the participation of the Sultanate in the International Fund for Cultural Diversity (IFCD) , addressing and invite the concerned cultural stakeholders to submit appropriate projects immediately after reception of the call from UNESCO through the National Commission. The team works to promote 2005 Convention by available ways and means.The team consists of:Ministry of Heritage and Culture.Ministry of Education.Ministry of Tourisim.Sultan Qaboos University.Sultan Qaboos Higher Centre for Culture and Science.Public Authority for Craft Industries.National Records &Archives Authority.The Oman National Commission for Education, Culture and Science. Local, Nationalregulatory, institutionalThe main features of the measure are:1. Format a link between the organization and the authorities concerned with cultural affairs in the Sultanate.2. Contributes to the preparation of all reports required by UNESCO.3. Helps to find a national team concerned to the International Fund of cultural diversity issues.4. Helps to educate the community of the importance of the Convention on cultural diversity.  CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónYesThe results expected through the implementation of the measure are:1. Prepare systematic and accurate reports for UNESCO.2. Provide different successful projects to the International Fund for Cultural Diversity. Ministry of Education.The financial support is provided bt Ministry of Education.YesYesYesNOCultural Specialist., The Public.IFCD
1004787422016OmánSultan Qaboos Award for Culture, Arts and Literature. Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/sultan-qaboos-award-culture-artshttps://es.unesco.org/creativity/node/10047Proceeding from the High attention of His Majesty Sultan Qaboos bin Said - may God protect him – toward intellectual and cognitive accomplishment, confirming of the historical role of the Sultanate of Oman in the consolidation of cultural awareness; as the most important link in peace progress of civilization of mankind, supporting glorious intellectuals, artists and writers, Royal Decree No. (18/2011), was issued to establish the Sultan Qaboos Award for culture, Arts and literature. The award deals with different cultural works and writings in field of humanities and social knowledge in general such as (language, history, heritage, philosophy, translation, and intellect studies etc.). It also deals with various forms of (music, fine art, sculpture, and photography etc.). It also concerned with various literary works, like (poetry, novel, short story, literary criticism, and drama productions) etc.Localregulatory, institutionalThe main featur of the meeasure is supporting cultural, artistic and literary fields considering it as a way to promote cultural and human progress, contribute to the movement of scientific development and enrichment of the intellectual. It aims to consolidate accumulated knowledge process, instill authentic values and pass it to the younger generations; by providing fertile environment based on cognitive and intellectual competing, honoring intellectuals, artists and writers on their civilizational contributions in the renewal of thought and upgrading human conscience. It confirms the past, present and future Omani contribution; in supplying the human civilization by physical, intellectual and cognitive achievements.Award value:First: The winner of Sultan Qaboos Award for Culture, Arts and Literature gets Sultan Qaboos badge of culture, science, arts and literature, as well as a financial amount of one hundred thousand RO (100.000).Second: The winner of Sultan Qaboos award for Culture, Arts and literature gets the Order of Merit for Culture, Science, Arts and literature, as well as a financial amount of fifty thousand RO (50.000). The award covered the following fields (2012-2015):YearAward fieldsCultureArtsLiterature2012Historical StudiesDrawing and PaintingShort Stories2013Contemporaneous CerebrationMusicEloquent Poetry2014Educational StudiesPhotographyStage Production2015Arabic Language StudiesCalligraphyChildren's LiteratureCULTURAL POLICIES AND MEASURESCreaciónNoThe results expected through the implementation of the measure are:1. The emergence of ideas working to find creative environment.2. Publish creations of Omani Writers.3. Increase the number of writers and poets at the local level.4. Raise the spirit of creative competition among members of the community.5. Increase cognitive and intellectual creativity competition in the areas of the award.6. Consider cultural, artistic and literary areas at high levels in the Sultanate.Sultan Qaboos Higher Centre for Culture and Science.The financial support is provided by Royal Court Affairs.YesYesYesNOJunior Citizen
1001687422016OmánThe first Crafts FestivalSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosDiseñohttps://es.unesco.org/creativity/policy-monitoring-platform/first-crafts-festivalhttps://es.unesco.org/creativity/node/10016The festival included productive workshops of craft industries, design and development process of craftsman. Those practical workshops included modern equipment and tools which contribute to the development of craft industries and promote craftsmen’s innovation to create advanced national crafts product. The festival also had training workshops targeting diverse segments of community like craftsmen, business leaders and school’s students. The first day of the festival contained a working paper entitled “The role of the Public Authority for Craft Industries in the promotion of projects”, in addition to reviewing of training points/ areas about the available handicrafts fields. The most prominent advanced crafts in the areas of silver jewelry, textile industries of cotton and woolen, silverware, pottery, leather industries, distillate aromatic, incense, copperplate, silk industries, antiques, housewares, accessories, and sculpture bones products have been displayed.Localregulatory, financial, institutionalThe main features of the measure are:1. This measure highlights the Sultanate's efforts to support craft industries and craftsmen.2. Develop craft skills and their products.3. Reflects the importance of Omani crafts and craftsmen.4. Collect Omani skills under one roof.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELDistribución, ParticipaciónYes The results expected through the implementation of the measure are:1. Producinf advanced and high quality crafts.2. Awareness of community members of the importance of crafts industries.4. Helping those who are interested in crafts industries to develop their skills.5. Marketing Omani craft products.The Public Authority For Craft Industry.The financial support is provided by the Public Authority For Craft Industries.YesYesYesNOCraftmen
1001387422016OmánEstablishment of the National Youth Commission in accordance with the Royal Decree (117/2011).La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/establishment-national-youthhttps://es.unesco.org/creativity/node/10013This measure aims to open meaningful communication channels and dialogue with or among young people to discuss their requirements at the current and future stage, work to cultivate and foster a spirit of culture, Omani identity among the youth, promote their talents, bring out their creativity, provide them with necessary support through establishing scientific clubs, theaters, cultural and artistic clubs to help them to achieve their ambitions. A number of local events and workshops were set up in the scientific, cultural, social and other fields.Locallegislative, regulatory, institutionalThe main features of the measure are:Organizing a periodic awareness and dialogue seminars regularly to discuss youth issues and organizing lectures for school, colleges and university students.Organizing an annual meeting at the youth level and hosting a forum for the world's youth in coordination with concerned stakeholders.Organizing awareness campaigns in various media to urge youth to oblige the values, work ethic, freedom limits, participating in the areas of volunteerism and work service.Preparing awareness plans and programs of the legislation which manage duties of youth toward the country, society, ensure the rights and freedoms.Organizing local and international cultural and recreational trips to hone capabilities of talents.Establishing a data base related to areas of youth interest in coordination with the concerned stakeholders.YOUTHCreación, ParticipaciónYesThe results expected through the implementation of the measure are:Existence of a specialized platform for young people.2. Organize events and seminars to discuss youth issues.3. Support and embrace the ideas of young people.4. The presence of youth clubs.5. Empower young people in the different areas and provide opportunities for them.6. Involve young people in development plans according to their interests and fields.State Council.The finacial support is provided by State Council.YesYesYesNOYouthJóvenes
1000887422016OmánThe international training program for crafts Trainers in intellectual property for small and medium enterprises.Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosDiseñohttps://es.unesco.org/creativity/policy-monitoring-platform/international-training-programhttps://es.unesco.org/creativity/node/10008Supporting the Authority initiatives in the protection of intellectual property rights for Craft Industries. The program was organized in order to develop craft training and production programs which are carried out by the Public Authority through craft training and production centers in various governorates of Oman. The training program discussed a number of themes related to the areas of cooperation with the World Intellectual Property Organization "WIPO", the role of the successful management of intellectual property in developing the competitiveness of small and medium enterprises as well as reviewing the business organization's strategy through developing intelligent competitive skills, strategic use of intellectual property rights as well as how to apply and promote intellectual property rights in the Sultanate. It should be noted that the Public Authority strives to increase awareness among craftsmen of the importance of benefiting from the programs and mechanisms of intellectual property rights in order to protect innovations and Omani craft designs. It is also very keen to support craftsmen towards the establishment of successful small and medium-sized craft enterprises through access to international expertise and experience in the areas of protection of innovations rights and enhancing crafts marketing.InternationalinstitutionalThe main features of the measure are:1. Organizes training programs in the field of intellectual property.2. Enhance areas of cooperation between the Sultanate and the WAIPO.3. Develop the culture of Crafts towards the importance of registering crafts production for the brand.4. Develop the knowledge of craftsmen about the role of the organization to maintain property rights.5. Protects various cultural products from intellectual stole.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT INTERNATIONAL LEVELCreación, Producción, DistribuciónYesThe results expected through the implementation of the measure are:1. Getting different crafts products on the patents.2. Compete crafts on the development of their different works.3. Creating skilled Omani a generation with expertise in the field of intellectual property.The Public Authority for Craft Industries.The Financial support is provided by The Public Authority for Craft Industries.YesYesYesNOCraftmen
1000587422016OmánCelebration of Nizwa the Capital of Islamic Culture 2015.Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosMúsica, Las artes escénicas, Industria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/celebration-nizwa-capital-islamichttps://es.unesco.org/creativity/node/10005Nizwa was selected as a capital of Islamic Culture because of its rich history and prominent scientific cultural position in Oman. It has a distinct contribution to the Islamic and human culture through scientific, cultural and literary works of its scientists and intellectuals, the availability of scientific research centers, libraries of manuscripts and archaeological learning centers which make Nizwa a direction for researchers and interested in the fields of science, culture and knowledge. It has an active cultural institutions in the field of revitalization of cultural life for individuals and groups, organizing festivals and cultural events, book fairs, translation and publishing.The program of Nizwa Capital of Islamic Culture included the following:Festivals:Omani Inshad FestivalOmani Theatre Festival.Exhibitions:Exhibition of Manuscripts.Seminars:Seminar of civilizational interaction between Oman and the WorldSeminar of Nizwa at the Islamic Cultural Memory.   There were a number of lectures, evenings and cultural days abroad, as well as printing of books such as Alsalwa Encyclopedia. Many intellectuals and writers were hosted during this celebration as there were a number of community activities in Nizwa under the supervision of a committee of community activities. The main event in this celebration was hosting the Ninth Islamic Conference of Culture of Ministers responsible for cultural affairs in the Islamic world in November 2015, where the conference was held to coincide with the celebrated capitals of Islamic culture.  Regional, Internationallegislative, regulatory, institutionalThe main features of the measure are:1. This measure highlights the historical and cultural value of Nizwa internally and externally.2. Review the Sultanate's efforts since the ancient time and its keenness on supporting Omani writers in various fields.3. Highlights the Sultanate's efforts in hosting the various events and festivals to display the cultural richness of the Sultanate.INTERNATIONAL CULTURAL COOPERATIONCreación, ParticipaciónYesThe results expected through the implementation of the measure are:1. Youth turnout to participate in various cultural events.2. Promoting Nizwa City and its cultural role throughout history.3. Set up a number of events, exhibitions and seminars.4. The number of cultural trips to Nizwa will increase.Ministry of Heritage and CultureThe financial support is provided by Ministry of Heritage and Culture.NoYesYesNOPoets, Singers, Fine Arts Artists, Writers, The Public
1000087422016OmánRegulation of Inshad.La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleMúsica, Las artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/regulation-inshadhttps://es.unesco.org/creativity/node/10000This measure aims to highlight the thought of Inshad, deliver the idea and meaning to the community to build good ethics and positive values. It highlights the educational and ethical meanings of Islamic characters of the past and present; build sentimental and emotional balance and inventory of culture of the nation, consolidate of awareness among individuals and community about the Inshad and its importance. Local, Nationalregulatory, institutionalThis measure is featured by:Activating the role of Inshad.Connecting Inshad with the society.Diversity of ideas to develop Inshad art among the members of society.Preserving the traditional heritage from extinction.CULTURAL POLICIES AND MEASURESParticipaciónYesthe expected results are as follow:Organizing festivals to support Inshad.Spread of Inshad idea among young people.Raising the level of Inshad art in terms of performance, words and modern techniques.Delivering messages addressed by Inshad to individuals and society which are presented  in  Islamic principles and strengthen national identity.Ministry of Heritage and CultureThe ministry's budget covers the financial requirements.YesYesYesNOInshad's Team.
10841104492017PalestinaThe outreach program / Edward Said National Conservatory of Music (ESNCM)Integración de la música en el desarrollo comunitario sostenible en Palestina4. Educación de calidadLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleConsidered for innovative practices, JóvenesMúsicahttps://es.unesco.org/creativity/policy-monitoring-platform/outreach-program-edward-saidhttps://es.unesco.org/creativity/node/108411The outreach program was established by the ESNCM in 1996, in order to reach a wider section of Palestinian society, and to enable underprivileged children to learn music by bringing music into their own environment. Musical instruments are provided free of charge and students are involved in group musical activities as well as individual lessons. The first programs involved children from refugee camp schools who had never had the privilege of music education. In 1998 the outreach program became more active when the ESNCM delegated a number of its teachers to give violin and cello lessons at Rawdat al-Zuhour School in occupied Jerusalem and at al-Bireh Girls School, teaching music to children from the age of 6 to 16 years.Nationalregulatory, institutionalThe Outreach Program is a vital part of the ESNCM’s educational work. Here, the ESNCM goes to the heart of communities that currently have no music provision, and teams up with a partner organization in those communities to provide instrumental music lessons and activities on site. Some of these outreach activities will grow and be transformed into formal branches of the ESNCM. Currently 150 children benefit from the ESNCM’s outreach program in Hebron and Jericho, and a further 120 in the refugee camps of Shufat, Dheisheh, Balata and Aqbet Jabr. In addition to instrumental activities, the program reaches another 100 children in occupied Jerusalem through the ESNCM choirs program and 300 in Gaza through the al-Sununu Choirs project.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, ParticipaciónYesProviding Palestinian society with creative and committed musicians capable of teaching music and promoting it.Encouraging and enhancing music appreciation and interest within the public and official spheres.Upgrading the ESNCM’s performance towards fulfilling its vision, mission, objectives and sustainability.Edward Said National Conservatory of MusicEdward Said National Conservatory of MusicNoYesYesNOChildren Considered for innovative practices, Jóveneshttp://ncm.birzeit.edu/en
10867104492017PalestinaUse of digital environment to promote and protect cultural diversitySistemas sostenibles de gobernanza de la cultura, Entorno digitalMedios de comunicación, Músicahttps://es.unesco.org/creativity/policy-monitoring-platform/use-digital-environment-promotehttps://es.unesco.org/creativity/node/108670Enhance access and participation of public in cultural activities and events.Facilitate communication between the West Bank and Gaza Strip using video conferences.Promotion of cultural events through social media.Establish the the national repository, which includes the oral heritage elements such as folk tales, songs, proverbs, customs and traditions.Establish digital systems for participants at a national and international level for example, photography competition.Create a virtual museum for popular life.Nationalregulatory, institutionalThe digital environment serves protection and promotion of the diversity of cultural expressions such as: sharing, communicating, archiving and storing processes, through marketing and promotions. Consultations and workshops between cultural institutions in the West Bank and Gaza Strip have been conducted through video conference sessions due to the long lasting siege imposed on Gaza Strip. EMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9bCreación, ParticipaciónNo More opportunities to get participations of Palestinians all over the world.Disseminated and promoted cultural events and programs.Safeguarded and documented intangible heritage elements.Intangible heritage available to the public and researchers.Enhanced communications between Palestinians.Promoted opportunities for international cooperation.The Ministry of CultureThe Ministry of Culture   YesYesYesNO
10833104492017PalestinaPalestinian International Book FairIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturales, Movilidad de los artistas y profesionales de la culturaIndustria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/palestinian-international-bookhttps://es.unesco.org/creativity/node/108330Promote Palestinian writers' productions.Bring productions of the foreign publishing houses into the State of Palestine.Provide space for intercultural dialogue and exchange through visits and seminars conducted by cultural delegations from the participating countries.Familiarize the Palestinian culture by organizing on site visits.Encourage school students and universities to read through the visits organized in collaboration with the Ministry of Education and universities.Encourage artists by establishing various art exhibitions in the fair.Buy and distribute books to public libraries.Invite Palestinian intellectuals from Gaza Strip to participate in the fair.National, Internationalregulatory, financialInternational Book Fair is a real opportunity to achieve economic and cultural development in the State of Palestine.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT INTERNATIONAL LEVELDistribución, ParticipaciónYesPromoted productions of Palestinian writers.Productions brought from foreign publishing houses into the State of Palestine.Promoted cultural exchange and international cooperation.Contributions in developing the economy through books sold in favor of publishing houses.Encouraged reading.Ministry of CultureThe Ministry of Culture.Fees from rented suites. YesYesYesNOStudents, readers and publishing houses, researchers
10819104492017PalestinaInvestment in cultural infrastructureLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/investment-culturalhttps://es.unesco.org/creativity/node/108190 Developing an environment conducive to creativityDeveloping the capacity of the human resources of the Ministry of Culture and cultural sectors in generalEstablishing and developing sovereign cultural centers. Nationalfinancial, institutionalConcentration of cultural facilities in the middle area of the West Bank, and insufficient availability of those in the rest of the governorates and regions of the diaspora, led to depriving a lot of communities of benefiting from various cultural products. Lack of due consideration to archeological buildings and sites, historical libraries holding rare manuscripts in occupied Jerusalem and elsewhere.CULTURAL POLICIES AND MEASURESDistribución, ParticipaciónYesThe implementation of this policy has clear economic, cultural and social dimensions and distinctive cultural advantages. Despite the high financial cost required, it offers numerous benefits for the citizens and the nation in general.  Adoption of laws that support culture, will give protection to citizens and artists alike. The policy is an opportunity to create employment in traditional and cultural industries.  Ministry of CultureMinistry of CultureYesYesYesYESNationalAn agreement with the government of Norway was signed to launch the third stage of the Palestinian Cultural Fund in the years 2014-2016 with an estimated budget of $2.5 million.The Palestinian Cultural Fund is one of the main financial support resources for cultural activities in the State of Palestine. It supports cultural activities and projects in all governorates and partially participates in the efforts to achieve objectives of cultural development at a national level.MOC and Palestinian National Commission for Education, Culture and Science signed an agreement to support three projects with a budget of $ 25 thousands. These projects include short story writing competition with an amount of $5 thousands, equipping multi-purpose hall for $15 thousands, and supporting library of Arab Rashaydeh village council with $5 thousands.The general aim is to provide supportive cultural environment.Number of cultural institutions provided with booksNumber of licensed cultural institutionsLocal communities , MOC staff , Cultural centres
10815104492017PalestinaSupport creativity and talent in order to promote quality of cultural productionsSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/support-creativity-talent-orderhttps://es.unesco.org/creativity/node/108150Developing competencies of workers in the fields of culture and arts. Raising administrative, financial and institutional functionality readiness of current artistic facilities and cultural centers.Nationalfinancial, institutional1. Implemented programs on literature and reading with great results.2. Concentration on all cultural fields: theater, cinema, music, folk arts, literature, child's arts, etc.3. Concentration on expertise and quality rather than quantity.CULTURAL POLICIES AND MEASURESCreación, ProducciónYes1. Developed professional experience for workers2. Better administrative, financial and institutional functionality readiness of current artistic facilities and cultural centers.3. Promoted vocational training.4. Economically efficient production and employment. Ministry of CultureThe Ministry of Culture  YesYesYesYESNationalSupport innovation and promote literary talent Sponsoring publications for children, youth, women, and persons with disabilities.Creative competitions for the disabled.Courses in creative writing.Cultural events.Organizing poetic conferencesIncentive system to encourage creativity adopted by the government  Activate audiovisual  fieldsActivate sector of cinemaActivate sector of fine artActivate sector of theaterActivate  sector of musicCelebration of the National Culture DayOrganizing seminars and literary and poetic activitiesNumber of centers and cultural institutions  supported by the Ministry of CultureIndividuals and cultural institutions
10616104492017PalestinaProvide trainings on crafts and traditional industries with modern designs in the West Bank and Gaza StripSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosDiseñohttps://es.unesco.org/creativity/policy-monitoring-platform/provide-trainings-craftshttps://es.unesco.org/creativity/node/106160Provide trainings to develop modern designs for crafts and products of traditional industries in order to preserve the crafts and create job opportunities in order to achieve sustainable development.Encourage research and training in cooperation and contracting with competent experts and institutions in order to provide training, research, and bills serving the sector.Encourage cooperation between the government and the private sector so as to institutionalize and integrate an advanced cultural sector.Provide special training program for women linking pioneers and novices, particularly in the field of crafts such as embroidery and food processing.Provide training on business management, marketing, small business management, self-esteem, financial, legal, taxation and training on how to open and run a project.Nationalfinancial, institutionalProvide trainings with modern designs.Create job opportunities.Safeguard traditional cultural crafts.Achieve sustainable development policy.Provide qualified workers in this sector.Provide women's trainings.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, ParticipaciónYesProvided trainings with modern designs.Created jobs opportunities.Safeguarded traditional cultural crafts.Achieved sustainable development policy.Provided qualified workers in this sector.Provided women's training. The Ministry of Culture, UNESCO, UNWOMANUNWOMANUNESCOThe Ministry of Culture  YesYesYesNOIndividuals and institutions working in the field of traditional crafts
10604104492017PalestinaEstablishment of the National Committee of Al-Quds Permanent Capital of Arab CultureSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/establishment-national-committeehttps://es.unesco.org/creativity/node/106040 Participate in activities of cultural capitals of Arab and Islamic countries.Support of culture institutions and cultural events in occupied Jerusalem.Promote cultural endurance in the occupied city of Jerusalem.Implement cultural projects and programs about occupied Jerusalem including conferences, seminars, exhibitions, films, research and books.National, Internationallegislative, regulatory, financialPreservation of the cultural identity of the occupied city of Jerusalem against illegal Israeli occupation's settlement, displacement and house demolition activities  Participation of the occupied city of Jerusalem in  the Arab and regional events.Cooperation with cultural institutions in the occupied city of Jerusalem.Publishing “Masharef” magazine.INTERNATIONAL CULTURAL COOPERATIONCreación, ParticipaciónYesAssessment of cultural affairs in the occupied city of Jerusalem.Strengthening the presence of the occupied city of Jerusalem in the Arab cultural capitals.Granting the Prize of Jerusalem for Culture and creativity for creative figures from Palestine and abroad in various fields.National Committee of Al-Quds Permanent Capital of Arab CultureNational Committee of Al-Quds Permanent Capital of Arab CultureYesYesYesNOThe Palestinian people in the city of Jerusalem
10598104492017Palestina Establishment of the Russian Center for Science and Culture in BethlehemLa cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/establishment-russian-centerhttps://es.unesco.org/creativity/node/105980Russian Center for Science and Culture in Bethlehem - the first scientific, cultural representation of the Russian Federation in the State of Palestine was opened in June 2012. It's located in the center of city of Bethlehem on a piece of land donated by the State of Palestine. The center includes halls for exhibitions, others for teaching Russian language, a language lab and a library contains more than three thousand books. It also contains a music room as well as a cinema hall. The center aims to promote Russian culture and science, and contributes to Palestinian students' selection process to study in Russia.Local, InternationalinstitutionalDissemination of Russian culture and science.Contributions to students' selection process to study in Russia.INTERNATIONAL CULTURAL COOPERATIONCreación, ParticipaciónYes Promotion of Russian culture and organizing cultural weeks and artistic performances.Promotion of learning the Russian language.Organizing dance and music sessions for children, where kids learn the Palestinian Dabkah, and Russian folk dance .Organizing summer camps for Palestinian and Russian children.Providing public library.Contributing Palestinian students' selection to study in Russia.Making the Russian Center's Theater available for performances.Russian Center for Science and CultureThe Center obtains a budget of $300,000 annually in addition to revenues from centers' activities such as the fees collected in return for language courses, registration fees in summer camps and theater rental fees. YesYesYesNOCultural institutions, Russian community in the State of PalestineJóvenes
10825104492017PalestinaScholarships in Performing ArtsSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosMúsica, Las artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/scholarships-performing-artshttps://es.unesco.org/creativity/node/108250Culture and Arts program at the AM Qattan Foundation Introduced partial scholarships in the fields of performing arts, to help covering the costs of studying or training in a specialized institute, or the competent institution, for Palestinian students, or from the occupied Syrian Golan, studying at a performing arts field (music, theater, dance, circus, etc.) The scholarship covers, or contributes to cover costs related to the period of study or training.NationalfinancialThe program gives priority to supporting study programs, or trainings in essential disciplines for the development of the music industry, such as music education, music composition, eastern and classical singing, the industry and / or maintenance of musical instruments, music production, music management, and study playing a specific musical instrument; such as the cello, and the contrabass, woodwinds, accordions and so on. Special priority will also be given to join the study or training in specific areas that serve the development of the performing arts sector in general, and contribute to improving the technical capacity and / or technical and / or administrative, such as lighting, cinematography design, and techniques of sound recording, sound effects, technical management, and other relevant areas.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreaciónYesContribute to improve technical, administrative, and artistic capacities of the workers in the field.The Qattan FoundationThe Qattan FoundationYesYesYesNOPerforming Arts Students
10817104492017PalestinaReinforcing and extending cultural exchange with Arab and foreign nationsIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la cultura, Tratados y acuerdosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/reinforcing-extending-culturalhttps://es.unesco.org/creativity/node/108170Activating of Palestinian participations in Arab and foreign festivals and forums.Improving the level of cultural exchanges with Arab and foreign countries.Facilitating access for Palestinian artists to participate in cultural activities abroad.(Attachment 3 page 20 ) Regional, National, Internationalregulatory, financial, institutionalSigning a number of cultural exchange and cooperation agreements by MOC and othe public and private institutions.Conducting artistic performances, shows, seminars, scholarships in other countries.Announcement of occupied Jerusalem as the permanent capital of Arab culture encouraged cultural exchange and led to a number of agreements.Work has been in progress to activate signed agreements and to sign new others with Arab and foreign countries.Enlarge participation in cultural weeks, specializes festivals and number of scholarships in different areas.Extending cultural exchange and communication that serve the Palestinian cause. CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónYesPositive effect on the national economy through marketing of Palestinian products.Better acceptance of cultural diversity. Better international cultural cooperation. Ministry of Culture, Ministry of Foreign Affairs, Civil societyThe Ministry of CultureCountries signed cooperation agreementsPrivate sectorYesYesYesYESNationalCultural agreements and cultural exchange with states and international organizations.Participations in foreign festivals.Participations in international book fairs.Participations in International Cultural Weeks.Hosting international cultural events and weeks in the State Palestine.Hosting teams, artists and writers from the Arab and foreign countries.Organizing Palestine International Book Fair.Number of signed cultural agreementsNumber of international festivalsIntellectuals in the Arab and foreign countries
10814104492017PalestinaInvestments in Curricular and extracurricular activities aiming at reinforcing values of pluralism, democracy, citizenship and gender equality.Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesMúsica, Las artes escénicas, Industria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/investments-curricularhttps://es.unesco.org/creativity/node/108140 Integrating the culture of pluralism and openness into curricula. Encouraging extracurricular activities at schoolsNationalregulatory, institutionalGreat efforts in cooperation with the General Directorate of Curriculum at the Ministry of Education to integrate extracurricular activities. More efforts are still needed to integrate the cultural dimension in the development of student's creativity.  CULTURAL POLICIES AND MEASURESCreación, ParticipaciónYesImprove the quality of educationDevelop curricula to integrate creativity and cultureCreate socially, economically and environmentally balanced identity The Ministry of Culture, The Ministry of Education, NGOsThe Ministry of Culture YesYesYesYESNationalIntegration of the cultural aspect in the curricula in coordination with the Ministry of Education to serve human values ​​and creativity, pluralism and equality.Integration of extracurricular activities at schools especially girls' participation.Drama, theater and music become part of education in the government and private schools.Creative cultural activities at schools in the field of creative writing and changing cultural stereotypes.Meetings and competitions among students.School libraries holding modern and diverse books.Number of books published by the Ministry of CultureNumber of participations in international book fairs  ٍStudents Jóvenes
10611104492017PalestinaCreate Cultural Spaces and Community DevelopmentSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/create-cultural-spaces-communityhttps://es.unesco.org/creativity/node/106110An old building was renovated by MOC in 2014 at Birzeit to be used as a museum and cultural community center. It was qualified to host cultural events, artistic residency and activities of cultural exchange. It also contributes to community development and cultural revitalization efforts in Birzeit. Support from of the Arab Organization for Education, Culture and Science was received.Localfinancial, institutionalPreservation, restoration and use of traditional buildings as spaces for cultural activities.Creation of a site for artistic residency and cultural exchange.Strengthening partnership with local communities.PREFERENTIAL TREATMENTCreación, ParticipaciónYesCreating a cultural center and a new space equipped to host events.Using the archaeological identity of the site for  exhibitions and workshops related to heritage.Promoting community participation in cultural activities.The Ministry of Culture$ 40000 from the Arab Organization for Education, Culture and Science.YesYesYesYESLocalThe museum has been equipped and work is being in progress to run it in cooperation with Rozana Association and the Municipality of Birzeit. Number of licensed cultural centersNumber of festivalsNumber of visitors of museumsCommunity and cultural institutions
10603104492017PalestinaRenewal of Cultural Fund Agreement 2013Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/renewal-cultural-fund-agreement-0https://es.unesco.org/creativity/node/1060301.    To contribute to the execution and implementation of the vision and policies of MOC for the cultural sector.2.    To institutionalize Palestinian Cultural Fund (PCF) to meet the requirement of the PCF Law and to be more accountable, effective and efficient towards the Palestinian cultural institutions and artists3.    To build a monitoring system to help MOC to oversee the cultural scene through the development of a unified reporting systems and a national database.  National, Internationalfinancial, institutionalPCF supports projects and cultural activities in the State of Palestine.PCF contributes partially in the efforts to achieve cultural development goals at the national level.PCF takes cultural diversity into account and supports projects in different fields, such as, theater, cinema, fine arts, music, and literature.PCF works to create equipped cultural spaces qualified to receive cultural performances, particularly in marginalized areas.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónYes The Fund supported, during the first and second phases, a total of 144 projects and cultural activities with over two million dollars, in all provinces from Rafah to Jenin, including the occupied Jerusalem. In the third phase,terms of reference were built:Strategic Plan 2014 – 2016Executive Plan 2014 - 2016Guide of Fund's operational processes with business models.Guide of assessment and evaluation.At the third phase five memoranda of understanding was signed for equipping and rehabilitation of five halls as well as projects for individuals and institutions in different cultural sectors such as cinema, theater and art performances. Palestinian Cultural FundNorwegian GovernmentPalestinian Investment FundYesYesYesYESLocal, InternationalResults of evaluation of Palestinian Cultural Fund concluded the following:Continue supporting all cultural sectors and extend the list of targeted categories.Search for additional donors.Institutionalize the Cultural Fund.Continue targeting marginalized areas.Increase the number of cultural funded projects, mandatory to increase of financial support of the Fund.Number of projects and cultural activities implemented by MOC in public and children's libraries Number of cultural activities implemented at cultural centers.Number of participants in the projects implemented by the cultural centers.Number of active museumsNumber of operating theatersNumber of plays presentedNumber of audience attending performances of playsNumber of cultural and heritage festivals supported by MOCIndividuals, Cultural institutions
10591104492017PalestinaPartnership for development programLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/partnership-development-programhttps://es.unesco.org/creativity/node/105910The Popular Art Center executes the “Partnership for development program” for 6 years, with the partnership of Bisan Center and Maan Center. The project targeted fifteen clubs, a baseline in Gaza Strip, Ramallah and Nablus. It aims at effecting positive change in society by enabling programmatic and administrative capacity of the centers and clubs. Furthermore, encouraging the youth to lead and participate in decision-center, through the following: networking, capacity building, lobbying and advocacy. Objectives.Activate the role of the youth and grassroots organizations in community, economic and political issues.Adoption of the art as a tool for community change.Involve more youth in the central activities.The program takes into account the geographical distribution and marginalized areas and also works with centers and groups from occupied Jerusalem and Jericho. NationalinstitutionalActivate the role of the youth and grassroots organizations in community, economic and political issues.Adoption of the art as a tool for community change.Involve more youth in the central activities.The program takes into account the geographical distribution and marginalized areas and also works with centers and groups from occupied Jerusalem and Jericho.The program works in different areas: networking, capacity building, lobbying and advocacy. YOUTHCreación, Producción, Distribución, ParticipaciónNoDevelop an action plan for youth groups.Build a youth base at the national level, by organizing many social and cultural volunteering activities.Promote the role of youth in communities change.Building capacity of youth.The Popular Art CenterThe Popular Art Centre  Bisan Center Maan Center    YesYesYesNONational
10839104492017PalestinaCo- production film agreement with France in 2013Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturales, Tratados y acuerdosCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/co-production-film-agreementhttps://es.unesco.org/creativity/node/108390Create an opportunity for vocational and technical cooperation between directors and producers in the Republic of France and the State of Palestine.Exchange technical and technological experiences among workers in the field.Provide the opportunity of the main and continuous training for staff working in the field.Establish a networking and communication base among workers in the field in the two countries.National, Internationallegislative, regulatory, financial The co-production workshop was held in Paris on November 2015 with the participation of five Palestinian projects represented director/ producer.Two of the projects won the support of two French producers.This workshop is held every two years.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT INTERNATIONAL LEVELProducción, DistribuciónYesCo-produced films.Developed field of film industry in the State of Palestine.Developed staff's competencies in the film industry.Created employment opportunities in the film industry.Cultural and professional exchange.Promoted Palestinian film in the European market.Ministry of CultureThe Ministry of Culture.Palestinian Cultural Fund.National Center of Cinematography and the Moving Image / France.French Consulate General in Jerusalem.Independent investors / producers.YesYesYesNOProducers,directors and workers in the film industry
10823104492017PalestinaThe Palestinian Audio-visual ProjectSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, La cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleJóvenesCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/palestinian-audio-visual-projecthttps://es.unesco.org/creativity/node/108230The Palestinian Audio-visual Project was launched  in 2004, € 616,000, project co-funded by the A.M. Qattan Foundation and the EU. The project has three areas of intervention:Capacity-building through a national Training Programme.A Schools Film Education Programme, aimed at school students.Publication and distribution of audio-visual works with Palestinian themes.Nationalfinancial, institutionalCreate highly qualified young directors, actors and producers in the field of film industry, capable of commercialize and develop their productions on a larger scale. INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, ParticipaciónYesFirst ever national industry survey conducted.29 Students trained in the foundations of filmmaking (Part 1).19 Students received further training in different audio-visual disciplines (Part 2).17 screenwriters submitted entries to screenwriting competition; 9 finalists attended two writing workshops (Part 3).Four short films produced by crews of students and volunteers in quasi-professional conditions.46 ciné-clubs established in Palestinian schools.Seven workshops held with teachers on the use of films in the classroom.Over 2,100 copies of 47 classic films distributed to schools.Seven classic films licensed, subtitled and distributed to schools.30 films with a Palestinian theme granted a publishing or distribution grant.Establishment of Network of Arab ciné-clubs –SHABAKA- in four different countries.34 members become members of SHABAKA.A fully-operational bi-lingual website, including database of technicians, services and films and on-line film discussion forum.Young directors, actors and producers.Co-funded by the A.M. Qattan Foundation and the EU YesYesYesNOYoung directors and actors and producersJóvenes
10816104492017PalestinaActivate and develop communication between Palestinians in their homeland and the diaspora.Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/activate-develop-communicationhttps://es.unesco.org/creativity/node/108160Activating cultural activities involving both Palestinians living in their homeland and in the diasporaFacilitating access to cultural productsEncouraging Palestinian participation in art and literary activities abroadNational, Internationalregulatory, institutionalThis policy aims to foster culture as a unifying and protection feature. It tends to reunify the nation, to support social ties among Palestinians and to maintain Palestinian culture.CULTURAL POLICIES AND MEASURESDistribución, ParticipaciónYesPositive effects on cultureSteps towards achieving national unityStrong social ties.Ministry of Culture, Ministry of Foreign Affairs, Cultural institutionsThe Ministry of Culture YesYesYesYESNationalHosting Palestinian cultural productions at homelandPalestinian cultural weeks, bring teams from abroadOrganizing cultural events in the diaspora.Number of artistic teams supported by the Ministry of Culture to participate in International FestivalsIntellectuals at homeland and in the diaspora
10813104492017PalestinaActivating and expanding artistic activities in all geographical areas to reinforce and strengthen awareness based on equality and openness.Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/activating-expanding-artistichttps://es.unesco.org/creativity/node/108130Establishing concepts of tolerance, democracy and the rule of law.Supporting culture in occupied Jerusalem.Expanding geographical circles able to host cultural activities in all cities and communities.Increasing number of readers, particularly among children, youth and women.Developing talents and promoting creativity, especially among youth, women and children.Facilitating access to cultural activities organized by local councils.Nationalregulatory, financial, institutionalThe current policy has limited impacts. The target is to achieve  an increase in cultural diversity by developing cultural activities, through role integration between the public and civil sectors. This policy aims to promote national unity and human development by enriching the culture of dialogue and respect for other opinionsCULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónNoThis policy is expected to increased development of social awareness, push the economic cycle in the cultural sphere, as well as develop human competencies. It is also expected to empower youth and women and to stimulate creativity.Ministry of Culture, Ministry of Endowments and Religious Affairs, Ministry of Foreign Affairs, Civil societyThe Ministry of CultureSupport from: ALECSO, ISESCO, and UNESCOYesYesYesYESNationalA plan to support culture and heritage in occupied Jerusalem  International Advocacy campaign to safeguard the cultural heritage in occupied Jerusalem.National program to encourage reading.Organizing the Palestinian International book fair.Organizing local book fairs. Number of projects and cultural activities implemented by MOC in public and children's libraries Number of cultural activities implemented at cultural centers.Number of participants in the projects implemented by the cultural centers.Number of active museumsNumber of operating theatersNumber of plays presentedNumber of audience attending performances of playsNumber of cultural and heritage festivals supported by MOC
10610104492017PalestinaConstruction of multi-purpose hallsSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/construction-multi-purpose-hallshttps://es.unesco.org/creativity/node/106100 Support from the Arab Organization for Education, Culture and Science (ALECSO) was received, multi-purpose hall in Kafr Rai Charitable Society in Jenin was equipped by MOC in 2014. The hall provides spaces for activities and cultural programs in the region and neighboring areas. It includes a theater and technical equipment such as light and sound systems. Localfinancial, institutionalProviding spaces for activities and cultural programs in the region and neighboring areas.PREFERENTIAL TREATMENTCreación, ParticipaciónYesProvide spaces for activities and cultural programs in the region and neighboring areas.Facilitate participation and access to cultural activities.Promote cultural development in marginalized areas.The Ministry of Culture$ 15000 from the Arab Organization for Education, Culture and Science (ALECSO)YesYesYesYESLocalEquipped multi-purpose hall in Kafr Rai Charitable Society in Jenin.Number of cultural centers.Number of participants in cultural activities.Local community
10602104492017PalestinaRamallah Contemporary Dance Festival Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaJóvenesLas artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/ramallah-contemporary-dancehttps://es.unesco.org/creativity/node/106020The festival aims to promote cultural exchange between Palestinian people and other nations of the world.To introduce the Palestinian people to the various forms of contemporary dance.To develop workers competencies in the field of dance in the State of Palestine.The festival targets the Palestinian public in general and the youth sector in particular.National, InternationalinstitutionalPromotion of dialogue, culture exchange, openness and introduction of people to contemporary dance.Holding of training workshops to pass experience through conducting meetings and joint improvisations between the parties.INTERNATIONAL CULTURAL COOPERATIONCreación, ParticipaciónYesDevelop youth's competence in contemporary dance.Promotion of the dialogue between cultures.Visits of many artistic teams to the State of Palestine to participate in performances.Ramallah First GroupEuropean Union  YesYesYesNOContemporary dancing individuals and groupsJóvenes
10590104492017PalestinaIntegration of Gender in the Strategic Plan 2014-2016 Derechos humanos y libertades fundamentales, Igualdad de géneroCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/integration-gender-strategic-planhttps://es.unesco.org/creativity/node/105900Integrate gender in the Strategic Plan for Culture 2014-2016, in order to implement programs and activities concerning gender.  Nationalregulatory, institutional Integrate gender in the strategic plan to promote gender issues.Raise awareness about gender.Increase the participation of women in the cultural sector.CURRENT UNESCO GLOBAL PRIORITY: GENDER EQUALITYCreación, Producción, Distribución, ParticipaciónYesThis measure is a first step towards raising awareness about gender and gender equality.Ministry of Culture, The Ministry of Women's AffairsUNESCOUNWOMEN YesYesYesNOInstitutions and individuals
1636573252012ParaguayPoints de CultureLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/points-de-culturehttps://es.unesco.org/creativity/node/163650Etablir un réseau de Points de Culture (Bibliothèques, Communautaires, Centres Culturels des Gérants Culturels, des artistes et autres) dans les 17 Départements du Pays. Défis identifiés dans la mise en oeuvre de cette politique / mesure: 10 espaces communautaires ont été fortifies par l'approvisionnement d'équipes informatiques et d'internet; 18 ont reçu des cours pour L’élaboration de projets culturels, raffermissement de L’artisanat, et une conformation de chœurs musicaux de jeunes et d'enfants; 40 centres culturels ont reçu des matériels (imprimés et audiovisuels), des donations du Fondec, de Ia Commission Nationale du Bicentenaire et de L’Académie de L’histoire Paraguayenne; 75 espaces ont reçu un appui pour l'organisation de festivals traditionnels, de fêtes patronales; tous ont reçu une assistance technique pour le raffermissement de ses démarches, ainsi qu’un accompagnement pour l’organisation des célébrations.Local, NationalA travers des Congres Régionaux ou ils ont participé des représentants de Ia société civile.CULTURAL POLICIES AND MEASURESCreación, Producción, DistribuciónFondec, ltaipu BinacionalUS$27,778.00NO
1520173252012ParaguayDes circuits économiques solidaires interculturels La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/des-circuits-economiqueshttps://es.unesco.org/creativity/node/152010En 2010 commence ce programme avec l'appui de l'ONG Station A, en promouvant des rencontres avec des artisans et des gérants culturels dans 7 départements du Paraguay, en 2011 il réussit à réaliser le premier Forum National d'Économie Solidaire et de Culture et le Premier Forum International sur le Patrimoine culturel et l'Économie Solidaire. Il a été mis en application avec le soutien de l'Union Européenne, avec la participation de l'ONG la Station A, des artisans, des gérants et des entrepreneurs socioculturels.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, ParticipaciónUnion Européenne, WFTO$13.392.00
1641173252012ParaguaySysteme d'lnformation Culturelle du Paraguay (SICPY)Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/systeme-dlnformation-culturellehttps://es.unesco.org/creativity/node/164110Le Système National d'Information Culturelle a été créé à la fin de 2010 avec son dessin et planification. En 2011, on réalise des travaux de systématisation d'informations culturelles sur le Paraguay et une articulation avec le système SICSUR de la région; pour 2012 sa mise en place est projetée. Regional, InternationalA été mis en application à une demande des secteurs artistiques et culturels du Paraguay, ce qui a dérivé dans l'engagement de la part de la SNC d'une équipe professionnelle de sociologues pour le développement d'une plateforme d'information culturelle sur le Paraguay, avec l'appui de l'agence de coopération espagnole. En 2011, des tâches de sensibilisation se sont développées à ce sujet, avec fonctionnaires de la SNC. Challenges identified in the implementation of this measure : L'information culturelle paraguayenne, rapportée à une infrastructure culturelle se trouve déjà systématisée, aussi coimme celle-là de biens patrimoniaux et des industries culturelles. De plus, des modules de commerce extérieur se trouvent développés pour habiller le "Compte Satellite" de Culture. INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónAECIDUS $250,000.00
1519873252012ParaguayVy'a GuasuSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/vya-guasuhttps://es.unesco.org/creativity/node/151980L'objectif principal de cette politique a été de rendre visible et de promouvoir les diverses expressions dans tout le pays, dans le contexte de la célébration du bicentenaire de l'indépendance du Paraguay. Elle a été introduite en mars 2011 et dévelopée jusqu'au Décembre de cette année, en arrivant au 17 capitales départementales et ayant promotionné plus de 2100 artistes de tout le territoire national. financialElle a été mise en application au moyens des tables sectorielles avec les artistes, les gérants culturels et des représentants de pouvoirs locaux des 17 départements du pays. CULTURAL POLICIES AND MEASURESCreación, Producción, Participación$3,311,572.00
1641272532012PerúRegulation of Law No. 29073: Craftsman's Law and the Development of Artisan ActivitySistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosDiseñohttps://es.unesco.org/creativity/policy-monitoring-platform/regulation-law-no-29073https://es.unesco.org/creativity/node/164120Law for Artisan and Development of Craft Activity has main objective to regulate the sustainable development, protection and promotion of the craft, preserving craftsmanship tradition in all its expressions of each place, disseminating and promoting techniques and procedures including quality, representativeness, tradition, cultural value and utility. Promoting awareness among the population about its economic, social and cultural importance, and recognize mainly the craftsman as developer of identity and cultural traditions.This regulation was promulgated on March 17, 2010.Source: MINCETURhttp://www.mincetur.gob.pe/newweb/Portals/0/transparencia/proyectos%20resoluciones/Proyecto_REGLAMENTO_Ley29073_2.pdfNationalThis regulation is in process of implementation by the Ministry of Foreign Trade and Tourism of Peru (MINCETUR), in accordance with paragraph 8, Article 118 of the Constitution of Peru and the Law Nº 27790 - Law on Organization and Functions of the Ministry of Commerce and Tourism, lead agency for tourism and craftwork; promotion, guidance and regulation of craft activity.The Law N º 29073, Law for Artisan and Development of Craft Activity was promulgated first. Later through the Supreme Decree 001-2008-MINCETUR, the Regulations of the National Register of Artisan and the National Council for the Artisan Promotion, created by Articles 12º and 30º of the Law No. 29073, which allowed to collect experience regarding these issues. In this context, there is necessity to standardize various aspects of craft activity regulated by Law No. 29073, so we proceeded to its regulation.Currently MINCETUR has developed a Website about Information System for the Promotion and Development of the artisan to share all necessary information on artisan aspects from commercial perspective. Furthermore, this system works with the National Directory of Artisans which has information of all Peruvian artisans registered on the National Register of Artisan either as individual artisans, craft enterprises or artisan associations.Source: MINCETURhttp://www.artesaniasdelperu.gob.pe/archivos/descargas/documentos/reglamento_Ley_29073.pdfInformation system website for promoting and development of the artisan: http://www.artesaniasdelperu.gob.peChallenges identified in the implementation of this measure: This information will be complemented with details in a future report. The main reason why we do not have specific information of the process of implementation of this measure is due to the short time for completion of the report.CULTURAL POLICIES AND MEASURESCreación, Producción, ParticipaciónMinistry of Foreign Trade and Tourism of Peru
1547972532012PerúMaintenance of cultural reserve on trade agreements adopted bilateral or multilateral with other countries by the Peruvian GovernmentIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Tratados y acuerdosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/maintenance-cultural-reservehttps://es.unesco.org/creativity/node/154790The Peruvian Government with the cultural reserve in trade agreements maintains cultural sovereignty, promoting the economic potential of cultural diversity richness, fostering internal cultural production and encouraging the competitiveness of creators, artists and entrepreneurs, improving its supply capacity and more effective integration into local, regional and global markets. Peru has taken the preservation path of current cultural legislation and will adopt or maintain its ability to legislate and create measures to support and promote the cultural sector in the future.Source: Ministry of Foreign Trade and TourismReference: Peru-United States FTA: Key Notions. Online: http://www.acuerdoscomerciales.gob.pe/ InternationalIn the context of negotiations of the Free Trade Agreement with U.S., Peru achieved to include in the treaty text a various reserves in order to maintain its sovereignty on issues related to cultural goods and services. The Peruvian negotiating team proposed as "non-conforming measures", that it reserved all legislation and national policies oriented to promote industries typically linked to culture, for example: Law of the Book, which promotes reading and development of the national publishing industry; Law of the National Culture Institute (today is merged into the Ministry of Culture), which states that it is responsible of cultural policy; the Copyright Act, which recognizes intellectual property rights for music creation, writing, etc.; and the Broadcasting Act, which lays down principles of access to broadcasting services. This reserve also applies to future legislation in order to give differential treatment to activities, industries and services typically related to culture.The drafting of free trade agreements negotiations has kept that Peru Government has held bilaterally or multilaterally, a number of reserves on "handicraft and the audiovisual, publishing and music sectors" and "issues related to indigenous communities, peasant and native and minorities". Peru has valid nine free trade agreements so far.Source: Ministry of Foreign Trade and TourismReference: Peru-United States FTA: Key Notions. Online: http://www.acuerdoscomerciales.gob.pe/ http://www.acuerdoscomerciales.gob.pe/images/stories/eeuu/docs/estudios/TLC_NOCIONES_CLAVE.pdfChallenges identified in the implementation of this measure:Strengthen respect for law and intellectual property rights in the populationThe internal agenda should be directed to promote the joint work of universities and research centers with productive sector, the preparation and retraining of human resources and promotion of the dissemination and innovation.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónMinistry of Foreign Trade and TourismYESThere have not developed specific studies regarding trade agreements and their impacts on cultural fields such as music, traditional and ancestral knowledge, publishing and audiovisual industry. However, there is an exhaustive study of use of PERU - U.S. FTA in its valid second year, developed by the Office for International Economic Studies of the Ministry of Foreign Trade and Tourism published in July 2011.Source: Ministry of Foreign Trade and TourismReference: http://www.acuerdoscomerciales.gob.pe/images/stories/eeuu/docs/Est_Aprov_TLC_EEUU_2ano.pdf
1547672532012PerúCulture Points Program THE CULTURAL POINTSSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, Alianza con la sociedad civilCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/culture-points-program-culturalhttps://es.unesco.org/creativity/node/154760Culture Points Program promotes democratic access to training, creation, dissemination and enjoyment of culture to the public through a partnership with organizations, artists and cultural agents working steadily in education, citizenship and integral development. After, they are recognized as Culture Points, have several resources for strengthening, replication and extension of its action. The main objectives of Culture Points Program are:RECOGNIZE AND SUPPORT CULTURAL INITIATIVES: The Culture Points program recognizes the existence of a large number of civil society initiatives that need boost, articulation and recognition for a better and further development.STRENGTHEN THE ART AS SOCIAL TRANSFORMER: The Culture Points program recognizes that culture is a social transformation tool. The program also allows having a tool for public investment in human development.REINFORCE THE CONSTRUCTION OF AN INTERCULTURAL CITIZENSHIP: The Culture Points program promotes interculturality through the valuation of diversity about cultural artistic expressions.Local, Regional, NationalIt is considered as Culture Point any non-profit organization, association, cooperative, collective or cultural grouping from civil society that develop and/or promote initiatives in diverse fields, taking in consideration the art and culture as a primary tool to construct a more just, peaceful, supportive, inclusive and democratic society which recognizes and values its diversity, memory and creative potential. It is a priority for the Ministry of Culture to strengthen, articulate and promote from the Government these important initiatives. In February 2011, Points of Culture begins as a project to establish basis of the Points of Culture National Program, the following steps were made from that date until the end of 2011:Definitions of the program including all peruvian culture sector particularities.Participative construction of the proposal with cultural organizations in Lima.Developing of two pilot projects in two popular and historic districts, Villa El Salvador at the south of the capital and Carabayllo at the north of Lima. These projects were developed in partnership with popular theater organizations that are working a long time in the area.Another point in the implementation was to develop a Web Channel: www.puntosdecultura.peIn the process of implementation of the program has strengthened the relationship with other countries that are promoting strategies around the Living Culture in Community and Culture Points (Colombia, Argentina and Brazil).The program goals are:Articulate a network of 90 organizations nationwide to exchange good practices and capacity building, identification of best practices and a significant improvement in management capacity of cultural organizations.Generate a wider range of alternatives and ways of development for children and youth at risk, increasing their self-esteem, leadership; decreasing gang violence, lack of prospects of life and social gaps.Contribute to the valuation and dissemination of the Peruvian cultural richness, strengthening cultural production at community level and creating public mechanisms that allow dissemination and recognition nationally and internationally.It is expected that over the next two years, the Culture Points program can promote the work of approximately 90 organizations that offer integral training opportunities and empowerment through the arts and culture to more than 350,000 children, adolescents, young and adults. The next steps for program implementation are:The launch of the National Registration - Culture Points Network, conducting training workshops for the Culture Points in Lima and provinces; develop a legal framework of Points Culture program; conduct a First National Meeting of Culture Points. In the medium term, actions that allow the program impacts more directly on organizations and their communities, as the definition of a Competitive Fund will allow the funding of planned projects by Culture Points nationwide. It will also acquire technology to disseminate the work of the Culture Points (digital cameras, computers, memory sticks). Furthermore, it also will continue to develop training workshops and meetings for community cultural organizations.Challenges identified in the implementation of this measure:Find institutionalized and democratic workflows between cultural organizations and the Ministry of Culture.Development of a legislative proposal, due to the competitive funding require a legislation to direct resources to organizations through a framework agreement and conditions that ensure the proper implementation of these amounts.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónMinistry of Culture
1547372532012PerúCreation of the General Directorate of Cultural Industries and Arts in the structure of the Ministry of CultureSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/creation-general-directoratehttps://es.unesco.org/creativity/node/154730The General Directorate of Cultural Industries and Arts is the technical, regulatory and promoter responsible for formulating, coordinating, implementing and monitoring at the national level, policies, strategies and actions to stimulate artistic creation and encourage artistic activity in various fields and to promote productivity and competitiveness of the industries that are linked directly to the creation, production and distribution of cultural goods and services that are protected usually by copyright.The General Directorate of Cultural Industries and Arts has main functionsPromote research and production of cultural sector information and the development of tools for dissemination and knowledge. Promote training and professionalism in Arts, encouraging training, artistic exchange and systematization of experiences in this field. Promote the creation and artistic production in varied expressions and encourage the development of initiatives and projects for the creation and development of clusters, associations and cultural institutions linked to artistic activity. Coordinate, monitor and evaluate the artistic programming of the casts of the Ministry of Culture. Declare about public entertainment not sports whose contents consider contributions to the development of our culture, keeping consistent with the current legislation. Give recognition to associations and cultural centers to entities that deserve it and promote their development. Grant nominal auspices, letters of artistic accreditation and declare cultural interest the activities and initiatives in different fields of artistic activity that deserve it. Promote the development of shows, events, exhibitions, festivals, fairs, competitions, awards, incentive programs, competitive funds, among other actions to encourage the practice, knowledge and dissemination of artistic activity in the country.On May 14, 2011 was created by Supreme Decree No. 001-2011-MC of the Rules of Organization and Functions of the Ministry of Culture, the General Directorate of Cultural Industries and Arts (DGICA) and three offices among which is the Department of Arts and Cultural Access (DAAC).NationalThe creation of the Ministry of Culture considered to integrate into its structure a General Directorate that focuses on the development of cultural industries and arts. This directorate is part of the Vice Ministry of Heritage and Cultural Industries and Arts and is responsible for implementing various programs and projects that seek diversity of cultural expressions in Peru. As a legal framework for the creation of the General Directorate of Cultural Industries and Arts are the following rules: Law No. 29565, Law of creation of the Ministry of Culture Law No. 27444, General Administrative Procedure Act Supreme Decree N º 001-2010-MC and No. 002-2010-MC, approves mergers of entities and institutions within the Ministry of Culture Supreme Decree 001-2011-MC, which approves the Regulation of Organization and Functions of the Ministry of Culture.Challenges identified in the implementation of this measure:Developing strategies and programs to dynamize and strengthen cultural industries and national arts considering the assigned budgets. Positioning cultural industries and arts as development factors and social transformation.Promote wide access to the diversity of cultural and artistic expressions.Reviewing, strengthening and updating policy frameworks for improving competitive environment of cultural industries and stimulate artistic activity.Generation of knowledge and research on Arts and Cultural Industries.Integration and articulation with other sectors and government levels.Visibility of the Universal Declaration on Cultural Diversity and the Convention on the Protection and Promotion of the Diversity of Cultural Expressions.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónMinistry of Culture
1548172532012PerúCreation of the Ministry of Culture in the Peruvian Government structureSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/creation-ministry-culture-0https://es.unesco.org/creativity/node/154810The Ministry of Culture in Peruvian Government structure develops cultural policies articulated in protection, preservation and dissemination of cultural heritage and diversity of cultural expressions, which in relation to Articles 2, 17 ° and 89 ° of Peruvian Constitution refer to the development and promotion of culture and protection of ethnic and cultural diversity, preserving cultural and linguistic expressions of the country, promoting national integration and respect for cultural identity of Rural and Native Communities.The Ministry of Culture functions related to the Convention on the Protection and Promotion of the Diversity of Cultural Expressions, adopted at the 33rd General Conference of UNESCO on October 20, 2005, in Paris, are:Governing functions:Formulate, plan, direct, coordinate, implement, monitor and evaluate national and sectoral policies of the country in culture, through programmatic areas: the nation's cultural heritage, tangible and intangible, cultural management and cultural industries, including contemporary cultural creation, and ethnic and cultural diversity of the nation, including performing arts.Technical-Regulations functions:Promote, manage and channeling national and international cooperation, technical and financial, refundable and nonrefundable for culture and art development through competent institutions in accordance with existing rules.Promotion of cultural creation in all fields, improvement of creators and cultural managers and development of cultural industries.Exclusive functions:Organize, conduct, monitor and evaluate public actions aimed to promote arts, artistic creation and development, promoting the presence of different cultural organizations, facilitating public access to these cultural expressions and promoting private initiatives on cultural sector.Give merit awards for creators, artists, people and organizations that contribute to the country's cultural developmentImplement and manage the National Registry System related to cultural heritage goods, creators, art producers of related fields from cultural expressions, and natural and legal persons that perform cultural activities.Developing measures of production, transmission and broadcasting to promote multiethnic and multicultural expressions of the Nation to assist the all Peruvians integration and assert our national identity.Ensure the freedom of expression and information through the Government media and promote the participation of society through spaces where they can express freely their points of views and proposals in order to strengthen democracy and a culture of respect and peace.Specific shared functions:Promote a culture of respect and access to cultural rights, freedom of belief and intellectual, artistic, technical and scientific creation.Promote the record, research, preservation, maintenance, dissemination and enhancement of tangible and intangible cultural heritage, archaeological, historical and artistic, documentary, bibliographic, plastic arts, music, folk, folklore, cultural industries and bibliographic and documentary heritage of the nation with the participation of civil society organizations and communities.Promote scientific and literary creation, reading and knowledge of bibliographic and documentary heritage of the nation, promoting the development and protection of the publishing book industry and related publishing products, such as incentives that encourage and disseminate the intellectual creativity, knowledge and culture.The Law No. 29565 creates the Ministry of Culture signed by President of the Republic on July 21, 2010. The areas which the Ministry of Culture applies its competences, functions and powers to achieve objectives and goals of the Government are the following: a) National cultural heritage, tangible and intangible; b) Contemporary cultural creation and performing arts; c) Cultural Management and Cultural Industries, and d) Ethnic and cultural plurality of the Nation.The structure of Ministry is integrated for the Minister, the Vice-Minister of Cultural Heritage and Cultural Industries, the Vice-Minister of Interculturality and General SecretaryThe Ministry has following assigned agencies:a) National Library of Peru, b) National Archives of Nation, c) Highest Academy of the Quechua Language.Additionally, by Supreme Decree N º 001-2010-MC approved the merge of the following institutions:National Council on Democratization of the Book and Reading Promotion – PROMOLIBRO; National Film Board – CONACINE; Special Project Archaeological Site of Chan Chan; Special Project Naylamp – Lambayeque; Implementation Unit Marcahuamachuco.Since October 1, 2010, the organizational structure of the National Institute of Culture (INC) has become the structure of the Ministry of Culture, according to Supreme Decree No. 001-2010-MC. So, the Ministry of Culture has established bases in the institution that has been the lead agency of culture in the country during nearly four decades: the National Institute of Culture, raising the level of government management of culture in important administrative decisions of the Government.Challenges identified in the implementation of this measure:One of the main challenges in implementation of the Ministry of Culture is to create awareness at all levels and across Peruvian society, the fundamental role of culture in sustainable development of the country. The Ministry of Culture of Peru is a new institution that needs to find mechanisms to position culture in all government decisions, develops proposals for appropriated and articulated policy frameworks and generates information that highlight the impact of culture on the country's development; reaffirm the importance of the development of a national concerted plan of culture, including the participation of Peruvian society. There is a responsibility of the entire sector, activists, agents, managers, brokers, researchers, men and women arts and cultural diversity of the country.Today we have a recent Ministry of Culture, the challenge is great and we are at the beginning of a participatory process in construction.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, ParticipaciónMinistry of Culture of PeruUS  $138,000,000.00
1547872532012PerúRegional cooperation to promote performing arts, musicals and films in Ibero-American: IBERMEDIA, IBERESCENA, IBERMUSICASIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturales, Movilidad de los artistas y profesionales de la culturaCine / Artes audiovisuales, Música, Las artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/regional-cooperation-promotehttps://es.unesco.org/creativity/node/154780IBERMEDIA, IBERMUSICAS IBERESCENA promote in each member countries through financial assistance, the creation of a Ibero-American audiovisual space, an integration space of Performing Arts and the strengthening of Ibero-American musical space for the protection of musical heritage and creation. The specific objectives are: promotion of economic, artistic and professional collaboration among Ibero-American countries. Development of cultural cooperation objectives. Integration of national cultural films, musicals and theater. Promote training of professionals and construction of a shared creative space among countries. The extension of legal framework and promotion policies, among others specific objectives.National, InternationalPeru is one of three Ibero-American aid funds as member country.IBERMEDIA. The Ibero-American Support Fund IBERMEDIA was founded in November 1997 on the basis of decisions made by the Ibero-American Conference of Heads of State and Government held in Margarita, Venezuela. The Peruvian Government contributes $ 150 thousand U.S. Dollars to this fund annually.IBERSCENA was established on the basis of decisions made by the Ibero-American Conference of Heads of State and Government held in Montevideo (Uruguay) in 2006. Peru provides since 2008 $ 75 thousand U.S. Dollars annually to this fund.IBERMÚSICAS. During III Ibero- American Congress on Culture held in Medellín on July 2010 it was decided to promote an agenda for the construction of Ibero-American Musical Space. Intergovernmental Committees were formed and developed specific actions. Peru recently integrated this important initiative. Peru has reiterated its commitment to contribute to the Fund IBERMÚSICAS according to Memorandum No. 191-2011-DM/MC, allocating a contribution of $ 300 000 U.S. Dollars in 2012. Also according to the Minutes of the First Meeting of the Intergovernmental Committee of the Program for Promotion of Ibero-American Music held on 8 and 9 December 2011, our country's contribution is $ 500,000 U.S. Dollars in 2013.Challenges identified in the implementation of this measure:The IBERMEDIA program has very few achievements in two of the goals set in its origins:Improve distribution of national films in common territory.Dissemination of Ibero-American films in the world film market.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónMinistry of Culture of Peru - General Directorate of Cultural IndustriesUS $525,000.00 YESIBERMEDIA Fund, the oldest of the three programs, made an evaluation at 10 years of implementation (1998-2008). One of the most important IBERMEDIA impacts has been the contribution - decisive, determining and significant - for modernization and extension of the film industry in the region, and, in particular in countries that have found in the program a reasonable and feasible unique way to produce cinematography. The IBERMEDIA co-productions may be the only resource for national cinema can find a survival environment or expression, with all that it implies from economic point of view and, above all, cultural. It indicates that $ 110,000 from financial aid has had a multiplier effect of almost 1000%. This is related to expenses made by all financial aid from co-production, with an amount around U.S. $ 400,000,000 and the production of 348 films. Furthermore, financial aids on training have had the important effect of improving capacity building of a new filmmakers generation. When they join to the industry in their respective countries, they will be part of a new filmmakers generation in order to consolidated industries and other are in the process of consolidation can find answer to ongoing structural changes.In this case, it was considered the number of films with the participation of IBERMEDIA fund in comparison with co-productions that did not have this support. This calculation have to be weighted with the amount allocated to development, taking into account that investment in development is primarily the first financial aid to support projects that will go into production later.
1547572532012PerúReview and improvement of the legal framework of culture in Peru: "Law of Peruvian Cinematography and Audiovisual"and "Law of the Artist and Performer"Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, Derechos humanos y libertades fundamentales, Libertad artísticaCine / Artes audiovisuales, Música, Las artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/review-improvement-legalhttps://es.unesco.org/creativity/node/154750THE LAW PROJECT OF CINEMATOGRAPHY AND AUDIOVISUAL OF PERU will replace the Law 26370 and aims to protect and promote visual diversity in Peru. The Peruvian Government recognizes the importance of film and audiovisual as artistic and creative manifestations for the culture development and recognition of national identity. Therefore, it proclaims the right of own film as an inalienable right of its citizens, guaranteeing the freedom to create, perform, produce and distribute films and audiovisual works in any venue or system, already created or in process to be created. The Government establishes cultural policies for development and promotion of art and industry nationally and internationally. The aims of this law:Promotion, distribution, protection and preservation of national cinematographic and audiovisual works.Promotion of a film industry in Peru.Training, research and critical study about new audiovisual languages.Abroad dissemination about Peru’s image and specifically, the diversity of their collections, promoting film and audiovisual production in the country.REFORMS TO THE LAW 27890, LAW OF THE ARTIST AND PERFORMER (music and scenic artist), its main objective is to provide a legal framework for protection of labor rights and welfare to the national artist. However there are still a number of gaps and complexities that need to be modified and expanded to achieve the objectives, which are as follows: Regulate the recognition, protection, practice and defense of moral property, patrimonial, labor, social security and intellectual property rights, among others, that correspond to the performers and theirs performances. Promote a permanent professional and academic development of the artist Encourage the creation and development of jobs through all workers participation including creators and entrepreneurs. Establish a competitive funding mechanism for promotion and development of artistic activity in a decentralized and inclusive way. This process of legal development and regulatory review has been initiated since mid-2011. NationalThe Law Project of Cinematography and Audiovisual in Peru entered in reflection, restatement and written process by a specialized and representative team. The Ministry of Culture has put into consideration this law for opinion and observation of the various guilds and groups from the film and audiovisual in Peru through an open participatory process. The law of the Artist, Law 27890, is under review with labor specialists, cultural managers and artists guilds representatives.Challenges identified in the implementation of this measure:Current legal framework, gaps and better implementation are under review. Drafting process and specialized consultation.CULTURAL POLICIES AND MEASURESProducción, DistribuciónMinistry of Culture, Ministry of Economy and Finances - MEF, Ministry of Labor and Employment Promotion - MTPE
1641372532012PerúPromotion of artistic expressions through National Ensembles: National Symphony Orchestra, National Ballet, Folklore Ensemble, National Choir, National Youth Symphony Orchestra and Children ChorusSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosMúsica, Las artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/promotion-artistic-expressionshttps://es.unesco.org/creativity/node/164130Stimulate, encourage and promote creative activity in musical arts fields in vocal and symphonic versions, performing dance including classical and folk through the following national ensembles: National Symphony Orchestra, National Ballet, Folklore Ensemble, National Choir, National Youth Symphony Orchestra and Children Chorus. Furthermore, improving public access to these cultural expressions that require special care by the Government and citizenship.NationalCurrently, the Department of National ensembles, functional office of the General Directorate of Arts and Cultural Industries, coordinates actions of various national ensembles so far have been created for the dissemination of musical arts in vocal and symphonic versions, and scenic dance (classical and folk). Furthermore, the National Symphony Orchestra, established on August 11, 1938; the National Ballet, founded in 1967; and the other ensembles of recent creation converge in the Directorate of National Ensembles.The Regulations of Organization and Functions of the Ministry of Culture of Peru states that the Department of National Ensembles focuses on:Develop and propose policies and strategies of national ensembles to the General Directorate of Arts and Cultural Industries, such as: National Symphony Orchestra, National Ballet, Folklore Ensemble, National Choir, National Youth Symphony Orchestra and Children Chorus.Coordinate actions to position the national ensembles and artistic references to national level and international scope.Developing, proposing, implementing and monitoring artistic programming and management of national ensembles.Promote and disseminate Peruvian artists and creators work in various disciplines that perform the national ensembles.Contribute to the knowledge and dissemination of different genres and interpretation ways in music and dance, and the dissemination of the Peruvian repertoire, Latin American and universal.Promote and manage performances of national ensembles nationally and internationally with public and private institutions.Manage the production archive of the national ensembles.Promote the professional art improvement of the national ensembles members through training, exchange, among others.Coordinate the management and artistic programming of ensembles in regions.Sustain and propose the creation of new national ensembles.Source: Directorate of National EnsemblesReference: National Ensembles of Peru: The Future is TodayChallenges identified in the implementation of this measure: The National Ensembles have been working intensively to strengthen its outreach nationally and decentralized and also promote Peruvian cultural richness at international level.Another major challenge is the strengthening of repertoire and standardization of production processes of performances of the National Ballet and Folklore National Ensemble as priorities in short and medium term.Provide opportunities to national creators are other important challenge of National Ensembles. In recent years, the performances of the National Ensembles have been distributed as follows: 90% reshowings and 10% premieres. Therefore, the National Ensembles and the Ministry of Culture will promote all disciplines development, encouraging creation of major large projects that encourage participation. It will summon Peruvian composers, choreographers, musical arrangers, among others, to increase their creativity and devise world-class works made in Peru.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónMinistry of Culture of PeruYESThe number of performances of national ensembles is constantly growing from 2008 to 2010 with the creation of the Ministry of Culture and the implementation of the Directorate of National Ensembles.Number of performances and number of assistance.
1548072532012PerúJoint Program: Inclusive creative industries: an innovative tool for alleviating poverty in PeruLa cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleConsidered for innovative practicesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/joint-program-inclusive-creativehttps://es.unesco.org/creativity/node/154800The Joint Program proposes to contribute to the development of creative industries (CI) in Peru, all those industries that produce and distribute cultural goods or services, in other words production activities and marketing with the identity of the place where they occur. They have as raw material the creation and transmit cultural expressions. Besides publishing, cinema, arts and handicraft, include the use of archaeological heritage, cultural tourism, popular festivals, among others.The Joint Program has main objective to reduce poverty by developing sustainable and inclusive markets for Creative Industries of organic agriculture, handicrafts, tourism and gastronomy sectors for developing and improving the quality of life of vulnerable poor groups.It considers to generate development and sustainability of Creative Industries in Peru, creating a favorable policy and institutional framework for the development of Inclusive Business in Creative Industries and strengthening of public-private structures ad hoc in each region, with entrepreneurs as strategic partners, achieving the inclusion of vulnerable groups to a formal system, to articulate different regional and national markets, and exportation sector in a sustainable way. The JP uses the experiences of six agencies involved in ILO, WTO, UNIDO, UNDP, UNESCO, FAO and proposes to implement three components which products and activities will achieve direct effects of economy stimulation in intervention areas, generating decent work and improving the quality of life of vulnerable groups and their families with better income generation.The Joint Program is implemented by a three-year period (January 2010 - December 2012) and has the following specific objectives:PROMOTING FAVORABLE INSTITUTIONAL ENVIRONMENT FOR THE DEVELOPMENT OF INCLUSIVE CREATIVE INDUSTRIES.All UN involved agencies work together in the JP for developing this aim with government counterparts. Currently, there are developing a series of studies and mapping of strategic partners, public, private and international cooperation, financial service and business providers, training and technical assistance in support of ICIs, which will be complemented with studies on intangible cultural heritage, valid legislation for promoting ICIs, intellectual property protection tools and market research nationally and internationally on the ICIs.Within this objective also includes awareness component, which not only informs the JP, but also raises awareness in strategic partners about possibilities and opportunities offered by ICIs. As part of this, actions will be held in order for leaders and representatives of business associations know the methodology to develop inclusive business plans and identify ICIs minimum standards for inclusive business. It will also work on building capacity of local and regional governments in promoting sustainable business development in ICIs. Finally, as part of this result, activities will be developed a proposed regulatory framework and valid public policies for the promotion and development of ICIs, according to the distribution of competences and functions among four levels of government.CAPACITY BUILDING OF MICRO AND SMALL PRODUCERS IN IC SUSTAINABLE BUSINESS TO CONTRIBUTE TO MORE INCOME GENERATION AND MARKET ACCESS THROUGH PILOT PROJECTS AND INCUBATION OF NEW CREATIVE ENTERPRISES.This objective is divided into (i) capacity building about Training of Trainers program, and Farmer Field Schools and other training ways and technical assistance to micro and small producers particularly vulnerable, (ii) the promotion of income generation and market access for micro and small producers through the identification and selection of new and creative endeavors and development of innovative pilot projects; and (iii) promoting IC formalization in coordination with existing relevant institutions.APPROPRIATE MANAGEMENT TOOLS FOR PARTNERS, STRATEGIC PARTNERS AND OTHERS TO ASSURE SUSTAINABLE AND REPLICATION OF JPDevelop activities of systematization, publication and transfer of best practices and lessons learned from the JP. This process will allow that JP outputs and outcomes are disseminated to all its stakeholders, partners, networks, etc. to promote sustainable and replication of JP.NationalThe promotion of cultural industries in JP focuses on four sectors: organic agriculture, handicrafts, tourism and gastronomy in four regions of Peru: Ayacucho, Cusco, Puno and Lambayeque. Three of these regions (Ayacucho, Cusco and Puno) are included in the list of areas with very critical situations MDGs, while Lambayeque, after Piura, the second poorest region in the Peruvian coast. Two of these regions, Lambayeque and Ayacucho do not receive mining royalties and their rents are very low in relation to the rest of the country. All selected districts of the 4 regions have HDI below 0.6. These four regions of Peru have been selected for three main reasons: the first reason is their poverty, especially in poor urban areas of recent immigrants or in more remote rural areas, the second is that there are major development opportunities in four economic sectors that include many productive creative industries based on micro and small enterprises, such as organic farming, gastronomy, tourism and handicraft; and the third is the presence of UN agencies that articulate the JP.The lead government institution is the Ministry of Foreign Trade and Tourism (MINCETUR), which is responsible for coordinating of other national counterparts and consolidate their positions. MINCETUR coordinates JP actions with UN agencies and developed the program with local partner institutions such as the Regional Governments of Ayacucho, Cusco, Puno and Lambayeque, Provincial and District Municipalities, the Ministry of Production (PRODUCE) and Regional Directorates of Production (DIREPRO), Ministry of Agriculture - MINAG Agricultural and Regional Offices, as well as the National Service of Agrarian Health (SENASA), Ministry of Foreign Trade and Tourism (MINCETUR) and its Regional Offices (DIRCETURs), plus Technological Innovation Centers of Handicraft and Tourism (CITEs), the Ministry of Environment (MINAM) and Regional Environmental Management Offices, the Ministry of Labour and Employment Promotion (MTPE), Ministry of Culture and its regional directorates, INDECOPI, producer associations, and some NGOs with experience in the program.Intervention StrategyThe JP intervention strategy is based on three main components that will allow to achieve direct effects of JP: i) favorable institutional environment to develop inclusive business in inclusive cultural industries. ii) Market access and growth of micro and small producers involved in business of inclusive cultural industries. iii) Dissemination of validated models for business promotion in inclusive cultural industries.A favorable institutional environment will be result from the conduct and dissemination of specialized studies for business promotion in ICIs, including identifying of strategic partners for support. Also, the strategies will be implemented to raise awareness about possibilities and opportunities offered by ICIs. It will strengthen public and private sector capacities to promote inclusive business.Also, to achieve market access and increasing income, it will be necessary the development of productive capacities and business management, give co-funding for innovative endeavors, integral formalization of micro and small producers and promotion of ICIs goods at regional, national and international markets.Systematize and disseminate experiences and best practices developed by the JP for developing models for ICIs promotion and achieve sustainability and replicability of JP.Intervention strategy at national and regional level is based on strategic partnerships of JP with public and private institutions that have interventions linked to JP. Also, ensuring that JP interventions are linked with policy guidelines of the different levels of government.At the end of the program is expected to have:4.800 government officials, private sector leaders and community leaders will know about the ICIs opportunities in rural areas, Creative Industries, at least 30% women.100 students will have completed successfully studies in Creative Industries and Inclusive Business delivered by representative national universities.A proposed regulatory framework and procedures for ICIs promotion.1.300 representatives of public sector, private sector and civil society (national, regional and local) increased awareness of existing incentives in the regulatory framework and the management of ICIs to fight poverty.120 congressmen increased awareness to incorporate the proposed regulatory framework on its legislative agenda with the participation of 32 regional and local leaders.A methodological guide that includes minimum standards to formulate business plans of inclusive creative industries.500 Business leaders know the methodology to develop inclusive business plans.04 regional governments and 12 local governments incorporate inclusive creative industries topic in their plans of Coordinated Development and develop a public investment project for ICIs promotion.100 trainers have been trained (minimum 30% women, 50% poorest quintile) and can replicate JP with a larger number of micro entrepreneurs.60 pilot projects or new Inclusive Business of Creative Industries endeavors will have been consolidated using quality criteria, ensuring work for 200 entrepreneurs and improving the quality of life for 200 families.4 tours will articulate Creative Industries, encouraging local economy of approximately 53,000 people.80 local institutions have been trained on the implementation of the minimum standards in labor, environmental and preservation of intangible heritage of creative industries as quality indicators.The experience will be systematized about best practices and lessons learned of Joint Program.Challenges identified in the implementation of this measure:The ICI promotion is an innovative issue that should be included on agendas of competitiveness and productivity to improve the social inclusion of the poor. However, taking into account the roles and functions of government counterparts, the Government will have an important role in promoting and strengthening a favorable environment for inclusive businesses in ICI.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónMinistry of Culture of Peru, ILO, WTO, UNIDO, UNDP, UNESCO and FAO, Regional Governments of Ayacucho, Cusco, Puno and LambayequeUS  $5,000,000.00 Considered for innovative practices
1547772532012PerúPromotion of exchange visual arts of popular tradition, Ruraq Maki La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleConsidered for innovative practicesDiseño, Artes visualeshttps://es.unesco.org/creativity/policy-monitoring-platform/promotion-exchange-visual-artshttps://es.unesco.org/creativity/node/154770The Ruraq Maki brings Traditional Folk Art produced in various rural villages of Peru for generating alternative marketing channels through sell-exhibition spaces. The Ruraq Maki is one of the most important exhibitions promoted by the Ministry of Culture. The Ruraq Maki is a Quechua term that stands for "handmade”. It is developed since 2008.Challenges identified in the implementation of this measure:Finding the balance of promoting marketing spaces and preservation of all knowledge and creation and production techniques of all these valuable handicrafts. Find appropriate ways for development without impacting the natural development of the artistic collective identities.NationalThe sale-exhibition of Ruraq Maki Traditional Folk Art has become one of the most important exhibitions promoted by the Directorate of Contemporary Intangible Heritage of the Ministry of Culture of Peru.Ruraq Maki brings together twice a year to leading master craftsmen from around the country to expose first, the tangible skills and traditional subjects and, secondly, to demonstrate the performance of creativity is parallel according with sociocultural and economic changes.There have been 9 contests since 2007 (July), having the participation of 270 communities (For communities means: families of artisans, craft associations and craft villages)Source: Directorate of Contemporary Intangible Heritage - Ministry of CultureCULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónMinistry of CultureConsidered for innovative practices
1547472532012PerúCreation of the Information System on Cultural Industries and Arts of PeruSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/creation-information-systemhttps://es.unesco.org/creativity/node/154740Information System on Cultural Industries and Arts of Peru is an integrated system, national scope, management, production and dissemination of cultural information. Its main objective is to become a useful and effective tool for the cultural sector, providing current and systematized information that allows:- Highlight dimension and dynamic of culture and its impact on national development.- Improve the planning, implementation, monitoring and evaluation of public policies.- Strengthen and promote cultural management.- Reassess and disseminate the artistic activity and cultural heritage of the country.This information system is in process of validation and some adjustments are needed before its official release. The website link of the Information System on Cultural Industries and Arts of Peru is: www.sicperu.peNationalInformation is being collected from an intercultural vision of diverse cultural expressions developed in the Peruvian territory. It is considering issues such as infrastructure for the development of the expression. For the official launch the Information System on Cultural Industries and Arts of Peru will have the following sections:Artistic Expressions (Panorama, Our People, Training, Announcements, Infrastructure, Statistics, Directory).Cultural InfrastructureCultural HeritageStats on cultural industriesLegal FrameworkTraining and exchangeOpportunities and news.A process of information collection and systematization of our cultural wealth has initiated in collaboration and coordination with the institutions that manage information about Peruvian cultural sector. It was considered a broad vision to recognize all expressions of cultural diversity of Peru.Through the Website Information System on Cultural Industries and Arts of Peru will be disseminated all material produced by various organizations in the cultural sector, documents, data, statistics, images, audio of traditional Andean, Amazonian, and Afro-Peruvian music, and various ancient traditions and modern or contemporary. It can also relive rich narrative of our people through hundreds of stories, myths and legends, oral narrations of Peruvian people. It also includes various expressions of visual art, textile art such as Taquile further heritage information such as san marcos drawers, altarpieces, Amazon art and other expressions of our broader diversity.Challenges identified in the implementation of this measure:Some fields of the national cultural sector have not yet updated and systematized information.The required budgets are greater than the resources assigned.Commitment of all cultural sectors in searching for detailed and specific information that allows to visualize development strategies.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónMinistry of Culture
14647112462016PoloniaCultural programme in TurkeyIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/cultural-programme-turkeyhttps://es.unesco.org/creativity/node/146470The main part of the cultural programme was presented in Turkey primarily between April and September 2014. The programme made use of the triumphs of Polish classical, contemporary and modern music, new forms in visual arts and design, and also the winning streak of Polish theatre, dance and cinema. The cultural programme is consolidated by two historical exhibitions demonstrating Poland's and Turkey's shared heritage: The exhibition entitled "Distant Neighbour, Close Memories: 600 Years of Polish-Turkish Relations" and the closing exhibition entitled "Orientalism in Polish painting, drawing and graphic art" held at the Pera Museum in cooperation with the National Museum in Warsaw.InternationalinstitutionalPREFERENTIAL TREATMENTCreación, Participación
14644112462016PoloniaThe "Gaude Polonia" Programme run out by the National Centre for CultureIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturalesJóvenesIndustria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/gaude-polonia-programme-run-outhttps://es.unesco.org/creativity/node/146440Provided by the Minister of Culture and National Heritage, the "Gaude Polonia" scholarship programme is intended for young creators of culture and translators of Polish literature from Central and Eastern Europe. The purpose of this six-month scholarship is to allow its recipients to explore Polish culture and hone their creative techniques under the guidance of acclaimed Polish authors and institutions in major centres of Polish culture.InternationalfinancialPREFERENTIAL TREATMENTCreación, Producción, DistribuciónJóvenes
14638112462016Polonia Anna Lindh Euro-Mediterranean Foundation for the Dialogue Between CulturesSistemas sostenibles de gobernanza de la cultura, Alianza con la sociedad civil, Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/anna-lindh-euro-mediterraneanhttps://es.unesco.org/creativity/node/146380More than 100 NGOs, public institutions and schools of higher education are members of the Polish network of the Anna Lindh Euro-Mediterranean Foundation for the Dialogue Between Cultures[1], which is coordinated by the International Cultural Centre in Kraków. The Foundation’s task is to support the most broadly defined cultural and intellectual exchanges involving journalists and young people from Mediterranean countries, hold patronage over selected events, and promote the achievements of the Barcelona Process. In accordance with its statutes, the Foundation operates as a “network of networks”, an information-sharing platform for national networks of institutions active in cultural cooperation. The three-year action programme of the Foundation for the years 2012-2014 builds on the successful efforts of the organisation in the previous period, underscoring the intercultural mission of the Foundation and trying to make an appropriate and effective response to the emerging challenges in the Euro-Mediterranean region, including in particular the democratic-transformation processes in Northern African countries, as well as the global economic crisis. The Foundation’s strategic focus remains on Culture and Creativity, Education and Intercultural Teaching, Urban Spaces and Citizenship, and Media and Public Opinion. [1]                More information on MKiDN’s website www.mkidn.gov.pl. InternationalinstitutionalEMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9bCreación, Participación
14635112462016PoloniaCongress of Women AssociationDerechos humanos y libertades fundamentales, Igualdad de géneroCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/congress-women-associationhttps://es.unesco.org/creativity/node/146350Research of the Central Statistical Office shows that women are more active than men in terms of cultural participation. There are numerous organisations supporting women. Among them, by far the most recognisable is the Congress of Women Association. Their main objectives are to:1) contribute to the equal treatment of men and women,2) make efforts to increase the activity of women and their participation in political and public life,3) assist in gaining knowledge and skills to enable women to actively participate in social, political and public life,4) perform actions aimed at improving the situation of women. One of the main activities and demands of the Congress of Women is the promotion of culture created by women.NationalinstitutionalCURRENT UNESCO GLOBAL PRIORITY: GENDER EQUALITYCreación, Producción, Distribución, Participación
14631112462016PoloniaOnline culture for childrenSistemas sostenibles de gobernanza de la cultura, Entorno digitalJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/online-culture-childrenhttps://es.unesco.org/creativity/node/146310In 2010 the Ministry of Culture and National Heritage launched the kula.gov.pl website, which is addressed to the youngest Internet users. For six years now, Kula and Kulek (the two creatures – game protagonists) have invited kids to embark on a virtual tour of Poland. The website has been designed to get children interested in the cultural heritage of Poland by providing accessible and interesting user experience.NationalinstitutionalYOUTHParticipaciónJóvenes
14653112462016PoloniaTHE CULTURAL INDUSTRYSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, Políticas y planes nacionales de desarrollo sostenibleIndustria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/cultural-industryhttps://es.unesco.org/creativity/node/146530The vitality of national, regional and European cultures is driven by the ability of cultural industries to produce and distribute cultural goods and services. It is reasonable for governments to intervene in this field with a view to protecting national identity, fostering the good quality and diversity of cultural services, and also preventing price from being a barrier to access to cultural goods for average consumers. Particularly strong government support is received by the publishing market and cinematography. Of great importance for the former are the efforts of the National Library, which collects, compiles, makes available and archives the entire national publishing output, including works that are published in Poland by, and addressed to, national and ethnic minorities. Through international cooperation agreements, the National Library provides opportunities for publishing-house exchanges, international lending and collaboration in science and culture. Currently, the Library's partners include the National Library of Serbia in Belgrade, the M.F. Akhundzade National Library of Azerbaijan and the Morocco Archive. In 2012 Poland, in cooperation with the Institute of the Bulgarian Academy of Sciences and as part of a UNESCO project, put together an exhibition at the National Library entitled "The 11th-century Codex Suprasliensis in the context of Byzantine-Slavonic relationships". The exhibition showcased the history of the Codex Suprasliensis, one of the most valuable Cyryllic literary monuments, inscribed on Memory of the World Register. The publishing market is also supported through direct subsidies. The Book Institute[1] under MKiDN provides grants for translations of Polish literature into foreign languages. [1] For more information about the Institute's activities, go to http://www.bookinstitute.pl/en,ik,site,42,87.php.Nationalfinancial, institutionalCULTURAL POLICIES AND MEASURESParticipación
14646112462016PoloniaThe Asia project Intercambios de bienes y servicios culturales, Movilidad de los artistas y profesionales de la culturaMúsica, Las artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/asia-projecthttps://es.unesco.org/creativity/node/146460The Asia project is meant to increase the presence of Polish culture in Asian countries, including in particular China, the Republic of  Korea and Japan. In 2013 Poland’s presence in the region was marked through the concert tour of the Lutosławski Quartet (Hong Kong, South Korea, China, Singapore), the concerts by Zakopower and Cracovia Danza at the Meet in Beijing Festival and the contemporary-dance programme at the Beijing Fringe Festival. In Hong Kong Teatr Dramatyczny put on the "Persona. Marilyn" spectacle by Krystian Lupa and Teatr Polski from Bielsko-Biała put on "Zbrodnia", directed by Ewelina Marciniak, at the Seoul Performing Arts Festival in the Republic of  Korea. The Polish jazz artists, including Anna Maria Jopek, Maciej Obara, Marcin Masecki and Pink Freud played at the Jarasum International Jazz Festival in South Korea, the Tokyo Jazz Festival and the New Polish Music Festival in Japan. As part of the Asia Project, Polish culture was presented in Hong Kong, Singapore, Burma, India and Taiwan.[1] [1]  The list is available on http://www.oecd.org/dac/stats/documentupload/DAC%20List%20of%20ODA%20Recipients%202014%20final.pdfInternationalinstitutionalPREFERENTIAL TREATMENTCreación, Participación
14641112462016PoloniaKULTURA+ Multiannual Programme operated by the MKiDN. La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleIndustria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/kultura-multiannual-programmehttps://es.unesco.org/creativity/node/146410Another undertaking geared towards building social capital and enhancing social cohesion through investment in cultural institutions is the KULTURA+ Multiannual Programme operated by the MKiDN. Its aim is to upgrade and build the library infrastructure in the smallest towns and villages on the one hand, and to establish an integrated network of digitisation laboratories for the mass digitisation of cultural resources on the other. These measures are intended to improve access to culture, counteract cultural and digital exclusion and encourage people living in small towns and rural and mixed rural and urban areas to become more involved in cultural life.NationalfinancialINTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELDistribución, Participación
14634112462016PoloniaCultural Education - innovative and creative society. The need for art education in modern schoolSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/cultural-education-innovativehttps://es.unesco.org/creativity/node/146340The Polish National Commission for UNESCO organised an international conference and workshop for teachers on "Cultural education - innovative and creative society. The need for art education in modern school " in Łódź on 17-18 September 2015. The inspiration for the first of a planned series of conferences was the UNESCO document “Seoul Agenda: Goals for the developement of Arts Education”, translated into Polish and published in the book  "Education through culture. Creativity and Innovation" (ed. Polish National Commission for UNESCO, Warsaw, 2011).InternationalYOUTHCreación, Producción, Distribución, ParticipaciónJóvenes
14630112462016PoloniaThe "Cultural Education" and "Artistic Education" Programmes of the Minister of Culture and National HeritageSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/cultural-education-artistichttps://es.unesco.org/creativity/node/146300One of the operational programmes led by the Minister is addressed to local-government and state cultural institutions, local-government units, NGOs, churches and religious associations. It aims to develop creative expression and creativity among citizens, and support artistic events addressed to children and young people, as well as to improve artistic education in Poland by providing financial support for the most valuable projects addressing students at schools and universities and graduates of art schools and universities.NationalfinancialYOUTHCreación, Producción, Distribución, ParticipaciónJóvenes
14655112462016PoloniaINITIATIVES TO SUPPORT NATIONAL-LEVEL MEASURESSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/initiatives-support-national-0https://es.unesco.org/creativity/node/146550Poland's cultural policies relating to diversity and the promotion of modern thinking about culture as a driver of economic and social development are supported by, among other entities, the Polish National Commission for UNESCO. As part of the conferences it organises and its publishing activities this institution has been committed to promoting the message of the 2005 UNESCO Convention by underscoring the importance of culture for sustainable development and the role of education in promoting cultural diversity. The Polish National Commission for UNESCO has been a member of the Polish EUROMED network – the Anna Lindh Euro-Mediterranean Foundation for the Dialogue Between Cultures, whose job is to promote intercultural dialogue and the objectives of the Barcelona Process by facilitating cultural, intellectual and social exchange.MKiDN has also engaged in efforts to promote modern thinking about culture as a driver of socio-economic development. This premise is the basis for the social campaigns that have been in place since 2012, including the "Legal Culture" initiative aiming to promote legal sources of culture and education in the field of intellectual-property protection, and the "Mother Tongue – Add to Favourites" campaign, which promotes attention to the correct use of Polish.InternationalCULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
14648112462016PoloniaThe Adam Mickiewicz Institute (IAM) Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaMúsica, Las artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/adam-mickiewicz-institute-iamhttps://es.unesco.org/creativity/node/146480The Adam Mickiewicz Institute (IAM) deserves special mention for its commitment to the objective of "lending permanent credibility to Poland’s role as an essential player in international networks circulating ideas, values and cultural goods of the highest quality."[1] Between 2011 and 2016 the IAM launched and led the I, CULTURE Orchestra project. Its mission has been to advance dialogue between Eastern European and South Caucasus countries in the field of music. For instance, young musicians from Azerbaijan, Belarus, Georgia, Ukraine, Poland, Moldova and Armenia played a concert in Kiev in 2015 to celebrate the Independence Day of Ukraine. In 2014 the Institute launched, and continues to lead, the "Wystawiajmy się" ("Let's Go on Show!") project making sure that Polish designers are present on international design festivals and shows. This gives the artists an opportunity to showcase their work as well as to strike up international partnerships. Another Polish undertaking is the Eastern European Performing Arts Platform (EEPAP) launched by the Adam Mickiewicz Institute and based in Lublin. This is an international exchange platform for artists and curators from Central and Eastern Europe. A range of study visits, artist & curator residencies and workshops took place in 2015 as part of the EEPAP. Notable workshops included the dramaturgy workshop of the Theatre Laboratory, held as part of the Desant educational project, attended by 20 young directors, critics and theatre researchers from Ukraine. [1] More on https://iam.pl/en/about-usInternationalfinancial, institutionalINTERNATIONAL CULTURAL COOPERATIONCreación, Participación
14645112462016PoloniaThe European Stadium of CultureIntercambios de bienes y servicios culturales, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/european-stadium-culturehttps://es.unesco.org/creativity/node/146450In response to a cooperation agreement between the governments of Poland and Ukraine in connection with the co-organisation of EURO 2012, the Ministry of Culture and National Heritage initiated a Polish-Ukrainian cultural project called "The European Stadium of Culture". The core objectives of the project are to build Poland's and Ukraine's image by promoting the richness of their cultures; creating a shared cultural space by promoting a shared cultural heritage; building shared social and cultural capital; engaging in promotion; breaking down stereotypes and instilling respect and tolerance for other culturesInternationalPREFERENTIAL TREATMENTCreación, Participación
14640112462016PoloniaConstitution of the Republic of Poland (Article 5) and EU treaties. La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/constitution-republic-polandhttps://es.unesco.org/creativity/node/146400The principle of fostering sustainable socio-economic development, as mentioned in particular in Article 13 of the Convention, is incorporated both into the Constitution of the Republic of Poland (Article 5) and EU treaties. This principle is also reflected in strategic documents setting out the objectives and priorities of Poland's development policy. The role of culture in this respect is underscored by the authors of "The National Development Plan for the Years 2007-2013 and 2014-2020"[1], "The 2020 Social Capital Development Strategy”[2] and the "Poland 2030” report[3]. Moreover, bringing about a more sustainable cultural development is one of the objectives of "The 2004-2020 National Cultural Development Strategy"[4]. [1] More on the programme: http://www.nid.pl/idm,372,miedzynarodowa-podyplomowa-letnia-szkola-akademia-nieswieska.html.[2] Available in Polish on http://www.funduszestrukturalne.gov.pl/informator/npr2/npr.htm[3] Available in Polish on http://ks.mkidn.gov.pl/media/download_gallery/20130520SRKS_na_stronie_internetowej.pdf[4] Available in Polish on http://www.polska2030.pl/.NationallegislativeINTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, Participación
14637112462016PoloniaBorderland Foundation Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/borderland-foundationhttps://es.unesco.org/creativity/node/146370Based in Sejny, the Borderland Foundation is making a great contribution to the implementation of the Convention’s objectives[1]. This organisation aims to promote the borderland ethos and to build bridges for people of different religions, nationalities and cultures. It operates mainly on the basis of grants provided by various institutions and organisations, and private individuals. The Foundation cooperates closely with the “Borderland of Arts, Cultures and Nations” Centre under a cooperation agreement which reflects the converging objectives of both institutions. Among other projects, the Foundation runs the Summer School of Intercultural Dialogue, which is an international programme designed to educate integration leaders in multicultural communities. Programme participants include cultural managers, social activists, journalists, artists, teachers and members of local governments from the Eastern Partnership countries – Belarus, Ukraine, Georgia and Poland. The “Borderland of Arts, Cultures and Nations” Centre is also involved in the “It’s worth asking about culture” project involving symposia originated by the Department of Culture and National Heritage of the Governor’s Office of the Podlaskie Voivodeship. [1]                More on the Foundation’s activities on http://www.alfpolska.org/.InternationalinstitutionalEMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9bCreación, Producción, Distribución, Participación
14633112462016PoloniaThe School Music LibrarySistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesMúsicahttps://es.unesco.org/creativity/policy-monitoring-platform/school-music-libraryhttps://es.unesco.org/creativity/node/146330The project has been developed by the National Audiovisual Institute in cooperation with experts – pedagogues and musicologists. It aims to educate conscious music audiences and active participants in culture, and to improve universal musical education. Launched in 2011, this platform for musical education has succeeded in accumulating not only abundant audio and video recordings, but also lesson scenarios for teachers, various types of games, etc.NationalinstitutionalYOUTHParticipaciónJóvenes
14654112462016PoloniaTHE OPERATIONAL AND CROSS-DISCIPLINARY PROGRAMMES OF THE MINISTRY OF CULTURE AND NATIONAL HERITAGESistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/operational-cross-disciplinaryhttps://es.unesco.org/creativity/node/146540The operational programmes led by the Minister of Culture and National Heritage exemplify a systemic project-based solution for the publicly funded support of a range of cultural entities. Each year, a list is announced of grant programmes for local-government and state cultural institutions, local government units, NGOs, churches and religious associations. These programmes are primarily concerned with artistic events, museum collections, literature and readership promotion, education, cultural heritage and cultural-infrastructure development. A very important program, in the context of the Convention, is the Culture Observatory, which is operated by the National Centre for Culture. The program’s objective is also to identify particularly important areas of operation of the cultural policy by subsidising research projects and projects interpreting data about culture. MKiDN has also engaged in multiannual programmes, such as the CULTURE+ programme, whose aim in the years 2011-2015 was to improve access to culture and raise participation in cultural life in rural areas and mixed rural and urban areas by upgrading and building the library infrastructure and digitising the resources of Polish museums, libraries and archives.NationalfinancialCULTURAL POLICIES AND MEASURESParticipación
1511372542012PoloniaThe Multiannual Programme CULTURE+Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/multiannual-programme-culturehttps://es.unesco.org/creativity/node/151130A national project, dedicated to the social capital building and improvement of the social cohesion through investments in the development of cultural institutions is implemented by the Ministry of Culture and National Heritage the Multiannual Programme CULTURE+. It assumes the modernisation and development of the library infrastructure (priority “Library+ Library Infrastructure”) in the smallest towns, transformation of municipal libraries into modern centres providing access to knowledge and culture, and into centres of social life. On the other hand – development of the integrated network of digitalising centres and the mass digitalisation of cultural resources (priority “Digitalisation”). These measures are intended to increase access to the culture, overcome the cultural and digital exclusion and intensify the participation of residents of small towns and rural, as well as rural – urban areas, in the cultural life.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, Participación
1511072542012PoloniaExamplary cultural projects implemented in cooperation with partners from developing countriesIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/examplary-cultural-projectshttps://es.unesco.org/creativity/node/151100Due to various approaches and names accepted for definitions of developing countries, the report is based on the DAC list, according to which the OECD qualifies beneficiaries of the official development support. The list of programmes related to these countries is attached in section 3 of the Annex (tables 13 – 15). Poland supports the development of countries listed on the DAC list through measures implemented under bilateral cooperation programmes, co-organising cultural events, payments for international organisations and direct support for individual artists and authors.In the years 2008 – 2011 the Ministry of Culture and National Heritage has made payments for the UNESCO World Heritage Fund and the World Intellectual Property Organization (WIPO) pursuant to financial recommendations of the OECD. In 2008 the Ministry also transferred funds for establishment of the trust fund by UNESCO in order to complete the report evaluating the status of the archaeological site Babylon (beneficiary: Iraq). Furthermore, in 2009 the Ministry of Culture and National Heritage supported numerous measures related to the protection of Polish cultural heritage abroad in beneficiary countries of the development countries – inter alia, the restoration of valuable monuments on the territory of Belarus, Moldova and Ukraine. These measures are implemented through grants for institutions and organisations established on the territory of the Republic of Poland. The Ministry of Culture and National Heritage implemented also measures related to the restoration of Afghanistan, i.e. prepared a study visit aimed at the assessment of possibilities to grant support for the cultural heritage or the evaluation of the conservation status of the historic fort – the FOB warrior base.Exemplary cultural projects implemented in the cooperation with partners from developing countriesBANGLADESHAs the result of bilateral arrangements, the Ministry of Culture and National Heritage has planned for 2012 granting the assistance through the secondment of two experts to Dhaka. The aim of the visit is to evaluate the status of collections after the flooding and development of the concept for rescue actions.CHINAWithin the framework of the Chinese Culture Days organised in accordance with the protocol on the cultural cooperation between Ministries of Culture of Poland and China for the years 2007 – 2011, the Ministry of Culture and the Adam Mickiewicz Institute organised in 2009 the exhibition “Chinese Masters of Ink. Ink in Contemporary Art of the Middle Kingdom” at the Royal Castle in Warsaw and at the National Opera in Warsaw the concert of the Radio and Film Symphonic Orchestra conducted by maestro Fan Tao. In 2010 the Polish Filmmakers Association thanks to own funds and subsidies from the Polish Film Institute, organised in the Warsaw Kultura cinema the review of the contemporary Chinese cinematography. In 2011 the Ministry of Culture and National Heritage and the Adam Mickiewicz Institute organised the concert Forbidden City Chamber Orchestra at the Concert Hall of the Fryderyk Chopin University of Music and the Karol Szymanowski Krakow Philharmonic. In addition the Polish party hosted the exhibition of Chinese lacquer art and folk paintings at the State Ethnographic Museum in Warsaw.INDIASince the signing in September 2010 the “Cultural Cooperation Programme between the Ministry of Culture and National Heritage and the Ministry of Culture of India for the years 2010 – 2013” the cultural exchange between these countries has significantly improved. The Ministry of Culture and National Heritage in accordance with provisions of the Programme implemented in February 2011 shows of the 10-person Bhojpuri Group. The exhibition “Generation of Transformation – New Art of India” at the Zachęta National Gallery of Art in Warsaw (03.09 – 06.11.2011) was almost completely financed by the Department of International Relations of the Ministry of Culture and National Heritage (about 48.5 thousand of EUR). In 2008 and 2011 the Adam Mickiewicz Institute organised study visits in Poland for Amal Allana – the President of the National Drama School in New Delhi and in 2011 for Ashoka Vajpeyi – the translator of the Polish literature, the Chairman of Lalit Kala Academy.MONGOLIAIn 2010 the Ministry of Culture and National Heritage granted funds for the “Meditations. Dzanabadzar and His School Art” exhibition at the State Ethnographic Museum in Warsaw, which was one of events related to the celebrations of 60th anniversary of diplomatic relations between Poland and Mongolia.UKRAINEAs a reply to the agreement on the cooperation between governments of Poland and Ukraine concluded in relation to the organisation of EURO 2012, the Ministry of Culture and National Heritage initiated the Polish – Ukrainian cultural project “European Culture Stadium”. Main objectives of the project include: developing the image of Poland and Ukraine through the promotion of the cultural diversity of both countries, creation of the common social and cultural capital, promotion, overcoming stereotypes, building respect and tolerance for other cultures.VIETNAMThe Department of Art and Culture Education of the Ministry of Culture and National Heritage supports the development of the e-learning platform, established in the cooperation with the Warsaw Arts Academy and the Polish – Japanese Institute of Information Technology. The platform shall provide knowledge related to the field of arts. One of the first countries where the platform shall be launched is Vietnam.Examples of recurrent and multiannual projectsPOLISH – UKRAINIAN YOUTH EXCHANGEThe programme is dedicated to children and youth aged 12 – 18. Grants may be applied by schools, local cultural institutions and non-governmental organisations. The aim of the programme is the mutual acquaintance of young people from Poland and Ukraine, and presentation of cultural similarities and differences. In 2010 the budget of the project amounted to 1.5 million of PLN (about 376 thousand of EUR). The programme included the implementation on the territory of Poland and Ukraine of projects, covering 1435 beneficiaries with Ukrainian citizenship.NIEŚWIEŻ ACADEMYThe International Summer School „Nieśwież Academy” is the Polish – Belarusian project mission of which is to train conservators in the Central and Eastern Europe. Training courses are organised in two-year cycles. Each of them is dedicated to other subject related to the protection, preservation and utilisation of monuments. So far, fifteen courses were organised within the “Nieśwież Academy”. In 2011 trainings were organised in Minsk (Belarus), as well as in Warsaw and Krakow. Over 69.5 thousand of PLN (166.8 thousand of EUR) were spent on their organisation.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, Participación
1511472542012PoloniaMaps of investments related to the development of cultural infrastructureLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/maps-investments-relatedhttps://es.unesco.org/creativity/node/151140Maps of investments related to the development of cultural infrastructure and protection of the cultural heritage in Poland significantly improved through the EU funds dedicated to the equalisation of the level of development of particular regions. The total amount of funds for the implementation of the National Cohesion Strategy – the basic document describing priorities and the exploiting system for structural funds – in 2007 – 2013 will amount over 85 million of EUR. In 2010 the Ministry of Culture was a leader in spending the EU funds – over 34 contracts in the total amount of 2 billion of PLN were concluded (about 0.5 billion of EUR). It should be noted, that – at the initiative of the Ministry of Culture and National Heritage – the cultural sector was included in the system of implementation of the European Union cohesion policy. Tasks related to strengthening the cultural infrastructure were directly inscribed in the Strategic Guidelines of the Community, and in the European Regional Development Fund new, tourism independent, intervention area, dedicated only to the culture was distinguished. Therefore, the possibility to implement investment projects related to the culture was opened, and the culture was recognised as the factor of the regional development.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, Participación
1510772542012PoloniaInitiatives supporting operations at the national levelLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/initiatives-supporting-operationshttps://es.unesco.org/creativity/node/151070The cultural policy of the state on the diversity and promotion of the modern way of thinking about the culture, as a factor of the economic and social development is being supported, inter alia, by the Polish National Commission for UNESCO. The text of the Convention in Polish together with the information about activities of UNESCO and links to the www.unesco.org web site were published on the web site of this institution. The Polish National Commission for UNESCO actively participates, within the framework of organised conferences and publishing activities, in the popularisation of the message of the UNESCO Convention of 2005, and particularly focuses on highlighting the importance of culture for the sustainable development (this issue was extensively described in the section 2.3) and the role of education in the promotion of the cultural diversity. In the years 2008 – 2011 these operations included the organisation of domestic conferences – in cooperation with the Ministry of Culture and National Heritage, under the honorary patronage of the Marshal of the Parliament – and related book publications:"Culture and sustainable development. Environment, spatial order, heritage”(2009) – the conference related to the subject of the art. 13 of the UNESCO Convention was attended by representatives of the Ministry of Culture and National Heritage and members of the Parliament, representatives of local governments and cultural and educational societies."Education through culture. Creativity and Innovation” (2011) – the aim of the conference was to disseminate the knowledge about recommendations of the UNESCO World Conferences dedicated to the Arts Education and was related to the issue of the preparation to the life in the multicultural society. The conference was attended by representatives of the Ministry of National Education and members of the Parliament, representatives of local authorities, scientists and teachers.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
1509972542012PoloniaCultural industriesSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCine / Artes audiovisuales, Industria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/cultural-industrieshttps://es.unesco.org/creativity/node/150990The vitality of national, regional as well as the European culture depends on the capacity of cultural industries to create and distribute cultural goods and services. Therefore, it is justified to introduce the state intervention aimed at the protection of the national identity, the care for the high cultural quality and diversity, as well as the strive to reduce the price barrier for the access of average consumers to goods of culture. It is possible to designate areas, where the public support is particularly evident: the publishing market and the cinematography. For the former, the crucial impact had the 0% VAT rate applicable until the end of 2010 for publications with the ISDN or ISSN number and publications in the Braille language. After the expiry of the EU derogation, enabling application the zero VAT rate in Poland for books and professional magazines, since 2011 the rate was raised up to 5%. In this context activities of the National Library which gathers, develops, provides and archives all domestic publications, including also publications of national and ethnic minorities or dedicated to them, are of significant importance. The development of the publishing market is also supported with direct grants. The Book Institute supervised by the Ministry of Culture and National Heritage awards grants for translations of the Polish literature into foreign languages. Operations of the Polish Film Institute is of the significant importance for the Polish cinematography. Its main objectives include the support for the Polish film industry and the promotion of Polish film creativity abroad. The Polish Film Institute implements these objectives through, among others, four operational programmes: “Film Production”, “Education and Promotion of the Film Culture”, “The Development of the Cinema” and “The Promotion of the Polish Movies Abroad”. Pursuant to the Act on the cinematography of 30th of June 2005, entities contributing to the film market in Poland (cinemas, distributors, televisions broadcasters, including the public televisions, digital platforms operators and cable television operators) are required to transfer 1.5% of the annual revenue to the Institute. These contributions constitute the main feature of the co-financing mechanism for the film production in Poland.CULTURAL POLICIES AND MEASURESProducción, Distribución, Participación
1511272542012PoloniaInclusion of culture into sustainable development policyLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/inclusion-culture-sustainablehttps://es.unesco.org/creativity/node/151120Caring for the sustainable economic and social development, to which particularly applies the article 13 of the convention, is one of rules included both in the Constitution of the Republic of Poland (art. 5), and treaties of the European Union. The rule is also reflected in strategic documents indicating objectives and priorities of the Polish development policy. The role of culture in this area is highlighted by, inter alia, authors of the “National Development Plan for years 2007 – 2013” and the “Poland 2030” report. Furthermore, sustaining the development of culture in regions is one of objectives of the “National Strategy for Cultural Development for 2004 – 2013”. Currently, at the Ministry of Culture and National Heritage there are works being conducted on the new, interdisciplinary document, titled the “Social Capital Development Strategy”.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, Participación
1510972542012PoloniaActivities in the framework of the Polish presidency of the council of the European UnionIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/activities-framework-polishhttps://es.unesco.org/creativity/node/151090The Polish Presidency constituted also the opportunity to establish the closer cooperation with artists from the Eastern Partnership States in the context of implementation of the National and Foreign Cultural Programme of the Polish Presidency (NInA and IAM). In the Arsenal Gallery in Białystok the exhibition, presenting the modern art from the Eastern Partnership States, “Journey to the East” was launched. The project was attended by nearly 50 artists from Armenia, Azerbaijan, Belarus, Georgia, Moldova, Ukraine and Poland. The exhibition was visited by over 300 thousand of people. On the other hand, the programme performed in Lublin included joint projects of artists, animators and non-governmental institutions representing local institutions, as well as partners from Lviv, Vilnius, Minsk, Kiev and Tbilisi. The cooperation to a large extent relied on the exchange of artists and its main theme was related to considerations on borders of Europe. The “Mindware. Technology Dialogue” Programme consisted of three parts: residential, public presentations of artistic works and theoretical part including lectures, seminars, meetings and discussions attended by artists and professionals, dedicated to the artistic reflection on the social communication in the public space.In Lublin (21 – 23. 10.2011) was also held the Eastern Partnership Culture Congress attended by over 300 participants: artists, culture managers and animators, representative of ministries, local authorities, non-governmental authorities and academic societies, as well as media from Eastern Partnership States, the European Union and from Russia and other European states (including 17 countries). One of suggestions of the Congress was to create the “Eastern Partnership Cultural Cooperation Network” (temporary name), which shall be an organisation open for all people of culture working both in Eastern Partnership States and outside them. Ultimately it shall become one of tools supporting the implementation of recommendations developed during the Congress.During the Presidency, due to the initiative of the Adam Mickiewicz Institute, also the I, CULTURE Orchestra was established. It is the first enterprise of this type within the Eastern Partnership. The Orchestra consists of 110 young musicians from Poland, Armenia, Azerbaijan, Belarus, Georgia, Moldova and Ukraine. The attendance in the project allowed young people from the Eastern Partnership States for acknowledging the specific character of the multicultural orchestra, operations of crucial European cultural institutions, as well as developing their skills.Another Polish venture was the set up by the Adam Mickiewicz Institute, the Eastern European Performing Arts Platform established in Lublin. The Network is the international exchange platform for artists and curators from the Central and West Europe. One of first achievements of the Network is the report on the status of performing arts in states of the Central and Eastern Europe.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, Participación
1510672542012PoloniaOperational and interdisciplinary programmes of the minister of culture and national heritageLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/operational-interdisciplinaryhttps://es.unesco.org/creativity/node/151060Operational programmes of the Minister of Culture and National Heritage are examples of systemic solutions enabling support from public funds within the form of projects various entities of the cultural sector. Every year, the list of grant programmes is dedicated to local and national cultural institutions, local governments units, non-governmental organisations, as well as churches and religious associations. The list of programmes announced in 2011 was included in section 3 of the Annex. In addition, the Ministry of Culture and National Heritage execute multiannual programmes, that is the CULTURE+ Programme dedicated to the increase of the access to the culture and the participation of residents of rural and rural-urban areas in the cultural life. The programme is addressed to local and national cultural institutions, state archives and film institutions. The programme has been broadly described in the section 2.3.The Ministry of Culture and National Heritage also executes operations aimed at the popularisation of the modern way of thinking about the culture as the feature of the social and economic development. This belief is the base for the social campaign launched in 2010 “Culture Counts!”. Its main task is the increase of the community awareness about the development potential of the culture and relations between the culture and other aspects of the social, economic and political life. Within the framework of the programme, many events were organised, including, inter alia, a debate titled “Who benefits from funding the culture?”, the seminar series “Culture and development” and the international conference “Cultural economics – from theory to culture”. One of objectives of the campaign is also to strengthen relations between the culture and the business, which resulted in the development of the study “Cultural Sponsorship Code” and works on proposals of legislative amendments related to the protection of the cultural heritage and the promotion of the culture.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
1509872542012PoloniaIntercultural dialogueSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/intercultural-dialoguehttps://es.unesco.org/creativity/node/150980One of the key events related to the promotion of the cultural diversity in Poland were the celebrations of the European Year of Intercultural Dialogue 2008. The National Cultural Centre was responsible for organisation and conduct of national celebrations of this event. The objective of the European Year of Intercultural Dialogue was first of all to introduce the Polish society to different contexts and ways of understanding the multiculturalism in Europe, including particularly the Polish tradition and historical experiences contributing to the cultural heritage of the continent. One of national priorities was to present the Polish multi-religious tradition and reveal local contexts of the multiculturalism supporting better mutual understanding of people and their future cooperation.The implementation of celebrations of the European Year of Intercultural Dialogue in Poland was based on the completion of 13 leading projects implemented together with partner institutions. These included: the Modern Art Gallery – Art Bunker (organisation of the scientific conference summarising the “Transkultura” series including the publication of conference materials); the Baltic Cultural Centre in Gdansk (IV Festival of World Culture “The Window on the World”) and the Citizen Education Centre Foundation (the “Common Past – Common Future” project). In addition, within the framework of the celebrations numerous cultural, educational and artistic events (e.g. “Brave Festival”), as well as seminars, debates and conferences dedicated to multiculturalism issues and trainings and workshops (e.g. “Let’s meet – different does not mean an alien”) were implemented. Furthermore, the research on foundations of the cultural diversity, entitled “The diagnosis of attitudes of youth in the Podlaskie Voivodeship towards the cultural diversity” was conducted.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
1511172542012PoloniaScholarship programmesSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/scholarship-programmeshttps://es.unesco.org/creativity/node/151110“Gaude Polonia” programme implemented by the National Cultural CentreThe scholarship programme of the Minister of Culture and National Heritage – “Gaude Polonia” is dedicated to young artists and translators of the Polish literature from Central and Eastern Europe States. Six-month scholarship aimed at enabling them to improve their creative skills in the custody of acknowledged Polish artists and institutes in largest and most important centres of the Polish culture.Scholarship programme of the Minister of Culture and National Heritage “Thesaurus Poloniae”Thesaurus Poloniae is a three-month scholarship programme of the Minister of Culture and National Heritage of the Republic of Poland, implemented by the International Cultural Centre in Krakow, since the autumn 2009. The programme is addressed to foreign scientists conducting researches related to the culture, history and the multicultural heritage of the Republic of Poland.Scholarship Fund of the Museum of Polish HistoryThe Scholarship Fund financed by the Museum of Polish History was established to support scientific researches dedicated to the Polish history, and ventures promoting knowledge about our country abroad. The scholarship offer is addressed to foreigners, who are, or would like to be, occupied with the Polish history.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, Participación
1510872542012PoloniaEastern PartnershipIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/eastern-partnership-0https://es.unesco.org/creativity/node/151080Since 2009 Poland undertakes steps to strengthen the cultural exchange with countries included in the EU initiative, the Eastern Partnership. In 2009 and 2010 there were two editions of the conference “Go East!” dedicated to new possibilities of funding and creation of the cooperation related to the culture and the civil society together with countries of the Eastern Partnership. In 2011, during the Polish Presidency on the Council of the EU, Poland has organised the conference “Eastern Dimension of Mobility” dedicated to the support of the mobility related to the culture, education, civil society, science and higher education, youth and sports.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, Participación
1510072542012PoloniaCultural and artistic educationSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/cultural-artistic-educationhttps://es.unesco.org/creativity/node/151000One of the priorities of the Polish cultural policy dedicated to forming cultural competences, which enable both creation/production and the use of the cultural offer, is the cultural and artistic education and creation of the suitable infrastructural base dedicated to it. The cultural education is seen as one of tools used to create the social capacity building, focused on stimulating creativity and preparing to operate in the reality of the information society. Its aim is also to increase the level of participation in the culture of various social groups. These tasks are implemented through schools and other entities, including, among others: local and national cultural institutions, non-governmental organisations, churches and religious associations. The most active entities in this field are community centres and libraries, activities of which, particularly in small towns, are of crucial importance for the cultural development.The important measure supporting the cultural education are subsidies held by the Ministry of Culture and National Heritage and programmes implemented due to these funds. The most important are the following:The Programme of the Ministry of Culture and National Heritage “Cultural Education and Diagnosis of Culture” : One of operational programmes of the Minister is dedicated to local and national cultural institutions, local government units, non-governmental organisations, as well as churches and religious associations. Its objectives include the activation and inspiration of creative behaviour, development of artistic expression and creativity, as well as enrichment of the offer of extracurricular forms of the cultural education addressed to children and youth.The ”Education +” Programme : This pilot programme “Education+” implemented in 2010 was addressed to national and partnership cultural institutions supervised directly by the Ministry. The programme was intended to develop education activities and creation of the so-called model projects, which may be an inspiration for other entities operating in the cultural education sector. Subsidised measures included initiatives developing the creativity in interactive creativity workshops,popularising in a nonstandard way the cultural heritage and dedicated to the increase of access to cultural institutions for people with disabilities.Online culture for children : The campaign is addressed to parents of children aged 4 – 7 and shall indicate the necessity of incorporating culture and arts in the educational process. The project includes also forming of the cultural consciousness of the youngest group of Internet users, for example through: organizing the knowledge about Poland and the cultural heritage.The school Musicoteca : The project was developed by the National Audio-visual Institute together with experts – pedagogues and musicologists. Its aim is to popularise the classical music and stimulating sensitivity of the young audience. The innovative learning platform dedicated to music education was launched in 2011. It allows users, inter alia, for the contact with archives and the European cultural heritage.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónJóvenes
1504472552012PortugalThe Secretary of State for Culture and the Regional Directorates for Cultural AffairsSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/secretary-state-culture-regionalhttps://es.unesco.org/creativity/node/150440The Secretary of State for Culture is also assisted by Regional Directorates for Cultural Affairs, which at the local and regional level (and sometimes at an international level, for cross-border initiatives), pursue objectives defined by the Secretary of State, within their respective geographic areas. Each Directorate develops specific support programmes for cultural agents, and encourages and fosters creativity (directly, or by supporting other entities) across various forms of artistic expression, circulation of works and artists, and dissemination of international artistic manifestations.For example, the Regional Directorate for Cultural Affairs of the Alentejo supports the Alentejo Editorial Project, which aims to fund and publish regional studies that will enrich the Alentejo region’s cultural and scientific heritage and encourage the publication of works which will introduce a body of knowledge to a wider audience and thus contribute to a better understanding of the region and help preserve its cultural identity. Other initiatives supported by the Regional Directorate include the Project to Support the Publication of Audiovisual and Multimedia Material (aimed to supporting the publication of CDs of erudite and traditional music by Portuguese and foreign artists, whose works have a regional focus); the Alentejo Amateur Theatre Network Project (which aims to encourage creative work by amateur theatre groups/associations in the region, and help local populations gain access to theatre performances, through support for shows to tour the region’s network of municipal theatres); the Support Project for Cante Alentejano and Portuguese Traditional Music, (for preservation, promotion and dissemination of Alentejan collective memories that underpin the Cante Alentejano (male choir chants) and Alentejan Traditional Music, via support for Cante Alentejano and Alentejan Traditional Music groups); and finally the Performing Arts Project (which supports organisation of itinerant tours in various artistic areas - theatre, puppet theatre, dance (classical ballet and contemporary dance), erudite music and Alentejan traditional music, by cultural agents from the Alentejo region).CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
1504172552012PortugalPublic radio and TV broadcaster : RTPSistemas sostenibles de gobernanza de la cultura, Diversidad de los medios de comunicaciónCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/public-radio-tv-broadcaster-rtphttps://es.unesco.org/creativity/node/150410The public radio and TV broadcaster, RTP, necessarily adopts a different approach. It provides a diversified offer and contributes to audiovisual creation and production, thus guaranteeing dissemination of the diversity of Portuguese and European cultural heritage. It promotes the production and dissemination of programmes intended for minority audiences, facilitates access to radio and television for groups of under-represented citizens or communities, supports the national production of films and television programmes and co-production with other countries, in particular with European countries and the Community of Portuguese-speaking countries, fosters knowledge of Portuguese culture, language and heritage, caters to immigrant communities and contributes to raising people’s awareness of questions of integration, social cohesion, and specific issues related to the various ethnic minorities that exist in Portugal.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
1507872552012Portugal"Reinsertion via Art" ProgrammeSistemas sostenibles de gobernanza de la cultura, Alianza con la sociedad civil, La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/reinsertion-art-programmehttps://es.unesco.org/creativity/node/150780The «Reinsertion via Art» Programme, organised by the Calouste Gulbenkian Foundation in collaboration with the Directorate-General for Social Reinsertion, in Educational Centres within the Greater Lisbon area, aims to unearth new strategies in order to help to educate young people for citizenship, through exploration of creativity and re/cognition of their capacities from an artistic dimension, viewing education from a broader perspective, fostering contact with various forms of artistic expression, raising young people’s awareness for other aesthetic fields, favouring the discovery of new skills and competencies and contributing to young people’s social insertion and combating their stigmatization, through dissemination of their artistic capacities.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, ParticipaciónJóvenes
1507572552012PortugalThe Calouste Gulbenkian FoundationSistemas sostenibles de gobernanza de la cultura, Alianza con la sociedad civil, Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/calouste-gulbenkian-foundationhttps://es.unesco.org/creativity/node/150750Outside the public sector, the Calouste Gulbenkian Foundation plays a decisive role in the national context, and develops various programmes with significant internationalization dimensions and with a strong national and international impact. The Gulbenkian Development Support Programme (cooperation with Official Portuguese-speaking African countries and East Timor), in its Art component, supported 13 multicultural projects in 2010, in order to contribute to the dissemination and promotion of artistic culture from official Portuguese speaking countries, in particular those involving training activities and actions developed in partnership with other leading national and international entities. In the framework of the Gulbenkian Artistic Creation Creativity Programme, 16 intensive advanced artistic training courses were organised, covering the areas of cinema, opera, theatre, choreography, fine arts, photography, 3D animation, performing arts and video-art, involving 178 students, foreign and national professors. The Programme has developed a support line for artists from CPLP countries in order to enable them to participate. Cooperation at the European level has a major impact, e.g. a major internationalization project, in the framework of the Culture Programme, involving participation by the Centro Cultural de Belém Foundation: “Prospero – Six cities, one project, the theatre in common”, an ambitious 5-year theatre project (2008/2012) involving six institutions that have joined forces to foster development of European artistic creation: Théâtre National de Bretagne (Rennes/França), Théâtre de la Place (Liège/Bélgica), Emilia Romana Theatre Fondazione (Modena/Itália), Schaubühne am Lehniner Platz (Berlim/Alemanha) and the CCB. Another important example is the Serralves Foundation, which since 2010, is a partner in the young persons exchange programme led by the TATE, entitled, “Turbinegeneration”. Also in the CCB, in addition to programming of shows by foreign companies, the CCB/Fábrica das Arts is one of the founders of the «Big Bang – European Children’s Music and Adventure Festival », which is a European music festival that combines speciality and artistic contributions from the partner countries. Also in terms of support for the mobility of artists, the Gulbenkian Performing Arts Programme, established in 2011, aims to promote the Portuguese artistic panorama in the areas of Cinema, Dance and Theatre by granting one-off support to projects from professional entities or structures, in the fields of artistic and technical professional enhancement, creativity and internationalization.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, Participación
1507272552012PortugalCross-border cooperation projects by the Regional Directorates for Cultural AffairsSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/cross-border-cooperation-projectshttps://es.unesco.org/creativity/node/150720The Regional Directorates for Cultural Affairs develop important cross-border cooperation projects, including, in the North, the cooperation project with Galicia “The Galego-Portuguese cultural industry”, in the Algarve, the “DESCUBRITER, European Discoveries Route”, that aims to enhance heritage associated to the Discoveries era, or the cultural tourism projects, “Al-Mutamid” and “Umayyad”. In the Centre region, there is an important cross-border cooperation programme with the regional executive government of Castile and Leon, that aims to strengthen a particularly vulnerable cultural community within the context of development of a Europe of the regions, designated “Fronima / Imaginary frontiers”. The latter project incorporated events held in Zamora, Valladolid and Bejar that used 28 Theatres/Cultural Centres, 3 museum spaces and unconventional spaces for a local population of 60.000 persons.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, Participación
1506972552012PortugalSupporting the international circulation of artists and worksIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/supporting-internationalhttps://es.unesco.org/creativity/node/150690In the Ministry of Foreign Affairs, in 2008 and 2009, the Camões Institute developed a specific programme intended to support the international circulation of artists and works and, in 2010 and 2011, via the IC’s external networks, different initiatives were funded in various fields (performing arts, music, visual arts, cinema, audiovisual and multimedia, architecture, design, literature and transdisciplinary projects), thereby enabling artists to attend international events. The Camões Institute also developed support for publications, production of exhibitions for international venues, promotion of notional film productions, international circulation of films and the participation of film directors. The IC also supports participation of cultural professionals in leading projects such as the São Tomé Art Biennale or the Dockanema documentary film festival (Mozambique).INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, Participación
1506672552012PortugalFostering mobility of artists and techniciansIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaLas artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/fostering-mobility-artistshttps://es.unesco.org/creativity/node/150660São João National Theatre provides support to foster mobility of artists and technicians, through the activities that it develops directly (hosting international productions or organisation of tours of in-house productions) and coproductions that it develops with other entities and which lead to international tours. Between 2008 and 2012, various international tours were organised, that helped increase the mobility of artists and technicians. Various foreign performances were also presented within the TNSJ’s regular programming. The greatest number of international performances were hosted in 2011 due to organisation of Odyssey: Theatres of the World. Other key events include the protocols signed in 2009 with the São Paulo Trade Social Service (Brazil), which foresees exchanges productions by Portuguese and Brazilian artists and, in 2010, with the School of Communication and Arts of the Eduardo Mondlane University (Maputo). The TNSJ is the only Portuguese member of the Union of Theatres of Europe (UTe) whose objective is to develop a common cultural activity which transcends the borders of each country, enabling the regular circulation of projects and artists, surpassing linguistic barriers while respecting the cultural heritage and identity of each of its members.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, Participación
1504972552012PortugalLocal regulations to support cultural agents / projectsLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/local-regulations-supporthttps://es.unesco.org/creativity/node/150490Similarly, local municipalities have their own Regulations to support cultural agents / projects, through which they support external initiatives, alongside initiatives organised by the local council itself, thus stimulating cultural production of significant quality, dynamism, originality and contemporary relevance, aiming to safeguard and disseminate local identity, based on aspects of local culture and heritage. These municipalities also provide spaces for the organisation of multicultural events and urban initiatives developed by foreign communities and, in many cases, also provide spaces for the establishment of head offices for the associations of these communities, which aim to develop cultural and social activities.Specific examples are as follows: Amadora hosts the Amadora’BD - International Comics Festival16; that exhibits originals/works by cartoonists and writers from throughout the world.Another initiative is the Generation Orchestra Project, constituted by various musical initiative intended for children and young people of 2nd and 3rd generation immigrant communities, which aims to combat absenteeism and school abandonment.At present there are three orchestras with a total of 130 members; Batuque Women (emigrant community from Cape Verde); Project 12-15 developed in the Intercultural School of Professions and Sport, and the Municipal Company (integration of young 2nd and 3rd generation emigrants: Jambés/musical area; Oeiras Municipal Council has a Regulation for Supporting Cultural Agents, which defines the criteria that should be taken into consideration in concession of support and establishment of partnerships with various institutions, specifically with Foundations, the Camões Institute, Goethe Institute, Italian Culture Institute, Cervantes Institute, British Council, Alliance Francaise, various Art galleries, Embassies, Ministries and Orchestras; Évora organises the “Teias” (Webs) project that constitutes a forerunner of a network of Theatres and Cine Theatres within the district of Évora, sustained by a partnership of eleven Municipalities, whose philosophy has been developed by focusing upon programming works by artistic agents living within the respective territory which have circulated within the zone; and the “Terras do Sol” (Lands of the Sun) Festival, a partnership between six Municipalities that organises street activities during the summer months; Vila Nova de Cerveira organises the community theatre initiative “Burning of Judas”, that aims to recover popular and profane traditions, through the creation and representation of an artistic and literary work which actively involves various associations, recreational groups and the entire local population. The municipality also organises the International Folklore Festival, “The World Dancing”, that aims to disseminate the various cultures and different forms of traditional folklore, presented by each participating country, and thus fostering various forms of cultural expression; Alvito provides direct support for choral, ethnographic and musical groups, aimed at ensuring their continuity in the dissemination of Alentejan musical traditions and local and regional artists (new and established talents), in order to foster dissemination of various forms of artistic expression; in Setúbal, the various local associations and foreign communities living within the territory develop social and cultural activities that represent their cultural identity and are integrated within general programmes of variable duration, achieved through collective works or programmes dedicated to each of them, or activities that are open to the entire resident, which receive material and immaterial support from the local council. Examples include the production of Documentaries on the Bela Vista neighbourhood, the Museological Unit of the Bela Vista neighbourhood (these two initiatives involve the resident population in a neighbourhood which is considered to be “problematic” and which brings together various communities (African, gypsy, Portuguese, etc.), the Praça do Mundo (World Square) in the Feast of Santiago (presence of associations of foreign communities in one of the largest cultural events held south of the River Tagus), the Alentejan Choral Singers Event (Cante Alentejano was raised to Municipal Heritage status in 2007), and the Setúbal Music Festival; in Vila Nova de Ourém, programming and implementation of various projects is articulated with other organisations within the Municipality: internally, and/or with external partners. One example is the installation and dynamisation of the “Arts Workshop”, an artistic interaction and production platform and vehicle for promoting the formation of a network of artistic partnerships and collaborations with the general public, with its headquarters located in a village rather than in the seat of the Municipality, thus encouraging decentralisation of cultural production and consumption.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
1504672552012PortugalInitiatives for youthLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/initiatives-youthhttps://es.unesco.org/creativity/node/150460In 2011, the Office for the Media, in conjunction with the UNESCO National Commission, created the “Young Talents” Journalism Prize, intended to discover and promote the capacities and talent of young people in the field of journalistic writing and freedom of expression, pluralism and diversity. Since 1997, the Portuguese Youth Institute has managed the Young Artists competition, which leads to the annual edition of the “Young Artists Exhibition”, and publication of the “Young Artists” catalogue and the “Young Writers” literary collection. After the Exhibition, several works are selected for itinerant “Young Artists Showcases”, that occur in the following year in 6 different parts of the country. This programme has helped jumpstart the careers of many artists through dissemination of their works and interaction with cultural agents and other artistic professionals.CULTURAL POLICIES AND MEASURESCreación, DistribuciónJóvenes
1504372552012PortugalS. Joao National Theatre initiativesSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosMúsica, Las artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/s-joao-national-theatrehttps://es.unesco.org/creativity/node/150430In terms of theatre, the S. João National Theatre regularly showcases theatrical performances in order to enable their distribution within national and international circuits. In 2011, a large-scale project, Odisseia (the Odyssey) supported four action lines, that combine the general principles underpinning all activities under development: creative labs, including training initiatives and creativity labs of international and national artists developed in the four cities promoting this project; presentation of shows as a complement to the presence of these artists; creative residencies involving international companies and artists in residencies in various spaces; participation by resident artists in approximation and training activities for audiences; showcasing and communication and dissemination, also including documental recording, reflection and promotion of the entire project. Odyssey: (The) Exhibition presented shows that are considered to be representative of theatre work in Northern Portugal, including the presence of international festival programmers and directors and regional and national agents. Another strand of this initiative was the Ports Festival, offering an intercultural programme, featuring various expressions of music from the Portuguese-speaking world, including fado, Portuguese traditional music, percussion and African rhythms, Iberian sounds, and Brazilian popular music; and the Odyssey: Theatres of the World Festival, that enables members of the general public to watch international shows from various countries, representing various forms of cultural expression. Every year, the TNSJ plays host to FITEI – International Theatre Festival of Iberian Expression, which has promoted the work of dozens of companies and artists, the vast majority from the Ibero-american universe.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
1504072552012PortugalInstitute of Cinema and AudiovisualSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/institute-cinema-audiovisualhttps://es.unesco.org/creativity/node/150400In terms of cinema, the Institute of Cinema and Audiovisual has provided crucial support for the sector, including support for creation, production, distribution in Portugal of works supported by ICA, distribution support for non-national films from lesser known national cinemas and of national works abroad, support for commercial and non-commercial exhibition, organisation of festivals in Portugal, promotion and participation in festivals and markets and training.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
1683072552012PortugalCreative cities networksLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/creative-cities-networkshttps://es.unesco.org/creativity/node/168300Aveiro Municipal Council participates in the CREART Cultural Cooperation Project, Network of Cities for Artistic Creation, as the only Portuguese city participating in this programme, which highlights art and creativity. This project consists of a network of 14 European cities and urban spaces that represent the diversity and richness of European culture. CREART aims to facilitate cultural development at the European level, via networking, sharing of experiences, incorporation of new methods of artistic work and promotion of the trans-national mobility of artists, producers of works, that will bring together artists and their respective countries. Various activities will be held in Aveiro over the next 5 years, such as auditions of local artists in relation to the official and technological practise developed in education and artistic training centres, itinerant European exhibitions, conferences, amongst other activities. Aveiro is also a member of the Art Nouveau Network, whose objective is to catalyse Portuguese and international art nouveau, co-operating with the different countries and fostering best practices. Almada participates in the Ibero-American network of Cities for Culture, the International Association of Educating Cities and the Union of Portuguese speaking capital cities, contributing to the development of inter-municipal relations and fostering understanding and bilateral cooperation within the Portuguese speaking world, through the effective exchange of experiences and knowledge in the cultural, scientific and technological fields. Tavira also takes part in artistic and heritage-based cooperation networks, such as the AVEC (Alliance de Villes Européennes de Culture) and develops strategic partnerships with institutions that foster international cooperation for presentation of projects in Tavira.Amadora municipal council has an Intermunicipal cooperation agreement with Tarrafal (in Cape Verde), which involves various municipalities, for production of animation cinema and sending material to libraries cinema. Évora takes part in the Oralities Project, which involves cities from Malta, Portugal, Spain, Italy and Bulgaria, whose activities already developed and to be developed during the four years of the project, aim to foster trans-national circulation of cultural operators, cultural agents and musical groups and cooperation and exchange of experiences. Lagos participates in the cross-border cooperation project, DESCUBRITER, and is the seat of a UNESCO Centre and has commenced implementation of the Slavery Museum in the Slave Market building, within the framework of UNESCO’s international project, the “Slave Route”.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, Participación
1507772552012PortugalStrategic Plan of the municipality of CorucheLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/strategic-plan-municipalityhttps://es.unesco.org/creativity/node/150770The municipality of Coruche, has developed its Strategic Plan, including the component of culture as a key development area, with all its specificities. The municipality has developed a cultural marketing programme that is specifically aimed at promoting sustainable development with a direct link to tourism. The inclusion of local culture in the Regional Agenda 21 aims to set it within the framework of sustainable development, and also contribute information for implementation of projects to revise the Municipal Master Plan and other territorial documents and instruments.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, Participación
1507472552012PortugalSupporting the mobility of local cultural groups in MadeiraIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/supporting-mobility-localhttps://es.unesco.org/creativity/node/150740In Madeira, the Regional Government supports local regional cultural groups to attend events and festivals held outside the island, enables international musical groups to participate in the annual festivals held in Madeira and disseminates and facilitates access for members of the general public to cultural events (above all musical events and sometimes theatre) taking place in the island, such as erudite or ethnic music festivals, involving groups of artists from other specific cultures.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, Participación
1507172552012PortugalThe "Young Artists" CompetitionIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/young-artists-competitionhttps://es.unesco.org/creativity/node/150710The “Young Artists” Competition (IPJ) organises showcases in international events: the International Biennales of Young Artists of Europe and the Mediterranean (BJCEM) and the Showcases of Young Artists from the Community of Portuguese-Speaking Countries. The latter biennial event is held in rotating locations and serves as a meeting space between young people from the CPLP countries based on their different cultural perspectives and various forms of expression. The “Young Artists” scholarships are aimed at young people of Portuguese nationality and candidates’ projects may be developed in Portugal or abroad.INTERNATIONAL CULTURAL COOPERATIONCreación, DistribuciónJóvenes
1506872552012PortugalEnsuring the dissemination of Portuguese authors abroadIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaIndustria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/ensuring-dissemination-portuguesehttps://es.unesco.org/creativity/node/150680In terms of books, this sector falls under the aegis of the Directorate-General for Books and Libraries which is responsible for ensuring the dissemination of Portuguese authors abroad, covering the travel expenses of Portuguese authors and authors from Official Portuguese-speaking African countries who are invited to International literary encounters, such as literary festivals, colloquia, seminars, public readings. The DGLB also provides support for foreign publishers who intend to invite authors for special launch sessions of their translated works. The presence of writers in the launch of their respective foreign translations and publications is considered to be of vital importance and an essential complement to dissemination of the author’s work and the translation support programme. In particular, within the framework of the CPLP countries, the DGLB participates in the “Portuguese-speaking Bibliographical” project, an integrated book and reading programme for official Portuguese-speaking countries, in partnership with other national and African organisations, in order to capitalise upon competencies that exist within the framework of sectorial cooperation. Various initiatives have been developed, such as support for Libraries or organisation of Book Fairs in various countries.INTERNATIONAL CULTURAL COOPERATIONDistribución, Participación
1506572552012PortugalThree major international cooperation initiatives by the Directorate-General of the ArtsIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturalesJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/three-major-internationalhttps://es.unesco.org/creativity/node/150650The Directorate-General of the Arts has developed 3 major initiatives in the field of international cooperation: the INOV-ART programme, which aims to foster the professional insertion and internationalization of young Portuguese professionals working within the arts and creative industries and contribute to strengthening international cooperation between Portuguese artists and cultural organisations; support for Internationalization of Art Galleries - protocol between the Secretary of State for Culture and the Portuguese Association of Art Galleries, which encompasses support for the participation of national art galleries in international Contemporary Art fairs of recognized merit, in order to engender visibility for Portuguese artists and foster possibilities of their works being included within international public and private collections; support for Portuguese artists in leading international contemporary art events, specifically the Art and Architecture Biennales in Venice and São Paulo, and the Prague Quadrennial.INTERNATIONAL CULTURAL COOPERATIONCreación, DistribuciónJóvenes
1504872552012PortugalBiennal literary competition and festival in MadeiraSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/biennal-literary-competitionhttps://es.unesco.org/creativity/node/150480In the Autonomous Region of Madeira, the municipality of Porto Santo organises a biennial literary competition for fiction and non-fiction works; the Colombus Festival (an annual show dedicated to the navigator including various different art forms: theatre, music, painting and literature) and publishes a collection of traditional music (“Traditional music from the Island of Porto Santo” – European Ethnomusicology Society).CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
1504572552012PortugalHigh Commission for Immigration and Intercultural Dialogue (ACID)La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleJóvenesCine / Artes audiovisuales, Industria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/high-commission-immigrationhttps://es.unesco.org/creativity/node/150450The High Commission for Immigration and Intercultural Dialogue (ACIDI) develops projects and initiatives in order to foster intercultural activity, valuing diversity and encouraging the exercise of full citizenship by everyone. From the perspective of awareness-raising and training of professionals and members of the general public for intercultural activity, it promotes a series of measures at various levels: training for hosting and promoting diversity, intercultural and inter-religious dialogue and intercultural education, which is offered free of charge via a Pool of Trainers (36); the TV programme “Nós” (Us) (a weekly 40-minute programme on Sundays), the radio programme “Gente como Nós” (People Like Us) (a weekly 30-minute programme); the “For Cultural Diversity” Journalism Prize, that aims to distinguish leading works in the area of cultural diversity and contribute to a fuller understanding of differences; and the ESCOLHAS (Choices) Programme – a nationwide programme that aims to foster ocial inclusion of children and young people from more vulnerable socio-economic contexts, in particular immigrants and ethnic minorities, in order to promote equal opportunities and strengthen social cohesion, via promotion and support, amongst other dimensions, of artistic and cultural events – music, dance, drawing, or others – produced by the project participants.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónJóvenes
1504272552012PortugalArtes Fora (Arts Outside)Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturalesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/artes-fora-arts-outsidehttps://es.unesco.org/creativity/node/150420In 2010, the Office for Planning, Strategy, Evaluation and International Relations of the Secretary of State for Culture created a project to support internationalization, Artes Fora (Arts Outside) that disseminates information about artistic productions scheduled to be performed abroad and artistic productions that are available for international circulation. This is an information platform that incorporates a directory of artistic entities, and a pool of productions available for international circulation, with the respective agenda of presentations abroad.CULTURAL POLICIES AND MEASURESProducción
1503972552012PortugalPublic Grants to the ArtsSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/public-grants-artshttps://es.unesco.org/creativity/node/150390In the field of the Arts, the regime governing Public Grants to the Arts, has made it possible to develop various projects. For example, In 2011, in commemoration of the “European Year of Voluntary Activities promoting Active Citizenship” and the UN’s “International Year of Youth”, priority was placed on supporting projects that preferentially incorporate these two concepts, covering various artistic areas. The Residencies Network Programme| Experimentation – Art, Science and Technology, was launched in order to create a joint work and research platform between artists and scientists, fostering artistic creation in science and technology research centres. A network of host scientific institutions has been set up in various parts of the country, which operate in numerous fields of research, in the framework of which artists develop trans-disciplinary and experimental artistic projects in artistic residency situations, with the aid of tools and processes used in scientific research labs. The artistic areas contemplated in the programme include: architecture, digital arts, fine arts, trans-disciplinary approaches, dance, design, photography, music and theatre, based on the following research fields: chemical and biological engineering, systems and computers, molecular medicine, nanotechnology, neurosciences and cellular, physical, optical and electronic biology, robotics, energy, sustainable development and the environment.CULTURAL POLICIES AND MEASURESCreación
1682872552012PortugalSupporting the production and promotion of Portuguese handicraftsSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosDiseñohttps://es.unesco.org/creativity/policy-monitoring-platform/supporting-production-promotionhttps://es.unesco.org/creativity/node/168280The Institute for Employment and Professional Training organises the biennial “National Handicrafts Prize”, that aims to distinguish Portuguese artisans, by highlighting their technical and professional skills, thus encouraging artisanal production in its traditional and contemporary dimensions, and appealing to quality and innovation as indispensable factors for the development and affirmation of the Portuguese arts and crafts sector. The IEFP also fosters the certification of traditional artisanal products, thus enabling them to be safeguarded and protected, and contributing to the affirmation and valorization of these works in diversified and differentiated markets, together with higher employment in these areas. The IEFP is responsible for implementation of the Artisans Statute and the Artisanal Production Unit, through which it provides official recognition for artisans and issues artisan cards and artisanal production unit cards; up until 23 February 2012, 1,800 artisanal production unit cards were issued, corresponding to 1,980 membership cards. In the framework of this specific legislation, the National Handicraft Register (RNA) has also been drawn up, which is a publicly available database13 that lists the officially recognized artisans and artisanal production unit, and thus constitutes an updated public inventory and instrument that supports promotion and internationalization of Portuguese handicrafts.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución
1507672552012PortugalVarious approaches to integrate culture in sustainable development policiesLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/various-approaches-integratehttps://es.unesco.org/creativity/node/150760Few entities explicitly state that they will integrate Culture in sustainable development policies; however several entities – an increasing number – actually do so, albeit in an indirect and non-official manner. The constant issues raised include concerns with the environment, job creation, articulation between areas and resource enhancement, and integrated development of the territory. In various sectors, programmes are developed by public entities, municipalities, foundations or civil society associations, in which the cultural and artistic component is considered to be fundamental, in order to foster sustainable development of the region. Artistic and cultural training is increasingly considered to constitute an investment that may lead to increased quality of work presented by cultural agents, and increase strengths and exchanges of experiences with other agents within the respective specific training area, thus endowing participants with technical and artistic capacities that will enable them to develop projects with higher levels of quality and performance.Within the heritage sector, publicly-owned monuments have developed initiatives in the framework of support for cultural creation, in order to increase the attractiveness of heritage buildings, promote sustainable development through job creation, strengthen cultural tourism networks, secure local populations, and provide indirect support for complementary productive activities. For example, the Regional Directorate for Cultural Affairs of the North develops projects which aim to integrate culture in sustainable development policies, such as environmental education, publicise the cultural and landscape diversity of the North region via dissemination of the life and work of writers. The High Commission for Immigration and Intercultural Dialogue considers, from the perspective of respect and valorization of the diversity of cultures and cultural expression, that these factors constitute an essential condition for the social cohesion and sustainability of a democratic and plural society, and all the initiatives developed by this organisation is guided by this objective.Various approaches are adopted by municipalities. In Oporto Municipal Council, culture, education and social action are concentrated within a single department (Department of Knowledge and Social Cohesion) thus demonstrating the strategic vision of culture as an area of transversal activity, articulated with education and social action, in order to foster sustainable development. In Almada, which shares affirmation of Culture as the “4th pillar” of sustainable development and recognises its importance in the construction of a stronger and more participative local authority, as an indispensable condition for governability and consolidation of democratic systems37, cultural development is seen as a pre-requisite and objective for integrated development of the territory, preservation of the collective memory, strengthening of local identity and promoting cultural diversity. There is a strong connection between the Culture area and the Urban and Territorial Planning Area, aiming to foster the best possible conditions for exercise of public life and participation of citizens in taking decisions aimed at strengthening the local development strategy. Culture is viewed as a core structuring element for integral development of the individual and an essential condition for participation and active exercise of citizenship, as well as a means of attaining freedom and social and economic progress. The municipality believes that cultural diversity should be valued from a perspective of dialogue and the encounter between different cultures, different cultural languages and ways of thinking, thus creating conditions for tolerance, diversity of social and cultural behaviour that enable permanent enrichment of societies and discoveries of new forms of community living. This rationale has led to investments in the creation of municipal networks of school libraries and public libraries, museums, cultural and sporting facilities, company incubators, spaces that intend to provide support for innovative business initiatives (e.g. the Quarteirão das Artes / Arts Block project) which, due to their characteristics, require less conventional work spaces, specifically in the areas of culture, fine and visual arts, workshops and handicrafts, video and audiovisual productions, design, amongst others.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, Participación
1507372552012PortugalFestivals for the promotion of cultural diversityIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturales, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/festivals-promotion-culturalhttps://es.unesco.org/creativity/node/150730Festivals are organised throughout Portugal in which one of the key objectives is promotion of cultural diversity. One example is the “World Music Festival” in Sines which highlights the diversity of different forms of world music, in memory of the revolution in cultural contacts spawned by the travels of the navigator, Vasco of the Gama (who was born in Sines) under the motto, “give to discover”. Loulé also organises a world music festival, the MED Festival, that aims to introduce members of the general public to groups that highlight other forms of cultural expression in the area of music, handicrafts and of gastronomy. Almada hosts the Almada International Theatre Festival and the International Showcase of Arts for Young Audiences. These events reflect a strong component of dissemination and exchange of male and female artists from various countries, creating opportunities for mobility and exchanges of experience within and outside the national territory. ZEZEREARTS is developed in Ferreira do Zêzere during the month of August, involving the presence of around 25 Opera singers and piano players from various European countries. The Porto Santo Biennale (international contemporary art exhibition) exhibits more than 300 works and involves the presence of around 50 artists from various countries of the world.INTERNATIONAL CULTURAL COOPERATIONCreación, Distribución
1507072552012PortugalInterventions coordinated by the Portuguese Institute for Development SupportLa cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/interventions-coordinatedhttps://es.unesco.org/creativity/node/150700In interventions of Portuguese Cooperation within Official Portuguese-speaking African countries and in East Timor, coordinated by the Portuguese Institute for Development Support (Ministry of Foreign Affairs), key projects include the recovery of heritage assets, film, library and map archives, support for art biennales and theatre festivals, book fairs, promotion of the Portuguese language via teaching, amongst other initiatives. Occasional interventions are also organised in other African and Asian countries, aimed at promoting the recovery of Portuguese historical heritage.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, Participación
1506772552012PortugalPromotion and participation in festivals and marketsIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Tratados y acuerdosCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/promotion-participation-festivalshttps://es.unesco.org/creativity/node/150670In the field of cinema and audiovisual, international cooperation is primarily achieved through support granted by different entities to promotion and participation in festivals and markets, together with support for distribution in Portugal of non-national works from less well-known national cinemas. Portugal, via ICA, also participates in various international programmes and initiatives including the Media programme, Eurimages, European Film Promotion, CACI – Ibero-American Conference of Film Authorities (Ibermedia and OIA). In a somewhat differentiated field of activity, RTP guarantees broadcasting to Portuguese-speaking African countries. These broadcasts are also transmitted to African communities resident in Portugal. RTP also maintains regular broadcasts of Portuguese language programming to Portuguese communities living abroad. It also organises the “Talent Prizes” competition, which aims to disseminate and support new cultural, artistic and social talent amongst Portuguese communities and Portuguese-descendents scattered around the world., Via protocols and partnerships signed with the CPLP countries, RTP has regularly used radio and TV programmes in order to disseminate works by authors from Official Portuguese-speaking African countries. RTP has also broadcast events such as the Lusophony Games and the International Documentaries Competition, DOCTV. Within its radio and TV programming, specifically, that of RTP Africa and RDP Africa, the broadcaster regularly provides space for content produced by creative sectors (e.g. Radio and TV) from the cultural industries within Official Portuguese-speaking African countries and cooperates with the international organisations/associations of which it is a member, specifically the UER/EBU- European Broadcasting Union, PBI- Public Broadcasters International, OTI- Organization of Ibero-american TV Stations, URTI – International Radio and Television Union, amongst others.INTERNATIONAL CULTURAL COOPERATIONCreación, Distribución, Participación
1506472552012PortugalMeasures fostering cultural diversitySistemas sostenibles de gobernanza de la cultura, Alianza con la sociedad civil, La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/measures-fostering-culturalhttps://es.unesco.org/creativity/node/150640In terms of civil society, there are several differences in the various cultural policies and measures adopted, in comparison with public entities, because social institutions are inspired by a wide array of different objectives. There is a great disparity of institutions, spanning from cultural associations, private museums, foundations, theatre or dance companies. This means that measures are implemented in distinct manners, due to the different objectives and social and geographical constraints.In this context, we can identify several measures that have directly or indirectly fostered cultural diversity. First and foremost the pricing policy, that has enabled free access to specific audiences, such as teaching institutions, senior citizens and social-charity institutions and also, on a fairly regular basis, to members of the general public. Free entrance on Sundays is offered in non-stop cultural programmes, including «Serralves em Festa, 40 hours, non-stop», in cultural spaces that are open at night, fine arts workshops and concerts. For example, the BCP Foundation, supports the festival, “Todos – Caminhadas de Cultura” (Cultural Paths for Everyone), which offers free access and aims to disseminate various forms of cultural expression of local populations in Lisbon’s oldest neighbourhoods, via shows, dance, theatre, singing and gastronomy events (2009 – 12,000 visitors, 2010 – 16,000 visitors, 2011 – 20,000 visitors).Programmes involving educational activities constitute another important measure, intended to develop creativity, including the organisation of creative workshops for children and family members in schools and granting study scholarships intended to support researchers, artists and students in the various cultural and artistic areas and in the various fields of knowledge, organised by entities such as the Calouste Gunbenkian Foundation and the Centro Cultural de Belém.Support for specific social groups is achieved through support for activities in the areas of exhibitions, dance, theatre, music, fine arts and education, with special emphasis on young people, in articulation with the content of school academic programmes and museological/educational activities. The traditional skills workshops developed by the Douro Museum (Skills Workshop, Sounds Workshop, Stencil Workshop, Camouflage and Networks Workshop), constitute a good example of creativity stimuli based upon local realities. Several major projects are developed in underprivileged social neighbourhoods, such as the initiative organised by the Moinho da Juventude Cultural Association - the Finka Pé Batuque group (Cape-Verdian batuque music that is solely performed by women who create their own music and dance routines), the Kola San Jon group (intersection of the cultures of African slaves and the Portuguese), the young people of the African contemporary dance group “Wonderfull’s Kova M” and the young people of the Kova M music studio (who write their own lyrics and have commenced their own musical career) - demonstrate the importance of promotion of cultural diversity for social inclusion. The Gulbenkian Human Development - 2009 Programme, organised another major social intervention project in partnership with the Dialogue and Action Association , which uses various aspects of Hip Hop culture (song, dance, DJ-ing or graffiti), in order to provide a voice for women, foster sexual equality and reduce public and private violence. The programme aims to support and stimulate social integration for more vulnerable groups – urban communities, senior citizens, migrants, children and young people at risk.There has been major development of programming for senior citizen audiences over recent years. For example the CCB/Fábrica das Artes (Arts Factory) opened in 2009 and since then its programming has been based upon inviting artists to develop specific proposals for this audience segment and to work directly with senior citizen homes, day centres and senior citizen universities. In 2010, the “Companhia Maior” (Greater Company) was formed in collaboration with the CCB, as an artistic/creative project to provide training for artists aged over 60, including several persons from various areas of the performance arts and others without any acting experience.Emigrant communities in Portugal receive considerable support from civil society, specifically in organization of thematic activities in order to commemorate festivities and special dates related to their resident communities. For example, commemoration of the Lunar New Year, in the case of Asiatic communities, supported by the Oriente Foundation.It is also worth noting, in relation to policies to foster artistic creation, the role of the Serralves Foundation, which organises design competitions, for creation of brands and logos and other initiatives intended to foster production of artistic works, together with the work of several foundations such as the CCB, which for several years has commissioned works by Portuguese composers, promoting national creativity and dissemination of these works.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónJóvenes
1504772552012PortugalInter-ministerial initiative for intervention in "Critical Neighbourhoods"La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/inter-ministerial-initiativehttps://es.unesco.org/creativity/node/150470In 2005, in the framework of the cities policy, a Resolution of the Council of Ministers created an inter-ministerial initiative for intervention in “Critical Neighbourhoods”, which defined specific action lines targeted at the area of cultural expression: Vale da Amoreira (Moita) – “decentralised art: artistic experimentation space”; Cova da Moura (Amadora) - “a creative space”; and Lagarteiro (Porto) – “Networked School/art education in primary schools (1st cycle) and pre-primary schools”. This served as a starting point for the intervention and aimed to foster cultural and artistic “fusion” in these territories, resulting from appropriation and exchanges between the cultural expressions of the resident communities in these neighbourhoods. In the framework of the intervention in the Vale da Amoreira zone, where artistic action is considered to be a structuring dimension of the entire intervention (whether social, urbanistic or economic), creation of a community studio has enabled production (and built production capacities) for different products from the various established artists’ collectives, together with an exchange of services between different types of artistic skills. Approximately 1200 young people are involved in the Vale da Amoreira project, spanning activities linked to artistic expression. In terms of the public image of the territory, there has already been a relevant alteration –when searching for news items in relation to this neighbourhood the principal category is now no longer associated to issues of marginality but rather with various cultural and artistic initiatives. Another dimension which should be highlighted, is the construction of an eminently cultural and significant infrastructure within the Lisbon and Tagus Valley region: the Artistic Experimentation Centre (financed by EEA Grants (the European Economic Area Financial Mechanism) and the Institute of Housing and Urban Renewal, in the framework of the IBC – Vale da Amoreira project), that will be managed by Moita Municipal Council, not as a traditional cultural infrastructure but rather as a facility that will foster artistic appropriation by the community.CULTURAL POLICIES AND MEASURESCreación, Participación
10925108722016PortugalMedia and Disability Reflection Group Sistemas sostenibles de gobernanza de la cultura, Diversidad de los medios de comunicación, La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/media-disability-reflection-grouphttps://es.unesco.org/creativity/node/10925The Media and Disability Reflection Group was created with two key objectives:a) To develop and to increase the levels of Media Accessibility by those with special needs;b) to include characters with special needs and disability issues in media content, avoiding stereotypes and other misrepresentations of disability.NationalinstitutionalOn March 2011, was created a think tank on issues that cross the media and disability. It was created by Gabinete para os Meios de Comunicação Social who invited, for this purpose, national personalities and institutions of reference in the different areas that Media / Disability involves such as ANACOM - National Communications Authority, ERC - Regulatory Entity for Social Communication, INR - National Rehabilitation Institute, RTP, SIC, TVI, FCT Access Unit, journalists and researchers / teachers.Between March 2011 and December 2014, the Reflection Group promoted studies, including a survey of the state of the art and evaluation of the accessibility of national media web pages, held annual colloquiums, edited a guide about good journalistic practices in the field of disability, held hearings with various stakeholders (associations of disabled people, representatives of media industries, journalists ...), with the dual purpose of exchanging information and knowledge, as well as creating conditions for the establishment of partnerships between representatives of people with disabilities and the media. Also carried out a significant activity with NGOs that work in the field of disability in order to improve their skills to deal effectively with the media.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, ParticipaciónYesMain expected results concern the exchange of information and knowledge, as well as the creation of conditions for the establishment of partnerships between representatives of people with disabilities and the media. The activities carried out with NGOs that work in the field of disability intended to improve their skills to deal effectively with the media.Gabinete para os Meios de Comunicação Social (between 2011 and 2015). After that, the Group was coordinated by the National Rehabilitation Institute.Not quantified.NoYesYesNOPeople with disabilities, Media professionals, journalists, Media industries
10922108722016Portugal10x10Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/10x10https://es.unesco.org/creativity/node/10922From a belief that artistic practices can inspire new tools, new strategies and new behaviours in the classroom, the project engages teachers, artists and students in trying out and discussing new approaches to learning. This good practice helps the target group withSkills• Students: self-expression, individual research.• Teachers: performativity, communication, dialogic speech, authorship.Knowledge• Students: better perception of abstract concepts, enhanced capacity to relate concepts from different disciplines.• Teachers: constructivist methods of teaching and learning.Attitudes• Students: respect (for teachers and fellow students), collaboration, pro-activity, responsibility.• Teachers: listening, empowering students.NationalinstitutionalIt involves collaboration between teachers and artists on the conception and promotion of new tools, strategies and teacher/student relationships in the classroom in order to motivate students and involve them in the learning process, with strong impact on teachers’ awareness and routines, and on students’ engagement, collaboration and motivation. YOUTHCreación, Producción, Distribución, ParticipaciónYesDevelopments of skills:• Producing/makingVisual diaries, videos, texts, photographs, performances, games.• Perceiving/analysingArgumentation, invention of plausible scenarios, perceiving multiple meanings of the same words according to context, problem solving, critical analysis.• Reflect upon arts/culture (production as well as perception)Interpretation, self-expression, interactive play.Improve relationship with:- Arts (e.g. visual arts, music, dance, literature, drama) - By promoting ability in visual, sound and movement aspects, as well as linguistic ability.- Media (e.g. film, television, newspaper, online) - Production of digital content.- Subculture/different cultures (e.g. hip hop culture, Roma culture, urban culture, immigrant cultures) - Immigrant cultures, urban culture, rap, youth culture.- Interdisciplinarity: contribution of arts and culture to other non-artistic or noncultural topics (e.g. environment, social climate, social inclusion, health, active lifestyle, sports) - Language, maths, philosophy, biology (secondary level), active citizenship, social inclusion. Calouste Gulbenkian Foundation, Several schools, Two teacher training centres and a university research institute (Institute of Research in Education Development of the Universidade Nova de Lisboa)Around EUR 50 000 per edition including evaluation and documentation costs;Staff: one coordinator, one producer, two mediators, ten artists, one evaluator, three researchers, one film crew (per edition);Several reports, communications and films are published online.NoNoYesYESLocalIntroduce active collaboration between teachers and artists into the framework of continuous professional development of teachers, focusing on creative and reflective practices, as well as experimentation with alternative pedagogical strategies;Elaborate a European code of conduct for teachers inspired by the eight key competences for education in the 21st century.No information availableChildren/youth, Others: teachers and schoolsJóvenes
10958108722016PortugalDevelopment of Mechanisms for Collective Management of copyright in Cape VerdeLa cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/development-mechanisms-collectivehttps://es.unesco.org/creativity/node/10958The main objective of this project is to involve the partners in order for them to make all efforts and cooperate aiming at, in a short term, help to implement in Cape Verde mechanisms to improve collective management of copyright and neighboring rights. These mechanisms should be expressed in the support to public and private institutions from Cape Verde and shall be based on principles of accuracy, transparency, fairness and equality in the treatment of the right-holders they represent, according to the best international practices.The partnership established by the parties aims the following general objectives:•             Professionalization of the record publishing sector and valorization of artistic careers;•             Development and internationalization of the music industry on the extent of all their creative holders;•             Promote, with the competent international bodies, a Portuguese expression market of cultural goods;•             Promote the interaction between music and other economic sectors, in particular, creative industries, start-ups and tourism;•             To protect and disseminate both countries cultural and musical repertoire by promoting performances, artists and producers exchange.InternationalinstitutionalTo attain the objectives, a protocol for the support and consulting in the development of mechanisms for the collective management of copyright was signed, between the government of Cape Verde (through the Ministry of Culture and Creative Industries) and Portuguese entities of collective management of copyright, namely, Audiogest and GDA.In compliance with the protocol, the Portuguese collective management entities (EGC-P) have the conditions to ensure:Advice and technical support in the preparation of the activities plan and budget for copyright and royalties collecting in Cape Verde and in the preparation of regulations and internal rules for the collecting, distribution and rights management activities, as well for the procedures and organization of the management entity (ies) and respective forms;•             Training in raising repertoire and rights holders attendance; in copyright and related rights, with a particular focus on collectively managed rights; on tariffs definition and application; in negotiation and collecting functions: procedures, general rules, code of conduct for collection employees; in distribution functions.•             Provision, whenever possible and in particular when the EGC-P are seminars and courses of specialization promoters or organizers in the copyright and collective management field, of technical staff vacancies indicated by the Ministry of Culture and Creative industries (MCIC) or by the entity (ies) indicated by MCIC.•             Local monitoring of collective management implementation of several activities;•             Support for the international recognition of the entity (ies) within the producers and artists management societies community;High-level technical assistance to support MCIC or whoever they understand to delegate within the framework of preparation and drafting of regulatory and legislative instruments;    The claim of international repertoire of Cape Verde origin, off Cape Verde, its identification, complaint, collection and delivery to the holders representatives.PREFERENTIAL TREATMENTCreación, Producción, DistribuciónYesTo protect careers of creators from Cape Verde, it’s expected the establishment of conditions that enable cultural agents to operate and develop their artistic activity with legal security and a fair financial return.This cooperation will bring to the Ministry of Culture and to Cape Verde several advantages:•             Effective implementation and short-term recovery mechanisms, management and distribution of copyright and related rights in the country;•             The possibility to obtain, through the management of EGC-P, revenue from related rights for the use of musical repertoire in foreign countries;•             Training technical staff in collective management and distribution of copyright and related rights;•             Contribute to promote the internationalization of Cape Verdean music in the world;•             Investment costs reduction and collective management system implementation;•             Permanent reduction of management costs for the use of international repertoire outside Cape Verde.The advantages for the Portuguese entities are:•             Contribute to promote Portuguese music internationalization in the world and the exchange of producers, shows and artists in Cape Verde;•             Increase awareness and broaden management experience;•             General costs reduction by creating economies of scale;•             Reduction of international management costs for the use of Portuguese repertoire by creating an economy of scale enabled by the enlargement of the managed repertoire to the Cape Verde repertoire.In a spirit of cooperation and mutual gains, this delegation of powers will allow the Portuguese entities, besides getting a fee for the management of the Cape Verde repertoire, to capitalize and develop its presence in the Portuguese-speaking market, creating true economies of scale.To Cape Verde advantages are mainly the cost reduction in the international management of the uses of the repertoire outside the country and the guarantee that royalties are dully taxed.Audiogest – Association for the management and distribution of Rights, GDA – Collective Management Society of the Rights of Artists, Interpreters and Performers, Ministry of Culture and Creative Industries of Cape VerdeNo information available yet.NoYesYesNOArtists, creators, author from Cape Verde
10953108722016PortugalNational Reading PlanSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesIndustria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/national-reading-plan-0https://es.unesco.org/creativity/node/10953The National Reading Plan is a Government initiative, of the responsibility of the Ministry of Education, jointly with the Ministry of Culture and Minister of Parliamentary Affairs. This is a response to the concern on the literacy levels of the population in general, especially that of young people, which is significantly lower than the European average.The main objective of the National Reading Plan is to raise the level of literacy of the Portuguese people and to place the country on a par with its European partners.It is aimed at creating the conditions for the Portuguese people to achieve reading levels in which they feel that they are fully capable of deal with written words, under any circumstances of life, and can interpret the information made available by the media, access scientific knowledge and enjoy the great novels of Literature.The National Reading Plan has the following objectives:•          Promote reading, considering it an essential element in individual development and national progress•          Create a social environment is favorable to reading•          Make an inventory and valorize educational practices and other activities stimulating pleasure in reading amongst children, young persons and adults •          Create instruments enabling the definition of increasingly more precise targets for the development of reading •          Enrich the skills of social players, developing both the formal and informal action of teachers and reading mediators•          Consolidate and increase the role of the Public Library Network and School Library Network in developing reading habits•          Gradually achieve better results in national and international studies evaluating literacy. Nationallegislative, institutionalIt will be implemented through a set of strategies aimed at promoting the development of skills in reading and writing, as well as the broadening and deepening of reading habits, especially among school populations.A Plan focusing on the development of reading as a political priority and a national goal should have various strategic lines:Broaden and diversify actions promoting reading within school, family and other social contextsContribute to the creation of a social environment favorable to readingEnsure training and support toolsMake an inventory, and optimize resources and skillsCreate and maintain and information and evaluation system Principles for the Promotion of ReadingCULTURAL POLICIES AND MEASURESParticipaciónYesIn addition to the programs to promote reading which have been launched within the context of the Plan, it is hoped that multiple and various initiatives will appear spontaneously, with a local, regional and national scope, carried out by civil society organizations, professionals and volunteers.If responsibility is taken on collectively, the country will be led to a higher level in a faster and better way.It is hoped that the public discussion on the proposals and the effects of the National Reading Plan and the disclosure, through the media, of the results of its studies will contribute to creating a social environment favorable to the broadening of cultural habits in the area of books and reading.  But it is also hoped that multiple and various initiative arise spontaneously, of local, regional and national scope, in the public and private sector spheres, carried out by civil society organizations, professionals and volunteers.Ministry of Education, Ministry of Culture, MunicipalitiesThe Ministries jointly responsible for the Plan define the technical and financial resources for the execution of the respective programs.NoNoYesYESNationalIt wasn't possible to access the necessary and reliable information. Neverthless the maintenance of the plan over several years means that it's still considered important and necessary and even if some changes have been introduced it still remains close to its original basis. A new plan is beeing envisaged.It's has not been possible to access the informationChildren and young people, Teachers, parents, librarians, reading mediatorsJóvenes
10944108722016PortugalAesthetic and Artistic Education in SchoolsSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/aesthetic-artistic-educationhttps://es.unesco.org/creativity/node/10944The promotion of an action plan covering different art forms in the school context. The project aims to develop:Skills• Creation of creative spaces in schools and cultural institutions.• Provision of training for teachers and other school staff in different artistic fields.• Provision of training for cultural actors.Knowledge• Development of models and structures for conveying arts and culture in schools and cultural institutions.• Development of a multifaceted and tailor-made range of offers for cultural education and artistic projects.Attitudes• Development of long-term cooperation projects with local cultural institutions/artists.• Promotion of systematic class activities in arts education.• Development of the ability to appreciate and appraise works in the visual arts, music, dance and drama.www.dge.mec.ptNationalinstitutionalAesthetic and Artistic Education in Schools is a national initiative to promote and stimulate:An increase of the aesthetic dimension of education through the appropriation of the language of various art forms, using the specific contents of each one to gradually implement educational strategies which ensure curricula which integrate different modes of expression and foster cross-curricular knowledge;Development of joint actions between educational and cultural institutions based on the idea of culture as a need and an asset in the educational process;Awareness among teachers and families of the role of art in children’s education and its relationship with other areas of knowledge;Knowledge of cultural and artistic heritage as a process of affirmation of citizenship and a means of developing cultural literacy.From 2010 to 2015, the programme has been implemented in 96 schools and 34 cultural institutions across the whole of the country, involving 3 595 teachers and 63 936 students thus far. The offer includes:training in various art forms: visual art, music, drama, theatre, movement, dance;building up partnerships between schools, cultural institutions and artists;advising schools on artistic and cultural projects;moderating and mediating processes within and between the schools and cultural institutions;engaging children, teachers and families in all kinds of arts (e.g. dance, music, theatre and visual arts);development of awareness of art as a form of knowledge.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónYes- Experimentation and progressive mastery of the specific knowledge of each art form;- Contact with different cultural backgrounds (musical, choreographic, theatrical, fine arts, among others);- Development of the child’s expressiveness;-  Improvement and expansion of the child’s aesthetic experience;- Development of the child’s aesthetic sense and intentionality.The project also contributes to develop:Arts (e.g. visual arts, music, dance, literature, drama)interdisciplinarity: contribution of arts and culture to other non-artistic or non-cultural topics (e.g. environment, social climate, social inclusion, health, active lifestyle, sports).General Directorate of Education, Ministry of Education and Science of Portugal, Calouste Gulbenkian Foundation, Aga Khan Foundation, Organisation of Ibero-American StatesNo information availableNoYesYesYESNationalGive schools and cultural institutions the necessary resources to offer active participation in art and culture to every pupil.Make sure that teaching of art and culture in schools and cultural institutions remains relevant at all levels within the institutions.Support structures and mediators (such as cultural actors) in developing artistic projects and long-lasting cooperation.No information availableChildren/youth, Parents/families
10939108722016PortugalDGARTES-Public support programmes to the arts Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/dgartes-public-support-programmeshttps://es.unesco.org/creativity/node/10939The General Directorate for the Arts is a central department of the Ministry of Culture. It's mission is to coordinate and carry out arts support policies, foster institutional partnerships and conduct the necessary course of action to ensure the universal character of its undertaking, as well as the freedom and qualification of artistic creation.The core objectives of DGARTES include: to support independent cultural agents, to actively promote the internationalisation of Portuguese arts and artists, to divulge the works of artists and interpreters through publications in various types of media and to encourage innovation and experimenting in the field of the arts. This is part of a comprehensive strategy that aims to support artistic creation and dissemination, the development of new audiences and increased international cooperation and exchange.The competences of DGARTES comprise the implementation of the new arts support policy whose core objectives include the consolidation and sustainability of a network of technically and vocationally oriented independent cultural agents spread out evenly throughout the various regions of the country. This network is responsible for the introduction of new intervention models in articulation with other sectorial policies, for encouraging partnerships with local authorities, and also for supporting production and programming, particularly with the purpose of giving renewed visibility and reviving the network of municipal theatre-movie houses.The new arts promotion policy also aims to encourage increased sharing of responsibilities between the State, cultural agents, local authorities and other public and private bodies, with a view to promoting the creation and dissemination of the arts. By making full use of available tools for the virtual management of information, it is equally responsible for ensuring the recording, organisation and dissemination of contemporary production, either by generating or integrating national and international information networks that are accessible to both professionals and public.National, Internationallegislative, financial, institutionalThe programmes support the creation, production and dissemination of the arts, as well as the consolidation, qualification and stimulation of cultural equipment networks. The public financing of activities and projects that contribute towards the promotion of the artistic creativity and capacity for innovation at national and international level is one of the core instruments used to carry out these two correlated sides of cultural policy, which also aims to raise the awareness and critical stance of the population, thus supporting their qualification and social cohesion in the process.Taking into account the role of culture, particularly that of the arts, in the social and economic development of the country, as well as the need for convergence of sectorial policies by bringing together synergies and their replicating effects, the Government has set up a normative framework, via the Directorate-General for the Arts, that regulates support activities, in response to the need to consolidate and foster the sustained development of artistic activities.Types and Categories of support:Direct Support / Four yearDirect Support / BiennialDirect Support / AnnualDirect Support / Specific Indirect Support / Tripartite AgreementsSupport to InternationalizationSupport to Cultural associativismSupport to regional orchestrasCultural Footprint - Arts and Education www://dgartes.pt CULTURAL POLICIES AND MEASURESCreación, Producción, DistribuciónYesEnsure public access to the various fields of artistic activity, contributing to the promotion of quality of life, citizenship and the qualification of the population;Encourage the decentralization and dynamization of cultural offery, correcting regional asymmetries and promoting artistic activity as an instrument of economic development and social qualification, inclusion and cohesion;Promote artistic research, experimentation, creation and innovation;Encourage the sharing of State responsibilities with cultural actors, including through local and other public and private entities, in order to stimulate local investment in the creation, production and dissemination of the arts;To consolidate professional and creative activities, activities and activities, valuing their mission;To promote the qualification of Portuguese and foreign artists living in Portugal;Stimulate the artistic residence of creative entities;Encourage artistic network production;To value the network of cinemas and other cultural equipment, supporting regular quality programming, which includes an educational dimension;Promote the production of publications and other materials for the dissemination or dissemination of the arts, in digital, online or printed form;Articulate the arts with other sectoral areas.Directorate General for the ArtsNo information available for the period.NoYesYesYESNationalNo information available about evaluation.No information available.Artists, creators
10936108722016PortugalStrategic Plan for Multilateral Cultural Cooperation in Portuguese Speaking CountriesIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Tratados y acuerdosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/strategic-plan-multilateralhttps://es.unesco.org/creativity/node/10936Promote the exchange of knowledge among cultural agents, artists, writers, composers, researchers, managers and civil society organizations, through the creation of conditions that guarantee the mobility of cultural operators and the circulation of cultural goods;Identify and promote joint actions that benefit the populations;Establish and define the mechanisms of communication and transmission of information;Provide culture professionals with tools that allow them to develop and safeguard their creations;Stimulate the internationalization of CPLP (Community of Portuguese Speaking Countries) in the field of Culture; Promote arts and cultural education activities aimed at different target audiences in the Community; Structure and strengthen cooperation among the CPLP countries in the field of cultural heritage, with a view to preserving, enhancing and disseminating that heritage.InternationalinstitutionalThe Plan presents five previously identified axes based on the strategic guidelines of CPLP's statutory bodies and systematizes the actions considered as priorities for the CPLP's Strategic Plan for Multilateral Cultural Cooperation (2014-2017 and 2017-2021), to be implemented in the short , medium and long term through specific programs, projects and actions in the field of culture.1st Axis - Cultural Industries and Creative Economy int the CPLPThe promotion of the culture of Portuguese-speaking countries through multilateral cultural cooperation in the field of cultural industries, cultural expressions (cinema, music, theater, dance, visual arts, among others) and festivals, shows, cultural seasons and various events In third countries, represents a vector of CPLP's strategic vision of cooperation.2nd Axis - Diversity of Cultural Expressions in the CPLPThe Charter of the CPLP (1996) recognizes that the cultural diversity of the Member States is a common cultural heritage and is one of the pillars of the CPLP.3rd Axis - CPLP Internationalization in the Field of CulturePromoting the cultural potential of the CPLP Member States to regional and international organizations through multilateral cooperation outside the Community is a strategic basis for cooperation with a view to the internationalization of the CPLP.4th Axis - Cultural Heritage and Historical Memory of the CPLPThe recovery of the historical heritage of the Member States of the CPLP and the creation of mechanisms to facilitate the reproduction of this common heritage is also a strategic basis for the recovery and sharing of the Historical Memory of the CPLP.5th Axis - Training of Human ResourcesCooperation projects and / or programs for the training and qualification of professionals related to the different sectors of culture and technical assistance for the exchange between institutions and specialized personnel are lines of action considered as priorities by the CPLP Ministers of Culture.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónYesRecognizing the importance of culture to consolidate the CPLP objectives, as required in the CPLP's statutory documents, this Plan constitutes a proposal for a strategic vision for a period of six years (2014 to 2020), with a view to Cultural cooperation between member states and the strengthening of their development through culture.Community of Portuguese Speaking Countries - Executive SecretaryFinancial contributions from all member states and state budgets of each country.Member states will allocate a sum of money to the projects and activities they are interested in.NoYesYesNOAll cultural actors
10933108722016PortugalPARTIS-Artistic Practices for Social InclusionLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleConsidered for innovative practicesCine / Artes audiovisuales, Música, Las artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/partis-artistic-practices-socialhttps://es.unesco.org/creativity/node/10933PARTIS, which ran for the second time in 2015, is a programme that allows the Gulbenkian Foundation to realize its conviction that art is an agent for inclusion and social change through its unique power to bring people together. It has been designed to support projects that use artistic practices (music, photography, video, theatre, dance and circus arts) as tools to create bridges between communities that normally do not cross paths.It's a program promoted by the Calouste Gulbenkian Foundation that believes that art is the engine for the inclusion and social change, with its unique power to unite people. It was designed to support projects that use artistic practices - music, photography, video, theater, dance and circus - as tools to create bridges between communities that usually do not cross.It’s an application Funding Program, that allows the access to all organizations to apply. The program do not open exclusively to social or artistic agents. The program privileged the principle of democratization, to access to the finance. For example, there are projects promoted by entities with an exclusively social or artistic basis, but we can also find some hybrids organizations that have the both dimensions on its mission. This program funds the project but can also fund the structure of the organization in order to create a more sustainable basis for the intervention (eg. Refugiacto group - from Portuguese Refugee Council).NationalinstitutionalPARTIS gives finantial support to two projects developed by the Portuguese Refugee Council:1."Refuge and Theatre: sleep thousand gestures on my fingers" (CPR/PARTIS)It's a project, promoted by the Portuguese Refugee Council, funded by Partis Program (Artistic Practices for Social Inclusion), of the Calouste Gulbenkian Foundation, to associate the theater to language learning. The main objective of the project is to create a set of activities related to the theater, while enhancing the integration and social inclusion, mediator of personal and interpersonal conflicts, while supporting the learning and practice of Portuguese language and culture. It's also the link between the arts and life, unifier of cultures, knowledge and feelings, and finally the theater as an opportunity to share with the society in general the situation of refugees in the world and each of the refugee-performers have a voice that is all they have to shut up. Activities developed:a) - Dramatic Expression sessions for asylum seekers accommodated in a Reception Centre for Refugees (Bobadela), using the theater as a base activity of the integration process, together with the Portuguese language);b) - Organize and promote all the work of the RefugiActo, composed by refugees and non-refugees, with their own artistic objectives and intervention in society.2. Refuge and Art: Sleeps thousand colors on my fingersIt's a project promoted by the Portuguese Council for Refugees, co-financed by the PARTIS Program (Artistic Practices for Social Inclusion), of the Calouste Gulbenkian Foundation. The main objective of this project is to develop a project related to the plastic arts, directed to young refugees and asylum seekers, in order to create tools that promotes the learning of the language and the inclusion in the Portuguese society. This project establishes partnerships with educational institutions, artists' studios, exhibition halls and galleries. Schools have a central role, embodied in the joint celebration of artistic expression initiatives and significant dates.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, ParticipaciónYesWhere the second edition is concerned (2015), 160 applications were received from all over the country and 16 new projects were selected to receive support over the three-year period between 2016 and 2018.The projects that made up the first edition, some of which are still underway, completed their second year of existence, having given rise to 7963 activities and 321 public events (37,636 visitors/public) and reaching around 5791 direct participants. These projects involve 181 full-time professionals, 104 volunteers and 287 (public and private, profit and non-profit) partner organisations.There is concern about the process and not just with the product. The priority of PARTIS projects is the process of growth and autonomy of the people involved. The idea is in fact not make public presentation the culmination of the process, but a part of it, so that the work does not end there but remains, making more sustained the changing process. The public presentations are always previously assessed to see if they have artistic quality to do so.1ª edition 2014-2016 - Funded - 17 projects2ª edition  2016-2018 - Funded - 16 projectsCalouste Gulbenkian Foundation, Portuguese Refugee CouncilThe project represents an investment of around €1 million over a period of three years.From 2014-2016, the Partis Programme Calouste Gulbenkian Foundation supports through PARTIS 15,000 €/year the following activities: Dramatic Expression sessions for asylum seekers and organize and promote all the work of the RefugiActo, composed by refugees and non-refugees, with their own artistic objectives and intervention in society.Refuge and Art: Sleeps thousand colors on my fingers is a project financed also by the Calouste Gulbenkian Foundation (15.000€/year). NoYesYesYESNationalThe evaluation methodology is being developed at the same time that the program is being implemented (ongoing evaluation). However they want to make a social and artistic evaluation. For this purpose, they are drawing with an evaluative expert in Arts from UK an artistic evaluation model to evaluate the artistic quality of the projects.For the Program is important to evaluate the social inclusion process as well as the ability of the project for an artistic public presentation. The products that results from the intervention are very important but the emphasis is on the social and artistic process. In what concerns to the artistic evaluation it will be a more qualitative assessment.Base in the experience of the first edition, in the second edition of the PARTIS was made an initial training about evaluation, specially dedicated to the Theory of Change, in order to define exactly what is expected for each project and which are their goals, so they could not be changed during the implementation process. This training was held for a day with the promoter and partner of each project. In this training were defined the goals of each project, their target groups and how they were standing at the moment.PARTIS have defined in its regulation the evaluation criteria for which, each project have to accomplish. Transcribing the PARTIS criteria set on the program Regulation:a) Planning – establishing a clear and consolidated diagnosis, define goals, identify activities as well as the expected impact of the project in the problems diagnosed;b) Partnership – in the creation and implementation of the projects, it should be involved more than one organization, setting a partnership whom assures complementarity, resources gathering, a joint responsibility for the actions, in order to facilitate the production of new dynamics (or the strengthening of the existing ones), and assure the sustainability of the actions;c) Participation – involvement of the direct participants, of the communities and organizations, along the different stages of the project, promoting empowerment and joint responsibility processes;d) World crossing – promote interactions in spaces and realities that are not common in the daily life of the direct and indirect participants;e) Social Innovation – presentation of new ideas (products, services or intervention models) that matches with the needs of the participants (in a more effective way than the other alternatives), and, in parallel, with the creation of new social relationships or collaborations among field agents;f) Accessibility and artistic experimentation – contemplate the possibility to participants access to the most variable artistic practices' through the experience as a public, creation and production;g) Multidisciplinary' Perspective – promote the crossing between different areas in an integrated and complementary form: social, artistic, education, health, …   Related with the application analysis the Program also defined a set of criteria to better evaluate it. One of the principles of PARTIS is also not to meddle in the solution or the creative process of the projects.MigrantsConsidered for innovative practices
10924108722016PortugalAward: Women creators of Culture Derechos humanos y libertades fundamentales, Igualdad de géneroCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/award-women-creators-culturehttps://es.unesco.org/creativity/node/10924To give visibility to women noted for their cultural production.This merit award, besides being a way to recognize women for the work carried out, intends to value and highlight women who develop their activities in the cultural sector, ensuring a balanced visibility between men and women, free of prejudices and stereotypes.NationalinstitutionalThe initiative arises as part of the National Plan for Equality, Gender, Citizenship and non-discrimination (2011-2013  and 2014-2017), and its awarding implements the measures foreseen in the National Plans.Enabling people of both sexes to have equal opportunities regarding cultural production and enjoyment is a major contribution to the exercise of a full citizenship, to reduce all kinds of inequalities, to social development and to reinforce a equalitarian paradigm of national identity in the context of an increasingly globalized world.  CURRENT UNESCO GLOBAL PRIORITY: GENDER EQUALITYCreación, ParticipaciónYesEnabling people of both sexes to have equal opportunities regarding cultural production and enjoyment is a major contribution to the exercise of a full citizenship, to reduce all kinds of inequalities, to social development or to reinforce a equalitarian paradigm of national identity in the context of an increasingly globalized worldCommission to Citizenship and Gender Equality, Cultural Strategy, Planing and Assessment Bureau (Ministry of Culture)No information availableNoNoYesNOWomen artists and working in the cultural field
10921108722016PortugalMore Leaders La cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/more-leadershttps://es.unesco.org/creativity/node/10921The Choices Programme (www.programaescolhas.pt) developed a special initiative dedicated to the empowerment of youngsters. The measure was designed in partnership with the Embassy of Cape Verde in Lisbon, targeted to youngsters with Cape Verdean origin, to discuss and reflect about the Democratic Institutions, the Rights and Duties, the International Conventions and the Justice, Media Literacy and Citizenship.- http://www.acm.gov.pt/-/-mais-lideres-acm-e-embaixada-de-cabo-verde-arrancam-com-programa-de-formacao-civica#NationalinstitutionalDuring this edition, 26 youngsters descends of Cape Verdean immigrants, between 19 and 33 years old, participated and received training and inputs from experienced partners such as Members of the Parliament, Diplomats, Professors and Associative Leaders. The final outcome of this initiative was a country visit to Cape Verde, where the participants had the opportunity to contact, learn and share experiences with local Associations, Public Institutions and Governmental Bodies.YOUTHCreación, Producción, Distribución, ParticipaciónYesThe main result was the empowerment of youngsters.High Commission for Migration (www.acm.gov.pt)Information not available.NoNoYesNOYoungsters with Cape Verdean originJóvenes
10956108722016PortugalProject NÓS - A Galician-Portuguese Project for TheatreIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaConsidered for innovative practicesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/project-nos-galician-portuguesehttps://es.unesco.org/creativity/node/10956National Theatre D. Maria II designed a cooperation project between the 2 Portuguese National Theatres (Lisbon and Porto) and the Galician Dramatic Center, as well as with the Superior Theatre / Drama Schools of Lisbon, Porto and Vigo.The project aims to create a regular circulation of performances (a theater production per year) between Lisbon, Porto and Santiago de Compostela, with the graduate students of the 3 Superior Drama Schools in different training areas.InternationalinstitutionalThe project NÓS is the basis of synergies between Portugal and Galicia. To invest in the relationship with Galicia is to invest in the future. That’s why this is a cooperation project between the 3 drama schools (Lisbon, Porto and Vigo), the 2 National Theatres (TNDMII and TNSJ) and the Galician Dramatic Center, to create conditions for national productions, having in mind the professional circulation of Portuguese and Galician students. With this project and from the training process, artistic and creative networks we’ll be created.The Project has 2 editions, the first one in 2015 and the second one in 2016. It was decided that 11 students from the 3 Drama schools would participate (2015), acting students and technical specialities students. National Theatres and the Dramatic Center have the responsibility to ensure production resources and visibility.In the first edition (2015):1st rehearsal month - April – Porto2nd rehearsal month – May – LisbonOpening – June – National Theatre D. Maria II – LisbonPerformances – Lisbon (June), Porto (June) and Santiago de Compostela (June)Portuguese drama director and playwright.In the second edition (2016):1st rehearsal month - April – Porto2nd rehearsal month – May – Santiago de CompostelaOpening – June – Santiago de CompostelaPerformances – Santiago de Compostela (June), Porto (June) and Lisbon (June)Galician drama director and playwright.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónYesDevised to help in the construction of a network of young artists, this project places National Theatres at the service of the educational community, reinforcing student’s professionalization and circulation.At the same time this project will enable the reinforcement of the cultural cooperation between Portugal and Galicia and a better knowledge of both peoples and culture.Portuguese National Theatres - Teatro Nacional D. Maria II (Lisbon) and Teatro Nacional de S. João (Porto), Galician Dramatic Center, Theatre / Drama Schools of Lisboa, Porto and VigoNo information available.NoNoYesNOGraduate students of 3 drama schools, Young artistsConsidered for innovative practices
10946108722016PortugalStartUP Portugal - Portuguese Strategy for EntrepreneurshipSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/startup-portugal-portuguesehttps://es.unesco.org/creativity/node/10946Startup Portugal is the Portuguese Government’s strategy for Entrepreneurship. More than fostering an entrepreneurial spirit, it aims to support those who are already entrepreneurs, ensuring the longevity of the companies created and increasing the impact they have on job creation and economic value. It means to organize, free up and promote the sharing of benefits, best practices and resources, identify regional and sectoral flaws and fill gaps.Regional, Nationalfinancial, institutionalDevised as a four-year plan, it is focused on three areas of operation: Ecosystem, Funding and Internationalization.EcosystemThis pillar of StartUP Portugal’s intervention shall be developed with the purpose of identifying and overcoming sectoral and regional gaps in the acceleration programme, business incubators, fablabs, maker spaces and design factories. It will also strive to increase the international competitiveness of these assets, to promote the sharing of physical resources and know-how, to promote greater professionalization of teams and of the services offered to entrepreneurs and companies being incubated.FundingThe public financing policies for start-ups will be focused on offering alternatives to bank loans, namely by promoting new methods of financing, such as equity crowdfunding and peer-to-peer lending, co-investment with the best national and international investors, bolstering Portugal Ventures’ intervention as the body responsible for public venture capital investment, in strategic sectors for the national economy and in projects at a stage at which the risk is perceived to be too high for private investors and where there is currently a gap in the market. Within this scope, vouchers will be created for start-ups to acquire professional incubation services, and for young people who live in Portugal or abroad who wish to create a start-up in Portugal, regardless of their financial situation, to support the establishment of the most favorable tax regime for the start-ups and to provide job creation incentives.InternationalisationIn this area, a number of initiatives will be carried out to strengthen the objective to position Portugal as a global destination to attract foreign start-ups, investors, incubators and accelerators, to promote the national ecosystem in the markets, namely by supporting the presence of Portuguese start-ups at the main sectoral trade fairs, at the largest global tech events, in official delegations, in State visits aboard, and State receptions for foreign entities.CULTURAL POLICIES AND MEASURESProducción, DistribuciónYesPortugal is a country rich in talent and diversity. The public investments made in the past decade in education, infrastructures and technology pave the way for those wanting to start or invest in a new business. With one of the most vibrant entrepreneurship ecosystems in Europe, Portugal is a top destination to create, test, fail fast and try again.The strategy intends to strengthen different qualified and creative entrepreneurship levels, through direct support to entrepreneurs, encouraging the emergence of new business opportunities, particularly in creative and innovative fields .It also includes the activities of cultural and creative industries, which make use of creativity, cultural knowledge and intellectual property, resources to produce tradable and international goods and services with social and cultural significance (such as the performing and visual arts, cultural heritage, crafts, cinema, radio, television, music, publishing, educational software and entertainment and other software and computer services, new media, architecture, design, fashion and advertising).Thus, this strategy supports individual projects aimed at creating companies that carry out activities in sectors with dynamic and strong growth, including the built-in creative and cultural industries and / or sectors with intensive knowledge or technology.Different projects and mechanisms are envisaged: Ecosystem - National Incubators Network, National Makers Network, Free Zone – Technology, Simplex for Start-ups and Inclusive and job-oriented Entrepreneurship; Funding - Startup Voucher, Momentum Programme, Incubation Voucher, Seed Programme, Hiring Incentives, New Financing Methods, Calls Portugal Ventures, Co-investment with Business Angels, Co-investment with Venture Capital Firms; Internationalisation - Portuguese start-ups at the largest global tech events, Portuguese start-ups at the main national sectoral trade fairs, Portuguese start-ups at official receptions and State events, Creation of a Portuguese accelerator of reference in Europe, Web Summit. Ministry of EconomyAs referred above, the public financing policies for start-ups will be focused on offering alternatives to bank loans, namely by promoting new methods of financing, such as equity crowdfunding and peer-to-peer lending, co-investment with the best national and international investors, bolstering Portugal Ventures’ intervention as the body responsible for public venture capital investment, in strategic sectors for the national economy and in projects at a stage at which the risk is perceived to be too high for private investors and where there is currently a gap in the market.Within this scope, different instruments and support schemes are being created and planned, such as vouchers for start-ups to acquire professional incubation services, and for young people who live in Portugal or abroad who wish to create a start-up in Portugal, regardless of their financial situation, to support the establishment of the most favorable tax regime for the start-ups and to provide job creation incentives, monthly incentives given to young entrepreneurs, among others.For the moment it was impossible to indicate an ammount for national investment, since it will combine national and european funds, structural funds along with crowdfunding and peer-to-peer lending and most of the instruments and schemes are still being designed.NoYesYesNOEntrepreneurs in the cultural and creative sector
10943108722016PortugalADDICT / Creative Industries Agency PortugalSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, Alianza con la sociedad civilConsidered for innovative practicesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/addict-creative-industries-agencyhttps://es.unesco.org/creativity/node/10943ADDICT is a non-profit association supporting the creative industries sector in Portugal. The main objective is to foster favorable environment to promote creation, production and distribution in the creative industries while acting as an innovation and internationalization platform..ADDICT’s aims and objectives include to:• Nurture a positive environment for the development of CCIs;• Thrive through the promotion of capacity building and internationalization of its stakeholders;• Promote systemization of the sector;• Advocate appropriate public policies to help the sector;• Help with finding available funding;• Create a platform for networking and knowledge promotion.http://addict.ptNationalinstitutionalADDICT was founded by 10 institutions with the aim to:• Promote the CCI sector and the region;• Help revitalize the industrial sector in the region;• Create a connection between universities, the industry and young entrepreneurs.ADDICT has then become the representative and coordinator for the creative industries cluster in Northern Portugal and later at national level. One of the ADDICT’s successes was joining the European Creative Hubs in 2014 that is now financed by the EU and whose goal is to monitor the hubs space.ADDICT has 80 members covering the whole CCIs and spilling over to other sectors, such as research & development, universities, cultural NGOs (theatre groups etc.), city councils, freelancers, youth associations and others. The association is recognized by the Portuguese Ministry of Economy as the coordinator of creative industries cluster in Portugal. Additionally, ADDICT contributes to strategies addressing territorial competitiveness and urban regeneration.ADDICT work includes:• Co-operation with other partners on developing various initiatives targeting the sector’s professionals and organizations and also policy decision makers and institutions.Providing support for its members to identify the appropriate partners and funding sources. To facilitate this, ADDICT organizes various events, such as Club ADDICT sessions or the European Creative Hubs Forum120, to address main interests and concerns of its members and to provide opportunities for new contacts and networks.• Fostering the sector’s capacity building, like entrepreneurship and development and exploration of new ideas, through promotion and jury participation in various competitions, for example National Award for the Creative Industries and the Creative Business Cup.• Organization of mentoring and accelerating programs for start-ups.• Facilitation of contacts with investors and so-called business angels.At European level, the Agency is actively cooperating with various partners and participates in a number of European projects.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónYesSupply of competitive and qualified young human resources in the technological, cultural and creative sectors;• Network of relevant infrastructures allowing sector professionals to learn, research, present, develop and experiment with new ideas and to interact with each other;• Possibility of a cross-over with the tourism industry to use its full potential the diverse landscape and local produce and to exploit the possibility of capitalizing on the architectural and cultural heritage of the region/country;• Further deepen cultural contacts and links with other parts of the world using the Portuguese language as a door to other markets.ADDICT-Creative Industries Agency PortugalAbout € 100,000 per year (spent on day-to-day operations) + funds received for various projects.NoYesYesYESNationalThe long-term impact in the area of competitiveness of the creative strategy is yet to be mapped, however, it is already visible that the development of creative clusters has had a positive impact on urban regeneration and in attracting young creative minds to the region of Northern Portugal. There is no overall monitoring of effectivity. The national statistics about the CCI sector appear to be weak and incomplete. However, they show that the sector has been growing, thanks to the local investment in CCI.In 2013 a study was commissioned on the national level about the internationalization of the national CCI sector and its main conclusions were:Motivation and knowledge of the CCIs sector of ADDICT employees. ADDICT is the only entity in Portugal that represents the CCI sector and thanks to its knowledge of the sector and its participants it has a role of mediator and facilitator.• ADDICT’s model of functioning is a good one, however, without sufficient support (for example, national strategy), the implementation of it is very challenging. One of the successful approaches that could be replicated on the EU level is the involvement of various actors from across the business spectrum and not focusing on just entities involved with the CCI sector. The combination of cooperation and collaboration could be also replicated together with the improvement of interaction facilitation.Some of the barriers that the agency and the sector face include:• Lack of a nationwide political vision for the further development of the CCI sector and, as a consequence, lack of specific programmes and support tools;• Lack of backing from authorities;• Lack of effective collaboration with institutions;• Many ADDICT members (for example, universities) have their own CCI departments that do not collaborate with the association;• Economic and political instability that prevents an implementation of a long-term investment strategy;• Emerging sector that cannot afford to pay for advice;• Insufficient international mobility and participation in networks.   No information available.Artists, Cultural institutions, art spaces, Universities, science parks, research centers , Municipalities-Cultural and Creative Industries, ICT, Textile, Fashion, FurnitureConsidered for innovative practices
10938108722016PortugalNational Strategy for Education and CultureSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/national-strategy-educationhttps://es.unesco.org/creativity/node/10938National Strategy for Education and Culture (ENEC) is a program of the Portuguese Government, designed and developed in a close cooperation by the Ministries responsible for Education, Science and Culture. It intends t implement a long term action plan, in the areas of education, arts and culture.It aims at getting a greater presence of artistic and cultural activities across all levels of study, from preschool education to the end of secondary school.NationalinstitutionalIt contributes to generalise the presence of culture and artistic activities in the framework of the educational and training system,  from preschool education to secondary and profissional schools, promoting the concept of "cultural experience" and "cultural literacy" among all educational communnity. Promote the diversity of cultural expressions all over the country, enhancing the emergence of elements of analysis that will allow public policies decison-making favouring a higher access to cultural activities from citizens in general and students in particular.Integrate culture in the daily educational routines, through medium and long term learning pathes, to the development of skills, knowledge and attitudes, in order to contribute to a more open, demanding and plural society.Reaffirm a broad concept of culture, understood as a social and human phenomenon, which englobes multiple dimensions: antropological, social, symbolic, aesthetic and economic.Broaden communication and enable cultural interactions, creating envionments, devices and conditions for shared initiatives, through the use of technological means, namely electronic platforms. Value the country cultural diversity, as a way of recognising the richness of cultural goods, encouraging its preservation and contemporary cultural creation. Expand training programs for education and culture professionals in the areas of Artistic Education.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónYesThis Strategy intends to achieve, consolidate and foster aplication, within cultural and educative contexts, of training models and plans for education and educative services of cultural entities professionals, as well as the assessment and evaluation of the implemented practises.Directorate General for Education, Directorate General for Education Statistics, Cultural Strategy, Planing and Assessment Bureau, Directorate General for Cultural Heritage, Directorate General for the Arts, Portugueses Film InstituteTheres was no information available.NoYesYesNOStudents and youngstersJóvenes
10935108722016PortugalProgramming of the Cultural Centre in Luanda - 2012-2015Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaMúsica, Industria editorial, Artes visualeshttps://es.unesco.org/creativity/policy-monitoring-platform/programming-cultural-centrehttps://es.unesco.org/creativity/node/10935Promotion of the production and dissemination of works by Angolan artists;InternationalinstitutionalTo promote the diversity of artistic expression; to create environments for the presentation of artistic practices and expressions of Angolan artists, at the Cultural Centre; to support the dissemination of works and the education of Angolan artists.Portuguese Cultural Centers form a structured network that simultaneously spread portuguese culture abroad and gives support to local cultural structures/entities. Centers are reference poles of the portuguese culture, promoting and enabling local initiatives in different areas such as visual arts, cinema and music; they have libraries that frequently are indispensable to the local schools, becoming centers for spreading of knowledge and communal areas used by large swathes of the population.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT INTERNATIONAL LEVELCreación, ParticipaciónYesPromotion of the cultural appreciation and qualification of artists and participants; stimulation of the mobility of artists and their work; reinforcement of cooperation with local public entites and local private entities; programming of activities together with partners. Between 2012 and 2015, around 95 activities were carried out.Camões, I.P. / Portuguese Cultural Centre in LuandaCamões, I.P./Portuguese Cultural Centre in Luanda: around €120,00,00 (2012-2015)NoYesYesNONationalAngolan artists and cultural participants, Population in general
10932108722016PortugalNational Plan for Gender Equality, Citizenship and non-discrimination (2014-2017)Derechos humanos y libertades fundamentales, Igualdad de géneroCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/national-plan-gender-equalityhttps://es.unesco.org/creativity/node/10932Reinforce gender equality in all government areas and gender dimension in the activities of all Ministries, becoming an important vehicle for intersectorial coordination of gender equality policy and non discimination based on sex and sexual orientation.Reinforce intervention in different areas such as education, health and labour market, having in mind continuance of the ultimate objective of gender equality in all areas of society.Nationallegislative, institutionalThe Plan is based on a triple approach. On the one hand, the strengthening of gender mainstreaming, in order to ensure its integration into all areas of political activity and social reality, in order to build a full citizenship within the public and private spheres, integrating the Gender equality and non-discrimination as a requirement for good governance. On the other, the combination of this strategy with specific actions, including positive actions, aimed at overcoming the inequalities that affect women in particular. Also, the introduction of a gender perspective in all areas of discrimination, with a particular focus on the different impacts of this on men and women.CURRENT UNESCO GLOBAL PRIORITY: GENDER EQUALITYCreación, Producción, Distribución, ParticipaciónYesTo ensure the close articulation between the Plan and existent national plans and programs in sectorial or transversal policy areas, relevant to the construction and deeepening of gender equality and non-discrimination on the basis of sex and sexual orientation. Comission for Citizenship and Gender EqualityIncluded in the different Ministries budgets.NoYesYesYESNationalThis information wasn't available but since the Plan for 2014-2017 is the 5th National Plan, its continued implementation means that, even with changes and corrections, the main objectives were attained and essential to maintain.Information not availableGeneral population, with particular focus on women and girls
10923108722016PortugalVIDArte Prize – Art against domestic violence Derechos humanos y libertades fundamentales, Igualdad de géneroCine / Artes audiovisuales, Las artes escénicas, Industria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/vidarte-prize-art-againsthttps://es.unesco.org/creativity/node/10923To recognize artistic works in the areas of cinema, theatre and literature, announced during the period covered by the V Plan for Prevention and Combat to domestic and gender violence (2014-2017), that had focused the theme of domestic violence.NationalinstitutionalPortuguese works or co-productions can apply, written in portuguese language and promoted during the period previously defined, works that show:Violence caused by a power imbalance between men and women, expressed in physical, psychologic and sexual violence and whose victims are mainly women;Violence as an obstacle to achieve equality objectives, development and peace, that infringe, difficult or cancel the full enjoyment of human rights and fundamental freedomsCURRENT UNESCO GLOBAL PRIORITY: GENDER EQUALITYCreación, ParticipaciónYesRaise awareness concerning domestic and gender violence, to reduce social tolerance regarding domestic and gender violence; break up gender stereotypes that support relationships based in power and control dinamics from one of the members in relation to the other; make more visible personal and social consequences that life in situations of domestic violence comprises.Comission for Citizenship and Gender Equality, Cultural Strategy, Planing and Assessment BureauFour prizes are awarded, of 5.000,00 Euros each, to the winning works in each of the areas. NoNoYesNOArtists in the areas of cinema, theatre and literature
10905108722016PortugalSupport to Democratic Governance Process in East Timor: EU Media Program in East TimorSistemas sostenibles de gobernanza de la cultura, Diversidad de los medios de comunicación, La cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/support-democratic-governancehttps://es.unesco.org/creativity/node/10905Encourage the development of free, plural and independent media, thus strengthening diversity, protection of human rights and good governance. “The overall objective is to strengthen democratic foundations of oversight/accountability and transparency through institutional and capacity development in Parliament, Judiciary and Media, including joining efforts between them, by specifically addressing the shortage of skilled human resources, which constitutes one of the causes of fragility in the country, and through dissemination of better information about legislation, the judiciary and security sector activities.” (Financing Agreement nº TL/FED/22100)The main objectives cover 5 different areas:1. Legislation - Media activity framed by legislative packageTo accompany and participate in the preparation of diplomas establishing the bases of regulation of the media sector in Timor-Leste2. Self-regulation - journalistic activity regulated by self-regulation procedures / codesTo monitor and participate in the preparation of self-regulatory mechanisms for journalistic activity in Timor-Leste3. Training - Journalists trained in the transmission of reliable information to the public, thus contributing to the increase of media literacy, economic and financial literacy and legal literacy in order to promote knowledge of the populationProvide journalists and media professionals with specialized training, using experts4. Public Information - Disseminate information on the activities of the Government, the Parliament, the Chamber of Accounts and the Police, with the aim of improving the knowledge of the population about state action, strengthening democratic bases.To produce and disseminate four public information campaigns to strengthen the population's knowledge of the role of the four institutions (Government, Parliament, Chamber of Accounts, Justice and Police) and the democratic system5. Collective Memory - Reinforce the cultural identity of Timor-Leste through the recovery and protection of RTTL filesScan and protect RTTL audio-visual filesInternationallegislative, regulatory, institutionalImproving the overall situation of the media sector in Timor Leste. The Program (that lasted from 2012 to 2015) provided several training courses (more than one thousand of hours of classes) to journalists and media professionals in Dili, it started an exchange student program for students of journalism between the National University of Timor Leste and the Catholic University of Portugal. At the legislative level, the program provided technical advice and assistance to the group responsible for drafting the new Media Law, which was promulgated and published on the 19th of November, 2014. The Program also promoted the holding of the first National Congress of Journalists of Timor-Leste, in which one of the goals of the Program was fulfilled: the approval and signing of a universal Code of Ethics for all journalists in Timor-Leste. The Program also provided the means to digitize the archives of the Public Television of Timor Leste (RTTL) and secured specialized training for its journalists and personnel. The Program also created a specialized library in the matters of media and Portuguese language in Dili. It has also produced media campaigns aimed at providing the population with a better knowledge of the functioning of state bodies through the distribution of information leaflets and the broadcasting of radio and television programs.PREFERENTIAL TREATMENTCreación, Producción, Distribución, ParticipaciónYes1. Legislation - Media activity framed by legislative package2. Self-regulation - journalistic activity regulated by self-regulation procedures / codes3. Training - Journalists trained in the transmission of reliable information to the public, thus contributing to the increase of media literacy, economic and financial literacy and legal literacy in order to promote knowledge of the population4. Public Information - Disseminate information on the activities of the Government, the Parliament, the Chamber of Accounts and the Police, with the aim of improving the knowledge of the population about state action, strengthening democratic bases.5. Collective Memory - Reinforce the cultural identity of Timor-Leste through the recovery and protection of RTTL files IPAD (currently Camões- Instituto da Cooperação e da Língua, IP), by delegation of the European Commission., The technical execution of the activities was the result of specific cooperation protocols signed between Camões, the Secretary of State of the Council of Ministers of the Democratic Republic of East Timor, National radio and TVThe program was funded by the 10th European Development Fund (EDF) under the Cotonou Partnership Agreement that allocated 1 million euros to implement the measures.NoNoYesYESInternationalNo data availableNumber of consultations made to Civil Society for the implementation of diverse legislation related to Social Communication;% Of the population that perceives the media as reliable sources;% Penetration of the Written Press;% Penetration of the Public Radio and Television Station;Number of specific training courses targeted at journalists;Frequency rate of the courses and training;Level of satisfaction of students and the expert / teacher / trainer;Evaluation of lectured chairs;Number of students / trainees completing the courses successfully;Knowledge acquired by exchange students.Number of Community Radios supported by specific legislation;Number of meetings with local stakeholders carried out to define the legal framework of the Media;Legal framework for the Media promulgated and being inforced;Singing and approval of a self-regulation code;Number of hours of scanned and properly archived records;Number of employees qualified to scan contents correctly;Number of files consulted.Number of contents produced (leaflets, radio and television programs)Level of knowledge of the population regarding the topics covered by the contents that were produced.- Main representatives of the Timorese media sector:, Associations of media professionals, Teachers of Journalism and Media studies, Public entities responsible for the area of Media, Journalists and students, Professionals from RTTL, community radios and the press
10959108722016PortugalSphera Cástris - Southwest Park for Heritage and ArtsLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/sphera-castris-southwest-parkhttps://es.unesco.org/creativity/node/10959The project Sphera Cástris aims, in the first place, to promote the cultural heritage and artistic education in Évora. However other national and international objectives are pursued for this center for the arts, science and technology, research, innovation and sustainability. .The project seeks to respond to the need to create an infrastructure for culture and heritage, production and artistic creation, based on an integrated and inclusive vision of knowledge and its transfer. A location anchored in a historical and cultural territory, that fits in within a network with existing cultural and scientific equipment and  organizations, allowing to develop integrated projects with scale to gain economic and cultural development of their region of influence.This way other objectives of the project are:To ensure greater accessibility to the (knowledge of) the region's Cultural HeritageTo increase the impact of Cultural Heritage at regional levelTo promote entrepreneurship and job creationTo promote research and advanced trainingTo provide residencies for artists and researchersTo promote the training and qualification of human capitalTo create an exhibition and interpretive pole and an experimental center for arts and heritageTo create a vision resulting in integrated management of knowledge and its transfer, in the domain of arts and cultural heritage, anchored in a determined historical territoryTo create an European consortium / network for art and heritage.Regional, National, InternationalinstitutionalPromoted by the Regional Directorate for Culture of Alentejo, the project involves a set of entities representing the municipality of Évora and the region, as well as several international entities, for streamlining the Convento de São Bento de Cástris (Convent of St Benedict of Cástris) and its surrounding area.The approximately 5 000 square meters of construction will be subject to requalification works, in order to accommodate an exhibition pole and an experimental arts and heritage Centre.The Sphera Castris will assume an integrated vision of arts, culture and heritage action as pillars for competitiveness and sustainable development, responding so to the needs, challenges and opportunities in the region. And it will engage in the creation of a strategic alliances network with regional, national and international partners, to affirm itself as an innovative and avant-garde Centre with ability to study, experience, disseminate, preserve and reinvent all cultural disciplines on two crucial cornerstones: knowledge and innovation.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT INTERNATIONAL LEVELCreación, Producción, Distribución, ParticipaciónYesIt is intended that the project creates business clusters, development laboratories in the heritage area, artistic residencies and agricultural development works. It is expected that the intersection of science, heritage and contemporary art in the Convent area would contribute for the economic development of Évora and of the region.The promoters believe the Sphera Castris can assert itself as an innovative structure of reference at European level dedicated to the promotion and enhancement of Southwest heritage, culture and arts, in an integrated and sustainable territorial perspective, guiding their action to the following major vectors:Preservation and enhancement of cultural and traditional heritage of the territory through knowledge and its integration into national and regional policies.Development of innovative technologies and methodologies in cultural heritage and associated areas.Maximization of creative approaches in traditional arts and contemporary arts production and dissemination.Increasing opportunities and resources for creating and artistic excellence.Artistic and patrimonial education promotion and contribution to populations’ life quality.Growth of competitiveness and creation of skilled employment in the Culture sector in the Alentejo region.Contribution to the increase of visitors and overnight stays in the region in the scientific and cultural tourism sector.Regional Directorate of Culture of Alentejo, Universities of Évora (EA, ECS, ECT, laboratories and research centres, Chairs), Lisbon (Faculty of Architecture), Coimbra (CEAACP), Algarve, Seville, Granada, Extremadura., Municipality of Évora, Commission of Coordination and Regional Development of AlentejoThe investment comes from structural funds, through Creative Europe Program and scientific projects with the University of Évora.NoYesYesNOArtists and creators, Researchers, Cultural agents
10955108722016PortugalPortuguese-Brazilian Digital LibrarySistemas sostenibles de gobernanza de la cultura, Entorno digital, Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturalesConsidered for innovative practicesIndustria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/portuguese-brazilian-digitalhttps://es.unesco.org/creativity/node/10955The design of the Portuguese-Brazilian Digital Library (PBDL) started in 2014, as a result of a partnership between the National Library of Rio de Janeiro and the National Library of Portugal, with the main objective to coordinate efforts and to make available in the same access point all the digital collections of both institutions. It will be a first step to give a new dimension, relevance and visibility online to cultural content from a common language and history.This is the first time that libraries from Portuguese speaking countries join together to make available their collections and seek to match other global initiatives.Other objectives are:- To collaborate actively in the transfer of knowledge in technical areas with a fast pace of evolution, in terms of standards, methodologies and technological resources of digitalization, information management and digital preservation;- To coordinate activities to avoid digitalization duplication of the same content, in printed publications, optimizing resources; at this point, is highly relevant to Portugal the collaboration offered by the National Library Foundation (Brazil) to help in the mass digitalization of newspapers microfilm, of which BNP has more than 15 million images;- To extend the collaborative processes to other areas of activity, such as joint production of exhibitions and cultural and technical events, strengthening institutional ties.InternationalinstitutionalThe project is a portal which will add automatically information of both national libraries of Brazil and Portugal, whose sum of content reaches more than 2 million documents, more than 60000 titles, corresponding to approximately 13 million images of bibliographic materials in the public domain, from all times and genres. Among them, we can find the first edition of “Os Lusíadas”, by Luís de Camões, from 1572.EMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9bDistribución, ParticipaciónYesAfter the entry into regular operation of the portal, it will begin a second phase of expansion, widening to COLUSO participants (Portuguese-Brazilian Committee for Safeguarding and Disseminating Documentary Heritage) and the other entities and projects from Portuguese libraries.The Portuguese-Brazilian Library collection also includes works from 30 institutions of Portugal and 20 more from Brazil, including Real Gabinete de Leitura (Real Reading Office), founded by Portuguese immigrants in Rio de Janeiro, in 1837.At this stage, it is predicted also the diversification of PBDL portal in terms of content typology, adding contextualization skills to digital collections, in an editorial area in which, in addition to dissemination of news events, it will be created files, exhibitions, essays, articles, etc. It is expected to attract around from 100000 accesses a month.For a third phase, from 2016-17, both national libraries intend to extend the perimeter of PBDL to other Portuguese-speaking countries who wish to participate. In this phase  it is expected the deepening of organizational structure and technique, and extending training and support services that make possible the cooperation from new participating countries.National Library of Portugal, National Library of Rio de JaneiroInformation not availableNoNoYesNOYoung people, Teachers, researchersConsidered for innovative practices
10945108722016PortugalPlatform of Arts and Creativity in GuimarãesSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/platform-arts-creativityhttps://es.unesco.org/creativity/node/10945The Platform of Arts and Creativity is an infrastructural project of transformation of the Old Market in Guimarães, a multifunctional space dedicated to artistic activity, cultural, economic and social. This equipment will host a series of skills and areas dedicated to three major program areas. Guimarães was European Capital of Culture in 2012.RegionalinstitutionalThe buildings that make up the Municipal Market and the space defined by them, commonly referred to as “the square”, a name inherited from market square are, as a unit, characteristic elements of the urban landscape of the city of Guimarães. The grounds of the old municipal market boasted a privileged and very central location with excellent accesses, very close to the Toural Square and the historic center.The program provided a clear concept and defined the objectives intended to achieve with this infrastructure, listing a series of skills and spaces that constitute the functional program for both the new and the existing buildings, as well as the adjacent plots of land. For this purpose three major program areas were defined:-Art Center, which houses a permanent collection, in this case the Collection of José Guimarães, temporary exhibition area, a multipurpose space for additional activities, performances and shows, in addition to a series of complementary services. The exhibition area gets the name of the artist José de Guimarães, born in the city, which then deposits a large group of the most important parts of the three collections that has constituted fifty years ago - African Tribal Art, Archaeological Art Chinese and Pre-Columbian Art (Mexico, Peru, Guatemala and Costa Rica) - and works of the artist's own authorship. The Center is composed of 13 exhibition halls, a store, a cafeteria, a conference room and a black box.-Creative Labs are business support for the reception, installation of activities and incubation of projects related to creative industries, focused on innovation and entrepreneurship, allowing the development of business projects.-Workshops to Support Emerging Creativity, consisting of workspaces and creative vocation for young creators in various areas of activity, hoping to develop projects on a temporary basis, boosting a contagious creative momentum throughout the Platform of Arts. CULTURAL POLICIES AND MEASURESCreación, ParticipaciónYesIt provides the city with the effective acquisition of a singular and qualified public space, with dynamic and appealing activities and spaces of socialization and community life.With this project, the transformation of the marketplace into a multifunctional space dedicated to artistic, economic, cultural and social activities within the scope of European Capital of Culture 2012, allowed for the physical and functional reintegration into the urban fabric, to become a reality and so, to recover one key area of ​​the city space. In addition, the operation extended to adjacent plots, enabling the regeneration of the interior space of the block, which was completely uncharacterized, as a result of its occupation by a marble processing industry.Finally, the intent to recover the existing building on the eastern side, trying to promote the installation of additional commercial activities that could enhance the creation of a space with a broad scope in regards to multidisciplinary cultural activities.The whole structure, according to the program, would complement the existing equipment in the city, as well as those which were under development within the European Capital of Culture.INTERNATIONAL CENTER OF ARTS JOSE GUIMARAES13 Exhibition HallsConference Room - Capacity - Pax: 80 in audiencePossibilities of use: conferences, work meetings, training acyions, product launches, etc. CafeteriaBlak Box - Capacity-pax: 198Possibilities of use: shows, conferences.ATELIERS EMERGING5 WorkshopsLABS CREATIVE12 LaboratoriesOTHER SPACESRestaurant, book store, parking Municipality of GuimarãesNo information availableNoYesYesNOArtists and creators, Entrepreneurs and Cultural and Creative sectorJóvenes
10940108722016PortugalNational Film PlanSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/national-film-planhttps://es.unesco.org/creativity/node/10940The National Film Plan was established as a film literacy program and for the dissemination of national cinematographic works to the students, guaranteeing essential instruments and reading and interpreting cinematographic works among the students of the schools covered by the program. It supports and aims at an audience development in schools, through training actions targeting children and youngsters, aiming to create new audiences for cinema.NationalinstitutionalThe National Film Plan is a common initiative from the Presidency of the Council of Ministers, through the Cabinet of the Secretary of State for Culture and the Ministry of Education and Science and is operationalised by the Institute for Cinema and Audiovisual, Portuguese Cinematheque and Directorate Gerneral for Education.In the framework of the Plan, the Institute for Cinema and Audiovisual also grants support to projects that consist on the organization of training actions at schools and support young film makers / cinema student, through the funding of films made at the end of the course and first works after the conclusion of the training process. CULTURAL POLICIES AND MEASURESParticipaciónYesPromote and raise awereness among students to cinematographic works, and provide them with knowledge about this art.At the end of the school year 2015-2016, more than 20.000 students from schools from all over the country participated and got substancial benefit from the National Film Plan.Institute for Cinema and Audiovisual, Portugueses Cinematheque, Directorate General for EducationNo information available.NoYesYesNOStudents, Young film makersJóvenes
10937108722016PortugalProgram CPLP AudiovisualSistemas sostenibles de gobernanza de la cultura, Diversidad de los medios de comunicación, Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturalesConsidered for innovative practicesCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/program-cplp-audiovisualhttps://es.unesco.org/creativity/node/10937The purpose of the CPLP (Community of Portuguese Speaking Countries) Audiovisual Program is to promote the production and broadcasting of audiovisual content in the member states of the Community of Portuguese Speaking Countries by national competitions for the selection of projects of documentaries and fiction TV films in Angola, Brazil, Cabo Verde, Guine-Bissau, Equatorial Guine, Mozambique, Portugal, Sao Tome and Principe and East Timor.Internationalfinancial, institutionalThe CPLP Audiovisual Program integrates the following 3 lines of action:1. "DOCTV CPLP II" - II Program to Promote the Production and Broadcast of the Documentary of the Community of Portuguese Speaking Countries:• Co-production of a national documentary of 52 minutes by each country;• Allocation of financial support in the amount of € 50,000 to the documentaries selected by each country.2."FICTV CPLP I" - I Program to Promote the Development, Production and Broadcast of Fiction Works of the Community of Portuguese-speaking Countries:• Co-production of a 52-minute fiction film, based on the adaptation of a national literary work - in the case of Angola, Brazil, Mozambique and Portugal.• Allocation of financial support in the amount of € 150,000.00 to selected films by each country; •Development of a 52-minute fiction television project, for the other CPLP countries;• Allocation of financial support in the amount of € 40,000.00 for selected projects by each country.3. "Our Language I" - I Program of Exchange and Broadcast of Documentaries:Designed for the network of public broadcasters, it aims to broadcast the Our Language Program, which aims at the dissemination of documentaries illustrating socio-cultural issues contemporary to the national realities of the Member States of the CPLP, by providing up to 4 documentary works of 52 minutes ( or approximate duration) with free rights for diffusion in the other national public broadcasters that are members of the Network and in the composition of the weekly programming range for the diffusion of the Our Language Program.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, DistribuciónYesTraining, co-production and broadcast of portuguese-language audiovisual content in various national and world markets, based on a network operation model, whereby each participating State / region simultaneously co-produces audiovisual works and ensures broadcasts through public television broadcasters.Portuguese Institute for Cinema and Audiovisual, Brazilian Secretary of State for Audiovisual- Ministry of CultureDOCTV CPLP - Allocation of financial support in the amount of € 50,000 to the documentaries selected by each countryFICTV CPLPCo-production of a 52-minute fiction film, based on the adaptation of a national literary work - in the case of Angola, Brazil, Mozambique and Portugal.• Allocation of financial support in the amount of € 150,000.00 to selected films by each country;Development of a 52-minute fiction television project, for the other CPLP countries;• Allocation of financial support in the amount of € 40,000.00 for selected projects by each country.NoYesYesNOFilmmakers, cinema and audiovisual directors and producers from the CPLP member statesConsidered for innovative practices
10934108722016PortugalBook Fair in East Timor – Reading exchange (2014)La cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleIndustria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/book-fair-east-timor-readinghttps://es.unesco.org/creativity/node/10934Global aim: Promotion of the dissemination of knowledge and booksInternationalinstitutionalTo ensure the organisation of a book fair; to make various books of different areas accessible for the population in general and for teachers and students in particular, adjusting their prices to the economic reality of the country in order to contribute to the promotion of the Timorese people’ reading habits in Portuguese.Portuguese Cultural Centers form a structured network that simultaneously spread portugueses culture abroad and gives support to local cultural structures/entities. Centers are reference poles of the portuguese culture, promoting and enabling local initiatives in areas such as visual arts, cinema and music, they have libraries that frequently are indispensable to the local schools, becoming centers for spreading of knowledge and communal areas used by large swathes of the population.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT INTERNATIONAL LEVELParticipaciónYesProvision of the Timorese people with 21.400 books at reduced prices: 11.843 books have been sold, thus generating a revenue of $71,650,85; the execution of reading promotion actions, directed at the visitors of the fair, mainly at students and teachers; cultural programming; the equipping of the collections of Xanana libraries and the Mós Bele Programme, in Maubar.Camões IP / Portuguese Cultural Centre in Dili, Ministry of Education of East Timor; Timor Lorosa’e National University; State Secretariat for Arts and Culture. Camões I.P./ Portuguese Cultural Centre in Dili: €80,000,00NoNoYesYESNationalInformation is not available, but it's an activity of the Portuguese Cultural Center in Dili and its reoccurence implies a positive evaluation.No information available.Students and teachers of public and private schools in East Timor, Population at large
16634165592018República de CoreaODA Project in Cooperation with UNESCOAyuda oficial al desarrollo destinada a la cultura: el fondo fiduciario Corea-UNESCO17. Alianzas para lograr los objetivosLa cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleConsidered for innovative practicesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/oda-project-cooperation-unescohttps://es.unesco.org/creativity/node/166341The objective of the project is to establish a cooperative system with UNESCOLocal, Regional, Internationallegislative, institutionalFirst, it sets an agenda of global significance in cooperation with international organizations, including UNESCO. Second, it supports the UNESCO Trust Fund to contribute to the development of culture and creative industries of developing countries in the Asia-Pacific region such as Pakistan and Bangladesh. Third, by supporting the UNESCO Creative Cities Network in Korea, it shares the experience of member cities in Korea and promotes cultural diversity.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT INTERNATIONAL LEVELCreación, Producción, Distribución, ParticipaciónYesThe project will help expand the scope of cultural exchange to embrace developing countries, thereby building a partnership for mutual exchanges on equal footing. It will also contribute to cultural development of developing countries by implementing cultural ODA projects based on local demand, while expanding Korea’s role in the international community. Finally, it will boost the country’s image and set a foundation for sustainable cultural exchange.Ministry of Culture, Sports and Tourism430,618 dollar (as of 2016)YesYesNoYESNationalThe project was evaluated in terms of policy implementation rate, policy effects, policy feedback – collection of the opinions on site and responses to them. As the project was implemented as planned, it scored high on the rate of implementation. As regards policy effectiveness, the project raised awareness among people involved in cultural and creative industries of developing countries, and it also contributed to spreading cultural diversity as a meaningful global agenda. It also received high marks on policy feedback, as the cultural ODA projects were subject to constant input from the participants at every stage of orientation, interim review and final evaluation.Policy implementation rate, policy effects, policy feedback, etc.Developing countries (Laos, Uzbekistan, Rwanda, etc.)Considered for innovative practiceshttp://www.mcst.go.kr/english/index.jsp, https://es.unesco.org/creativity/donors/fondos-fiduciarios-de-corea-kfit
16613165592018República de CoreaPromoting Partnerships through culture and the arts in East Asia(Culture City of East Asia Program)Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/promoting-partnerships-throughhttps://es.unesco.org/creativity/node/166130Support to the Culture City of East Asia program The project is a follow-up to the agreement reached at the 4th Trilateral Cultural Ministers’ Meeting (May 2012) to promote cultural exchanges between Korea, China and Japan. Under the banner of cultural diversity, it implements the principle of “East Asian spirit, cultural exchange and convergence, and appreciation of other cultures.” It supports the trilateral cultural exchanges between Culture Cities of East Asia.Local, Regional, Nationalfinancial, institutional▪Main features of the project are as follows. ① Subsidizing the opening and closing ceremonies of the Culture City of East Asia and the events for their cultural exchanges② establishment of a trilateral cooperative system by inviting representative festivals of Culture Cities or assisting youth exchanges ③ hosting traditional plays such as pansori, Korean one-man opera (Chunhyangjeon, the Tale of Chunhyang), Chinese traditional opera (Thirteen Blessings) and Japanese Kyogen (play) (Tsuchigumo). INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, DistribuciónYesThe three countries establish cooperative system to preserve cultural heritages by vitalizing exchanges of the Culture Cities. The project strengthens arts and cultural exchanges and cooperation to promote the cultural industry. The strengthened trilateral cooperation will ultimately lead to peace in East Asia and culturally nourish the future generationMinistry of Culture, Sports and Tourism▪ 537,153 dollar (as of 2018)YesYesYesNOA city in each of Korea, China and Japan are annually selected as Culture Cities of East Asia. , In 2014, Gwangju/ Quanzhou/ Yokohama were selected as Culture City, , in 2015, Cheongju/ Chingdao/ Nikata,, in 2017, Daegu/ Changsha/ Kyoto, , in 2018, Busan/ Harbin/ Kanazawa.
16609165592018República de CoreaEnhancing the diversity of mediaSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, Entorno digitalConsidered for innovative practicesCine / Artes audiovisuales, Medios de comunicación, Música, Industria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/enhancing-diversity-media-0https://es.unesco.org/creativity/node/1660901. Media Diversity Monitoring2.Indie film: Support for the organization of independent film festivals, production of independent films and screening of the films on cultural diversity3.Development of webtoon (web-comics) sources: Projects to develop web-comics promoting cultural diversity 4. Indie music: Support for the indie music sector1. The media diversity monitoring project is aimed at analyzing the level of diversity of the Korean broadcasting service (platform, channel and content), while providing data needed to formulate policies promoting diversity of local media. It also provides the industrial, academic and public sectors with information about the institutional measures to promote diversity of local media.2. The indie films project includes support for the organization of indie film festivals, production of indie films and screening of cultural diversity films. All of these three programs seek to promote diversity of films by supporting production of indie and art films, and the screening of them. 3. Web-comics development project pursues diversity of comics with support for the production of children’s comics about cultural diversity and the national tradition of Korea to raise awareness of its historical value.4. The support for indie music provides the opportunities to produce music content of diverse genres. It also discovers talented new musicians, thus strengthening the ecosystem and foundation of the music industry.Nationallegislative, financial, institutional1. The project includes analysis of the characters in broadcasting programs (in terms of sex, sexual orientation, age, occupation, language, foreign language, disability, marriage,          child care, etc); of the diversity of genres in program planning; of the diversity in producers of programs; of the diversity of channels on paid media platform; of the diversity of ownership of channels; and publication and distribution of the analysis results.2. The project is divided into support for the organization of indie film festivals, the production of indie films and the screening of them. The state-financed Korean Film Council and the Association of Korean Independent Film & Video jointly organize the nation’s largest indie film festival. The support for indie films is allotted to 50 live-action movies both in feature length and short length, distributed on film or DVD format, with a budget of less than 400 million won. The films on cultural diversity are entitled to state subsidies for marketing expenses which ensures fair screening opportunities and distribution of Korean films of different formats.3. The project is to publish and distribute children's comics, hold an international cartoonist contest, and produce and distribute comics of public brand.4. The project is to support promising new talents, including indie or non-mainstream musicians, while assisting the organization of pop music concerts and festivals as well as the Golden Disk Award and other pop music awards.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónYes1.It raises public awareness about the diversity of media by distributing (through news reports and public announcement) the monitoring results to policymakers, broadcasting service operators and the general public. It has also established cooperative relations with major foreign regulators and institutions concerned with media diversity (The International Conference on Promotion of Media Pluralism and Diversity in Seoul, November, 2017). 2. It contributes to the production of a virtuous circle by creating a stable filmmaking environment with support for the production of films diverse in content and format and with on-line and off-line distribution of them. It enhances the competitiveness and profile of Korean films as well as providing opportunities for the Korean audience to enjoy a variety of movies. 3. It is expected to expand diversity of comics’ ecosystem. The promotion of comics on cultural diversity provides the opportunities to create cartoons of diverse content and more jobs.  4. The diversity in the genres of popular music strengthens the competitiveness of music content while broadening and solidifying the basis for creativity.1. Korea Communications Commission /Korea Broadcast Advertising Corp., 2. The Ministry of Culture, Sports and Tourism/Korea Film Council, 3. The Ministry of Culture, Sports and Tourism, 4. The Ministry of Culture, Sports and Tourism/ The Korea Creative Content Agency1. 170,098 dollar (as of 2017)2. 1,604,297 dollar (as of 2016)3. 447,628 dollar (as of 2016)4. Music: 7,251,567 dollar (as of 2016)YesYesNoYESNationalStarting with the selection of the indicators of media diversity in 2014, a pilot survey was conducted in 2015, the first primary survey in 2016 and the second primary survey in 2017. The complicated evaluation items to assess media diversity in the initial stage of monitoring were simplified and better organized. By holding international conference, it could establish cooperative ties with other relevant foreign institutions. However, as the analysis of the program content is still confined to quantitative measures, it needs to be complemented by deeper qualitative analysis. Evaluation of the project (by the Korea Communications Commission), evaluation of monitoring results (by the Korea Broadcast Advertising Corp.), evaluation by participants in the conference, etc.1. Broadcasting service providers and academic circle , 2.The executive committee of Seoul Independent Film Festival/ directors, filmmakers, movie audience/ film producers, distributor, 3. Cartoonists and comics-related businesses, 4. Korean indie musiciansConsidered for innovative practices
16604165592018República de CoreaPromotion of civil society initiatives for cultural diversitySistemas sostenibles de gobernanza de la cultura, Alianza con la sociedad civil, La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/promotion-civil-society-0https://es.unesco.org/creativity/node/1660401. Rainbow Bridge Project (cultural projects for social integration)2. World Day for Cultural Diversity for Dialogue and Development, May 21The Rainbow Bridge Project is designed to raise awareness of cultural diversity and promote cultural diversity projects centered on arts and culture. It also seeks to develop and maintain self-sustaining projects of cultural diversity at local communities. It helps cultural minorities expand their roles as active players in cultural scenes through inter-cultural exchanges, communication and interactions. Under Article 11 of the Act on Cultural Diversity, the Day of Cultural Diversity was designated to enhance the public understanding of cultural diversity, promote cultural enjoyment and disseminate the value of cultural diversity.Local, Regional, Nationallegislative, institutional▪The Rainbow Bridge Project was designed to promote the autonomous cultural expression of cultural minorities and communication and exchanges between diverse cultural subjects. It operates various programs related to living culture and popular culture that are oriented to consumers. The operator of the project formulates plans, manages the project, and offers consulting services, establishing the local community- organization-individual network in the process.▪The Rainbow Bridge Project is divided into three categories in accordance with the theme. The first is the activities to lay a foundation for cultural diversity which include ① conducting survey and research and holding roundtable meetings and forums ② organizing working groups, networks, commissions and consultative committees, and ③ operating educational programs and providing a training for those who play intermediary roles. The second is the activities to identify the value of cultural diversity which include ① operation of cultural programs focused on the minorities, and ② implementation of culture exchange programs for the mainstream and minority groups. The third is the activities to disseminate the value of cultural diversity via ① value-sharing campaigns, promotions and festivals, and ② production and distribution of media content, archiving of video images and podcasting on the value of cultural diversity. 2. ▪On the World Day for Cultural Diversity for Dialogue and Development (May 21), a variety of programs on cultural diversity (exhibition, performance, discussion forums) will be provided in support of the regional cultural diversity campaigns across the nation. The Day was celebrated under the theme of “Enjoy differences” in 2016 with 24 cultural organizations in 17 local communities joining the celebrative event.  ▪On the Day, colloquium, talk show and discussion sessions are held to share the meaning of cultural diversity. Regional operators of the Rainbow Bridge Project will provide a variety of programs for residents of local communities. CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónYesThe Rainbow Bridge Project is expected to raise awareness of cultural diversity. It will promote social integration with expanded opportunities for cultural expressions of minorities. The project also offers opportunities of exchange between various cultural subjects. The local network established by local cultural institutions along with immigrants and cultural organizations will promote cultural diversity. The Day of Cultural Diversity is expected to raise and promote awareness of cultural diversity. The public participation in the programs would lead to civic consensus on cultural diversity and diversity of cultural expressions. Ministry of Culture, Sports and Tourism, Arts Council Korea2,139,660 dollar (as of 2016)179,051 dollar (as of 2016) YesYesYesYESNational The Rainbow Bridge Project has attained qualitative and quantitative achievements. First, it has achieved quantitative growth. The number of participants increased and more institutions joined the project. The number of programs also grew, testifying to the attempts to expand the scope of the project. Participants expressed satisfaction with the programs. Second, it has achieved qualitative growth. The operators of the project reexamined the direction of the project on a fundamental level. They also made efforts to draw more attentions from partner institutions to the project and to ensure efficiency and sustainability of roundtable meetings for the project, as well as forging cooperative ties with partner organizations and specializing the functions of the program operators. In addition, they made experimental attempts to develop new projects by utilizing diverse convergence media. The number of participants, participating institutions, and programs, surveys to measure the level of satisfaction, etc.Cultural minorities such as immigrants, multicultural families, the disabled, senior citizens, North Korean refugees and sexual
16640165592018República de CoreaLegal Assessment and Policy for Gender EqualityDerechos humanos y libertades fundamentales, Igualdad de géneroCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/legal-assessment-policy-genderhttps://es.unesco.org/creativity/node/1664001. Gender Impact Assessment 2. Gender Budgeting ▪The gender impact assessment and gender budgeting were introduced with a view to the “national achievement of gender equality.”  1.The gender impact assessment is a legal measure to analyze government policies from the perspective of gender equality with the aim of identifying and removing the elements of gender inequality in them.2. Gender budgeting refers to the institutional system to analyze how a specific approach to budgeting will impact both sexes and feed the analysis results back into the actual budgeting process. It also assesses whether past budgets benefited both sexes equally and helped improve gender equality. The assessment is reflected in the next year’s budget planning.Nationallegislative, institutionalThe gender impact assessment and gender budgeting were first proposed as part of the strategy to achieve gender equality and raise awareness of gender issues across the international community. They were suggested as alternatives to the Women-in-Development (WID) and Gender and Development (GAD), the two most typical approaches since the 1970s, which were found to have limitations in solving gender issues and achieving gender equality.▪In accordance with this global trend, the government of the Republic of Korea instituted and implemented the two schemes at a short interval. ▪The gender impact assessment found its legal basis in the Framework Act on Women’s Development revised in 2002, while gender budgeting is based on the National Finance Act enacted in 2006.▪The two schemes share the same values and purposes in that they both aim to achieve gender equality.CURRENT UNESCO GLOBAL PRIORITY: GENDER EQUALITYCreación, Producción, Distribución, ParticipaciónYesThe Republic of Korea invented the ‘National Gender Equality Index,’ by which it assesses and announces the level and the trend of gender equality every year. The gender impact assessment and gender budgeting serve as institutional and financial instruments of connecting and improving various gender equality policies. The index evaluates gender equality on a scale of 0.0 (perfect inequality) to 100.0 (perfect equality). After the gender impact assessment and gender budgeting were implemented, the index rose from 67.8 (in 2011) to 72.2 (in 2016).All central government agencies and local governments1.All central government agencies and local governments are required to implement gender impact assessment through the GIS, a system created by the Ministry of Gender Equality and Family. While assessment itself does not require a budget, post-assessment implementation does. It varies by policy and project. 2.Gender-sensitive budget stands at 24,984,139,100 dollar as of 2017YesNoNoYESNationalKorea scored 72.7 points in the 2016 Gender Equality IndexGender Equality IndexAll national policies and citizens are subject to this institutional measure.
16637165592018República de CoreaWorld Artist Exchange of the Korea Arts Management ServiceIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturales, Movilidad de los artistas y profesionales de la culturaLas artes escénicas, Artes visualeshttps://es.unesco.org/creativity/policy-monitoring-platform/world-artist-exchange-korea-artshttps://es.unesco.org/creativity/node/166370Promotion of Korean Art’s Access to Overseas MarketThe project aims to support and encourage international exchange of Korean art with a view to its broader presence overseas as well as wider circulation and improvement of the global standing of Korean visual arts.Local, Regional, Nationalfinancial, institutionalThe project supports the access of Korean performing arts and visual arts to the global market. The “supports for the performing arts” provide strategic guidance for Korean performing arts and traditional artists to advance to the international stage and assists the regional tours featuring exceptional performances. The “supports for the global expansion of visual arts” include ① assistance to visual artists in establishing presence abroad ② establishment of the artwork appraisal system ③ overseas publications on Korean art ④ creation of a Korean Wave (hallyu) in the art field ⑤ assistance in exploring overseas market for Korean arts.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT INTERNATIONAL LEVELCreación, Producción, DistribuciónYes▪ This project is expected to boost international competitiveness of Korean performing and traditional arts. It would also discover outstanding arts and cultural programs, and improve the expertise of those curating and marketing visual arts in the international art markets. It would promote international discourse on Korean arts and the ensuing spread of them overseas. The visual art researchers and experts would have better access to Korean arts. As a result, the Korean art market will be stimulated and more globalized, making the ecosystem of Korean arts more transparent.Korea Arts Management Service▪ Support for the global expansion of performing arts (as of 2016) - Overseas expansion strategy of performing arts: 77,887 dollar - Regional tours of quality programs: 79,678 dollar▪ Support for the global expansion of visual arts (as of 2016) - Establishment of artwork appraisal system: 76,992 dollar- Creation of new Korean Wave of art: 32,229 dollarYesYesNoNOIndividual and group artists in Korea and abroad
16633165592018República de CoreaManpower Training for Asian Artistic Circles (Hub City of Asian Culture)La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleConsidered for innovative practicesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/manpower-training-asian-artistichttps://es.unesco.org/creativity/node/166330Hub City of Asian Culture (HCAC)The HCAC project aims to create a peace-,art-and future-oriented city in Gwangju through inter-Asian cultural exchanges. It aspires to cultural exchange that can maximize studies and education on and creation and commercialization of Asian culture. It also carries on and develops the Gwangju spirit of democracy, human rights and peace.Nationallegislative, institutional▪ Key activities are as follows. 1) Establishing and operating the state-run Asia Culture Center; 2) creating a culture-friendly urban environment by designating culture zones by core municipal function and remodeling local cultural sites. For instance, the Asian Cultural Exchange Zone in Nam-gu District (of Gwangju) has the Asia Art Village and Asia Culture Street, the area for the artists’ exchanges; 3) promoting creative activities of Asian artists and creating more opportunities for the local population to enjoy cultural activities. This project also nourishes professional artists and supports their activities by establishing and operating human resources development centers and providing training programs for professional content developers and producers; and 4) bolstering the city’s capacity and standing as a venue for cultural exchange while laying the groundwork for Asian cultural exchange.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT INTERNATIONAL LEVELCreación, Producción, Distribución, ParticipaciónYesThe Hub City of Asian Culture is expected to operate a “cultural complex” which has a combined function of cultural exchange, education and research, support for art production and provision of facilities for performing arts. It is also expected to establish cultural infrastructure, including seven major culture zones, which is connected with sub-hubs inside the city. This will eventually lead to the production of cultural high added values from the cultural industry, tourism industry and local brand projects. Also, human resources necessary for running the culture city will be trained and sufficiently supplied. As a final result, the project will stimulate inter-Asian cultural exchange and enhance the city’s brand value.Ministry of Culture, Sports and Tourism, Gwangju Metropolitan Government4,495,335,029 dollar (over 20 years, 2004-2023)YesNoNoNOArtistsConsidered for innovative practices
16625165592018República de CoreaBroading access to arts, sports(Munhwa Nuri Card)La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/broading-access-arts-sportsmunhwahttps://es.unesco.org/creativity/node/166250Composite ticket for cultural use ▪ The purpose of the project is to enhance the level of satisfaction of the underprivileged by expanding cultural support as a social security measure for those who are afforded the least enjoyment of arts and culture due to economic and social constraints. Nationalinstitutional▪ The operator of the project issues the Munhwa Nuri Card to the underprivileged who cannot enjoy adequate culture due to economic constraints. It facilitates the use of the card by recruiting franchise stores and develops associated sales items.  INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELParticipaciónYes▪ As the project provides the opportunity to enjoy arts and culture and tour and sports for the underprivileged, it narrows the cultural gap and enhances cultural welfare of all. ▪The project raises cultural self-esteem and guarantees basic rights to cultural enjoyment by implementing the campaign to raise awareness of arts and culture and expanding the opportunities for cultural expression by minorities as well as for cultural exchanges and dialogue. The Ministry of Culture, Sports and Tourism, The Arts Council Korea70,295,434 dollar (as of 2016)YesYesNoYESNational▪ The project was evaluated in terms of policy implementation rate, goal achievement rate, effects of the policy, policy feedback – collection of opinions on site and responses to them▪ The project was faithfully carried out as planned. The Ministry of Culture, Sports and Tourism has achieved 100% of its goal by raising participants’ satisfaction level by 0.6% over the previous year. The subsidy to the project increased by 10,000 won per person, and the recipients of the ticket grew by 10,000 over the previous year, achieving the goal of “enhancing the cultural enjoyment of the culturally alienated group and raising the cultural welfare level for all” (high effects of the project). In policy feedback, the card design was modified as to make it physically indistinguishable from ordinary cards in response to the argument that the card may stigmatize its users. Also, opinions about the project were collected through diverse channels (phone calls and on-line suggestions; survey on satisfaction level; workshop for operators of the programs; and on-site inspections and discussion sessions). Based on the opinions, the homepage and operation of the project were readjusted into user-friendly system, while the efforts to improve efficiency of the project continue. ▪ Project implementation rate, goal achievement rate and positive performance, policy effects, the efforts to respond to feedback, and policy feedback – collection of opinions on site and responses to them The underprivileged (recipients of national basic livelihood guarantees and the secondary poor aged six and older)
16620165592018República de CoreaSending professionals in arts to developing countries(Dream Project in Developing Countries)La cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/sending-professionals-artshttps://es.unesco.org/creativity/node/166200Dream Project in Developing Countries▪The project is to administer arts and cultural education for the cultural talents of the developing countries, thereby establishing Korea’s global image as a cultural powerhouse. By offering the Korean youths the opportunity to experience foreign cultures, it strengthens their competence at home and abroad. In addition, it spreads friendly sentiments toward Korea in the developing countries.     Internationalinstitutional▪ Main features of the project are as follows. ① By dispatching cultural volunteers to developing countries, it provides complimentary arts and cultural education for the cultural talents of the countries. In 2016, 62 volunteers were sent to seven countries to give cultural education on vocal music, choreography, play, etc. ② After auditions, the cultural and artistic talents of the target countries were invited to the art camp in Korea, and then enrolled in intensive studies in the fashion of Korean education for the gifted. ③ It sought a long-term measure to employ the arts and cultural manpower as part of the efforts to create jobs through public diplomacy. PREFERENTIAL TREATMENTCreación, Producción, Distribución, ParticipaciónYes▪ This project contributes to establishing the global image of Korea as a cultural powerhouse. It also improves the public perception of Korea and Korean businesses in the developing countries and expands the opportunity for young Korean artists to find employment abroad. The Ministry of Foreign Affairs and the Korea National University of Arts205,909 dollar (as of 2016)YesYesNoNOCultural and artistic talents of developing countries and young Korean artistsJóvenes
16616165592018República de CoreaFacilitating artists' mobility(the Korean Pavilion at the Venice art biennale)Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/facilitating-artists-mobilitythehttps://es.unesco.org/creativity/node/166160Operation of the Korean Pavilion at the Venice Art BiennaleThe Korean pavilion was established at the Venice Art Biennale, one of the world’s top three Biennales, to present Korean art to the world by displaying architecture and art exhibitions every year. Internationalfinancial, institutional▪ In 1995, the Korean Pavilion opened as the 26th national pavilion at the Venice Biennale. It exhibits arts and architectural works, focused on Korean identity. Arts are exhibited in odd-numbered years and architectural works in even-numbered years. Art experts form a network centering on the exhibitions. INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónYes▪ It presents contemporary Korean arts to the general public and is expected to stimulate research delving into the diverse genres of arts.Arts Council Korea805,730 dollar (as of 2016)YesYesNoNOArtists and those engaging in artistic activities around the world, including collectors
16611165592018República de CoreaPromoting and raising awareness of gender equality through cultureSistemas sostenibles de gobernanza de la cultura, Diversidad de los medios de comunicación, Derechos humanos y libertades fundamentales, Igualdad de géneroCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/promoting-raising-awarenesshttps://es.unesco.org/creativity/node/166110The project to promote gender equality and social activities of women The project to create cultural environment for gender equality Monitoring of mass media in the gender-sensitive perspective and establishment of feedback system The objective of the project is to propagate and instill the culture of gender equality across society. It protects human rights of women and promotes women’s welfare. It enhances women’s presence in the decision-making on gender equality and fosters talented women. By provides job consulting services to those women whose careers were interrupted, it assists them in resuming economic activities.The objective of this project, as its title denotes, is to create a positive cultural environment for gender equality. It produces and distributes cultural content promoting gender equality, as well as seeking to identify those who contributed to the propagation of gender equality culture. It also protects the human rights of female artists and cultural figures, and supports their activities with a campaign to draw greater attention of artists and youths to gender equality. The purpose of the project to monitor mass media in the gender-sensitive perspective and establish a feedback system lies in establishing a media environment for gender equality. It will expose sexual discrimination and misogyny in mass media and take measures to redress them. Nationallegislative, regulatory, institutional▪ The project is largely divided into ① promotion of and support for gender equality policies ② propagation of the “coexistence of work and family” culture and expansion of women’s social activities ③ creation of an urban environment respectful of women.▪ ① The project to raise awareness of gender equality and support the gender-sensitive policies propagates the culture of gender equality and monitors sexual discrimination in mass media for the purpose of evaluating the policy effects and reviewing the operation of institutional and budgetary programs to improve gender equality.▪② The work-family coexistence culture and expanded social engagement of women help men to join childcare and provide the education to develop women’s capacity for social activities. ▪③ The policy to create an urban environment respectful of women establishes the social system in which women can experience improvement of their life in their daily routines. It operates the gender equality award event; produces and distributes the content to raise awareness of gender equality; holds a youth forum to create an environment for gender equality; hosts the cultural event of the Week of Gender Equality; and operates the program to give accreditation to persons and content that have contributed to the propagation of the value of gender equality.  It publicizes instances of sexual discrimination in mass media as well as positive cases of eschewing it in the yearly and monthly reports on the results of mass media monitoring. The reports are distributed to mass media so that preventive measures are taken against such transgressions. The online ads targeted at youths are also subject to monitoring. CULTURAL POLICIES AND MEASURESParticipaciónYesThe project upholds the gender mainstreaming to lay foundation for substantive gender equality across society; supports women’s entry into the public sector for increased presence of women therein; and assists women whose careers were interrupted in resuming their professional careers. It also helps to establish a cooperative network between local governments and civic groups. The Gender Equality Week event (campaigns), youth forums and other programs tailored to youths propagate the culture of gender equality and raise awareness of the issue. By offering job experience through the government project, it helps youths, collegians and citizens develop professional careers and find the opportunity to express their opinions on the issue of gender equality.    By detecting the case of sexual discrimination in mass media,it provides the opportunity to recognize and reform the still-prevalent discriminatory culture of Korean society. The results of the monitoring will be shared with the Korea Communications Standards Commission (which screens and regulates the broadcasting programs and, if necessary, takes corrective actions against them) to foster gender-equal culture in mass media. It also protects youths from exposure to unwholesome content on the Internet. Ministry of Gender Equality and Family, Ministry of Culture, Sports and Tourism1. Gender Equality Fund 212,863,921 dollar2. 80,573 dollar (as of 2016)3. 420,770 dollar YesYesYesYESNational3.The number of monitoring personnel is increasing, with the deliberative committee at broadcasting stations holding more briefing and debriefing sessions. In addition, the monitoring of sexual discrimination has resulted in an increased number of programs which have been subject to deliberation, sanctions, and corrective actions. 3. Publication of monitoring reports, the number of training programs administered to monitoring personnel, the number of personnel, the number of corrective actions against programs with sexually discriminating content, the number of briefing sessions with the deliberative committee on the monitoring of sexual discrimination ▪TV stations (terrestrials, paid channels of news and entertainments programs, cable TV channels) on-line media (news outlets an, All kinds of broadcasting programs, including news, drama, sports and entertainment , Ads attached to the news stories on websites
16608165592018República de CoreaImproving framework conditions for the art and culture sectorSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, Derechos humanos y libertades fundamentales, Libertad artísticaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/improving-framework-conditionshttps://es.unesco.org/creativity/node/1660801. Establishment of safety net for artists2. Provision of consulting services on local culture (The project to produce local cultural manpower) 3. Expansion and operation of cultural facilities 1. The project to establish a safety net for artists is designed to safeguard the rights and professional career of those artists under inferior working conditions without the benefits of social insurance by providing an environment conducive to their creative activities.2. The project to provide consulting services is to establish a cultural network between local cultural foundations, colleges, artist organizations and local governments, and to strengthen the problem-solving capacities of the operators of the local culture promotion projects. 3. The project to expand cultural facilities is to provide more opportunities for local residents to enjoy culture by increasing the number of cultural facilities that function as a local hub of cultural activities. Local, Regional, Nationallegislative, financial, institutional1. It is largely focused on strengthening the competence and creativity of artists by ensuring a social system in which artists can engage in creative activities in stable living conditions and redress inequitable practices in the culture industry. It includes the programs to bring together artists and business firms to the end of providing job opportunities for the former; to offer grants for the low-income and elderly artists; to provide legal consultation on inequitable practices; to subsidize the artists’ payment for the industrial accidents compensation insurance; to protect artists’ rights under standard labor contracts; and operate the artists welfare foundation.2. The operator of the project provides support for artists upon adopting the artist aid agenda jointly with the local cultural foundations and colleges, and holding a comprehensive consultation session on the agenda with the public, civic and academic organizations. 3. The project supports expansion and operation of cultural facilities such as museums, art galleries, libraries, arts and cultural centers, and local cultural institutions. It also expands the opportunity to enjoy culture by assisting the operation of artist memorial halls; historical and cultural city programs; traditional culture promotion projects; local cultural events; Biennale, Build-Transfer-Lease projects; cultural facilities at local communities; and local culture promotion projects. Jeju Special Self-governing Province and Sejong City each have specialized programs to promote local culture.CULTURAL POLICIES AND MEASURESCreación, ParticipaciónYesThe project is to provide social welfare for artists so that they may engage in artistic professions, find job opportunities in collaboration with other social sectors and promote social values of art. It also encourages the motivation for creative activities by expanding opportunities for artistic activities and social contribution lest the artists should arrest their career due to factors external to art. With a concrete support system for artists, it helps them cope with mental and psychological problems, take care of their mental health by providing motivation for their creative work. It establishes a fair contract system by instituting standard contracts that protect the rights and interests of artists.    Through comprehensive consulting services on local governments’ arts and cultural policies, the operation of cultural facilities at local communities and the measures to develop content on local culture, this project contributes to the improvement and development of local culture.    The project expands local cultural facilities and improves its service quality. It also expands the opportunities to enjoy culture through the continual enhancement of local cultural infrastructure. It will continue to repair and renovate the aged cultural facilities to meet higher standards of satisfaction. The Ministry of Culture, Tourism and Sports and Korean Artists Welfare Foundation, The Ministry of Culture, Tourism and Sports and local governments, The Ministry of Culture, Tourism and Sports and local governments1. 22,177,261 dollar (as of 2016)2. 289,167 dollar (as of 2017)3. 160,548,791 dollar (as of 2017)YesYesNoNOArtists with certificate of creative activities under the Act on Welfare of Artists, Metropolitan governments (excluding Seoul) and municipalities , Residents of local communities
16602165592018República de CoreaCreating the legal framework for diversity of cultural expressionsSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/creating-legal-frameworkhttps://es.unesco.org/creativity/node/166020The act and decree on cultural diversity are designed to enhance the quality of individuals’ cultural lives and to foster social integration and creation of a new culture based on cultural diversity.Local, Regional, Nationallegislative1. The act entails cultural diversity and expressions based on the UNESCO convention on cultural diversity. It prescribes the responsibilities of central and local governments; basic matters relating to formulation, execution, etc. of basic plans for cultural diversity; establishment of the Cultural Diversity Committee under the jurisdiction of the Prime Minister; preparation of a national report under the UNESCO convention; actual status surveys on cultural diversity and annual reports; designation of the Day of Cultural Diversity; and support for protection and promotion of cultural diversity. 2. The ordinances issued by local governments on the protection and promotion of cultural diversity total 20, including other ordinances related to cultural diversity. Seven municipalities have enacted ordinances focused on cultural diversity: Seoul Metropolitan Government (on May 18, 2017), Busan Metropolitan Government (Mar. 22, 2017), Gwangju Metropolitan Government (Jan. 1, 2017), Gyeonggi Municipal Government (Mar. 13, 2017), Chungcheongbuk-do Municipal Government (Nov. 10, 2017), Jeollanam-do Municipal Government (Dec. 1, 2016) and Jeju Special Self-governing Province (Jun. 2, 2017). Main points of the ordinances are similar to the act on cultural diversity, but the ordinances provide an institutional basis from which to disseminate the value of cultural diversity at local communities through the ad hoc local consultative organs. Busan Metropolitan Government, in particular, has encapsulated in eight versions of its declaration its aims to pursue cultural diversity.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónYes1. The expected results of the Act from institutional and practical points of view are as follows. From an institutional perspective, first, the Act provides a basis for a more flexible implementation of cultural diversity projects. Second, it provides a foundation for sound coexistence of various members of society. In other words, it would narrow the gap in cultural and artistic preferences influenced by nationality, ethnicity, race, gender, generation, physical ability and sexual orientation, and lay the basis for resolving cultural conflicts caused by differences in religion, locality, tradition, income level and marital status. From a practical perspective, the Act would help Korea, as a party to the Convention on Cultural Diversity, establish concrete action plans.2. The municipalities intend to improve the understanding of cultural diversity by prescribing the policies and action plans in the ordinances to protect and promote cultural diversity at the local level. Higher receptiveness to various cultures is expected to engender integration of community and creation of new cultures.Ministry of Culture, Sports and Tourism and local governmentYesYesNoNOAll members of society.
16639165592018República de CoreaCultural Diversity on MediaSistemas sostenibles de gobernanza de la cultura, Diversidad de los medios de comunicaciónCine / Artes audiovisuales, Medios de comunicación, Industria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/cultural-diversity-mediahttps://es.unesco.org/creativity/node/1663901. Media Education▪ Media Education at School▪ Media Education for the Public▪ Infrastructure for Media Education1. First, the media education at school refers to the activities to support schools in teaching students to develop as well as apply in practice a sensible understanding of media. The project emphasizes the cultivation of creative talents with “data-processing” and “communication” skills. Second, media education for the public supports teaching and learning about media outside schools for diverse age groups and classes. Particularly, it aims to improve “information welfare” for the information alienated and enhance literacy for each stage of the life cycle. Third, the infrastructure program is to expand the foundation of media education both at school and in society so that media education can continue to develop. To this end, it provides training for instructors, develops high-quality learning materials, and establishes a database of education materials.Local, Regional, Nationalinstitutional1.▪ The media education at school supports media literacy classes and provides a training program for teachers tailored to each country or to the free semester system. It also conducts research on media literacy curriculum and designs class primarily based on teachers’ field experience. ▪ The media education for the public provides the community childcare centers, community welfare centers, libraries, etc. with instructors and curriculum to meet each institution’s needs while providing educational content specific to each class and age group. Also, it operates a journalism experience program for teenagers and the Newspaper in Education program for both children and parents.▪ The infrastructure program produces specialized instructors and strengthens their capacities. It also distributes materials for media education as well as developing and providing educational content. In addition, it hosts media education forums and contests. EMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9bCreación, Producción, Distribución, ParticipaciónYes1. In a knowledge-based society, it is important to create added value through the production, circulation and utilization of knowledge and information. This is why fostering abilities to access and sensibly use select information from diverse media is of increasing importance. This program also improves critical understanding of news and its social context. It instills a sense of citizenship and responsibility as prosumer (a compound of producer and consumer). Korea Press Foundation120,859 dollar (as of 2016)- The current subsidies of the government are spent for employing instructors, organizing national conference, and administering lifelong classes for media education, with the operators of the educational program selected via public contests.YesYesNoNOStudents of all grades, information-alienated groups (senior citizens, multi-cultural families, farming and fishing villages, lo
16635165592018República de CoreaKorea-Vietnam Art Exchange ExhibitionIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la cultura, La cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleMúsica, Las artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/korea-vietnam-art-exchangehttps://es.unesco.org/creativity/node/166350The project aims to improve bilateral ties through the exchanges of exhibitions and performance arts between Chungcheongbuk-do province of South Korea and Vietnam, and to envision the future of culture and arts in the era of globalization. It also hopes to contribute to cultural diversity through the exchanges.Local, Regional, National, Internationallegislative, institutionalAfter the Ordinance on the Protection and Promotion of Cultural Diversity was enacted on Nov. 10, 2017, Chungcheongbuk-do province began to support the activities to promote cultural diversity. One of them was the joint performance featuring Vietnamese traditional music and choreography; Korean traditional music; folk songs; and gayageum (classical musical instrument of Korea) play. Also a humanities class in the theme of ‘Vietnam’s War Memories and Korea’s Remembrance of War’ opened in 2017 as part of the cultural exchange program. Various civic groups, including Korea-Vietnam Peace Foundation, have been hosting an array of cultural and art exhibitions (e.g., “19 Years’ Record of ROK Army’s Civilian Massacre in the Vietnam War”)INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT INTERNATIONAL LEVELCreación, Producción, Distribución, ParticipaciónYesA broader culture and art exchange between South Korea and Vietnam will help to solidify their bilateral ties. In addition, different types of cultural exchange will continue, including lectures on Vietnam, art exhibitions, etc.Local government (Chungcheongbuk-do province)30,439 dollar (as of 2016)YesYesNoNOVietnam
16628165592018República de CoreaBridging the Digital Divide project (for the culturally marginalized class)Sistemas sostenibles de gobernanza de la cultura, Entorno digital, La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/bridging-digital-divide-projecthttps://es.unesco.org/creativity/node/166280Bridging the Digital Divide project (for the culturally marginalized)The project aims to reduce the gap in the sharing, enjoyment and acquisition of knowledge and information for the culturally marginalized. Local, Regional, Nationallegislative, regulatory, institutional▪While various projects are being implemented to bridge the knowledge and digital divide, one of the most noticeable facts is that some of these projects utilize the digital technology of Korea, and that the access to knowledge is being recognized as an important issue for cultural diversity and pursuit of cultural rights.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELParticipaciónYes▪This project will encourage the culturally marginalized class to enjoy and benefit from cultural activities by narrowing the knowledge and information gap. Ministry of Culture, Sports and Tourism, Korea Press Foundation▪The project to assist low-income earners’ access to knowledge and information▪ The small library revitalization project: 271,262 dollar (as of 2016)▪ The Library in My Hand project▪ The audio book sharing project▪The Saturday NIE (Newspaper in Education) Class project: 174,575 dollar (as of 2016)YesYesNoYESLocal, Regional The result of the evaluation of the Small Library Revitalization Project is as follows. It increased the small libraries each year, together with the number of new ones. The operation days and hours, and library programs also increased. However, they suffer from a lack of professional personnel, in addition to the low attendance in the educational programs for librarians and volunteers. The gap between the libraries in urban and remote areas still remains significant.  ▪ The Small Library Revitalization project is evaluated on two tiers - evaluation items and index. The items are divided into six categories: personnel/ facilities/ data/ budget/ user service/ exchange and cooperation. Each of these items has its own sub-evaluation indicators.The culturally marginalized, such as the disabled and the elderly, who have little access to information in rural and remote are
16622165592018República de CoreaCultural ODA Project of KOICA (Korea International Cooperation Agency)La cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleJóvenesMedios de comunicación, Las artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/cultural-oda-project-koica-koreahttps://es.unesco.org/creativity/node/166220ODA project for arts and cultural educationBy assisting the arts and cultural education in the developing countries, the project contributes to educational and social development of local communities. ▪It instills the value of arts and cultural education among the government officials and educators in the recipient countries and assists in establishing a sustainable system of arts and cultural education. Internationalfinancial▪The ODA project for arts and cultural education by Korea Arts and Culture Education Service was implemented in the Lao Cai Province (Sa Pa district and Bac Ha district) in 2013 and administered for five years jointly with KOICA. ▪The project was divided into five categories: elementary and middle school education, club activities, training for educational mediators and presentation of achievement.▪Each program provided education mediated by photography, choreography and plays, with elementary and middle school students representing the local culture with photos. ▪ One program of education on visual arts was implemented. ▪During 2013-14, the education administered only in the Sa Pa district was extended to the Bac Ha district, with artistic genres diversified from visual arts to modern choreography and play. The number of students increased from 1,200 in the first year of the ODA project to 1,780 in 2015 and to 2,000 in 2016. Starting in 2018, the project is scheduled to expand as to provide arts and cultural education for students and teachers at the boarding school set up by KOICA. PREFERENTIAL TREATMENTCreación, Producción, Distribución, ParticipaciónYes▪ Increase in demand for arts and cultural education and pedagogy ▪ It encouraged the participation of local residents in the programs and enhanced their understanding of arts and cultural education by holding a presentation session at the “cultural center for minority people.”  Korea Arts and Culture Education Service and KOICAYesNoNoYESLocalThe medium- and long-term ODA projects for arts and cultural education have positive effects and potential for further development▪ Self-evaluation in the 2015 annual report on the ODA project- It produced positive effects on the education for elementary and middle school students. For instance, in a survey on self-esteem, about 40% of the students answered in the negative to the question, “Do you think you are a valuable person?”, before joining the educational program; however, no one replied with a categorical “no” after experiencing the program. Likewise, Dazai  Elementary School reported that the students had better self-perception after joining the program, supporting the claim that they came to have improved self-esteem after learning how to express themselves culturally and artistically. Experts in arts and culture, (prospective) local teachers, children and youths and residents in the Sa Pa and Bac Ha districts i, Each program of the project was joined by 25 elementary and 25 middle school students, 30 other students, 40 (prospective) teachJóvenes
16619165592018República de CoreaCultural Partnership InitiativeLa cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/cultural-partnership-initiative-0https://es.unesco.org/creativity/node/166190Cultural Partnership Initiative (Official Development Assistance)▪The initiative seeks to pursue growth of cultural competence jointly with the partner countries and establish a global cultural network by sharing information with international cultural experts and engaging in collective artistic activities with them. It is a representative cultural ODA project to support the training for the cultural experts in underdeveloped countries and their artistic activities through the exchanges of cultural manpower. It secures a foundation for overseas advancement of Korean culture through diverse and continual cultural exchanges among cultural institutions and stakeholders such as the cultural organizations, foreign exchange partners and Korean missions abroad.  Internationalfinancial, institutional▪The project includes activities to invite cultural partners in underdeveloped countries to co-produce art works, to appoint a secretariat to hold workshops and discussion sessions and to organize programs to oversee post-production activities of the artists. The main activities are co-production of art works with the professional artists invited from underdeveloped countries of Asia and Africa. PREFERENTIAL TREATMENTYes▪The project assists the underdeveloped countries in achieving meaningful cultural development. It forms a platform for Asian arts and cultural exchange, and expands the opportunity to enjoy arts and culture of Asian countries, which will generate stable growth of the Asian cultural industry. The Ministry of Culture, Sports and Tourism1,025,069 dollar (as of 2016)YesYesNoYESLocal▪ A research institute under the wing of the Ministry of Culture, Sports and Tourism conducted a survey on the cultural exchange project in 2014. The results of the survey are as follows. ① The Cultural Partnership Initiative was the most highly recognized among the ODA projects ② Participants in the cultural partnership programs responded to the survey that the project raised the economic, social and cultural profiles of Korea.   The survey by the research institute (Korea Public Relations Research Institute)Professionals in arts, tourism and sports fields of the underdeveloped countries
16614165592018República de CoreaActivities to Support International Broadcasting (Arirang TV)Sistemas sostenibles de gobernanza de la cultura, Diversidad de los medios de comunicaciónCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/activities-support-internationalhttps://es.unesco.org/creativity/node/166140Support for Arirang TV▪The project to support Arirang TV refers to the enhancement of broadcasting and communications services overseas as stipulated under Article 26 (Use of Funds), Paragraph 1, Items 5 and 6 of the Framework Act on Broadcasting Communications Development. This project is expected to improve the international perception as well as the international competitiveness of Korea. Internationalregulatory, financial, institutional▪ The project finances the production of programs, the operation of broadcasting services, the purchase of broadcasting equipment and the operation of facilities. In other words, the operator of the project provides funds for TV program production, operation of the satellite broadcasting service, replacement of outdated equipment and conversion to HD format, in addition to financing the maintenance of the broadcasting equipment. INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónYes▪ The project will improve the international reputation of Korea by providing correct information about the country through overseas broadcasting. In addition, it will operate English radio broadcasts for foreign residents and visitors to Korea, and provide cultural and daily information on Korea. This will help foreigners gain a better understanding of Korea and ultimately contribute to improving Korea’s competitiveness.Korea Communications Commission31,020,591dollar (as of 2016)YesYesNoNOGlobal TV audience
16610165592018República de CoreaCultural educationLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/cultural-educationhttps://es.unesco.org/creativity/node/1661001. Art-Flower Seed School2. The operation and promotion of the educational programs at the National Gugak Center (Gugak Academy)The Art-Flower Seed School project is to give every student of the small schools (with fewer than 400 students) in culturally isolated rural and fishing villages the access to one kind of artistic activity, at least. It is aimed at narrowing the cultural divide for the students, fostering their creativity and self-esteem, and cultivating their cultural sensitivity.The objective of the operation of the educational program at National Gugak Center is to help all generations of people enjoy gugak (Korean traditional music) as a daily routine. Local, Regional, NationalinstitutionalThe project implements arts and cultural education not only for students but also teachers and parents and operates the program in conjunction with the regular curriculum. It provides specialized programs to each school and establishes a network among the Art-Flower Seed Schools. It also helps the schools to make progress together with the local community by utilizing local resources.  ▪ The project is largely divided into seven sub-plans: ① operation of the state education and art experience programs for infants and children ② strengthening the gugak education for youths jointly with public institutions such as the Ministry of Education ③ support for gugak education at universities across the nation ④ fostering gugak lovers and operation of the gugak academy for professional artists ⑤ attending gugak performances and education in local communities ⑥ provision of on-line gugak education ▪ The seven sub-plans include programs for the following purposes: children’s experience of folk game, traditional art performance, and gugak; production and supply of gugak streaming for infants; support for gugak orchestra of youths; gugak and gugak profession experience programs for youths; training in art pedagogy for teachers; operation of the academy for professional artists; support for gugak concert at elementary schools; supply of gugak instructors to schools for the disabled students; provision of easy access to the gugak education, using the application, “Gugaknoriteo”; and development and distribution of gugak content such as animation in the theme of gugak.CULTURAL POLICIES AND MEASURESParticipaciónYesThe Art-Flower Seed School project is expected to play the role of a hub of arts and cultural education and vitalize the artistic and cultural activities at local communities. It would also help the students in culturally isolated areas enjoy cultural life. The project assists the elementary and middle school students in enjoying sound leisure activities while learning gugak as part of their daily routine during their vacations. By providing the opportunity to experience the traditional culture, it helps them better understand gugak. It also gives the opportunity for the disabled students to learn gugak under the instructors dispatched to six schools for the disabled. Parents can also join the program for their children, and foreigners in Korea can also experience the traditional Korean instrument.  Korea Arts & Culture Education Service, National Gugak Center1. (as of 2017)▪ 3,581,021dollar▪ A total of 55 schools. State subsidies of 60-80 million won are extended to each school for up to four years. ▪ After the termination of state subsidy, Shinhan Bank extends additional subsidy for up to two years in the name of the Art-Flower Seed School project. 2. 117,278 dollar (as of 2016)YesYesYesYESLocalThe Art-Flower Seed School project has made the following achievements: support for the schools specializing in arts and culture (95 schools), increased number of students at small schools (by 10-50), vitalization of arts and cultural education at local communities (by utilizing local human and cultural resources) and the result presentation session (400 participants in 2016). Number of schools and participants Students, teachers and parents at the small schools in culturally isolated rural and fishing villages Infants, children, elementJóvenes
16606165592018República de CoreaStrengthening access to culture for persons with disabilitiesLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/strengthening-access-culture-0https://es.unesco.org/creativity/node/166060Provision of assistance to the disabled in enjoying sports activitiesActivities of the Korea Disability Arts & Culture Center (Ieum Center): Support for the disabled to enjoy arts and culture The objective of this project is to create an environment in which a greater number of disabled persons can enjoy sports activities by providing services customized for individuals with disabilities based on the opinions of stakeholders (Paralympic Committees of local governments and sports associations). It is aimed at providing more sports instructors for the disabled and a variety of sports programs so that more disabled persons may join the “sports for all” programs. The project to support the artistic activities of the disabled expands the scope of the rights of disabled artists or their organizations to artistic expression and opportunities to enjoy arts and culture by supporting their creative activities. In addition, it seeks to produce artists among the disabled by providing them with opportunities of art education and by supporting their international cultural exchanges. Local, Regional, National, Internationalfinancial, institutional1. The project is composed of six sub-plans: “improvement of public perception regarding sports for the disabled,” “support for lifetime sports class and clubs,” “education for lifetime sports instructors and their deployment,” “provision of lifetime sports facilities,” “operation of visiting sports instructor service for the disabled,” and “propagation of inclusive sports.”▪ ① The program to improve public perception of sports for the disabled is to publicize sports for the disabled and improve the public perception about it. ② The support for lifetime sports class and clubs provides opportunities for the disabled to participate in lifetime sports activities and establish a sports-friendly environment and sports management system. ③ The education for lifetime sports instructors will encourage the disabled to participate in sports activities by dispatching sport instructors to each municipality across the nation. ▪ ④ The provision of lifetime sports equipment provides the basic condition for the disabled to enjoy sports and encourages their sports activities. ⑤ The operation of visiting instructor service offers the opportunities of lifetime sports for all. ⑥ The inclusive sports provides opportunities for elementary and middle school students and the disabled to join the inclusive sports program. 2. This project is composed of six sub-plans to assist the disabled in “exhibiting their artistic works and performances and enjoying arts and culture,” “participating in the arts and culture club activities,” “building artistic abilities,” “engaging in creative activities,” “pursuing collaboration with other arts and cultural organizations” and “engaging in international exchanges.”     ▪ The six sub-plans assist artists and the organization of disabled artists in pursuing creative activities, exhibiting their works and performances and producing artists through specialized educational programs. They suCULTURAL POLICIES AND MEASURESCreación, Producción, ParticipaciónYesThe expected results of the project are as follows. First, the disabled will be given more opportunities to enjoy lifetime sports. In addition to the six sub-plans, the project provides the disabled with more access to sports activities by expanding sports facilities, operating winter sports camps and holding unified sports festivals for them. Second, it offers more lifetime sports programs and supports athletic competitions for the disabled by organizing sports classrooms and clubs by type. Third, the project will provide sports services for the disabled by establishing the National Sports Center for Disabled Persons and operating the Physical Fitness Center for Disabled Persons. This project expands the opportunities for disabled artists and amateurs to participate in creative activities and enjoy arts and culture. It will seek to produce experts in the arts of the disabled to promote the rights of the disabled to artistic expressions. It also supports the arts and cultural exchanges with other artist organizations and the global society. Ministry of Culture, Sports and Tourism, (Korea Paralympic Committee, Ministry of Culture, Sports and Tourism·Korea Disability Arts&Culture Center6,888,988 dollar (as of 2016)1,850,492 dollar (as of 2017)YesYesNoYESLocal1. ▪The project to establish an environment for the disabled to participate in sports activities was evaluated using five criteria, including policy implementation rate, policy effects (goal attainment rate, positive performance and effects) and policy feedback (efforts to respond to public feedbacks to the policy and collect and respond to the opinions in the fields)     Policy implementation rate: The programs were faithfully implemented, and some of them were completed earlier than originally scheduled    Goal attainment rate and positive performance: E.g., the satisfaction rate of the project to support the sports activities of the disabled (96.2%), the achievement rate of the sports instructors’ service for the disabled (104.4%), etc.     ③ Effects of the policy: The project to support sports activities of the disabled achieved qualitative improvement. ④ The post-evaluation feedback efforts: To encourage more people to join the lifetime sports activities in 2017 (one of the improvement tasks in the 2016 evaluation of the project), public campaign fund was extended to the institutions for the disabled. ⑤ Policy feedback: The opinions of the disabled were reflected in the action plans. Policy implementation rate, policy effects and policy feedback People with disabilities, the general public and physical education teachers at schools with disabled students, Arts and cultural organizations of the disabled, ordinary artist organizations, arts and cultural societies of the disabled and
16601165592018República de CoreaUNESCO Creative Cities NetworkLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/unesco-creative-cities-networkhttps://es.unesco.org/creativity/node/166010Fostering cultural industries based on a city’s cultural assets and creativityEncouraging a city’s economic/social/cultural development by pursuing inter-city cooperation and developmentEducation and training to nurture creative human resources in the fields of music, design, etcContributing to UNESCO’s Cultural Diversity and Sustainable Development initiativesNational, InternationalinstitutionalConsultation and policy support for Creative Cities that have already joined the international network (Seoul, Icheon, Jeonju, Gwangju, Busan, Tongyeong, Bucheon, Daegu), and cities that are preparing to join the network in the future (Gimhae, Jinju, Cheongju, Wonju, Ansan)Hosting an annual workshop for the Korean creative cities once or twice a year, to raise awareness, build capacities and encourage networkingWorkshop for Korean creative cities network (once or twice a year) to allow the creative cities to gather together to listen to lectures on other cities’ cultural assets, cultural industries, and related policies, to get expert advice, and to exchange information and network with other citiesCULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónYesCultural diversity is supported through the nurturing of each city’s individual cultural characteristicsHuman resources and culture have been (and continue to be) nurtured in various ways, including through educational programs in the field of creativitySustainable development models are being established for the cities and citizens have greater opportunities to enjoy culture of various kindsKorean National Commission for UNESCO17,905 dollar (Annual)YesYesYesNOPublic officials, activists, cultural planners, and experts in Creative Cities that have already joined the international networ
16642165592018República de CoreaOut-of-School Culture education programs for youths on Saturday(Saturday cultural School for Children)Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/out-school-culture-educationhttps://es.unesco.org/creativity/node/166420Kkumdarak Saturday Culture School for ChildrenKkumdarak Saturday Culture School for Children operates cultural and arts programs on Saturdays, which children, adolescents and their families can take part in. The objective is to foster cultural and artistic capacities of families and to help create an environment in which peer groups and family members interact and enjoy leisure activities. Local, Regional, Nationallegislative, financial, institutionalThis project is to run high-quality cultural and arts programs. First, it offers weekend cultural and arts learning programs at local cultural and arts institutions and organizations for children, adolescents and families. Second, it supports the programs affiliated with public libraries, museum and galleries, or content-based programs such as family choirs and orchestras, or art education programs that instruct on ways to appreciate art. Third, it supports networking among education program operators and relevant organizations, while conducting monitoring and consulting services with experts.YOUTHParticipaciónYes▪ It is expected to encourage interactions among family members, children and adolescents, as well as help create a sound and healthy leisure culture.Ministry of Culture, Sports and Tourism, Korean Culture and Arts Foundation, local cultural & arts education centers▪ 18,520,143 dollar (as of 2016)▪ Local community-run programs (funded by current subsidies from municipalities): 8,952,551 dollar (about 400 programs)▪ Operation of the programs chosen in open competition (subsidies for civil projects): 9,567,592 dollar (214 programs)YesYesNoYESLocal, Regional, National▪ Above all, the project grew in quantity: the budget for project, participants and programs increased. It maintained a high level of participants’ satisfaction. ▪Satisfaction survey distributed among people from member institutions, program-operating organizations and participants.▪ School age children, adolescents, and their parentsJóvenes
16638165592018República de CoreaSchemes to Ensure Media DiversitySistemas sostenibles de gobernanza de la cultura, Diversidad de los medios de comunicaciónCine / Artes audiovisuales, Medios de comunicaciónhttps://es.unesco.org/creativity/policy-monitoring-platform/schemes-ensure-media-diversityhttps://es.unesco.org/creativity/node/1663801. Schemes to Ensure Media Diversity▪ Limits on Audience Share▪ Compulsory Programming of Independent Producers’ Programs▪ Foreign Program Quota 1.The limits on audience share are to prevent a particular broadcaster from forming and dictating public opinion. The compulsory programming ensures the diversity of producers of the broadcasting programs. The foreign program quota is to accommodate diverse foreign cultures. Nationalregulatory1.The limits on audience share restrict the share of a single broadcasting service provider (and its affiliates) to 30%. The compulsory programming requires the broadcasting service providers to air programs produced by independent producers at a certain percentage of the total programming (and 35% at a maximum). The foreign program quota prohibits broadcasting service providers from programming more than 80% of their foreign programs with any content (e.g., film, animation, pop music, etc.) produced by any single country. All these regulations are applied to the supply side (broadcasting service providers).EMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9bProducción, DistribuciónYesIt is expected that no single broadcasting service provider will occupy more than 30% of the audience. The programs produced by independent producers will be aired mandatorily. No content (e.g., film, animation, pop music, etc.) from any single country is expected to exceed 80% of the total foreign programs.Korea Communications Commission and Ministry of Science and ICT▪ No financing is required for the institutional measure.NoNoYesYESNationalThe Committee on Media Diversity of the Korea Communications Commission conducts review on the limits on audience share annually. The compulsory programming is subject to the analysis of the regulation impact, with studies being conducted on its economic impact and other factors on an irregular basis. Studies are also underway on the actual effects of the foreign program quota, which is subject to the analysis of regulation impact also. General public
16626165592018República de CoreaCultural welfare project for the socially marginalized(Cultural sharing Project)La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/cultural-welfare-project-sociallyhttps://es.unesco.org/creativity/node/166260Cultural Sharing Project▪ The project is to offer the opportunities of cultural enjoyment for culturally marginalized people, who are hindered in their enjoyment of culture and arts due to economic, social, geographical and other constraints. It reduces cultural polarization by stimulating creativity and enriching the cultural lives of the marginalized. ▪ It is guided by the following three core values: creativity, sharing and responsibility. In other words, it is about the driving force of social change (creativity), an essential, inalienable human right to culture and arts (sharing), and a duty to promote people’s rights to culture and arts (responsibility). Locallegislative, institutional▪ The project, which is funded by the lottery industry, is divided into two components: “Sharing Performance Art” and “Sharing Creativity.” The Sharing Performance Art project provides the “Sarang (“love”) Ticket” program to subsidize the ticket prices of exhibitions and performances for seniors over age 64 as well as children and youths under age 25; the Arts and Culture on the Move program which provides cultural programs in remote areas; and the Cultural Outreach program to present art performances at culturally isolated regions. The Sharing Creativity project is represented by the Culture Community program to provide local communities with the opportunity for autonomous cultural activities. INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELParticipaciónYes▪ Expected results of the project are as follows. (1) The Sarang Ticket promotes access of the culturally marginalized to culture and contributes to the foundational growth of a prospective cultural audience; (2) the Arts and Culture on the Move program improves cultural welfare of the underprivileged by providing them with customized support to overcome the budgetary and geographical limitations. It also organizes a network of stakeholders in the program and Arts Councils to enhance professionalism and efficiency of its operation; (3) the Cultural Outreach program bridges the cultural gap for the marginalized by supporting the local Cultural Centers; and (4) the Culture Community program creates more opportunities for the locals to enjoy culture and improves their quality of life.Arts Council Korea, Korean Cultural & Art Centers Association and Federation of Korean Cultural Centers33,302,596 dollar (as of 2017)YesYesNoNOPeople who are marginalized for economic, social, geographical and other reasons, The economically marginalized: the recipients of basic livelihood guarantees, the secondary poor and the residents living in ren, The socially marginalized: the disabled, the elderly over age 64, those in social welfare institutions (rehabilitation centers, , The geographically marginalized: residents in agricultural, mountain and fishing villages, in remote and isolated areas, includi, Other marginalized groups: inmates in correctional facilities, soldiers and North Korean refugees.Jóvenes
16621165592018República de CoreaImproving people's reading environment in underdeveloped countries(Cultural ODA Project, "Thank You Small Library")La cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleIndustria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/improving-peoples-readinghttps://es.unesco.org/creativity/node/166210“Thank You Small Library” project▪ This project provides small libraries in underdeveloped countries with inadequate cultural and educational infrastructure. Through education, it helps children and youths play the role of engineers in social development. By establishing the infrastructure to eradicate poverty in the ODA recipient countries, Korea develops friendly ties with said countries. Internationalfinancial, institutional▪ The National Library of Korea (under the wing of the Ministry of Culture, Sports and Tourism), MBC (terrestrial TV station) and ST-EP Foundation of the World Tourism Organization (UNWTO) acceded to a memorandum of understanding to implement the small library project as part of the ODA project. ▪It establishes small libraries in underdeveloped countries with poor educational and cultural infrastructure. The ODA donor countries remodel small buildings in the recipient countries into small libraries with comfortable facilities. The operators of the project donate 2,000-3,000 books selected by experts, library equipment and computers. They also provide library educational programs and annual salary for one employee. PREFERENTIAL TREATMENTDistribución, ParticipaciónYes▪This project contributes to the fulfillment of the Millennium Development Goals of “halving extreme poverty rates and providing universal primary education.” As libraries are operated with lower costs and high efficiency, they can provide continued educational services to the alienated groups of underdeveloped countries, improving the educational environment in the process.  The Ministry of Culture, Sports and Tourism644,584 dollar (as of 2016)YesYesNoNO▪ Underdeveloped countries in Africa, Asia and Central and South America: 10 libraries in Mongolia (3), Vietnam (3) and Tanzania
16618165592018República de CoreaOverseas Activities of Traditional Art TroupeIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/overseas-activities-traditionalhttps://es.unesco.org/creativity/node/166180The project to support overseas activities of the traditional Korean arts troupeIt is to establish arts and cultural networks abroad Internationallegislative, institutional▪It contributes to the establishment of the infrastructure for cultural exchanges overseas and better understanding of Korean culture. It presents the traditional Korean arts abroad by dispatching the arts troupe to the Korean Cultural Centers in foreign countries. Korean artists hold lectures on traditional Korean arts for the local residents and engage in volunteer activities for the culturally isolated people in foreign countries, thus promoting cultural exchanges and better understanding of Korean culture. In 2017, cultural and arts troupes were dispatched to Vietnam, Indonesia and Turkey for cultural exchanges. INTERNATIONAL CULTURAL COOPERATIONDistribución, ParticipaciónYes▪ The project improves the global image of Korea and establishes sustainable cultural foundation. It pursues an interactive cultural partnership rather than a unilateral presentation of Korean arts to deepen understanding of Korean culture in foreign countries.  The Ministry of Culture, Sports and Tourism and the Korean, Traditional Performing Arts Foundation107,431 dollar (as of 2016)YesYesNoYESNational▪The project is evaluated in terms of original plan implementation rate, policy effects, policy feedback – collection of opinions on site and responses to them. The project was carried out faithfully as planned. It also achieved desired effects by dispatching the arts troupe to foreign countries, giving the local residents greater access to Korean culture. The project was implemented through the procedures of examining local conditions, undergoing a mid-term evaluation and holding consultations with the foreign authorities on the cultural exchanges. Performers of traditional Korean arts, and Vietnam, Indonesia and Turkey
1471672562015República de CoreaProjects to Bridge the Knowledge and Digital DivideSistemas sostenibles de gobernanza de la cultura, Entorno digital, La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleIndustria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/projects-bridge-knowledge-digitalhttps://es.unesco.org/creativity/node/147160The projects target a wide-ranging culturally marginalized class such as the disabled and the elderly, who have little accessibility in rural and remote areas lacking in cultural infrastructure. They also target welfare facilities and multicultural families facing social barriers. The projects aim to reduce a gap in the sharing, enjoyment, and acquisition of knowledge and information as a right of the culturally marginalized class. While various projects are being implemented to bridge the knowledge and digital divide, what is most noticeable is that some of these projects utilize the digital technology of Korea and that the enjoyment of knowledge is viewed as an important theme in expanding cultural diversity and pursuing cultural rights. Related projects include support for knowledge and information activities for low-income areas and the revitalization of programmes such as Small Library, Library in My Hand, and Audio Book Sharing.NationalThe Knowledge and Information Activity Support Project for Low-Income Areas aims to disseminate academic and literary books to small libraries and local children’s centers in rural and remote areas with little access to information and culture. The Small Library Revitalization project creates resident-oriented, cultural spaces for daily life, which replace library services in areas where public library service is not available. It aims to expand small libraries, which are set up in existing spaces such as community centers, welfare centers, religious facilities, and underused spaces within apartment complexes. The Library in My Hand project allows people to use the library wherever they are by using digital technology. Its mobile web service (http://m.nl.go.kr) was piloted in May 2010 followed by full service on July 1, 2010. It consists of menu bar that can be accessed easily by any smart phone user. The “Search” button at the top of each page enables users to access any book in possession from their smart phones. The Audio Book Sharing project encourages publishers and authors to donate text files in order to convert them into braille and audio versions and posts them on a website so that people with disabilities can read and listen to them freely. These digital contents will be provided through the Dibrary Portal (www.dibrary.net).CULTURAL POLICIES AND MEASURESDistribución, Participación
1471372562015República de CoreaPursuing Cultural Diversity of Cultural Expressions through Content CreationSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/pursuing-cultural-diversityhttps://es.unesco.org/creativity/node/147130The development of the content industry such as the Korean Wave became an important base on which to diversify cultural expressions through new technology. Independent production and diverse content creation have been made in various fields such as films, music, publishing, and cartoons. In this context, the Popular Culture and Arts Industry Development Act was enacted on December 31, 2013. Leading projects include Diversity Film Support Project and the Indie Music Project.NationalCULTURAL POLICIES AND MEASURESCreación, Producción
1471072562015República de CoreaInternational Arts Education Week and Arts and Culture Education Policies by the Ministry of Culture, Sports and TourismSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/international-arts-education-weekhttps://es.unesco.org/creativity/node/147100The 2nd World Conference on Arts Education, co-organized by UNESCO and the Ministry of Culture, Sports and Tourism, was held in Korea in 2010. The objective of the conference was to raise awareness of the importance of arts education and to promote cultural diversity through arts education.Held between May 25 and 28, 2010, the conference aimed to reinforce the socio-cultural dimensions of arts education and to highlight the value of arts education in the promotion of cultural diversity and social cohesion. It was a successful event with 700 foreign and 1,300 domestic participants. Following a recommendation by the Korean government (4 November), the 36th session of UNESCO’s General Conference in 2011 proclaimed the fourth week of May as the International Arts Education Week. Arts and Culture education projects by the Ministry of Culture, Sports and Tourism are largely classified into “in-school arts and culture education” and “non-school arts and culture education.” The former provides various programmes such as the “Teaching Artists in School” and the “Arts Flower Seed School.” The latter includes arts and culture education support programmes for the marginalized (including children and youths in child care facilities, seniors, and disabled people) and the inter-ministerial cooperation arts and culture education programmes, which are implemented by the Ministry of National Defense, the Ministry of Justice, the Ministry of Gender Equality and Family, the Ministry of Health and Welfare, the Ministry of Unification, and the Korean National Police Agency.A) In-School Arts and Culture Education Project ;The aim of the in-school arts and culture education project is to cultivate cultural and creative talents. Its target group includes elementary, middle, and high school students and is implemented by the Ministry of Culture, Sports and Tourism and the Korea Arts and Culture Education Service.B) Non-School Arts and Culture Education Project ;The purpose of this project is to build a cultural environment in which arts and culture policies are spread by establishing an inter-ministerial cooperation support system as well as to heal individuals and help them recover their confidence by making multilateral approaches to include the socially marginalized. It also aims to provide opportunities to rebuild relationships and cultivate independence as members of the society. NationalA) In-School Arts and Cultural Education Project ;The Teaching Artists in School programme, which sends teaching artists to elementary, middle, and high schools, began in 2000 in the field of traditional Korean music and provided 56% of total support for elementary, middle, and high schools until 2012. In 2014, 4,735 artists in eight fields including traditional music, theater, film, dance, cartoon animation, crafts, photography, and design are teaching at 7,809 elementary, middle, and high schools. This programme offers students opportunities to enjoy culture and arts from their childhood and makes it possible to acquire a cultural capital, which forms the basis of creative thinking.  The Arts Flower Seed School programme designates elementary schools with a strong will to run arts and culture education as “arts flower seed schools” and develops them into schools specializing in arts and culture education. It designated 10 schools when it first began in 2008. Among them, three schools, which successfully carried out the programme, were designated as “arts flower sprout schools” and received additional support from businesses. In the second round (2011-2014) of the programme, 1,998 students at 16 schools are receiving support and 1,457 students at 10 schools and 674 students at four schools will receive support in the third round (2012-2015) and the fourth round (late 2013-2016), respectively. B) Non-School Arts and Culture Education Project ;This project is based on cooperation between ministries with participation from the Ministry of National Defense, the Ministry of Justice, the Ministry of Gender Equality & Family, the Ministry of Health & Welfare, the Ministry of Unification, and the Korean National Police Agency. At its initial stage, the project targets were the military (2006) and correctional facilities as well as juvenile detention centers (2007). This was later expanded to include industrial complexes and youth facilities. So far, this project has offered support to the army, navy, and air force bases, prisons, vocational training prisons, juvenile detention centers, youth delinquency prevention centers, medical treatment and custody facilities, probation offices, industrial complexes (laborers), youth training facilities, youth counseling and welfare centers, youth shelters, unauthorized alternative schools, community child centers, alternative schools for North Korean defector youths, and auxiliary police units. Among these, 1) the arts and culture education support project for the military selects arts and culture education programmes based on a demand survey of military bases through cooperation with the Ministry of National Defense; 2) the arts and culture education support project for correctional facilities and juvenile detention centers gives young people a chance for self-reflection through arts and culture education, and offers them as part of a process from correction to autonomous edification; 3) the arts and culture education support project for youth delinquency prevention centers, medical treatment and custody facilities, and probation offices provides arts and culture education to youths and prisoners with mental illnesses so that they can increase sensitivity, develop social skills, and cultivate proper character-building; 4) the arts and culture education support project for laborers, which is run in cooperation with the Korea Industrial Complex Corporation, offers continuous culture and arts activities support by providing spaces and equipment for club activities in industrial complexes; and 5) extracurricular youth arts and culture education aims to heal individuals and recover their confidence so that they have an opportunity to recover broken relationships as members of society.   Examples of related programmes are as follows: 1) As an example of the arts and culture education support project for the military, the “Documentary and Feature Films Production Education Programme” offers a two-month short-term course and helps participants to produce videos; and 2) examples of the arts and culture education support project for correctional facilities and juvenile detention centers include the “Drama Education Programme” which aims to increase creativity, self-reflection and understanding of others as well as stimulation of imagination and sensibility, and the “Arts and Culture Education Programme” which aims to cultivate sociality in inmates at correctional facilities and help them reflect on their inner self as well as plan a positive future through individual and group activities. CULTURAL POLICIES AND MEASURESCreación, ParticipaciónMinistry of Culture, Sports and Tourism, Korea Arts and Culture Education Service, Ministry of National Defense, Ministry of Justice, Ministry of Gender Equality & Family, Ministry of Health & Welfare, Ministry of Unification, Korean National Police Agency $50,425,147.00 Jóvenes
1470772562015República de CoreaExpanding Awareness and the Culture of Gender EqualityDerechos humanos y libertades fundamentales, Igualdad de géneroCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/expanding-awareness-culturehttps://es.unesco.org/creativity/node/147070The policies and projects for expanding the culture of gender equality are implemented with the objective of “Gender Equal Society Sharing Together.” They are led by the Ministry of Gender Equality and Family in cooperation with the Ministry of Education, the Korea Communications Commission, the Ministry of Culture, Sports, and Tourism, the Ministry of Security and Public Administration, the Ministry of Agriculture, Food and Rural Affairs, and the Ministry of Health and Welfare. The policy task, which takes women’s special circumstances and demands into consideration, is to “Create an Equal and Women-Friendly Environment in the Media, Culture, and the Arts.” Based on Article 7 (Development of Basic Plan for Women’s Policies) of the Framework Act on Women’s Development, the fourth Basic Plan for Women’s Policies (2013-2017) suggested projects on gender equality as the main task related to cultural diversity. NationalThe Ministry of Gender Quality and Family plans to “establish a media monitoring and feedback system of gender perspectives with civic participation” in cooperation with the Korea Communications Commission and “support media which contributes to the spread of gender equality” with the Ministry of Culture, Sports and Tourism. Cooperation projects between the Ministry of Gender Equality and Family and the Ministry of Culture, Sports, and Tourism include the establishment of an organization specializing in the gender-equal culture and arts policy, promotion of increased human resources, and support of women in culture and arts.  There are also many projects which are jointly carried out by the Ministry of Gender Equality and Family, the Ministry of Culture, Sports, and Tourism, and local governments. Projects to preserve and develop women’s cultural heritage include the expansion of the National Women’s History Exhibition Hall to preserve and substantially develop Korean women’s historical cultural heritage and the establishment of the local women’s cultural heritage discovery network which consists of local women cultural experts and activists from women’s cultural movement organizations.In addition, the projects to develop women resources in culture and arts and to support women’s cultural activities include those to foster female human resources in culture and arts and to support their creative activities, solve the issues of career-interrupted women artists including measures to reduce women performing artists’ childcare burdens, and develop women leaders in tourism and sports.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónMinistry of Gender Equality & Family, Korean Institute for Gender Equality Promotion and Education $760,890.24 
1472172562015República de CoreaDream Project in Developing CountriesIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/dream-project-developinghttps://es.unesco.org/creativity/node/147210The Dream Project in Developing Countries aims to promote cultural enrichment of expression through cultural cooperation and seeks various ways to disseminate cultural diversity while increasing the number of target countries and volunteers. Target countries for the project are as follows: - (2013) India, Bangladesh, and Sri Lanka- (2014) India, Bangladesh, Sri Lanka, Laos, and MyanmarInternationalThe Dream Project in Developing Countries first took place in 2013. Its objective is to expand cultural diversity by sending professionals in culture and arts to developing countries to conduct arts and culture education for youths in these countries. Thirty-two people were sent to India, Bangladesh, and Sri Lanka in 2013. INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónMinistry of Foreign Affairs, Korea National University of ArtsJóvenes
1471872562015República de CoreaInstitutional Support for International Exchanges between ArtistsIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaLas artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/institutional-supporthttps://es.unesco.org/creativity/node/147180This policy was led by the Korea Immigration Service to expand cooperation and exchange in culture and arts for the promotion of cultural diversity. In particular, this policy was implemented to stimulate exchanges between foreign artists in performing arts. This has thus set the stage for exchanges in culture and arts to be conducted more freely.InternationalPreviously, legislation required advance permission for foreign artists to stay in Korea for extended periods of time. However, this policy changed this law to allow for a follow-up report in the case of change and addition of a workplace to facilitate foreigners’ stays in Korea, which consequently improved the system of certificates for confirmation of visa issuance for international exchanges between artists. Such a varied visa system has expanded exchanges between artists and is building the basis for increased cooperation in international culture and arts.INTERNATIONAL CULTURAL COOPERATIONCreaciónMinistry of Justice
1471572562015República de CoreaIndie Music Support ProjectSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosMúsicahttps://es.unesco.org/creativity/policy-monitoring-platform/indie-music-support-projecthttps://es.unesco.org/creativity/node/147150The Indie Music Support Project has been implemented to expand the music content creation of diverse genres, provide opportunities to discover a variety of musicians, and strengthen the creative ecology and the foundation of the music industry. The project is led by the Cultural Industry Policy Division of the Ministry of Culture, Sports and Tourism and the Korea Creative Content Agency. Its policy targets indie musicians and the general public in Korea. NationalThe Mid-Term Plan for Promotion of Music Industry (2009-2013) was established at the government level. At the same time, the Support Plan for Promotion Policy of Indie Music (2009-2013) was established and implemented. Major projects include those that support diverse new talents such as indie or non-mainstream musicians, popular music concerts and festivals, and the hosting of the Korean Music Awards and the Golden Disc Awards.CULTURAL POLICIES AND MEASURESCreación, Producción, DistribuciónMinistry of Culture, Sports and Tourism, Korea Creative Content Agency $6,239,299.98 
1471272562015República de CoreaCulture and Arts Enjoyment Support Project for the DisabledLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/culture-arts-enjoyment-supporthttps://es.unesco.org/creativity/node/147120This project is implemented to expand more active and positive culture and arts enjoyment rights for the disabled. It usually targets amateur culture and arts groups for the disabled. Its objective is to build capacities in artistic creation, resolve cultural and artistic disparity between the disabled and the non-disabled, and promote the cultural enjoyment rights of the disabled by supporting artistic creation and expression activities of disabled artists or groups.NationalThis project began in 2007 as the Support Project for the Expansion of Cultural Accessibility for the Disabled within the “Cultural Tours for the Marginalized” project. Detailed projects include: Support of Culture and Arts Enjoyment for the Disabled; Construction of Culture and Arts Center for the Disabled (planned to open in April 2015); Able, Access-Art Fair; Completion of the Construction of Convenience Facilities for the Disabled at Public Sports Facilities (17,157 facilities by 2018); Construction of the National Sports Center for the Disabled (5 centers by 2014), which will facilitate communication between the disabled and the non-disabled; Allocation of Sports for All Instructors for the Disabled (230 instructors); and Increased Support for Sports for All Classes and Associations for the Disabled (over 384 locations).CULTURAL POLICIES AND MEASURESParticipaciónMinistry of Culture, Sports and Tourism $5,231,120.41 
1470972562015República de CoreaInter-Ministerial Arts and Culture Education ProjectsLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleJóvenesMúsica, Las artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/inter-ministerial-arts-culturehttps://es.unesco.org/creativity/node/147090A) Imagination School: Arts and Culture Education Support Project for Marginalized Youth ;The objective of this project, led by the Ministry of Gender Equality and Families, is for youths to work together to learn, create, and stage performing arts as well as to share solidarity and achievement through these stage experiences. The project’s main target group is youths who have been alienated from arts and culture education.B) Creating a Happy School through Arts and Culture Education ;Led by the Ministry of Education, this project aims to spread opportunities for the arts in public education and seeks to encourage student creativity and character-building.NationalA) Imagination School: Arts and Culture Education Support Project for Marginalized Youth ; In 2009, the project was jointly carried out by the Ministry of Health and Welfare, the Ministry of Culture, Sports and Tourism, Korea Youth Work Agency, and Korea Arts and Culture Education Service to promote arts and culture education for marginalized children and youths. A total of 1,253 youths from 92 organizations in 16 cities and provinces took part in this project. The youths, who had been marginalized from the arts, were able to increase their cultural creativity to enjoy arts in everyday life.B) Creating a Happy School through Arts and Culture Education ; The target groups are elementary, middle, and high schools (including special schools). Among these, applications for “host schools for arts and culture education” are submitted to metropolitan and provincial offices of education for review before they are selected by the Ministry of Education. Currently, 130 schools have been selected and operated as student musical schools. Student orchestra schools have been expanded to include 400 schools.  In 2013, 100 schools including 51 elementary schools, 28 middle schools, 19 high schools, and 2 special schools were selected as new host schools for student orchestras. In particular, one special school is a school for mentally disabled children and youths.CULTURAL POLICIES AND MEASURESCreación, ParticipaciónMinistry of Culture, Sports and Tourism, Korea Craft & Design Foundation $684,801.00 Jóvenes
1472372562015República de CoreaCurrent State of UNESCO Creative Cities Project in KoreaLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/current-state-unesco-creativehttps://es.unesco.org/creativity/node/147230Launched in 2004, the UNESCO Creative Cities Network programme seeks sustainable development of cities based on culture and creative industry and promotes cultural diversity based on local culture. Following these basic values of the creative cities programme, three cities in Korea—Seoul (2010, Creative City of Design), Icheon (2010, Creative City of Crafts and Folk Arts), and Jeonju (2012, Creative City of Gastronomy)—have joined the network. The cities are implementing related policies with the objective of building a model of sustainable urban development by combining each field with an urban development plan and promoting cultural enjoyment for their citizens. InternationalSeoul, Creative City of Design ; In order to rethink urban policy, which has focused on indiscriminate development, and to overcome the problems of rapid urbanization, Seoul, under the vision of “Design Caring for Citizens,” is carrying out various policies in order to present a model of sustainable urban development through design.  In particular, Seoul leads the creative industry by supporting small and medium design companies and new generation designers to secure sustainability in the design industry. It also operates a cultural complex where design seminars, fashion shows, and exhibitions as well as various community participation programmes are possible. This complex will offer opportunities for exchange and communication between diverse creative industries including design. Icheon, Creative City of Crafts and Folk Art ; Icheon City has set local cultural assets and creative capacities as the core agenda for its future urban development strategy and selected “culture” as the keyword for its urban development strategy, based on which a detailed implementation strategy including sustainable development of creative cultural content, reorganization of cultural infrastructure and software, and the improvement of citizens’ cultural awareness has been established.  Following this strategy, Icheon is promoting exchange and cooperation with other international cities, sharing experiences in the field of crafts to widen its capacities and perspectives, and encouraging civic participation in sustainable urban development policy by hosting related research, forums, and festivals. In particular, the designation of Icheon as a creative city has instilled a sense of pride about local cultural assets in Icheon’s citizens and artists. Thus, the city is continuing its efforts to establish a small but strong world-class city of culture. In addition, it is notable that the city has accelerated its creative attempts to combine various fields such as urban planning, architecture, culture, and education with crafts. Jeonju, Creative City of Gastronomy ;  The vision of the project is to preserve and develop local traditional culture within a modern context. The Han Style project, which aims to modernize traditional culture, integrates food, crafts, traditional music, and traditional housing styles. More specifically, the city of Jeonju attempts to raise the quality of tourism, the cultural industry, and daily life through industries based on tradition. It also attempts to spread the construction of a new creative city based on traditional culture by sharing these experiences and strategies with the world’s other creative cities of gastronomy. This is greatly significant for the promotion of cultural diversity in Korea and for the international community in the sense that it preserves the disappearing traditional culture.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, Participación
1472072562015República de CoreaMutual Cultural Exchange ProjectIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturales, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/mutual-cultural-exchange-projecthttps://es.unesco.org/creativity/node/147200Led by the Cultural Affairs Bureau at the Ministry of Foreign Affairs and Korea Foundation, the Mutual Cultural Exchange Project began as a way to promote mutual understanding by building cultural consensus and raising awareness of cultural diversity in Korea. The project is significant in the sense that it increases awareness of diverse cultural expressions by introducing culture and arts of countries with which Korea has had limited exchange. International The Mutual Cultural Exchange Project began as East Asia Week in September 2006 when the culture and arts of 10 ASEAN countries, China, Japan, and Korea were introduced to the Korean people. The event has since been held two or three times every year. The main achievements of the project include East Asia Week (September 2006), Africa Culture Festival (December 2007), Arab Culture Festival (June 2008), Silk Road (Central Asia) Culture Festival (November 2008), Central and South America Culture Festival (July-August 2009), Black Sea Culture Festival (August 2010), etc.The Cultural Diplomacy Manual published by the Ministry of Foreign Affairs in 2010 selected “Mutual Cultural Exchange” as a major task which has maintained and expanded the project and consequently stimulated contact and communication between cultures. The 2014 Caucasus Culture Festival (July 4-6, 2014) was held through cooperation between Korea and two countries from the Caucasus (Georgia and Armenia). This project expands cultural diversity by promoting exchange and cooperation with diverse cultures of the Caucasus. INTERNATIONAL CULTURAL COOPERATIONCreación, Distribución, ParticipaciónMinistry of Foreign Affairs, Kroean Foundation
1471772562015República de CoreaCultural Partnership InitiativeIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/cultural-partnership-initiativehttps://es.unesco.org/creativity/node/147170The objective of the Cultural Partnership Initiative is to respect the cultures of other countries through cultural exchange, increase mutual understanding, and seek successful cooperative relationships. The Ministry of Culture, Sport and Tourism, local governments, and various culture and arts organizations are cooperating to implement the project, which invites professionals in culture and arts, tourism, and sports from Asia, South America, Africa, and Eastern Europe to Korea for six months and offers them a chance to experience Korean culture and exchange their cultures with Korean people. InternationalIt began in 2005 as the Asia Cultural Partnership Project which invited Asia’s culture and arts professionals to Korea. It later expanded its scope to include artists from South America and Africa and changed its name to the Cultural Partnership Initiative. It expanded further to include Eastern Europe in 2010. The outcome of this project is that young talents in related fields such as culture and arts and the cultural industry have been taking part in building a reciprocal cooperative model based on culture since 2005. Between 2005 and 2013, 776 experts from 75 countries in Asia, Africa, South America, and Eastern Europe have participated in the project. INTERNATIONAL CULTURAL COOPERATIONCreaciónMinistry of Culture, Sports and Tourism $1,331,557.92 
1471472562015República de CoreaDiversity Film Support ProjectSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/diversity-film-support-projecthttps://es.unesco.org/creativity/node/147140The objective of the Diversity Film Support Project is to develop the film industry with a focus on fostering film creativity, strengthening the right to enjoy culture through films, and promoting film culture with the creation of a fair competition environment. NationalAs Korean films advanced actively into overseas markets between 2002 and 2005, active support for diversity films also began in this period. Representative support projects include the Independent Film Production Support Project and the Art Film Production Support Project. The separation of independent films and art films enabled them to pursue their specialties. In addition, there are also related projects: the Independent Film Support Stabilization Project which creates a base for free production so that anyone can make films freely; and the Expansion of Diversity Film Distribution and Screening Project which supports the release of diversity films and independent film marketing and PR and specializes in local theaters for art films outside the metropolitan area. As a result of these projects, the number of recognized art films has increased from 97 in 2007 to 365 in 2012. Related legal frameworks are Article 11 of the Framework Act on the Promotion of Cultural Industries (Support for Production by Independent Producers), Article 9 of the Content Industry Promotion Act (Facilitation of Content Production), and Article 38 of the Promotion of the Motion Pictures and Video Products Act (Assistance to Exclusive Movie Theaters).CULTURAL POLICIES AND MEASURESCreación, Producción, DistribuciónThe Korean Film Commission $10,618,223.32 
1471172562015República de CoreaCultural Sharing ProjectLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/cultural-sharing-projecthttps://es.unesco.org/creativity/node/147110The Culture Sharing Project is a leading cultural enjoyment project which targets the culturally marginalized such as those living in rural or remote areas with weak cultural infrastructure, the disabled and the elderly with low accessibility, and multicultural families facing social barriers.With the objective of enhancing people’s cultural enjoyment, this project is a representative cultural welfare project for the economically, socially, and geographically marginalized. NationalThe Culture Sharing Project began in 2004 for culturally marginalized people with funding from the lottery. It is divided into three projects: “Culture Vouchers,” “Cultural Tours for the Marginalized,” and “Create a Living Culture Community.” “Culture Vouchers” (Munhwa Nuri Card) offers opportunities for beneficiaries, who find it difficult to enjoy culture and arts in daily life due to economic, social, and geographical difficulties, to enjoy performances, exhibitions, and films, purchase music albums and books, travel within Korea, and go to professional sports games. “Cultural Tours for the Marginalized” aims to provide various culture and arts enjoyment and participation programmes in culturally alienated areas. In 2014, the project will be concentrated on cities and counties where the use of cultural vouchers was not carried out smoothly. A special tour programme will also be provided to remote or isolated areas such as shantytowns and island villages. The pilot project contest for the “Create a Living Culture Community” was hosted in July 2009 and seven groups in seven areas were selected in August 2009 to implement the project.The target groups include culturally alienated areas throughout the country such as lease apartment complexes, areas concentrated with detached houses for low-income earners, and agricultural, mountain, and fishing villages. The project helps people communicate with neighbors and creatively solve problems of the community through diverse culture and arts activities. CULTURAL POLICIES AND MEASURESParticipaciónMinistry of Culture, Sports and Tourism, Arts Council Korea $61,008,179.57 
1470872562015República de CoreaRainbow Bridge ProjectLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/rainbow-bridge-projecthttps://es.unesco.org/creativity/node/147080The Rainbow Bridge Project, which aims to contribute to the dissemination of cultural diversity, supports culture and arts activities and cultural exchanges so that people from various cultures can demonstrate their cultural capacities as the main agents of culture and share with the local communities. NationalThe Rainbow Bridge Project began with the Project to Create the Cultural Environment for a Multicultural Society which was implemented in 2009 as a way to promote and stimulate mutual exchange and communication between cultures before ratifying the Convention on Cultural Diversity. After the Convention was ratified, it expanded its target, aim, and method and was launched as a pilot project in 2012 in six regions: Busan, Daegu, Gwangju, Gyeonggi-do, Chungcheongbuk-do, and Jeollanamd-do. Twelve regions were included in 2013 and 17 cultural foundations all over the country led over 100 distinct projects related to cultural diversity by using the unique local cultural resources of each region.The project targeted marriage migrants, migrant laborers, and multicultural families in 2013, and extended to focus on cultural diversity in Korea such as local cultures, generations, the disabled, and the sexual minority in 2014. It has since been expanded even further to target all people in Korea.CULTURAL POLICIES AND MEASURESDistribución, ParticipaciónMinistry of Culture, Sports and Tourism $2,273,159.60 
1472272562015República de CoreaCultural ODA Project, "Thank You Small Library"Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturales, La cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleIndustria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/cultural-oda-project-thank-youhttps://es.unesco.org/creativity/node/147220The “Thank You Small Library” project is a representative cultural ODA project implemented by the Korean government and the private sector. This project aims to contribute to cultural diversity by improving people’s reading environment in target countries and thus increasing accessibility. The target countries include underdeveloped countries in Africa such as Ethiopia, Ghana, Tanzania, and Mozambique. This project is carried out in cooperation with the Ministry of Culture, Sports and Tourism, the Munhwa Broadcasting Corporation, and the UNWTO ST-EP Foundation, etc.InternationalThe pilot project began in two locations in Ghana in 2007 and expanded to build and support 17 locations in Ghana, Tanzania, and Mozambique in 2010. Between 2011 and 2012, seven small libraries were built in Ethiopia. Fifty-eight small libraries were built in nine countries as of the end of 2013. This has laid the foundation to promote the diversity of cultural expressions. Other cultural ODA projects include the Arts and Culture Education ODA Project which was jointly conducted by KOICA and the Korea Arts and Culture Education Service in 2013. This was a project targeted at middle and high school students in Lao Cai, a province of the mountainous northwest region of Vietnam. The project also provided arts and culture education programme planning and methodology to students at the Lao Cai Teachers’ Training College in 2013 and 2014.INTERNATIONAL CULTURAL COOPERATIONParticipaciónMinistry of Culture, Sports and Tourism, Munhwa Broadcasting Corporation, UNWTO ST-EP Foundation $884,534.91 
1471972562015República de CoreaArt Creation ResidenceIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la cultura, La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/art-creation-residencehttps://es.unesco.org/creativity/node/147190The creation residence for professional artists in Korea first began as a public facility run by the state and local governments. Recently, however, it has been actively taking place in the private sector (NGOs and commercial galleries). Artist-in-residence programmes today are no longer simple spatial supports; their aim has changed to include creation by individual artists or groups as well as international exchange. In turn, the programmes strengthen the trend of promoting the diversity of cultural expressions.InternationalExamples of few distinct residences are as follows:- Seoul Art Space, Jamsil Creative Studio (Public): It provides creative spaces for disabled artists. It has also implemented art fairs for the disabled, support of art activities for children with developmental disabilities, and the planning and operation of culture and arts enjoyment for citizens. - Old Downtown Creative Space, Totatoga (Public): Creative activities, exhibitions, performances, publications, screenings, and presentations as well as community activities and cooperative works between artists and citizens and between citizens are actively taking place in old downtown spaces. - Supplement Space, Stone & Water (Private): It aims to create an art space in daily life. Its main activities include discovering, developing, and supporting artists and providing solutions to problems in local communities through art. - Litmus (Private): This is a community space operated by artists, critics, exhibition planners, social activists, workers, and migrants who want to experience art and a new life. It carries out Asian artist-in-residence programmes, culture camps, and arts and culture education programmes. It also develops and conducts diverse programmes to create and exchange culture in the Ansan area (Borderless Village) where Asian migrant communities are concentrated.  INTERNATIONAL CULTURAL COOPERATIONCreaciónMinistry of Culture, Sports and Tourism
1628273322013RumaniaCréation de la Bibliothèque digitale de RoumanieSistemas sostenibles de gobernanza de la cultura, Entorno digitalIndustria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/creation-de-bibliotheque-digitalehttps://es.unesco.org/creativity/node/162820L’objectif principal est celui d’assurer un cadre unique et unitaire dans le domaine de la digitisation des ressources culturelles nationales.La création de la Bibliothèque Digitale est prévue se réaliser dans la période 2009 – 2015.National, InternationalAfin d’atteindre ce but, plusieurs activités nécessaires à sa mise en pratique ont été établies, activités dont on mentionne :identifier des projets de digitisation déroulés ou en cours de déroulement sur chaque pilon thématique : patrimoine documentaire écrit (bibliothèques), patrimoine mobil (mussées, collections), patrimoine audio-visuel, patrimoine immobile (monuments, archéologie) ;identifier les priorités de digitisation et faire la sélection des ressources culturelles qui vont être digitisées ;établir la méthodologie de travail, les normes et les formats adéquats ;créer la Bibliothèque Digitale de Roumanie et la raccorder à la Bibliothèque Européenne digitale ;améliorer le cadre légal dans le domaine des droits d’auteurs et droits connexes, bibliothèques, patrimoine culturel mobil, dépôt légal, cinématographie.Jusqu’à présent, les résultats se sont concrétisés dans une base de données avec les projets à digitiser, un document synthétique aux critères, pour chaque pilon thématique, méthodologie de travail, normes et software à appliquer. Un autre résultat prévu vise la modification et/ou amélioration des actes normatifs concernant les droits d’auteurs et droits connexes, la protection du patrimoine culturel national mobil, cinématographie, bibliothèques, dépôt légal de documents.Pour plus de détails, voir les sites web :http://digitool.bibnat.ro:8881/Rhttp://www.cimec.ro/Biblioteca-Digitala/Biblioteca.htmlhttp://www.dacoromanica.roDéfis identifiés dans la mise en oeuvre de cette politique / mesure : Le principal défi tient au manque de coordination entre tous les membres et on arrive parfois à des duplications des ressources digitisées.CULTURAL POLICIES AND MEASURESDistribución, ParticipaciónBibliothèque Nationale de Roumanie, Archive Nationale de Films, Centre National de la Cinématographie, Institut de la Mémoire Culturelle (cImEC), Institut National du PatrimoineYESLes indicateurs pris en considération se référent au nombre de ressources digitisées, nombre d’accès, téléchargements, rapports périodiques de monitoring, nombre de personnes et chefs d’institutions culturelles qui ont été ou sont instruits dans le domaine de la digitisation.
12938128872017RwandaMusic School at Nyundo. Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesMúsicahttps://es.unesco.org/creativity/policy-monitoring-platform/music-school-nyundohttps://es.unesco.org/creativity/node/12938The school encourages confidence and musical expression, supports professional development and edifies existing traditions and musical instruments. By persuing music careers at this school, students will affirm and communicate a sense of individual and collective identity. All of this will lead to a coherent and unified portfolio from which the graduate can project and further the development of the Rwandan music industry.NationalinstitutionalThis Music Education Program enhances acquisition of professional transferable skills in all aspects of the Rwandan music industry. To promote the development of these skills, a range of music courses are planned for the students : These include :Music TheoryMusic ProductionMusic Instrument fundamentals Vocals techniquesMusic instruments CraftsmanshipEntrepreneurship/Music business Music Recording techniquesLive music Sound and lighting engineering Music copyright laws EMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9bCreación, Producción, Distribución, ParticipaciónYesDevelop music artist talentsNurture the music industry in RwandaThe Ministry of Education (MINEDUC), Workforce Development Authority (WDA)The school is funded by the governmentNoNoYesNOYoung talents from lower secondary schoolJóvenes
12932128872017RwandaUmuganura (Cultural Harvest)Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/umuganura-cultural-harvesthttps://es.unesco.org/creativity/node/12932To create an opportunity for Rwandans to reflect on the positive values of Rwandan culture that is a cornerstone to strengthening unity and reconciliation of Rwandans;To preserve Rwandan Culture by educating the young generation on the importance of safeguarding our cultural heritage;To raise awareness among Rwandans, friends of Rwanda and policy makers on how “Umuganura” celebration played a very significant role in uniting Rwandans;To recognize the achievements in various sectors of the economy, recognize the efforts of those involved and strategize for increased harvest in the subsequent seasons.NationalinstitutionalUmuganura is an annual event held on the first Friday of August and it is a public holiday. But the festival is celebrated during a week leading to the Umuganura day. Main activities are:  Arts performances prepared by artists' unions and federations members of the Rwanda Arts Council;Exhibitions (painting, handicraft, CDs: film and music);Conferences on creative industries.CULTURAL POLICIES AND MEASURESCreación, Distribución, ParticipaciónNoArtists’ achievements are known by the public and promotedA platform for marketing artists products is createdStarts networks are built, especially for cultural and creative expression actors.The Ministry of Sports and Culturethe Government budgetYesYesYesYESNationalUmuganura  festival involves artists;Umuganura  festival creates a platform of artistic expressions;Umuganura  festival experiences an international trend;  Number of artits increased;Level of perfomances improved;Audience increased;
12928128872017RwandaMusic and Arts curriculum in pre-primary, Primary and Secondary schoolsSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesMúsica, Las artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/music-arts-curriculum-pre-primaryhttps://es.unesco.org/creativity/node/12928To help a learner acquire and develop the cultural values by promoting music and subject in schools. To use Music and Arts to improve memory skills, retention and reasoning as well as enhance advancement in math skills, memory, literacy and in general overall intelligenceNationalinstitutionalMusic education is included among the extra curriculum activities or compulsory non-examinable subjects. It is allocated at least one hour in the weekly timetable in government schools.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónNoMusic, dance and drama make a strong impact on families, on diversity, and on integration. Students will:Express ideas and emotions and feelings that they cannot express through language aloneCommunicate fluently and effectively in at least one artistic disciplineExplain how world cultures have been historically influenced and shaped by the arts and understand the ways in which the arts contribute to contemporary lifeMusic and Arts curriculum in pre-primary, Primary and Secondary schools the Government budgetYesYesNoNONationalJóvenes
12924128872017RwandaRwanda Academy of Language and Culture (RALC)Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/rwanda-academy-language-culturehttps://es.unesco.org/creativity/node/12924The main objective of the Academy is to preserve and promote Rwandan National Language, culture and historical heritage. This is done by coordinating and promoting activities related to culture and creative activities. The main objectives of the Academy relating to culture among others are:To approve Rwandan cultural standards and values and show their role in general knowledge; To ensure the integrity of the Rwandan culture in comparison with other foreign cultures; To determine the standards relating to research in all arts and artistic creation levels; Every year the Academy receives multiple requests from artists, the General Assembly of the Academy analyses each request and agrees to promote the best one in the all sectors of cultural industries; To determine appropriate methods of storing heritage and cultural symbols; To promote the research and knowledge of Rwandan historical heritage.To support and mentor artists to build administrative capacity through Rwanda Arts Council as an umbrella representing themNationalinstitutionalThe main feature of this measure is that it focuses mainly on conducting activities that are aimed at protecting and promoting Rwandan culture and language. Through research and consultation, RALC is also mandated to set standards and values with regard to Rwandan culture and standardsCULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónNoResearch in historical heritage, aspects of culture related to historical sites;Research on Rwanda cultural values;Research on creative industry , especially by mapping of cultural industries in Rwanda; promote and support the creative art sub-sector in Rwanda by supporting Rwanda Arts Council and six federations. Rwanda Arts Council is an umbrella of creative art in Rwanda that was set up in May 2016 with the aim of coordinating all activities of artists.Rwanda Academy of Language and Culture (RALC)The source of the budget is the Government of Rwanda but it will gain the budget from cooperation and international funds.NoNoYesNO
12940128872017RwandaResearch on cultural and local content production in Rwanda’s media sectorSistemas sostenibles de gobernanza de la cultura, Diversidad de los medios de comunicaciónCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/research-cultural-local-contenthttps://es.unesco.org/creativity/node/12940Broadly the objective of the baseline research was to provide baseline scientific data to guide the establishment of a viable mechanism that will enable the development of cultural content production for consumption via the media, thus promoting local and diversified content in Rwanda.Specific ObjectivesHighlight challenges hindering the development of local content and propose strategies to overcome them;Map cultural industries in Rwanda;Enlighten media practitioners on how to diversify content so as to meet consumers’ tastes and preferences.NationalinstitutionalIdentify the key barriers and challenges hindering the development of creative industries and content creation for media consumption;Identify the extent of and areas in which capacity building and human resource development will be requiredEMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9bCreación, Producción, Distribución, ParticipaciónYesThere is serious need for both long and short term capacity building interventions in local content production in Rwanda. First short-term skill and knowledge transfer initiatives should be put in place by media entities to build internal capacities towards quality content production. The researcher further recommended ongoing or regular in house training by outsourced external experts as a short-term measure to gradually upgrade the existing technical capacity;Long-term capacity building projects need to be set up to proactively boost the skill levels of Rwandans with a passion for content production. Audio-visual content production training facilities should be established across the country to foster skill development in media content production and entrepreneurship to drive industry growth;Language diversity of content is a crucial driver of international marketability of Rwandan content. The researcher recommended that Local and creative content producers considered incorporating different languages, such as Kiswahili, English and French, to make Rwandan content inclusive and appealing to non-Rwandans and enable Rwandans to tell Rwanda’s stories to the world and themselves;The researcher recommends that local content should be geared towards reflecting Rwandan values and culture, rich history and unique identity of Rwandans, the day-to-day Rwandan way of life and developmental matters while ensuring consistently high quality of productions;The researcher recommended a nationwide data gathering exercise to develop an exhaustive database of cultural industries in Rwanda and local talent and content producers, e.g. film makers, film crew practitioners, radio producers, music producers, content creators, who can be partners in local content production and mechanism put in place for regularly updating that database. This database will form a sound basis for targeted capacity building initiatives and intervention.Media High Council (MHC)Fund: 23,000 US DollarsNoNoYesNOJournalists, Media houses
12936128872017RwandaMs. Geek Rwanda ProgrammeSistemas sostenibles de gobernanza de la cultura, Entorno digital, Derechos humanos y libertades fundamentales, Igualdad de géneroConsidered for innovative practices, JóvenesMedios de comunicaciónhttps://es.unesco.org/creativity/policy-monitoring-platform/ms-geek-rwanda-programmehttps://es.unesco.org/creativity/node/12936Ms. Geek Rwanda is designed to inspire and increase the number of Rwandan girls to to join the science and technology field by giving them an opportunity to showcase their knowledge and skills in problem solving.NationalinstitutionalMs. Geek Rwanda was been held in 2015 for the first time as a way to celebrate International Girls in ICT day for the third time, and the brought together 70 girls who selected among 106 applicants. The 2016 Ms. Geek Rwanda competition was the second edition. After the campaign conducted in different schools to raise Ms. Geek awareness at least in 3 schools in each province and radios, social media platforms used to attract students to apply for Ms. Geek. Among 130 who met the selection criteria, the 5 best performers were selected and were taken through a 1-month training to polish their presentations and pitches for the final event. A panel of 6 judges participated in final event to select the Ms. Geek Rwanda 2016 winners on 30th April at Serena Hotel and brought together 600 guests and 315 students from 17 schools. Scoring was done digitally using STRIX software. The selection based on: novelty, presentation, utility and accessibility criteria. The 3 winning projects have been selected among the 5 best projects respectively: Ms. Geek 2016: Ivomerere System; Hello Job; Easy Parking; Fluid Alert System; Meet the Doctor App. The implementation of these projects falls in the framework of promoting cultural diversity since they call up on arts in their design and develop the culture of free expression and self-reliance, hence enhancing the girls’ capacity and mitigating other forms of misbehaviour that girls tend to be involved in when they are idle and not empowered. (Ms. Geek Report 2015 and 2016).EMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9bCreación, Distribución, ParticipaciónYesTo keep increasing year per year as much as possible the number of Rwandan girls joining the science technology field, bringing together 250 girls in annual Ms. Geek competition.The Ministry of Youth and ICT is responsible of Ms. Geek Rwanda implementation.Financial Resources comes from UNDP support, corresponding to 17,000,000 RWF for 2016.NoNoYesNOFemale high school goers, Female University studentsConsidered for innovative practices, Jóvenes
12931128872017RwandaHolidays in Museums, Outreach ProgramSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/holidays-museums-outreach-programhttps://es.unesco.org/creativity/node/12931To raise awareness of Rwandans in general and youth in particular to visit museums, acquire first hand experiences and knowledge about national cultural and natural heritage;To boost Rwandan youth creativity and innovation in their artistic talents based on their culture and history;Educate Rwandan youth on their cultural and natural heritage;To disseminate national cultural values and best practices;To provide the youth with basic skills on cultural values so they can positively shape behaviors;To collect public impressions and factual data about how INMR performs its services and delivers its products for improving public understand about the past in creating better citizens for the growth of our nation;To collaborate with parents for education of their children during holidays period.NationalinstitutionalTraining and competitions basic techniques on composing poems, fashion, beading, drumming, milk churning, traditional dances and traditional sports basic techniques, drawing, post cards designing and making.-Access to Museums’ mobile collections/ objects as well as a chance to meet different artists invited by the Museums.Schools or communities are selected considering those that are geographically isolated in first place. The staff reaches them on to their specific schools or cooperatives and sometimes, INMR facilitate them to visit museums and encourage them to join competitions organised by INMR.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónYesIn 2015, INMR welcomed 120 young people between 10 and 15 years old at the Presidential Palace Museum as part of Holidays in Museums, In 2015, Museums reached 3 secondary schools in western province and 3 plus secondary schools in eastern provinces. In 2016, Museum’s team went to four schools in Kigali plus University of Rwanda reaching out 5800 students and 82 teachers.6 INMR staff are involved in the outreach program, 10 volunteers and one artist Every two years, the Institute of National Museums of Rwanda organises competitions at the national Art Gallery, where artist from all corners in Rwanda participate and present their artworks based on a given theme. The best artworks are purchased by the Museum and exhibited at the National Art Gallery in Nyanza.Institute of National Museums of Rwanda in partnership with secondary schools and private artists.Government budget: 3 million Rwandan francsYesYesYesNONationalStudents, PupilsJóvenes
12926128872017RwandaRwandan Children’s Book Initiative (RCBI)Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesIndustria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/rwandan-childrens-book-initiativehttps://es.unesco.org/creativity/node/12926Support publishers to produce high quality, age appropriate, Kinyarwanda children’s books and distribute these to schools,Improve teachers’ skills, knowledge and confidence to use books in support of literacy acquisition and learning outcomes.Improve literacy skills and learning outcomes for young children in the first years of primary school by increasing their reading, particularly of high quality age appropriateand culturally rich booksThis measure will address the book gap by intervening at every stage of the local book chain; going beyond the immediate beneficiaries to develop an entire, self-sustainable, market and industry for good quality, non-textbook, children’s reading materials, in addition to ensuring that books provided to schools can be managed and used effectively. NationalinstitutionalSupport local and regional publishers to produce high quality, age appropriate, local language children’s reading material; Stimulate supply and demand for this material by agreeing to purchase the materials with the condition that publishers produce more than we buy; Provide the purchased materials to primary schools; Train teachers, head teachers, sector education officers, mentors and Teacher to use the materials effectively to better support literacy acquisition and learning outcomes;CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónNoThe local book industry is supported to produce high quality children’s books in Kinyarwanda.Sustainable demand for quality children’s books is established.Teachers and school leaders are trained to manage book collections and use books effectively to improve literacy acquisition and learning outcomes. Rwandan Children’s Book Initiative (RCBI)GBP 695,000YesYesNoNOJóvenes
12922128872017RwandaThe National Cultural Heritage PolicySistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/national-cultural-heritage-policyhttps://es.unesco.org/creativity/node/12922To provide a framework for nurturing, preserving and protecting Rwandan culture as an effective mechanism for the realization of the country’s development goals;To strategically position culture as a tool for enhancing good governance and social cohesion among Rwandans;To enable culture to shape our attitudes and mindset in order to realize our planned development goals across all sectors of the nation’s life;To enrich business potential and opportunities embedded in the Rwandan cultural heritage and thereby contribute to Rwanda’s development goalsNationalinstitutionalThe National Cultural Heritage Policy provides broad pillars and guiding principles to preserve the core values of our culture and defines strategies to ensure that culture plays its historical role of informing the socio-economic transformation of Rwanda. The Policy defines the stakeholders as culture practitioners of all walks of life, as well as all partners involved in day to day activities to preserve and promote culture. It gives the framework to fit in the strategies, initiatives and activities undertaken by various public and private stakeholders. The logical framework of the policy is slated on a 5-year period of implementation. The mainstream of the policy focuses on both the economic and social dimensions of cultural production: Research and promotion of the History of RwandaDevelopment of an organizational arrangement to disseminate and promote Culture Values Preservation and promotion of Kinyarwanda LanguageDevelopment and promotion of the creative arts sub sector to increase their economic benefitsPromotion of cultural tourism in the country as a contributor to the economy of the countryDevelopment of an institutional and operational framework to promote a reading culture and effective management of archives Develop strategies to strengthen the preservation of Genocide memory, Fight Genocide Ideology and negation of Genocide Against TutsiCULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónNoA harmonized understanding among Rwandans and foreigners of the correct version of the Rwandan history A Rwandan society that is mindful of the cultural values that shape our way of life.Adoption of the correct version on the writing and use of Kinyarwanda language; improvement in the daily use of Kinyarwanda language; new terminologies created periodically enriching Kinyarwanda languageA creative arts sub sector that offers a wide range of socio-economic activities and employment opportunities especially for the youths and womenA cultural tourism industry that promotes not only the Rwandan culture but also provides a wide range of socio-economic opportunities and employmentA Rwandan society that has fully adopted reading culture as part of their day-to-day practices; institutions/organizations with enhanced capacity for the proper management of archivesGenocide memory well preserved; Genocide ideology minimized or abolished among Rwandans and Genocide negation counteredThe Ministry of Sports and Culture in collaboration with representatives from the public sector and the civil society.Financial resources are usually defined according to the activities planned by every stakeholder to implement the Policy interventions.YesYesNoNO
12939128872017RwandaDepartment of Performing Arts at the University of RwandaIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la cultura, Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesMúsica, Las artes escénicas, Artes visualeshttps://es.unesco.org/creativity/policy-monitoring-platform/department-performing-artshttps://es.unesco.org/creativity/node/12939Develop arts education in Rwanda Create an academic department to enhance the development of an internationally recognised national cultural programme in Rwanda to include Theatre, Visual Arts and Music. Support the Cultural Pillar of Vision 2020 and general Cultural Policy by advising and consulting in the development of a National Performing Arts Centre and supporting Cultural Training Centres.Develop the performing arts provision and Place Rwanda on the International Stage in the Performing Arts in support of Foreign Cultural Policy. Elevate Rwanda as a premier performance destination for all major Artists from around the world. Linking into Culture and Tourism directives and strengthening its Cultural Identity.Strengthen the competitiveness of Rwanda generally as cultural operators and Performing Arts service providers regionally and internationally. Prepare the Country to fully partake of the benefits of a modern middle class ICT centric society by providing world class performing arts training provision and implementation.NationalinstitutionalThree areas of development:Community Performing Arts International Exchange Programs Academic Courses in the Performing Arts, Certificates, Diplomas and DegreesEMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9bCreación, Producción, Distribución, ParticipaciónNoAllows the arts to become part of society at all levels.University of RwandaThis measure is funded by the Government of RwandaNoNoYesNOJóvenes
12933128872017RwandaAgreement on funding between Rwanda Society of Authors and the Norwegian copyright development association.La cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/agreement-funding-between-rwandahttps://es.unesco.org/creativity/node/12933The main objective is to help in the development of Rwanda Society of Authors to be self-sustainable in terms of financial resources.To provide necessary trainings to the staff and the board of directors of the Rwanda Society of Authors to build its own, efficient and transparent system for the protection and management of copyrights.NationalfinancialDuring the 3 years period of the funding, the following targets have to be met: The number of registered members with RSAU has to reach 1000 artists; The collection of royalties from copyright users must have started; Reciprocal agreements with sister societies must have been signed and; Royalties distributed to copyright owners at least once.INTERNATIONAL CULTURAL COOPERATIONCreación, DistribuciónYesCollection of royalties from different users of copyright worksFinancial resources available to cater for administrative costsConstant distribution of royalties to ownersRwandan Society of Authors, Rwanda Development Board, Norwegian Copyright Development Association, Norwegian Agency for Development CooperationThe financial resources allocated is mainly the running costs funded by NORCODE estimated to 40,000 USD per annumYesYesYesNOArtists, members of RSAU , Art producers, Entrepreneurs, Art consumers
12930128872017RwandaEast African Community Arts and Culture Festival (JAMAFEST)Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturales, La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/east-african-community-artshttps://es.unesco.org/creativity/node/12930To provide a platform to showcase culture as a primary catalyst to regional integration and sustainable development;To bring together East African cultural practitioners and administrators to celebrate the rich and diverse cultural heritage as well as contemporary practices of East Africa;To provide space for intercultural dialogue amongst the people of East Africa;To foster the economic development of the EAC through nurturing the growth of a strong creative and cultural industry sector ; andTo promote arts and culture as a tool in the celebration and branding of East African identity and image.RegionalinstitutionalPeople from the EAC Partner States coming together to undertake and to promote cooperation among themselves in culture and sports with respect to the promotion of cultural activities. Another related target is to strengthen and consolidate the long standing political, economic, social and cultural ties between the peoples of the Partner States thus widening and deepening integration for their mutual benefit, thus fulfilling the theme: “One people one destiny”. Further, through JAMAFEST, the artists benefits from a regional exposure) and the audience gets to know the artistic productions of their neighbours thereby contributing in developing a regional market for both cultural producers and consumersINTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónNoPromote cultural tourism as well as conservation, safeguarding and development of culture heritage within the EAC; Provide a platform and opportunities for marketing cultural and creative commodity outputs within the region and internationally; Enhance participants' knowledge and competencies through workshops and symposia ; and Provide participants with a platform to showcase their artistic works beyond national borders.the Ministry of Sports and Culture .The budget and festival activities fall under the responsibility of the EAC Secretariat and Partner States. In Rwanda, it is the Ministry  in charge of of East African Community  Afairs (MINEACOM).YesYesNoNORegional
12925128872017RwandaRwandan Society of Authors (RSAU)Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/rwandan-society-authors-rsauhttps://es.unesco.org/creativity/node/12925To collect and distribute the royalties for rights holdersTo act as the custodian of creative productsTo distributes such products to clientsNationalregulatoryThe Rwandan Society of Authors (RSAU) was established by Rwandan Artists in the year 2010 with the support of the Ministry of Trade and Industry (MINICOM), the Ministry of Sports and Culture (MINISPOC) and the Rwanda Development Board (RDB) by virtue of the provisions of the Law No 31/2009 of 26/10/2009 on the protection of Intellectual Property Rights and Copyright.CULTURAL POLICIES AND MEASURESCreación, DistribuciónYesPromote awareness on the products of creative artistsServe as the recipient and custodian of creative productsVisit and monitor frequently, the users of creative worksMake available creative products to any intended userShowcase the artistic worksRwandan Society of Authors (RSAU)RSAU at the onset, received financial support from the Government of Rwanda, 15,000,000 as a starting fund. It has also received 200,000 NOK funds from NORCODE. RSAU earmarked 300,000 NOK in 2015 from NORCODE and it is renewable during 3 years.YesYesYesNOartists, creators, producers, entrepreneurs, media houses, arts consumers
14499139962017San Vicente y las GranadinasCode of Conduct for Broadcast (under preparation)Sistemas sostenibles de gobernanza de la cultura, Diversidad de los medios de comunicaciónCine / Artes audiovisuales, Músicahttps://es.unesco.org/creativity/policy-monitoring-platform/code-conduct-broadcast-underhttps://es.unesco.org/creativity/node/144990Little work has been done formally. However there is legal base for press freedom in the constitution. A Code of Conduct for Broadcast is being developed through the national Bureau of Standards. It is the direction of the various meetings that the needs of all sectors of the society shall be accommodated. CULTURAL POLICIES AND MEASURESDistribución
14502139962017San Vicente y las GranadinasInternational support for the development of the cultural sectorLa cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleIFCDCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/international-support-developmenthttps://es.unesco.org/creativity/node/145020The country has benefited significantly from the support provide by the IFCD and from the technical support to prepare a country report for the Convention. Other programs which have served to benefit SVG in the development of the cultural sector have been UNESCO, UNDP GEF and ALBA & CELAC alliances.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT INTERNATIONAL LEVELCreación, Producción, Distribución, ParticipaciónIFCD
14498139962017San Vicente y las GranadinasNational cultural policySistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/national-cultural-policy-0https://es.unesco.org/creativity/node/144980SVG held several consultations between February 2012 and March 2013 to review and re-develop a national cultural policy. The exercise was headed by a consultant, Ms. Rene Baptiste a local lawyer and former Minister of Culture. Formal adoption by the Government is still pending.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
14501139962017San Vicente y las GranadinasThe St. Vincent and the Grenadines National Economic and Social Development Plan 2013-2025La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/st-vincent-grenadines-nationalhttps://es.unesco.org/creativity/node/145010Our country produced a national plan called the “St. Vincent & the Grenadines National Economic and Social Development Plan 2013 – 2025”. In the document the intention is to holistically address national development in a long term strategy. The document specifically identifies as a strategic goal, “Building National Pride, Identity and Culture”. The document notes that “The national spirit of a people is determined and fashioned by their culture and this in turn constitutes one of the critical ingredients for nation building. As such the development, conservation, renovation and maintenance of infrastructure for culture at all levels, will be pursued. [and further that] This Plan articulates a vision for the positioning of culture in national life.” It lists as sub concerns: “To instill in the citizenry a sense of national pride and appreciation of the history of St. Vincent and the Grenadines. To engender a greater sense of community and social responsibility. To preserve, maintain and promote the cultural heritage of St. Vincent and the Grenadines. To maximise the contribution of cultural industries to economic growth.”INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, Participación
14500139962017San Vicente y las GranadinasParticipation in the EU EPA and the CARICOM free movement of people initiativesIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/participation-eu-epa-caricom-freehttps://es.unesco.org/creativity/node/145000There have been efforts to facilitate mobility through participation in the EU EPA and the CARICOM free movement of people initiate. However in both cases, Immigration and Customs officials have proved to be less supportive of the systems than the agreement negotiators. Additionally the creators themselves have been less than proactive in trying to access the possibilities and claim the business requirements and complications of meeting the service requirements make the system too cumbersome.INTERNATIONAL CULTURAL COOPERATIONDistribución
980997002016SenegalMutuelle Nationale de Santé des Acteurs Culturels (MNSAC)Mejora de la condición de los artistas en África16. Paz, Justicia e instituciones sólidas, 17. Alianzas para lograr los objetivosDerechos humanos y libertades fundamentales, Libertad artísticaConsidered for innovative practicesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/mutuelle-nationale-de-sante-deshttps://es.unesco.org/creativity/node/98091Le Ministère en Charge de la Culture en collaboration avec la CMU et le ministère de la Santé et de l’Action sociale ont instauré une mutuelle de santé avec des démembrements au niveau régional qui pourront être logés dans les services régionaux. La Mutuelle Nationale de Santé des Acteurs Culturels a pour objectifs :permettre aux acteurs de la culture d’accéder eux aussi aux soins de santé. Celles-ci sont subventionnées par l’Etat à 50%, pour contribuer à l’enrichissement économique social et culturel du pays et à la cohésion sociale, alors que 30% de l’ordonnance est prise en charge par la mutuelle.améliorer la prise en charge sanitaire de cette catégorie sociale longtemps confrontée aux problèmes d’accès aux soins.constituer des mutuelles de santé communautaires spécifique pour les acteurs culturelsavoir un taux de 75% de couverture à l’horizon 2017 NationalinstitutionalLa mutuelle repose sur  l’Article 14 de la Constitution ainsi que sur la Recommandation de l’UNESCO sur le statut de l’artiste. Elle est encadrée par des Conventions qui lient le Ministère de la Culture et de la Communication et celui la Santé avec la CMU (couverture maladie universelle) et d’autres organismes. Sont éligibles à cette Mutuelle les personnes qui oeuvrent dans les domaines de base de la culture (art de la scène, arts visuels, livres, cinéma, audiovisuel…) et celles qui sont dans les domaines culturels périphériques ainsi que les contractuels de l’administration. La  cible principale des mutuelles de santé est constituée des populations du monde rural et du secteur  informel. Ces mutuelles de santé fonctionnent sur la base d’une cotisation annuelle de sept milles (7000) Fcfa par personne. La cotisation est subventionnée à hauteur de 50% par l’Etat. Chaque sénégalais contribue à hauteur de 3500 F Cfa. Les acteurs culturels bénéficient d’une seconde subvention de la part du ministère en charge de la Culture. Au lieu de cotiser 3500 F Cfa comme n’importe quel sénégalais, l’acteur cultuel  cotise 2500 F Cfa si la subvention est de 1000 F Cfa ou 2000 F Cfa si la subvention est de 1500 F Cfa. L’Adhésion est de 1000 FCFA par individu et peut être individuelle, familiale ou groupée. Les soins exclus de cette mutuelle sont : Antirétroviraux, lunettes et lentilles de vue, prothèses, orthèses et les soins apportés hors du Sénégal. Le reste des soins est pris en charge à 80%, malgré quelques exceptions comme les médicaments de spécialités qui sont pris à 50% et la vaccination est prise, elle, à 100%. Lorsque la MNSAC aura atteint une viabilité suffisante, elle pourra envisager la prise en charge de certaines spécificités (évacuation, chirurgie esthétique, etc.). Elle sera donc amenée à travailler avec des assureurs privés ou bien la mutuelle de santé pour les évacuations à l’étranger. INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreaciónNoLa Mutuelle nationale de santé des acteurs culturels (Mnsac) cible 4 416 auteurs et les acteurs professionnels approximativement à 457 659. A terme, cette mesure compte atteindre les résultats suivants :Les acteurs de la culture ont un accès aux soins de santé.La prise en charge sanitaire des travailleurs du secteur culturel est améliorée.Des mutuelles de santé communautaires spécifique pour les acteurs culturels seront constituéesAtteindre un taux de 75% de couverture à l’horizon 2017La carte sanitaire du pays est redessinéeLes artistes prendront mieux en charge leur santé et celle de leur familleLes acteurs culturels seront aidés dans l’amélioration de leurs soinsLe triste spectacle des acteurs culturels marginalisés, qui sollicitent de l’aide en fin de carrière, sera terminé. La Mutuelle nationale de santé des acteurs culturels (Mnsac)Les 17 500 premiers adhérents vont bénéficier d’une subvention de 35 millions de F CFA NoYesYesNOConsidered for innovative practiceshttp://www.culture.gouv.sn/
987897002016SenegalPROGRAMME DE SOLIDARITE NUMERIQUE 2011-2015 – SENECLIC - RESEAU NATIONAL DE SOLIDARITE NUMERIQUE « CELLULE SENECLIC » Sistemas sostenibles de gobernanza de la cultura, Entorno digitalConsidered for innovative practices, JóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/programme-de-solidarite-numeriquehttps://es.unesco.org/creativity/node/98780Le Programme de Solidarité Numérique (P.SN) pour la période 2011-2015 vise la vulgarisation et la popularisation de l’éducation numérique. Il constitue un outil pour réduire la fracture numérique entre le Sénégal et le reste du monde mais sert aussi  à impulser un meilleur accès à une éducation de qualité pour un plus grand nombre.Il poursuit quatre objectifs :Asseoir un partenariat multi acteurs pour une bonne collecte des équipements informatiques neufs et de seconde main de qualité.Vulgariser et développer l’Education Numérique dans l’élémentaire par l’installation de salle multimédia et la formation des enseignants pour un meilleur enseignement des élèves avec des outils du numérique,Renforcer le système de reconditionnement des équipements informatiques et de Gestion des e.déchets,Opérationnaliser les es cases et le réseau de solidarité numérique, NationalfinancialCe programme préparé de façon participative va permettre de connecter prés de 2000 écoles élémentaires aux TICs par l’installation d’une centaine de salles multimédias dans autant d’écoles élémentaires d’au moins 20 machines avec les outils pédagogiques qu’il faut dans toutes les 14 régions administratives du Sénégal. L’une des premières tâches réalisée par « Sénéclic » est la concrétisation du partenariat public privé entre l’Etat, la Société Axa Assurances France et la Mairie de Besançon qui a permis de mobiliser les premiers ordinateurs et de concevoir le modèle expérimental basé sur celui de la Mairie de Besançon. La convention de partenariat signé en 2006 a permis l’équipement de prés de 150 salles multimédias dans toutes les régions du Sénégal. Les TICs sont ainsi utilisées comme un moyen d’accélération non seulement de l’accès mais surtout de la qualité de l’apprentissage par un renforcement des capacités des enseignants et le développement de l’enseignement numérique dans les disciplines prioritaires. INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT INTERNATIONAL LEVELParticipaciónYesAu minimum 150 000 ordinateurs de qualités sont collectés d’ici 2015.Un programme d’éducation numérique est conçu et validé, au niveau de l’enseignement élémentaire.Au moins 25% des écoles élémentaires disposent d’une salle pédagogique informatique fonctionnelle en 2015Un système efficace et normé de recyclage informatique ainsi qu’une unité de gestion durable des e.déchets fonctionnent au SénégalUn bon modèle de réduction de la fracture numérique est mis en oeuvre et vulgarisé. Cellule SENECLIC a été créée par arrêté présidentiel n°04360 du 11 juillet 2006L’exécution concertée et réussie du programme requiert la mobilisation de ressources considérables (prés de 20 milliards de francs cfa pour les 5 ans). La démarche participative et partenariale est donc privilégiée tant au niveau du pilotage stratégique qu’opérationnel pour l’atteinte dans les délais des résultats escomptés.NoNoNoYESInternationalLe Programme couvrant la période “2011-2015”devrait adopter une stratégie de suivi évaluation pour mieux planifier et suivre la gestion quotidienne du projet et pour mesurer ses performances et son impact.Du point de vue suivi, un cadre léger de monitoring du cadre de résultat est nécessaire.Ainsi une note d’avancement trimestriel sera préparée par SENECLIC et transmise aux membres du comité technique et de suivi du programme.De plus, Chaque année une retraite des acteurs clés devrait préparer le plan opérationnel de travail à la validation du comité d’orientation et de pilotageChaque fin d’année, un rapport annuel technique et financier d’exécution du programme devrait être préparé et soumis à la validation du comité d’orientation et de pilotage. Ce rapportaprès avoir été auparavant discuté et pré-validé par le comité technique et de suivi.Deux évaluations indépendantes du programme seront conduites à savoir : une évaluation à mi-parcours (semestre 1 en 2013) et une évaluation finale (2nd semestre 2015).Le Cadre légal d’Exécution est ainsi composé :Arrêté Présidentiel de création de SénéclicArrêté de création et d’organisation des structures de Gouvernance du ProgrammeDécret de création de l’ARTP et de l’ADIELa loi sur l’accès UniverselLa loi sur la décentralisation et le code des collectivités localesProgramme de Développement de l’Education et de la Formation + 15 cadres et agents recrutés par SENECLICnombre de machines installées : 100 000Nombre de machines distribuées (école privé et autres): 100000nombre d'écoles publiques connectées : 2000 (25%)Prés de 150 salles multimédias installées dans 150 écoles élémentaires des 14 régions du Sénégal.+ 1000 enseignants formés pour une amélioration du contenu et de la qualité des enseignementsnombre d'élèves couverts et qui utilisent les salles multimédias: 300 000Un Programme d’éducation et d’alphabétisation numériqueLégislation adapté pour une bonne gestion des e.déchetsUn Centre des handicapés aux travails (CHAT) fonctionnel ayant reconditionnés plus de 2500 machinesConduite d’une étude sur les e.déchets et la faisabilité de l’unité de recyclageUn centre de recyclage des e.déchetsInsertion au moins de 200 handicapés (qui travaille dans l’activité de reconditionnement des machines collectées)Modèle réussi et concret de réduction de la fracture numérique et de solidarité numériqueLa mobilisation d’au moins 60% du Budget prévisionnel de 19,1 milliards de CFA -Elèves, Enseignants, Personnes handicapéesConsidered for innovative practices, Jóvenes
988097002016SenegalLOI n° 2010-11 du 28 mai 2010 instituant la parité absolue Homme-Femme.Derechos humanos y libertades fundamentales, Igualdad de géneroCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/loi-ndeg-2010-11-du-28-mai-2010https://es.unesco.org/creativity/node/98800.La Loi sur la parité absolue homme femme vise, conformément à la convention des Nations Unies du 18 décembre 1979 et le Protocole à la Charte Africaine des Droits de l’Homme du 11 juillet 2003 sur l’élimination de toutes les formes de discrimination à l’égard des femmes, la mise  oeuvre des mesures visant à garantir aux femmes une participation égale à la vie politique.Dans ce cadre l'on note parmi sesobjecifs- favoriser l’égal accès des femmes et des hommes aux mandats et aux fonctions " ; les femmes resant encore minoritaires parmi les élus et leur participation à la prise de décision politique loin de correspondre à leur contribution effective à la société et à la vie politique.-corriger la sous-représentation des femmes en assurant l’égalité absolue des candidatures des hommes et des femmes dans toutes les institutions totalement ou partiellement électives.NationallegislativeLa loi oblige , dans les institutions totalement ou partiellement électives à proposer des  listes de candidatures alternativement composées de personnes des deux sexes.Lorsque le nombre de membres est impair, la parité s’applique au nombre pair immédiatement inférieur.Les listes de candidatures doivent être conformes à ces dispositions sous peine d’irrecevabilité.EMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9bParticipaciónYesDes mesures garantissant aux femmes un égal accès à la vie politique sont prises ,conformément à la convention des Nations Unies du 18 décembre 1979 et le Protocole à la Charte Africaine des Droits de l’Homme du 11 juillet 2003 sur l’élimination de toutes les formes de discrimination à l’égard des femmes,-Ll’égal accès des femmes et des hommes aux mandats et aux fonctions "est favorisé.La sous-représentation des femmes en assurant l’égalité absolue des candidatures des hommes et des femmes dans toutes les institutions totalement ou partiellement électives est corrigée.Etat du SénégalLoi exécutée comme loi de l'EtatNoYesNoYESNationalLa Loi fait l'objet d'une application stricte. Les femmes sont autant représentées maintenant que les hommes dans les instances électives de décision au Sénégal Les différentes élections et les listes et bureaux  qui  ont été installés .Le fait que les femmes sont désormais  plus nombreuses dans les activités publiques et leur voix de plus en plus entendue. Dans l’espace rural ou plusieurs femme étaient obligées de ranger leurs ambitions publiques, les contraintes de la nouvelle loi font que les hommes sont obligés de  les laisser se présenter aux élections et de partager avec eux toutes les instances de décisions.  Les femmes
983797002016SenegalAccord de coproduction et d’échanges cinématographiques, signé entre la République du Sénégal et la République française. Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Tratados y acuerdosCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/accord-de-coproduction-ethttps://es.unesco.org/creativity/node/9837Les objectifs principaux de la mesure sont :renforcer la coopération culturelle dans le domaine du cinéma entre le Sénégal et la France ;contribuer au développement de l’industrie cinématographique au Sénégal et en France.InternationalinstitutionalLa coproduction renforce la coopération culturelle et peut contribuer à donner un meilleur destin aux films.La liste des films réalisés dans le cadre des coproductions couvre une palette représentative constituée par des courts, moyens et longs métrages et des documentaires. Trente-sept (37) films ont été coproduits entre le Sénégal et la France entre 2008 et 2015.INTERNATIONAL CULTURAL COOPERATIONProducciónNo Accroissement significatif de la production cinématographique (existence de films coproduits) ;Echanges de programmes de formation et de renforcement de capacitésDirection de la Francophonie (Ministère en charge de la Culture), KARONINKA, ATHENEAS, ARDECHE Images, Films de l'Atelier (Sénégal), TV Rennes 35 (France), Les Ateliers de l’Arche (Sénégal), Corto Pacific, Astou Films (Sénégal), Zaradoc (France), CINEKAP, Sélébéyone (Sénégal), Yami 2 (France), ARTE (France), EASY TIGER (France), Impluvium productions (Sénégal)NPNoYesYesNO
983497002016SenegalMise oeuvre de la journée internationale de la FrancophonieIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturales, Movilidad de los artistas y profesionales de la culturaConsidered for innovative practicesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/mise-oeuvre-de-journeehttps://es.unesco.org/creativity/node/9834L’Organisation internationale de la Francophonie (OIF) recommande aux pays membres de célébrer chaque année la Journée internationale de la Francophonie du 20 mars à travers une série d’activités culturelles, éducatives, scientifiques, sociales, sportives, etc., et de favoriser, à cette occasion, la promotion de la diversité des expressions culturelles ainsi que la participation des jeunes, des femmes et de la société civile.Le Sénégal célèbre cet événement en prenant en compte tous ces aspects et en favorisant la participation des représentations diplomatiques à Dakar et des institutions de la Francophonie Conférence des Ministres de la Jeunesse et des Sports de la Francophonie (CONFEJES), Conférence des Ministres de l’Education de la Francophonie (CONFEMEN), Agence universitaire de la Francophonie Bureau Afrique de l’Ouest (AUF/BAO) dont le siège est à Dakar.Les objectifs généraux consistent à :Favoriser la promotion de la Francophonie à travers notamment la dimension culturelle ;Faciliter les échanges culturels et la connaissance mutuelle ;Favoriser la participation des acteurs culturels et ceux de l’éducation à la célébration de la Journée internationale de la Francophonie.NationalinstitutionalLa mesure s’inscrit dans la volonté du Sénégal de promouvoir la Francophonie, notamment dans sa dimension culturelle, et de renforcer la coopération culturelle avec les autres pays membres par des actions communes et concertées.Les pays membres de la Francophonie représentés au Sénégal participent à la célébration du 20 mars en appuyant des acteurs culturels locaux, en organisant des manifestations culturelles, en permettant la participation d’acteurs culturels et d’intellectuels venant d’Europe ou d’Afrique, en favorisant la projection de films de leurs pays aux côtés de films sénégalais et d’autres pays membres de la Francophonie.Ainsi, à l’occasion du cycle de cinéma francophone organisé lors de la Quinzaine de la Francophonie 2012 et 2013, des films sénégalais, belges, suisses, français, égyptiens, tunisiens, roumains, canadiens ont été visionnés.Des Journées consacrées à l’entrepreneuriat des jeunes ont été organisées en 2013 et 2016 avec des stands d’exposition de jeunes entrepreneurs et la participation dans les échanges d’entrepreneurs et de capitaines d’industries confirmés.Des rencontres-échanges sur des thèmes porteurs « La langue française et les soucis d’insertion socioprofessionnelle et économique des jeunes », « Le rôle des diasporas dans la Francophonie » sont organisées avec la participation des pays (par l’envoi d’experts en particulier).INTERNATIONAL CULTURAL COOPERATIONDistribución, ParticipaciónYesL’organisation des activités de promotion de la Francophonie et de la diversité culturelle permettent une animation nationale autour des idéaux de la Francophonie, laquelle est destinée à développer chez les populations, dont les jeunes, la connaissance et le respect de la diversité des cultures. La participation à la célébration de la Journée internationale de la Francophonie d’artistes et d’intellectuels provenant de pays membres de la Francophonie et le brassage avec des artistes et intellectuels sénégalais participent à la compréhension mutuelle. L’appui (financier, matériel, institutionnel) apporté aux associations culturelles et francophones renforce les capacités de déploiement de ces dernières.Direction de la Francophonie (Ministère en charge de la Culture)4500 EUR sont en moyenne consacrés par an à la mise en œuvre de la Quinzaine de la Francophonie par le Ministère en charge de la Culture. En complément, les autres pays membres et les institutions de la Francophonie partenaires dans la mise en œuvre de la mesure apportent des moyens financiers variables pour l’organisation d’activités culturelles et intellectuelles, l’appui aux acteurs culturels locaux ainsi que le soutien à la participation d’acteurs culturels et d’intellectuels francophones à la célébration de la Journée internationale de la Francophonie.L’OIF apporte en moyenne un appui de 3500 EUR par an à l’organisation de la célébration du 20 mars.YesYesYesYESNationalLes réunions d’évaluation annuelles de la Quinzaine de la Francophonie montrent que les idéaux francophones portés par les activités, notamment culturelles, contribuent à une meilleure connaissance des différentes cultures des pays de la Francophonie. L’évaluation relève également la nécessité d’accroître les activités destinées aux jeunes et aux femmes, en particulier dans la mesure où elles permettent la promotion de la dimension économique à travers la mise en exergue de l’entrepreneuriat des jeunes et des femmes.Femmes, jeunesConsidered for innovative practices
980697002016SenegalFonds d’appui aux initiatives culturelles privées de la ville de DAKARSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCine / Artes audiovisuales, Diseño, Música, Las artes escénicas, Industria editorial, Artes visualeshttps://es.unesco.org/creativity/policy-monitoring-platform/fonds-dappui-aux-initiatives-0https://es.unesco.org/creativity/node/9806Les critères de sélection privilégient les programmes ou projets présentant des spécificités qui partagent une solidarité de vision et d’actions avec la politique culturelle de la Ville de Dakar. Cette vision est énoncée dans son Plan quinquennal (2009-2014). Dans ce cadre, le fonds a pour objectif :de promouvoir des artistes de la ville de Dakar.d’appuyer les démarches communautaires ou associatives, telles que les regroupements de créateurs autour d’un programme ou d’un projet commun.De porter une attention particulière aux questions urbaines et particulièrement aux enjeux du développement de la Ville de Dakar. LocalfinancialIl s’agit d’un fonds destiné aux projets exécutés dans la ville de Dakar. Le jury est composé de professionnels du secteur. Dans le respect des normes de transparence qui  régissent la gestion des ressources municipales, les demandes sont examinées par un comité composé de professionnels choisis pour leur expertise dans les différents secteurs  artistiques. Le comité est subdivisé en sous-comités conformément aux besoins exprimés et ses membres ne peuvent prétendre aux subventions soumises à l’appréciation du sous-comité auquel ils appartiennent. Tous les projets sont soumis à un jury indépendant de l’administration municipale, dont les membres ne peuvent être porteurs de projet dans leur sous jury, et sont désignés au dernier moment du processus pour éviter toute collusion ou influences indues. L’administration de la Ville définit les grandes orientations et les critères d’éligibilité en amont et en aval, elle contrôle l’effectivité du respect de ce cadre réglementaire. INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, DistribuciónNoCette mesure est destinée à la promotion des activités culturelles qui se déroulent à Dakar. Les résultats attendus sont :les artistes de la ville de Dakar sont promus.les démarches communautaires ou associatives, telles que les regroupements de créateurs autour d’un programme ou d’un projet commun sont appuyés.les questions urbaines et particulièrement les enjeux du développement de la Ville de Dakar seront l’objet d’une attention particulière.La Direction de la culture et du tourisme de la Ville de Dakar150 millions FCFA soit 222 000 eurosNoNoYesYESLocal      Pour 2011 trois sessions ont été organisées  alors que pour 2012 une session unique a permis de prendre en charge l’ensemble des disciplines d’art. Cette unicité des sessions est retenue après évaluation pour mieux assurer l’exécution et le suivi des projets sélectionnés.      Le tableau suivant montre les statistiques du fonds d’appui pour les années 2011 et 2012 : DisciplinesDépôts 2011Dépôts 2012Total DépôtsFinancés2011Financés2012Total FinancésTauxfinancementARTS PLASTIQUES ET DESIGN39337205061115,27 %MUSIQUE525710906101614,67 %CINEMA ET AUDIOVISUEL826014215122719,01 %DANSE22143608081644,44%THEATRE29194806030918,75%MODE ET STYLISME19133204040825%PHOTOGRAPHIE14031702010317,64%LITTERATURE EDITION ET CONTE36225805081322,41%EVENEMENTIEL 496411312102219,46%LES TOTAUX342285627636212519,93%  L’exploitation des données 2011 et 2012 montre que le fonds arrive à peine à accompagner 20% des projets culturels qui lui sont soumis. Sur le plan financier ce taux est moins de 10%  compte tenu du plafond de cinq millions par rapport aux budgets réels qui dépassent en moyenne les dix millions et pour plus important concernant le cinéma. Les statistiques du fonds d’appui pour les années 2011-2012    
980197002016SenegalCoopération et Echanges : Mise en œuvre du volet culturel du programme de travail 2012 - 2014 de l’accord de coopération entre le Sénégal et Wallonie-BruxellesIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la cultura, Sistemas sostenibles de gobernanza de la cultura, Alianza con la sociedad civil, La cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleConsidered for innovative practicesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/cooperation-et-echanges-mise-enhttps://es.unesco.org/creativity/node/9801Le programme de travail 2012-2014 est celui négocié et validé , pour être mis en œuvre, pendant la période considérée par la « Cinquième Réunion de la Commission mixte permanente instituée par l’Accord de coopération signé le 6 novembre 1998 entre, d’une part, la république du Sénégal et, d’autre part, la Communauté française de Belgique et la Région wallonne et chargée également de l’application de l’Accord de coopération signé le 17 juin 2003 entre, d’une part, la république du Sénégal et, d’autre part, la Commission communautaire française de la Région de Bruxelles-Capitale » Ses objectifs généraux sont de soutenir :- -la  circulation des artistes de la sous-région-la  participation croisée aux Festivals organisés au Sénégal et Wallonie-Bruxelles (théâtre, danse, musique, cinéma)- la Biennale des Arts de Dakar-le Festival de Folklore et de Percussion de Louga (FESFOP-le partenariat entre l’Académie Internationale d’Eté de Wallonie (AKDT) et des opérateurs culturels sénégalais.-les échanges de jeunes (Programme Axes Sud) et les  formations à l’intention des responsables d’institutions socio-culturelles organisés par le Bureau International Jeunesse (BIJ).-le Journées internationales de la Francophonie-le développement des entreprises culturelles, susceptibles d’avoir des retombées intéressantes  sur les plans, économique et social, à travers une attention à la professionnalisation de ce secteur.    -  Le  Soutien au partenariat entre l’Académie Internationale d’Eté de Wallonie (AKDT) et des opérateurs culturels sénégalais-La mise en œuvre d’un programme, de formation et d’une Plateforme culturelle, dit FLOTTI, articulé autour de deux axes : une école internationale de formation et de professionnalisation en arts de la scène basée en région, une plateforme culturelle et citoyenne visant à l'émergence d'initiatives artistiques locales diversifiées-La mise en place d’un carrefour des ressources Hip HoInternationalinstitutionalLe Programme de travail est la composante culturelle de la cinquième Réunion de la Commission mixte permanente instituée par l’Accord de coopération signe le 6 novembre 1998 entre, d’une part, la république du Sénégal et, d’autre part, la Communauté française de Belgique et la Région wallonne et chargée Egalement de l’application de l’Accord de coopérations signé le 17 juin 2003 entre, d’une part, la république du Sénégal et, d’autre part, la Commission communautaire française de la Région de Bruxelles-Capitale Conformément au souci qui était celui du Sénégal et de la Fédération Wallonie-Bruxelles lorsqu’ils ont œuvré ensemble pour l’adoption de ce texte fondamental qu’est la Convention de l’UNESCO sur la promotion et la protection de la diversité culturelle, le programme réserve une  large place est inspirée de cet instrument.A cet effet, et répondant également  au souhait des Ministres de la Culture de l’UEMOA, les Parties ont eu le souci  à ce que leur appui aux politiques culturelles soit aussi un vecteur du développement économique.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónNoLa Participation croisée aux Festivals organisés tant au Sénégal qu’en Wallonie-Bruxelles (théâtre, danse, musique, cinéma) est assuréeLa Biennale des Arts de Dakar, Dak’Art est soutenuLe Festival de Folklore et de Percussion de Louga FESFOP a bénéficié d’un appui à sa mise en œuvreUn  partenariat a été créé  entre l’Académie Internationale d’Eté de Wallonie (AKDT) et des opérateurs culturels sénégalaisU programme, de formation et de Plateforme culturelle, dit FLOTTI, articulé autour de deux axes : une école internationale de formation et de professionnalisation en arts de la scène basée en région, une plateforme culturelle et citoyenne visant à l'émergence d'initiatives artistiques locales diversifiées est mis en œuvre  Un centre  de ressources Hip Hop Bruxelles-Dakar »  pour la promotion du  mouvement Hip Hop dans son ensemble au travers  de concerts, expositions, ateliers de formation, festivals, performances, rencontres professionnelles est mis en placeUne structure permanente locale de réalisation et production de courts métrages d’animation est crééeLa formation aux métiers du patrimoine en vue de la réhabilitation de la Maison de l’Amiral à Gorée est réaliséeLe u patrimoine culturel national au sein des manufactures Sénégalaises des Arts décoratifs de Thiès (MSAD) est revalorisé.Ministère de la CultureLes ressources essentielles prévues par l’Accord sont :Pour le Projet « Appui aux politiques culturellesMoyens à charge de WBI  en  n 2012, 2013 et 2014 : Des moyens seront dégagés pour répondre aux requêtes que s’adresseront les Parties en fonction des ressources notamment budgétaires, disponibles de part et d’autre. Chaque année, 8 mensualités de bourses seront réservées pour la formation aux métiers de la Culture dont 3 au moins dans le cadre de l’Académie Internationale d’Eté de Wallonie (AKDT).Pour le projet de Plateforme culturelle, articulé autour de deux axes : une école internationale de formation et de professionnalisation en arts de la scène basée en région, une plateforme culturelle et citoyenne visant à l'émergence d'initiatives artistiques locales diversifiéesLes moyens  prévus en 2012-2013-2014 : q (missions (14 jours) par an-4 mensualités de stage professionnel par an-Pour le projet de mise en place d’un carrefour des ressources Hip Hop Bruxelles-Dakar »  pour la promotion du  mouvement Hip Hop dans son ensemble au travers  de concerts, expositions, ateliers de formation, festivals, performances, rencontres professionnelles Les crédits maximaux suivants seront prévus sDe 2012 à 2014 : 1 mensualité de bourse de stage professionnel par anEn 2013 et 2014 : 19 000 EUR dont 5 000 EUR d’équipement par anPour le projet Création d’une structure permanente locale de réalisation et production de courts métrages d’animationLes budgets déposés par l’opérateur seront conformes au barème WBI des frais admissibles pour les projets soumis suite aux appels d’offres dans le cadre des commissions mixtes bilatérales.Les crédits maximaux suivants seront prévus selon le même barème.En 2013 : 20.000 EUREn 2014 : 40.000 EUR dont 20.000 EUR pour les équipementsPour le projet Formation aux métiers du patrimoine en vue de la réhabilitation de la Maison de l’Amiral à Gorée Les crédits maximaux suivants sont prévus :En 2012, poYesNoYesYESInternationalL’évaluation a relevé notamment, les excellents résultats obtenus pour la mise en œuvre de Dak’Art ; biennale de l’art contemporain africain et qui ont motivé  reconduite des composantes du soutien : formation des journalistes et une prise en charge du journal de la Biennale ; formation du personnel de la Biennale et renforçaient des collections du Centre de Documentation pour les chercheurs, les spécialistes de l’art et les diplomates.S’agissant du Festival de folklore et de Percussion de Louga l’évaluation a souligné la contribution décisive de l’Accord à la professionnalisation des acteurs, ainsi qu’à lacération d’un musée de la percussion, d’une radio culturelle, la formation et l’équipement (régie son et lumière), a quoi s’ajoute  création d’un village du Festival  avec 15 emplois permanents. S »agissant du programme de;  formation et plateforme culturelle, dit FOTTI qui en était à la phase 2, il a été relevé sa contribution à la formation et à la professionnalisation de comédiens amateurs dans un contexte où l’Ecole nationale des Arts (ENA) avait fermé son département « Art dramatique Le projet a aussi  permis de créer des emplois. Et dans  la vingtaine de comédiens formés depuis 2009, une dizaine parmi eux a pu intégrer le marché de l’emploi. « En ce qui concerne le projet « Carrefour des ressources hip hop Dakar-Bruxelles, son opérateur  AFRICULTURBAN et son partenaire l’Asbl Lezarts Urbains ont travaillé pour la promotion des cultures urbaines au Sénégal. Wallonie-Bruxelles International (WBI) a soutenu le projet qui s’articule autour de trois axes :la création d’un Centre de documentation unique en Afrique spécialisé cultures urbaines ;l’équipement d’une unité son et vidéo « plateforme hip hop  », levier du projet « Flow up » soutenu par l’Union Européenne ;le renforcement deConsidered for innovative practices
979897002016SenegalMise en oeuvre de la loi sur le droit d’auteur et les droits voisinsSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCine / Artes audiovisuales, Música, Industria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/mise-en-oeuvre-de-loi-sur-lehttps://es.unesco.org/creativity/node/9798Les objectifs principaux du Décret n° 2015-682 du 26 mai 2015 portant application de la loi n°2008-09 du 25 janvier 2008 sur le droit d’auteur et les droits voisins sont de permettre la mise en œuvre effective  des mesures prévues par cette disposition et qui  visent à :-Démocratiser et rendre plus transparente la gestion des droits en ouvrant la voie à la création de sociétés de gestion collective portées par les différentes catégories d’ayants droits et qui auront obtenu  par décret leur agrément proposé par le Ministère en charge de la Culture. Le préalable de l’agrément se justifiant par le fait que les sociétés de gestion collective sont investies d’une mission culturelle d’intérêt général. Il permet aux pouvoirs publics d’exercer un contrôle préventif sur l’aptitude des candidats à une gestion collective équitable, transparente et efficace.Compenser le non versement de droits consécutif à l’ exception dite de copie privée , en vigueur,  en instituant une « Rémunération pour Copie Privée », assise sur les supports vierges d’enregistrement, amovibles ou non, et sur les appareils d’enregistrement, collectée et versée aux auteurs, artistes interprètes et producteurs par les sociétés de gestion collectivelutter efficacement contre le fléau de la contrefaçon en permettant  à des agents assermentés désignés par les sociétés de gestion collective, de constater, outre les moyens de preuve du droit commun, la matérialité de toute violation d’un droit reconnu par la loi. NationalregulatoryLe Décret d’application complète  la promulgation de la  de la Loi sur la loi n°2008-09 du 25 janvier 2008 sur le droit d’auteur et les droits voisins abrogeant la loi La loi 73-52 du 04 Décembre 1973 relative à la protection du droit d’auteur et qui  élargit la protection de la propriété littéraire et artistique aux droits voisins du droit d’auteur qui sont les droits accordés :1° Aux artistes-interprètes ; 2° Aux producteurs de phonogrammes et de vidéogrammes ;3° Aux organismes de radiodiffusion et4° Aux éditeurs. Le Décret d’application explicite les conditions et modalités d’application de la mesure législativeCULTURAL POLICIES AND MEASURESCreación, DistribuciónNoLa gestion des droits des droits de la propriété littéraire et artistique est plus transparente , plus efficace et plus démocratique  grâce à la création de sociétés de gestion collective portées par les différentes catégories d’ayants droits et agréées par décret sur proposition du Ministère de la Culture. Une Rémunération pour Copie Privée, assise sur les supports vierges d’enregistrement amovibles ou non, ainsi que sur les appareils d’enregistrement  est collectée et versée aux auteurs, artistes interprètes et producteurs par les sociétés de gestion collective, pour compenser l’exception dite de copie privée,La lutte contre le fléau de la contrefaçon est plus efficace en permettant  à des agents assermentés désignés par les sociétés de gestion collective, de constater, outre les moyens de preuve du droit commun, la matérialité de toute violation d’un droit reconnu par la loi. Ministère de la Culture et de la Communication www.culture.gouv.snmesure d’application d’une disposition réglementaire dans le cadre de la mission régalienne de l’EtatNoNoYesNO
988297002016SenegalRéalisation du Programme de formation et Plateforme culturelle FOTTI dans le cadre de la Coopération entre le Sénégal et la Fédération de Wallonie-Bruxelles.Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, La cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleLas artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/realisation-du-programme-dehttps://es.unesco.org/creativity/node/9882Le programme de travail 2012-2014 est celui négocié et validé, pour être mis en œuvre, pendant la période considérée par la « Cinquième Réunion de la Commission mixte permanente instituée par l’Accord de coopération, signé le 6 novembre 1998 entre, d’une part, la République du Sénégal et, d’autre part, la Communauté française de Belgique et la Région wallonne et chargée Egalement de l’application de l’Accord de coopération, signé le 17 juin 2003 entre, d’une part, la République du Sénégal et, d’autre part, la Commission communautaire française de la Région de Bruxelles-Capitale ». mise en œuvre d’un programme de formation et d’une Plateforme culturelle, dit FOTTI, articulé autour de deux axes : une école internationale de formation et de professionnalisation en arts de la scène basée en région ; mise en œuvre d’une plateforme culturelle et citoyenne visant l'émergence d'initiatives artistiques locales diversifiées. Dynamisation de la création en arts de la scène sur le territoire sénégalais et permettre l’accès de tous à la culture. NationalfinancialLe programme de travail 2012-2014 adopté par le Sénégal et la Wallonie prend en charge plusieurs programmes culturels, dont celui relatif au programme de formation au plateau culturel FOTTI. Le choix de ce programme se fonde sur le souci de contribuer à la structuration des arts de la scène et, de manière générale, à la promotion de la diversité des expressions culturelles.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónNoUn programme de formation et de Plateforme culturelle, dit FOTTI, articulé autour de deux axes à savoir une école internationale de formation et de professionnalisation en arts de la scène basée en région et une plateforme culturelle et citoyenne visant à l'émergence d'initiatives artistiques locales diversifiées est mis en œuvre.  Ministère chargé de la CulturePour le projet de Plateforme culturelle, articulé autour de deux axes : une école internationale de formation et de professionnalisation en arts de la scène basée en région et une plateforme culturelle et citoyenne visant l'émergence d'initiatives artistiques locales diversifiées, les moyens prévus pour la mesure en 2012, 2013 et 2014 concernent : 6 missions (14 jours) par an - 4 mensualités de stage professionnel par an. YesNoYesYESInternationalSe référer à l' évaluation du programme de travail entre le Sénégal et la Fédération Wallonie-Bruxelles effectué  en décembre 2015 et résumée dans la section Politiques et Mesures du présent rapport. 
987997002016Senegalb. Programme « Une ASC, un Projet »Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/b-programme-une-asc-projethttps://es.unesco.org/creativity/node/9879Existant pratiquement dans tous les quartiers maillant toutes les communes du territoire national, les Associations sportives et culturelles(ASC) regroupent les jeunes autour de l’organisation d’activités sportives et culturelles.Viviers de grands champions sportifs et de grans talents dans toutes les formes d’expression artistiqes, elles sont actives toute l’année mais avec plus d’intensité pendant les vacances scolaores et universitaires qui constituent des périodes pendant lesquelles les jeunes disposent le plus de temps de loisir. D’où leur regroupement dans des fédérations départementales et nationale, respectivement les Organismes Départementaux d’Activités de Vacances (ODCAV) et l’Organisme national d’Activités de Vacances(ONCAV).Depuis quelques années, les ASC s’investissent dans la formation et l’insertion professionnelles des Jeunes pour lesquelles elles reçoivent des soutiens financiers, technique et matériel de tous les départements ministériels, particulièrement le Ministère de la Jeunesse et de l’Emploi des jeunes. Dans ce cadre de grandes agences ont été mises en place pour piloter la politique de jeunesse, il s’agit notamment du Fonds de promotion de la jeunesse (FNPJ), de l’Agence nationale pour l’emploi des jeunes (ANEJ) et de l’Office pour les l’emploi des jeunes de la banlieue (OFESBAN). NationalfinancialLe programme  une  ASC unProjet est constitué par un fonds que gère le Ministère de la jeunesse par le biais de ses Centres Départementaux D’Education Populaire et Sportive(CDEPS)  qui sont ses structures déconcentrées, à l’instar des Centres culturels régionaux pour le Ministère de la Culture« Un ASC, un projet » consiste à permettre à toutes les associations sportives et culturelles de donner du travail à leurs membres. Les ASC sont des associations de jeunes présentes dans tous les villages du Sénégal regroupés en ZONE, en Organismes départementaux, régionaux avec un bureau national qui coiffe le système.  La principale caractéristique de cette mesure est qu’elle finance des projets économiques liés au sport et à la culturel porté par les jeunes sous formes d’appui logistique et financier sans passer par les garanties bancaires classiques. CURRENT UNESCO GLOBAL PRIORITY: GENDER EQUALITYCreación, ProducciónYesLl’insertion socio-économique des jeunes par le biais d’une mobilisation sociale et d’un encadrement technique et financier est recherchée et obtenue sur tout le territoire national.-l’accès démocratique aux fonds zst zffzctive pour toutes associations de jeunes   ;-un cadre d’action interne liant le sport et la culture est défini-Un instrument pou un un financement remboursable sans intérêt est mis à la disposition des jeunesAGENCE NATIONALE POUR L’EMPLOI DES JEUNES ( ANEJLe budget alloué par l’Etat du Sénégal est de douze milliards de Francs CFA (12 Milliards CFA) pour l’ensemble des ASC sur le territoire national. Ce fonds est géré par l’ANEJ  et est voté par l’Assemblée nationale dans le cadre de la session budgétaire annuelle. Il est défendu par le Ministre de la jeunesse sous la tutelle de qui est placée l’ANEJ.NoYesYesNOLes jeunes personnes (filles et garçons) âgées de moins de 35 ans affiliées à des ASC reconnues par le Ministère de l’IntérieurJóvenes
987697002016SenegalProgramme Promotion des Entreprises Culturelles et Créatives(PECCS)Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/programme-promotion-deshttps://es.unesco.org/creativity/node/9876L'objectif du PECCS est de :contribuer à l’amélioration des conditions de vie des opérateurs culturels et artistes Sénégalais.contribuer au développement de parcours professionnels à travers la formation et la promotion des programmes d'auto emploi spécialisés dans le secteur culturel, avec des travaux décents qui permettront d'augmenter la qualité de vie des bénéficiaires directs, ainsi que leurs familles et environnement social le plus proche.Promouvoir le développement social et économique du secteur artistique et culturel, en encourageant et en renforçant les entreprises créatives et culturelles.Offrir aux entrepreneurs culturels et aux créateurs des opportunités de mise en réseau, de contacts professionnels et d'alliances productives.Augmenter le nombre de projets d'entreprise aboutissant à la création effective d'entreprises créative et/ou culturelle.Renforcer les capacités du secteur créatif et culturel en vue de sa professionnalisation.Systématiser l'information et améliorer les connaissances, les structures et les caractéristiques du secteur des entreprises créatives et culturelles InternationalinstitutionalLe PECCS/FOMECC est un produit de la coopération culturelle espagnole. Il se concentre sur le conseil spécialisé. Il accompagne l’entrepreneur culturel et/ou créatif à partir du moment où celui-ci découvre le Programme jusqu’à ce que son projet atteigne un développement d’une certaine ampleur et une viabilité assurée. Le programme intègre des composantes de gestion, de formation, de recherche et de consultation à la création d'entreprises culturelles; entre les résultats remarquables, il représente la création d'entreprises indépendantes et durables, génératrices de produits et de services culturels, entendues comme outil de développement économique local. Le postulat de départ s'appuie sur l'intention  de rentabiliser les actions promues par les secteurs publics et privés, tout en facilitant l'insertion progressive des initiatives culturelles dans celles-ci ainsi que la volonté de travailler en accord avec les dites  secteurs en promouvant un point de vue relationnel pour mettre à profit les synergies existantes, les ressources disponibles, en complétant et en couvrant les nécessités non satisfaites ainsi que les manques existants. INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, ParticipaciónYesEn accompagnant la professionnalisation et la structuration des acteurs culturels, le PECCS/FOMECC Sénégal compte atteindre les résultats suivants :  le public et les « œuvres d’arts » se rencontrentune nouvelle fonction est donnée à la culture afin que les valeurs de développement social et économique soient intégrées à son organisation notamment par la création d’emplois et de la valeur ajoutée.les projets d’entreprises des entrepreneurs et entreprenants culturels sont rendus durables par le biais de la sensibilisation, de la formation, de l’accompagnement et du conseil spécialiséune source de productivité et de développement est constituéeUne équipe pluridisciplinaire (économistes, juristes, spécialistes de la communication, du développement culturel, de la fiscalité, des finances…) est mise en place permetdes entreprises culturelles existantes sont accompagnées à chaque étape de leur développement.Ministère chargé de la Culture, Agence espagnole Interrarts Les ressources sont de Trois cent quatremille cent douuze (304 112) euros pour la première phase de financement et de Deux cent dix sept mille ( 217 000) pour la deuxième phase.NoNoYesYESInternationalLa première phase du PECCS – FOMECC Sénégal s’est déroulée du 10 novembre 2008 au 10 décembre 2010 a permis d’organiser quatre (4) sessions de formation gratuites en Entreprenariat culturel dont une session destinée uniquement aux Femmes.. Durant cette première phase, 148 candidatures ont été reçues avec un pourcentage de 55% d’hommes et 45% de femmes. A l’issue de la sélection, 60 candidats ont été retenus pour la formation, dont 36 hommes (60%) et 24 femmes (40%). La deuxième phase du PECCS – FOMECC Sénégal se déroule du 10 décembre 2010 au 10 décembre 2012. Quatre sessions de formation en Entreprenariat culturel, dont une session spéciale Femmes, ont été organisées : Durant ces sessions, 135 candidatures ont été reçues au total, dont 96 hommes (71%) et 39 femmes (29%). Ont été retenu à la formation 62, dont 37 hommes (60%) et 25 femmes (40%). Les autres candidats sont orientés soit au Conseil, en Accompagnement ou au TRI (Trouver son Idée d’entreprise).Promotion des entreprises culturelles et créatives au Sénégal - Phase 2 (FOMECC Sénégal II) Renforcement de la formation etdue niveau de compétences des professionnels du secteur culturel dans les domaines de l’administration et de la gestion culturelle. * Les professionnels de la formation entrepreneuriale adhèrent de façon motivée à la possibilité d’améliorer leurs connaissances dans le domaine de la gestion des entreprises culturelles et créatives.* Présence motivée et haute participation des opérateurs culturels dans l’offre de formation relative à la mise en marche et la gestion d’une entreprise culturelle Encouragement de  la mise en marche de programmes de formation d’auto-entreprenariat spécialisé dans la culture facilitant les possibilités d’implantation et de développement de nouveaux projets basés sur des compétences culturelles * Augmentation du nombre d’opérateurs culturels qui se rapprochent de structures d’incubation de projets* Augmentation de la professionnalisation des actions des entreprenants des opérateurs culturels face aux défis du marché culturel* Forger des alliances avec divers institutions publiques et privées dans les secteurs clé du monde culturel, créatif et artistique du Sénégal.* Augmentation du nombre d’entrepreneurs culturels créateurs d’entreprises 3- Renforcement la visibilité des acteurs culturels sénégalais tant sur le marché national africain qu’à l’international.* Convention signées entre agents et entités culturelles* Matériel de diffusion* Rapport d’entités culturelles* Nombre de projets de coopération culturelle auxquels participent des acteurs sénégalais4- Etablissement des alliances institutionnelles locales pour doter le secteur culturel sénégalais d’instruments de développement forts.* Conventions signées avec les institutions locales* Matériel de diffusion* Inventaire des institutions sénégalaises* Inventaire des autres agents de coopération ayant des programmes culturelsAttention accrue à l'égalité homme/femme
983697002016SenegalEtude sur les emplois et métiers de la culture, les produits et dépenses en produits culturels des ménages (étude présentée en février 2016).Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/etude-sur-les-emplois-et-metiershttps://es.unesco.org/creativity/node/9836L’objectif général de l’étude consiste, par une connaissance plus affinée de la consommation culturelle des ménages et des emplois culturels, à positionner davantage la culture comme secteur de développement.Les objectifs spécifiques :pallier l’insuffisance des données dans le secteur culturel en général, en ce qui concerne la consommation des ménages et les emplois culturels en particulier.Obtenir une meilleure connaissance du secteur pour mieux mesurer sa contribution au développement économique et social afin de prétendre à l’augmentation des dotations budgétaires au bénéfice du secteur culturel. NationalinstitutionalL’étude sur la consommation culturelle des ménages et les emplois culturels a été initiée par l’Etat du Sénégal et a bénéficié d’un financement de l’OIF, dans le cadre du volet « Statistiques » du Programme d’appui au renforcement des politiques et industries culturelles du Sénégal (PARPICS).INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónNoLa mise en œuvre de l’étude sur la consommation culturelle des ménages et les emplois culturels doit aboutir à contribuer à :une meilleure connaissance de la consommation culturelle des ménages sénégalais. Une photographie relativement fidèle des emplois culturels. Une connaissance plus complète du secteur culturel. Une meilleure intégration de la culture dans l’élaboration et l’évaluation des politiques économiques.Cellule des Etudes, de la Prospective et de la Planification (Ministère en charge de la Culture).Le financement de l’étude s’élève à 6 600 EUR, pris en charge par l’OIFYesYesYesNO
980497002016SenegalDiagnostic et élaboration d’un plan stratégique quinquennal de développement intégré du cinéma et de l’audiovisuel au Sénégal 2016-2020Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/diagnostic-et-elaboration-d-planhttps://es.unesco.org/creativity/node/9804Cette mesure vise à :faire un diagnostic exhaustif du secteur cinématographique et audiovisuel sénégalaisélaborer un plan stratégique quinquennal (2016-2020) de développement intégré du cinéma et de l’audiovisuel, à la suite d’une étude approfondie du secteur.étudier sur la production et la consommation d’imagescontribuer à la croissance économique et à la diversité culturellepermettre une meilleure action publique en termes de réglementation ou de développement de la production d’images significativesdégager des préconisations pour une action publique en termes de mesures à mettre en œuvre afin de mieux structurer le paysage audiovisuel et cinématographique.NationalinstitutionalCette étude a été menée du mois d’avril au mois de juin 2015 et portait sur une revue documentaire et un ensemble de rapports et d’études produits par les acteurs du secteur. Il s’agit d’une étude diagnostic qui aide à une meilleure compréhension du secteur du cinéma et de l’audiovisuel et à l’élaboration d’un plan stratégique dudit secteur. L’étude s’est déroulée dans l’ensemble des quatorze anciennes régions organisées en six pôles pour assurer un maillage national. Il s’agit des pôles de Ziguinchor (Ziguinchor, Kolda et Sédhiou), de Tambacounda (Kédougou et Tambacounda), de Kaolack (Fatick, Kaolack et Kaffrine), de Thiès (Diourbel et Thiès), de Saint-Louis (Saint-Louis, Matam et  Louga) et de Dakar pour couvrir les 14 capitales des anciennes régions administratives du Sénégal. Elle a été menée avec les professionnels du secteur qui, tout en s’appuyant sur des données sur l’image, aussi mis un accent particulier sur leurs projets d’actions prioritaires. INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, ParticipaciónYesElaboration d’un plan d’actions pour le développement intégré du cinéma et de l’audiovisuel 2016-2020, à la suite d’une étude approfondie du secteur. Cette étude analyse les politiques de l’image dans le contexte des politiques de l’UEMOA. Aboutir à une action forte sur un horizon de 3 à 5 ans. Proposer des actions publiques prioritaires et des actions d’accompagnement pour la production et la diffusion cinématographique et télévisuelle.Elaborer des recommandations pour :constituer un cercle vertueux dans le but de redonner au pays une capacité durable de produire des images cinématographiques, télévisuelles et vidéographiques.faire de la diffusion des produits cinématographique et audiovisuel un facteur de meilleure connaissance mutuelle des peuples et d’intégration régionale.dégager des dispositions relatives à la programmation et à la production des éditeurs nationaux, publics et privés, à la gestion des éditeurs nationaux, à la promotion des films sénégalais et africains par les diffuseurs nationaux.mettre en place des mécanismes financiers destinés à soutenir la création, la diffusion des œuvres et programmes.faciliter l’accès au crédit bancaireadopter des mesures fiscales et douanières favorables au développement du marchél’appui à la formation professionnelleDirection de la cinématographie (Ministère en charge de la culture)Dix millions de FCFA (10 000 000)NoYesYesYESNationalLe diagnostic du secteur de la cinématographie a abouti aux conclusions suivantes :Constat d’une disparition progressive des salles de Cinéma.Un encadrement public mal adapté à la double réalité, culturelle et économique du secteurUn retrait de l’EtatL’absence de cadre et de politique de régulationL’effondrement du parc de salles de cinémaLa chute de fréquentationLa situation structurellement déficitaire de l’exploitation cinématographique. Les carences de la distributionUne production quantitativement faible, entièrement dépendante des financements du nordLes conséquences négatives de la rareté et de la discontinuité de la production cinématographique Le diagnostic du secteur de l’audiovisuel a abouti aux conclusions suivantes :Une diffusion télévisuelle en croissance sans retombée positive pour la production.Une législation du paysage audiovisuel, pluraliste dans son principe, mais encore très étatisée.Le principe du pluralisme télévisuel.Le rôle de l’instance de régulation de l’audiovisuel.Un secteur de la diffusion télévisuelle globalement en croissance.La faiblesse de la production télévisuelle. Une première évaluation du niveau de la production. Un secteur vidéo en proie au piratage :La commercialisation des vidéocassettes par la location pour usage privé.La vidéo-projection publique payante.La piraterie.Les tentatives de la vidéo-projection publique.Le développement de la production vidéographique. L’étude est évaluée en décembre 2015. Elle entre dans sa première année de suivi. Mais la première matrice de mise en œuvre - ne faisant pas partie du financement de l’étude - relève de la Direction de la Cinématographie. Il s’agit donc d’une mesure qui doit commencer à être mise en œuvre à partir de 2016, par conséquent, l’impact ne peut être effectif maintenant. Producteurs, éditeurs, diffuseurs, exploitants
980097002016SenegalThéâtre : Mise en œuvre du programme artistique de la Compagnie du Théâtre national Daniel SoranoSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosMúsica, Las artes escénicashttps://es.unesco.org/creativity/policy-monitoring-platform/theatre-mise-en-oeuvre-duhttps://es.unesco.org/creativity/node/9800La Compagnie du Théâtre national Daniel Sorano (CTNDS) a été créée par la loi n° 66-62 du 30 juin 1966 sous la forme d’un établissement public à caractère administratif.La CTNDS a pour mission de promouvoir, organiser, gérer le l’édifice baptisé « Théâtre national Daniel Sorano »ainsi que les institutions qu’y ont leur siège, à savoir   la « Troupe nationale des Ballets », la « Troupe nationale dramatique » et l’ « Ensemble lyrique national ». Son organisation et son fonctionnement sont régis par le décret n° 78-420 du 11 mai 1978. La CTNDS dispose, entre autres, d’un Conseil d’Administration, d’une Commission artistique et d’un Comité de lecture. Les ressources allouées annuellement par l’Etat  à la Compagnie visent à couvrir, outre les salaires du personnel, les charges de fonctionnement  et les cotisations sociales (retraite, caisse de sécurité sociale, assurance maladie)  :Elles visent également à : -financer le programme de  production promotion, diffusion et  circulation théâtrales, chorégraphiques et lyriques  de la Compagnie-Confectionner les tenues et accessoires de scène -prendre en charge le  Transport international et national,  les pécules des artistes et les frais d’assurances lors des déplacements internationaux Prendre en charge les frais de publicité, de  promotion et de la circulation, nationale et internationale des pièces  Editer des  CD et vidéos  sur les créations et les commercialiser InternationalinstitutionalLe Théâtre Daniel Sorano fait partie des institutions qui, à l’instar de la Manufacture sénégalaise des Arts décoratifs de Thiès (MSAD) sont à la fois des industries culturelles vouées à la production de biens culturels, des infrastructures d’accès aux productions et des plateformes de diffusion. L’appui à la  «  Compagnie du Théâtre national Daniel Sorano », établissement public à vocation  culturel elle et  commerciale,  est destinée à mettre en vitrine une industrie culturelle d’excellence. . A l’issue ‘auditions ouvertes aux artistes de tout le pays elle recrute les meilleurs  comédiens, danseurs et musiciens qui sont ventilés entre les trois troupes qui la composent et qui sont chargées de donner une illustration de la richesse du patrimoine ainsi que  du potentiel créateur de toutes les  composantes  ethnoculturelles  et linguistiques du pays et de veiller à la large diffusion nationale et internationale de leurs créations. La référence à ces troupes et à leur vocation de protection et promotion de la diversité culturelle a été constante depuis leur création et a servi d’argument aux plaidoyers en faveur  le renforcement des budgets finançant à la fois la prise en charge de leurs pensionnaires et le renouvellement de  leurs productions, en particulier  lors des campagnes d’explication de  l’engagement du Sénégal en faveur de l’adoption de la Convention de 2005.Notons que, comme le montre notre r&ponse à la section D) plus bas, si la mesure n'a pas pour objectif premier de cibler des individus et/ou des groupes sociaux tels que définirs par l'article 7 de la Convention, l'expression culturelle de groupes mêmes minoritaires est prise en compte par la compagnie « par la volonté d'illustrer toutes les composantes ethnoculturelles et linguistiques du pays »CULTURAL POLICIES AND MEASURESCreación, Producción, DistribuciónNo- La Compagnie du Théâtre National Daniel Sorano est dotée annuellement de ressources suffisantes pour couvrir, outre les salaires du personnel, les charges de fonctionnement  et les cotisations sociales (retraite, caisse de sécurité sociale, assurance maladie)  :-Le programme de  production promotion, diffusion et  circulation théâtrales, chorégraphiques et lyriques  de la Compagnie est financé -Les tenues et accessoires de scène nécessaires aux spectacles sont confectionnés -Le  Transport international et national,  les pécules des artistes et les frais d’assurances lors des déplacements internationaux sont pris en charge. Le frais de publicité, de  promotion et de la circulation, nationale et internationale des pièces sont pris en charge Des  CD et vidéos  sur les créations sont édités et commercialisésMinistère de la Culture : Compagnie du Théâtre national Daniel Sorano (CTNDS) www.theatresoranodu senegal.comEn prenant considérant prioritairement  les années qui suivent la référence explicite à la Convention sur la protection et la promotion de la diversité des expressions culturelles dans les instruments de stratégie politique du Ministère de la Culture, on constate que les dotations budgétaires de la Compagnie du Théâtre national Daniel Sorano ont été les suivantes ;-2011 :  Quatre cent quatre-vingt-huit millions cent mille (488.100.000) F CFA2012 : Quatre cent quatre-vingt-six millions cent soixante-cinq mille deux cent trente et un (486 165B 231) francs CFA2013 :   Cinq cent vingt-six millions six cent vingt-quatre mille (526 624 000) FCFA2014 : Cinq cent dix millions (510 000 000) FCFA2015 : Cinq cent vingt millions cent quatre-vingt-sept mille soixante-neuf (520 187 069) FCFA YesNoYesYESNationalL’exécution des objectifs ayant motivé la dotation budgétaire étant un préalable à la reconduction de celle-ci, les rapports d’activités de la Compagnie sont un lieu approprié pour se faire une idée des résultats validés.Ces rapports sont étudiés lors des réunions du Conseil 4administration convoquées à cet effet et peuvent donner lieu à des réajustements programmatiques  et/ou budgétaires.En dehors des évaluations de son Conseil d’’Administration Sorano reçoit, comme tous les Etablissements  et sociétés publics, des  missions  régulières de vérification de l’Inspection Générale d’Etat et de la cour des comptes. Ces rapports montrent que Sur le plan artistique,  les objectifs assignés à la Compagnie ont généralement toujours  été atteints depuis sa création.  L’Ensemble national de ballet circule régulièrement dans le monde entier. De  Salvador de Bahia (Brésil) à Hanovre (Allemagne), Saragosse (Espagne), Turin (Italie, Ryad (Arabie Saoudite), ou  à Shanghai (Chine) ainsi que lors des Expositions Universelles (2002, 2006,2010… « La Linguère » s’est produite et a fasciné par son professionnalisme et son talent.  La Troupe nationale dramatique, il n’a pas seulement mis en scène, en français et en wolof,  les œuvres dramatiques de prestigieux auteurs : « Bokk Afric » de Chek Aliou Ndao, « Le Fusil » de Patrice Ndéni Penda, , « Une Saison  au Congo » et « La  Tragédie  du Roi Christophe »   d’Aimé Césaire,…elle a aussi effectué  plusieurs tournées internationales en Martinique, en Tunisie, en Algérie et au Gabon, etc.  Nombre d'entrées aux spectacles des différentes troupesNombre de pays où la "Troupe nationale de Ballet" et l'"Ensemble lyrique national" se sont produitsExpressions culturelles ethnoli
979797002016Senegal Cinéma: Fonds De Promotion De L’industrie Cinématographique et audiovisuelle (FOPICA)Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/cinema-fonds-de-promotion-dehttps://es.unesco.org/creativity/node/9797Doté par le Président de la République, d’un  montant d'un milliard (1 000 000 000) de francs CFA, pour son opérationnalisation, effective depuis  l'arrêté n°16352, du 30-10-2014, pris par le Ministre de la Culture en complément du décret d’application  n° 2004-736 du 21 juin 2004 de la loi n°2002-18 du 15 avril 2002 portant règles d'organisation des activités de production, d'exploitation et de promotion cinématographiques et audiovisuelles, le Fonds de Promotion de l’Industrie cinématographique et audiovisuelle a pour objectifs ;- Accorder des aides financières aux œuvres cinématographiques et audiovisuelles, concernant tous les genres (documentaires, fiction, expérimentaux, animation, web création, vidéo art, jeux vidéo…) et durées (court, moyen et long métrage).- Prendre en charge les différentes étapes de la production et de la postproduction- Pour le volet Création, soutenir les projets de films documentaires et fiction qui, lors de leur dépôt au Ministère de la Culture, emplissent les conditions fixées par le Règlement intérieur (voir annexes) -Pour le volet Innovation Recherche  soutenir les projets de films, quels que soient leurs genres et leurs durées, prenant en compte la diversification des pratiques cinématographiques et audiovisuelles,-encourager le croisement des disciplines artistiques et de favoriser leur diffusion. NationalfinancialLe Fonds de Promotion à l'Industrie Cinématographique et Audiovisuelle (FOPICA) a été institué par la loi n°2002-18 du 15 avril 2002 portant règles d'organisation des activités de production, d'exploitation et de promotion cinématographiques et audiovisuelles qui dispose en son article 9 : « Le concours financier de l'Etat au développement des activités liées à la cinématographie et à l'audiovisuel se fait par le biais d'un fonds de promotion de l'industrie cinématographique et audiovisuelle dont les modalités d'organisation et de fonctionnement sont fixées par décret ». Dans un souci d'optimisation de l'efficacité, une directive présidentielle circonscrit les interventions, dans un premier temps, uniquement à la filière de la production cinématographique et audiovisuelle. Ainsi, les professionnels du secteur, à travers des structures de production légalement constituées et enregistrés au Registre Public de la Cinématographie et de l'Audiovisuel du Sénégal (RPCAS), pourront œuvrer d'abord à la relance de la production cinématographique, en attendant le moment d'élargir les interventions aux autres maillons de la chaine de l'industrie cinématographique et audiovisuelle de notre pays. Son  règlement intérieur et ses modalités d'organisation et de fonctionnement sont fixés par le décret n° 2004-736 du 21 juin 2004, complété par l'arrêté n°16352, du 30-10-2014. Le FOPICA est un mécanisme visant l’appui à la production de projets de films cinématographiques et audiovisuels, portés par des acteurs du secteur, en général, et les auteurs et producteurs, en particulier. Les aides s’adressent aux cinéastes professionnels (auteurs, réalisateurs, producteurs) sénégalais, désirant tourner un film au Sénégal. Ils peuvent le solliciter  à travers des structures de production régulièrement inscrites au registre public de la cinématographie et de l’audiovisuel.CULTURAL POLICIES AND MEASURESCreación, Producción, DistribuciónNo- Des aides financières sont accordées aux œuvres cinématographiques et audiovisuelles, concernant tous les genres (documentaires, fiction, expérimentaux, animation, web création, vidéo art, jeux vidéo…) et durées (court, moyen et long métrage).- Les  différentes étapes de la production et de la postproduction des projets agréés sont pris en charge - Pour le volet Création, les projets de films documentaires et fiction qui, lors de leur dépôt au Ministère de la Culture, emplissent les conditions fixées par le Règlement intérieur, sont soutenus -Pour le volet Innovation Recherche  les projets de films, quels que soient leurs genres et leurs durées, prenant en compte la diversification des pratiques cinématographiques et audiovisuelles, sont soutenus le croisement des disciplines artistiques est encouragé et leur diffusion favorisée Direction de la Cinématographie du Ministère de la Culture et de la Communication www.sencinema.orgLe Fonds a été doté d’un budget de un milliard (1000.000) FCFANoNoYesYESNationalLe Comité de Gestion du Fonds de Promotion de l'Industrie Cinématographique et Audiovisuelle (FOPICA) a procédé à la sélection des projets de films devant être financés dans le cadre de la gestion 2014. Le communiqué sanctionnant les travaux recense que sur les quatre-vingt et un (81) projets reçus à la suite de l'appel à candidature lancé en 2013-2014, soixante-seize (76) ont été déclarés éligibles. Leurs dossiers artistiques ont été étudiés par trois collèges de vingt-deux (22) lecteurs qui ont permis de procéder à une présélection des meilleurs projets. L'étude de faisabilité de ces derniers a été effectuée par le comité de gestion, lors de sa 4ème session tenue du 15 janvier au 03 février 2015. Les résultats de ce processus de sélection ont été  communiqués de presse daté du 12 février 2016. Nombre de films financés pour chaque gestion budgétaire et figurant dans les communiqués d'apès session du Comité de Gestion 
988497002016SenegalPolitique commune de développement culturel au sein de l'Union Économique et Monétaire Ouest Africaine (Acte additionnel n° 06/2013/cceg/uemoa)Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturales, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/politique-commune-dehttps://es.unesco.org/creativity/node/9884La politique commune de développement culturel vise à créer les conditions optimales pour la diversification de l’économie et le rayonnement de l’UEMOA dans une perspective de développement durable et de consolidation de la dynamique communautaire. De façon spécifique, il s’agit de : - susciter et accompagner la dynamique de l’intégration culturelle et économique autour des patrimoines représentatifs, source essentielle de lutte contre la pauvreté ;  œuvrer pour la mise en place d’un cadre législatif et juridique partagé de gestion des ressources culturelles ;  contribuer à l’enracinement et au développement d’un entreprenariat culturel régional actif, tourné vers la promotion des industries créatives ; - assurer un statut décent aux acteurs culturels, notamment les artistes ;- contribuer au développement du secteur par la mise en place de mécanismes de formation adaptée qui promeuvent les métiers de la culture au sein de la jeunesse ; - encourager et accompagner les systèmes de lutte efficaces contre le piratage de la propriété intellectuelle et artistique d’une part, et contre le pillage du patrimoine archéologique et ethnographique d’autre part ; - encourager et assurer la circulation des acteurs, des biens et services culturels. RegionalinstitutionalLa reconnaissance et l'affirmation de l'importance de la culture dans la politique économique de l'UnionPREFERENTIAL TREATMENTCreación, Producción, Distribución, ParticipaciónNoLes résultats attendus sont de différents ordres : D’abord, au niveau du marché régional des arts :ü le droit d’auteur est mieux protégé et la propriété intellectuelle et artistique sont et respectés à l’échelle de la région ;ü le marché régional de l’art est intégré et diversifié ;ü les entreprises culturelles sont plus compétitives et, pourvoyeuses d’emplois et de revenus ;ü les biens et services culturels produits sont de qualité, labellisés et davantage consommés dans la sous région et demandés au niveau international ;ü la circulation des acteurs, produits et biens culturels est améliorée dans la sous région ;ü des événements culturels majeurs diversifiés et mieux organisés sont reconnus.Ensuite, au niveau des acteurs eux-mêmes :ü les professionnels sont capables de gérer leurs entreprises et leurs carrières dans un cadre formel ;ü des métiers novateurs et valorisants sont promus dans les structures de formation spécialisées ;ü des emplois qualifiés et stables sont créés ;ü le statut des artistes et des entreprises culturelles est reconnu et promu. Enfin, au niveau de la gestion de l’information sur l’économie de la culture :ü des statistiques culturelles sont produites régulièrement par les Etats de l’Union et diffusées ;ü l’information sur la programmation des événements culturels majeurs de la sous région est aisément diffusée et accessible ;ü l’apport de la culture au développement sous régional est mieux visible sur le plan qualitatif et quantitatif. Ministère en charge de la Culture conjointement avec le Ministère de l'Economie et des FinancesLe programme de développement culturel de l’Union Économique Monétaire ouest Africain (UEMOA)  a été adopté le 18 juillet 2014 à Ouagadougou (Burkina Faso), lors de la réunion du conseil des ministres de la culture des États membres de l’Union et bénéficie d'un financement global de Quarante et un milliards de FCFA pour ma période 2014-2020YesNoYesNO
988197002016SenegalAppui de l'Organisation Internationale de la Francophonie (OIF) à la mise en place de la nouvelle société de gestion collective du droit d'auteur et des droits voisinsSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, Alianza con la sociedad civil, La cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/appui-de-lorganisationhttps://es.unesco.org/creativity/node/9881L’une des dispositions principales de la loi sur le droit d’auteur et les droits voisins adoptée en au Sénégal en 2008 est la mise en place à terme d’une société de gestion collective du droit d’auteur et des droits voisins en remplacement du Bureau sénégalais du droit d’auteur (BSDA).Dans cette perspective, l’objectif général de la mesure pour l’Organisation internationale de la Francophonie (OIF) consiste à accompagner le processus de mise en place de la société de gestion collective.NationalfinancialL’application des dispositions de la loi de 2008 a conduit l’OIF, dans le cadre du Programme d’Appui au Renforcement des Projets et Industries culturelles du Sénégal-PARPICS-, à apporter un appui financier à des campagnes de formation et de sensibilisation des acteurs de la société civile (organisation professionnelles de la culture) ainsi que des cadres de l’administration culturelle.L’objectif était de les imprégner de la loi, les former et les outiller (notamment la société civile culturelle) sur des questions techniques liées à la propriété intellectuelle et à la prise en charge du futur conseil d’administration de la société de gestion collective.A cet effet, plusieurs ateliers de formation et de sensibilisation ont été organisés sur l’ensemble du territoire national, selon le tableau ci-après : Activités Période Ateliers au bénéfice des cadres du Ministère de la Culture23-24 août 2013Atelier région de Thiès26 août 2013Atelier de formation des formateurs14-15 septembre 2013Atelier comédiens 123 septembre 2013Atelier arts visuels1er octobre 2013Atelier audiovisuel2 octobre 2013Atelier écrivains et éditeurs3-4 octobre 2013Atelier audiovisuel2 et 24 octobre 2013Atelier musiciens de la banlieue de Dakar22 octobre 2013Atelier chant choral22 octobre 2013Atelier régions du sud du paysZiguinchor 21 octobre ;Sédhiou 24 octobre ;Kolda 27 octobreAteliers Saly et Mbour29 octobre 2013Atelier cultures urbaines2-3 novembre 2013Atelier danseurs et chorégraphes27 novembre 2013Atelier comédiens 211 décembre 2013Atelier conteurs11 décembre 2013Assemblée générale constitutive de la société de gestion collective17 décembre 2013 Un atelier sur la copie privée a été organisé en décembre 2015.Il faut relever que l’OIF n’est pas seulement la seule institution internationale qui a accompagné par de mise en œuvre de la loi de 2008. L’Organisation mondiale de la Propriété intellectuelle (OMPI) et la Banque mondiale ont soutenu le processus par des financements et/ou la mise à disposition d’expertises.INTERNATIONAL CULTURAL COOPERATIONCreación, DistribuciónNoLes principaux résultats attendus sont le renforcement des capacités des acteurs de la société civile culturelle par rapport à la future gestion de la Sénégalaise du droit d’auteur et des droits voisins (SODAV).A ces résultats font suite l’organisation de l’assemblée générale constitutive de la société de gestion collective en décembre 2013 et la signature de l’agrément instituant la SODAV en février 2016. Diretion de la Francophonie du Ministère de la CultureUn financement d’environ quarante-cinq mille (45 000) EUROS a été consenti pour la mise en œuvre de la mesure.YesNoYesYESInternationalL' évaluation à mi-parcours du Programme d’Appui au Renforcement des Politiques et Industries culturelles du Sénégal (PARPICS) a eu lieu à Paris en octobre 2014 a conclu à la bonne réalisation de m'apui à la mise en place de la SODAV et recommandé la poursuite du soutien aux activités-Signature du Décert d'application de la Loi se 2008-Nombre d'artistes adhérant à la SDAV (registre disponible au Ministère chargé de la Culture
987397002016SenegalProgramme de l’Union Européenne (UE) de Soutien à l’Action Culturelle(PSAC)La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/programme-de-lunion-europeenne-uehttps://es.unesco.org/creativity/node/9873Le Programme de Soutien à l’Action Culturelle (PSAC),  mis en œuvre dans le cadre de la Coopération Sénégal-UE vise à :contribuer au développement et à la consolidation du secteur de la culture aux plans artistique, social et économique.encourager l'insertion du secteur culturel dans le processus de développement économique du Sénégal.viser la valorisation du potentiel économique du secteur culturel sur les plans technique, logistique et juridique.renforcer les capacités des opérateurs culturels ou réseaux d'opérateurs, en maîtrise de l'environnement juridique ainsi qu'en  production et  diffusion  d'activités et produits artistiques de qualitépermettre au secteur de la culture de disposer d'un document stratégique de politique et d'actions culturelles qui prendra en charge les préoccupations de l'ensemble des acteurs et filières culturels. Il s'agit du Programme National de Développement Culturel (PNDC), fondé, d'une part sur l'exploitation des ressources économiques de la culture et la promotion de la diversité culturelle, d'autre part, sur la sauvegarde et la valorisation du patrimoine, le soutien aux entreprises de tous les sous-secteurs en matière de création, de production et de diffusion ainsi que la promotion des produits culturels du Sénégal.Le PNDC sera un instrument pour agir sur les urgences et appréhender les défis du futur. Un programme de qualification sera élaboré afin de permettre un renforcement des capacités professionnelles et administratives des acteurs pour une prise en charge du développement du secteur culturel dans ses dimensions locales et nationales. Un accroissement des capacités techniques et logistiques d'intervention des structures décentralisées d'encadrement sera opéré afin de faciliter leurs accès aux acteurs qui seront soutenus pour rendre leurs activités plus professionnelles.NationalfinancialLe Programme de Soutien à l’Action culturelle (PSAC) 9ème FED est un projet centré sur les priorités de la politique de développement culturel plus particulièrement  l’aménagement culturel du territoire, la décentralisation de l’action culturelle dans les communes et communautés rurales, l’appui aux manifestations et initiatives culturelles privées,  l’amélioration du cadre juridique et réglementaire régissant le secteur ainsi que le renforcement des capacités opérationnelles, techniques et administratives des acteurs culturels. Il s’agit d’une mesure de soutien aux activités culturelles. L’amélioration du secteur passe par le renforcement des capacités des opérateurs culturels ou réseaux d'opérateurs, par une maîtrise de l'environnement juridique et par la diffusion d'activités et produits artistiques de qualité.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, ParticipaciónYesLes résultats attendus sont :un soutien logistique et une aide au réaménagement des centres culturels régionaux identifiés seront assurésla réalisation de manifestations culturelles et d'initiatives culturelles sera appuyéeles structures et organisations d'acteurs culturels seront formées et professionnaliséesle développement et la consolidation du secteur de la culture aux plans artistique, social et économique seront appuyésl'insertion du secteur culturel dans le processus de développement économique du Sénégal sera encouragéele potentiel économique du secteur culturel sur les plans technique, logistique et juridique sera valoriséles capacités des opérateurs culturels ou réseaux d'opérateurs, en maîtrise de l'environnement juridique ainsi qu'en  production et  diffusion  d'activités et produits artistiques de qualité seront renforcéesLe secteur de la culture disposera d'un document stratégique de politique et d'actions culturelles qui prendra en charge les préoccupations de l'ensemble des acteurs et filières culturels.Ministère en charge de la CultureLe programme a bénéficié d'un financement de l'Union Européenne d'un montant de Sept cent soixante douze millions neuf cent qutre-vingt-huit mille  (772 988 000) FCFA soit Un million  cent soixante dix huit mille trois ecnt cinquante et un (1 178 351) EurosLes opérateurs cukturels en bénéficient au orrata des projets retenusLe Programme a principalement les programmes de capacitation logistique des Centres culturels des régions périhériques, notamment Fatick, Kaolack; Kédougou et  Kédougou, pour les programmes mixtes société civile-privé et secteur public           NoNoNoYESNationalL’évaluation du  premier programme , en attendant celle du deuxième établit qu'au  31/12/2007, l’engagement global du PSAC est de 1,619 Milliard d’euros. Malgré l’amélioration notée dans le rythme d’exécution de la fin de la première période (mars 2006 à octobre 2007) du projet PSAC (Programme de Soutien à l’Action Culturelle, le volume des décaissements (30% environ) et des activités est resté faible. Un second appel à projets a été lancé en septembre 2007 permettant de sélectionner 22 projets dans des domaines divers (documentaire, film, danse, arts plastiques, théâtre, festivals de cinéma, tournées musicales…) pour un montant de 150.000 €. Des formations en son et lumières et du matériel sont destinés aux 4 centres culturels représentatifs (Thiès, Louga, Ziguinchor, Fatick).  -Nombre de projets financés dans des domaines divers (documentaire, film, danse, arts plastiques, théâtre, festivals de cinéma, tournées musicales…)Borderaux de livraisons des équipements Son et Lunière pour l'organistion de spectacles à Thiès, Louga, Ziguinchor et Fatck.Femmes , jeunes talents
983597002016SenegalEtude diagnostic du secteur du cinéma et élaboration d’un plan d’action quinquennal de développement intégré du cinéma et de l’audiovisuel au Sénégal 2012-2015 (étude présentée en décembre 2015).Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/etude-diagnostic-du-secteur-duhttps://es.unesco.org/creativity/node/9835Le sous-secteur du cinéma et de l’audiovisuel occupe une grande place au Sénégal, mais peine à donner la pleine mesure de son immense potentiel, en raison d’une structuration et d’une professionnalisation insuffisantes, susceptibles de révéler davantage son rôle de vecteur des cultures et des identités nationales, mais aussi de facteur de rentabilité économique. C’est ce qui justifie notamment l’élaboration d’une étude diagnostic suivie d’un plan quinquennal de développement du sous-secteur.L’objectif général consiste à doter le secteur d’un outil de connaissance et de planification.NationalinstitutionalL’Etude diagnostic, initiative de l’Etat du Sénégal, vise notamment l’appui à la politique cinématographique et audiovisuelle nationale et la structuration des filières du cinéma et de l’audiovisuel. Retenue comme projet dans le cadre du Programme d’appui au renforcement des politiques et industries culturelles du Sénégal (PARPICS), elle a pu ainsi bénéficier d’un financement de l’OIF à côté de la contribution de l’Etat.L’étude diagnostic et le plan de développement quinquennal s’inscrivent dans la dynamique engagée par l’Etat du Sénégal pour le développement de l’industrie cinématographique avec notamment la mise en place du Fonds de Promotion de l’Industrie cinématographique et audiovisuelle (FOPICA), destiné à soutenir la production, avec une dotation budgétaire annuelle initiale d’un milliard de francs CFA (1500000 EUR).INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónNoUne meilleure connaissance du sous-secteur du cinéma et de l’audiovisuel par les acteurs et les partenaires. La disponibilité d’un outil de planification et de pilotage pour le sous-secteur. Direction de la cinématographie -Ministère en charge de la CultureLe financement de l’étude diagnostic s’élève à 16 000 EUR, dont 10 000 EUR pour l’OIF et 6000 EUR pour l’Etat du Sénégal.YesNoYesNO
980897002016SenegalGrappe TICAA (Tourisme Industrie Culturelle Artisanat)/SCA. (Stratégie de Croissance Accélérée)La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/grappe-ticaa-tourisme-industriehttps://es.unesco.org/creativity/node/9808La grappe TICAA est un des éléments essentiels de la Stratégie de Croissance Accélérée dont les objectifs formulés doivent installer le Sénégal dans le camp des pays émergents. La place de la culture dans ce développement durable s’appuie sur le vecteur du tourisme dans ses interactions avec les industries culturelles et l’artisanat d’art. La grappe TICAA vise à :diversifier l’offre touristique et culturelle,développer les activités des populations localesappuyer les micro-entreprises autour des pôles sur le plan des méthodes de productioncréer une synergie dans la gestion partagée entre les secteurs de l’économie, de la culture et du développement social dans une logique de développement durable. NationalregulatoryLa grappe TICAA fait partie des cinq grappes de la Stratégie de Croissance Accélérée : Agriculture et Agro-industrie ; Produits de la mer et aquaculture, Textile et habillement, TIC et téléservices. Les grappes sont mises en œuvre pour soutenir durablement la croissance économique et le développement humain. La Stratégie de croissance accélérée a été intégrée dans la politique générale du Plan Sénégal émergent. Cependant, la SCA est un document qui a servi de référence jusqu’en 2013. Aujourd’hui, la grappe TICAA est intégrée comme un des leviers du FONGIP – Fonds de garanties des investissements prioritaires - Pôle sectoriel prioritaire 2 : Artisanat, industrie culturelle, textile, tourisme. INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, ParticipaciónNoLes résultats attendus sont :Diversification de l’offre touristique et culturelle,Développement des activités des populations localesAppui aux micro-entreprises autour des pôles sur le plan des méthodes de productionCréation d’une synergie dans la gestion partagée entre les secteurs de l’économie, de la culture et du développement social dans une logique de développement durable.création d’emploi au nombre de 40 000 en 2010. SCA stratégie de croissance accéléréeLe budget promotion minimal pour commencer à être visible sur le marché touristique international est estimé entre 307 millions de Fr CFA soit 467 988 euros.NoYesYesNO
980297002016SenegalCoopération et échanges Programme d’appui au développement des politiques et des industries culturelles du SénégalSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/cooperation-et-echanges-programmehttps://es.unesco.org/creativity/node/9802Résultant de la Convention-cadre  signée en juillet 2012 entre la République du Sénégal et l’Organisation internationale de la Francophonie (OIF), le Programme d’appui au développement des politiques des industries culturelles du Sénégal est un instrument de de promotion de la diversité culturelle et d’application de la Convention sur la protection de la diversité des expressions culturelles adoptée en 2005 par l’UNESCO Son objectif général est, comme dans chacun des autres pays francophones du Sud signataires, de renforcer les capacités  à formuler et mettre en œuvre  des politiques et mesures de promotion,  création, production, distribution et diffusion des biens et services culturels, ainsi que consolidation des entreprises culturelles en vue de  contribuer au développement économique et social du pays.Plus spécifiquement, le programme vise, à donner au Ministère en charge de la Culture la pleine capacité à encadrer, dynamiser et réguler les filières des industries culturelles, notamment celles du cinéma, de l’audiovisuel, du livre , de la musique et des arts du spectacleLes quatre axes suivants retenus  : 1°) « Renforcement des capacités de gouvernance du Ministère en charge de la Culture » 2°) » Diversification des dispositifs de financements des activités et programmes culturels et accroissement de leurs moyens »3°) « La professionnalisation des artistes et entrepreneurs culturels et l’évolution des dispositifs participatifs »4°) « Le désenclavement de la culture sur le plan social, financier et politique pour sa valorisation et son développement ». Nationalfinancial, institutionalLe programme est  une  convention  couvrant la période 2012-2016, avec des dispositions relatives  à sa dénonciation ainsi qu’à sa prorogationUne coopération étroite est prévue entre le Gouvernement du Sénégal et l’OIF en vue de l’élaboration conjointe des plans d’action annuels et des budgets correspondants, ainsi que la coordination des activités de mise en œuvre , de suivi et d’évaluation.Il est prévu la mise en place d’un Comité de pilotage et d’une cellule de coordination à propos desquels les dispositions qui suivent sont retenues :Le Comité est composé des représentants de l’Etat, des organisations professionnelles  ainsi que des principaux partenaires gérant avec le Sénégal des programmes de coopération bilatérale ou multilatérale.La cellule de coordination a pour mission la mise en œuvre des activités et opérations de programme relevant de la responsabilité du gouvernement.Une réunion annuelle de suivi est prévue entre l’OIF et le Ministère de la Culture pour faire le point décider des adaptations qui s’avéreraient nécessaires CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónNo1) Les capacités de gouvernance du Ministère en charge de la Culture sont renforcées grâce à la mise en place d’un pilotage institutionnel performant et la modernisation de son environnement juridique.A cet égard :Le plan d’organisation du Ministère est évaluéDes politiques de soutien aux filières culturelles (musique, livre, image, art vivant ) sont élaborées et le personnel des Directions thématiques correspondantes est forméUn système de traitement et de statistiques culturelles est élaboréUn bilan de la mise en application de la loi et des décrets relatifs au cinéma est produitDes nouvelles lois pour les filières image et livre sont proposées2°)    Les dispositifs de financements des activités et programmes culturels sont diversifiés et leurs moyens sont accrus en vue de diversifier et conforter les marchés de biens et services culturels3°)  La professionnalisation des artistes et entrepreneurs culturels et l’évolution des dispositifs participatifs  est assurée4°) Le désenclavement de la culture sur le plan social , financier et politique pour sa valorisation et son développement » ess assuré à travers notamment un programme  de formation et de perfectionnement continus et la production régulière d’études sur les différentes facettes de l’économie culturelleMinistère en charge de la Culture : Direction de la FrancophonieLes ressources financières  destinées à la prise en charge de par l’OIF d’une part de l’expertise technique, d’autre part des dépenses réalisées au Sénégal sont situées dans la limite maximale de 100.000 (cent mille) EurosYesNoYesYESInternationalFaite à Ouagadougou, Burkina, du 7 au 8 juin 2016, l'évaluation a relevé que la réalisation du PARPICS a permis :le renforcement des capacités techniques de l’administration et des professionnels de la culture ;la réalisation d’études dans les domaines du cinéma et de l’audiovisuella réalisation d’études sur la consommation culturelle des ménages  et  autres statistiques culturellesl’appui à la diffusion de films africainsl’amélioration de l’environnement juridique et du climat des affairesl’amélioration de la gouvernance et de la connaissance du secteur culturelune meilleure prise en compte de la transversalité de la culture et de ses enjeux économiques par les acteurs institutionnels et privésCependant des manquements dans le système de gouvernance du programme : Comité de pilotage et cellule de coordination. L’absence et/ou  l’insuffisance du co-financement des Etats ont également été soulignées,  de même que diverses lenteurs administratives au cours de la mise en œuvre.   Comptes-rendus des séminaires session de renforcement des capacités au bénéfice de l'administration et des professionnels de la culture-Textes des études réalisées-Liste des films diffusés -
979997002016SenegalLivre : Fonds d’aide à l’éditionSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosIndustria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/livre-fonds-daide-leditionhttps://es.unesco.org/creativity/node/9799Logé dans la Direction du Livre et de la Lecture du Ministère  de la Culture Le Fonds  d’Aide à l’Edition est destiné à favoriser le développement de l’édition, la promotion, la diffusion et la distribution   des œuvres littéraires aux niveaux national  international.  Il  également pour objectif de soutenir des ateliers  d’écriture, y compris en langues nationales, ainsi que   la promotion des  jeunes talents.  Les interventions du Fonds sont au cœur des mesures visant à dynamiser de façon permanente le  sous-secteur du Livre  en contribuant t l’effectivité  des actions planifiées dans la Lettre de Politique sectorielle de la Culture et de la Communication adoptée en février 2016. Le Fonds a également pour objectifs de contribuer à l’édition, la promotion et la diffusion des  créations littéraires en langues nationales. Le Fonds vise les autres objectifs suivants ; -assurer les conditions minimales d’ ’organisation régulière de la Foire internationale Du Livre et du matériel Didactique de Dakar (FILDAK) ainsi que la participation du Sénégal aux foires à l'étranger où sont mises en valeur et/ou négociés des partenariats pour la distribution internationale des productions nationales. -appuyer les  associations d’auteurs  pour certaines manifestations qu’elles organisent et -apporter un soutien à l’équipement des maisons 'éditions, à des résidences d'écriture,  et à la dotation de prix littéraires Créer des contextes favorables à la mise en œuvre des recommandations issues des colloques organisés lors des dernières éditions de la Foire du Livre et du Matériel Didactique de Dakar (FILDAK), à savoir :FILDAK 2009 " Le livre et la Lecture face au défi du numérique : enjeux et perspectives ".FILDAK 2011 ; «  Les industries culturelles, moteur de développement : place et perspective pour le livre »FILDAK 2013 :« Le livre et la diversité culturelle »NationalfinancialLa création et la dotation régulière par l’Etat du Fonds d’aide à l’Edition sont consécutives à  la mise en œuvre des  principales missions assignées au  Mi ministère de chargé de  la Culture. Ces missions, si elles sont aussi régulièrement réactualisées pour tenir compte de l’évolution des contextes juridiques, technologique et autre, du développement des filières d’expression artistique n’ont pas connu d’évolution fondamentale depuis l’accession du pays à a souveraineté internationale.Elles sont rappelées, le décret n°2014-889 du 22 juillet 2014 qui assigne au Ministère de la Culture et de la Communication l’adoption, la mise en œuvre et l’évaluation des politiques et mesures visant à  développer, « sous l’autorité du Premier Ministre les  arts plastiques, les lettres et de la lecture,  la musique,  la danse, le théâtre et de la protection du patrimoine national ».Pour mener à bien cette mission le Ministère est dotée d’un certain nombre de Directions nationales chargées d’impulser et de coordonner son action ;Il s’agit, notamment de la : Direction du Patrimoine culturelDirection des ArtsDirection de la CinématographieDirection du Livre et de la LectureConfié à cette dernière Direction le Fonds d’Aide l’Edition participe à une longue tradition de mécénat d’Etat en faveur de la création, production, diffusion et distribution  littéraires au Sénégal. Il s’insère dans le dispositif visant à maintenir la vitalité du sous-secteur du Libre.Une vitalité caractérisée par la présence de quelque cinquante et une maisons d’éditons,  vingt-cinq vingt imprimeries, vingt  libraires,  alimentant le réseau institutionnel  comprenant quelque  cent  bibliothèques ou espaces  de lecture publique auxquels  il faut  ajouter dix-sept Centres de Lecture et d’Animation culturelle (CLAC) implantés en zone rurale avec le concours de l’Organisation internationale de la Francophonie (OIF)[ voir en annexes les Statistiques plus détaillées]CULTURAL POLICIES AND MEASURESCreación, Producción, DistribuciónNoLe développement de l’édition ainsi que la promotion, la diffusion et la distribution  des œuvres littéraires au niveau littéraires local et international sont favorisésGrâce notamment à l’organisation d’ateliers d’écriture et de concours littéraires avec édition des œuvres primés  de jeunes talents  sont dépistés, encouragés et promus.Les mesures visant à dynamiser de façon permanente le  sous-secteur du Livre et de la Lecture  en assurant l’efficacité des politiques d’amélioration de ses environnements institutionnel et financier ainsi que celle des stratégies de pénétration des marchés national et international sont adoptées. L’édition, la promotion et la diffusion des  créations littéraires en langues nationales sont soutenuesLes conditions minimales d’ ’une organisation régulière de la Foire internationale Du Livre et du matériel Didactique de Dakar (FILDAK) ainsi que la participation des œuvres d’ auteurs, et des productions d’éditeurs nationaux aux foires à l'étranger, où sont mises en valeur et/ou négociés des partenariats pour la distribution internationale des productions nationales, sont assuréesCertaines manifestations des associations d’auteurs, ainsi l’équipement de maisons 'éditions, des résidences d'écriture,  et la dotation de prix littéraires  sont soutenusLes recommandations issues des colloques organisés lors des dernières éditions de la Foire du Livre et du Matériel Didactique de Dakar, à savoir : en 2009 " Le livre et la Lecture face au défi du numérique : enjeux et perspectives "en 2011 ; «  Les industries culturelles, moteur de développement : place et perspective pour le livre », en  2013 :« Le livre et la diversité culturelle » sont mises en œuvreDirection du Livre et de la Lecture du Finistère de la Culture et de la Communication : www.culture.gouv.sn/direction-du-livre-et-de-la-lectureLe montant annuel  de la subvention du Fonds d’Aide à l’Edition, ces trois dernières années  s’est chiffré  en moyenne à  deux cent vingt-cinq millions (225 000 000) de FCFA  inscrits dans le budget du Ministère de la Culture et de la Communication.Cette ressource aide également à l’organisation de la Foire internationale du Livre et du Matériel didactique (FILDAK) En effet, bien qu’inscrit dans le budget, la dotation financière annuelle de cent dix millions (110.000.000) de F CFA, destinée à l’organisation de cette activité n’est plus versée dans le budget du Ministère depuis trois éditions.Il convient toutefois de noter que la FILDAK a pu bénéficier d’un appui de l’Organisation internationale de la Francophonie d’un montant de dix mille (10.000) Euros. Sauf  pour l’édition de 32015 qui a été soutenue à hauteur de sept mille cinq cents (7500) Euros. NoYesYesYESNationalLes bilans  opérés ont permis d’établir que, grâce aux subventions du Fonds cent vingt-cinq (125)  Titres dont 35% de livres en langues nationales et 10% en langue arabe avaient pu être édités pour un montant de cent trente-cinq millions cent trente mille (135 130 000) FCALe Fends a également permis d’opérer auprès des éditeurs nationaux l’achat de cent cinquante-six (156 Titres dont 35% de titres en langues nationales et 10% en langues arabes pour un coût global de soixante-deux millions quatre-vingt-dix mille (: 62 090 000= FCA. Ces ouvrages sont ensuite distribués aux bibliothèques publiques ainsi qu’à des ambassades du Sénégal à l’étrangerEn outre un appui de  vingt-six millions huit cent quarante mille (26 840 000) FCFA a permis la  participation aux foires à l'étranger et le développement de partenariats avec les associations du secteur  et certaines maisons d’édition  a permis l’organisation de leurs  manifestations comme des concours littéraires dotés de prix , le renforcement de leurs  équipements la réalisation de résidence d'écritures, etc.cependant dans le diagnostic qu’il opère du secteur, et qui inclut l’évaluation du Fonds d’Aide à l’édition la Lettre de Politique sectorielle de Développement de la Culture relève l’insuffisance des ressources financières du secteur, cause principale de la  faiblesse des  entreprises de promotion des auteurs et de leurs œuvres.  Une stratégie volontariste d’ouverture aux éditeurs nationaux du  marché local du livre scolaire qui leur est insuffisamment ouvert, du fait du manque de compétitivité de leurs réponses aux Appels d’offres pourrait être une solution.Voir en annexes les statistiques sur le Livre
979697002016SenegalValidation de la Lettre de Politique Sectorielle de Développement de la Culture et de la Communication (2017-2021)La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/validation-de-lettre-de-politiquehttps://es.unesco.org/creativity/node/9796Après la mise en œuvre des « Documents de Stratégie de Réduction de la Pauvreté »(DSRP) de 2003 à 2010, le Sénégal a élaboré et adopté la  « Stratégie Nationale de Développement Economique et Social » couvrant la période 2013-2017 (SNDES).Le SNDES constitue le cadre de coordination des interventions publiques.Ce nouveau modèle de développement est impulsé par la stratégie, dénommée Plan Sénégal Émergent (PSE), constituant le référentiel de la politique économique et sociale sur le moyen et le long terme.Le Plan d’ «Actions Prioritaires » (PAP) du PSE prévoit, au profit du sous-secteur culture la réalisation de réseaux de musées et Centres régionaux de culture. Il s’agit là d’une partie des politiques et mesures culturelles que la Lettre de Politique de Développement sectoriel de la Culture et que la Communication  (LPDSC), couvrant la période 2014-2021, détaille  La « Lettre » est  Document sectoriel de référence dans lequel sont exhaustivement recensés les projets culturels induits des Axes stratégiques du PSE et pouvant, de ce fait,  intégrer  son Plan d’Actions stratégiques à chacune des étapes de la mise en œuvre,.La « Lettre » est articulée autour des axes suivants :Transformation structurelle l’économie de croissanceCapital humain, protection sociale et  développement durableGouvernance institutionnelle, paix et sécuritéSes objectifs sont ainsi de ; valoriser les potentialités et de stimuler la créativité et le talent des artistes pour accroître le volume et la qualité de la production culturelle et artistique.Promouvoir les industries créatives performantes et mieux diffuser les produits culturels au plan national et internationalRéaliser des infrastructures et des plateformes culturelles pour accompagner le développement du secteur.Mettre l’accent sur :l’amélioration de l'accès au crédit pour les porteurs de projets culturels,la promotion de la formation artiNationalinstitutionalLa Lettre de Politique de Développement Sectoriel de la Culture et de la Communication (LPDSC) tient  compte du caractère multisectoriel de la Culture. Elle  a été élaborée conjointement par les Ministères des Finances et celui de la Culture, , qui ont associé les départements concernés par ses enjeux : Ministère de la Jeunesse et des Sports, Ministère de l’entreprenariat féminin, Ministère du Commerce, Ministère du Tourisme et de l’Artisanat… Se référant explicitement à la Convention sur la protection et la promotion de la diversité des expressions culturelles (UNESCO, Convention 20005) ,La lettre opère  le diagnostic complet des différentes filières du secteur : livre, arts visuels, arts vivants :musique, danse, théâtre…, ainsi que celui de des environnements  institutionnel, juridique, fiscal et financier  de la Culture et de la Communication avant d’énumérer les politiques et mesures qui seront mises en œuvre pour atteindre les objectifs visés pendant la période qu’elle couvre.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónNo Pour accroître le volume et la qualité de la production culturelle et artistique, les potentialités  économiques de la Culture sont valorisées  la créativité et le talent des artistes stimulés. Des industries créatives performantes sont promues Les produits culturels sont mieux diffusés aux plans national et internationalDes infrastructures et des plateformes culturelles sont réalisées pour accompagner le développement du secteur culturel. Pour un meilleur impact des politiques et mesutres les préalables suivants sont pris en compte :amélioration de l'accès au crédit pour les porteurs de projets culturels, promotion de la formation artistique, renforcement de l’implication des privés dans la promotion culturelle promotion du statut des artistes, des droits de la propriété intellectuelle et artistique et accentuation de la lutte contre la piraterie.Ministère de la Culture et de la Communication ( www.culture.gouv.sn )Le Plan d’actions de la Lettre est en cours d’élaboration. Une partie des ressources financières nécessitant sa réalisation seront inscrites dans le Lois des Finances  en fonction du chronogramme adopté pour les réalisations.La prise en charge d’autres mesures sera négociée lors de la conclusion d’accords de coopération.YesYesYesNO
988397002016SenegalTraité de la CEDEAO pour la libre circulation des personnes et des marchandises Intercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturales, Tratados y acuerdos, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/traite-de-cedeao-pour-librehttps://es.unesco.org/creativity/node/9883Sur les bases juridiques que  sont :• l’article 59 du Traité de la Communauté Economique des Etats de l'Afrique de l'Ouest, CEDEAO,• le Protocole A/SP.1/5/79 de Dakar du 25 mai 1979 sur la libre circulation des personnes, le droit de résidence et d’établissement.• le Protocole A/P/3/5/82 du 29 mai 1982, signé à Cotonou et portant code de la citoyenneté de la Communauté• le Protocole A/SP.1/7/86 d’Abuja du 1er juillet 1986 relatif au droit de résidence• le Protocole A/SP.2/5/90 de Banjul du 29 mai 1990 relatif au droit d’établissement·        Loi de 2016 instaurant la carte d'identité biométrique de la CEDEAO entérinée par la 46ème conférence des chefs d’Etats et de gouvernements de la Communauté économique des Etats d’Afrique de l’ouest (Cedeao), tenue à Accra en juillet 2014? le Traité institue la libre circulation des personnes  qui signifie que tout ressortissant de la Communauté a le droit de se déplacer librement d’un Etat à un autre sans entrave. .L’article 2 du Protocole A/P1/5/79 sur la libre circulation des personnes, le droit de résidence et d’établissement, en ses principes généraux, dispose : « Les citoyens de la Communauté ont le droit d’entrer, de réaliser et de s’établir sur le territoire des Etats membres. Le droit d’entrée, de résidence et d’établissement mentionné sera établi progressivement, au cours d’une période maximum de quinze (15) ans, à compter de l’entrée en vigueur définitive du présent protocole, par l’abolition de tous les obstacles à la libre circulation des personnes et au droit de résidence et d’établissement ». RegionalregulatoryL'institution d'un passeport et d'une carte d'identité communs à touus les ressortissants des Etats-membres de la CEDEAO.PREFERENTIAL TREATMENTCreación, Producción, Distribución, ParticipaciónNoLes résultats attendus avec l'instauration de cette mesure sont principalement :- d'augmenter les flux commerciaux ;- de sécuriser la mobilité des personnes et des biens ;- d'intégration des peuples ;- de créer une union économique et monétaire pour favoriser la croissance économique à travers la coopération et l’intégration ;- de contribue à donner un plus grand poids à la sous-région sur le marché international ;Ministère de l'intérieur et de la Sécurité PubliqueL'application effective de la mesure  est prise en charge dans le cadre des missions des polices des frontièresNoNoYesYESRegionalL'évaluation menée en Décembre 2013 et publiée en 2014) par le Centre Africain pour le Commerce, l’Intégration et le Développement (ENDA CACID).   cf. lien : http://endacacid.org/latest/index.php?option=com_wrapper&view=wrapper&Itemid=1791 établit qu'en  matière de libre circulation des personnes, des progrès importants ont été accomplis en Afrique de l’Ouest. Si bien que sur certains aspects, la région est citée en exemple. Ainsi, on reconnait aisément que :- aucun visa n’est exigé nulle part aux ressortissants des Etats membres pour leurs déplacements dans l’espace CEDEAO. Les ressortissants de l’Afrique de l’Ouest ont désormais le droit de circuler librement, de s’installer où ils veulent dans la Communauté en vue d’exercer ou non une activité   -Le passeport CEDEAO a été instauré depuis décembre 2000 et appelé à remplacer les passeports nationaux. Toutefois, seuls le Bénin, le Sénégal, la Guinée, le Libéria et le Mali ont effectivement mis en circulation ce document de voyage communautaire ;- l’introduction du régime de la carte brune d'assurance automobile. La carte brune est une mesure d'accompagnement aux programmes sur la libre circulation des personnes et des biens, et le programme de transport ;- le chèque de voyage CEDEAO fut officiellement lancé le 30 Octobre 1998 durant le 21ème Sommet des Chefs d’Etat et de Gouvernement et géré par l’Agence Monétaire Ouest Africaine (AMOA) pour faciliter le commerce et le paiement des transactions intra régionaux au sein de la communauté ;- des programmes de facilitation de transport et de transit routier inter-états sont en voie d’exécution au niveau de la Communauté.
987797002016SenegalProgramme conjoint Sénégal/PNUD : Promouvoir les initiatives et les industries culturelles au Sénégal : pays Bassari et delta du Saloum. 2008-2012La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/programme-conjoint-senegalpnudhttps://es.unesco.org/creativity/node/9877Mis en œuvre conjointement par le Sénégal et le Programme des Nations Unies poir le Développement (PNUD), le programme vise à :Préserver et valoriser, en pays bassari,notamment en lien avec d'autres conventions de l'UNESCO, le patrimoine culturel immatériel des communautés et leurs expressions culyurellesl, et, dans le Delta du Saloum,  à promouvoir et à renforcer le potentiel touristique de la région.soutenir la mise en œuvre des politiques nationales promouvant l’impact de la culture sur le développement et intégrant les priorités liées aux droits de l’homme et aux populations vulnérables.renforcer la dimension genre et l’accès aux technologies de l’information et de la communication pour sensibiliser les communautés sur les questions liées aux droits de l’homme.réaliser les OMD 1, 3, 7 et 8, surtout pour les plus vulnérablesune meilleure insertion économique et sociale et une meilleure participation de la communauté des acteurs de la culture.impulser une dynamique de développement au niveau des zones opérationnelles paar la promotion et la valorisation des initiatives et des industries culturelles  en prenant en compte les composantes : Droits humains et populations vulnérables (femmes et jeunes).Les objectifs spécifiques du projet étaient les suivantsAppuyer le le renforcement de la législation en matière de promotion des industries culturelles pour le développement ;Développer les capacités des acteurs de la culture et des arts en vue d’améliorer la qualité et la gestion de la production et promouvoir l’éducation des populations vulnérables en vue de favoriser leur autonomisation ;Promouvoir des Petites et Moyennes Entreprises dans le domaine culturel en vue de lutter contre la pauvreté et pour la réalisation des OMDsCréer de nouveau débouchés pour les productions culturelles locales au niveau national et régional ;Créer et renforcer les musées et les centres culturels régionaux.Faire l’inventaire du patrimoine culturel et de la législation qui le régissant LocalinstitutionalLe programme conjoint « Culture et Développement » est que une approche innovante  utilisant la Culture comme « entrée » pour assurer le développement socioéconomique et l’amélioration des conditions de vies des populations (notamment par la promotion des activités génératrices de revenus) conformément aux OMD. Les deux zones concernées par sa mise en oeuvre - l’une du fait qu’elle réunit une pléthore de minorités ethniques en plus de la richesse de son environnement naturel (Pays Bassari), et l’autre, de par sa richesse à la fois écologique et naturelle (Sine Saloum) - ont retenu l’attention de ce programme conjoint (PC) de Promotion des initiatives et des industries culturelles au Sénégal.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, ParticipaciónYesLes capacités en termes de compétitivité, de qualité des produits, de valeur ajoutée, de créations d’emplois qualifiés et d’investissement sont renforcées;Les revenus des pauvres et des groupes vulnérables intervenant dans le domaine de la culture et développement sont augmentés ; La durabilité des moyens d’existence des groupes vulnérables et leur cadre de vie à travers des actions de protection de l’environnement et de valorisation des ressources naturelles est améliorée ;Les institutions publiques ont les capacités d’appliquer effectivement les principes des droits humains, de l’équité de genre et du développement durable dans les politiques et les programmes dans le domaine de la culture et développement ;Les collectivités locales et les organisations communautaires de base ont les capacités et disposent des ressources suffisantes pour participer plus efficacement au processus de décentralisation et à la gestion du développement local.UNESCO, PNUD, UNFPA, ONUDI et OMTet Direction rection patrimoine Culturel, Direction de l’Environnement, Direction de l’artisanat, la Direction du Tourisme, Direction de la Famille, la Direction du Genre,Six millions cinq cent mille (6.500.000° dollars USYesNoNoYESInternationalLe Programme conjoint a contribué à la mise en œuvre du résultat 1 du document du Plan-cadre des Nations Unies pour l'aide au développement (PNUAD) pour 2007-2011 : « La création de richesse et la lutte contre la faim pour un développement durable ». Les axes d’orientation et les objectifs du programme conjoint étaient en phase avec la politique nationale de réduction de la pauvreté et les priorités définies par le Gouvernement dans le cadre du Document de stratégie de réduction de la pauvreté (DSRP II 2006 -2010), ainsi que les orientations de la Stratégie de Croissance Accélérée (SCA). Le programme est aussi en phase avec la Stratégie nationale pour l'Equité et l'Egalité de Genre et la Charte nationale du Tourisme. Le choix des zones d’interventions était très pertinent du fait de la précarité des conditions de vie des populations dans ces régions. Du coté des agences du SNU, les interventions du programme leur permettaient de disposer, non seulement de ressources adéquates, mais surtout de jouer un rôle clé dans leurs domaines respectifs de compétences, ainsi que leurs mandats, en mettant en relief leurs avantages comparatifs. La nature de l’intervention et les différentes approches utilisées ont toutes concouru aux conclusions de la déclaration à travers ses cinq principes directeurs. Le programme a ainsi pu répondre aux priorités de l’Etat du Sénégal dans le cadre de sa mise en œuvre et cela dès sa formulation qui avait été faite de manière participative avec tous les ministères concernés.L’analyse des performances du programme s’est faite dans l’optique des critères guidés par les TDR, c'est-à-dire en termes de Pertinence, d’Efficacité, d’Efficience, d’Impacts et de Durabilité. L’Evaluateur s’est fondé sur 3 principes dans sa méthodologie de référence:i. une approche participative tout au long du processus, c'est-à-dire que l’Evaluateur a réalisé la mission en collaboration permanente avec l’ensemble des acteurs et partenaires concernés du programme conjoint, aux divers niveaux : central, régional, local;ii. la prise en compte systématique d’une part des réalités de l’environnement socio-économique et institutionnel du programme et du pays, et d’autre part des enseignements à tirer de l’expérience accumulée dans le secteur dans le pays;iii. une analyse qui permet de mettre en évidence les forces, faiblesses, opportunités et risques propres au programme conjoint, en termes de pertinence, d’efficience, d’efficacité, d’impact et de durabilité. Sur cette base, des suggestions/recommandations conséquentes sont formulées. La collecte des données nécessaires s’est faite essentiellement à partir de deux sources principales qui sont d’une part la revue documentaire, et d’autre part les entretiens avec les divers intervenants et partenaires du programme conjoint.Communautés ethno linguistiques minoritaires de l'Est du Sénégal (pays bassari) et du Delta du Saloum (centre du Sénégal)
1515072582013SerbiaSupport to cultural studies in the framework of sustainable developmentLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/support-cultural-studieshttps://es.unesco.org/creativity/node/151500Contribution to integration of cultural dimension into developmental policies.Local, Regional, NationalMinistry funded several research studies carried out by the Center for Study in Cultural Development in 2009-2012. These are: "Local cultural policies of the towns of Serbia", "Cultural policies of the regions of Serbia" and "Cultural policy of the cities of Novi Sad and Belgrade", whose main objective was mapping of basic cultural resources in the towns and municipalities of Serbia, as well as active actors in the field of culture. These researches have given contribution to evidence-based cultural policy, providing a number of different statistical data. Besides, they have provided basis for future planning, and better usage of cultural potential, that contribute to the development, not only of local communities but also to the development of the regions of Serbia.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, ParticipaciónMinistry of Culture and Media, Center for Study in Cultural DevelopmentYESAll reports of these research studies are available at the official web presentation of the Center for Study in Cultural Development (www.zaprokul.org.rs).
1514772582013SerbiaCreation of legal, institutional and financial conditions for development of international cooperationIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Tratados y acuerdosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/creation-legal-institutionalhttps://es.unesco.org/creativity/node/151470This measure has been implemented through the following activities:a) In September 2009, ministers of culture of Serbia, Montenegro and Bosnia and Herzegovina signed "Prijepolje Message", which confirms mutual will to protect and improve cultural diversity of signatory countries, and by which it directly refers to the Convention and other relevant international documents. The goal of the Document is primarily related to intercultural and interreligious dialog, taking into account importance of national, regional and local cultural policy for peace, understanding and tolerance.b) Expert meeting "Intercultural dialog and film" was held in September 2011, within the scope of the Serbian Presidency of the Central European initiative - CEI. There were representatives of 18 countries members of CEI, as well as several experts in the field of film and audio-visual sector from Great Britain and France.c) 9th UNESCO Summit of Heads of SEE States entitled "Contemporary art and reconciliation in the region" was held in September 2011 at Roman archaeological site Viminacium in Serbia. Beside Heads of States, there were also ministers of culture from the region and representatives of international organizations - general director of UNESCO, Ms Irina Bokova, general director for education, culture and heritage, youth and sport at the Council of Europe and high level delegation of UNESCO from the regional office in Venice present at the Summit. On that occasion "Viminacium Declaration" was adopted. Declaration emphasizes an essential role of contemporary art for the development of an individual and society as a whole, and for promotion of human rights and value of tolerance, cultural diversity and mutual understanding. Signatories have confirmed their commitment to: continuation of reconciliation and creation of peaceful and prosperous European future of the region, emphasizing special role of contemporary art in those processes; support to artists and their freedom of creation; striving towards cultural cooperation trough work of cultural institutions and organization, artistic initiatives and nongovernmental organizations, as well as through development of necessary facilities; development of regional collection of contemporary art as a means of pledge for the future. Declaration also expresses commitment to broaden participation of artists in decisions-making process in creation of cultural policy, as well as to improvement of social role of artists. Within the scope of the Summit, regional Round table at ministers’ level was held in Belgrade, a day before the Summit in Viminacium, with the group of twenty artists from SEE countries and ministers of culture of countries that participated in the Summit. Topic of this round table was "Contemporary art production in Southeast Europe region - heritage for the future". Its goal was to create a proposal of Platform for action that should offer solid basis for improvement of cooperation between countries and artists in the region, on creation and conservation of future heritage of mankind, consisting also of contemporary art. Round table was held on the initiative of the Ministry of Culture in cooperation with the Museum of Contemporary Arts in Belgrade.e) VII Ministers’ Conference of Southeast Europe on cultural heritage, entitled "Cultural heritage- a bridge towards joint future", was organized in June 2011, in Belgrade by the Ministry of Culture with the support of UNESCO. On that occasion "Belgrade Declaration" was adopted. Declaration provides guidelines for improvement of international cooperation in SEE, supports development of creative and innovative educational programs, and puts heritage in the function of cultural economy and cultural tourism. Special emphasis has been put on promotion of cultural heritage in regions hit by war or other conflicts, with the intention to raise awareness on cultural diversity ofthe region, building of trust in conciliation processes and support developments of local education system, knowledge and skills.f) Annual Conference of the Council of Ministers of Culture of SEE - The conference was held during the Presidency of Serbia in the CоМоCoSEE. Delegations from 12 countries of SEE region were present, as well as observers from Austria, EU delegations in Belgrade, Regional Cooperation Council, UNESCO- office in Venice. The priorities of the Serbian Presidency of the CоМоCoSEE were directed to measures of audio-visual policy, as a response to economic crisis, taking into account richness and diversity of audio-visual field in Southeast Europe. Two expert meetings were held within the scope of the presidency. The First was organized on the topic "Crisis in film industry in Southeast Europe - challenges of financing of micro-budget films" in March 2012 in the Yugoslav Cinematheque. Opinions were exchanged at the meeting, and mutual goals and examples of good practice in the region were also considered, in order to encourage realization of micro- budget (budget between 75.000 and 250.000 euro) films in the time of economic crisis. On this occasion Serbian initiative on creation of new Regional fund for financing of micro-budget films has been presented.Second expert meeting entitled "Protection and preservation of audio-visual heritage in Southeast Europe" was organized in the second half of March of the same year, in cooperation with Yugoslav Cinematheque. Representatives from the region participated in the meeting, while observers were from Austria and Council of Europe. It was concluded that it is of crucial importance that SEE countries have unique legislation, unique technological assumptions and as much similar model of institutions as possible, which will need to be public, nonprofitable and to enable equal access to everybody, as well as to be responsible towards past and future. "European convention of the Council of Europe on protection of audio-visual heritage" has been presented at the conference. Conclusions from these expert meetings have become a part of Declaration adopted in April 2012. This meant confirmed willingness for continuation of cooperation in this domain in the region, and it also welcomed recommendation for national institutions in charge of audio-visual sector to establish financing system of films, for the purpose of care for unestablished young creative forces, and to create a study on situation in audio-visual sector in the region, in the area of production, distribution and promotion.InternationalChallenges identified in the implementation of this measure: Implementation through regional cooperation project/programs.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónMinistry of Culture and MediaYESMeasure resulted mostly in signing of innovative agreements for international cooperation.Evaluation and analysis above mention documents in the framework of preparing Quadrennial National report.
1514472582013SerbiaSupport to Clusters in cultural industriesSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, Alianza con la sociedad civilCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/support-clusters-culturalhttps://es.unesco.org/creativity/node/151440Encourage creation of coherent processes of production, distribution and dissemination of cultural industries’ goods and services, and capacity building for actors of cultural industries to produce high quality goods and services and put them at foreign and domestic markets.Local, Regional, NationalWithin its jurisdiction different government bodies gave a support to encouraging of cultural industries and thereby strengthening the diversity of cultural expressions, through financial or other support to establishment of clusters. Ministry of Economy supported the establishment/development of 5 clusters in cultural industries: "Film Cluster" (76 members), "Creative Industry Cluster of Vojvodina" (40 members), "RE: CRAFTS & Innovation cluster" (27 members), "Art Crafts Cluster" from Sombor (15 members) and "Cluster of Design and Printing" from Nis. The structure of cluster shows that small clusters with up to 25 members are mainly dominating. They belong to the entrepreneurial type of clusters, i.e. they are founded in order to improve cooperation between micro-companies and entrepreneurs, and to provide access to information and enable cooperation by putting together the demand and supply sides.The most interesting example of networking initiatives in the area of cultural industries from public, private and civil society is the "Creative Industry Cluster of Vojvodina" established in 2010. The cluster has 40 members, most of them are small and medium-sized enterprises (SMEs) and independent artists and experts. There are also members from public and educational institutions. Recently there is an increased interest of NGOs for inclusion into clusters. The largest number of SMEs is from marketing and consulting sectors (27%), then from design (20%), film, video and audio production (17%), music and stage production (13%), television and radio (10%), fashion design (7%), and one company from the field of publishing industry and one from architecture, which makes up to 3% of the total number of SMEs in the cluster. One of the priority of this cluster is to organize events and initiate activities that will lead to faster acceptance of changes in the public sector of culture. The Cluster's objective was to increase number of members and to network them. Besides, the Cluster participated in the project of the European Commission for strengthening cluster organizations which resulted in the increased interests and involvement of new members into the cluster, such as the Novi Sad Fair, the "Exit festival", the Institute for Culture of Vojvodina, the Vojvodina Slovak Cultural Institute and many others. They all will contribute to the expansion of creative industries in Serbia. The Cluster organized CRINSS conference (Creative Industries Summer Sessions), where over 25 participants from ten countries of the region and the EU exchanged examples of good practices in establishing business and innovations. Along with the Ministry of Economy, the Secretariat for Economy of the Autonomous Province of Vojvodina financially supported work of the Cluster.Challenges identified in the implementation of this measure: It is difficult to establish coherent clusters because of the fact that cultural industries entail heterogeneous activities. On the other hand, value chains in different fields are unequal developed (e.g. music industry has a poorly developed value chain, while film industry has mostly developed value chain). It is difficult to network different actors and establish their formal cooperation in all areas, as well as develop a cooperation on a long term basis.CULTURAL POLICIES AND MEASURESProducción, DistribuciónMinistry of Economy, Secretariat for Economy of the Autonomous Province of VojvodinaYESThe establishment/development of five clusters in the area of cultural industries: "Film Cluster", "Creative Industry Cluster of Vojvodina", "RE: CRAFTS & Innovation cluster", "Art Crafts Cluster" from Sombor and "Cluster of Design and Printing" from Nis.Evaluation and analysis of cultural industries and diversity of cultural expressions in Serbia in the framework of preparing QuadrennialNational report. Annual reports of the Ministry of Culture and Media in the period from 2009-2012.increased number of clusters, networks and NGOs in Serbia;structure of clusters (representation of different stakeholders within clusters);activities of clusters.
1514172582013SerbiaRegulatory measures of cultural policySistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/regulatory-measures-culturalhttps://es.unesco.org/creativity/node/151410Improvement of national legislative for cultural development focusing on cultural industries.NationalSeveral laws were adopted in the cultural domain addressing the Convention. In 2009 the Law on Culture entered into force (Official Gazette of the Republic of Serbia, 72/2009). The law recognized cultural diversity as one of the fundamental principles of cultural development (Article 3, item 4). The law defines general interest in culture as well (Article 6), where it recognizes: creation of conditions for the stimulation of cultural and artistic creation (item 2); stimulating and supporting cultural expressions generated by the creativity of individuals, groups and associations of Serbs abroad (item 9); stimulating international cultural cooperation (item 10); extending and improving education in the field of culture (item 12); stimulating the use of new technologies in culture, in particular of information technologies and digitalization (item 13). The Convention provided a very important incentive to defining the future Strategy of Cultural Development of the Republic of Serbia (for the period of 10 years), which creation is envisaged by the Article 19 of the Law on Culture and which is in progress.During 2011 the new Law on Libraries and the Law on Cinematography became in force. Article 2 of the Law on Libraries (Official Gazette of the Republic of Serbia, No. 52/11) defines general interest in librarian field precisely by leaning to the principles of the Convention through provision of free access to information, knowledge and ideas, as well as ensuring right to realization of personal and intellectual freedom of citizens.The Law on Cinematography (Official Gazette of the Republic of Serbia, No. 99/11) states that encouraging cultural diversity presents a general interest in the area of cinematography (Article 19, item 12), and it is being continued by the realization of right to cultural specificity in the area of cinematography of national minorities’ members (item 13), improvement of cooperation and integrations of domestic cinematography into the European and global cinematography development programs (item 11). Since 2009 more delegated legislation were passed that directly or indirectly refer to the area of cultural industries, such as, for example, the Regulation of the method on record keeping of contents documents of freelance artists (Official Gazette of the Republic of Serbia, No. 41/2010).As part of regulatory measures in 2011, the Public Information Strategy in Serbia entered into force (Official Gazette of the Republic of Serbia, No. 75/2011), which explicitly envisages cultural diversity as one of the criteria for decision making on co-funding projects of public interest in the media sector. The Strategy also emphasizes the development of media pluralism through the diversity of ownership, sources of information and media contents, ensuring pluralism and freedom of speech in media, which enables the implementation of the Convention through the national legislation.Challenges identified in the implementation of this measure: Applying new legislation according to the principles of the Convention; implementation of the Public Information Strategy and its mission to properly promote media diversity in order to meet the interests and needs of citizens in accordance with the principles and freedom of expression and free flow of information, professional and ethical requirements of objectivity, truthfulness, balance and respect of human dignity.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónMinistry of Culture and MediaYESThe beginning of implementation of measures through national legislation.Systemic contribution to implementation of the Convention.
1514972582013SerbiaNew initiatives for strengthening bilateral cooperation in the framework of economic fieldIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/new-initiatives-strengtheninghttps://es.unesco.org/creativity/node/151490Development of new cooperation formats through Joint Ministerial Commissions of States.InternationalWithin the scope of strengthening of traditional bonds of friendship and international cooperation, a new practice has been established by introducing of the field of culture into documents that concern economic and scientific-technical cooperation and are adopted at meetings of bilateral level - Joint Ministerial Commissions of States. Some of examples are: Serbian-Algerian commission for economic and scientific-economic cooperation (November 2009) where exchange of documentary movies is mentioned; Commission of Serbia and Arabian Republic of Egypt (Mаy 2010) when Egyptian side invited Serbian side to participate in international art festivals; Serbian-Ukrainian commission for trade, economic and scientific-technical cooperation (January 2012) confirming the will of the Parties to improve cooperation in the field of culture and enable creation of film co-productions; Serbian-Belorussian commission (January 2012) where there exists recommendation to competent authorities of Belarus to consider option that two business premises within the Trade Center Stolica in Minsk are offered on a lease to Serbian companies, to be used for sale of fashion shoes and designer clothes and/or other products from Serbian manufacturers; Joint Commission of Serbia and Azerbaijan (May 2010, November 2011, November 2012) support to organization of concerts and art groups and artists tours; participation of artists and theatre troupes in international music and theatre festivals in their countries, as well as organization of exhibitions of fine arts.INTERNATIONAL CULTURAL COOPERATIONDistribución, ParticipaciónMinistry of Culture and Media, Ministry of Finance
1514672582013SerbiaPublic financial support for ensuring opportunities for domestic cultural activities, goods and servicesSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/public-financial-support-ensuringhttps://es.unesco.org/creativity/node/151460Implementation of the Articles: 6, 7, 8 of the Convention and promotion of measures aimed at protecting and promoting the diversity of cultural expressions within the national territory.Local, Regional, NationalThis measure is focused on providing public funding at all government levels through public Calls for Applications. Financial support is being given to cultural and media programs and improvement of infrastructure. Having the Law on Culture come into force, in 2010 the Regulation of methodology, criteria and standards of grant procedure for projects/programs in the field of culture (Official Gazette of the Republic of Serbia, No. 57/2010) was adopted. One of the explicit criteria for co-funding of projects is the diversity of cultural expressions. This criterion is being applied to nine area of Calls for Application, which the Ministry announces annually.In the field of music production, the Ministry supported some of the most significant music festivals such as: the "Exit" in Novi Sad, the "Nišville Jazz Festival" in Niš, the Dragačevo’s Brass Bands Festival in Guča, a globally unique competition of national brass bands traditionally held since 1961, and many others. These events contribute to the decentralization of musical life, better dissemination of musical expressions, and to increasing participation in the musical life. The "Exit" festival, which is being organized in Novi Sad each year since 2000, has been singled out as a particularly successful example. During four days, the festival is visited by 200,000 people from 50 countries each year. According to some estimations, the festival brings 13.6 million euro in city economy.In the area of film production the Ministry, together with other levels of government, annually supports about 20 film festivals and programs among which are the "Palić Film Festival", the International Film and Music Festival "Küstendorf", the Festival of Documentary Film, and others. These events contribute to the promotion of young film creators, non-commercial artistic achievements and to the promotion of cinematography in general. For example, the "Küstendorf " Festival, apart from showing contemporary independent film masterpieces, provides the opportunity to students and young film makers to be in touch with well known directors worldwide through workshops that accompany the Festival, and to exchange experiences and opinions. All that is a stimulus for creativity and cultural exchange. The founder of this festival is the eminent film director Emir Kusturica, and it is being held at the mountain Mokra Gora, on the Mećavnik hill, where ethno-village Drvengrad was made.In the area of visual arts and multimedia over 100 projects are being supported annually (2009-83; 2010-141; 2011-150). Most of them are projects of non-governmental organizations. There are also projects related to representative events featuring actual tendencies in the domain of visual arts such as "The October Art Salon". Throughout the five decades of its existence "The October Art Salon" underwent a dynamic transformation from a non-competition exhibition to an international authors’ manifestation and an important event for promotion of visual arts, visited by 100,000 people annually. The next example is "The Belgrade International Architecture Week" (BINA) organized by the Belgrade Society of Architects, which presents current activities in domestic and international architecture within a series of exhibitions, lectures, workshops, forums and projections.The practice of co-funding was established by the Protocol on joint participation in funding of events in the area of culture significant for the city of Belgrade between the Ministry of Culture and the City of Belgrade signed in 2010. Protocol provided the lasting source for funding some of the most important events for the city of Belgrade and the state as well ("Belgrade International Theatre Festival" – BITEF, "Belgrade Music Festival" – BEMUS, "International Film Festival" – FEST, "Belgrade Documentary and Short Film Festival", "October Art Salon", and "International Jeunesses Musicales Competition"). They all contribute to the improvement of production, diffusion and dissemination of diversity of cultural expressions and to facilitation of the dialogue among cultures, especially due to their international aspects."The Belgrade Dance Festival"¸ an international event for promotion of new dance and choreographic achievements also deserves a significant attention. It was founded in 2003 at the initiative of the International Dance Council (CID) of UNESCO, Paris, and the program selector is a choreographer Aja Jung. The festival set up standards of contemporary dance and theatre aesthetics, and provided support to domestic professional dancers, pedagogy workers, choreographers and young ballet talents by presenting the best achievements of the dance arts. Through various projects this Festival contributes to the developments of artistic dance in Serbia. Due to this festival our country hosted some of the most famous choreographic and dance groups. The Festival has been developing due to the a continued support of the Ministry, the Secretariat for Culture of the City of Belgrade, as well as foreign embassies, cultural centres and other institutions of participating countries. The partnership between private, civil and public sectors provided great results and introduced recognizable investment models of large companies into the Serbian culture. For example, the “VIP Invites” award “returns” our prominent dance artists who made their careers outside of Serbia and who are awarded with the recognition for artistic opus and promotion of our ballet art abroad. The jubilee 10th "Belgrade Dance Festival" was organized under the auspices of the Delegation of the European Union. By signing the Protocol on Cooperation with the Ministry of Culture in November 2010, the festival received a long-term support, in this way the project become more sustainable.Support to the encouragement of free flow of ideas and cultural expressions, mobility and facilitation of mutual dialogue among cultures, were mainly enforced at the national and provincial levels, and the level of the City of Belgrade. On the other hand, this aspect of improvement of cultural diversity was considerably neglected at the local level due to the difficult economic situation. Among the interesting examples of projects of best practices related to mutual dialogue among cultures is the "Regional Creative Studio – Jozef Nađ" in Kanjiža, an independent initiative in the area of performing arts and contemporary dance. With its own theatre productions, this institution nourishes and develops cultural diversity not only of Vojvodina, where it is based, but beyond. Through the intensive international cooperation it contributes to the improvement of mutual dialogue among cultures including new generations of actorsdancers and the audience.The example of good practice in regional cooperation is the Belgrade Philharmonic Orchestra, which participates in the project called "Tačka-Točka-Pika". The project was designed as a bridge between cultural capitals of the region. It is the first project of this type in the area of culture in the region, implying the cooperation of three philharmonic orchestras – Belgrade, Zagreb and Slovenian, throughout the five-year period. The project’s significance is seen in establishment of the network of regular partners, the improvement of regional cooperation, enhancement of mobility and better positioning of Serbian music production into the European context. Projects "Suno e RRomengo" (production of the Roma people’s plays and education of actors) and the "Workshop of Integration" (theatre for the blind and people with poor sight and their inclusion into cultural and social life) are the examples of the support given to the diversity of cultural expressions of minority groups and other sensitive social groups. These projects were supported due to the signed protocols between the Ministry of Culture and the Executive Council of the AP Vojvodina, the Municipality of Inđija and the Theatre (for the project "Suno e RRomengo") and the Association of Citizens Workshop of Integration (for the project "Workshop of Integration").According to the fact that the Ministry of Culture and the Secretariat for Culture and Public Information of Vojvodina are responsible for field of media, they support media programs through Annual Open Calls. In such way national minorities are provided to have media in their own languages and in the same time language diversity and diversity of media productions and dissemination are ensured. For example, the Ministry supports printed public media in languages of following national minorities: Albanian, Bosnian, Romani and Bulgarian. This is in line with the fact that Serbia is a multiethnic country, especially Autonomous Province of Vojvodina, where, according to the latest census in 2011, live over 21 national minorities. This support ensures respecting of human and minority rights, consideration of cultural, linguistic, religious diversity which are guaranteed by the the Constitution of the Republic of Serbia (Article 48). Data from the latest census in 2011 show that there are 17 different languages that are most frequently spoken in the Republic of Serbia, i.e. those languages that at least 2,000 people considers as their mother tongue. Beside Serbian, in Serbia languages that spoken are as follows: Hungarian, Slovak, Croatian, Romani, Romanian, Rusian, Ruthenian, Ukrainian, Slovenian, Bulgarian, Macedonian, Albanian and other. As far as language diversity, it is important to mention that UNESCO International Mother Language Day is been celebrating in Serbia by various institutions in various local communities. One of the examples is Gallery Babka in the Municipality of Kovacica in Vojvodina. As a multiethnic and also multilanguage municipality where Serbian, Slovak, Hungarian and Romanian language are spoken, this seemed to be the perfect place for celebrating this day. This gallery has been celebrating International Mother Language Day from 2002. On the occasion various public events (round table, discussions, exhibitions) are organized and supported by the Ministry of Culture, Government of Autonomous Province of Vojvodina, and the Municipality of Kovačica.As one of the measures for promoting participation in culture, the Ministry used the format of pronouncement of "The Year of … " e.g. Book, Film, etc. The 2011 has been pronounced as the "Year of Book and Languages", which brought writers, publishers, libraries and languages to a focus. Numerous scientific meetings, professional consultations and seminars dedicated to the Serbian literature, the development of publishing and librarianship and the future of these professions were held. Year 2012 was pronounced as the "Year of Film", when the 100th anniversary of the Serbian film was celebrated. In cooperation with the French National Audio-Visual Institute – INA (Institut national de l'audiovisuel), the transformation of the "Filmske novosti" institution into the Center of Audiovisual Heritage was initiated. That was the first step in preservation of everything remained that would be put on audio and video carriers (sound records, music, television production, video records, photography, etc).The support to artists in the process of creating cultural expressions (Article 6, paragraph g) was given through the improvement of their social and economic status. It is the most noted of the indirect economic measures concerning the implementation of the Article 6 of the Convention. This implies the decrease of income taxes for artists and cultural creators. This is achieved by setting the limits of standardized costs for works in artistic and cultural domain higher than for works from other fields , while time limitation of income from the artistic work is allowed for five years. However, the existing measures should be further improved since most artists and cultural creators agrees that the work in culture and cultural industries is burdened by taxes. Due to reduced budgets only few organizations can provide adequate amounts to cover fees for artists and cultural practitioners. As part of the improvement of social status of artists, the cities of Belgrade and Novi Sad finance payments of social contributions for independent artists with the most endangered economic status. For example, the Secretariat for Culture of the City of Belgrade annually spends about 1 million euro for this measure, which is about 3,67% of the total budget for culture of the City of Belgrade. The fee is paid annually for about 1,600 independent artists living in the City of Belgrade. As part of the improvement of economic status of artists, the Ministry of Culture awards a lump sum fees in the form of national pensions to prominent artists and cultural creators. 412 artists and workers in culture received payment of national pensions for cultural contribution in the amount of 500 euro per month.In the context of the supporting artists in this four year period, it is important to point out that five professional associations from the field, of visual arts obtained status of the representative cultural associations at the national level: Association of Fine Artists of Serbia (ULUS), Belgrade, Association of Applied Artists and Designers of Serbia (ULUPUDS), Belgrade, Association of Applied Artists and Designers of Vojvodina (UPIDIV), Novi Sad, Association of fine Artists of Vojvodina (ULUV), and Photo, Cinema and Video Association of Vojvodina, Novi Sad. Obtaining the status of a representative cultural association is extremely important for civil society organizations because through this status, these organizations do the work that the state administration entrusts them with. These activities relate to the status of individual artists: gaining the status of an individual cultural professional, keep records of individual artists and other tasks related to rights and obligations relating to the status of individual artists and cultural professionals.Tax support: Further measures in the tax policy corpus relate to the tax support for better funding of production, dissemination and distribution of cultural goods and services through tax benefits for donations. The benefits for donations were increased from 1,5% to 3,5% of the total income of companies and corporations. Changes took place when in 2010 the Law on Corporate Income Tax (Official Gazette of the Republic of Serbia, No. 18/10) came into force. Article 15, paragraph 3, of this law envisages the expenses for investment into the area of culture to be acknowledged as an expense up to 3.5% of the total income. Support to infrastructure: One of the largest challenges in funding of diversity of cultural expressions presented a provision of access to infrastructure for creation, production, diffusion and distribution of cultural contents. Some of the most significant infrastructural projects were the renovation of national cultural institutions of Yugoslav Film Cinemateque and the National Library of Serbia, Cultural Center Dom Omladine, cultural institutions of the City of Belgrade, as well as investments into the network of cinemas in Serbia within the program Digitalization of Cinemas.The building of the Yugoslav Film Cinémathèque was reconstructed using the funds of the National Investment Plan. Nowadays, the Cinemateque has four projection halls with total capacity of 500 seats and 6 new depots. The importance of these investments is reflected in the fact that this is an institution of special significance for Serbia, established in 1949. Apart from the domestic film production, it contains all the most valuable works from the world film history. Over 85,000 copies, in various formats, silent, sound, black and white and colour ones, are kept there. Apart from the archives, there is also the museum, library and cinema.In the same year restoration of the cinema "Fontana" in Novi Beograd, one of the Belgrade City municipalities, was completed. The cinema was opened within the "Francophony Film Festival" as part of the celebration of the Day of International Organisation of Francophonie. The cinema "Fontana," one of the cinemas for the population of Novi Beograd, was restored after more than 10 years, with the intention to develop the Center of European and Children’s Film as the educational segment of film art. Partners in realization of program of the "European and Children’s film" are the Film Art Center "Art & Popcorn" and the Children’s Film Festival "Kids Fest".The U.S.A. Embassy in Belgrade provided one million dollars to be spend on one infrastructure project in Belgrade. The citizens of Belgrade had the opportunity to decide whether this grant would be spent on the reconstruction of the Culture center Dom Omladine or the City’s Institute for Emergency Medical Assistance. Voting by phone and via Internet they selected reconstruction of the Dom Omladine. After the completion of the project in 2009 this culture institution have conditions for organizing the most quality cultural events, including the cinema technique for 3D projections.Also, five cinemas were adapted due to the accession of Serbia to the Eurimage program of the Council of Europe (November 2004), three of which in Belgrade (Art Cinema Museum, the Dom Sindikata Hall, Belgrade Cultural Center Hall), one in Kraljevo and one in Zrenjanin. Support to cinema infrastructure is very significant having in mind that cinema system in Serbia was devastated, that there have been no investment in this field for decades, that most of them are closed, and 30% of exclusively cinema halls belongs to state companies mainly in bankruptcy proceedings, while there are very few privately owned cinemas.Support to infrastructure was provided to the civil society, as well. One of the examples is the Cultural Center "Grad", an independent organization that moved into a rearranged space of the Old Warehouse from 1884, which made it into a multifunctional space for organizing very diverse events – from exhibitions and performances to conferences and debates.Challenges identified in the implementation of this measure: The main challenge is ensuring of sufficient funds for culture. Due to economic crisis effects, in the past few years the Ministry of Culture and other government bodies are faced with great challenges and difficulties. Most funds are being redirected into the areas more seriously affected by the crisis, which can cause the social crisis as well, so there is less and less funds available for culture. For example, in 2012 the budget planned for culture reached the lowest level in the past 10 years, and one should equally have in mind that the entire public expenditure is under restrictions. Most of flagship projects initiated in the previous period remained unrealized due to reduced money income, while local levels have a constant problem to fund infrastructure dating back to the period before ratification of the Convention.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónMinistry of Culture and Media, Ministry of Economy, Secretariat for Culture and Public Information of the Autonomous Province of Vojvodina, Secretariat for Economy of the Autonomous Province of Vojvodina, The City of Belgrade, The City of Novi Sad, The Municipality of Inđija, The Municipality of Kanjiza, The U.S.A. Embassy in Belgrade, "VIP mobile" companyYESA total of 125.8 million euro at all government levels was annually invested into the improvement of diversity of cultural expressions.Access to finance for projects of independent participants of cultural scene and other organizations (Article 6, paragraphs b and g) was 12% at the national and local level, i.e. 3% of the total funds intended for support to cultural diversity, while its share at the Belgrade city level was 12,8%. The provincial allocation of funds shows significantly better results, where about 50% of total funds were redirected to funding of these projects. For the improvement of dialogue among cultures (Article 6, paragraph e) averagely 2,19 million euro was annually spent – and averagely 1.72 million euro was annually spent at the national level, while about 450,000 euro was annually spent at the Belgrade city level for these purposes.19.2 million euro was spent on the infrastructural support, and funds of this type made 6,4% of the republic budget, 4,6% of the provincial budget and 2,1% of the local budgets, 8% of the Belgrade city budget for cultural diversity.On average 2,19 million euro was annually spent for presentation Serbian culture in the world and for facilitating mutual dialogue among cultures, mostly allocated at the Republic and Belgrade city levels, while this aspect of cultural diversity improvement was largely neglected at the level of local self-governments due to a difficult economic situation.Evaluation and analysis of cultural industries and diversity of cultural expressions in Serbia in the framework of preparing Quadrennial National report.total amount allocated to culture;amount per type of investments.
1514372582013SerbiaSupport to Collaborative Platforms in Contemporary Art Production and Cultural IndustriesSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, Entorno digitalCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/support-collaborative-platformshttps://es.unesco.org/creativity/node/151430Enabling environment for mobility, networking, creative new generations of artists, and strengthening cooperation between civil, private and public sector.Local, Regional, National, InternationalSeveral collaborative platforms in cultural industries were created. At the moment, five of them have a very active role: "Nova Iskra" - Design Incubator, "Design Center Čajetina", "Designed. RS" platform, "Belgrade Fashion Week" and "Independent Cultural Scene of Serbia"."Nova Iskra" - Design Incubator is a type of "rent-a-desk" business incubator intended for creation of conditions for joint work and promotion of young designers. It started its operation in December 2012, and the Belgrade City Municipality of Savski Venac, where it is located, supported its work. The incubator has 48 members (young architects, designers, costume designers, photographers, etc). One of the roles of the "Nova Iskra" platform is to provide work space through the "DESIGNERS LAB" platform for creative young people, and provide them a work space according to the “rent-a-desk” principle at an economical price, as well as an extensive professional improvement program. Usage of the space is performed according to the “co-working” model, by announcing a public call for creative young people from 22 to 35. Apart from this, there is also a "Creative Hub" network within the Design Incubator, made of young asserted and non-asserted designers of industrial design, architecture, interior design, graphic design, as well as other creative people, and an INDUSTRY HUB, gathering small and medium-sized companies that need creative-professional services. This is how the network of partners is established, both at the side of economy and in the cultural industries domain. Until it officially started, "Nova iskra" was focused on advocacy activities, promotion of young creators and providing them high quality education.Design Centre in Čajetina was made through the project "The Old Crafts for the New Age" designed for strengthening and networking of socially vulnerable women in order to their better involvement into the local life in the South-West Serbia. The project was implemented at the territory of three municipalities of the Zlatibor region that supported the project: Čajetina, Prijepolje and Nova Varoš. The project included creation and networking of associations for manufacturing, promotion and sales of manually crafted souvenirs, connecting rural and urban creative industries and establishing better ties between traditional crafts and cultural industries in order to create a modern ethno products. Design Center in Čajetina and training centers in the municipalities of Prijepolje and Nova Varoš provided women trainings in manufacturing, packaging, promotion and management of fashion works and textile souvenirs. Over 70 women from Zlatibor region were trained and employed due to the project. Through cooperation with famous fashion designers, members of the Association produced accessories, clothing and decorations from natural and organic materials by applying the following techniques: knitting, gold embroidery, silver embroidery, weaving and crochet. Apart from this, the special fashion lines were designed, which include 20 fashion products specially designed within this project. Fashion works were presented at the "Amstel Fashion Week", the Fair of Tourism (in cooperation with the Ethnographic Museum in Belgrade), the "Belgrade Fashion Week", etc."Designed. RS" is a collaborative virtual platform for young designers and visual artists. Its objective is to establish better communication between the design community and to create a space for the exchange of ideas and information in the area of design and to contribute to its broader visibility. The platform has 4,000 registered members at the portal and 11,000 members on Facebook. "Designed. RS" provides information to design community on new achievements in the area of design and business offers. The significant project of this platform is "PACTIVITY", the first national competition for selection and awarding for the best designed packages in Serbia, which contributes to the quality valorisation of design and its visibility. This award is realized in cooperation with SIEPA. The award ceremony is being held together with "PACTIVITY" conference intended for professionalization of designers and making them capable for inclusion into economy operations. From 2009 to 2012 the platform organized 38 events and presentations where Serbian design was promoted, and about 16 workshops focused at professionalization of designers; the database of 200 young non-asserted designers was created and they promoted their works through the "High5" directory. Since it was established, the "Designed. RS" platform supported or as a partner participated in all relevant events and projects in the filed of creative industries, among which is "Graphical Designer: Author or Universal Soldier" and in projects of "Nova Iskra"."Belgrade Fashion Week" is a collaborative platform in the area of fashion design. This platform is primarily focused on the promotion of fashion scene, networking of young fashion designers and costume designers, and their encouraging of market expansion for the designers’ fashion. It connects domestic fashion scenes with the neighboring regional markets and leading global fashion centers. In the end of 2008, the "Balkan Fashion Week" was initiated in order to designers’ fashion in this region become sustainable in future. This resulted in the occurrence of project "Zona 45" that symbolizes the regional fashion scene marked by the 45th geographical meridian passing through Croatia, Slovenia and Serbia, countries currently involved within the project. From 2009 to 2012, 117 independent designers were presented, 17 joint fashion shows were organized, mainly of students from the Faculty of Applied Arts, and 56 young nonasserted fashion designers and costume designers were promoted. In the same period 202 collections were presented in total, each year visited by about 20,000 visitors. Apart from the fashion shows, other activities also were organized, such as: lecture of Stefan Siegel, one of the founders of the largest fashion platform "Not just a label" on the topic of networking of designers into an online shops (2012), presentations of the fashion collection "Svetlost" within the celebration of the jubilee of 150 years since the birth of the scientist Nikola Tesla, presentation of Serbian designers within the exhibition "Impossible" at the "London Fashion Week" (2012), Children’s art workshops of fashion design (2012), exhibition "Zubun - 2010 Serbian folklore in the modern design" (2010 in cooperation with the Ethnographic Museum).MIKSER is a multidisciplinary platform which centers on the affirmation of cultural industry of the SEE and the organization of the biggest regional festival of creative arts. It gathers together professionals and enthusiasts who, through their different transcultural projects, support the development of national and regional creative economy, and who facilitate a dialogue between contemporary global trends and domestic, as well as regional practice. Projects such as “Ghost Project” – the international showcase of young industrial designers, for small wooden objects, and “Young Balkan Designers” – a selection of the best product designs of the region, which MIKSER proudly displays at Italy Milan’s furniture fair (I Saloni) – the world’s largest design expo. The Soundtrack Call, in which over 80 bands from the region taking part, and the Literary competition for new and unpublished stories about the Savamala and Savska padina quarters of Belgrade, conducted in cooperation with the Arhipelag publishing company, are completed at the festival. One of the Mikser's activities is urban regeneration of the Belgrade quarter called Savamala, one of the oldest parts of the Belgrade city, placed near the Danube river. In the past, this was very important and central part of the city, but nowdays is rather marginalized. The Mikser ”Urban Lab” program gathering some of the key players for the future of Savamala (representatives of the municipality, city, local community, urban planners and small businessmen), who are trying to find a model for its development at a round table, and show that progress is possible without grandiose state investments and private investments worth millions. The visual segment of the program, is democratizing the field of visual arts through the program entitled “Curating: A Moving Experience”. Young artists are, in equal cooperation with their more experienced colleagues curators, present their vision of life and experience of Belgrade, in accordance with the festival's topic - “Transit”, and to make the whole thing more impressive and dynamic, the artists will use trucks as a means of conveying their message.All this exemplifies MIKSER’s philosophy, which is based on the nurture of young talents, not only from the sphere of design, but also from various other creative disciplines. With the creation of its own, unique platform for interaction between designers, architects, artists, companies, independent organizations, public institutions and the media, the Mikser organization has set-up and now manages its own festival of creative industry, simply known as MIKSER. Through a number of multidisciplinary projects within the festival – competitions, workshops, installations and performances that are organized in cooperation with a large number of experts and artists – the Mikser organization continue the process of urban transformation.The central place of the festival is the new permanent city content, a conceptual institution of culture – Mikser House, which is transformed during the festival into a specific agora for exchanging opinions and experiences. A diverse program take place here – from workshops, exhibitions, lectures and round tables to music contents. After the event, Mikser House is sublimate all the programs that are promoted by the festival itself, from high culture contents, through education from the field of contemporary creative disciplines, to a market with a wide range of innovative designer products including furniture, fashion, publishing, gastronomy, etc."The Independent Cultural Scene of Serbia" has 78 members from 20 cities and municipalities of Serbia and it gathers over 2,500 artists and managers in culture. Each year it produces between 1,200 and 1,500 programs, among which the large number of significant exhibitions from the area of contemporary visual production. The objectives of these platforms are the development of innovative, critical and experimental artistic and cultural production, the development of international cultural cooperation, especially cultural cooperation in the region of South-East Europe, improvement of cooperation between public and civil sectors, the development of inter-cultural dialogue and nourishment of cultural diversity, strengthening of capacities of civil society participants. The programs of this platform are examples of innovative and socially engaged cultural production in Serbia. One of the most significant initiatives of this network is launching of the "MANEK" magazine in the form of fanzine in order to improve visibility of the independent cultural organizations and to promote its activities and services (programs and trainings).Challenges identified in the implementation of this measure: There is still no adequate strong partnership between civil, private and public sectors and that kind of cooperation has not been explore in full capacity. Because of that, collaborative platforms in cultural industries are still not well structured and not achieved wished synergy. Collaboration are mostly established at an "ad hock" basis /project oriented, instead of having developing nature and long-term framework.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónMinistry of Culture and Media, Ministry of Economy, Ministry of Trade, Serbia Investment and Export Promotion Agency, The City of Belgrade, Tourism Organization of Serbia, The municipalities of: Čajetina, Prijepolje and Nova Varoš, Belgrade City Municipality - Savski VenacYESSupport was given to different projects/programs focused on culture as such or designed to have direct effect on cultural expressions of individuals, groups, societies including the creation, production, dissemination, distribution of and access to cultural activities, goods and services.Through existing collaborative platforms support was given to over 400 individual projects/programs and activities (meetings, workshops, trainings), that networked more than 435 artists and creators. The visibility of artists of different profiles was also enabled.Annual reports of the Ministry of Culture and Media in the period from 2009-2012; Evaluation and analysis of cultural industries anddiversity of cultural expressions in Serbia in the framework of preparing Quadrennial National report.number of collaborative platforms;number of supported artists;number of supported project/programs;number and types of implemented activities.
1520672582013SerbiaStimulate dynamic bilateral cooperationIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Tratados y acuerdosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/stimulate-dynamic-bilateralhttps://es.unesco.org/creativity/node/152060The Programs and Protocols on cooperation in the field of culture have been signed with a number of countries, such as: India, Turkey, Ukraine, China, Russia, Macedonia, Slovenia, Kuwait, Algeria, and Armenia. Also, specific documents related to realization of projects have been signed, and one of those is Memo on cooperation between the Ministry of Culture of the Republic of Serbia and Leipzig Book Fair for 2010, 2011 and 2012. Special attention in all programs of cooperation is dedicated to exchange of cultural activities, goods and services, facilitating access of cultural expressions from ones territory as well as from territories of other countries (Article 7), because stipulations of these documents bind all signatories to enable through their policies, among other, creation of co-production with countries partners, primarily in audio-visual field and performing arts.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónMinistry of Culture and MediaYESAnnual Reports of the Ministry of Culture and Media.- signed Programs and Protocols on cooperation in the field of culture.
1514872582013SerbiaStrategic programs to support the representation of Serbian culture in foreign countriesIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturalesCine / Artes audiovisuales, Industria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/strategic-programs-supporthttps://es.unesco.org/creativity/node/151480а) Presentation of domestic literature in the worldThe Ministry started the presentation of projects of national importance through translation of domestic literature into foreign languages. Books of Serbian writers are translated, and are mainly published by small or medium sized foreign publishing companies, specialized in certain topic or field of literature. Regarding this, interest in translation of Serbian literature has increased and our literature gained reputation and recognition on a world scale. In connection to above mentioned, there is almost no book from important Serbian writers that has not been translated into one or more foreign languages. The most of the translation was published in German, Bulgarian and Macedonian. It has been noticed that due to insufficient number of translators we are lacking translations into the following languages: Romanian, Turkish, Persian, Portuguese, Flemish, Scandinavian and Baltic languages, languages of the people of India and Far East, as well as into Russian and Belarusian. The Ministry in partnership with Chamber of Commerce and Industry of Serbia and its Association of creative industry participated in over 30 Book Fairs throughout Europe. Serbia presented itself as the guest of honor on two book fairs: Fair in Leipzig in 2011, at which Serbia was the country in focus and at Fair in Thessaloniki in 2012. Within the scope of international promotion of literature, the project “Serbian prose in translation” deserves a significant attention. It is directed to annual support to translation of five domestic pieces into English. That enables putting our literary pieces in English on Anglo-Saxon and domestic market. Also, this project provides opportunity our literary pieces to be translated in other languages. Although the program is still an emerging initiative, tendencies on the market of Anglo-Saxon publishers, who have in their catalogues 3% of translated pieces from areas of non Anglo-Saxon languages should be taken into account, and successes of selection of domestic literary works into catalogue of translated books may be considered as more than significant. International translating center in Sremski Karlovci has been founded and Museum of languages in Tršić, birth place of Vuk Karadžić, founder of Serbian Cyrillic, has been opened. Residency house for writers in Tršić has been opened, intended for the work of foreign guests, authors who have at their disposal place to work and are enabled to get to know our environment.b) Presentation of domestic cinematography in the worldFilm center of Serbia presented new Serbian production as well as film projects in progress at pavilions at festivals in Cannes and Berlin. This was an occasion for promotion filming locations in Serbia and exploring possibilities looking for possible co-producers. Through promotion of national cinematography Serbia promotes itself as a cultural environment, economic partner in the field of cinematography. "Weeks and Days of Serbian Film" were promoted worldwide. This events were mainly financed by foreign partners (relevant film institution, festival or some independent association), and partly by the Ministry.InternationalChallenges identified in the implementation of this measure: It is obvious that above mention activities - international representation of Serbian literature and cinematography have been priorities of the Ministry in the scope of 2009-2012.INTERNATIONAL CULTURAL COOPERATIONDistribución, ParticipaciónMinistry of Culture and MediaYESWithin the scope of Open Call for Foreign Publishers for Translations of Serbian Literature, total of 189 translations of Serbian books into 21 foreign languages were supported, and for this purpose a sum of 245.920 euro was allocated (Annual Reports of the Ministry of Culture and Media; survey on titles of Serbian domestic writers translated and published abroad due to the support of the Ministry of Culture and Media in the period from 2008-2012) Participation in all relevant international film festivals in Europe and beyond: 2009-2012 period – manifestations have been held with help of domestic public funds, in Bratislava, in Washington, in Kiev, Istra, Beijing and Shanghai, New York, Cairo, Bucharest, Poznan, Helsinki, Torun (Poland), Paris, Stuttgart, Budapest, Rijeka, Hefei (China), Rabat, Stockholm, Vsetin (Czech Republic), Wroclaw (Poland), Johannesburg, Brussels and other.Annual Reports of the Ministry of Culture and Media;Veskovic, M. Prevodi dela srpskih pisaca na strane jezike 2008-2012. kroz prizmu konkursa Ministarstva kulture i informisanja (unpublished report)
1514572582013SerbiaCreative Space Serbia: export promote emerging creative industriesIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturalesCine / Artes audiovisuales, Diseñohttps://es.unesco.org/creativity/policy-monitoring-platform/creative-space-serbia-exporthttps://es.unesco.org/creativity/node/151450Support measures designed to have a direct effect in cultural expressions of individuals, groups or societies, including on the creation, production, dissemination, distribution and access to cultural activities, goods and services.Exploring the possibilities for promotion of Serbian designers and creators at the foreign markets and partnership with business sector.InternationalSerbia Investment and Export Promotion Agency (SIEPA) initiated and participated in the promotion of cultural industries in order to expand the market for cultural expressions in the emerging cultural industries field. It is precisely the mission of this agency to use its activities to help Serbian companies to export their products and services and become more competitive in foreign markets. The "Creative Space Serbia" is a platform for supporting cultural industries, through which several program lines are supported: Design Exhibition in Milan, Italy (each year since 2009), promoting Serbia as an attractive filming location, and "REDesigne" – designing new brands. At the exhibitions in the city of Milan, Serbian designers have been promoted, but also the cooperation of domestic designers and furniture manufacturers. There is an Open Calls for participating in this exhibition.Promotion of Serbia as a filming location is being performed at specialized fairs through brochures and promotional material of SIEPA. In 2009 the Film Association was supported for participating at the "Filming Locations Fair" in Los Angeles, where certain places in Serbia were promoted as potential film locations."REDesigne" is the program for designing new brands. SIEPA supports students of industrial design through this program for redesigning packages of existing export oriented products.Challenges  identified in the implementation of this measure: Cultural industries are still not adequately recognized in Serbia, and activities that are being performed are still at their beginning and based on the sensibility of both the certain government bodies and the creative sector. A small and limited budget of SIEPA is being directed towards the promotion of export branches that have been recognized as a priority. That is why limitations are visible on the scope of activities in cultural industry, their export promotion and facilitation of access to new markets.CULTURAL POLICIES AND MEASURESDistribuciónSerbia Investment and Export Promotion AgencyYES37 designers and design studios were supported at the "Satellite salon", "Milan Furniture Fair", "Milan Design Week" and "Zona Tortona", and in 2011 the brand of Serbian design was presented for the first time. Companies and creative artists are connected and many design solution were developed, which contributed to the expansion of a new market for the domestic design. With these activities the international visibility and inquiries for production of design solutions were achieved, primarily for foreign hotels and restaurants. Serbia has been actively promoting itself as an attractive filming location in international film markets and respectable Fairs.Evaluation and analysis of cultural industries and diversity of cultural expressions in Serbia in the framework of preparing Quadrennial National report.number of supported designers and design studios;number of trade fairs where designers participated in;agreements accomplished between Serbian creators and foreign companies;quality of the cooperation and provided design services;Serbia as film making destination and an attractive filming location.
1514272582013SerbiaInstitutional developmentSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, Alianza con la sociedad civilCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/institutional-developmenthttps://es.unesco.org/creativity/node/151420Improvement of measures dedicated to institutional support through establishing new models of partnerships for creating a dialogue among different stakeholders and strengthen intersectorial cooperation.NationalAccording to the Article 15 of the Law on Culture, in May 2011 the Ministry established the National Council for Culture, arms-length body, with the mission to be an advisory body to the National Assembly of the Republic of Serbia, the Ministry and the Government of the Republic of Serbia in preservation, development and dissemination of culture.After approval of the Convention, the Department for Contemporary Production within the Ministry became the Department for Contemporary Production and Creative Industries. According to this, a unique position of Coordinator for Cultural Industries Development was established by the Regulation on internal organization and systematization of positions at the Ministry. The responsibilities of the Coordinator are as follows: to give an administrative and professional support to the development of cultural industries, to prepare analysis, reports and information on performance of activities in the field of cultural industries and propose measures for the improvement of condition in the field, as well as to prepare professional basis for laws and strategic documents.As one of the forms of organizational and institutional measures of cultural policy, in 2010 the Ministry established a Working Group for the development of creative industries (Ministry Decision no. 119-01-26/2011-6) aiming to assist the Ministry in the development of support programs in creative industries and to work on establishing intersectorial cooperation in this domain. Specifically, to propose priority measures and activities and to work on establishing competition procedure, to propose budget for implementation of activities, as well as alternative models of funding, mapping of potential partners for cooperation and other. The Coordinator for Cultural Industries Development participated in the activities of this WG. The activities of the WG resulted in the "Creative Serbia 2020" program, as a proposal of measures and activities for the improvement of institutional and developmental support to creative industries in Serbia and encouragement of entrepreneurial spirit of all actors in creative industries. Due to the expiration of the mandate of the WG (2012), the project was not realized as a state program, but partners gathered around this project initiative continued working on the economic strengthening of creative industries through the platform of public-private partnership "Creative Serbia" coordinated by the Creative Economy Group, Belgrade. As the result of the WG activities, the publication "Creative Serbia" (2011) was published. Having in mind that civil society has been recognized by the Law on Culture as an important actor in cultural life and for development, the Ministry also established the Working Group for cooperation with civil society, which is still active. This WG was founded after the signing of the Protocol on Cooperation with the umbrella organization "Independent Cultural Scene of Serbia" that gathers about 78 civil organizations in the area of culture (Protocol on Cooperation No: 6-00-1/2011-01 of 19th January 2011). The WG was founded in order to establish the dialogue between the Ministry and civil society organizations, to work on needs assessment of independent artistic scene and its active inclusion in the implementation of the cultural policy. The institutional support to audiovisual field was given in 2011 by establishing of the Film Center of Serbia, in order to contribute to strategic development and transformation of cinematography in Serbia, as well as to perform cultural-educational activities in this area. The Film Centre is, along with the Ministry, in charge of realization of public competitions in the area of cinematography. They are being announced up to twice a year for production of national documentary, animated and short films, of minority co-production, andproduction of national feature films.Challenges  identified in the implementation of this measure: The limiting factors for the development of new flagship projects were primarily law budget allocated to cultural industries and week resources (human, organizational, financial). The consequences of economic crisis decrease funding of cultural industries. Insufficient recognition of concepts of cultural industries at the local, regional, as well as national level. This measure was followed by numerous challenges; high quality communication to be established: Coordination of activities between these WGs; improving regulations and procedures and strengthening of inter-sectorial cooperation.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónMinistry of Culture and Media, National Council for Culture, Working Group for the development of creative industries within the Ministry, Working Group for cooperation with the civil society within the MinistryYESThis measure is an important start for the creation of better environment for implementation of the Convention and the development. Since public policies in Serbia are traditionally oriented, the new forms of institutional assistance have produced significant results in creating the dialogue among stakeholders. The full potential of this communication will be more visible in near future.Annual reports of the Ministry of Culture and Media in the period from 2009-2012; Evaluation and analysis of cultural industries anddiversity of cultural expressions in Serbia in the framework of preparing Quadrennial National report.enhance model of institutional cooperation;continuity of activities of working groups at the national level.
1641472592012EslovaquiaArt Subsidy ProgrammeSistemas sostenibles de gobernanza de la cultura, Alianza con la sociedad civilCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/art-subsidy-programmehttps://es.unesco.org/creativity/node/164140The system of subsidies of the Ministry is one of the key means for promoting contemporary art for non-government and non-state organizations operating in various areas of professional art.In its Art Subsidy Programme in terms of the production and dissemination of works of art and their reflections and educational programme in culture, the Ministry supports projects in the sphere of professional art aimed at the public presentation or publication of art reflections, the publishing of periodical and non-periodical publications, theatre and musical productions and presentations, the implementation and public presentation of works of visual art, the release of audio and visual recordings, the implementation of cultural events, festivals, competitions and similar activities of national significance and the payment of membership fees in international organizations for applicants conducting their activities in the area of culture, as well as for the internal development of individual areas of culture and education through culture and art. The Ministry provides subsidies for these purposes within the following sub-programmes: Theatre and dance (professional cultural activities), Music (professional cultural activities), Fine art, applied art, photography, design, architecture (professional cultural activities), Inter-sector professional cultural activities (events that are the summary of activities of several types of art) and Literature and book culture.The subsidy system was introduced through the modification of internal managing acts approved by the Ministry of Finance of the Slovak Republic (Decree No. MK-3026/2008-10/11619 of the Ministry of Culture of the Slovak Republic of 26 August 2008 on the Provision of Subsidies within the Ministry Competence). Since 2011, the Ministry provides subsidies pursuant to Act No. 434/2010 on the Provision of Subsidies within the Ministry Competence which regulates the purpose, extent, method and conditions for the provision of these subsidies.The qualitative growth of professional art in all its areas and the sustainability of art life at the national and international levels constitutes the challenge in introducing the measure.The measurable indicator of effect is the support of projects in the area of professional art expressed in figures. In 2008, at total of 1,180 projects were supported within the framework of the Art Programme in the total sum of 4,148,011 €; in 2009, a total of 1,490 projects were supported in the total sum of 4,683,090 €; in 2010, a total of 855 projects were supported in the total sum of 4,483,275 € and in 2011, a total of 796 projects in the total sum of 4,319,800 € were supported.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
1519572592012EslovaquiaMobility of Artists and Cultural ProfessionalsIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/mobility-artists-culturalhttps://es.unesco.org/creativity/node/151950The subsidy sub-programme entitled Mobility of Artists and Cultural Professionals, international cooperation in the area of culture of the Ministry subsidy programme entitled Pro Slovakia, is aimed at promoting the mobility of artists and cultural workers and the development of bilateral and multilateral cooperation in the area of culture.The main objectives of this subsidy sub-programme is to promote the direct and dynamic exchange of opinions and experience at the international level and to contribute to developing creativity in the area of art and culture. Another intent is the support of intercultural dialogue through reciprocal art projects and activities conducted at home and abroad.This measure is part of the subsidy system of the Ministry which is responsible for its management.In 2008, at total of 31 applications were supported in the total sum of 81,723 €; in 2009, a total of 16 applications were supported in the sum of 58,000 €; in 2010, a total of 68 applications were supported in the sum of 207,188 € and in 2011, a total of 73 applications were supported in the sum of 193,106 €.The challenge in introducing this measure was to increase the number of supported applications by increasing funds which was manifested in past two years.The outcome of this measure was the support of the mobility of artists and their presentation within international cultural cooperation, the involvement of artists in international networks, creative and residential stays, their participation in creative workshops, symposiums and seminars and the enhancement of intercultural competences and skills of artists and professionals, the development of international cooperation in the area of culture and the creation and intermediation of international partnerships and networks in the area of culture. The projects were implemented in the areas of theatre and dance, music, fine art and design, architecture, photography, literature, folklore, and multimedia. INTERNATIONAL CULTURAL COOPERATIONCreación, Participación
1519272592012EslovaquiaPromotion of the Cultures of Disadvantaged Groups of the PopulationLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/promotion-cultures-disadvantagedhttps://es.unesco.org/creativity/node/151920In 2004, within the framework of its subsidy system, the Ministry created the subsidy programme Culture of Disadvantage Groups of the Population to promote the access of culture for vulnerable groups and to promote the equality of opportunities and prevent discrimination and all forms of violence. The subjects ensuring care for the development of the cultural needs of disadvantaged groups (the disabled, the elderly, vulnerable groups children and youth, the homeless, migrants, marginalized Roma communities, women, etc.) can apply for support within the framework of the subsidy programme.The programme aims at strengthening the equality of opportunities in the area of culture for disadvantaged groups of the population and eliminating material and mental barriers, prejudices and stereotypes in the access to cultural values, to create conditions for the propagation and presentation of the specific cultures of the disadvantaged. The subsidy programme has operated since 2004, and in 2009 the funds allocated through this programme were markedly increased.In 2009, the funds were increased through the measure by approximately 104,000 €, which presents a nearly 50% growth in support. The Ministry is responsible for implementing this measure. Challenges for introducing this measure stemmed from the need for more systematic and permanent support and extension of human rights regarding the cultures of disadvantaged groups of the population, the introduction of temporary compensatory measures, particularly the need for the better accessibility of culture for disadvantaged groups of the population (such as extending the possibilities for free or discount entry fees for all vulnerable groups, implementation of creative workshops, model projects, etc.) the need to train employees from the culture sector in the issues of human rights in culture (information on the life and problems of vulnerable groups, physical and mental barriers to access to culture) as well as the need to create conditions for access to cultural values and creative self—fulfilment (model projects).The effect of this measure was the increase in the number of applications for financial support within the framework of the subsidy programme and the increase in the number of supported applications. In 2007, at total of 47 projects were supported in the total amount of 198,067 €; in 2008, a total of 54 projects were supported in the sum of 198,067 €; in 2009, a total of 88 projects were supported in the sum of 302,245 €; in 2010, a total of 89 projects were supported in the sum of 307,350 €, and in 2011, a total of 83 projects were supported in the sum of 298,500 €. The sum of 375,000 € is budgeted for 2012.CULTURAL POLICIES AND MEASURESCreación, Participación
1518972592012EslovaquiaAudiovisual FundSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/audiovisual-fundhttps://es.unesco.org/creativity/node/151890The Audiovisual Fund (hereinafter referred to as the “Fund”) as a public institution for promotion and development of audiovisual culture and industry, was founded through Act No. 516/2008 Coll. and entered into effect on 1 January 2009 in terms of the Slovak Republic. The Fund replaced the Audio-Vision Programme from the Ministry subsidy system through which the promotion of audiovisual creation was promoted until the end of 2009. The council, the supervisory commission and the director are the organs of the Fund. The elementary principle of financing of the Fund lies in multi-resource financing. The contributors to the Fund are the state, whose contribution from the state budget may not be lower than the total sum of the contributions from the other contributors for the given calendar year, broadcasters based on the law (5% of the overall revenues from commercials and teleshopping), broadcasters based on the license (2% of the total revenues from commercials and teleshopping), cinema operators (0.03 € for each ticket sold), retransmission operators (1% of total revenues from the provision of retransmission) and distributors of audiovisual works (1% of total revenues for distribution of audiovisual works on the territory of the Slovak Republic except for the revenues for audiovisual performance). The Fund may provide funds to independent audio-visual producers and to the producers of Slovak audiovisual works, authors and co-authors of Slovak audiovisual works and distributors of audiovisual works, persons involved in the renovation and development of the technological basis for the production of audiovisual works and their public presentation on the territory of the Slovak Republic, to persons involved in the promotion and support of the dissemination of audiovisual works, to natural persons involved in the development of education and professional research in the area of audiovisual culture and film art, as well as the operators of audiovisual technical facilities. CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
1519772592012EslovaquiaOfficial Development AssistanceLa cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/official-development-assistancehttps://es.unesco.org/creativity/node/151970The Slovak Republic as an EU and OECD Member State is among the most developed countries. Because of the favourable macro-economical development of the SR in 2008 it graduated from the World Bank operations; in other words, the SR is no longer a beneficiary, but a provider of development assistance. Based on the Medium-term Concept of Official Developing Assistance of the SR for the Period of 2003 – 2008, and within the framework of developing assistance of the SR from 2003, the SR supports bilateral programmes and projects in developing countries and provides trilateral and multilateral assistance and humanitarian aid (Slovak Aid). Since 2004, the SR, as an EU Member State, has participated in financing development activities of the European Commission.Up to 2010, the Ministry partially participated in official development assistance in the area of bilateral programmes and projects aimed at raising the awareness about developing countries pursuant to the criteria of the DAC OECD directive for the provision of development assistance. In the area of multilateral, aid by providing a contribution to the International Fund for Cultural Diversity (IFCD) in the amount of 3,538 €, the Slovak Republic also applied this contribution as Official Development Assistance.The Ministry implemented the aforementioned bilateral assistance. In 2009, the Ministry contributed 32,500 € to projects in Serbia and Ukraine, and in 2010, it contributed 8,688 € for projects in Serbia and Georgia.Budgeting funds in the budget chapter of the Ministry for the Official Development Assistance for cultural programmes pursuant to the criteria of DAC OECD valid from 2010 is a challenge.Naïve and marginal, photographic, literary, folk art by artists from developing countries as well as theatre and film art festivals were supported based on the provided funds.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, Participación
1519472592012Eslovaquia2008 European Year of Multicultural DialogueIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturales, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/2008-european-year-multiculturalhttps://es.unesco.org/creativity/node/151940Europe has become the space with a growingly diverse culture. The expansion of the European Union (hereinafter referred to as the “EU”), the deregulation of employment and free movement of labour, as well as globalization has transformed the character of many European states –countries with one nation, the same history and a unified culture, habits and traditions become multicultural states that are characterized by several languages, religions and ethnic and national groups. All of this results in the fact that more diverse cultural communities can be found on the old continent that at any time in its history.The aim of the European Year of Multicultural Dialogue (EYMD) which ran from January to December 2008, was to show that huge diversity can be an advantage if we can manage it on a highly civilized level. Activities which inspired Europeans to the joint use of cultural heritage and to learn and draw from various cultural traditions were implemented throughout the year. The aim of these activities as well as the activities of the EYMD partners was to mobilize EU citizens. The involvement of the civil society in their implementation was the basis of the activities.The Ministry was the responsible coordinator of activities; it ensured the promotion and propagation of activities in the form of conferences and many accompanying events – proceedings, information fliers, concerts, websites, etc. The Ministry contributed approximately 3,230 € for the financing of the international conference in Bratislava entitled “Rozmanitosť spája – medzikultúrny dialog”/Diversity Unites – Intercultural Dialogue.  The challenge is to achieve the long-term sustainability of activities and their permanent effect on improving relations among nations, ethnic groups and religions and other cultural communities within the EU.The effect and success of the EYMD were achieved not only at pan-European events, but also thanks to activities that were held at the national level in cooperation with non-governmental organizations, institutions and self-governments. More information regarding this activities can be found at the website http://www.medzikulturnydialog.gov.sk/index.In the words of Ján Figeľ, the Slovak Euro Commissioner at that time, responsible for education, vocational training, culture and youth, the building of a multicultural society is the European challenge of the 21st century: “We want a society in which people of various cultures will simply live next to each other. We must give an impulse for the transformation of our societies to ensure the creation of a multicultural Europe which will enrich us and respect the human dignity of each individual.”CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
1519172592012EslovaquiaPromotion of the Culture of National Minorities La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/promotion-culture-nationalhttps://es.unesco.org/creativity/node/151910There are thirteen national minorities living on the territory of the SR: Bulgarian, Czech, Croatian, Hungarian, Moravian, German, Polish, Roma, Ruthenian, Russian, Serbian, Ukrainian and Jewish. The cultures of all national minorities living on the territory of Slovakia represent part of the tangible and intangible cultural wealth of the Slovak Republic and this is how Slovakia approaches the promotion and presentation of these cultures at home and abroad. The subsidy programme is one of the instruments for the promotion of the cultures of national minorities.The aims of the subsidy programme are the promotion of cultural activities and periodical and non-periodical publishing. The following are among the cultural activities: presenting the cultures of national minorities, supporting the activities of 4 professional national theatres and 8 national museums, promoting the activities of civil societies developing the culture of all 13 national minorities, promoting the activities of the professional Hungarian folk ensemble Young Hearts– Ifjú Szivek, promoting the activities of regional cultural centres and public libraries and promoting the public-service broadcasting of programmes in the languages of national minorities– Radio and Television of Slovakia.Up to 2010, the subsidy programme for the promotion of the culture of national minorities was in the competence of the Ministry. Now it is in the competence of the Deputy Prime Minister for Human Rights and National Minorities. 15 grant commissions operate in the subsidy programme and each commission takes care of the applications of one national minority; two commissions were established for the Hungarian minority. The members of these commissions are members of national minorities and representatives of the Government Office of the SR. As advisory organs, the commissions professionally assess all of the applications for subsidies of the relevant national minority and propose the amount of the financial subsidy. 3,287,061 € were allocated for the subsidy programme Culture of National Minorities in 2008; in 2009 it was 3,463,273 €; in 2010 it was 3,485,362 € and in 2011 it was 3,934,270 €.Statistics from 2011 showed the need to increase the volume of funds for the promotion of the culture of national minorities. 4.5 million euro (500,000 € more than in 2011) are allocated from the state budget for 2012.Based on this measure, activities in the areas of theatre, dance, music, literature, fine arts, education, culture and publishing of national minorities were supported and contribute to the strengthening of national culture and identity and to the development of the multicultural understanding of society. The project brings a synergic effect to this area of culture and its outcome is the creation, preservation and development of permanent cultural values and special attention to projects with activities for children and youth.CULTURAL POLICIES AND MEASURESCreación, Participación
1518872592012EslovaquiaPromotion of ArtSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosIndustria editorialhttps://es.unesco.org/creativity/policy-monitoring-platform/promotion-arthttps://es.unesco.org/creativity/node/151880In the area of the institutional promotion of professional art and library culture, the Ministry ensures the performance of state administration in compliance with the generally binding legal regulations and international conventions in the sector of art and participates in creating conditions for the development and presentation of culture in all areas of professional art and library culture.Currently, 14 organizations in the area of professional art and library culture are fully funded from and receive contributions from the State Budget in the competence of the Ministry as promoter (theatres, musical ensembles and information-documentation centres with national competence as a rule). They include: Bibiana – international house of art for children, the Slovak National Theatre, the Nová scéna Theatre, the Košice State Theatre, the Banská Bystrica State Opera House, the Slovak Philharmonic Orchestra, the Košice State Philharmonic Orchestra, the Žilina State Chamber Orchestra, the Theatre Institute, the Literary Information Centre, the Musical Centre, the Slovak Centre of Design, the Lúčnica art ensemble and the Slovenský ľudový umelecký kolektív (SĽUK) (Slovak Folk Art Ensemble). Each of the aforementioned institutions has its specific professional mission and at the same time provides cultural services to a wide circle of interested parties regardless of age, social status, political affiliation and faith, and including disadvantaged groups of the population (elderly citizens, children and youth, the disabled).The aforementioned institutions in the field of art were founded pursuant to Act No. 523/2004 Coll. on the State Administration Budget Rules and on amendments and supplements to certain Acts as amended; some were founded directly by the law (for example Act No. 385/1997 Coll. Act on the Slovak National Theatre; Act No. 114/2000 Coll. Act on the Slovak Philharmonic Orchestra). Each conducts its activities in compliance with its deed of incorporation within the intentions of the law. Their financing is ensured in the form of contracts.The system of subsidies of the Ministry is one of the key means for promoting contemporary art for non-government and non-state organizations operating in various areas of professional art. In its Art Subsidy Programme in terms of the production and dissemination of works of art and their reflections and educational programme in culture, the Ministry supports projects in the sphere of professional art aimed at the public presentation or publication of art reflections, the publishing of periodical and non-periodical publications, theatre and musical productions and presentations, the implementation and public presentation of works of visual art, the release of audio and visual recordings, the implementation of cultural events, festivals, competitions and similar activities of national significance and the payment of membership fees in international organizations for applicants conducting their activities in the area of culture, as well as for the internal development of individual areas of culture and education through culture and art. The Ministry provides subsidies for these purposes within the following sub-programmes: Theatre and dance (professional cultural activities), Music art for non-government and non-state organizations operating in various areas of professional art. The subsidy system was introduced through the modification of internal managing acts approved by the Ministry of Finance of the Slovak Republic (Decree No. MK-3026/2008-10/11619 of the Ministry of Culture of the Slovak Republic of 26 August 2008 on the Provision of Subsidies within the Ministry Competence). Since 2011, the Ministry provides subsidies pursuant to Act No. 434/2010 on the Provision of Subsidies within the Ministry Competence which regulates the purpose, extent, method and conditions for the provision of these subsidies. The qualitative growth of professional art in all its areas and the sustainability of art life at the national and international levels constitutes the challenge in introducing the measure.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
1641572592012EslovaquiaCreative IndustrySistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/creative-industryhttps://es.unesco.org/creativity/node/164150In 2011, the Ministry submitted to the session of the Slovak Government the Baselines for the Concept for the Promotion of the Cultural and Creative Industry in the SR.Pursuant to the resolution of the European Parliament of 12 May 2011 on Unlocking the Potential of Cultural and Creative Industries, these industries in the EU provide 5 million jobs and comprise 2.6% of its GDP. The cultural and creative industry is one of the driving forces of growth in the EU; it creates new jobs, plays a key role within the framework of global value chains and instigates innovations, brings added value as an element of social coherence and serves as an effective instrument in combating the current recession.The Baselines summarise the issues of creative economics and the creative industry and map examples of the positive effect of the creative industry on the economies of countries that supported its growth; they point out the potential of creative economics in the future, name the tools for the promotion of the creative industry and the development of creative economics in terms of the Slovak Republic and propose the steps which must be taken at the state administration to ensure increased growth, development and positive effects on the economy and society in this sector.The creative industry and creative economics in particular are beyond the agenda of the Ministry. Based on experience from abroad, the operative cooperation of the affected ministries and in the area of the executive attributing of priorities at the Slovak Government level are necessary for the development of creative economics. Therefore, the institutionalization of cooperation of the affected organs by the establishment of a permanent joint coordination organ composed of representatives of the Ministry of Economy of the SR, the Ministry of Finance of the SR and the Ministry of Culture of the SR, as well as other subjects of the public and private sector operating in the field of creative industry is a suitable solution.The Ministry allocated 10,000 € for the elaboration of the material entitled, Baselines for the Concept for the Promotion of the Cultural and Creative Industry in the SR.Problems for the creative industry include the lack of information of affected subjects regarding issues of intellectual ownership rights, its imperfect application in civil and business relations, the failure to apply the instruments for enforceability provided by Directive No. 48/2004 of the European Parliament and the Council on Enforceability of Intellectual Ownership Rights, as well as overall length of court proceedings. Therefore it is necessary to popularize the creative industry as such, to enhance consumer awareness of the significance of supporting innovation and the demand for products with added value and on intellectual ownership rights and the relations arising from them.The Concept for the Promotion of the Cultural and Creative Industry in the SR shall be elaborated in 2012 according to these baselines.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
1519672592012EslovaquiaBilateral Cooperation with Developing CountriesIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Intercambios de bienes y servicios culturales, Movilidad de los artistas y profesionales de la culturaCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/bilateral-cooperation-developinghttps://es.unesco.org/creativity/node/151960From 2008 to 2011, the Ministry administratively and organizationally ensured, coordinated and signed contractual documents (agreements, programmes of cooperation, memoranda of understanding) in the area of culture and art with the following developing countries: Ukraine, Republic of Armenia, Republic of Azerbaijan, the Hashemite Kingdom of Jordan, the Arab Republic of Syria, the People’s Republic of China, Georgia, the Republic of Indonesia, the Republic of Turkey, the Republic of India, Montenegro, Bosnia and Herzegovina, the Republic of Macedonia and the Republic of Kenya.The main objective of bilateral contractual documents with developing countries in the area of culture is to create legal frameworks for the support of the mobility of artists and cultural professionals abroad and to provide greater access to the market for the distribution of cultural goods and services. The bilateral contractual documents with the aforementioned countries were signed or implemented between 2008 and 2011. These documents were implemented through organizations in the promoter’s competence of the Ministry, Slovak institutes and foreign embassies.The contractual documents are related to audio-vision and copyrights, cultural heritage, cultural and artistic expressions in all forms and also include exchanges of artists and professionals from these areas. The contractual documents concluded at the level of the Ministry were financed from the budget chapter of the Ministry. The Ministry of Foreign Affairs of the SR is the administrator of all contractual documents concluded at the level of the Slovak Government.One of the challenges in introducing this measure is the insertion of the reference to the Convention in bilateral contractual documents, particularly with third countries.The Ministry and the organizations in its promoter’s competence organized, ensured and financially supported exchanges of artists and cultural professionals by means of which they contributed to facilitating international cooperation with developing countries. Participation at folk festivals, creative workshops of translation and poetry, writers’ discussions, literary seminars, international music festivals, international theatre festivals, museum expositions, international film festivals, cultural heritage exhibitions, presentations of disabled artists, exchanges of television programmes, participation in international fine art competitions, book presentations, naïve art exhibitions, music-dance performances, etc. were the outcome of this measure.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, Participación
1519372592012EslovaquiaCultural Rights - Access to Culture La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/cultural-rights-access-culturehttps://es.unesco.org/creativity/node/151930The Ministry implements the activities and projects aimed at promoting the access of people to culture through institutional and financial support. The Ministry established a subsidy programme entitled, Cultural Vouchers to support the access of young people to culture and art. This programme is designated for pupils and teachers of elementary and secondary schools. Cultural vouchers subsidized by the state enable admission to theatres, museums, galleries, libraries and other cultural institutions that conduct cultural events for children and youth. The main objective of this measure in the area of institutional promotion is to create an open democratic platform enabling access to culture for all interested parties. The objectives of the Cultural Vouchers subsidy programme is to promote the relationship of children, youth and their teachers to cultural values, to mobilize the participation of cultural institutions in the education and upbringing of youth, to promote competition among cultural institutions with the aim to enhance the quality of their activities, to promote the fact that state subsidies provided to cultural institutions are directed properly and clearly, based on the real interest of citizens in their services, to create a survey of the interest of children and youth in culture and to monitor the attendance of cultural institutions by this age category.In the area of institutional promotion, the measure was introduced through organizations within the promoter’s competence of the Ministry. The Cultural Vouchers subsidy programme is part of the Ministry’s subsidy system. In 2008, a total of 53,562,000 SKK were provided for cultural vouchers; in 2009, a total of 2,391,510 € was provided; in 2010, a total of 2,760,669 € was provided and in 2011, a total of 3,083,846 €. The sum of 2,860,000 € is budgeted for this programme for 2012. Designing material whose aim was to map the current forms of provision of discounts and advantageous admission fees for cultural events aiming at enhancing the accessibility of culture was a challenge in the area of cultural rights and promoting access to culture. This material was elaborated by the Ministry in 2011. Organizations within the promoter’s competence of the Ministry continuously evaluate the impacts of the introduced measure. Representative examples were selected with a special consideration of the cultural rights of young people.In the area of financial support, the Ministry also contributes to the events aimed at supporting the access of marginalized groups to culture, such as events for migrant children, children from orphanages and young people with mental disorders. The Ministry contributed to eliminating barriers in accessibility of culture and deepening the cultural rights for marginalized Roma communities by supporting events in the area of culture, education, amateur leisure time activities aimed at the development and awareness of spiritual, cultural and ethical values and their significance in life and motivating positive thinking and involvement in the process of creating cultural values.CULTURAL POLICIES AND MEASURESParticipación
1519072592012EslovaquiaAmendments to Acts regulating the mission, main tasks and activities of public-service broadcasters, introduction of the institute of the agreement with the stateSistemas sostenibles de gobernanza de la cultura, Diversidad de los medios de comunicaciónCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/amendments-acts-regulatinghttps://es.unesco.org/creativity/node/151900Through Act No. 312/2009 Coll. on Certain measures related to Slovak Radio and Slovak Television, the revenues of the public-service broadcasters (Slovak Radio and Slovak Television) originated from transfers from the state budget designated for covering expenditures for ensuring the broadcasting abroad, transfers for the implementation of certain programmes in the public interest and capital transfers from the state budget designated for implementing purposeful investment projects paid by contributions from the state budget based on an agreement with the state and designated for implementing the programmes in the public interest, for implementing purposeful investment projects or for covering expenditures for ensuring broadcasting abroad. In relation to the plurality of information and cultural diversity, the introduction of the institute of agreement with the state for the area of public-service broadcasting ensured the promotion of the production of such programmes which in most cases do not constitute a subject of interest for the commercial sector. The agreement between the state and the public-service broadcaster is concluded for a period of five years and designates the underlying structure of riders to this agreement which are concluded for the relevant calendar year of the agreement’s period of validity. The concept of the promotion of public-service broadcasting through the agreement with the state was introduced in 2008.The aims of introducing the institute of the agreement with the state for the area of public-service broadcasting which ensures a specific type of broadcasting that is irreplaceable in the domestic and international context, and with regard to the legal requirements for this type of broadcasting and long-term insufficient financial arrangements were to make the drawing of public finances more efficient, to make the processes of handling these resources more transparent and particularly to promote the production of new programmes in the public interest.The bill that regulated the financing of public-service broadcasting and introduced the institute of the agreement with the state was prepared by the Ministry and entered into the effect in 2009; the contribution from the state was provided for the first time in 2010. No funds needed to be allocated for the introduction of this measure. Resolving the long-term insufficient financing of public-service broadcasting in terms of the Slovak Republic was the main challenge. Based on the agreement with the state, 12.5 million € were provided to Slovak Television in 2010 for the implementation of the established proportion of the programme commitment (for the production of programmes in the public interest) and 4.5 mil. € were provided to Slovak Radio, of which 2.5 mil. € were earmarked for the production of programmes in the public interest and 2 mil. € were earmarked for ensuring broadcasting abroad. In 2011, a total of 14 million € were provided to the public-service broadcaster (already Radio and Television of Slovakia) based on the agreement with the state.CULTURAL POLICIES AND MEASURESProducción, Distribución
967196562016EslovaquiaSupport for ArtSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/support-arthttps://es.unesco.org/creativity/node/9671The Ministry provides institutional support for professional art and book culture by performing state administration of the arts in accordance with applicable legislation and international treaties and by participating in the creation of conditions for the development and the presentation of culture in all areas of professional art and book culture.a) The Ministry currently has under its establishing competence a total of 12 contributory and budgetary organisations that operate in the area of professional art and book culture (theatres, music ensembles and information and documentation centres usually on the national level):  BIBIANA – international house of art for children, the Slovak National Theatre, the Nová scéna Theatre, the Košice State Theatre, the State Opera in Banská Bystrica, the Slovak Philharmonic, the Slovak State Philharmonic, Košice, Slovak Sinfonietta Žilina, the Theatre Institute, the Literary Information Centre, Music Centre Slovakia, the Slovak Design Centre. Each of these institutions has its own specific professional mission and also provides cultural services to a wide range of stakeholders without regard for age, social status, political affiliation or religious belief, not excluding disadvantaged sections of the population (older people, children and young people, people with disabilities).The grant system was established by internal management acts approved by the Ministry of Finance of the Slovak Republic (Ordinance of the Ministry of Culture of the Slovak Republic No MK-3026/2008-10/11619 of 26 August 2008 on the provision of grants in the Ministry’s area of competence); since 2011 the Ministry’s provision of grants has been regulated by Act No 434/2010 on the provision of grants in the Ministry’s area of competence, which regulates the purpose, scope, method and conditions for the provision of such grants. The act was amended by Act No 79/2013 and Act No 284/2014. Other changes were implemented through Ordinance of the Ministry of Culture of the Slovak Republic No MK-2580/2013-11NationalinstitutionalA measurable indicator of the effect of the measure can be seen in the numbers for the support provided to professional art. In 2012 the Art scheme supported 898 projects total grants of EUR 4,973,650; in 2013 it supported 947 projects with total grants of EUR 5,156,150; in 2014 it supported 1,077 with total grants of EUR 5,325,992; and in 2015 it supported 1,079 projects with total grants of EUR 5,475,400.f) An important development was the preparation and approval of the Cultural Development Strategy of the Slovak Republic 2014–2020. The government of the Slovak Republic included this task in its manifesto for the years 2012–2016. The adoption of the material highlights the need to implement policies that recognize the social significance of culture and also provide it with stronger support. Even as the economy grows, the share of spending on culture has long been in decline. Slovakia is far below the average for EU Member States. On the other hand, financial support for culture must be in line with the state’s real economic opportunities and it must be able to satisfy the realistic objectives, priorities and expectations of the cultural community. In 2013, the Ministry of Culture of the Slovak Republic established a working party of experts to analyse the current strategies and policies in the field of culture and to select the main topics for the strategy. It elaborated a strategic vision, defined seven areas of strategy and proposed priorities. A website was set up where artists, professionals and the general public could follow the preparation of the draft texts of the strategy and comment on them. Five working meetings were held around Slovakia and a working conference was held in Bratislava in December 2013 where members of the working party of experts made public presentations on the strategic visions and areas and the proposed measures for fulfilling them and discussed them with the artistic community. The material was discussed in detail by the strategy committee of the Government Council for Culture and subsequentCULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónNoContinuous care for the development of all the areas of professional art at the qualitative and quantitative levels was the challenge in introducing the measure.The 20 to 90 years of existence of the institutions mentioned above continuously operating in the area of professional art and library culture is the measuring stick of the effectiveness of their operations.The system of subsidies of the Ministry is one of the key means for promoting contemporary art for non-government and non-state organizations operating in various areas of professional art.  In its Art Subsidy Programme in terms of the production and dissemination of works of art and their reflections and educational programme in culture, the Ministry supports projects in the sphere of professional art aimed at the public presentation or publication of art reflections, the publishing of periodical and non-periodical publications, theatre and musical productions and presentations, the implementation and public presentation of works of visual art, the release of audio and visual recordings, the implementation of cultural events, festivals, competitions and similar activities of national significance and the payment of membership fees in international organizations for applicants conducting their activities in the area of culture, as well as for the internal development of individual areas of culture and education through culture and art. The Ministry provides subsidies for these purposes within the following sub-programmes: Theatre and dance (professional cultural activities), Music (professional cultural activities), Fine art, applied art, photography, design, architecture (professional cultural activities), Inter-sector professional cultural activities (events that are the summary of activities of several types of art) and Literature and book culture.The subsidy system was introduced through the modification of internal managing acts approved by the Ministry of Finance of the Slovak Republic (Decree No. MK-3026/2008-10/11619 of the Ministry of Culture of the Slovak RepublicMinistry of CultureA measurable indicator of the effect of the measure can be seen in the numbers for the support provided to professional art. In 2012 the Art scheme supported 898 projects total grants of EUR 4,973,650; in 2013 it supported 947 projects with total grants of EUR 5,156,150; in 2014 it supported 1,077 with total grants of EUR 5,325,992; and in 2015 it supported 1,079 projects with total grants of EUR 5,475,400.YesNoYesNO
966796562016EslovaquiaPromotion and Development of audi-visual culture and industries Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/promotion-development-audi-visualhttps://es.unesco.org/creativity/node/9667The support system for audio-visual culture is designed to meet satisfy the following objectives:establishment of the Audio-Visual Fund (hereinafter “AVF”) as the main financial instrument focussed exclusively on support for Slovak audio-visual culture and industries,ensuring independent and qualified decision making in the key bodies of the AVF by establishing them in a public institution,defining stable sources of financing for the AVF based on contributions from enterprises that make use of audio-visual content,defining the functions and objectives of the AVF’s support activities and transparent rules for the use of funds,defining the purpose of use of AVF funds and control mechanisms for use. The support system for the audio-visual industry is intended to achieve in particular the following objectives:generating interest of foreign production companies in recording or making audio-visual works in Slovakia,creating impulses for the development of missing infrastructure of the audio-visual industry in Slovakia, especially in connection with modern technology,increasing the international competitiveness of the audio-visual industries in Slovakia,making a positive contribution to public budgets (taxes and contributions), development of services and job opportunities in the audio-visual industries,making a contribution to the promotion and presentation of the Slovak Republic and its regions,increasing opportunities for exercising vocations and acquiring vocational experience, including opportunities for projects whose requirements for financing and implementation significantly exceed the potential of Slovak production conditions.NationalfinancialTo improve the promotion and development of audio-visual culture and industries, Act No 516/2008 on the Audio-Visual Fund and amending and supplementing certain acts (hereinafter also the “Act on the AVF”) established the AVF with effect from 01 January 2009 as a public institution for the promotion and development of audio-visual culture and industries and it commenced its support activities in 2010. The establishment and system of operation of the AVF were also described in the first periodic report on measures for the protection and promotion of diversity of cultural expression under the 2005 UNESCO Convention (hereinafter only the “first periodic report”), which was submitted in 2012. The AVF defines priorities for the support provided in a particular period. It also creates a special financial reserve for financing projects through which the set priorities are implemented in practice. For example, from 2013 to 2015 the AVF’s priorities included support for the coproduction of cinematographic works with a Slovak minority co-producer and support for film festivals in Slovakia with international participation, through which the AVF made a significant contribution to the promotion and development of cultural diversity.With effect from 01 January 2014, the scope of the AVF’s support activity was broadened to include support for the audiovisual industries based on an amendment introduced in Act No 374/2013 amending and supplementing Act No 516/2008 on the Audio-Visual Fund and amending and supplementing certain acts, as amended, and amending and supplementing certain acts. The AVF’s promotion of the audio-visual industries includes providing funds for the implementation of film projects that satisfy the requirements laid down by law. A film project is defined as an audio-visual work which is a cinematographic drama, documentary or animation or a work primarily intended for television broadcast in the scope defined by decree of the Ministry of Culture of the Slovak RepublicINTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, ParticipaciónYesAfter five years of the AVF’s support activities, it is possible to conclude that the objectives referred to in point (b)(I) have been fulfilled. The AVF operates as a stable and respected public institution. The continuous support activities of the AVF have brought about a demonstrable increase in the basic performance indicators of Slovak audio-visual culture and industries in the international context. In terms of the number of films per million inhabitants, Slovakia achieved an increase of 125% between 2010 and 2014, and public funds for audio-visual culture per capita increased by 45.6% over the same period. One of the objectives of the adoption of the amendment of the Act on the AVF regarding support for audio-visual industries was to increase the interest of foreign production companies in recording or making audio-visual works in Slovakia (more detailed information is given in (b)(II)). The expected benefits of the legislative measure include support for international cultural cooperation, mobility of film-makers and other artists and the promotion of cultural diversity.authors of Slovak audio-visual works,makers of Slovak audio-visual works,persons who restore and develop technological infrastructure for the production and circulation of audio-visual works and the organisation of public cultural events related to audio-visual culture,persons who circulate and present audio-visual works,the distributors of audio-visual works.the operators of audio-visual technical facilities,natural persons whose creative activities or research contributes to the development of audio-visual culture and industries in Slovakia,legal entities which are the producers or co-producers of a film project for which the apply for funding from the AVF for the promotion of the audio-visual industries in the Slovak Republic.Slovak audio-visual fundIn 2012, the AVF provided a total of EUR 5,519,888 in support and it received a contribution of EUR 3,500,000 from the state budget. In 2013, the AVF paid out a total of EUR 6,404,290 in support and it received a contribution of EUR 4,200,000 from the state budget. In 2014, the AVF provided a total of EUR 6,458,060 in support and it received a contribution of EUR 4,000,000 from the state budget. In 2015, the AVF paid out a total of EUR 6,542,900 in support and it received a contribution of EUR 4,500,000 from the state budget.  NoNoYesYESNationalEvaluation of the measure is conducted every year in the form of the AVF’s annual report. The director presents the draft report to the board of the AVF for approval. The report includes a report on the fulfilment of the AVF’s strategic goals and development plans in the period covered. The annual report for 2014 included a comprehensive review of the AVF’s activities after five years of operation. The main conclusions of the evaluation were as follows:The volume of public funds available each year to support audio-visual culture increased by 80%,Available funds were stabilized,The AVF standardized the structure of sources in the European context,It expanded the forms and scope of support activities to various areas of audio-visual culture and industries (stipends, loans, support for cinemas, support for audio-visual industries),The AVF has created more flexible conditions for the efficient use of the provided funds, which has significantly reduced the risk of uncompleted projects in production.It has broadened the range of genres of films made and the variety of topics which they address,The AVF has created conditions for greater competitiveness (a demonstrable increase in the number of production companies and the number of supported applicants),It has increased the ability of Slovak enterprises to participate in international projects including countries other than the Czech Republic and it has increased the number of works winning international awards,It has improved the performance against several standard international indicators for the potential of the audio-visual environment,In terms of published information on support activities and the level of transparency, the AVF outperforms the standard of European film funds and other public sector organisations in Slovakia.The following areas for improvement and opportunities for further development were identified in the AVF’s support activities:Describing the baseline of the strategy for the long-term development of Slovak audio-visual culture and industries,Continuous evaluation of filEvaluation used standard accounting and statistical indicators, and also international indicators of the potential of the audio-visual environment.producers, creators, general public
966096562016EslovaquiaGrant Scheme for the Culture of Disadvantaged Sections of the Population La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/grant-scheme-culture-0https://es.unesco.org/creativity/node/9660The objective of the grant scheme is to provide financial support to projects related to the culture of persons with disabilities and other disadvantaged sections of the population.The grant scheme Culture of disadvantaged sections of the population is a stable financial mechanism operated by the Ministry of Culture of the Slovak Republic for the promotion and development of the cultural rights of persons with disabilities and other disadvantaged sections of the population. The grant scheme has four sub-schemes: Living Culture, Periodicals, Non-periodic Publications and Informal Education in the Area of Culture for People with Disabilities. The scheme is intended to support access to culture for people with disabilities and other disadvantaged sections of the population. It supports cultural activities aimed at breaking down barriers and prejudices in relation to vulnerable groups; it promotes intercultural dialogue, social cohesion and the protection and promotion of the cultural rights of groups at risk of social exclusion; it also supports cultural mechanisms that help to prevent all forms of violence and discrimination, xenophobia, homophobia and the like. The grant scheme contributes to prevention activities in the area of extremism and human trafficking. The grant scheme is an instrument for the implementation of temporary balancing measures in the area of culture (pursuant to Act No 364/2004 on equal treatment in certain areas and on protection against discrimination and amending and supplementing certain acts, as amended).NationalregulatoryThe grant scheme is intended to support projects whose target groups are disadvantaged sections of the population, e.g.:People with disabilities (physical, mental, visual impairments, hearing impairments, and also protection of mental health – under the UN Convention on the Rights of Persons with Disabilities)Children and young people – in particular children in children’s homes, children living in marginalized Roma communities, refugee children and child victims of violence.Women (support for cultural projects contributing to the implementation of gender equality), e.g. non-discrimination of women over the age of 45 years, single mothers, victims of violence, women living in marginalized Roma communities, women at risk of poverty.Seniors, in particular seniors at risk of poverty and support for cultural projects intended to promote active aging.Migrants (support for projects aimed at promoting cultural integration)People at risk of poverty and social exclusion, e.g. people out of work, homeless people, people from socially excluded communities, LGBTI people, victims of human trafficking.Every year, the grant scheme supports around 115 projects run by non-governmental organizations, private companies, churches and local or regional government organizations which contribute to the protection and promotion of the cultural rights of disadvantaged sections of the population.The result of implementation of the measure is increased availability of culture for disadvantaged sections of the population (e.g. providing access to the services of museums, galleries and libraries for visitors with hearing or visual impairments). An envisaged outcome of implementation of the measure is the elimination of prejudices of the majority population against people with disabilities and other disadvantaged sections of the population so that vulnerable groups can fully exercise their cultural rights.CURRENT UNESCO GLOBAL PRIORITY: GENDER EQUALITYCreación, Producción, Distribución, ParticipaciónYesRepresentatives of the professional community participate in the assessment of grant applications every year. Non-government organizations and private companies do not participate directly in the implementation of this measure because they are its target group and they are excluded from the decision-making process (by law) so as to maintain transparency in the allocation of public funds and eliminate potential conflicts of interest.Implementation of the measure includes performance of regular annual evaluations of the projects implemented with the scheme’s support. Financial and substantive evaluation is performed by the Ministry of Culture of the Slovak Republic focussing in partiThe grant scheme distributes around EUR 375,000 each year.Every year, the grant scheme supports around 115 projects run by non-governmental organizations, private companies, churches and local or regional government organizations which contribute to the protection and promotion of the cultural rights of disadvantaged sections of the population.The result of implementation of the measure is increased availability of culture for disadvantaged sections of the population (e.g. providing access to the services of museums, galleries and libraries for visitors with hearing or visual impairments). An envisaged outcome of implementation of the measure is the elimination of prejudices of the majority population against people with disabilities and other disadvantaged sections of the population so that vulnerable groups can fully exercise their cultural rights.YesYesYesNOdisadvantaged section of the populationJóvenes
966996562016EslovaquiaCare for Traditional Folk CultureSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/care-traditional-folk-culturehttps://es.unesco.org/creativity/node/9669The objective of this group of measures is to create conditions for the protection, renewal, development and presentation of traditional folk culture, including traditional crafts, so that it remains within the cultural awareness of the citizens of Slovakia and so that it is institutionally protected and made available for current and future generations.The set of measures that make up state cultural policy on care for traditional folk culture includes not only strategic and conceptual documents (e.g. the Conception of care for traditional folk culture 2007 and 2015) and the construction of institutional architecture, but also financial support and the implementation of specific programmes and projects which both increase the degree of protection for this cultural heritage and raise awareness of it.All measures are based on the principle of democratic citizenship and the status of traditional folk culture as a component of intangible cultural heritage in the territory of the Slovak Republic, with the awareness that its bearers are members of the Slovak nation, national minorities and ethnic groups, people of different beliefs, living in different environmental and economic conditions. The Conception of care for traditional folk culture to 2020 also states that this cultural diversity is a value that gives rise to important cultural benefits, satisfies aesthetic needs and creates a feeling of belonging, which contributes to an improvement in quality of life for society as a whole.NationalinstitutionalThe implementation of the Conception of care for traditional folk culture since 2008 has achieved the following specific results: Initially, in 2007, an advisory body of the minister of culture was established – the Council for the safeguarding of cultural heritage and in 2010 the Intangible Cultural Heritage Centre was established; since 2010 the Slovak Republic has been building the Representative list of intangible cultural heritage and in 2015 this was joined by the List of best practices in the protection of intangible cultural heritage in Slovakia. During the period under review, the Committee for public cultural awareness activities and the Committee for cultural heritage were added to the system of advisory bodies of the government of the Slovak Republic and the Ministry of Culture as subordinate bodies of the Government Council for Culture. These advisory bodies provide a coordination and communication platform for the Ministry of Culture of the Slovak Republic, other central state administration bodies, territorial self-government bodies, and professionals and academics working in the relevant fields. Since the school year 2009/2010 the state education programme has included a cross-cutting topic Regional education and traditional folk culture, for which supporting literature has been published. Implementation of the conception includes the activity of the Centre for Folk Art Production (ÚĽUV), which includes technical, methodological, documentation and research activities, the operation of the Museum of Folk Art Production, the management of an on-line database of people who make folk-art products or carry on a tradition of artistic craftsmanship involving the use of natural materials (Register of makers of folk art products, Products of the Centre for Folk Art Production),CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónYesThe implementation of the set of measures described under this point is financed through the approved budgets of budgetary and contributory organizations under the Ministry of Culture of the Slovak Republic.projects for the digitization of cultural heritage (in particular the Digital Collection of Traditional Folk Culture, the Digital museum and the Documentation and Information Centre on Roma Culture) were implemented as part of OPIS Priority Axis 2 with financial support from EU structural funds.[1]The project PRO MONUMENTA – prevention through maintenance received financial support from the EEA financial mechanism in the amount EUR 1,151,735.  [1] Information on the amount of funds approved and spent and the amount provided by the Ministry of Culture of the Slovak Republic in co-financing for projects supported by EU structural funds is available from the project management department.• Slovak State Traditional Dance Company (SĽUK) – Intangible Cultural Heritage Centre • Centre for Folk Art Production • National Cultural Centre • Arts ensemble Lúčnica • Monuments Board of the Slovak Republic • Slovak National Museum • Museum of the SloProfessionals in the field are included as members of the advisory body to the minister of culture, the Council for the safeguarding of intangible cultural heritage, bodies of the Government council for culture (the Committee for public cultural awareness activities and the Committee for cultural heritage) and the Expert committee for the assessment of proposals for registration in the Representative list of the intangible cultural heritage and the List of best practices in the protection of intangible cultural heritage in Slovakia, in the last of which they take part in the evaluation of individual nomination files. Every year professionals in the field take part in the evaluation process for subsidies provided by the Ministry of Culture of the Slovak Republic. Professionals, academics, experts and representatives of civil society organizations operating in the given area participate as lecturers, consultants and members of assessment panels in specific activities and projects of organizations under the founding competence of the Ministry of Culture of the Slovak Republic.Tradition bearers, individual craftspeople and producers, folklore groups and ensembles are the target groups of activities carried out by organizations under the founding competence of the Ministry of Culture of the Slovak Republic which engage with issues in this area to provide a wide range of opportunities for the target groups to present their work and performances, to get training and to develop professionally.NoNoNoYESNationalThe fulfilment of individual measures is monitored on an ongoing basis according to the arrangements and requirements applying to the specific case (e.g. public reporting for organizations under the founding competence of the Ministry of Culture of the Slovak Republic, financial and substantive evaluation of projects carried out with financial support from the grant system of the Ministry of Culture of the Slovak Republic).Tasks under the Conception of care for traditional folk culture 2007 were evaluated and approved by the government of the Slovak Republic in January 2015. The next evaluation is planned in 2017.The fulfilment of individual measures is monitored on an ongoing basis according to the arrangements and requirements applying to the specific case (e.g. public reporting for organizations under the founding competence of the Ministry of Culture of the Slovak Republic, financial and substantive evaluation of projects carried out with financial support from the grant system of the Ministry of Culture of the Slovak Republic).Tasks under the Conception of care for traditional folk culture 2007 were evaluated and approved by the government of the Slovak Republic in January 2015. The next evaluation is planned in 2017.The objectives of measures related to care for traditional folk culture are being implemented successfully. Open questions for the future include how to ensure the autonomy and staffing of the Intangible Cultural Heritage Centre and the how to preserve traditional crafts in construction.   Evaluation took into consideration the degree of fulfilment of the particular tasks laid down in the Conception of care for traditional folk culture and conceptual and strategic documents that apply to the present area. Projects carried out with financial support from the grant scheme of the Ministry of Culture of the Slovak Republic were assessed for respect for the approved budget and conformity of actual activities with the project documentation. Project evaluation may also include the monitoring of particular events during their implementation.creators, artist, craftsmanJóvenes
966696562016EslovaquiaAct No 185/2015: The Copyright ActSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosConsidered for innovative practicesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/act-no-1852015-copyright-acthttps://es.unesco.org/creativity/node/9666The new copyright act is intended to be modern and flexible legislation that enables authors and other right holders to enforce their rights more effectively within the framework laid down by European and international law.The act responds to the need to adapt the current legal framework to changes resulting from the development of the information society, especially the use of works and other subject matter on the internet. There was a need in practice for legislation taking into account requirements related to the protection and use of copyright works and subject matter on the internet, which would allow authors and other right holders to exercise their rights effectively while at the same time allowing users to have access to protected content under appropriate conditions. The new act is intended to be a foundation for the spreading of culture, education and research and for the development of creative industries and the internet economy and for support of creativity. Another aim of the act is to indirectly contribute to increased competitiveness in Slovakia through the creation of a vital framework for supporting innovation and investment in creative industries with high added value.NationallegislativeThe Copyright Act provides a modern and flexible legal framework and foundation for culture, which strikes a balance between the protection of right holders and reasonable access to protected content for users.CULTURAL POLICIES AND MEASURESCreación, DistribuciónYesauthors, performing artists, the makers of audio recordings, the makers of audio-visual recordings, broadcastersusers of protected contentLegislation reasonably performing the function of the copyright act as the basic (substantive) legislative framework for culture and striking a balance between the interests of right holders, users and the general public. In view of the nature of the measure, this question cannot be answeredAdministration of the ownership rights of authors, performing artists, the makers of audio recordings, the makers of audio-visual recordings and broadcasters, including the collective exercise and protection of the ownerships rights of these right holders and support for making works and other subject-matter available to the public.NoNoYesNOproducers, artistsConsidered for innovative practices
965896562016EslovaquiaIntegration of culture in sustainable developement policiesLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/integration-culture-sustainable-2https://es.unesco.org/creativity/node/9658The Operational Programme Information Society defines conditions for management of implementation, monitoring, evaluation, information, publicity and auditing in relation to projects under the Operational Programme Information Society. The Slovak Republic has the opportunity to draw on funds of the European Union for this purpose. The strategic document permitting use of these funds was prepared in accordance with the rules laid down by the European Union for the structural funds and the Cohesion Fund and was approved by the government of the Slovak Republic and the European Commission. Funds provided under the European Union’s cohesion policy must support three main objectives: Convergence, Regional competitiveness and employment, and European territorial cooperation.The main objective is to increase the accessibility and quality of civil infrastructure and amenities in the regions. Through its orientation, it helps to stimulate the internal resources of regions and develop related business activities (small and medium enterprises) and also makes regions more attractive for foreign investment. Co-financing from structural funds in areas such as The strengthening of the cultural potential of regions, increase in the quality of the services provided by repository institutions (galleries, libraries and museums) on the local and regional level through their reconstruction, enlargement and modernization, including the procurement of equipment and the revitalization of important monuments in connection with the conservation of cultural heritage and its use in cultural tourism.Conception for the protection of monuments The Conception for the protection of monuments includes identification of the most important cultural heritage monuments and the quantification of the number of cultural heritage monuments which are at risk or in a damaged or desolate condition.InternationalregulatoryThe main objective of the measure:is to create conditions for the elimination of negative impacts causing the damage or disappearance of cultural heritage monuments. The conception includes the identification of specific threats to cultural heritage monuments and other elements of cultural heritage, e.g. archaeological cultural heritage (archaeological finds and archaeological sites) and to find alternative proposals for solving these threats.b) the measure is included in the conception referred to above. The Ministry bears overall responsibility for its implementation; tasks implementing the measures including state administrative procedures in the first and second instance are performed by the Monuments Board of the Slovak Republic or the Regional Monuments Boards.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, ParticipaciónYesExamples of projects carried out under the Operational Programme Information Society and overview of measurable indicators. Digital library and digital archive Non-refundable financial contribution: EUR 39,695,796.98 Project implementation schedule Name of activityStart of implementation activity (MM/YYYY)End of implementation activity (MM/YYYY)Main activities (max. 100 characters for each activity)Activity 1 – Preparation of documents for digitization and their chemical treatment (3)04/201209/2015Activity 2 – Digitization (4)04/201209/2015Activity 3 – Archive (Digitization and conservation of documents of the SNA (5)04/201209/2015Support activities  Project management04/201209/2015Publicity and information06/201209/2015  Digital gallery Beneficiary: Slovak National GalleryNon-refundable financial contribution: EUR 13,976,008.00 Non-refundable financial contribution: EUR 26,287,339.11 Project implementation scheduleName of activityStart of implementation activity (MM/YYYY)End of implementation activity (MM/YYYY)Main activities (max. 100 characters for each activity)  Activity 1 – Establishment and operation of the Digitization Centre02/201211/2015Activity 2 – Treatment and conservation of items02/201211/2015Activity 3 – Preparation of items for digitization03/201211/2015Activity 4 – Digitization of museum collections08/201211/2015Activity 5 – Digitization of knowledge of folk-art production08/201207/2015Support activities  Project management01/201111/2015Publicity and information02/201211/2015  Digitized monuments and historic sites  Beneficiary: Monuments Board of the Slovak RepublicNon-refundable financial contribution: EUR 9,333,051.18 Project implementation scheduleName of activityStart of implementation activity (MM/YYYY)End of implementation activity (MM/YYYY)Main activities (max. 100 characters for each activity)Activity 1 – Building modifications to cthe ministryExamples of projects carried out under the Operational Programme Information Society and overview of measurable indicators. Digital library and digital archiveExamples of projects carried out under the Operational Programme Information Society and overview of measurable indicators. Digital library and digital archiveNon-refundable financial contribution: EUR 39,695,796.98Digital gallery Beneficiary: Slovak National GalleryNon-refundable financial contribution: EUR 13,976,008.00Non-refundable financial contribution: EUR 26,287,339.11Digitized monuments and historic sites  Beneficiary: Monuments Board of the Slovak RepublicNon-refundable financial contribution: EUR 9,333,051.18 NoYesYesYESNationalThis measure is part of the aforementioned concept. The Ministry is responsible for its implementing; i.e., the state administration at the first and second levels is carried out by the Monument Board of the Slovak Republic or the regional monument boards. State administration organs implement measures continuously or as necessary within the framework of the approved resources from the state budget. legislative barriers were identified in implementing this measure – insufficient competences in performing the state administration, low enforceability of the law, discrepancies between the requirements for monument fund preservation and the possibilities of financial support of the Ministry subsidy system, neglected regular maintenance of cultural monuments, “cultural crime” and illegal merchandizing of cultural heritage.   Because of the date of adopting the concept, the effect or impact of this measure can not be stated in concrete terms. At the general level, we anticipate the improvement of the status of at least some cultural monuments. The indicators will also include the change of the ratio of monuments in good – satisfactory – damaged - neglected state or the number of monuments under renovation. The data are collected annually and statistically processed by the Monument Board of the Slovak Republiccreatreos, general public
967496562016EslovaquiaAct on Public Cultural Awareness ActivitiesSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, Alianza con la sociedad civilCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/act-public-cultural-awarenesshttps://es.unesco.org/creativity/node/9674Redefinition of the area of public cultural awareness activities within the existing system of public cultural awareness activities on the national, regional and local levels.Act No 189/2015 on public cultural awareness activities, which entered into effect on 01 September 2015 replaced the previous legislation regulating the area and introduced a new definition of public cultural awareness activities. This law defines public cultural awareness activities as covering activities which contribute to respect for human rights and diversity of cultural expression, to the formation of a cultured way of life, to achieving higher cultural and educational standards in the Slovak Republic and to the development of creativity as the foundation of culture in society (Section 2(1)), and establishes arrangements for such activities including the development of cultural identity and inter-cultural dialogue on the national, regional and local levels (Section 2(2)(a)).NationallegislativeThe law is based on the civic principle and it has no specific target group because the public in general is deemed to be the recipient of public cultural awareness activities. One of the act’s provisions on records in the area of public cultural awareness activities relates specifically to collectives and individuals who engage in art as a hobby and amateur arts.The act clarifies relations between public cultural awareness institutions on the national, higher territorial unit, regional and local levels and also assists the mapping of the activities of civil society (collectives and individuals) who engage in art as a hobby and amateur arts. The act has established structured, systematic relationships in a previously uncoordinated and unstable environment. In the interest of emphasizing the importance of culture in public cultural awareness activities, the Ministry of Culture of the Slovak Republic changed the Slovak term for such activities from “osvetová činnosť” to “kultúrno-osvetová činnosť” to expressly refer to culture; the act defines the basic activities of public cultural awareness establishments operating on the national level; it implements the term “intangible cultural heritage” and the Slovak Republic’s obligations under the Convention for the Safeguarding of the Intangible Cultural Heritage and the Convention on the Protection and Promotion of the Diversity of Cultural Expressions. The act also defines the activities and competences of public cultural awareness institutions, introduces record-keeping for public cultural awareness activities – intended to provide information on the activities of public cultural awareness institutions, collectives or individuals – e.g. folklore (e.g. folklore ensembles, folklore groups, singing groups, folk storytellers), theatre (e.g. amateur theatre groups, puppet theatres, mime), film, photography, etc.                           CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónNoThe National Cultural Centre, an organisation under the establishing competence of the Ministry of Culture of the Slovak Republic – a public cultural awareness institution with national coverage and a general orientation (Section 5(2)(a) of the act),Higher territorial units through higher territorial unit and regional public cultural awareness institutions.The legislative changes had no negative impact on the public administration budget. Implementation of particular measures and obligations laid down by the act is covered by the budgets of the relevant organizations.In view of the number of areas covered by public cultural awareness activities, the act focuses primarily on the organization of public administration on the national, regional and local levels necessary to provide efficient, qualified methodological support for all legal entities and natural persons engaging in public cultural awareness activities. The legislation does not limit the activities of formal and informal civil society organizations or private enterprises in any way.NoYesNoYESNationalevaluation of the implementation of this measure is not yet available because it entered into force in the second half of 2015evaluation of the implementation of this measure is not yet available because it enetered into force in the second half of 2015
966896562016EslovaquiaStrategy for the Digitalization fo Cinemas in the Slovak Republic Sistemas sostenibles de gobernanza de la cultura, Alianza con la sociedad civil, Entorno digitalCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/strategy-digitalization-fohttps://es.unesco.org/creativity/node/9668The aim of the Strategy for the digitalization of cinemas was to support the continuing digitalization of single-screen cinemas in Slovakia and to create conditions for the development of local culture, of which cinemas have been an integral part for over a hundred years. Continuing the digitalization of single-screen cinemas also creates conditions for the protection and promotion of diversity of cultural expression in film, and the effective circulation of Slovak audio-visual works in the cinema distribution system in Slovakia. The strategy’s main aim was to analyse the situation in the digitalization of Slovak cinemas and to find a suitable way to provide for the digitalization of single-screen cinemas. Cinematography, together with its main distribution platform, the cinema, provide one of the most effective ways of communicating cultural values and also one of the sources of cultural diversity. Cinemas are considered to be important cultural institutions and if we look at them in terms of the number of people who visit them each year, they have an indispensable place in the cultural system. In 2012, 88% of the 154 cinemas in Slovakia were single-screen cinemas, mostly under the management of towns and villages and it was such cinemas that were most at risk in the process of cinema digitalization. Evidence of this was the fact that as at 31 October 2012, 108 cinema screens had been digitalized in Slovakia but only 23 of these were in single-screen cinemas. By comparison, at that time the level of digitalization in multiplex cinemas operated by private companies was 97%. The digitalization of single-screen cinemas in Slovakia operated by towns and villages or co-financed by local government was clearly lagging behind. There was a risk that the process of disappearance of single-screen cinemas which had been happening since the foundation of the Slovak Republic would be accelerated by the move to digitalized cinemas, and it was therefore necessary to act quickly, not later than the first half of 2013, because already in 2012 there were significant problemNationalfinancialThe AVF has supported digitalization and other measures to modernize cinemas since 2010 and has made this one of its permanent priorities. In order to accelerate the digitalization of cinemas, the government of the Slovak Republic adopted the Strategy for the digitalization of cinemas in the Slovak Republic on 09 January 2013. This strategy seeks a suitable solution and the necessary funding to digitalize single-screen cinemas.                                         After the adoption of the strategy, the digitalization of single-screen cinemas accelerated. While in the years 2009–2012, funds from the AVF supported the digitalization of 32 single-screen cinemas, almost the same number – 28 – were digitalized in 2013 alone, and in 2014 support was provided for the digitalization and modernization of 27 cinemas. Another important change is the increased availability of support including combined grants and loans and support for a wider range of renovation activities including the renovation of other cinema equipment and training. In 2015 the AVF supported the digitalization and modernization of another 13 cinemas.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELDistribución, ParticipaciónYesThe strategy aimed to achieve the digitalization of 100 out of a total of 115 non-digitalized single-screen cinemas in 2013 and 2014. The aim of the strategy was not only to preserve access to film culture for residents of the Slovak regions, but also to make a significant contribution to the cultural potential of the use of cinemas and the revival of cultural life in the local area. By the end of 2014, support had been provided to a total of 87 cinemas. The objective was achieved in 2015, when the total number of cinemas to which the AVF had provided support for digitalization and modernization reached 100.Audio-Visual Fundprime minister of the Slovak Republic which was earmarked for cinema digitalization. In 2014, the AVF’s support in this area amounted to EUR 559,300 and in 2015 it was EUR 315,000.Name of NGOs and/or private companies engaged in the implementation of the measureThe AVF does not contribute the full cost of a cinema digitalization and modernization project and the applicant for support must always provide co-financing amounting to either 50%, if an AVF grant is sought, or 10%, if the applicant has requested a combined grant and loan. The implementation of the measure therefore also involves: persons implementing the renovation and improvement of technical infrastructure for the presentation of audio-visual works in the territory of the Slovak Republic,the operators of audio-visual technical infrastructure in the territory of the Slovak Republic.YesNoYesNO• persons who make, produce and distribute audio-visual works, • persons in the regions who want to have full access to diverse
966196562016EslovaquiaContract on the provision of public services in radio and television broadcast (The "Contract with the State")Sistemas sostenibles de gobernanza de la cultura, Diversidad de los medios de comunicaciónCine / Artes audiovisuales, Medios de comunicaciónhttps://es.unesco.org/creativity/policy-monitoring-platform/contract-provision-publichttps://es.unesco.org/creativity/node/9661This contract has been concluded to establish a framework for the systematic promotion and development of public services in radio and television broadcasting involving: the making and production of new, original works in the public interest,the public dissemination of such programmes as part of a public broadcasting service, the modernisation of the technological infrastructure for the production and broadcasting of new, original programmes in the public interest andbroadcasting to other countries.By concluding this contract, the parties (the Slovak Republic represented by the Ministry and Radio and Television Slovakia (hereinafter also “RTVS”)) declared that they consider the promotion of the making, production, broadcasting and preservation of Slovak audio-visual and cinematographic works to be an integral part of public broadcasting services and an integral part of the cultural heritage of the Slovak Republic. RTVS has an essential role in the sustainable development of audio-visual culture in view of its historical, cultural, social and economic status. Provision for such development involving the use of public funds and cooperation with RTVS and other audio-visual organizations will contribute to the public interest in broadcasting and the development of audio-visual culture and industries in Slovakia and advance the values of humanism, ethics and education.NationalfinancialThe implementation into practice of the “contract with the state” in the Slovak Republic in 2010 was described in the first periodic report. In 2012 the parties concluded a new framework contract for the period 2013 to 2014 (Contract No MK - 138/2012/M on provision for public interest services in radio and television broadcasting in the period 2013–2017). The parties agree on the precise and binding scope and nature of their mutual obligations under this contract for each year by means of addenda to the contract. The addendum is always concluded for a period of one calendar year. Based on the addendum, the Ministry pays RTVS the agreed sum for the given year for the following purposes:the programming obligations of RTVS, the content of which is the making of new, original radio programmes in the public interest and new, original television programmes in the public interest; the programming obligations are always specified in detail in the addendum for the given calendar year.specific investment projects set out in the addendum for the given calendar year andbroadcasting by RTVS to foreign countries by the radio channel Radio Slovakia International, which broadcasts via satellite and the internet at least 30 minutes per day in Slovak, English, German, French, Russian and Spanish.Since 2013, the addendum to the contract with the state includes areas of special interest of state support in the given calendar year and the minimum percentage of the funds provided for implementation of programming obligations that will be used for the making of new, original programmes in the public interest in each area of special state interest. The addendum for 2013 laid down the following areas of special interest for state support:INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELProducción, DistribuciónNoEvery year, the financial contribution paid to RTVS under the contract with the state is used to produce television programmes that are mostly not of interest to the commercial sector and but which contribute to the fulfilment of service to the public in radio and television broadcasting. Funds contributed by the state are also used to make radio and television programmes for members of national minorities and religious programmes. The making of new, original programmes in the public interest in areas of special state interest serve the interests of minority viewers and promote the national culture. Quality can be assured in such activities by renovating the technological infrastructure of the public broadcaster. Without state support radio broadcasts to other countries would probably cease. This indicates that the measure clearly contributes to support for access to the national culture and minority culture and promotes the development of cultural diversity in Slovak radio and television broadcasting.Radio and Television SlovakiaIn 2012 RTVS was paid EUR 10,000,000 under the contract with the state to implement programming obligations in television broadcasting, EUR 3,000,000 to implement programming obligations in radio broadcasting and EUR 1,000,000 for radio broadcasting to other countries. The state did not provide any funds to RTVS for specific investment projects this year.In 2013 RTVS was paid EUR 19,931,932 under the contract with the state to implement programming obligations in television broadcasting, EUR 3,000,000 to implement programming obligations in radio broadcasting, EUR 1,000,000 for radio broadcasting to other countries and EUR 5,000,000 for specific investment projects.  In 2014 RTVS was paid EUR 19,138,000 under the contract with the state to implement programming obligations in television broadcasting, EUR 3,000,000 to implement programming obligations in radio broadcasting, EUR 1,000,000 for radio broadcasting to other countries and EUR 1,500,000 for specific investment projects.  In 2015 RTVS was paid EUR 20,933,842 under the contract with the state to implement programming obligations in television broadcasting, EUR 3,300,000 to implement programming obligations in radio broadcasting, EUR 1,000,000 for radio broadcasting to other countries and EUR 5,000,000 for specific investment projects.  NoNoYesYESNationalEach addendum for a particular budget year is evaluated separately by means of accounts for provided funds which RTVS is obliged to submit to the Ministry each year and a substantive and financial check of these accounts performed by the Ministry. As part of the evaluation the Ministry checks RTVS’s fulfilment of its obligations under the contract with the state and the addendums for particular budget years.   Not applicable
965796562016EslovaquiaStrategy for the Development of the Creative IndustriesSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/strategy-development-creativehttps://es.unesco.org/creativity/node/9657As this issue is considered to be of relevance across a large number of areas, the strategy was developed through inter-ministerial cooperation involving the following ministries: the Ministry of Culture of the Slovak Republic, the Ministry of Economy of the Slovak Republic, the Ministry of Transport, Construction and Regional Development of the Slovak Republic, the Ministry of Education, Science, Research and Sport of the Slovak Republic, the Ministry of Interior of the Slovak Republic, the Ministry of Agriculture and Rural Development of the Slovak Republic and the Ministry of Foreign and European Affairs of the Slovak Republic. The strategy was adopted by Government Resolution No 32/2015 of 21/01/2015 and establishes the following priorities:Priority 1 An efficient system for the development of the creative industries,Priority 2 High-quality human resources,Priority 3 Increasing the market’s absorption capacityPriority 4 Supporting instruments for financingAction plan for implementation of the strategy for the development of the creative industries in the Slovak RepublicThe Action plan for the implementation of the strategy for the development of the creative industries in the Slovak Republic, which sets out the implementation plan for existing and new measures under each priority, was adopted on 15 December 2015. Financing for programmes supporting the development of CCIs in the Slovak Republic is designed to provide complementary support for the creative economy value chain. Support for creative production is provided primarily by the Art Support Fund (established in 2015) and the Audio-visual Fund (established in 2009), which operate on the arm’s length principle, supplemented by the Ministry’s grant system, which is oriented towards support for cultural heritage and support for the culture of disadvantaged groups. New financing measures include:NationalregulatoryPriority 1 An efficient system for the development of the creative industries,Priority 2 High-quality human resources,Priority 3 Increasing the market’s absorption capacityPriority 4 Supporting instruments for financingCULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónNoMobilisation of creative potential in regionsPriority Axis 3 (PA 3) is under the competence of the Ministry of Culture and operates in synergy with the OP Research and Innovation (OP R&I)  The aim of Priority Axis 3 is to support:  Business growth,Infrastructure development,Access to tangible and intangible assets for creative SMEs,Monetization of intellectual properties with a view to increasing employment in the CCIs, Increased competitiveness and growth of SMEs,Development of the competitiveness of SMEs in the Bratislava RegionOperational Programme Research and InnovationTwo relevant priority axes of the OP R&I fall under the competence of the Ministry of Economy. These include measures designed to support: Internationalization,Cluster initiatives,Increasing awareness of CCIsSMEs in areas where new business models are emerging.The division of competences in these two programmes financed from the ERDF is based on the definition framework for the CCIs used by the European Commission, which was published in “The Economy of Culture in Europe” in 2006 (KEA). This divides the area as a whole into the cultural sector and the creative sector. The cultural sector includes the traditional arts (the visual and dramatic arts, cultural heritage) and the cultural industries (film, audio-visual media, television and radio broadcasting, computer games, music, publishing), which fall under the competence of PA 3 of the IROP. The creative sector includes creative industries (design, architecture and advertising) and related areas (such as software development), which fall partly under PA 3 and also under OP R&I.the Ministry of Culture of the Slovak Republic, the Ministry of Economy of the Slovak Republic, the Ministry of Transport, Construction and Regional Development of the Slovak Republic, the Ministry of Education, Science, Research and Sport of the SlovakIn 2012, the AVF provided a total of EUR 5,519,888 in support and it received a contribution of EUR 3,500,000 from the state budget. In 2013, the AVF paid out a total of EUR 6,404,290 in support and it received a contribution of EUR 4,200,000 from the state budget. In 2014, the AVF provided a total of EUR 6,458,060 in support and it received a contribution of EUR 4,000,000 from the state budget. In 2015, the AVF paid out a total of EUR 6,542,900 in support and it received a contribution of EUR 4,500,000 from the state budget.  YesYesYesYESNationalAfter five years of the AVF’s support activities, it is possible to conclude that the objectives referred to in point (b)(I) have been fulfilled. The AVF operates as a stable and respected public institution. The continuous support activities of the AVF have brought about a demonstrable increase in the basic performance indicators of Slovak audio-visual culture and industries in the international context. In terms of the number of films per million inhabitants, Slovakia achieved an increase of 125% between 2010 and 2014, and public funds for audio-visual culture per capita increased by 45.6% over the same period.Evaluation of the measure is conducted every year in the form of the AVF’s annual report. The director presents the draft report to the board of the AVF for approval. The report includes a report on the fulfilment of the AVF’s strategic goals and development plans in the period covered. The annual report for 2014 included a comprehensive review of the AVF’s activities after five years of operation. The main conclusions of the evaluation were as follows:The volume of public funds available each year to support audio-visual culture increased by 80%,Available funds were stabilized,The AVF standardized the structure of sources in the European context,It expanded the forms and scope of support activities to various areas of audio-visual culture and industries (stipends, loans, support for cinemas, support for audio-visual industries),The AVF has created more flexible conditions for the efficient use of the provided funds, which has significantly reduced the risk of uncompleted projects in production.It has broadened the range of genres of films made and the variety of topics which they address,The AVF has created conditions for greater competitiveness (a demonstrable increase in the number of production companies and the number of supported applicants),Evaluation used standard accounting and statistical indicators, and also international indicators of the potential of the audio-visual environment.
1630172602012EsloveniaPromotion of creativity and development of film and audiovisual activitiesSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCine / Artes audiovisualeshttps://es.unesco.org/creativity/policy-monitoring-platform/promotion-creativity-developmenthttps://es.unesco.org/creativity/node/163010The measure includes the promotion of creativity and development of film and audiovisual activities with refundable and non-refundable state funding for the production, distribution and promotion of the European, national and artistic audiovisual works. The goal is to enable the production and distribution of European cultural works, to enable the greatest possible access to film and audiovisual projects with cultural content and to promote European and cultural diversity. The measures were established with the Film Fund of the Republic of Slovenia Act in 1994 and its further amendments, and by the formation of the scheme for co-financing support of audiovisual production for media and the promotion of the distribution of quality films and art cinema programme. The measure was established with the Media Act, on the basis of which the Ministry, with the selection of supported projects or programme content, pursues its goals in assuring media pluralism as defined in Articles 4 and 4.a. The number of supported projects decreases somewhat every year, as a consequence of the reduction of co-financing funds. With regard to 2010, funds were reduced by 10%; nevertheless, the effect of state aid remains positive in relation to the anticipated scope of supported content. In Article 85, the Media Act stipulates only the minimum proportions of in-house production; the goal is to achieve the highest possible proportions. The annual transmission time of the in-house production of broadcasters of television programmes and the daily transmission time of the in-house production of broadcasters of radio programmes decreased in the previous year. Regardless of the above-stated, the co-financing of programme content ensures the implementation of the right to public communication and to informing through programme content published in the media, e.g. general informative content, the plurality and diversity of media content (through programme content published in the media), particularly content intended for children and young people, senior citizens, and children and adults with special needs. By maintaining this measure, Slovenian national and cultural identity and language are being preserved; cultural creativity in the area of media and the culture of public dialogue are being promoted; the rule of law, the welfare state and the development of education and science through programme content (cultural, educational, scientific, youth, children etc.) published in the media are being strengthened.Challenges identified in the implementation of this measure:The fundamental question is whether the measures ensure the greatest possible distribution and access to film and audiovisual works with cultural content.National, InternationalOn a legal basis i.e. on the basis of the umbrella act, sector-specific law and by state aid notifications. The measure also includes international cooperation and coproduction. On the basis of the Media Act (Official Gazette of the RS, Nos. 110/06 - official consolidated text, 36/08 - ZPOmK-1, 77/10 - ZSFCJA and 90/10 - odl.US) and its implementing regulations.CULTURAL POLICIES AND MEASURESCreación, Producción, DistribuciónSlovene film center - public agency of the Republic of Slovenia, Ministry of Education, Science, Culture and Sports, Public institution Film studio Viba film Ljubljana, Ministry of Education, Science, Culture and SportYESThe measure is being verified with ratings of film works and proportions of audiovisual works in publishers’ programmes. The measure examines whether the co-financed programme content was actually included and broadcast in the publisher’s programme scheme. Data on ratings in cinemas, data on proportions of broadcasting by the publishers. Data on in-house production and a list of works produced.
1631072602012EsloveniaStrategy of the Inclusion of Migrant Children, Pupils and Students into the Education System in the Republic of Slovenia La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/strategy-inclusion-migranthttps://es.unesco.org/creativity/node/163100According to the Strategy of the Inclusion of Migrant Children, Pupils and Students into the Education System in the Republic of Slovenia (2007), the following measures, apart from the supplementary lessons of mother tongue, are being carried out: Additional expert help in learning Slovenian, financed by government; Adaptation of the implemented curriculum (a sort of individual programme with more Slovenian language at the beginning of schooling); Preparation of strategies for working with parents of migrant children; New practice-oriented strategies, especially how to work with parents, developing new multilingual materials, available on websites and distributed to teachers free of charge,A special module is being prepared for educating teachers to work with migrant children; Expert conferences are being organised to train principals, counselling and other professional workers; Encouraging intercultural learning and positive attitudes towards understanding and accepting difference (an ESF project). Local, Regional, NationalMain measures are being carried out by National Educational institute, faculties and schools and are financed by national budget and European Social Fund.  One example of good practice in this area is Education for Intercultural Dialogue and Active Citizenship project,  coordinated by the Slovenian Academy of Science and Art and Educational Research Institute – (800,000 €; from 2010 to 2011). Four aims were set forward: To link the three levels: legislation, educational policy and school practice, and to overcome inadequate transmission of educational policies into school practice in the field of intercultural dialogue and active citizenship, To transcend theoretical complexity and practical contradiction between the assurance of equality and unity and the acceptance, inclusion and respect of multiculturalism of the modern Slovenia and other EU members,Intercultural education, which helps students to evaluate their cultural identity,To present intercultural competencies and propose their inclusion in the preparation of curricula and educational programmes in Slovenia. The results of the project encompass: 11 publications and other materials for teachers, students and public servants,Several conferences, seminars and workshops,Several analyses of present-day situation in the Slovenian regions, based on extensive field work,The final conference of the project (presentation of collected materials, examples of good practice, workshops for all levels of the education system,Establishment of information-communication network; two registers of relevant documents and examples of good practice; two lists of stakeholders in the field of the education of intercultural dialogue and active citizenship; two active forums (migracijski-forum[@]googlegroups.com; the second one available at: http://www.medkulturni-odnosi.si/).INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, ParticipaciónMinistry of Education, Science, Culture and SportUS$1,000,000.00 NOJóvenes
1630772602012EsloveniaSlovenia's Development and Humanitarian Assistance in CultureLa cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/slovenias-developmenthttps://es.unesco.org/creativity/node/163070Article 9 of the 2006 International Development Cooperation Act stipulates that international development cooperation also comprises cultural cooperation and donations to cultural institutions in developing countries. The 2008 Resolution on International Development Cooperation of the Republic of Slovenia until 2015 defines cooperation in science and technology, including the establishment of integrated library information systems and research information systems to support education and research, as well as cultural, technological and economic development, as Slovenia’s thematic priorities in international development cooperation. InternationalIn 2010, Slovenia co-financed the organisation of a competition between Bosnian- Herzegovinian secondary schools, aimed at promoting intercultural dialogue and understanding, and the announcement of the winners (the authors of the project "Sajam sličnosti" – "Fair of Resemblance") at the conference of the Alliance of Civilizations in Sarajevo on 13 and 14 December. In Montenegro, Slovenia co-financed the equipment for the library of the Historical Institute. In Serbia, Slovenia co-financed a multiethnic performance entitled "Ti i ja smo mi" ("You and I are We"), given by secondary school students from the south of Serbia and aimed at promoting coexistence and cooperation between different nationalities. The Slovenian ministries of foreign affairs and defence organised a five-day prize trip for Bosnian-Herzegovinian secondary school students who took part in a EUFOR competition on the themes of “Children of the European Union” and “Europe without Borders”; at the trip, the children discovered Slovenia’s cultural and natural heritage, and visited several Slovenian institutions. In 2011, Slovenia co-funded a project of the Institute of Information Science Maribor “COBISS.Net” which serves as an information infrastructure for information exchange on intellectual production, and thus acts as a facilitator of intercultural dialogue between the countries in South-Eastern Europe. In Albania, Slovenia co-funded a project of the Centre for European Perspective "Helping the library of the Faculty of Mathematics and Engineering Sciences in Tirana". The project aimed to improve the accessibility of scientific literature to professors, students and all others who have an interest in the areas of mathematics and engineering.In 2010, Slovenia contributed funds for the digitalisation of the Herat University library in Afghanistan. Under the auspices of the Slovenian Ministry of Foreign Affairs, the Institute for the Creative Development of Young People (Zavod za ustvarjalni razvoj mladih) organised in 2010 art workshops and exhibitions of the works of Afghan children – refugees. In 2010, in cooperation with the Slovenian ministries of defence and foreign affairs and the Embassy of the United States in Ljubljana, Pionirski dom, a centre for youth culture, carried out a project entitled “Art Without Borders”. The project hosted six students and professors of the Faculty of Fine Arts, Herat University, Afghanistan, who from 24 November to 3 December 2010, participated in art workshops to learn new fine arts techniques, and visited Slovenian museums and educational institutions to learn about the situation of visual arts in Slovenia. In 2011, Slovenia continued to actively support the further development of graphic arts at the Herat Faculty of Fine Arts (Afghanistan), notably with a project of providing the Faculty of Fine Arts with graphic equipment which enabled its professors and students to further develop their knowledge of graphic techniques acquired in Slovenia. During a relatively short period and due to an increased interest in the study of graphic arts, Slovenia’s contribution in this field yielded some concrete results, such as the formation of an independent department of graphic arts in 2011. In 2011, Slovenia co-financed an ethnological study of the revitalisation of handicrafts and crafts in Afghanistan among the vulnerable groups of Afghan refugees returning from Iran. Slovenia co-financed the establishment of the Kafuli centre for computer literacy in Burkina Faso, a project by Umanotera, a Slovenian foundation for sustainable development. This 2010–2011 project involved the opening of a computer centre in a library, offering free computer courses. In 2010, the Slovenian Government co-financed a project by the Ljubljana Faculty of Architecture, involving the construction of a classroom and a library for the South African Ithuba Primary School, which are also open to the local population. The Ithuba Primary School is set in a Johannesburg slum, marked by high rates of unemployment, poverty, crime, and people infected with HIV. The project was part of a broader undertaking by an international network of schools of architecture, involving the construction of premises intended for education in undeveloped and socially disadvantaged parts of the world. MATAFIR, a society for intercultural relations, carried out in Sierra Leone in 2010 the project “I know – I can: Empowerment of Girls and Women in Sierra Leone”, which focused on motivating girls and women to continue their education. Slovenia co-funded the project, allocating EUR 12,057. Slovenia co-financed the project “Library – the Cornerstone of Reading Culture and a Source of Knowledge”, carried out by the Edirisa Society of Slovenia in Uganda. This 2010–2011 project involved allocating a room for the library, equipping the room, and preparing the library’s action programme. In 2011, Slovenia contributed to the Trust Fund in Jamaica for the construction of a permanent memorial in honour of the victims of slavery and the transatlantic slave trade.INTERNATIONAL CULTURAL COOPERATIONCreación, ParticipaciónMinistry of Foreign AffairsUS$255,869.48 NO
1630472602012EsloveniaThe digitisation of cultural material Sistemas sostenibles de gobernanza de la cultura, Entorno digitalCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/digitisation-cultural-materialhttps://es.unesco.org/creativity/node/163040Sustainable public funding of digitisation was introduced in 2008.The main objectives were: to preserve cultural heritage for future generations,to preserve cultural diversity through wide access and useto democratize access to the Slovenian collective knowledge and to make it accessible to the greatest number of people.Challenges identified in the implementation of this measure:The material accessible through Slovenian digital library and European digital library Europeana is mostly public domain material.One of the key challenges is to include in-copyright material, so as to avoid a ‘20th century black hole’ - a situation in which much cultural material from before 1900 before 1900 is accessible on the web, but very little material from the more recent past.NationalCultural institutions - museums, libraries and archives - were funded on an annual basis  according to yearly programmes of activities. Eligible costs included the costs of conversion to digital format, workforce, technical infrastructure, website and software licences. CULTURAL POLICIES AND MEASURESDistribuciónMuseums, libraries and archivesUS$700,000.00 YESMore than 3 million digital objects accessible online.The absolute number of objects is accessible online at:www.dlib.si, www.museums.si, http://www.culture.si/en/Latest_images, http://www.repertoar.sigledal.org/digitalne-zbirke.
1629572602012EsloveniaPromotion of cultural development of the autochthonous Italian and Hungarian national communities in SloveniaLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/promotion-cultural-developmenthttps://es.unesco.org/creativity/node/162950Promotion of cultural activities of the autochthonous Italian and Hungarian national communities in Slovenia in accordance with their expressed cultural requirements, to maintain the cultural development of national communities and to improve conditions for the cultural diversity of programmes of Italian and Hungarian national communities. On the basis of Article 64 of the Constitution of the RS, the Italian and Hungarian national communities and their members are guaranteed the right to preserve their national identity, to establish organisations and to develop cultural activities. It is also stipulated that the state financially and morally supports the implementation of these rights. Cultural programmes of national communities have been financially supported by the Ministry of Culture of the RS from the beginning (1991); in 2002, the Act Regulating the Realisation of the Public Interest in the Field of Culture further operatively defined the measures in the area of culture also for the two national communities in Articles 31 and 59.NationalThe financing of various types of activities within the programmes of national communities with an annual submission of a direct call to the two national communities' central organisations and receiving feedback and proposals on the selected cultural programmes of Italian and Hungarian national communities. The participation of national communities in defining the goals of cultural policy in the section which relates to them, and the implementation of counselling at the Department for Cultural Diversity and Human Rights for the preparation and implementation of cultural programmes. The organisation of coordination meetings before issuing direct calls and, if necessary, also after the receipt of proposals for their programmes and the preparation of sector-specific laws with opinions from the national communities. The mutual establishment of the requirements for modifications in the area of institutes' operations of the Department for Cultural Diversity and Human Rights and national communities' central organisations. The improvement of the financing system of national communities’ cultural programmes on the basis of regular evaluations and meetings with representatives of national communities and the promotion of the inclusion of national communities' institutes in the programmes of cross-border, interregional and international cooperation and the promotion of inclusion of the Italian and Hungarian national communities in the cultural programmes and projects of local communities. At the end of each calendar year, the Ministry of Culture submits to the both national communities a direct call which invites them to present the proposals for their cultural programmes for the following year. The proposals present the operation of public institutes established by each individual national community (they include funds for salaries and contributions of employees, general expenses and programme material expenses) and funds intended for the managers of the activities who are selected by the two central organisations of national communities by public procurement or a call whereby the Rules on the implementation of a public call and public tender are applied as appropriate. On the basis of Article 15 of the Self-Governing Ethnic Communities Act, the Ministry of Culture annually asks the two central organisations of national communities for their opinions relating to all matters concerning them. Thus, a regular annual coordination meeting takes place at the Department for Cultural Diversity and Human Rights, where representatives of national communities define their cultural requirements and the amount of funds necessary for their cultural programme, within the available budget. Before the direct call, the expert service submits to the national communities the direct call documentation, model contracts and decisions, and other appropriate material for a review. Challenges identified in the implementation of this measure:The richness resulting from coexistence, the enrichment of diversity on all levels and consistent implementation of the rights of members of national minorities can be an additional encouragement for good relations between our citizens and also for the international reputation of the state.CULTURAL POLICIES AND MEASURESCreación, ProducciónMinistry of Education, Science, Culture and SportUS$990,228.00YESThe implementation of the cultural programme of minorities within the framework of the umbrella organisations (the central organisation of the Italian national community – Coastal Italian Self-Governing National Community, Italian Centre for Promotion, Culture, Education and Development Carlo Combi founded in 2005, and the central organisation of the Hungarian National community – Institute for Culture of Hungarian Nationality founded in 1994) which implement, organise and conduct various cultural activities within the cultural programme of ethnicities. Both institutes support the activities of societies in the ethnically mixed areas, i.e. in the area of publishing, cultural groups, contacting the nation of origin, events and activities for the preservation of their mother tongue, lectures and seminars, and cooperation on scientific-cultural projects. With the professionalisation of several functions, this structure has shown good results and as an example of good practice was also applied in the neighbouring countries.
1630972602012EsloveniaThe Strategy of Education of Roma in the Republic of SloveniaLa cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/strategy-education-roma-republichttps://es.unesco.org/creativity/node/163090The strategy was put forward in 2004 and revised in 2011. It was prepared in close collaboration with the Roma Union of Slovenia. It includes the following objectives:• To ensure education and training that enable Roma children to achieve goals and standards defined in the National Curriculum for Preschool Institutions and in the elementary school syllabi, • To exercise the right to maintain and respect Roma language and culture in the education and training system, • To promote inclusion in society through education and training enabling Roma children to assume the functional requisites of society, while respecting their differences and identity, • To promote inclusion in society through a curriculum which ensures the principles and moral values of equality within the scope of social equity. The following solutions were proposed:• Early integration into the education and training system: increase in enrolment of Roma children in preschool institutions at least two years before starting elementary school, • Introducing Roma assistants: elimination or mitigation of ignorance of the Slovenian language and unsuccessful integration of Roma children; Roma assistants will help children to overcome emotional and linguistic barriers and act as a bridge between a preschool institution or elementary school and Roma community, • Adjustment in the contents of educational programmes: the introduction of the Roma language in elementary school on an optional basis, teaching Roma children the Slovenian language, and identification of objectives (e.g., multiculturalism) or standards of knowledge through the topics of Roma culture, history, and identity, • Continuous professional development and supplementary training for educators, • Providing special organisational and material conditions: at least preserving the advantageous standards and criteria for the financial aid already established, • No segregation policy; as a rule, homogeneous Roma class-units shall not be formed, • Introducing various forms of learning assistance, • Establishing trust in school and eliminating prejudice, • Following the principle that, as an ethnic group, Roma children are not special needs children, • Promoting adult education: the reference level for objectives in the area of education of Roma adults are basic points set out in the Master Plan for Adult Education in the Republic of Slovenia until 2010.Local, Regional, NationalOne of the biggest projects dealing with Roma education in Slovenia was Successful integration of Roma children into education. It concerned the integration of Roma children into the education system and the elimination of segregation and discrimination. It was coordinated by the Roma Union of Slovenia and it strove to enhance the efficiency of the on-going integration process through educating and training Roma assistants, school teachers and staff as well as educating and encouraging Roma parents to assume responsibility. The project was financed by the European Social Fund (ESF) and the Ministry of Education and Sport of Slovenia and amounted to €1.593,100. It started on 30 May 2008 and was finished on 31 August 2011. As the project proved to be successful, a similar project, financed by the ESF and the Ministry of Education and Sport, was launched in September 2011; it is to be ended in August 2014 and amounts to €1.675,680. Target groups were: • Preschool and elementary school Roma children, • Roma parents, • Teachers and professional staff, • Roma teacher assistants. The Roma assistants are Roma who set an example and communicate the importance of education in order to make Roma aware of the opportunities and their own capabilities to achieve learning objectives and develop skills, and challenge themselves for more demanding professions. There were 30 Roma assistants in the project working in 32 elementary schools and preschool institutions, helping 1,143 Roma children and pupils and guiding them to broaden their knowledge of Roma culture, history, language, and identity. The Roma Union of Slovenia provided education and training for Roma assistants, primarily to familiarise them more with Roma culture, language, history, and identity. It encouraged Roma parents to participate in extracurricular activities of Roma children and various workshops. The Union prepared a manual for teachers and Roma teacher assistants in co-operation with the public institution of adult education Ljudska Univerza Murska Sobota, which also provided theoretical courses (pedagogy, psychology, ICT, etc.) for Roma assistants. Several books were published by the Union on the Roma language, culture and history. The project was nominated for 2010 RegioStars awards of the European Commission and received special mentions from the jury. The Commissioner For Human Rights of the Council of Europe, Thomas Hammarberg, chose it as one of three examples of good practice (the other two come from Finland and Spain). The second very important project, Increase in Social and Cultural Capital in Areas with a Roma Population,  started in June 2010 and will finish in August 2013. It is also financed by the ESF and the Ministry of Education and Sport and amounts to €3.562,000. The project is coordinated by the Institute for Ethnic Studies. The primary aim of the project is to create conditions that would allow the members of the Roma community to escape the vicious circle of social exclusion. This circle could only be broken by adequate investments in social and cultural capital in their environments. The project highlights education as the most efficient way out. Its objectives are to increase the level of education of the Roma community members and to raise awareness about the significance of education as the fundamental factor in the progress of the community. The main activities are: • Promotion of the importance of knowledge and education and awareness-raising of the Roma population, • Motivating children and parents to attend educational institutions regularly, • Establishment of day centres (Roma Education Incubators) where the following activities are carried out: social activities and workshops for preschool and school children and their parents; homework and study help; workshops for parents in social topics of interest, • Practical multi-lingual activities for the whole family; extra-curricular activities for all, • Education and training of teachers and other professional staff with an emphasis on problem-oriented practical activities to promote the staff's motivation,  • Encouraging those members of the Roma community who possess a degree to serve as role models and help motivate Roma children to learn and develop their potential, • Transnational networking and exchange of examples of good practice in the field of Roma education, • Analysis of demographic spatial features of Roma settlements in Slovenia. INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, Producción, Distribución, ParticipaciónMinistry of Education, Science, Culture and SportNOJóvenes
1630672602012EsloveniaSlovenia’s policy in the Western BalkansIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Tratados y acuerdosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/slovenias-policy-western-balkanshttps://es.unesco.org/creativity/node/163060In order to make Slovenia’s activities in the Western Balkans more systematic, the Slovenian Ministry of Foreign Affairs, in cooperation with other ministries and government offices, drafted the Guidelines for Slovenia’s Policy in the Western Balkans, and proposed that the National Assembly adopt a declaration symbolically confirming Slovenia’s commitment to cooperation, assistance and development in the Western Balkans. In 2010 the Government endorsed the Guidelines, which define a tool for the further consolidation and coordination of activities in the Western Balkans. The Guidelines, furthermore, define Slovenia’s priorities and the measures needed to consolidate Slovenia’s position in the Western Balkans. Moreover, the tools envisaged in the Guidelines will identify and remove Slovenia’s internal administrative barriers to its relations with the region; the tools were devised to expedite economic, social and communication flows to the region, as well as to strengthen and renew the ties between the Balkan countries. In accordance with the Guidelines, Slovenia will strive for an expeditious and effective establishment of relations between all the Western Balkan countries in the fields of politics, security, transport, the economy, energy, science, information society, telecommunications, the environment, agriculture, culture, sport, etc., aimed at facilitating the free movement of people, goods, services, capital, and knowledge in the entire region.In the field of culture, Slovenia plans to strengthen cultural cooperation and intercultural dialogue with and between the Western Balkan countries through cooperation in regional and international cultural associations and projects. Slovenia will promote connections, inclusiveness and synergy between international donors in the field of culture. RegionalThe Republic of Slovenia strengthened and supported all-round cooperation in culture through cooperation in regional and international cultural networks, projects and initiatives.The Slovenian Ministry of Culture implemented this measure within the framework of various activities:1) by joining the Council of Ministers of Culture of South East Europe as full member.2) by establishing the Platform for South East Europe, and within it the Regional Hub of the Balkan Incentive Fund for Culture as defined in a memorandum signed with the European Cultural Foundation. Slovenia, through collaboration and partnership with the BIFC, wishes to contribute to its effectiveness by strategically strengthening the networking and project development, communication and visibility, as well as to the political advocacy for the fund and the region of Western Balkans among Member states and the EU institutions. The aim of BIFC contact point is to create an incubator for regional cooperation and become in time also a linking focal point of all already existing cultural cooperation initiatives in this region. 3) by pursuing its constant efforts in the field of cultural heritage in the framework of the continuation of joint programme of the EC and CE Ljubljana Process II.  During the Slovenian Chairmanship of Council of Ministers of the Council of Europe, Slovenia organized international conference "Ljubljana Conference – Rehabilitating Our Common Heritage" in co-operation with the Council of Europe and the European Commission on 6 and 7 November in Ljubljana. The Ljubljana Conference attained its main objective, i.e. to emphasise and upgrade – through the final declaration and ministerial statements – the achievements of the Integrated Rehabilitation Project Plan/Survey of the Architectural and Archaeological Heritage (IRPP/SAAH) – a joint campaign implemented by the Council of Europe and the European Commission which has been underway since 2003. The conference participants acknowledged the value of the social and economic potential of heritage and its key role in the region, as well as the countries’ commitment to preserving cultural heritage; facilitate reconciliation between communities, and socio-economic development with the strengthening of regional co-operation and intercultural dialogue; ensure sustainability and the continuation of joint action, the financing of rehabilitation projects and the training of experts in project management, the management of monuments and restoration; and finally, the transfer of knowledge and experience from this region. By adopting the declaration and a joint ministerial statement of the beneficiaries of the Ljubljana Process, the participants confirmed their individual and joint responsibility in preserving and promoting the common European cultural heritage and their readiness to co-operate and to take decisions that will enable the continuation of the process in 2011. 4) by taking an active part in the UNESCO initiative “Cultural Heritage – a Bridge towards a Shared Future” for South East Europe.5) by organizing regional forum “Writing, publishing, translating: building cultural diversity in South-East Europe” within the framework of “Ljubljana –World Book Capital City”, with the support of the Slovenian National Commission for UNESCO, the Slovenian Book Agency, and the UNESCO Office in Venice (more in detail as annexe).The Slovenian Ministry of Foreign Affairs supported the Sarajevo Notebooks, a project of promoting regional cooperation through literature.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónMinistry of Foreign Affairs, Ministry of Education, Science, Culture and SportUS$799,140.00 NO
1630372602012EsloveniaPromotion and development of cultural educationSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosJóvenesCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/promotion-development-culturalhttps://es.unesco.org/creativity/node/163030Targeted and systematic care for cultural education on the national level and partnership between educational and cultural sectors in this field.  In the National Programme for Culture 2008-2011, the Ministry of Culture and the Ministry of Education and Sport defined the arts and cultural education as the long-term objective of the Slovenian cultural policy and set their common objectives and measures at the national level. It is stressed in the definition of public interest and cultural policy tasks in this field that cultural education includes an aspect of accepting culture as a creative or productive aspect. Thus, it includes culture for children and youth – when an individual is the “user” of culture and plays the role of a viewer, reader, listener, visitor, etc. Moreover, it also includes culture created by children and youth or culture with children and youth – when they are actively involved in cultural activities.The NPC 2008-2011 sets the following national objectives:1. Systematic care for the programmes for children and youth offered by cultural institutions in all fields of culture, the accessibility and popularisation of culture among young people.2. Cultural education as a cross-curricular content and dimension.3. Systematic care for further professional training in cultural education of the professional workers in education and additional training of the experts and artists who prepare projects and programmes for children and youth in kindergartens and schools or for them.4. Preparation of an Action Plan of Cooperation and setting up of a network of participating partners, educational, and cultural institutions in the field of cultural education.5. To ensure, in particular, availability of information on quality cultural goods (offers) for children and youth within the framework of the national cultural portal.Challenges identified in the implementation of this measure:Some objectives are only partly realised, due to financial and organisational limitations (human resources), the basic aims still remain the same (as included in the draft of the new National programme for culture).  Local, Regional, NationalBy means of public calls the ministry encouraged cultural institutions to prepare quality projects and programmes for youth and children. Special attention was given to additional professional education and training to professionals in educational and cultural institutions. Since 2009, on the base of the aims in the National Programme for Culture 2008- 2011 the Ministry of Culture, the Ministry of Education and Sport and the National Education Institute of Slovenia have organized the Cultural Bazaar – Presentation of Culture. In 2011, at this one-day national event, more than 200 Slovene cultural institutions and numerous cultural creators presented themselves to professional workers from kindergartens, and from primary and secondary schools from all over Slovenia.  Every year a catalogue of the Cultural Bazaar is published. In the catalogue, the participating cultural institutions present their offer for kindergartens and schools in the current school year. The catalogue specifically indicates which projects can be hosted at the school (mobile projects), and marks the projects that are free of charge. In the catalogue, they also emphasized that most projects, especially the mobile ones, are also suitable for children and young people with special needs. The ministry web page includes a special section on Cultural education and Cultural Bazar. In 2010-2011 a special target call for education in arts and culture was prepared, with a stress on participation of artists and cultural instituions in kindergartens and schools and vice versa, visits of children in theatres and movie theatres. In the framework of the Operational programme of the development of human resources 2007-2013 within the 3rd development priority a public call by the Ministry of Education was aimed at strengthening the competence of cultural awarenness and expression. Three projects were selected: on pre-school level "Cultural enrichening of the youngest", on elementary school level "Culture encounter" and on secondary school level "Cultural anti-cyclon".  in 2008 the ministries of culture and education initiated establishment of interdisciplinary working group on cultural education, which prepared "National guidelines for inclusion of cultural and art education to education". By support of the Ministry of  Education and National Education Institute of Slovenia a textbook with best practices in cultural and arts education was published. Cultural and arts education was also included in the Action plan for implementation of programme for children and youth 2009-2010 and Action plan for prevention of violence in family 2010-2011. An e-textbook "Through art about interpersonal relations" was prepared for professionals in educational institutions. CULTURAL POLICIES AND MEASURESCreación, Distribución, ParticipaciónMinistry of Education, Science, Culture and Sport, National Education Institute of SloveniaUS$790,000.00 NOJóvenes
1630872602012EsloveniaPromotion of cultural development of the Roma community in the Republic of Slovenia and intercultural dialogue.La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/promotion-cultural-development-0https://es.unesco.org/creativity/node/163080The legal basis for the statutory regulation of special rights of the Roma people is provided in Article 65 of the Constitution of the RS which stipulates that the status and special rights of the Roma Community living in Slovenia is regulated by the Roma Community Act adopted in 2007. Since 1993, the Ministry of Culture, as part of a special programme, supports cultural projects of the Roma community creators with funds available from the budget of the RS, which with the adoption of the Act Regulating the Realisation of the Public Interest in the Field of Culture in 2002 also acquired a legal foundation.Challenges identified in the implementation of this measure:With the implementation of the annual public procurement for the selection of cultural projects in the area of the Roma community in the RS, the goal is to co-finance the maximum number of applied cultural projects in the area of the Roma community. On the basis of Article 12 of the Roma Community Act, a special programme of the Roma community has to be prepared in cooperation with the Roma community. The Roma Community Council also cooperates with the Ministry of Culture on policy-making with regard to the Roma community and annual programmes. The priority criteria of the public procurement promote the creativity of children and young people, the inclusion of Roma artists in Roma cultural projects and the inclusion of the Roma community in cultural programmes and projects of local communities. On the basis of regular analyses and feedback from the managers of Roma community cultural projects, the conditions and criteria in public procurements improve every year.Local, Regional, National, InternationalDue to the observation of special circumstances in which members of the Roma community work in the area of culture, the special measures, in addition to financing, also include expert counselling which has been conducted on andragogical foundations for many years. The counselling involves the provision of information relating to the application to public procurements or calls, assistance with forming project proposals and suitable applications compliant with the requirements of the Ministry of Culture, monitoring the realisation of contracts, assistance in preparing important documentation (payment claims, partial and final reports etc.), counselling on the realisation of projects, organisations' operations, the acquisition of the status of a society acting in the public interest and the status of a self-employed professional etc.In autumn 2008 the Republic of Slovenia became the first European Union Member State to start the campaign ‘Dosta! Go beyond prejudice, discover the Roma’, which is an awareness campaign within a joint programme of the Council of Europe and the European Commission. The campaign is about raising awareness focused on the elimination of prejudice and stereotypes concerning the Roma. The Government Programme for assisting the Roma for the period 2010–2015 anticipates other individual activities in this field in the coming years, such as workshops targeted at raising awareness and eliminating prejudices and stereotypes concerning the Roma, or workshops on the fight against discrimination against the Roma, round tables, consultations, small awareness actions etc. In addition, Office of the Government of the Republic of Slovenia for National Minorities as the manager of the activities also provided for the education of civil servants in public administration and judicial authorities who in the course of their work meet members of the Roma community. 15 two-day training sessions (255 participants) were executed in 2011 within the programme ‘Training for recognition and managing stereotypes in multiethnic society’ for police officers, and two training sessions for students outside the police. Moreover, the Ministry of the Interior conducted three Roma language courses – two courses for the Dolenjska dialect and one for the Pomurje dialect (41 participants), and one course of Albanian (17 participants). The activities of Roma associations were financed through tenders by the Office of the Government of the Republic of Slovenia for National Minorities in order to support the operation of Roma organisations and for local radio shows: In the field of maintaining and strengthening the identity of community members, In the field of mutual integration and cooperation between different parts of the community, In the field of raising awareness, combating discrimination and intolerance, In the field of information; and the activities of local radio shows with the purpose of encouraging the preparation and broadcasting of Roma shows aimed at: Balanced range of topics concerning the Roma from different angles (from the point of view of the Roma, the majority of  the population, national organisations, the state, local community, international community, expert public); Strengthening and preserving the ethnic, linguistic, and cultural identity of the Roma,  Including the Roma in the preparation and presentation of the programmes, Influencing the majority of the population to show greater tolerance of the Roma and their values, and encouraging the Roma to respect the values of the majority population.INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVELCreación, ParticipaciónMinistry of Education, Science, Culture and Sport, Office of the Government of the Republic of Slovenia for National Minorities (now within Ministry of Interior)US$563,535.00 NO
1630572602012EsloveniaPreservation of and support to diversity of artistic expressionSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/preservation-support-diversityhttps://es.unesco.org/creativity/node/163050Carrying out public service in the field of arts, enabling access to top-level art, to high quality and diversity of programmes and projects (on the basis of Exercising of the Public Interest in Culture Act, 2002), providing for conditions for employment in culture, strengthening of social status of the artists and other professionals in the field of culture and media; support to education and professional training for specific professions in culture and arts; providing conditions for best functioning of all factors within the book chain.Challenges identified in the implementation of this measure:Public institutions in the field of music contribute to rich Slovene concert life, by guest appearances abroad they promote Slovene music creativity and post-creativity, encourage new musical pieces and in cooperation with the public radio and television take care of documentation and archivation of Slovene music creativity and post-creativity and nurturing musical tradition.  Public institutions in the field of performing arts provide for conditions for production and postproduction, international exchange within intercultural dialogue (guest appearances abroad, festivals in Slovenia), care for theatre heritage, computerisation, education and support projects, care modernisation of equipment and infrastructure, development of amateurism and care for expert and quality criticism from this area. Support to quality cultural and art programmes and projects, to deficitary cultural and art expressions, guaranteeing recognisability and competitivness of Slovene culture and arts in the international area, support to usage of innovative approaches in the field of creation, performance and dissemination of Slovene arts, increasing access to cultural and art goods through out the whole territory of Slovenia. Providing conditions for best functioning of all factors within the book chain, publishing, bookshop network, reading culture, original and non-commercial book and magazine production in the area of literature, science, art and culture in general, youth literature and youth periodicals, expert and critical works, promotion of books, reading and authors, literary festivals, international activity and international promotion, translations of Slovenian authors in foreign languages, education, computerisation, research, support projects and availability of books for blind and partially sighted.Local, Regional, NationalCo-financing of public institutions and their programmes in the field of music and performing arts; co-financing  of programmes and projects by NGOs and independent artists; co-financing of projects by cultural associations and groups, support to amateur cultural activities (including the ones by ethnic minorities), also to infrastructure, education and publications in this field; co-financing of scholarships and trainings in the field of culutre and arts; co-financing for the status of the self-employed in the field of culture.CULTURAL POLICIES AND MEASURESCreación, Producción, DistribuciónMinistry of Education, Science, Culture and Sport, Public Fund for Cultural activities, Slovenian Book Agency, Public institutions in the field of culture and arts, NGOs, individual artistsUS$536,467,936.00 YESMusic: 3 public institutions, 9 opera and ballet premieres in 2011, 352 repetitions, guest appearences, 2 archive recordings, publication of 7 voice carriers, total of 302.411 visitors. Performing arts: 14 public institutions (theatres), mainly financed by Ministry of Culture, 85 premieres, 4.102 public performances,  746.153 visitors. Particular institution is Cankarjev dom in Ljubljana - its programme includes musical, theatre, dance, visual arts, film, educational programmes, in 2011 total of 2017 events, out of which 1179 in the framework of public service, total of 356.961 visitors. NGOs: co-financed 400 one year projects, 57 multi-annual programmes, 193 multi-annual projects, total of 5.000.000 visitors at home and abroad.  Amateur culture: co-financed around 3000 projects 2006-2009 by nearly 900 associations. Publishing: co-financed around 1000 book titles and 150 magazines 2006-2009. 
16410129622012SudáfricaThe White Paper on Arts & Culture (1996)Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativos, La cultura en los marcos de desarrollo sostenible, Políticas y planes nacionales de desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/white-paper-arts-culture-1996-0https://es.unesco.org/creativity/node/164100The White Paper was introduced in 1996The main objectives are :  Promoting economic activity and valuing diversity of the arts, culture, and heritage.Empower all South Africans to fully participate in the country's social, political, and economic life, by using the linguistic diversity of our country as a resourceEquitable development and preservation or our experiences, heritage and symbolsPromotes the full range of art forms, cultural activities & heritageDevelops the cultural industryWidens access to arts, culture & heritage promotion & developmentLocal, Regional, NationalThe 1996 White Paper has created an environment conducive to the promoting, protecting and realizing the full potential of South Africa’s Cultural and Creative Industries through:transparent and catalytic mechanisms for distributing public funds;transformation of all arts and culture institutions and structures;redistribution, redress and access;human resource development: practitioners, administrators and educators;integration of arts and culture into all aspects of socio-economic development;the rights and status of practitioners; andsources of funding.Challenges identified in the implementation of this measure: Since the adoption of the 1996 White Paper to date, a wide range of legislation enacts its policy intents and addresses the myriad elements that impact on and inform the role and work of the Cultural and Creative Industries.  Some of the legislation, programmes and projects developed since 1996 overrides the essence of the 1996 White Paper, not as intentional disregard for the policy framework but rather as a response to changes in the political and socio-economic context and directives issued by succeeding government’s priorities; and the growing strength and contribution of the Cultural and Creative Industries in the broader agenda to transform South Africa into an equitable society.Some of the changes that have taken place since 1996, have been in the composition, governance, mandates and role of ACH institutions and the Cultural and Creative Industries.Another very significant political and structural change that challenges the 1996 White Paper is the separation of Science and Technology from the Arts and Culture, in 2004, to form another department.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónDepartment of Arts and Culture and institutionsYESThe 1996 White Paper is currently being reviewed to establish its impact as part a revision exercise of the policy to:Strategically re-positioning the role of the DAC in delivering ACH to all – within the context and ambit of a developmental state; and in partnership with other role-players involved in and with ACH and the Cultural and Creative Industries;Transforming the approach, institutional structures and processes for equitably delivery of ACH;Transforming the demographic profiles of ACH institutions and the Cultural and Creative Industries - across all sectors of society and all the value chain activities of ACH; Addressing the complex set of persistent challenges that beset ACH and the Cultural and Creative Industries;Maximizing the developmental socio-economic opportunities that exist within ACH and the Cultural and Creative Industries;Ensuring that as many South Africans as possible have access to, and enjoy the ACH offerings of our country; Facilitating and supporting the involvement of South Africa’s Cultural and Creative Industries  in the global arena, including across the African continent; andFacilitating and promoting moral regeneration.The first phase of the review of the 1996 White Paper on Arts and Culture included:A call to the public and civil society for comments and contributionIndustry stakeholder engagementWorkshops held at all levels across the Ministry (from Minister, Deputy Minister, Director General, and across all portfolios within DAC)Consultations with civil society
15407129622012SudáfricaInternational Cultural Agreements and South Africa's contribution to preferential treatment in AfricaIntercambios equilibrados de bienes y servicios culturales y movilidad de los artistas y profesionales de la cultura, Tratados y acuerdosTrato PreferenteCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/international-cultural-agreementshttps://es.unesco.org/creativity/node/154070The main objectives of our cultural agreements are:To promote and showcase South African arts, culture and heritage to international fora and audiences.To provide a platform for market access of cultural goods and services.To exchange expertise, through technical exchange programmes.To promote South-South and North-South cooperation.To support the mobility of artists.To strengthen the national, regional and global regulatory framework.South Africa, through the National Department of Arts and Culture (DAC), contributes to the Post Conflict Reconstruction and Development Programme (PCRDP), by providing preferential treatment to countries coming out of conflict/war as part of our international cultural agreements which is also aimed at implementing the 2005 Convention. The PCRDP is a long-term continental strategic framework meant to guide and direct the preparation and implementation of social and humanitarian capacity building actions in the continent. The programme targets the development of human resources, improving institutional work environment, to enhance capacity of identified institutions in order to render them more efficient, effective, transparent and accountable. In line with this, South Africa, together with its counterparts in the continent have identified strategic areas in archives, libraries, heritage and languages to develop the necessary skills in capacity building and human resources through skills development and transfer. Local, Regional, National, InternationalSouth Africa, through its cultural cooperation agreements, enters into a Programme of Cooperation (PoC) to jointly implement its cultural agreements. SA signs Co-production Treaties to facilitate film cooperation and Memorandums of Understanding to implement various projects. Examples are:SA signed a targeted language cooperation agreement with Belgium and the Netherlands to develop language awareness and develop human language technologies.Cultural agreements were entered into with the Arab region and countries and SA hosted the Arab Cultural week with nineteen Arab-region countries, thereby celebrating and bringing the diversity and richness of middle- east cultures to South African audiences.Bilateral cooperation agreement were signed with France and SA–French Seasons was hosted in 2012/13. This provided an opportunity to promote our cultural diversity between the two countries. It also provided an opportunity to showcase other areas of cooperation in economics, technology, tourism, innovation and education, sharing knowledge and skills.Challenges identified in the implementation of this measure:The following challenges have been identified in the implementation of our agreements:Lack of and limited financial resources to implement all the agreements and take up all the opportunities.Political instability in some of the countries we have bilateral cultural agreements with, delaying implementation.Lack of reciprocity to implement projects identified under the agreements due to various factors, i.e. political, financial, capacity, etc.Need for the development of a comprehensive and coherent cultural diplomacy strategy to drive the international arts, culture and heritage mandate. Ensuring that the value of culture both as a driver and enabler of sustainable growth and development be consistently recognised, while not disregarding the intrinsic value of culture.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónDepartment of Arts & Culture - International Relations UnitTrato Preferente
16409129622012SudáfricaCopyright, Intellectual Property & Related Rights and Protection Policies in terms of the Copyright Act of 1978Sistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/copyright-intellectual-property-0https://es.unesco.org/creativity/node/164090The amended Copyright Act of 1978 is administered by the national Department of Trade & Industry (the DTI)The Objectives  of the Act are : to give exclusive rights to an intellectual creationto prohibit others to make copies or modifications to the intellectual creation in exchange for money or some other benefitprimary benefit conferred by a property right is the use & enjoyment of the property right termed non-rivalrous & non-excludable referring to the quality of intellectual creations which allows many people to make use of the same goods simultaneously without diminishing the value of the creation or impairing another's useThis Act as a policy/measure is linked to the 2005 Convention because it encourages creativity, giving creators an incentive, exclusive control for a period of time, before the work becomes public domain. The copyright law of South Africa governs copyright, which is the right to control the use & distribution of artistic & creative works. It is embodied in the Copyright Act of 1978 and its various amendments, & administered by the Companies & Intellectual Property Commission in the department of Trade & Industry. The Copyright Act automatically protects works created by South Africans or in South Africa. It also permits the Minister of Trade & Industry to extend the same protection to works created in, or by residents of other countries; such protection has been extended to all Berne Convention countries.Local, Regional, NationalThe Department of Trade and Industry has set up the Companies & Intellectual Property Commission (CIPC) to administer Copyright and all Intellectual Property Law in South Africa, including :TrademarksPatentsDesignEstablishment of a Copyright Tribunal There are special courts to hear disputesSouth African Copyright Law defines TEN categories of works that are eligible for copyright, including designs patents, and trademarks :Literary works - including novels, poems, plays, film scripts, textbooks, articles, encyclopedias, reports, speeches, etc.Musical works - excluding words sung with the musicArtistic works - including paintings, sculptures, drawings, photographs, architectural works, works of craftsmanship, etc.Cinematograph films - in any medium, including film, tape or digital dataSound recordings - in any medium, but excluding film soundtracksBroadcasts - signals transmitted by radio waves and intended for public receptionProgramme-carrying signals - signals representing audio and/or video and transmitted via satellitePublished editions - particular typographical arrangements of literary or musical worksComputer programs - instructions, in any medium, that direct the operation of a computerPerformers Protection - Needle time rightsChallenges identified in the implementation of this measure:Current SA Copyright Laws are not wholly aligned to International Conventions but promote protection of rights-holders.Works that are not mentioned / not included in the Act/Law :Orphan Works : works where the rights holders cannot be located & works of which the status is unclear – they may or may not have entered the public domainWebcasts & Podcasts : the Act makes no specific provision for works that are communicated over the internetTraditional Knowledge : no mention of system in the SA Copyright Act, however the DTI has drafted an Intellectual Property Amendment Bill, intended to introduce exclusive rights over traditional knowledgeParallel Imports : Parallel imports can make products cheaper by increasing competition in the market e.g. medication like anti-HIV drugs. They can also enhance access to knowledge & information, & education.Challenges faced by the creative industry are:non-payment of royalties;lack of formalisation of the creative industry which exposes the already vulnerable industry to abuse;piracy and lack of education and awareness on IP and the rights of artists;CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónCIPRO - Companies & Intellectual Property Registration office (was in existence until May 2011 until it merged with OCIPE to become CIPC), CIPC - Companies & Intellectual Property Commission, SABS - South African Bureau of Standards, SABC - South African Broadcasting CorporationYESCopyright is still seen by many as a technical area of law, of marginal relevance to most peopleParticipation from civil society and Small and Medium Enterprises (SMEs) in policy-making and advocacy has been sporadic at best, and largely uncoordinated.Too protective towards rights-holders who continue to enjoy unlimited rightsNo regulation of collecting societiesAct not in line with economic & other developing technological policy & regulatory frameworkCopyright Review Commission 2011 – Commission resolution report released in 2012The Commission originates from the anti-piracy campaign that was launched by the Deputy Minister of Trade and Industry in September 2010:Reduction of high piracy & counterfeit levelsUpdated laws in line with industry needs – an anti piracy strategyReport on the South African Open Copyright Review by the Shuttleworth Foundation after workshops, stakeholder engagements, online feedback scenarios.In a study conducted by WIPO and the dti it was found that the SA copyright based industries contribution to the GDP is 4,11 % and to employment is 4,08%. This is encouraging and illustrates that by amending the legislation these figures will grow in years to come.
16407129622012Sudáfrica Local and Digital Content Development strategy (as part of the Broadcasting Digital Migration Policy)Sistemas sostenibles de gobernanza de la cultura, Diversidad de los medios de comunicación, Entorno digitalCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/local-digital-content-developmenthttps://es.unesco.org/creativity/node/164070Introduced in 2009-2010. Digital migration refers to the switch from an analogue broadcasting system to a digital broadcasting system - Accelerate the growth of the industry by increasing local content outputFacilitate the rapid entrance by new role players, particularly from a historically disadvantaged backgroundUnlock the potential of the content industry in SA to create jobsCreate a highly competitive content industry that has a string export potential, in accordance with the National Industrial Policy Framework Use content development as a vehicle to foster regional integrationPosition the country as a regional content hub.This strategy links to the 2005 Convention in the following way:The Local & Digital Content Development strategy was formulated in anticipation of the multichannel environment presented by the broadcasting digital migration to spur content development & furthermore create jobs. In the context of this strategy, local context means texts, images (moving &/or still) that is of a cultural & or creative nature that is written & presented, & or otherwise contributed to & owned by persons from South Africa transmitted over electronic platforms. The strategy primarily covers 2 main areas relating to funding & infrastructure investment so as to address developmental goals relating to:the imbalances of the past particularly around access.building national identity & social cohesion.building competitiveness in the content industry & fostering regional integration.Sustaining this content industry is as important as building it. Sustenance relates to stimulating & sustaining production activities, & the following are encouraged by the strategy.effective utilization of content lying in the museums as they provide valuable material for generating diverse & original local contentdevelopment of content in multiple languages, as it is a high priority not only in building an inclusive information society, but as a way of stimulating content development amongst the rural communities. This achieves the following:promotes linguistic diversityenhance access, increase consumptionencourage innovation without linguistic hindrance or constraints, &maintain the originality of content.In accordance with Chapter 8 of the National Integrated ICT Policy Green Paper, the South African broadcasting system has a three tier system in place (public, private and community broadcasting). This three tier system is one of the key means in the current regulatory framework to facilitate freedom of expression and ensure objectives relating to, for example, the diversity of ownership and content are met, which is in line with the principles of the 2005 Convention.The Public broadcaster has a specific mandate to fulfil key public goals such as  universal access, providing a range of programming in all official SA languages and airing educational programmes.The current policy recognizes the role that the Private broadcasting sector plays in fostering diversity of services, content, employment of producers and artists as well as increasing diversity of ownership.The Community broadcasting sector further extends diversity of ownership and content to the community level.Local, Regional, NationalCASA (Independant Communications Authority of South Africa) is the driver of this strategy, as commissioned by the Department of CommunicationsThe White Paper on Broadcasting (1998) however, made provisions for a Broadcast Production Agency to support the development of SA content. The Minister of Communications authorised the establishment of the South African Broadcast Production Advisory Body which makes recommendations to the Minister to enable the Minister to determine:policy and strategies to give effect to the production and display of local contentfinancing strategies to support the production of local content policies to enhance the production of local content for the multichannel and digital broadcasting environmentThe advisory body shall consult the National Film and Video Foundation and the broadcasting industry prior submission of recommendations to the MinisterThe MDDA (Media Development & Diversity Agency) has been responsible for the promotion and support of emerging media projects as well as this strategy in respect of the following :DevelopmentPromotioDistributionResearch & skills developmentChallenges identified in the implementation of this measure:Audience development in terms of appreciation of local content that cuts across the diversity of the countryBroadcasting to all parts of the country is still a challenge as geographically large parts of the country are still rural and semi-rural-Demand for local content is not as high as it 'should be', in order for broadcasters to make local content decisions that correlate with the objectives of the policyThe broadcast migration from analogue to digital, is still in progress with a tender to produce & distribute set-top boxesCopyright and Intellectual Property Management is still not optimum (an increase in local content usage needs to be balanced out by fiscal reward for the usage of the IP)Cheaper overseas movies & TV programmesLicensing issues between producers & broadcastersCULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, ParticipaciónDepartment of Communications, ICASA - Independent Communications Authority of South Africa, SABC TV, SABC Radio, South African Broadcast Production Advisory Body, BCCSA - Broadcasting Complaints Commission of South Africa, DSTV (cable TV)
1513972612012EspañaPolicy application by the Spanish Agency for International Development Cooperation (AECID)La cultura en los marcos de desarrollo sostenible, Cooperación internacional para el desarrollo sostenibleCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/policy-application-spanish-agencyhttps://es.unesco.org/creativity/node/151390Although both the Management Plan and the Strategy apply over the whole of Spanish Cooperation, implementation falls in large part to the Spanish Agency for International Development Cooperation (AECID in the Spanish acronym), which is attached to the Ministry of Foreign Affairs and Cooperation.Implementing cooperation in the culture and development sector is entrusted to AECID’s Cultural and Scientific Relations Directors, and is informed by what is established in General Subsidy Law 38/2003, of 17 November 2003, and in Royal Decree 794/2010, of 16 June, 2010, which regulate subsidies and aid in the field of international cooperation. This is essentially managed along four channels:Direct bilateral implementation via the network of the AECID’s Cooperation Abroad Units (UCE in the Spanish acronym): Technical Cooperation Offices, Culture Centres and Training Centres; as well as through the cultural actions of Spain’s Embassies in Spanish cooperation member countries.Bilateral cooperation, generally through international cooperation subsidies awarded to public institutions in member countries.The bilateral channelling of resources through NGDOs and other, generally non-profit, private entities, through competitive subsidy applications.Multilateral cooperation through voluntary contributions to regional and international funds.Spanish Official Development Aid (AOD in the Spanish acronym) in the culture and development sector is basically spread across two SRC codes from the DAC, 16061: "Culture and recreation”, and 41040: "Preservation of historical, artistic and archaeological heritage". The sum of both has amounted, in the 2007-11 period, to a total of 356,546,763 Euros, which means an annual average of slightly more than 89m Euros, which represents, in turn, 1.98% of the gross AOD total. 73% of these funds have been directly channelled bilaterally, with the remaining 27% through international organisms.In the multilateral fieldIt is worth highlighting the inclusion of a specific subject slot for culture and development in the wake of the joint creation, with the United Nations, of the Fund for Millennium Development Goals, which is solely financed by Spain. This subject slot is managed through joint programmes in 18 countries from Latin America, Africa and Asia, concentrating on respect for cultural rights, social inclusion and culture’s contribution to development. The cultural dimension has an underlying, across-the-board presence in other subject slots, such as conflict prevention and peace building, as well as gender and the empowerment of women, plus youth, employment and migration.In recent years, Spain has become a privileged member of UNESCO, highlighting support for the Global Alliance for Cultural Diversity. Spain has supported disseminating and raising the profile of the Convention and the Global Alliance, as well as strengthening the capabilities and development of cultural policies and industries. It has also contributed to the International Fund for Cultural Diversity (IFCD), and lent its support to the “Cultural Indicators” project. For more information, see Annex I.In the Ibero-American field, Spain is one of the main contributors to various cultural cooperation programmes adopted by the Ibero-American Summits, such as Ibermedia in the cinematographic arena; Iberescena for the stage arts; Ibermuseos, in the field of museums and museum studies; Iberoquestas, to give support to youth orchestras and spread musical diversity; Iberrutas, for the protection of migrant rights from an intercultural perspective; and Iberarchivos, to promote archive development in Ibero-America.Furthermore, Spain also supports specific initiatives promoted by the Ibero-American General Secretariat (SEGIB in the Spanish acronym) and by the Organisation of Ibero-American States for Education, Science and Culture (OEI in the Spanish acronym). Through SEGIB, Spain contributes to the consolidation of Ibero-American Cultural Space, to promoting small and medium cultural and creative enterprises. Through its OEI trust fund, Spain supports the development and implementation of the Ibero-American Cultural Charter; the Programme for Artistic Education, Culture and Citizens; the Mobility Programme for Ibero-American Culture Professionals; and the biennial organisation of the Euro-American Cultural Cooperation Campus, a forum for reflection, exchange and the promotion of networks within the field of Ibero-American cooperation.In the bilateral fieldIn developing the Spanish Cooperation Culture and Development Strategy, AECID has created a series of specific programmes:ACERCA, the main aim of which is to support and drive human resources training processes in the cultural sector as a contribution to development and to collective wellbeing. Between 2007 and 2009 the Programme managed a total of 103 training activities in 22 countries, with the participation of 2,450 women and 2,270 men.FORMART, providing support for culture and education development cooperation projects and initiatives. It encompasses artistic and audiovisual education, public literacy, heritage, museums and education, citizenry and diversity, and languages and interculturality.Heritage for Development Programme, whose specific objective is the use of cultural heritage to generate sustainable development in receptor communities. To these ends support is lent to actions which provide value and sustainable management to cultural heritage, aimed on the one hand at improved habitability, institutional reinforcement, better management capabilities and economic development, while on the other at protecting identity, cultural heritage and collective memory.Programme to reinforce the role of the public institutions in culture, the objective of which is to lend support to Ministries of Culture and equivalent institutions in member countries in the drafting and implementation of strategic culture plans, specific staff training and improvements to working operational conditions. To date, the programme has supported cultural institutionalism in Niger, Mali, Mozambique, Ecuador, Peru, Paraguay, Uruguay, Guatemala, Costa Rica and El Salvador.Cultural development cooperation abroad is managed through the UCEs mentioned above, among which we would highlight the Network of Spanish Cultural Centres (CCE in the Spanish acronym) abroad. Currently this Network is present in 16 countries and is made up of 19 Centres in Latin America and Equatorial Guinea.CCEs are open forum spaces which aim to encourage exchange and mutual knowledge, in collaboration with local counterparts. They provide participatory spaces in cultural life and for the exercise of citizen involvement. Their objectives include: to complement local cultural policy; to provide training tools for local cultural agents; to provide tools and resources for creative reinforcement and for local cultural entrepreneurial initiatives; to promote the exchange and circulation of cultural agents in the region and energize the projection of Spanish cultural diversity and plurality.Following these lines of action, below we highlight certain CCE Network-promoted Programmes:Promoting and raising awareness of gender equality through culture.Support for local cultural and creative enterprises, strengthening their position as an economic sector.Training cultural managers, with the aim of achieving professionalism in the local cultural sector.Promote reading, with special emphasis on children and the young.Support for decentralising cultural activity (urban and rural), encouraging access for “other” audiences.Work with migrant and indigenous populations and with those in danger of exclusion, in order to improve and increase recognition of their cultural rightsIncrease and enrichment of cultural exchange between Ibero-American cultural agents, strengthening the Ibero-American Cultural Space.Within the framework of the protection and promotion of the diversity of cultural expression, the following AECID-driven channels of action stand out:Artistic residencies for creative Ibero-Americans: in collaboration with Mexico’s FONCA (National Fund for Culture and the Arts), the aim here is to offer Ibero-American artists and curators spaces in which to develop specific projects, stimulating co-existence with local agents and encouraging the creation of Ibero-American networks which drive mutual knowledge.Invisible Art: strives to promote cultural cooperation between Spain and the African continent. Among its more prominent working approaches are promoting the presence, in international events such as Madrid’s International Contemporary Art Fair (ARCO in the Spanish acronym), of artistic expressions originating from African countries, with the purpose of helping to raise their profile and position them in international forums. As a continuation of this project, the “África.es” initiative has been in place since 2008, in collaboration with Casa África. The initiative is successful, on the one hand, in driving African art at international contemporary art events and in its own creative spaces, while on the other hand it also incentivises the relationship and recognition between galleries, museums and cultural agents and the African artists themselves.“In an Afro-Caribbean key”: this is a network project between the CCEs of Guatemala, Honduras, Nicaragua, Costa Rica and the Dominican Republic, the general aim of which is to raise the profile of the rich and diverse Afro-descendent musical expressions of the Caribbean coast of Central America, the Dominican Republic and Haiti, through the study, reclaiming and dissemination of its varying rhythms.Within the field of cultural integration in sustainable development policies, but from the point of view of international cooperation, the civil society is involved through two AECID project competitive calls for applications, one of which is specifically for non-governmental development organisations and the other which is open to agents from the Spanish civil society and abroad. Within the field of cultural cooperation, projects have been funded which respond to the following working approaches:Support for the creation of cultural and creative business incubators.Dissemination of, and support for, African and Latin American cinema.Improvement of sexual and reproductive health from an intercultural perspective.Citizen participation.Cultural tourism.Communications and ICT.Cultural projects aimed at promoting the insertion of groups in danger of exclusion.Support for indigenous and Afro-descendent cultural expressions in Latin America.Projects aimed at generating income through the updating and commercial promotion of artisan products.Principle challenges in policy applicationCertain difficulties arise when it comes to putting into practice provisions established in Articles 13 and 14 of the Convention, linked, in large measure, to the recent incorporation of the cultural field as a specific sector in the development cooperation agenda. At a conceptual level, the very definition of culture is not always clear, nor is it shared by the different agents. At a methodological level, there is a lack of instruments to facilitate the extension of culture as an underlying, across-the-board factor with regards to other sectors of cooperation, as well as of specific indicators, base approaches and informational systems which would allow for the adequate management of data and contribute to improving the management cycle of interventions in their different phases: identification, planning, execution, follow-up, evaluation and feedback. At an institutional level, human resources and funding allocated to the sector are restricted when compared to other sectors. Furthermore, in various Spanish Cooperation member countries, sector counterparts are weak and their receptive capacity and external resource management capabilities are limited. In addition, being linked to the definition of identities, the sector is highly sensitive from a political perspective.INTERNATIONAL CULTURAL COOPERATIONCreación, Producción, Distribución, ParticipaciónBeing a relatively recent field of intervention for Spanish Cooperation, it is difficult to arrive at evaluations in terms of impact. At first glance, one would say that some of the most prominent effects concern raising awareness of the role of the cultural dimension in development processes, the contribution to mutual knowledge, the promotion of creativity the strengthening of institutional capacities and the creation of national and international labour networks, both between AECID and other public and private entities working in the cultural cooperation field, as well as between Spanish civil society agents and those of member countries.On the other hand, along with the Secretariat of the MDG Fund, AECID has supported the inclusion, within the culture and development slot, of an across-the-board dimension of knowledge management, aimed at improving practice and, at internal level, promoting the generation of specific indicators to assess compliance with the Culture and Development Strategy.
1513672612012EspañaRegional initiatives towards the promotion and the implementation of the 2005 ConventionSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/regional-initiatives-towardshttps://es.unesco.org/creativity/node/151360At a regional level – in Spain this would refer to the Autonomous Communities - there are multiple initiatives. By being closer to the public, these mainly concern funding applications. The Communities have been provided with a survey, and nine have replied (out of 17), along with the Autonomous Cities of Ceuta and Melilla.Apart from one Community (Extremadura), all are familiar with the Convention. As well as further questions on policy, measures and other points which follow the format of the four-year report, the survey involved a barrage of questions regarding the form in which policies or measures are directed at upholding and promoting diversity in cultural expressions in any of the following ways: a) encouraging the diversity of cultural expressions in the creative field; b) encouraging diversity in the production of cultural goods or services; c) promoting public access to a wide range of cultural expressions; d) providing support for specific social groups (women, the young, minorities, immigrants, etc) as creators, producers or distributors of cultural expressions; and e), promoting the diversity of cultural expressions in the stages of creation, production, distribution and access. Apart from the Community which was not familiar with the Convention, 100% of the others replied in the affirmative to all of the above other than d), to which two Communities replied in the negative.The most active has, without doubt, been Catalonia, which has even participated as an observer in meetings on cultural diversity. As well as those actions which can fit in perfectly with the objectives and principles of the Convention without actually referring to it directly, in its session of 25 March 2009, the Catalan Parliament’s Cultural Policy Commission adopted Resolution 440/VIII, which urged the Catalan Government to promote the application of the Convention. Following this request, the Catalan Department of Culture has encouraged initiatives that disseminate the Convention:Translation of the 2005 Convention and publication of Catalan and Aragonese versions.Public presentation, in Barcelona, of the Convention organised by the Regional Minister of Culture the day after it came into effect (19 March 2007).Active participation in the International Expert Meeting (EGM) on the statistical measurement of the diversity of cultural expressions, with a representative from the Catalan Department of Culture. The first forum was held in Montreal (September 2007) and the second in Barcelona (December 2008). The latter was joint-organised by the Catalan Department of Culture and the UNESCO Institute of Statistics.Translation into Catalan of the UNESCO Executive Report on cultural diversity and its public presentation (10 May 2010).Across all the other Communities there are multiple policies and programmes aimed at encouraging cultural diversity. The Canary Islands’ Culture Plan (a strategic document on cultural action in the Community of the Canary Islands) is prominent here in quoting Article 5 of the UNESCO Universal Declaration on cultural diversity, a concept which, furthermore, permeates the whole Plan.The Autonomous Cities of Ceuta and Melilla also stand out favourably, which while being very small in comparative terms, carry out a range of activities, somewhat logically given their multicultural, border nature. Some of these are in collaboration with the Kingdom of Morocco.Another example is the Community of Andalusia, which has a project called the Intercultural Libraries in Andalusia Project within the framework of the Integral Plan for Immigration. This has a two-fold objective: to provide and ensure access on the part of the immigrant population and ethnic and linguistic minorities to public libraries, facilitating materials and services that are appropriate to their needs, while on the other hand encouraging favourable attitudes within Andalusian society to receiving and socially integrating the immigrant population, attempting to prevent and, the case being redress, possible xenophobic and racist behaviour. Another of its programmes is the Diverse Spaces film showcase, whose aim is to bring attention to the cinematic works of the countries of origin of the main immigrant groups of Andalusia, raising the profile of these communities and encouraging their integration. It has been held four times.The Autonomous Communities with their own languages are strengthening attempts to raise their authors’ international profiles, with numerous promotional programmes and funding for translation.CULTURAL POLICIES AND MEASURESCreación, Producción, Distribución, Participación
1513372612012EspañaPlan for the promotion of cultural and creative industriesSistemas sostenibles de gobernanza de la cultura, Sectores culturales y creativosCCIhttps://es.unesco.org/creativity/policy-monitoring-platform/plan-promotion-cultural-0https://es.unesco.org/creativity/node/151330With this Plan, The Ministry of Culture promotes the digitalisation of content and the development, consolidation and internationalisation of cultural