1 - European Parliament
European Parliament
Directorate-General for Research
Working Paper
Cultural Policies in the EU Member States
Volume I: Country Profiles
Education and Culture Series
EDUC 107 EN
This study was requested by the European Parliament's Committee on Culture, Youth, Education, the Media and Sport.
This document is published in EN only.
Abridged Versions are available in ES, DE, EN (original), FR, IT
Editors: Andrea Rosenauer, INST (Research Institute for Austrian and International Literature and Cultural Studies, Vienna),
and Pernille Winther
The authors' names appear at the beginning of each contribution.
Responsible official: Pernille Winther
Division for Social and Legal Affairs
Tel.: (00352) 4300 22688
Fax: (00352) 4300 27720
E-mail: DG4-sociale@europarl.eu.int
Manuscript completed in December 2001.
Paper copies can be obtained through: Publications service
Tel.: (352) 4300-24053/20347
Fax: (352) 4300-27722
E-mail: dg4publications@ep.ec
Further information on DG4 publications can be accessed through: europarl.ep.ec/studies
Luxembourg, European Parliament, 2002
The opinions expressed in this document are the sole responsibility of the author and do not necessarily represent the official position of the European Parliament.
Reproduction and translation for non-commercial purposes are authorised, provided the source is acknowledged and the publisher is given prior notice and sent a copy.
European Parliament
Directorate-General for Research
Working Paper
Cultural Policies in the EU Member States
Volume I: Country Profiles
Education and Culture Series
EDUC 107 EN
5-2002
Contents
Introduction 9
QUESTIONNAIRE ON CULTURAL POLICY 11
BELGIUM - French Community 13
1. General objectives and principles 13
2. Policy decision-making and administration 14
3. Cultural budget 17
4. Support policy 18
5. International relations: new forms of international cooperation 18
6. The role of the private sector 19
7. Current debate and future plans 19
BELGIUM - Flemish Community 21
1. General objectives and principles 21
2. Policy decision-making and administration 22
3. Cultural budget 24
4. Support policy 26
5. International relations 26
6. The role of the private sector 28
7. Current debate and future plans 29
DENMARK 31
1. General objectives and principles 31
2. Policy decision-making and administration 32
3. Cultural budget 33
4. Support policy 34
5. International relations 37
6. The role of the private sector 38
7. Current debate and future plans 39
GERMANY 41
1. General objectives and principles 41
2. Policy decision-making and administration 43
3. Cultural budget 47
4. Support Policy 49
5. International relations 53
6. The role of the private sector 55
7. Current debate and future plans 58
GREECE 61
1. General objectives and principles 61
2. Policy decision-making and administration 63
3. Cultural Budget 65
4. Support policy 65
5. International Relations 66
6. The role of the private sector 66
7. Current debate and future plans 66
SPAIN 67
1. General objectives and principles 67
2. Policy decision-making and administration 69
3. Cultural Budget 71
4. Support policy 76
6. The role of the private sector 80
7. Current debate and future plans 81
FRANCE 83
1. General objectives and principles 83
2. Policy decision-making and administration 83
3. Cultural budget 89
4. Support policy 103
5. International relations 112
6. The role of the private sector 114
7. Current debate and future plans 115
IRELAND 117
1. General objectives and principles 117
2. Policy decision-making and administration 117
3. Cultural budget 118
4. Support policy 118
5. International relations 119
6. The role of the private sector 119
7. Current debate and future plans 119
Ireland: Annex 1 121
Ireland: Annex 2 143
ITALY 147
1. General objectives and principles 147
2. Legislative and administrative procedure 150
3. Cultural budget 151
4. Support policy 152
5. International relations 153
6. The role of the private sector 154
7. Current debate and future plans 155
LUXEMBOURG 157
1. General objectives and principles 157
3.Cultural budget 165
4. Financial aid policy 168
5. International relations 170
6. The role of the private sector 173
THE NETHERLANDS 175
1. General objectives and principles 175
2. Policy decision-making and administration 176
3. Cultural Budget 183
5. Support Policy 185
5. International relations 187
6. The role of the private sector 190
7. Current debate and future plans 192
AUSTRIA 199
1. General objectives and principles 199
2. Policy decision-making and administration 200
3. Cultural Budget 203
4. Support policy 204
5. International relations 208
6. The role of the private sector 210
7. Current debate and future plans 211
PORTUGAL 217
1. General objectives and principles 217
2. Policy decision-making and administration 219
3. Cultural budget 222
4. Support policy 225
5. International relations 228
6. The role of the private sector 230
7. Current debate and future plans 230
FINLAND 233
1. General objectives and principles 233
2. Policy decision-making and administration 234
3. Cultural budget 236
4. Support policy 236
5. International relations 239
6. The role of the private sector 243
7. Current debate and future plans 243
SWEDEN 245
1. General objectives and principles 245
2. Policy decision-making and administration 247
3. Cultural budget 251
4. Support policy 256
5. International relations 258
6. The role of the private sector 259
7. Current debate and future plans 260
UNITED KINGDOM 263
1. General objectives and principles 263
2. Policy decision-making and administration 264
3. Cultural budget 267
4. Support Policy 269
5. International relations 270
6. The role of the private sector 272
7. Current debate and future plans 272
FURTHER READING 275
Cultural Policies in the European Union
Introduction
In January 2000, the Committee on Culture, Youth, Education, the Media and Sports of the European Parliament asked the Directorate-General for Research (DG IV) to draft a report on cultural policies in the EU Member States as part of the annual Research Programme. This study would facilitate a better understanding of the various EU Member States' cultural policies.
As very little comparative updated information was available[1], it was decided to send a questionnaire to all ministries of culture in the EU Member States. To complement the picture it was also decided to invite one artist or cultural personality from each EU Member State to write an essay on her/his personal reflections on 'European Culture in the 21st Century'.
The study, therefore, consists of two volumes:
1. Information on the cultural policies of the Member States of the European Union
and
2. Reflections of artists from the EU Member States on 'European Culture in the 21st Century'.
Freedom of expression, the preservation of the cultural heritage and socio-cultural objectives that allow a broad participation in cultural life are among the general objectives and principles of cultural policy of many Member States.
The system of policy making and administration and the distribution of cultural competence in the Member States are quite diverse, similarities may be found between States with a federal model and States where a more centralised model prevails.
The data given on the cultural budgets show that the situation differs, from Member State to Member State, depending to a large extent on the definition of culture.
The support policies to promote creativity are also quite diverse from country to country. As regards international relations, the aims of the EU Member States are, on the one hand, to facilitate the exchange with other cultures in the world and, on the other hand, for each single Member State to promote awareness of its culture.
The role of the private sector for culture is increasing in all Member States.
As regards the current debates and future plans, all Member States have the goal of reaching a larger public. Other plans include the improvement of public-private cooperation, the decentralisation of cultural competencies and the protection of cultural diversity as a means of taking action against xenophobia and racism.
QUESTIONNAIRE ON CULTURAL POLICY
1. General objectives and principles
1.1. Please indicate your country's definition of cultural policy.
2. What are the main elements and objectives?
2. Policy decision-making and administration
2.1. Please give an overall description of the system, including the role of the minister and ministry, the Parliament, special committees, bodies, etc.
2.2. Breakdown of cultural competence at national, regional, local and municipal levels.
3. Cultural budget
3.1. Brief overview of the public cultural budget; breakdown on main areas; the development within the last 10 years.
3.2. Public cultural expenditure as percentage of the total public budget.
3. Public cultural expenditure broken down between national, regional, municipal and local levels.
4. Support policy
4.1. Brief description of overall support policy to promote creativity: for example grants to artists, theatres or to special events.
2. In general, what is the role of fiscal policy as an instrument of cultural policy, for example, do you have special fiscal treatment for artists, cultural events, etc. in your country?
5. International relations
5.1. Brief overview of the current policy and the perspective for the future.
2. What relations do public bodies have with:
5.2.1. Other EU Member States?
5.2.2. Non-EU Member States?
5.2.3. The EU Institutions?
5.2.4. Council of Europe?
5. Unesco?
6. Others?
6. The role of the private sector
6.1. What role do private initiatives play to promote creativity in your country?
2. What collaboration is there between the public and private sector?
7. Current debate and future plans
7.1. What has been the core issues facing public cultural policy in your country recently?
2. Do you plan any major changes in the current policy?
BELGIUM - French Community[2]
1. General objectives and principles
1.1. What is the official definition of cultural policy?
Cultural policy is a matter for the language Communities, whose powers are laid down in law.
In accordance with the information received, the different fields involve the following areas:
1. The defence and promotion of the language;
2. The Fine Arts, including theatre and cinema;
3. The cultural heritage except for historic buildings and sites, the museums and other cultural scientific institutions;
4. The libraries, sound archives and similar departments;
5. Radio and television (except for government broadcasts and advertising);
6. Youth policy;
7. Permanent education and cultural activities;
8. Leisure and cultural tourism;
9. Some educational fields such as art education;
10. Advertising on radio and TV, and support for the press.
1.2. What are the main elements and objectives?
The model of cultural policy is defined implicitly in various regulations, programmes and government statements.
However, concepts like creativity, dissemination, cultural democracy, permanent education and territorial cultural development form a common base of reference.
The model emerging from the current cultural policies is based on seven fundamental axes, which are relatively transverse:
- Support for artistic creation and dissemination: performing arts (music, theatre, dance, itinerant arts), literature, plastic arts, cinema;
- Preservation and promotion of the cultural heritage (except for historic buildings and sites, for which the regions are responsible): museums, folklore, ethnology, local languages, cultural archives;
- Territorial cultural development: cultural centres, public libraries;
- Development of cultural democracy and participation in cultural and social life: youth policy and permanent education, cultural activities and associations, intercultural dialogue, amateur artistic practice;
- Support for training for staff in the cultural field;
- Support for dissemination of information: public radio and TV, community TV, aid to the press, multimedia;
- Support of international activities.
These axes, quite transverse if compared with the topics managed by different sectors of competence, are considered as common criteria facilitating analysis of competences and identification of gaps in competences.
2. Policy decision-making and administration
2.1. Please give an overall description of the system of cultural policy, including the role of the minister, the ministry, the Parliament, special committees.
Belgium is a federal state. Since the 1970s, the federal entities - regions and communities - have been autonomous in the areas of their competence. The Flemish, French-speaking and German-speaking communities are responsible for culture, as they also are for education, sport, policy concerning children and aid to young people. Each community has a legislative authority (Council) and an executive authority (government).
A law of 16 July 1973 ('Law of the cultural pact'), adopted at the time when the autonomous communities came into being, concerns the protection of minorities. It also lays down different forms and levels of participation for the practice of cultural policies. This concerns especially the necessity of a preliminary consultation of representative organisms representing different political and ideological tendencies. At ground level, this means that the law is applied by establishing councils and consultative committees for most of the regulations concerning culture.
The Parliament
Within the Parliament, there is a committee in charge of cultural affairs.
Committee on Culture, Audiovisual Media and Aid to the Press and Cinema
Daniel Josse, Chairman
rue de la Loi, 6, 1012 Bruxelles, Belgique
Tel: (32)(02)5063831; fax: (32)(02)5063978. Web:
Ministère de la Communauté française (Ministry of the French Community)
Establishment plan:
- General secretariat,
- General department for audiovisual media and multimedia,
- Directorate-general for culture,
- General departments (cultural centres, meeting centres, centres for loan of material, educational programmes),
- General department for cultural heritage and plastic arts (including creative handicrafts and design, ethnology),
- General department for books and literature (including libraries, French language and regional languages),
- General department for youth and permanent education (including subsidies for training cultural staff ),
- General department for inspection (territorial competences).
The following domains are covered:
- The cultural centres,
- The training of cultural staff,
- Professional and amateur theatre,
- Classical music and other contemporary musics,
- Dance,
- Circus and street arts,
- Folklore,
- Private archives,
- Museums and historic buildings,
- Plastic arts,
- Creative handicrafts and design,
- Ethnology,
- Libraries,
- The French language,
- The regional languages,
- Books and literature,
- Permanent education and cultural leisure activities,
- Youth,
- Territorial cultural development,
- International relations.
Consultative councils
The term 'consultative councils' comprises all bodies created by a legislative act whose function is to give an opinion on specific questions to one or more ministers, on their own initiative or on the request of the minister(s) concerned.
2.2. Breakdown of cultural competences at national, regional and local levels.
The Communities are responsible for culture (regional level). Only a few prestigious institutions are still administrated at a national level (the bi-communitarian institutions). The provinces and municipalities (local level) have their own specific cultural competences.
There are many forms of cooperation between these different levels of competences, especially through the consultative councils, on which the different grant-awarding authorities are represented.
The federal state has nevertheless kept a bi-cultural competence, which concerns attributions and subventions to international organisations (the Council of Europe, UNESCO), and also major institutions and bodies located mostly in Brussels which have a national or international scope of action.
Interministerial or intergovernmental cooperation: cooperation between culture and other competences (communication, finance, city planning).
Interministerial cooperation: at the federal, regional and community levels there is close cooperation between ministers as regards the competences impinging on cultural policies: foreign affairs, education, employment, environment, media, mobility, tourism, etc.
In fact, many competences related to cultural policies have remained at the federal level: labour law, social security, tax policy, intellectual property, prices policy, VAT, etc.
Cooperation between the communities: there exists an agreement on cooperation between the French and the German-speaking communities and between the Flemish and the German-speaking communities. An agreement between the French Community Commission (COCOF) and the French community should start very soon, as should a cooperation charter with the Wallonia region. At this time, there exists no cooperation agreement between the Flemish and the French communities.
The municipalities and provinces both have specific cultural competences. They are, variously, cultural operators (running libraries and museums), partners in co-administered private/public cultural policies (cultural centres), and service providers-doubling up as grant awarders (theatres, youth policy). Under legislation passed by the communities (French Community) they are in some cases responsible for certain sectors and participate in cross-financing (libraries, cultural centres, dissemination of the arts).
3. Cultural budget
Brief survey
All levels of government finance culture: the federal state essentially for the great bi-communitarian institutions; the Communities (this area represents one of their key powers); the regions for historic buildings and sites and the cultural aspect of social policy, and for socio-professional integration in the context of tourism and heritage; and the communes and provinces to the extent of their competence in cultural affairs.
Cultural expenditure per capita
In 1998, allowing for varying criteria as to what is or is not included in the cultural budget, the contribution of the federal state to culture varied from BEF 2.4 bn to 3.7 bn, i.e. from BEF 234.97 to 362.2 per capita. The contribution of the French Community was BEF 17.941, that is BEF 4384.6 per capita. In the Brussels region, investment in culture (Francophone sector) stood at BEF 363.7 m, or BEF 438 per capita; to this should be added investment not broken down by language (especially for historic buildings and sites). Total public intervention at all levels represented about 2.5% of primary expenditure by the public administrations (not allowing for interest) and 1% of GDP.
Breakdown of expected public expenditure on culture by government level; breakdown by sector, including private-sector spending.
Expenditures of the Ministry of the French Community in 2000:
BEF EUR
|General secretariat |
|General department of audiovisual productions |7.517.200.000 |186.346.560 |
|Directorate-General for Culture |
|General affairs |1.249.400.000 |30.971.816 |
|Performing arts |2.294.500.000 |56.879.169 |
|Books and literature |590.700.000 |14.643.070 |
|Youth and permanent education |1.276.900.000 |31.653.524 |
|Heritage and plastic arts |310.100.000 |12.509.402 |
After deduction of the credits attributed to the Belgian national radio and TV company (BEF 6 bn out of a total budget of 13.69 bn), the breakdown between the different sectors of the French Community is as follows (in decreasing order): performing arts 34%; general affairs (including trans-sectoral financing, e.g. for cultural centres and the distribution of part of the financing from the regions in favour of employment) 20%; youth and permanent education 19%; audiovisual productions (except for the national radio and TV company) 15%; books and literature 8%; heritage and plastic arts 4%.
4. Support policy
4.2. In general, what is the role of fiscal policy in the domain of culture: are there, for example, special clauses for artists or cultural events?
There is a form of tax exemption for donations made to recognised bodies which have a competence throughout Belgium or within the French Community. The federal Ministry of Finance is responsible for recognising associations or organisms for this purpose.
5. International relations: new forms of international cooperation
Since 1993, the Communities have had autonomy in the field of international relations. Consequently, they have the power to sign agreements not only with states but also with regions or provinces of other countries. Thanks to this autonomy, they have opened delegations abroad. The ministers of the governments of the Communities responsible for culture participate in turn in European Councils and in the international bodies.
In 1993, the French Community created a 'public interest body' in the field of international relations called the Commissariat Général aux relations internationales de la Communauté française de Belgique (CGRI). It is in charge of the international policy of the French Community and especially of the management of the cultural agreements signed with other states, but also with regions or provinces of other countries. The French Community has obtained its own delegation at the summits of French-speaking heads of state and the right to open delegations abroad. The CGRI's priorities include: the promotion and dissemination of culture and art produced in the French Community; multilateral action together with UNESCO, the Council of Europe, the European Union and the different bodies related to them on a cultural level; relations with French-speaking countries both inside and outside the industrialised world; actions of a more strategic nature aimed at the developing world; and the development of exchange policies for young people.
6. The role of the private sector
6.1. What role do private initiatives play in the promotion of creativity?
Private initiatives play an important role in the French-speaking Community of Belgium. They come sometimes in a complementary function to the action of public bodies, but sometimes they are at the cutting edge of creative projects.
These initiatives may be local or regional. They may emerge from commercial undertakings (banks, industries, insurance companies, etc) or from associations (NGOs, non-profit-making associations, etc).
6.2. Is there a collaboration between private and public sectors?
There are many forms of collaboration between public and private sectors.
These may include one-off events (exhibitions, congresses, etc), or standing events in the calendar (annual festivals, biennials, prizes or competitions). This collaboration can be logistic (loan of infrastructures, exhibition halls, etc) or financial (donations, loans, scholarships, participation and presence in executive boards).
7. Current debate and future plans
7.1. What were the most important issues in recent cultural policy?
- A policy of partnership with the local authorities (towns, communes) and rural zones, especially for strategies to promote reading (libraries), and with cultural centres: this policy focuses on the role of towns and rural zones as motors of cultural development.
- A policy of contracts between the French Community and large cultural bodies responsible for creation and dissemination: management contract with the public radio and TV company, programme contracts with the Opera, the orchestras, the main theatres, dance companies and cultural centres. These contracts define the mission of the bodies, specify the investment programme of the public authorities, and enhance the responsibility of the bodies for the financial management of their institutions.
- The drawing-up of rules in sectors where they did not previously exist despite being required under the cultural pact: performing arts, museums, folklore and ethnology.
- The adaptation of existing rules to contemporary reality. These rules often date back to the 1970s: they have either been fully revised in recent years or are now in process of re-evaluation.
- The adaptation of the existing rules concerning the establishment of private TV and radio stations alongside the national radio and TV company.
7.2. Are there plans for changes in the current policy?
Yes, there is likely to be more and more discussion of cultural issues on a European level.
It is really important for Europe to develop ambitious cultural policies. At a time of globalisation of human activity, culture cannot be excluded from the general trend. The point is not to oppose this trend, but to anticipate and organise it.
Only a European cultural policy can guard against the dangers inherent in this globalisation.
Examples of subjects to be dealt with on a European level:
- The MAI agreement,
- The defence of the principle of cultural exception,
- The status of the artist (cf. practice elsewhere),
- Access to culture,
- Purchase policing for European museums compared with Japan or the US,
- Public/private partnerships,
- Protection and development of the European cultural heritage,
- Copyright,
- Mobility of works and activities,
- Strengthening of the corpus of cultural law,
- Possibility of agreements within language areas,
- Development of a common statistical apparatus.
BELGIUM - Flemish Community[3]
1. General objectives and principles
1.1. Please indicate your country's definition of cultural policy.
The national definition of culture, as per the 1971 third constitutional review, covers the following fields:
1. Protection and illustration of language,
2. Encouragement of researcher training;
3. Fine arts, including theatre and cinema;
4. Cultural heritage, museums and other cultural scientific institutions;
5. Libraries, archives and similar services;
6. Radio and television broadcasting (except for the transmission of government communications and commercial advertising);
7. Youth policy;
8. Continuing education and cultural animation;
9. Physical education, sport and outdoor life;
10. Leisure and tourism.
Successive government reforms have had their effect on culture, especially the transfer of new responsibilities for culture from the State to the Communities in the fields of training (especially education in the arts), radio and television advertising and support for the press.
1.2. What are the main elements and objectives?
In the 1990s, the system of a long-term policy plan was introduced in Flanders. This means that the Government presents a four-year plan outlining its activities and long-term objectives for the coming period. The current memorandum applies to the period 2000-2004. For the performing arts, and later on for music, a system of recognition and structural subsidy was introduced in the 1990s. It is expected that in the long run an overall planning system will be implemented to cover all disciplines.
In 1997 a new structure was implemented to provide advice to the Ministry including a Council for Culture, a Council for the Arts, and a Council for Adult Education and Cultural Dissemination. The latter are subdivided into sectoral committees and review bodies which provide advice on grant and funding applications. The Ministry can either accept or reject this advice, but must provide significant justification for the latter.
In 2000, a new model was introduced specifically in the field of literature which included the establishment of a Flemish Fund for Literature as an autonomous public organisation. The Fund is responsible for the implementation of policy on literature and for granting subsidies. These activities are regulated by a management agreement with the Government of Flanders, which retains a supervisory function. The current policy, however, leans more towards the acceptance of advice than towards a system of Funds, which can take decisions independently of Government.
During the last legislative term, the Government enacted a series of 'support centres' designed to undertake specific activities on behalf of individual sectors or disciplines, as well as various types of work. These include the collection of data on the discipline or type of work, making the discipline or type of work better known, and research and analysis. Each support centre enters into an agreement with the Government for a period of four years.
One of the main aims of the current system is to establish better cooperation with the provinces and municipalities, based on the principle of subsidiarity and complementarity. New regulations are being drawn up to introduce an integrated local policy on culture and for the municipalities to develop a policy memorandum on culture for a period of six years. The municipalities will then receive financial support for such activities.
2. Policy decision-making and administration
2.1. Please give an overall description of the system, including the role of the minister and ministry, the Parliament, special committees, bodies, etc.
Belgium is a federal country which is divided into three regions (Flanders, Wallonia and Brussels) and three language communities (Flemish, French and German), each with its own powers of self-government. The Regions are responsible for matters relating to the economy, environment, housing and employment at regional level. The Communities are responsible for culture, education, some aspects of health and welfare, language use and inter-community cooperation. The Regions and Communities have competence in the area of international cooperation and can conclude international agreements and sign treaties. Each Region and Community has a legislative arm (Council) and an executive arm (Government headed by a prime minister). In Flanders, there is one government for both the Region and the Community, which also covers the Dutch-speaking population in Brussels. In the French-speaking area of Belgium there is a government and a council for both the Region and the Community (with equal status) which includes the French-speaking population in Brussels.
Each of the three language communities has legal power to develop autonomous cultural policies. The Federal state is responsible for cultural institutions of national importance including the Monnaie Opera House, the Paleis voor Schone Kunsten/Palais des Beaux Arts and various museums, as well as for certain policy areas including labour law, social security, taxation, and intellectual property rights. The Regions are responsible for monuments and the countryside.
Within the Parliament, there is a committee in charge of cultural affairs.
Committee on Culture, Media and Sports
Jos Stassen, Chairman
Address: Vlaams Parlement, 1011 Brussels
Tel.: 02/552.33.20; fax: 02/552.33.33. Internet: vlaamsparlement.be
Basic principles for cultural policy to be followed by all three communities are laid down in the Cultural Pact Act of 1973 which is administered by the Federal state. It also sets out a compulsory consultative process, which includes the composition of councils or committees, to ensure that all political and minority voices are heard and integrated into policy development and implementation.
Ministry for the Flemish Community, staffing chart
Department of Welfare, Public Health and Culture
Cultural Administration includes:
- Adult Education and Public Libraries Division;
- Youth and Sports Division;
- Visual Arts and Museums Division;
- Music, Literature and Performing Arts Division.
Department of Science, Innovation and Media
Media Administration includes the Division for Media and Film.
Department of the Environment and Infrastructure
Town and Country Planning, Housing, Monuments and the Countryside Administration includes a Monuments and Countryside Division.
For more information: Gids van de Vlaamse overheid (Guide to the Flemish Government), Brussels, 2000.
Internet: vlaanderen.be
2.2. Breakdown of cultural competences at national, regional, local and municipal levels.
Responsibility for culture rests with the Communities (regional level). Only a few prestigious institutions are administered nationally (those common to both Communities). The provinces and the municipalities (local level) have their own powers in matters of culture.
The aim of the current cultural policy is to achieve a relationship with the provinces and municipalities which is based on the principles of subsidiarity and complementarity. A recent example of this policy in action is the proposed decree on the development of a local cultural policy. The Government of Flanders has begun an experiment which sets up pacts or 'covenants' with certain cities in the field of cultural heritage. The results of this experiment will help shape a more comprehensive policy or programme.
3. Cultural budget
3.1. Brief overview of the public cultural budget; breakdown into main areas; the developments within the last 10 years
3.2. Public cultural expenditure as a percentage of the total public budget.
Preliminary notes to this table:
- The figures shown below are for expenditure by the Flemish Government only. In other words, they do not include spending by the provinces and local authorities.
- Any international comparison of the percentage of the Flemish budget spent on culture should bear in mind that the Flemish Government has a limited range of powers. Consequently this percentage is not comparable with the 'national' figures for other countries.
- Tourism is not included in this table.
- As of 2000 the Youth Division has been reorganised as the Youth and Sports Division. To maintain full comparability with previous years, only the budget appropriations for youth are shown for the year 2000.
- Responsibility for 'Monuments and the countryside' rests with the Flemish Region.
- From 1999 onwards, repayments on loans which are not part of policy appropriations have no longer been carried under the heading 'General cultural policy'.
- As of 2000 the Flemish Government decided that all international credits with a cultural dimension, some of which had been administered as part of foreign policy up to the end of 1999, should now be handled by Cultural Administration.
| |(BEF million) |
| |1995 |1996 |1997 |1998 |1999 |2000 |
|Cultural Administration | | | | | | |
|Youth and Sports |1 317.2 |1 338.3 |1 409.1 |1 497.0 |1 513.9 |1 735.6 |
|Adult Education and Public Libraries |3 837.0 |3 854.8 |3 970.0 |4 025.2 |4 033.1 |4 240.8 |
|Visual Arts and Museums |271.9 |266.2 |413.8 |375.3 |435.9 |647.7 |
|Music, Literature and |2 262.1 |2 268.7 |2 680.9 |2 981.8 |3 132.6 |3 334.5 |
|Performing Arts | | | | | | |
|General cultural policy |682.9 |679.5 |832.4 |417.8 |160.6 |268.3 |
|International cultural relations |253.6 |249.1 |293.6 |296.8 |393.4 |447.1 |
|Culture infrastructure |492.7 |501.7 |328.8 |495.5 |773.3 |661.8 |
|Town and Country Planning, Housing, Monuments | | | | | | |
|and the Countryside Administration | | | | | | |
|Monuments and the countryside |1 254.1 |1 238.3 |1 312.8 |1 303.6 |1 394.8 |1 533.9 |
|Media Administration | | | | | | |
|Media and Film |551.7 |499.6 |500.7 |600.2 |817.6 |846.6 |
|Subsidy to VRT (Flemish Radio & Television) |7 429.1 |7 488.0 |9 462.2 |8 010.0 |8 318.0 |8 638.0 |
|Continuing Education Administration | | | | | | |
|Part-time education in the arts |3 900.0 |3 952.3 |4 259.4 |4 429.7 |4 579.3 |4 781.5 |
|Total |22 252.3 |22 336.5 |25 463.7 |24 432.9 |25 552.5 |27 135.8 |
|Total in euros |551.62 |553.71 |631.23 |605.68 |633.43 |672.68 |
| | |
| |(BEF billion) |
|Total budget Flemish Community |520.4 |533.3 |553.7 |614.8 |605.7 |618.6 |
|% spent on culture |4.2% |4.2% |4.6% |3.9% |3.9% |4.3% |
Source: Ministry for the Flemish Community, Administrations of Culture, the Media, Continuing Education, and the Monuments and the Countryside Division. The Centenblaadje[4].
3.3. Public cultural expenditure broken down between national, regional, municipal and local levels.
In Flanders the various levels of government (Flemish Community, Flemish Region, provinces, municipalities and communes) have powers and responsibilities for cultural matters. In addition, a number of major cultural establishments are managed by the Federal Government. The figures reproduced above relate only to spending by the various levels of Flemish government. For the other levels no reliable figures are available.
4. Support policy
4.1. Brief description of overall support policy to promote creativity: for example grants to artists, theatres or to special events.
In addition to subsidies provided to arts organisations, there are also measures to stimulate the creativity of individual artists. Commissions are awarded in the fields of music and the performing arts for compositions and for plays, subject to certain conditions. Bursaries are awarded to creative artists including authors and translators of literary works, visual artists as well as artists in the music or performing arts sectors. The Flemish Community purchases works of arts for the collection of the Flemish museums of contemporary art and for its own collection. There is also a purchasing policy for literature. The provinces and municipalities also award prizes.
4.2. In general, what is the role of fiscal policy as an instrument of cultural policy, for example, do you have special fiscal treatment for artists, cultural events, etc. in your country?
In Flanders (Belgium) there is no fiscal policy specifically aimed at culture. Apart from the lower rate of VAT (6 %) there are no specific fiscal measures in place. There are, however, the beginnings of a debate on possible tax concessions for businesses which buy works of art.
5. International relations
5.1. Brief overview of the current policy and the perspective for the future.
Since 1993 the Communities have enjoyed self-government in terms of international relations. This means that Flanders can on its own initiative conclude international agreements with other countries, constitutional regions and provinces.
The culture ministers of the Flemish and French Communities sit side by side in the Council of the European Union and in other international forums.
Earlier cultural agreements in the areas of culture, education and the sciences are being systematically replaced by general cooperation agreements to which all the powers and responsibilities of the Flemish Community apply. Culture is one element of these.
5.2. What relations do public bodies have with:
5.2.1. Other EU Member States?
The Flemish Minister for Culture determines, for his policy-making term, which countries will have priority as cooperation partners for Flanders. At present these countries are the Netherlands, plus the neighbouring countries of France and Germany. Neighbouring regions are also privileged partners (North-Rhine Westphalia and Nord-Pas-de-Calais). The Minister also chose to give priority to cooperation with the regions of Catalonia, Scotland and Wales. In Northern and Central Europe our main partner is Austria, and Copenhagen is the forward base from which we seek to establish a more systematic cultural presence in Scandinavia.
The cultural sector itself submits applications for international cooperation projects. A committee assesses these projects and grants subsidies within the limits of the budget.
5.2.2. Non-EU Member States?
Priority partners are also selected from countries outside the EU. The main ones are the following applicants for EU membership: Poland, the Czech Republic, Hungary, Estonia, Latvia and Lithuania.
Next come Quebec, the USA and South Africa, and St Petersburg is the forward base from which we seek to establish a more systematic presence in Russia.
New forms of cultural cooperation are being developed with Southern Africa and Morocco in the context of international solidarity.
Here too, project applications are made by the cultural players themselves to a committee which decides whether or not they will receive funding.
5.2.3. The EU Institutions?
The Flemish Community has a permanent representative to the EU. He monitors EU affairs closely and briefs the appropriate administrations. He also plays a coordinating role within Flanders.
Cultural Administration has a member representing it on the Management Committee of the Culture 2000 programme and in the Cultural Affairs Committee (CAC). On 1 July 2001 Belgium takes over the presidency of the EU Council. Culture and youth affairs will be a prime focus of attention. The Flemish Minister for Culture and his administration are cooperating fully on preparations for Belgium's EU presidency and are working hard to ensure that it is a success.
5.2.4. Council of Europe?
The Flemish Community has representatives playing an active part in the Council of Europe's committees, specialised committees and offices which deal with culture and youth affairs.
Belgium's Permanent Representation to the Council of Europe upholds the cultural interests of both the Flemish and French Communities.
5.2.5. Unesco?
The Flemish Community takes part in Unesco's General Conference, held every two years, and has a seat on the Commission on Culture. Belgium's Permanent Representation to the Council of Europe upholds the cultural interests of both the Flemish and French Communities.
5.2.6. Others?
The Flemish Community closely monitors talks in the WTO and GATS on 'cultural diversity' or the 'cultural exemption clause'.
It negotiates through the European Commission which speaks for all the EU Member States.
6. The role of the private sector
6.1. What role do private initiatives play to promote creativity in your country?
The role played here by the private sector in Flanders takes four forms: sponsorship, patronage (donations), own initiatives (exhibitions, prizes, etc.) and the exchange of know-how (workshops, training, presence on company boards, etc.).
In Flanders the not-for-profit Foundation for Promotion of the Arts seeks to act as a middleman in these four areas between the not-for-profit sector and the private sector. The Foundation reports something of a fall-off in private-sector willingness to invest in culture and the arts. It is somewhat exceptional for a cultural establishment in Flanders to have more than 10 % of its operating costs covered by sponsorship.
Initiatives - usually financial - come mainly from commercial concerns (banks, insurance companies, the automobile industry, the information and communications and telecoms sector, etc.).
6.2. What collaboration is there between the public and private sector?
The division of power between the federal state and the three language communities does not make for clear regulations on the promotion of public-private partnerships (from a fiscal point of view). The Federal Minister of Finance does have a regulation to make sponsorship attractive, though this does not apply to sponsorship of activities which can be seen as ordinary economic activity. Sponsorship often brings complex VAT problems for the organisations subsidised.
On 16 June 2000, the Flemish Government decided to promote the introduction of PPP projects (public-private partnerships) in Flanders, in as many policy areas as possible. At first sight this formula would seem to be particularly attractive where cultural projects offer the prospect of a financial return. New avenues of cooperation are also being explored. So cultural infrastructure can also bring added value to businesses whose names are associated with it. In other words, culture has a role to play in the image-building of private sector partners.
7. Current debate and future plans
7.1. What were the core issues facing public cultural policy in your country recently?
Policy priorities have been to:
- Bring together the arts, cultural heritage and socio-cultural work under one policy umbrella which addresses creativity, dissemination, conservation and supporting activies in an integrated way;
- Increase participation in cultural life and cultural competence;
- Assign a new role to large cities and municipalities (with a regional function) as arenas for culture;
- Pursue an international policy on culture that is "culture-oriented" rather than one which merely serves economic or political goals.
In addition to these priorities, policy in Flanders has been focused on greater transparency through the introduction of new policy instruments which include:
- The creation of a more coherent system of advice for the Minister (which was previously fragmented);
- Not only the updating of sectoral (for cultural centres and libraries), but an attempt at formulating a comprehensive framework under which the sectoral policies can be integrated and interrelated.
For a number of years, attempts have been made to give cultural policy a scientific basis through the work of the Cultural Policy Unit within the Ministry's Department of Culture and through studies commissioned from outside.
7.2. Do you plan any major changes in current policy?
The Flemish Minister for Culture attaches great importance to research and an active policy of using the new information and telecommunication technologies to place culture within the reach of everyone. The ambition is also to base cultural policy more on systematic scientific research which use high-quality datasets. Lastly, a decree is being drafted which will serve as a framework for the whole of Flemish cultural policy.
DENMARK[5]
1. General objectives and principles
Danish cultural policy contributes to giving people in Denmark a cultural basis in life, both in terms of their sense of history and the challenges of modern living.
Over the decades, cultural policy has been based on four principles: freedom of speech, cultural democracy, quality and decentralisation.
Freedom of speech is a fundamental human right and, indeed, a fundamental principle in sustaining and developing our society. Freedom of speech is integral to legislation covering the public library service and other fields. In fact, the entire policy of supporting the arts aims, fundamentally, at guaranteeing genuine freedom of expression.
Cultural democracy is an expression of respect for cultural diversity and the right to pluralism. Genuine cultural democracy aims at guaranteeing the people's fullest range of creativity and self-expression, and their active participation in both cultural life and the life of society generally. Genuine cultural democracy is thus both the precondition and the medium for the achievement of political democracy, which is the foundation of the welfare state.
Quality is the third guiding principle of cultural policy. This implies that quality assessments are conducted when applications are submitted to fund projects. Support is given by independent institutions, such as the Danish Arts Foundation (Statens Kunstfond), the Danish Music Council (Musikrådet) and the Danish Theatre Council (Teaterrådet). Quality also underpins the major financial commitment to national cultural institutions that safeguard, preserve and keep alive our cultural heritage.
The fourth guiding principle is decentralisation. The primary object of decentralisation is to pursue a common cultural policy with respect to democratising culture, in other words, to ensure broad access to cultural life and expression whoever you are and wherever you live. Decentralisation is also designed to promote the principle of subsidiarity, which implies that decisions on cultural policy are taken as close as possible to the citizens concerned.
2. Policy decision-making and administration
The Ministry of Culture
The Ministry of Culture produces initiatives providing support to the creative arts, music, theatre, film, libraries, archives, museums, and higher education and training within those areas. The Ministry is also responsible for copyright, disseminating cultural information, radio and television, sports and international cultural cooperation.
Supervising initiatives in these areas involves the formulation of legislation, rules and regulations and the administration of appropriations, salaries and personnel in liaison with national cultural institutes and cultural institutes eligible for grants towards running costs.
The Ministry of Culture comprises a central division and a number of cultural institutes. The institutes are split into three main areas: the creative and performing arts, preservation and promotion of cultural heritage, and higher education and training.
Cultural institutes enjoy considerable freedom and independence in relation to the Ministry. This liberty is sanctioned by years of tradition and custom, by law and by ongoing financial provisions.
The 'arms-length' principle
The key organisational standards applied in national cultural policy can be boiled down to the concept of self-management and the 'arm's length' principle vis à vis the political decision-making process and support for the arts and culture.
The 'arm's length' principle has been involved in the cultural policy debate in Denmark and Europe for many years. As an official political doctrine it has been applied for quite some time in drafting legislation and policies, and in allocating finance in several west European countries.
The principle is implicit in the theory of the separation of powers in the three branches of government: the legislature, the executive and the judiciary - the fundamental organisational principle of Denmark's political culture and that of other democratic societies.
In the arts and culture the principle has been used mainly to establish independent arts councils and boards which distribute funds earmarked specifically for the arts and culture, away from the seat of political power.
The 'arm's length' principle implies that politicians may not take concrete decisions on subsidies to the arts either by expressing opinions of taste or by making professional judgements on quality. Politicians may not attempt to influence the arts by political means (legislation or discontinuance of subsidies), other than general participation in the public debate.
The Ministry of Culture does not involve itself in specific subsidy allocation or act as an arbiter of taste in any of the arts or cultural fields. The Ministry acts as an architect of overall cultural policy and - in conjunction with Parliament - establishes the objectives, financial frameworks, subsidy arrangements and organisational structures which form the basis of cultural policy in Denmark.
Municipalities and Counties
The greater part of cultural activity is initiated at local and regional level. Municipal and county councils appropriate funds to numerous cultural initiatives and institutes including cultural and community centres, libraries, sports, local radio stations, arts and cultural associations, and so on.
3. Cultural budget
About 1.8 per cent of total public expenditure in Denmark goes to culture and the arts. In 1999 the cultural budget totalled more than DKK 11 billion. Government subsidies accounted for DKK 4.5 billion (including funds from the national lottery and football pools) or 40 per cent of the overall budget, municipalities spent DKK 6.3 billion or 56 per cent, while counties accounted for DKK 0.4 billion, or about 4 per cent.
When income from the television and radio licence is added to state subsidies, government spending on culture and the arts in 1999 totals DKK 7.4 billion. Funds from the national lottery and football pools (0.9 billion) and television and radio licence fees (2.9 billion) total DKK 3.8 billion. These figures, however, do not appear in the annual Finance Bill and are not included in the national cultural budget.
The past few years have seen very few shifts in the distribution of expenditure between national, municipal and county level. Within a few individual areas such as theatre and music, newly adopted legislation has been accompanied by minor shifts towards the municipal and county levels.
In real terms state expenditure increased from an annual DKK 2.6 billion in 1986 to DKK 4.5 billion in 1999, equivalent to an increase in real terms of approximately 40 per cent.
Music, creative arts, film and artistic training have especially benefited from the increase in government spending.
Of total government spending on cultural activities in 1999, support for artists accounted for 7 per cent, music 6 per cent, theatre 14 per cent, film 6 per cent, libraries 12 per cent, archives 3 per cent, museums and zoos 11 per cent, artistic training and education 15 per cent, international and other cultural activities 1 per cent, sports 15 per cent, cultural facilities 4 per cent and, radio and TV 0.4 per cent.
Budgeted cultural spending for 1999 by central government, municipalities and counties:
| |Central Government| |Municipalities| |Counties | |Total | |
| |DKK mill. |pct. |DKK mill. |pct. |DKK mill. |pct. |DKK mill. |pct. |
|Creative Arts |317,3 |99 |0,0 |- |4,1 |1 |321,4 |3 |
|Music |271,1 |40 |360,7 |53 |51,1 |7 |682,9 |6 |
|Theatre |610,4 |66 |138,5 |15 |177,2 |19 |926,1 |8 |
|Film |267,4 |97 |*8,6 |- |0,0 |- |276,0 |2 |
|Libraries |552,1 |21 |2 105,3 |79 |0,0 |- |2 657,4 |24 |
|Archives |114,7 |99 |0,0 |- |1,2 |1 |115,9 |1 |
|Museums and Zoos |485,6 |57 |266,5 |31 |96,5 |11 |848,6 |8 |
|Training in the Arts |711,0 |100 |0,0 |- |3,2 |0 |714,2 |6 |
|Other cultural activities |96,4 |16 |471,7 |78 |39,5 |7 |607,6 |5 |
|International cultural |58,2 |100 |0,0 |- |0,0 |- |58,2 |1 |
|cooperation | | | | | | | | |
|Sports |675,0 |22 |2354,4 |77 |11,6 |0 |3 041,0 |27 |
|Works/Facilities |184,9 |25 |542,7 |73 |14,4 |2 |742,0 |7 |
|Common activities |113,0 |100 |0,0 |- |0,0 |- |113,0 |1 |
|and reserves | | | | | | | | |
|Broadcasting |20,0 |100 |0,0 |- |0,0 |- |20,0 |0 |
|Total |4 477,1 |40 |6 248,4 |56 |398,8 |4 |11 124,3 |100 |
4. Support policy
4.1. Brief description of overall policy to promote creativity
The Ministry of Culture has established a number of councils and boards which on the basis of professional qualitative criteria are charged with distributing subsidies to recipients. These councils and boards are composed of artists and other professionals qualified in specific areas of the arts and culture. Members are usually selected by professional bodies and institutes within each specific artistic area and by the Ministry of Culture. Council and board members are usually replaced every third or fourth year.
Visual Arts
Subsidies to the visual arts are administered by the Danish Arts Foundation under the Danish Arts Foundation Act (1964) as amended in 1997. Three-year working grants are awarded to promising young talents while lifelong grants are made to artists in recognition of long-term achievement within the arts. Travelling scholarships are awarded to artists seeking inspiration abroad.
The National Arts and Crafts Workshop offers artists workshops and training facilities. It also has a number of guest apartments for the use of provincial and foreign artists.
Music
Support for music in Denmark is administered by the Danish Music Council under the Music Act (1976), as amended in 1993. The objective of the Danish Music Council is to promote music in Denmark and an appreciation of Danish music abroad, as well as to advise and assist public authorities and institutes on music related issues. The Danish Music Council provides subsidies for professional orchestras, choirs and ensembles, concerts, festivals, school concerts, music drama, music tuition of an experimental nature, and music schools. The Danish Music Council also subsidises the publication of information, documentation and other activities designed to promote music in Denmark and abroad through the Danish Music Information Centre.
Theatre
The Danish Theatre Council is an expert body responsible for advising and assisting the Ministry of Culture and other authorities on matters relating to theatres, and for administering support arrangements provided for by the Theatres Act (1990), as amended in 1996. The purpose of the Theatres Act is to promote the art and culture of theatre in Denmark.
The Royal Theatre is Denmark's national theatre. The main objective of The Royal Theatre is to perform plays, opera and ballet of high artistic quality.
Regional or local theatres may be established on the initiative of local communities. A large number of these theatres specialise in children's and experimental theatre. Subsidies to theatre and theatre companies are awarded nationally as well as by municipalities and counties. National and county subsidies offset the cost of theatre tickets sold through subscription schemes or at reduced prices to young people.
Film
Full-length feature films are subsidised by The Danish Film Institute (DFI) under the Danish Film Act (1997). Denmark produces between 12 and 15 full-length feature films each year. Feature-film production is supported under two schemes:
1) A selective scheme based on an evaluation of a film project's artistic merits by DFI consultants. 25% of subsidies is reserved for films for children and young people.
2) An industry-oriented 60% scheme enabling the DFI to support up to 60% of a film's production costs on the basis of the film's appeal to a wide cinema audience.
In addition, the DFI subsidises the production and distribution of shorts and documentaries produced as films and videos, distributes and preserves film and film material, disseminates information, and conducts film research.
Literature
Denmark's first Literature Act was passed in the spring of 1996 and a Literature Council was established in autumn 1996. The Council administers the new subsidy arrangements under the new legislation together with a number of existing schemes.
The Danish Literature Information Centre was set up to promote interest in and awareness of Danish literature abroad.
The public-lending remuneration scheme, introduced originally in 1946, represents the most !DKK 135 million. Funding is distributed on objective criteria to authors and translators of books published in the Danish language, for use in public libraries.
Other cultural activities
Support to other cultural activities is given by the Development Fund (established by Act of Parliament in 1998) from finance raised by the football pools and national lottery (established in 1948 under the Football Pools, Lotto and Other Games Act, as amended in 1995 and 1998), and a number of other pools.
The aim of the Development Fund is to promote the development of Danish arts and culture. It awards grants to experimental and crossover arts activities, while also setting up arts initiatives directly.
The objective of 'Children and Culture' is to provide an overview of current trends in children's culture in Denmark, to support and stimulate work in that area and to initiate and provide financial support for new projects. 'Children and Culture' supports cultural projects for children throughout Denmark.
4.2. The role of fiscal policy
Instruments of fiscal policy play only a very small part in cultural policy. There are no specific tax regulations for artists or cultural events.
Where a business sponsors cultural institutions or events, or purchases art in order to give it away for publicity purposes, this is tax-deductible under the applicable regulations. The motive must be publicity and not to support the artist in question or any similar consideration.
5. International relations
5.1. Brief overview of current policy and future prospects.
The first goal of Danish cultural exchange is to promote the qualitative development of Danish art and culture. The idea is that Danish culture will find inspiration and gain experience by interacting with cultures in other countries and their public.
The second goal of course is to promote awareness of Danish art and culture, which is often the prerequisite to initiate exchange. Information and visibility are, therefore, important elements of cultural exchange. Through information and visibility the 'consumption' of Danish art and culture can be increased. We can expand the market for Danish art and culture and make the whole world our 'domestic' market.
Our third and final goal is to promote awareness of Denmark and Danish policy, since this can contribute to opening up further avenues.
The first step was to stimulate international thinking within the professional cultural circles. The Danish Ministry of Culture set up special information and development centres in the fields of music, literature, visual arts and decorative art. Other internationally focused centres also exist.
To promote cultural exchange generally and to create the necessary profile and infrastructure, the Ministries of Culture and Foreign Affairs recently entered into partnership. The agreement they reached gives both ministries influence over the basic conduct of international cultural cooperation and insight into its day-to-day workings.
On 1 January 2001 the Ministry of Culture will set up a new state institution to manage and coordinate its own and the Ministry of Foreign Affairs' international exchange projects.
5.2. Relations of public bodies with other EU Member States, non-EU countries, the EU institutions, the Council of Europe, UNESCO, etc:
Cultural policy is the responsibility of the individual state. The Danish Ministry of Culture as well as Danish cultural institutes have good and sustainable cooperative relations with the ministries and institutions in other EU Member States and non-EU member states and with multilateral bodies such as the Council of Europe and Unesco.
6. The role of the private sector
6.1. The role of private initiatives in promoting creativity in Denmark
Creativity is understood to mean culture. The private sector contributes in two ways: First, a number of businesses produce art and culture on commercial terms; second, the private sector contributes to art and culture through sponsorship and foundations. Here we are concerned only with the contributions of the private sector through sponsorship and foundations.
As yet there are no figures for sponsorship contributions from the private sector to art and culture. However, an investigation into cultural sponsorship in Denmark will publicise its findings in November.
6.2. Collaboration between the public and private sectors
Cooperation between culture-producing businesses and the public sector takes the form of public aid schemes. Most film producers work with the Public Film Institute on the financing of films.
There are no formal instances of cooperation between the private sector generally and the public sector.
7. Current debate and future plans
7.1. Recent core issues of public cultural policy
Current bills:
Library activities
November 1997, this bill requires the public libraries to provide, in addition to books and other printed materials, access to the Internet and electronic databases, and to make audiovisual and multimedia items available on loan.
Reform of Based on Recommendation No 1347 on Libraries in the Information Society, submitted in music law (pop music venues)
The aim is to create an authority through which the state may offer grants under a special budget appropriation for pop music venues subject to certain conditions. The Minister for Culture wishes to improve and develop this live music for the benefit of creative musicians and the public.
Regional cultural agreements
This bill empowers the Minister for Culture to enter into voluntary four-year agreements with regional and local authorities. Each agreement will provide for a total state grant for the activities covered, and lay down objectives for the range, quality and content of those activities, as well as local financing. The bill follows up the Law on regional cultural experimentation, which expires at the end of 1999. Corresponding amendments will be made to the Music Act, the Museums Act and the Theatre Act.
Other Initiatives:
Review of children's cultural policy and the Cultural Commission for Children
In a statement to the Danish Parliament, the government has set out a programme for children's cultural policy based on three political aims:
- First, the cultural policy should help children feel, as early as possible, that they are part of a community.
- Second, it must assist children to develop and grow on their own terms.
- Third, it must acknowledge an obligation to protect children, e.g. from harmful media developments.
As a follow-up to the government-led children's cultural policy review, the Minister for Culture has appointed a Cultural Commission for Children. The Commission's task is to implement the government's 'Children and Culture' programme.
Sports policy ideas programme
Based on Parliament's revision of the Lottery Law, the Minister for Culture will implement a sports policy ideas programme. The programme will seek to develop the cultural dimension of sport, and strengthen diversity, quality and freedom of expression in Danish sport. It will target novel ways of engaging in sports, both within and outside associations. The programme will receive approximately DKK 20 million each year, and will be administered by an independent working group.
Drugs
In 1998 the full scale of the drug problem in sport became apparent. The Minister for Culture took the initiative of preparing a White Paper on the question of drugs in Denmark, and set up a cross-party committee coordinating the ministers and organisations involved.
Danish identity
In September 1999, Culture Minister Elsebeth Gerner Nielsen hosted the conference 'Citizens of the World in Denmark - Danish identity now and in the future'. Its aim was to join the debate on the potential for cultural life to contribute to the development of a 21st century Danish identity.
Since then the Minister for Culture has worked on a number of other initiatives aimed at strengthening Danish identity and contributing to the ongoing debate.
7.2. Plans for major changes
Danish cultural policy is constantly evolving, but right now there are no plans for major changes.
GERMANY[6]
1. General objectives and principles
A State’s conception of itself is manifested in its laws and political institutions. The purpose of a State’s organisation is the subject of an on-going and critical internal dialogue at all levels of society. Cultural policy aims to protect the liberty of this dialogue and to keep alive or to improve the institutional conditions for it even in economically difficult periods.
A political and cultural atmosphere characterised by tolerance, freedom of expression and openness to aesthetic innovation is the prerequisite and at the same time the aim of a living cultural policy. It is not the task of the State to attain artistic visions. In Germany, cultural policy is based on the Federal Republic’s aspirations to pluralism and tolerance. It is taken for granted that politicians should refrain from making aesthetic judgments, while at the same time the artistic and cultural heritage, be it musical or architectural or as embodied in libraries and museums, must be carefully preserved.
At the centre of an active cultural policy are the conservation and promotion of the arts as exemplified by the works of composers, musicians, sculptors, painters and literary authors, but also by the contributions of producers, actors, architects etc. Artists depend on opportunities for performances or exhibitions, on an interested public and on access to the art market. Without self-administered institutions, without democratic associations and representation of the interests concerned, to provide the requisite social and legal conditions for artistic production, the multiplicity of German cultural life would not be secure. The political task of the State is to preserve and generously foster these opportunities for performances and exhibitions and free but socially secure working conditions for all artists.
Federalism and its concomitant, cultural federalism, have been constants of German constitutional and social history. This is primarily due to the fact that in 17th-century Germany sovereign States emerged not at the level of the Holy Roman Empire but at the level of the individual territories. The result was not a unified and centralised national State but a mosaic of sovereign territorial States and city republics under the nominal authority of the emperor. Supported by the reigning dynasties and the bourgeoisie of the towns, larger and smaller cultural centres and sub-centres emerged. The German cultural landscape is therefore still marked by considerable multiplicity and geographical dispersion, decisions on cultural policy being taken mainly by individual Länder and municipalities.
But Germany’s federalism is not only a historical phenomenon: it also performs a very important role within the political system. Federalism means that power is distributed within the State. Cultural federalism has a number of advantages: in particular, it promotes freedom and separate identity. Cultural federalism promotes freedom because decisions on cultural policy and subsidies are taken at the level of the federation, the Länder and the municipalities by a large number of political decision-making bodies, which do not depend on each other.
Cultural federalism establishes identity by helping people in modern mass society with its homogenising tendencies to feel rooted in a particular locality and identify with units of human dimensions at the level of municipalities, regions and Länder. Even if not all the Länder of the Federal Republic coincide with traditional cultural regions, they nonetheless serve to create and preserve a sense of identity through their responsibilities for education and cultural affairs.
Besides foreign affairs and hence external cultural policy, the federal government is mainly responsible for fields which have a direct effect on the cultural domain as framework conditions for artistic creativity. These particularly include copyright, commercial law and fiscal and social legislation. The Federation is also responsible for protecting German cultural assets of national importance from being exported.
The Federal Government finances 75% of the administrative budget and 50% of the construction budget of the Preussischer Kulturbesitz Foundation. It also participates in financial support for research museums within the framework of "joint tasks", as referred to in the Basic Law. In addition, it supports a range of important cultural and artistic institutions, events and projects.
At the Länder level, theatres and orchestras, museums and collections, libraries and educational institutions for the arts (art and music colleges, music schools for young people etc.) receive funding. In all the Länder, resources are allocated to the preservation of the architectural and archeological heritage. Support for private cultural activities and individual artists is provided in particular in the form of subsidies, grants and cultural prizes, by purchasing works of art and by sponsoring readings by authors.
Culture in the city is an indispensable field of activity and policy for municipal authorities.
They have the task of creating the right conditions to allow a wide-ranging and diverse cultural life to flourish which reflects the individual identity of the city. The main cultural responsibilities of urban and municipal authorities concern legal provision for and funding of cultural institutions, support for independent cultural work and the arts, and the presentation of the cultural programme on offer in the town, in all its aspects.
The main elements and the objectives of a municipal cultural policy first and foremost entail supporting culture locally, which means:
- Promoting direct artistic and cultural experience and reception through preservation and development of local and regional infrastructure (theatres, orchestras, museums and galleries, art in public places, etc.);
- Promoting cultural education (music and art colleges, libraries, adult education, educational use of museums, drama teaching, etc.);
- Promoting creativity, innovation and artistic activities;
- Promoting individual local and regional identities;
- Promoting independent cultural milieus, initiatives of associations etc. and grassroots support for art and culture;
- Preserving and maintaining the cultural heritage (monuments, libraries, archives, museums etc.).
2. Policy decision-making and administration
2.1. Please give an overall description of the system, including the role of the minister and ministry, the Parliament, special committees, bodies, etc.
For decades, the federal Minister of the Interior was responsible for the national cultural policy of the Federation, and cultural affairs were administered by a department of the Ministry of the Interior. In October 1998, Chancellor Schröder created the post of Secretary of State for Culture and the Media, answerable to himself, in order to bring together the various responsibilities for cultural policy. This minister is now the driving force behind the cultural policy of the Federation and the dialogue partner for all issues relating to it, and represents the interests of German culture at international and especially European level. Thus the priority assigned to culture in Germany has been substantially increased.
After the last parliamentary elections in autumn 1998, the Bundestag established a committee for culture and the media, comprising Members of Parliament from all parties represented and dealing with all important political questions concerning culture and the media. The Secretary of State or his representative often attends the sessions of the committee and explains the political aims of the government.
In the Länder, which bear primary responsibility for cultural affairs, culture is mainly a matter for the ministries of education/culture or science, in some cases combined with other remits. In many cases, cultural affairs are assigned to a special department for culture or the arts.
In every case, there are special sections dealing with each field of culture, e.g. for theatre, music, museums and collections, plastic arts, protection of monuments, public libraries, promotion of literature, sometimes also for art and music colleges, promotion of cinema etc. Their titles and remits differ from Land to Land. In city-states like Berlin, Bremen and Hamburg, the organisational structure is wider and connected with municipal tasks.
The ministers or in the city-states the senators are, in accordance with the legal status of the Länder and the democratic parliamentary system, responsible to the parliaments of each Land, which have the power to legislate on cultural affairs, except in cases where the Federation is specifically assigned this power.
For cooperation among the Länder, a range of instruments have become established over the years for the various fields of policy. In 1948 – i.e. even before the Federal Republic of Germany had been constituted – the ministers and senators responsible for education (including higher education), research and cultural affairs set up a Ständige Konferenz der Kultusminister der Länder in der Bundesrepublik Deutschland (Permanent Conference of the Ministers of Cultural Affairs and Education of the Länder of the Federal Republic of Germany). This institution has no status in constitutional law. According to its Rules of Procedure, the Conference of Ministers of Cultural Affairs deals with "matters of cultural policy of supra-regional importance with the aim of agreeing common opinions and intentions and acting as a representative body with regard to matters of common concern." The main task of the Conference is to secure a necessary minimum of unity in the fields of education and culture through voluntary coordination and – where necessary – to guarantee it by means of agreements. This particularly applies to schooling and higher education, where reciprocal recognition of educational diplomas is required.
According to the Basic Law, the towns and the municipalities (Kommunen) have the right to manage under their own responsibility (right of self-administration) all the affairs of the local community, subject to compliance with legislation. The municipalities have traditionally displayed a strong commitment to exercising this right, including in the field of cultural affairs. They support theatres, museums, libraries and other cultural institutions and they promote a wide range of cultural activities; in this way, the municipalities have contributed around 54% (long-term average) to public cultural expenditure in Germany. If necessary, coordination is organised by the cultural committees of the umbrella associations in the municipality.
2.2. Breakdown of cultural competence at national, regional, local and municipal levels
In the Federal Republic of Germany, the Länder and municipalities are primarily responsible for the arts and culture. Consequently they also bear the main expenditure. Well over 90% of all financial support is provided by them. The support given by the Federation is concentrated on measures of national and international importance. Here the Federation acts only in cooperation with the respective Land or a municipality.
Under constitutional law, the Federation has only limited powers with regard to cultural issues, but by law it is assigned responsibility for a series of fields which are directly or indirectly related to culture or the media. The delimitation of competences between the Federation and the Länder is unambiguous in the international domain: foreign affairs, which include international cultural policy, are a matter for the Federation pursuant to Article 32 of the Basic Law, and within the Federal Government are assigned to the Federal Minister for Foreign Affairs. The independent channel Deutsche Welle, which broadcasts to foreign countries, is subject to State monitoring to ensure the lawfulness of its operations, which is carried out by the Federal Government Commissioner for Cultural and Media Affairs (BKM).
In addition, the Federation has powers in the following fields:
- Promotion of German unity in the cultural sphere (according to § 35 of the Einigungsvertrag [Unification Treaty] of 31 August, 1990 between the Federal Republic of Germany and the German Democratic Republic);
- Cultural promotion of the German minorities in Eastern Central Europe (according to the Federal Law on Expellees);
- Promotion of cinema (according to the law on promotion of films);
- Protection of the German cultural heritage;
- Promotion of cultural institutions such as the House of the History of the Federal Republic of Germany, Art and Exhibition Hall of the FRG, German Historical Museum, House of World Cultures, Jewish Museum, Gropius Building and Berlin Festival Society (GmbH);
- Promotion of research museums;
- Representation of the Federal Republic of Germany’s interests in the field of cultural policy within the EU.
The Federation is also responsible wherever federal laws and European legislation have an indirect effect on culture and the arts, for example copyright, the law on foundations, tax law (e.g. a lower VAT rate for publications), competition law (e.g. fixed prices for books), social insurance (for example the social fund for artists). In addition, the Federation can contribute to any cultural expenditure in the seat of the government which arises from the city’s function as the capital city (Art. 106, paragraph 8 of the Basic Law).
But the competences of the Federation are not limited to the fields explicitly mentioned in the Basic Law. According to the case law of the Constitutional Court it can also deal with activities which are tacitly permitted by the Basic Law. Besides "competence due to interconnection of subject-matter" the Federation, in particular, enjoys a "competence due to the nature of the matter" in cases which by their nature cannot, a priori, be dealt with by the Länder, even in cooperation with one another, so that only the Federation is competent.
According to the Basic Law, the exercise of state authority and the accomplishment of state tasks is a matter for the Länder if the Basic Law does not provide or permit otherwise (Article 30 of the Basic Law). According to this constitutional principle, cultural affairs in particular are matters for the Länder (the so-called "cultural authority of the Länder"). The promotion of the arts and culture by the Länder, together with their responsibility for schools and higher education, are regarded as key aspects of the sovereignty of the Länder. Generally, the Länder accordingly promote the arts and culture through legislation, administration, their own cultural institutions and subsidies.
Culture as a common public task of Federation, Länder and Kommunen (municipalities):
In the Federal Republic of Germany, cultural activities are matters of public responsibility, which is divided - just like the federal structure of the Federal Republic of Germany - into three levels: Federation, Länder and Kommunen (communes or municipalities). In accordance with the distribution of subsidies as shown in Section 3, the municipalities have an important role in developing the cultural infrastructure. As long ago as 1952, the Convention of German Municipalities (Deutsche Städtetag) underlined the responsibility of the municipalities for the cultural life of Germany through its "Guidelines for municipal cultural activities" (the Stuttgart guidelines) and defined the objectives and content of municipal cultural measures.
The municipal right of self-administration and the cultural responsibilities of municipalities in the Federal Republic of Germany
The distribution of responsibilities for cultural affairs between Federation, Land and municipalities is regulated by the Basic Law. Here the municipalities are assigned responsibility for "issues concerning the local community" – Article 28, paragraph 2 of the Basic Law reads: "The municipalities shall have the right to regulate under their own responsibility all issues concerning the local community within the framework of the laws." From this right of self-administration for the municipalities established by the Basic Law derives "municipalities’ cultural task", which means their responsibility for local cultural affairs. Thus, the Basic Law locates the administration of cultural affairs in proximity to the citizen. Legally, the municipalities’ responsibility for guidance in cultural affairs is confirmed in the respective constitutions of the Länder, which entrust the municipalities with cultural responsibilities of their own within the overall public administration of culture (for example Art. 83 and Art. 140 of the Bavarian Constitution; Art. 34 para. 2 and para. 3 of the Brandenburg Constitution; Art. 62 of the Hessen Constitution; Art. 16 of the Mecklenburg-Lower Pomerania Constitution; Art. 6 of the Lower Saxony Constitution; Art. 18 paragraph 1 of the North-Rhine Westphalia Constitution).
There are no other general legal obligations which fix the way or form in which municipalities are to promote cultural life - the principle is that culture is a voluntary self-administration task of the municipality. Of course, some Länder have specific regulations relating to culture which form part of regional law - laws concerning archives, further education, the protection of monuments - but usually they do not define general standards or contain qualitative or quantitative prescriptions.
The "Sächsische Kulturraumgesetz" ("Saxon Cultural Areas Law") is a special case in the Federal Republic of Germany. Its aim is to delegate financial responsibility for cultural institutions of regional significance to a number of municipalities, cities and districts. For this purpose, "cultural areas" have been created out of several existing local authority areas in the Free State of Saxony. Cultural institutions which serve a far wider area than just the town where they are located are supported by the cultural area by means of special-purpose associations.
3. Cultural budget
3.1. Brief overview of the public cultural budget, breakdown on main areas, the development within the last 10 years:
About the expenditures of the Federation and the Länder cf. annex:
Deutscher Bundestag - 14. Wahlperiode: Drucksache 14/3420 vom 18. Mai 2000: Antwort der Bundesregierung auf die Kleine Anfrage der Abgeordneten Steffen Kampeter, Dietrich Austermann, Jochen Borchert, weiterer Abgeordneter und der Fraktion der CDU/CSU, Drucksache 14/2735.
Public expenditure on the administration and promotion of the arts and culture – including expenditure on colleges for the arts, general adult education and public libraries – totalled DM 16.3 billion in 1996. This represented just under 1% of all public expenditure.
After the unification of Germany, special efforts were made in the new Länder to preserve cultural assets and to secure a sufficient cultural infrastructure. The Federation started special promotion programmes for a transitional period.
Of public expenditure on the arts and culture in Germany over a decade (1987-1996), 54% was accounted for by the municipalities, 41% by the Länder and 5% by the Federation.
These figures show the importance attached to culture in public spending. This reflects the common conviction of the Land governments and the Federal Government that to secure and develop a cultural State not only accords with an established and worthwhile tradition but also helps to secure the future of the state and society.
Compiling statistics on cultural expenditure is becoming increasingly difficult for the municipalities. Within the last ten years, many municipal cultural institutions have been transferred to new ownership, which in some cases involved privatisation, so that they no longer figure in municipal budgets. It is partly because statistics on cultural expenditure no longer include all relevant municipal expenditure that, as described in section 3.2, there appears to have been a shift in expenditure towards the Länder. But the growing share of the Länder in the cultural expenditure of the Federal Republic in recent years is due to the still precarious budgetary situation of many municipalities in Eastern Germany. The cities and municipalities in the eastern part of the country are much more dependent on subsidies from the Länder than those in the west, because they have less revenue.
Cultural expenditure of the municipalities in the Federal Republic of Germany as of 1995.[7]
- The percentage of cultural expenditure in the administrative budgets of municipalities with more than 50 000 inhabitants:
• Federal average: 5.0%
• Old Länder: 4.7%
• New Länder : 7.9%
- Cultural expenditure per capita in municipalities with more than 50 000 inhabitants:
• Federal average: DM 226.27 per person
• In municipalities > 500 000 inhabitants: DM 296.80 p.p.
• In municipalities with 200 000 – 500 000 inhabitants: DM 259.94 p.p.
• In municipalities < 200 000 inhabitants: DM 205.44 p.p.
- Main areas of municipal cultural expenditure:
• 54% of cultural expenditure (federal average) is incurred in such fields as theatre, concerts and music - this corresponds to DM 122.51 per inhabitant;
• 38.6% of cultural expenditure concerns theatres.
Since 1995 cultural expenditure has decreased or remained unchanged in many municipalities. This situation is due to the financial problems faced by the municipalities at the beginning of the nineties.
3.2. Public cultural expenditure as percentage of the total public budget
3.3. Public expenditure broken down between national, regional, municipal and local levels
The expenditure of the Federal Government Commissioner for Cultural and Media Affairs, including the federal archives and the Federal Institute for Eastern German Culture and History, totalled DM 1 761 158 in 2000. This represents nearly 0.4% of the federal budget.
See
Deutscher Bundestag - 14. Wahlperiode: Drucksache 14/3420 vom 18. Mai 2000: Antwort der Bundesregierung auf die Kleine Anfrage der Abgeordneten Steffen Kampeter, Dietrich Austermann, Jochen Borchert, weiterer Abgeordneter und der Fraktion der CDU/CSU, Drucksache 14/2735
for expenditure on foreign cultural policy (approx. DM 3.6 billion), expenditure on culture under other budget headings, and expenditure of the Länder and municipalities.
4. Support Policy
4.1. Brief description of overall support policy to promote creativity: for example grants to artists, theatres or to special events
In accordance with the Federation’s responsibility for the State as a whole and with the fact that the Basic Law assigns responsibility for promoting the arts and culture mainly to the Länder, the cultural objectives and measures of the Federation concentrate on three major tasks:
- Improving and developing conditions to enable the arts and culture to flourish;
- Establishing and promoting cultural institutions important for the whole nation;
- Preserving and protecting the cultural heritage.
In order for the Federation to take a cultural measure, the institutions and projects concerned must be of national importance and the Federation must have a special interest in them. One main criterion for federal financial support is uniqueness and an international or at least federal impact. Projects may also be regarded as being of national importance because of the centrality of their objectives, their thematic breadth or their innovative or exceptional artistic value.
Accordingly, institutions which exist in a similar way, and are of a similar standard, in several or indeed in many cities of the Federal Republic of Germany, like theatres and opera houses, orchestras, music schools, public libraries and general museums usually receive financial support not from the Federation but from the Länder, the cities and the municipalities.
Municipal financing and promotion of culture comprises:
- Variously controlled public cultural institutions (theatres, opera houses, art colleges, music colleges, museums, archives, libraries, adult education centres, cultural centres/community centres);
- Cultural associations, initiatives and groups which organise cultural activities, using various structures;
- Artists.
Criteria for municipal cultural support
According to the objectives of cultural policy as described above in 2.1, municipal cultural policies are required to:
- Promote artistic quality;
- Encourage innovation in the arts and culture;
- Promote cultural and artistic education and creative potentialities by means of large cultural institutions (music colleges, art colleges, adult education centres);
- Achieve a high level of participation by broad sections of the population in a pluralistic urban society by offering wide-ranging programmes;
- Act economically.
Ways of developing a cultural profile and criteria
It is not possible to develop culture in the city only through a catalogue of criteria defined at national level. Each town has its own historical, economic, social and cultural profile. Thus its authorities must ensure that the cultural infrastructure accords with local realities. Planning of municipal cultural development and elaboration of guidelines for cultural policy are two instruments - which are now used more and more in the Federal Republic - in order to develop the specific priorities of cultural development for each municipality and at the same time the criteria for financing and promoting culture.
The Federation (BKM) provides public subsidies for the promotion of creativity, for example for the support of individual artists. As a concrete example, the programme for the promotion of young artists at the ART COLOGNE art fair can be mentioned. This promotion programme for young artists, representing avant-garde art, is financed by subsidies from the BKM, the Land of North-Rhine Westphalia and the city of Cologne. The objective is to support young artists who have not yet established themselves on the art market. The associated measures permit support to be provided for young artists for a long period, not confined to that of the art fair.
Besides this subsidy programme there are many other State measures to support artists, operating either directly or indirectly, with award subject to various different criteria.
The award of public funding for specific events – here for example for exhibitions – is conditional on the project’s being of importance to the whole nation. It must be anticipated that the project will have a national or international impact, for example thanks to its subject, the approach adopted or its special relevance, and it must contribute to the representation of the Federal Republic of Germany as a nation that values culture. Projects of only regional importance cannot be supported financially by the BKM. Because of the federal structure of the Federal Republic of Germany, the Länder and municipalities are the primary sources of funding in such cases.
As regards the criteria for awarding public subsidies to promote creativity, for example grants for artists, with which question 4.1 is concerned, it is necessary to mention that the Federation does not support artists directly but gives subsidies to the self-administered artists’ institutions, which themselves decide on their use. Funds like the Art Fund, the German Fund for Literature, the Social and Cultural Fund, the Performing Arts Fund and the Music Promotion Programme receive annual subsidies by means of which to carry out their tasks. Each fund has developed guidelines for award, especially for grants, laying down criteria which have to be met for a successful application. The specificities of each branch do not allow a general description of the criteria.
4.2. In general, what is the role of fiscal policy as an instrument of cultural policy, for example, do you have special fiscal treatment for artists, cultural events, etc. in your country?
The cornerstone of an active cultural policy is promotion of the arts and culture, which – apart from direct subsidies – mainly means creating favourable conditions. For fiscal policy, this means that the State takes special account in its tax legislation of both individual artists and cultural institutions and cultural events, provided that they deserve support. In Germany, there is no separate, comprehensive law on this; the rules governing eligibility for tax concessions are contained in a multitude of provisions in the various specific items of legislation.
These concern turnover taxes (e.g. § 4 No 20 of the Law on Turnover Tax (UStG), which provides for exemption from tax under certain conditions for performances/services by theatres, orchestras, chamber music ensembles or museums, and in some cases for art exhibitions, or § 12 paragraph 2 of the UstG, providing for a reduced tax rate on the sale or supply of works of art, artistic performances and exploitation of the copyright on artistic works and productions, including the cession of films) and concessions relating to inheritance (§ 13 para. 1 of the Inheritance Tax Law (ErbStG), which lays down that under certain conditions only 40% of their value is to be imputed in the case of works of art and art collections or complete exemption from tax may even be granted, and § 29 para. 1 No 4 of the ErbStG, providing for inheritance tax or gift tax to be waived if objects of value are donated to certain privileged recipients within 24 months after the date when the tax becomes payable.) Under § 224a of the Fiscal Code, an heir who is liable to tax may, instead of paying taxes, donate works of art or an art collection to the State if there is a public interest in acquiring them because of their importance to art, history or scholarship.
The State’s ability to act is safeguarded by means of the concept of a sustainable fiscal policy. This is the precondition for the State to fulfil its cultural duties. The Federal Government has accordingly established a basis for a long-term cultural policy through its clear policy of consolidation.
The following tax concessions are also relevant to cultural policy:
Income tax and corporation tax
Pursuant to Art. 3 No 26 of the Income Tax Law (EStG), the first DM 3600 per annum of an artist's income may be exempted from tax. The prerequisites are that his artistic activity is not his main professional activity and that the activity is performed in the employment of, or under a commission from, a German public body or an institution covered by Art. 5, para. 1, No 9 of the Corporation Tax Law (KStG) which exists to promote objectives of public utility or charitable or religious purposes. Examples of such public bodies are the Federation, Länder, municipalities, chambers of artisans, chambers of lawyers or social insurance funds. Bodies not eligible for tax concessions include professional associations (Union of Employers, trade unions) or political parties. Unless work is commissioned by an eligible body/employer, no exemption can be allowed.
Turnover tax
- Some cultural work can be exempted from turnover tax by law pursuant to Art. 4 Nos 20 and 25 of the Turnover Tax Law (UStG). Examples include such events as theatre performances or concerts, when the events comprise performances by theatres, orchestras, chamber music ensembles or choirs which are themselves exempt from tax.
- In Germany, the following cultural activities are subject to turnover tax at the reduced rate of 7%:
• Theatrical performances and performances by orchestras, chamber music ensembles and choirs, displays by museums and also the organisation of theatrical performances and concerts by other enterprises (§12 paragraph 2 No 7a, UStG);
• The granting, transfer and use of rights deriving from the Copyright Law (§12 paragraph 2 No 7c, UStG);
• The activities of bodies which pursue only and directly objectives of a religious or charitable nature or which are of public utility (§§ 51-68 of the Fiscal Code). This is not valid for activities performed in connection with commercial operations
(§12 paragraph 2 No 8a, UStG);
• Services by associations of persons without legal personality and associations of the above-mentioned bodies in cases where, if these services were provided by the bodies themselves, they would be eligible for a tax reduction pursuant to § 12 paragraph 2 No 8a of the UStG (§12 paragraph 2 No 8b of the UStG).
In addition, books, certain works of art and collector’s items are eligible for a reduced tax rate (see Nos 49, 53 and 54 of the annex to §12 para. 2 Nos 1 and 2 of the UStG).
Because of the economic problems of the public authorities mentioned in 3.1, questions of fiscal policy play an important role in the cultural activities of the towns. It would be an exaggeration to say that fiscal policy dictates cultural policy, but the municipalities are seeking ways of introducing and implementing some reforms, which in the medium term will also have a financial impact. These primarily involve:
- Optimising cultural activities by reforming the municipal administration of cultural affairs and transferring cultural institutions to private ownership;
- Increasing revenue by means of fundraising, sponsorship and various models of public-private partnership;
- Delegating responsibilities to members of the public.
However, it is not only because of their implications for financial policy that these three instruments are presently under discussion in the towns. The municipal cultural landscape has become more complex and, therefore, so has its control. Modern management and ownership structures are required. A greater contribution by private initiatives to municipal cultural activities is an answer to the general sociopolitical changes which are a topic of public debate - not only in the Federal Republic of Germany - under the slogan "strengthening civil society".
Cultural associations, initiatives, independent groups and artists are important sources of cultural and artistic innovation and therefore do much which is indispensable to keep cultural life in towns alive and diverse. Because of this, financial support for artists and independent groups is becoming an essential part of municipal cultural activities. Many municipalities have guidelines for support in order to bolster – inter alia financially – the creative potential of cultural associations located there. The municipalities have various instruments for promoting the activities of artists. For example, in the field of the plastic arts these are:
1) Financial support for artistic projects,
2) Purchase and collection of works of art by the town or its cultural institution,
3) Exhibitions in public buildings and help in finding private spaces for exhibition in private-sector buildings (banks, firms, etc.),
4) Assistance in finding workshops and in financing them,
5) Awards and working grants,
6) Inclusion of works of art in public areas ("Art in public places").
5. International relations
Beside the various bilateral cooperation arrangements with other countries, there are three multilateral fora where Germany is cooperating particularly intensively with regard to the further development of cultural exchanges with other countries. These are: the European Union, the Council of Europe and UNESCO, the United Nations cultural organisation. In the EU, besides preservation of the cultural heritage, which is constantly on the agenda, the cultural aspects of the future accession of the countries of Central and Eastern Europe to the EU are in the foreground. Activities within the Council of Europe are performed in accordance with the guidelines of the European Cultural Convention.
In cooperation between the Federation and Länder regarding external cultural policy, the competence of the Federation for international relations meets the internal competence of the Länder for culture. The Federation and the Länder work in partnership together, for example in concluding and implementing cultural agreements with foreign States, in the necessary agreements in the cultural domain and also in representing the Federal Republic of Germany at international cultural conferences. Article 23 of the Basic Law applies to cooperation between the Federation and Länder in affairs concerning the EU. The Conference of Ministers of Education has set up a special commission, which works closely with the Culture Department of the Ministry of Foreign Affairs to deal with European and international issues.
There is a long tradition of cooperation between the cities and their cultural bodies on the one hand and foreign artists in various fields on the other. The municipalities play an important role in promoting international relations in the fields of the arts and culture. A 1999 survey by the North-Rhine Westphalia Convention of Municipalities on "International cultural activities of municipalities in North-Rhine Westphalia 1996-1998" shows that they are also responsible for almost 80% of international cultural events taking place in the municipalities.
The international character of municipal cultural activity and policy is seen at two levels: firstly through active cooperation with artists, cultural institutions and municipalities from abroad and secondly through active cooperation with locally resident foreign citizens, artists, associations and cultural institutions in German towns. Cultural activities in the cities which have an international aspect play an important role in maintaining cultural diversity in Germany. The municipalities are aware of their responsibility in the context of increasing globalisation, internationalisation and Europeanisation of society and the economy, which require them to pursue intercultural and multicultural policies. In its publication "Multiculturalism in Germany. Recommendations for living together in the German cities" (1992), the Convention of German Municipalities wrote:
"The city is not a place for monoculture or where cultures should coexist without mutual contact. It should be a locus of integration and not of exclusion. It should be a forum which allows conflicts and discussions between different cultures through the medium of peaceful dialogue. The objective of a European urban culture presupposes the ability of its inhabitants from different national, ethnic or cultural backgrounds to live together."
The cultural activities of the municipalities have a particular contribution to make to the realisation of the "European ideal" in the everyday life of the people of the Federal Republic of Germany. In 1993, the Convention of German Municipalities wrote in its recommendations on "The role of cities in the European cultural federalism of the future" as follows:
"If a shared European future is to be developed, more efforts to improve mutual understanding will be needed. The arts and culture, their ideas and visions can become a fertile ground for intercultural learning. Intercultural learning has to happen first in the municipalities and there it must be supported by all sectors of education and culture."
In the practice of municipal cultural policy, international and European cultural relations are realised through various activities and measures. Mention may be made, inter alia, of town twinning schemes, which, particularly in small or medium-sized towns and municipalities, are an important basis for cultural contact and comprehension. More than 4000 partnerships were noted in a review by the municipal umbrella organisations and the German section of the Council of European Municipalities and Regions in 1995. More recent Federal Government figures show that more than 1000 German municipalities are twinned with municipalities in Central and Eastern Europe and CIS States. The numerous international cultural relations of German municipalities and their cultural institutions are apparent from the multiplicity of concrete initiatives; a few examples must suffice: cross-border regional cooperation, European weeks, international, European and bilateral cultural dialogue and cultural fairs, exchange programmes related to particular sectors and interdisciplinary thematic programmes.
The future objective of municipal cultural policy is to further develop internationalisation within the city itself and to establish even more intensive partnerships with municipalities in Eastern Europe and with States in the so-called Third World.
6. The role of the private sector
6.1. What role do private initiatives play to promote creativity in your country?
In the Federal Republic of Germany, private initiatives help in many ways to shape cultural life. This happens by means of associations and foundations, acceptance of honorary appointments and through donations and sponsorship from individuals or enterprises.
A great many active citizens can be found in sports and music associations in particular, and to a lesser extent in such other fields of public concern as social issues, the arts and culture and the environment. No overall statistics on private initiatives so far exist in the Federal Republic of Germany.
In order to promote civil society it is felt necessary to increase the involvement of of private initiative in the fields of the State, market and third sector. Since taking office, the new Federal Government has adopted the following measures to promote the involvement of more citizens:
- The law on further tax concessions for foundations was adopted at the beginning of June 2000 and came into force with retroactive effect on 1 January 2000. The changes which it introduced fundamentally improved the tax position of foundations; this is intended to be the first step in a more comprehensive reform of the law on foundations. A working party comprising representatives of the Federation and the Länder was set up at the beginning of July in order to prepare the reform of the civil law on foundations. Keeping an open mind, it will consider to what extent changes in that law are necessary.
- On 1 January 2000 fundamental improvements and simplifications of the law on the taxation of gifts entered into force.
- The tax-free lump sum for instructors (EStG), which applies not only to sports trainers but also to people who have secondary jobs as choir directors, music teachers or teachers in the adult education system, has increased from DM 200 to 300 per month.
- The category of people eligible has been widened and the complex procedure relating to gifts to cultural institutions via a public body or government department has been abolished. Now all organisations of public utility have the right to issue certificates concerning gifts.
Recently, the German Parliament established a committee of inquiry on "The future of grassroots involvement", which has already started work. The Federal Government hopes that all the information available will be reviewed and that the social and political bases for ensuring and increasing grassroots involvement can be further developed.
The private sector is playing an increasing role in the cultural life of the German municipalities - by making culture available on the one hand and by acting as a cooperation partner of the public sector on the other hand.
In the Federal Republic of Germany the private sector comprises:
- Associations and groups etc., mainly organised under private law,
- Grassroots involvement,
- Local businesses, including those which purvey culture.
6.2. What collaboration is there between the public and private sector?
In Germany, the public and private sector work closely together to promote culture.
A series of major cultural institutions of national and international repute, such as the Beethoven House in Bonn, the Literature Archives in Marbach, the Goethe Museum in Frankfurt, the parks and buildings in Weimar which are associated with the classical period of German literature, the Bauhaus in Dessau, the Städelsche Art Institute in Frankfurt and the German National Museum in Nuremberg, are managed privately and supported by public subsidies. The most important ones are members of the "Working Group of Independent Cultural Institutes", which is supported institutionally by the Federation. Every two years, it awards a prize (the "Maecenas" award) in recognition of private sponsorship of culture. It also runs the Goethe Museum in Rome.
The private sector is also financing more and more major one-off events like exhibitions, concerts and festivals, which in many cases would not attain such a high level without this source of funding.
The fact that the private sector is playing an increasingly important part in the cultural activities of the towns has already been stressed in 4.2 and 6.1. This development is also reflected in the current debate on cultural policy, in which such concepts as "cooperative cultural policy" and "new partnerships for culture" are setting the tone. The main general issue in the debate is how private initiatives can be better integrated into municipal cultural activities in the form of grassroots involvement, the independent cultural scene or private enterprise.
Cooperation between private groups and the municipal cultural administration:
In the past 25 years in particular, cultural associations, independent operators, groups and initiatives have become an indispensable part of cultural life in towns and municipalities, as well as the source of much of its vitality. They do much to ensure cultural diversity, which, as described in the first point, is a central premise of municipal cultural policy. Officials responsible for culture in a town see their role as being to present and stimulate culture in the city. This "creative dialogue" between the city and creators of culture plays a decisive role in the joint effort to establish the cultural profile of a town and to adopt objectives and strategies based on it.
Cooperation between citizens and the municipal cultural administration:
In recent years, the promotion of grassroots involvement has become an important topic of public debate. While there is a long-standing tradition of voluntary work, particularly in the field of culture, in the Federal Republic, it is only relatively recently that an effort has been made to involve citizens actively in planning municipal cultural activities. In its Hanau Declaration of 1997 on "Cultural policy and grassroots involvement", the Convention of German Municipalities expressed very clearly the importance of such involvement in municipal cultural policy: "In order to encourage members of the public to assume a new sense of responsibility for culture by means of cooperation, shared responsibility and a role in planning and financing publicly supported cultural institutions, it is desirable to adopt a new approach to these institutions. Public cultural institutions should:
- Make use of the cultural, artistic and social skills which many members of the public possess;
- Make it possible for committed members of the public to contribute to decision-making on cultural institutions;
- Encourage voluntary, unpaid work by members of the public;
- Use modern methods of fundraising not only to improve their financial structure but also to strengthen their links with the grass roots.”
Cooperation between businesses, including purveyors of culture, and the municipal cultural administration:
Businesses, including those which purvey culture, are playing a growing role as partners of the public sector, both in debating cultural policy and in its practical pursuit. Here too, the principal aim of cooperation between the commercial sector and the public cultural administration is not only to place cultural affairs on a sounder financial footing but also to make the most of businesses’ organising skills by means of public-private partnerships.
In the "Cultural Section of the Federation of German Industries" the public sector has both a discussion partner and a sponsor with a view to developing further the idea of a cooperative cultural policy.
Culture is an economic growth sector, not only in the Federal Republic of Germany. The fact that commercial purveyors of culture should be acknowledged as partners of the public sector was noted in 1995 by the Convention of German Municipalities in its position paper, "Culture in the city - Culture of the city?" Municipal cultural officials regard the growing range of commercial cultural activity, particularly theatre, concerts, the music market, publishing and bookshops, cinemas etc., not as competition but rather as an enrichment of culture in the city and as a challenge to seek and try out new forms of cooperation.
Cooperation between the private sector and the public cultural administration through public-private partnerships
In the Federal Republic of Germany, there are various forms of cooperation between the public and the private sector, and various instruments for it:
- Joint financing of projects;
- Promotion of culture by enterprises (as sponsors, initiators or organisers);
- Cooperative arrangements for management and support (e.g. foundations, public limited companies, associations);
- Forms of organisation for grassroots involvement (e.g. city foundations, citizens’ foundations).
7. Current debate and future plans
7.1. What have been the core issues facing public cultural policy in your country recently?
- Cultural development programme in the new Länder in Eastern Germany;
- Cultural promotion of the capital city, Berlin, and the “federal city" Bonn;
- Commemorative monuments in Germany;
- Monument to the murdered Jews of Europe ("Holocaust Monument");
- Redevelopment of the museums island in Berlin (Preussischer Kulturbesitz Foundation);
- Joint cultural and economic promotion of films by means of an "Alliance for Film";
- Reform of the law on the taxation of foundations;
- Maintaining fixed book prices;
- Establishing a fund for writers in exile;
- Cooperative cultural policy, i.e. cooperation between the public sector (cultural administration) and private sector (businesses and grassroots involvement) in a partnership of responsibility;
- Culture and tourism (this mainly concerns the eastern German Länder and their municipalities);
- Financing and structural reform of the theatres (the Federation has initiated an "alliance" for the theatre in this context).
7.2. Do you plan any major changes in the current policy?
The fundamental structure of promotion of culture at the levels of municipality, Land and Federation remains unchanged. It has produced the rich cultural landscape which exists in the Federal Republic.
The Federation, the Länder and the municipalities share responsibility for the preservation and promotion of culture, and also for reforms and innovations in cultural policy.
The core issues being debated in the field of cultural policy in Germany, as mentioned in 7.1, show that those responsible for this policy are actively engaging with social transformation processes. People are demanding the right to help determine policies, and not only via Parliaments, which means that the cultural administration must undertake a critical review of its future role and its future conception of itself.
GREECE[8]
1. General objectives and principles
For Greece, like for every country, culture is a basic element of national identity, a basic element of the structural character of each people and a basic factor of social cohesion.
Culture should not be understood as a secondary activity, a luxury occupation, an activity related only to people fond of art; is not only an activity of those who create culture nor a private interest of those who are the audience for cultural events.
Culture is a kind of spiritual attitude; but culture in the sense of 'civilisation' alludes to the level of technology and aesthetics in a country.
Nowadays, Greek culture not only identifies itself with the contributions of Ancient Greek culture to the universal cultural heritage or the influence of Classical Studies, it shows its contemporary aspect at European and international level while reflecting all periods of its history without exception.
The periods of Greek culture within European and universal cultural heritage are the following:
- The Ancient pre-historical and classical Age,
- The Byzantine and post-Byzantine Age,
- The Modern period.
Greece brings to contemporary culture the great heritage of literature and art and continuous creativity in all domains.
In universal culture that which is the true expression of a people is human experience, history and sources of inspiration.
Cultural policy has to be based on respect and presentation of the political heritage as well as the physical embodiment of memory in the inspiration of contemporary artists.
Writing and speaking, theatre, cinematographic and audiovisual works, plastic arts, music and dance, archaeological research and architectural projects must be within that perspective.
The interaction of all these cultural phenomena forms a composite picture of contemporary Greek culture.
The main fields of culture are: the cultural heritage and cultural development.
- Cultural heritage policy (ancient, prehistoric and classical monuments; Byzantine and post-Byzantine monuments and modern monuments) aims to discover, to conserve and to protect these monuments, to exhibit them in museums, to take care of them, to restore them, to do research and write publications on the monuments, to implement the legislative texts and regulations on ancient and modern monuments.
- The policy of cultural development comprises literature, the arts, cinematography and popular culture.
- Literature policy aims:
• To monitor, study and act to promote questions related to the development of Greek literature and cultural development through that literature;
• To support the authors of Greek literary works;
• To protect, project and disseminate Greek literature and intellectual products;
• To monitor, study and act on subjects of copyright;
• To monitor the application in Greece of the international agreements on the protection of literary works.
- Fine Arts policy comprises theatre and dance, visual arts and music and it aims:
• To monitor, study and act to promote subjects related to the support and the development of theatre, visual arts, music and cinematography;
• To support and help the bodies and associations which aim to develop the above sectors;
• To take measures to protect contemporary artistic works;
• To support artists by all appropriate means;
• To protect and exhibit in Greece and abroad Greek works of art;
• To supervise and support financially the national theatre and orchestra and the museums of modern art.
- Popular cultural policy aims:
• To collect, protect and disseminate the elements related to the life of the people particularly the popular arts and to encourage and support the popular arts;
• To diffuse, study and to present and support the national music and dance heritage;
• To protect and collect modern movable works dating from 1700 on and immovable ones from 1831 to 1880;
• To safeguard and store for scientific study everything related to modern monuments;
• To supervise and support the museums of popular arts.
2. Policy decision-making and administration
The Ministry of Culture has the responsibility for:
- The definition and the realisation of cultural policy concerning the cultural heritage and cultural development;
- The drafting of laws on the protection and promotion of cultural heritage within the framework of a general law on cultural development and the protection of artists and their works ;
- Cooperation with the local administrations and private institutions to enable the public to approach culture with a view to their participation in the cultural process;
- Representing Greece on cultural matters in various EU bodies, where it participates in formulating cultural policy;
- Drafting the budget for culture and taking responsibility for allocations to the various sectors.
The National Parliament adopts the laws on cultural affairs. The draft laws are considered in parliamentary committees and, with the participation of the representatives of all the parties, the budget is approved.
The following councils and commissions operate under the Ministry of Culture; they give opinions and make proposals to the Minister of Culture on cultural matters:
- The Central Archaeological Council: It gives opinions on matters referred to it and of great importance for the antiquities. It monitors valuable works on Ancient and historical monuments which need to be preserved and works carried out on archaeological sites.
- The Central Council for Modern Monuments: It gives opinions on subjects referred to it relating to modern monuments.
- The Local Councils for Monuments: In each region of Greece there is a Local Council for Monuments; it provides opinions on subjects related to the protection, the preservation and promotion of archaeological sites and of the monuments of the region referred to it as important.
- The Committee for the Preservation of the Monuments on the Acropolis of Athens: Its function is to plan, to direct and to supervise the necessary systematic works for the preservation of the monuments on the Acropolis.
- The Committee for the Preservation of the Temple of Apollo Epicurios: Its function is to plan, to direct and to supervise the works necessary for the conservation of the Temple of Apollo Epicurios.
- The Committee for the Market of Books with Cultural Content: It gives opinions on the market in books with cultural content (literature, studies, history etc.) at the request of interested people.
- The Committee for the study of historical and archaeological issues on Rhodes: The function of this committee is to study the problems of restoration and preservation of the medieval cities of Rhodes, Lindos and Patmos and to make systematic excavations on Rhodes, Kos and the other islands of the Dodecanese.
- The Arts Committee for the Construction of Monuments and Statues: It advises on plans for such works and is responsible for the preservation of existing monuments and statues in public places.
- The Committee for the State Prize for Drama: It is responsible for judging plays which are proposed for the participation in the competition which takes place once a year, and for awarding the State Prize for Drama.
- The Advisory Committee on Fine Arts: It gives opinions on all subjects related to Fine Arts which are referred to the Minister of Culture and it chooses the artists and the works of art to represent Greece in art exhibitions abroad.
- The Committee for Artists' Pensions: The function of this committee is to examine the legal conditions for the establishment of the appropriate, important and exceptional service in the development of the mentioned fine arts in order to provide a pension to the artists (fine arts, music and those related to theatre).
The Ministry of Culture draws up guidelines for cultural policy (legal framework and funding) at national level.
On a regional level, together with 25 inspectors for the pre-historical and classical antiquities, 14 inspectors for Byzantine and Post-Byzantine Monuments, 5 inspectors for modern monuments and archaeological and Byzantine museums, it is responsible for the conservation and the promotion of archaeological sites and monuments and the operation of archaeological museums.
In cooperation with the local authorities, it supports the Cities Institution, which aims to promote cultural development at local level.
At a local and municipal level, cultural development is decentralised by means of cultural centres, art galleries, local festivals and municipal museums, which support and encourage cultural creativity.
3. Cultural Budget
For culture, financing is provided by the ordinary budget, the State Investment Programme and by LOTTO. The appropriations allocated are shown below:
| |1999 |2000 |
|Ordinary budget |Drs. 45.000.000.000 |Drs. 50.000.000.000 |
|State Investment Program |Drs. 58.500.000.000 |Drs. 33.600.000.000 |
|LOTTO |Drs. 13.000.000.000 |Drs. 13.000.000.000 |
4. Support policy
- Every year, after evaluation by a special committee and according to the required criteria the free theatre receives grants.
- Every year, the expenditure is provided for the running of the following institutions:
• The National Theatre,
• The State Theatre of Northern Greece,
• The National Lyrical Stage,
• The State Orchestra of Athens,
• The State Orchestra of Thessaloniki,
• The National Art Gallery and the Alexander Soutzou Museum.
- The Ministry of Culture has special committees to choose the representation by artists of fine arts at international exhibitions of fine arts and it finances the expenditure related to it and the expenditure for support and exhibition of these works.
- Honorary pensions are awarded to:
• Literary authors, literary translators, dramatic authors, translators of plays, essay authors writing philosophical or philological essays,
• Artists creating fine arts,
• Musicians, conductors and performers,
• Composers, lyricists, performers of Greek music,
• Producers, actors and lyricists,
• Choreographers and dancers,
• Popular artists (provided they have made outstanding contributions to the development of literature on art and they have reached the age of 65.).
- Copyright and related rights are regulated by law.
- Special regulations for matters related to the sale of books limit VAT to 4%.
- By law, 1% of expenditure on the construction of state buildings and the landscaping of the surrounding areas must be used for creating or buying and installing works of art in them.
5. International Relations
- The Ministry of Culture is represented in all the bodies of the European Commission, participates in decision-making and honours the obligations concerned.
- It is a member of the Council of Europe and of Unesco and takes part in the realisation of cultural programmes.
6. The role of the private sector
Private institutions working independently or in cooperation with the Ministry of Culture contribute to the promotion of fine arts in Greece and develop their activities at the international level with the objective of cultural communication.
7. Current debate and future plans
- Preservation and the promotion of the cultural heritage and its connection with the citizen.
- Creation, at regional and local level, of the institutions which will bring citizens into contact with the culture of the region and provide facilities for artistic creation.
- Cooperation with the Ministry of National Education for the development of disciplines with cultural content and the encouragement of cultural activities.
- Protection of cultural diversity and use of culture to combat xenophobia and racism.
- Linking the Olympic Games with cultural events in Greece and abroad, giving them a cultural dimension.
SPAIN[9]
1. General objectives and principles
Culture is one of the basic elements that form and articulate a people, a society, a nation or a civilisation. Without allowing ourselves to be carried away by gratuitous jingoism, it could be said that, because of its history and culture, Spain is one of the most complete nations from this point of view. In other words, Spain is what it is largely because of its cultural wealth, which has been forged throughout the centuries. It is a cultural estate, whose main assets are its heritage in terms of monuments and the creative talent of Spanish painters, writers, musicians and artists. It resides, in short, in the language, that millennial vehicle for communication and transmission of knowledge which is currently spoken by over four hundred million people, allowing us to build a common culture on the basis of a common language and which, consequently, leads us on to another concept — Hispanic cultural heritage.
That great asset which is Spanish culture serves to cement internal cohesion on a national basis, and also to enhance Spain's image overseas. These two aspects, on which the State's responsibility in these matters rests, on the one hand allow cultural communication within Spain, respecting the diversity offered by the special features of each Autonomous Community and, on the other, promote the external image of Spanish culture in all its wealth and plurality, with particular attention to Latin America.
The public authorities have a role with regard to culture. This role is mainly translated into a number of responsibilities deriving from certain clear public powers granted by the Spanish Constitution: to promote access to culture and conserve and enrich the historical, cultural and artistic heritage. Respect for those powers, the defence of freedom — a fundamental value in the political system and for social peace — should lead, as far as culture is concerned, to development, promotion and stimulus and under no circumstances to abuse of power, interventionism or protectionism contra natura. Of course, aside from the obligation to intervene directly in certain cases where there is no doubt of the need, such as protection and conservation of heritage, there is immediate direct action in defence of the general interest.
Having said this with regard to the role of the public sector, it should be stated that the true protagonist of culture is society, in the form of specific individuals, who are the real authors and motivators not only of creation, but also, in many cases and in various ways, of broadcasting and projection of artistic creations and works. As a result, these are the people who must be stimulated and helped and our attempts to promote and encourage must lead to public activity in the cultural sphere for their benefit.
In accordance with these parameters, an appropriate cultural policy which seeks to make a success of this reality must be based on a number of fundamental points.
The first of these points relates to the relationship between culture and education. There must be a close link between policies on education and culture, because there is no better cultural policy than a good education policy. For that reason, syllabuses must encourage humanities and allow for proper teaching in the musical and theatrical arts; we should create schools attached to national theatre and dance companies which could serve simultaneously as centres of higher education and as sources of talent for the companies. We must also continue to develop school libraries in order to encourage reading and provide easy access to museums for primary schools and particularly for secondary schools.
Secondly, another key element is the defence and promotion of the cultural wealth and heritage of a nation, of a people, regardless of ideologies and the political colour of any government or public institution, although the various ideological and political approaches could doubtless lead to different points of view in management and the resolution of problems.
And finally, the strategic and economic value of culture. In our modern 21st century society, with such different economic, national and world structures from those of fifty years ago, culture is a factor which generates development and creates employment. For that reason, it is a clear factor in social and geographical revival. We have culture as industry, culture as leisure, without it losing its own values. They form three interrelated elements which must be considered and blended together harmoniously when dealing with matters relating to culture. For that reason, we must also underline the close link between culture and the new technologies. Culture must not, and cannot, turn its back on the new forms of expression and communication provided by the new technologies. It is one of the sectors most affected by, and which most benefits from, the new communication society. Cinema, reading, research, heritage conservation, etc., are all being transformed at the beginning of this century by the application of new techniques from the computer and communication sciences.
On the basis of these ideas and concepts, cultural policy activity has been aimed at the following:
- Investment in heritage: a plan for cathedrals; a plan for castles and military architecture; recovery, restoration and conservation of cultural assets; new acquisitions of works of art, encouraging payment of taxes and donations;
- Investment in cultural infrastructure: special plan for investments in leading institutions; extension of the Museo del Prado, the Reina Sofía National Art Gallery and Centre and the Thyssen-Bornemisza Gallery; the National library; investments in museums, libraries and provincial archives owned by the State; plans to rehabilitate theatres and build auditoriums;
- Consolidation of the cultural industry: Spanish and in Spanish, publishing, musical and audio-visual, by means of tax incentives, promotion funds, Latin-American programmes, etc.
2. Policy decision-making and administration
Legislative system. Duties and powers of Central Government bodies
Las Cortes Generales (Spanish Parliament) represent the Spanish people. They are made up of the Congreso de los Diputados (Congress) and el Senado (the Senate). They exercise the legislative power of the State, approving its budgets, controlling Government activity and holding other powers granted to them by the Spanish Constitution. One traditional and essential function of Parliament — which gives it its name of Legislative Authority — is the legislative function, i.e. the drafting of norms of a general nature, which are binding on all authorities and citizens. These are the highest norms in the legal system and are superseded only by the provisions contained in the Constitution.
The authority to pass laws is held by the Government, the Congress, the Senate, the Legislative Assemblies of the Autonomous Communities and, with certain restrictions, citizens in the form of popular legislative initiatives. The legislative procedure begins in Congress, continues in the Senate and concludes in Congress, whose will prevails over that of the Senate in the event of any disagreement.
The following bodies of the Executive Authorities, the Government and the General State Administration have powers in cultural matters.
The Delegate Commission for Cultural Affairs: a body delegated by the Government for coordination and promotion of cultural policy. It is presided over by the President of the Government and includes among its members Government Vice-Presidents and Ministers for Foreign Affairs, Justice, Defence, Economy and Finance, Development, Education and Culture, Labour and Social Affairs, the Presidency, Public Administration and the Environment, along with the Secretaries of State for International Cooperation, Latin-America, the Universities, Research and Development, Culture and Communication.
The Ministry of Education, Culture and Sport is the body of the General State Administration entrusted with proposing and implementing general government guidelines on cultural policy. It performs this task through the Secretariat of State for Culture.
The Secretariat of State for Culture, under the supervision of the Head of Department, performs the following functions: (a) promoting, protecting and publicising the Spanish historical heritage, State museums and the visual arts; (b) promoting books and reading, stimulating literary creation and promotion, protecting and publicising State archives and libraries; (c) promoting and participating in cultural cooperation activities with public administration bodies and individuals or corporate bodies, whether public or private; (d) promoting, protecting and publicising the theatrical arts, music, dance and the circus; (e) promoting, protecting and publicising films and audio-visual activities of production, distribution and exhibition; (f) implementing the powers granted to the General State Administration for legislation on intellectual property.
The following management centres are under the control of the Secretariat of State for Culture: the Directorate-General for Fine Arts and Cultural Assets, the Directorate-General for Books, Archives and Libraries, the Directorate-General for Cultural Cooperation and Communication, along with the following independent bodies: the National Institute for the Theatrical Arts and Music, the Institute of Cinematography and Audio-visual Arts, el Museo Nacional del Prado, the Reina Sofía Art Centre and the National Library.
The constitutional distribution of powers in matters of culture
The 1978 Spanish Constitution contains numerous references to culture. Firstly, in the Preamble, where it refers to ‘protecting all Spaniards and Spanish peoples in the exercise of their human rights, their culture and traditions, languages and institutions’ as one of the aims to be achieved. Along the same lines, Article 9.2 lays down that the public authorities have an obligation to allow all citizens to take part in cultural life. Furthermore, Articles 44 and 46 give the public authorities the task of promoting and guiding citizens’ access to culture, as well as preserving and enriching Spain’s cultural and historical heritage. Articles 48 and 50 contain references to the right to culture of young people and the elderly, respectively.
The Constitution contains the following provisions with regard to the distribution of powers in cultural matters:
- Article 149.1. This article provides that the State has exclusive power regarding the following matters: 9º: ‘Legislation on intellectual property’; 28º: ‘Defence of the Spanish cultural, artistic and monumental heritage against export and depredation; museums, libraries and State-owned archives, without prejudice to the fact that they may be managed by the Autonomous Communities’;
- Article 148.1. This article provides that the Autonomous Communities may assume powers regarding the following matters: 15º: ‘Museums, libraries and musical conservatories of interest to the Autonomous Community’; 16º: ‘monuments of interest to the Autonomous Community’; 17º: ‘Promotion of culture’;
- Article 149.2. This article establishes that ‘without prejudice to the powers that may be assumed by the Autonomous Communities, the State shall consider the service of culture as a duty and essential obligation and shall aid and encourage cultural communication between the Autonomous Communities, in agreement with them’.
In accordance with this system, all the Statutes of Autonomy of the Autonomous Communities have assumed, with similar wording, the powers with regard to culture that they are permitted to assume under the Constitution. Although there is a great diversity of titles, it is possible to group together the following sectors: historical and artistic heritage; museums, archives and libraries not owned by the State; museums, archives and libraries owned by the State; intellectual property; entertainment and leisure.
Finally, the references in the Constitution to ‘the promotion of culture’ (Article 148.1.17) and ‘the service of culture as a duty and an essential obligation’ (Article 149.2), as respective powers of the Autonomous Communities and of the State have given rise to these bodies’ powers with regard to culture running concurrently and, in many cases, being interlinked. In addition, by virtue of Act 7/1985 of 2 April, laying down the basis for local government, the municipal authorities have powers with regard to historical and artistic heritage and cultural and sporting activities or facilities. Likewise, all municipal authorities may carry out activities to complement those of other public authorities and, in particular, with regard to culture. As a result of this, it has been said that culture is not, by its very nature, suitable for division among the public authorities, but rather accepts and requires parallel or concurrent intervention by them all.
3. Cultural Budget
It is extremely difficult to ascertain the total amount of money that the public authorities allocate to culture. There are several reasons for this, which we will attempt to summarise as follows.
- Lack of standardisation in the budget structure: the most direct source for ascertaining the volume of expenditure devoted to culture is the budget. However, not all administrations budget in the same way, i.e., they do not allocate funds to functions in accordance with the same criteria. This can be seen at the Autonomous Community level and becomes particularly complex at the local level because, to give an example, municipalities with a population of less than five thousand are only obliged to budget by functional groups (and not by functions, sub-functions and programmes).
- Diversity of organisational structures: there is an enormous range of public institutions managing cultural matters. So, while the General State Administration and some Autonomous Communities have bodies which are exclusively responsible for cultural matters, in other communities and in most local bodies these tasks are combined with other areas (young people, sport, tourism, etc.) There is a single management centre. This makes it enormously difficult to ascertain the exact amounts devoted to specific items, since there are overall items covering all activities (expenditure on staff, running costs, etc.).
- Lack of definition of the concept of ‘culture’: The ambiguity of what is understood to be culture, or rather the different points of view regarding that concept are reflected in the activities carried out by the public administrations. Although, for example, there is a similar idea of ‘culture’ in the State and in the Autonomous Communities (visual arts, books, theatrical arts, etc.); in the local bodies — and particularly in the small municipal districts — the interpretation leans more towards such events as public festivals, traditional singing and dancing, etc.
Having said this, we will concentrate on a description of the data supplied:
- The General State Administration has supplied data on cultural programmes overall, regardless of the competent body or organisation responsible for carrying them out. The time scale is from 1993 to 1999.
- In the case of the Autonomous Communities, the criterion is identical, although the data is confined to the period from 1995 to 1999.
- Finally, the data relating to local bodies is attached, referring to the 1996 financial year only.
The following tables show a detailed analysis of the data according to the different budget classifications, as well as how indicators are established in connection with the total size of the General State Budgets and GDP.
Table 1: Gasto cultural de la Administración General
(Total cultural expenditure of the general administration)
1993-1999
|Evolución del presupuesto cultural | |Evolución del gasto cultural |
|(development of the cultural budget) | |(development of the cultural expenditure) |
|sobre el total y sobre el PIB | |por habitante |
|broken down on the total and on the GDP | |per inhabitant |
|AÑO |% AG/PGE |% AG/PIB | |AÑO |Ptas/Habitante |Ptas/Habitante |
|year | | | |year |(corrientes)(current|(constantes) |
| | | | | |) | |
|1993 |0,281 |0,12 | |1993 |1.867 |2.252 |
|1994 |0,388 |0,17 | |1994 |2.836 |3.267 |
|1995 |0,396 |0,16 | |1995 |2.992 |3.292 |
|1996 |0,357 |0,14 | |1996 |2.694 |2.861 |
|1997 |0,256 |0,11 | |1997 |2.264 |2.359 |
|1998 |0,254 |0,10 | |1998 |2.292 |2.345 |
|1999 |0,267 |0,10 | |1999 |2.465 |2.465 |
AG: Presupuesto de gasto cultural del Estado (budget for cultural expenditure of the state)
PGE: Presupuesto General del Estado (total budget of the state)
Table 2: Evolución de los presupuestos culturales de las Comunidades Autónomas
en relación con los presupuestos totales, el P.I.B y la población
(Development of the cultural budgets of the autonomous communities
in relation to the total budget, the GDP and the population)
1995-1999
(milliones)
|años |Presupuesto |Ppto. Total |% |P.I.B. (P) |% |Población |(C/H) |Índice |(constantes) |
| |Cultura (C) |Consolidado (T) |(C/T) | |(C/P) |(H) |(corrientes)| |Base=1999 |
|1995 |111.213 |8.110.616 |1,37 |72.841.749 |0,15 |39,541 |2.813 |1,100 |3.094 |
|1996 |111.601 |9.077.710 |1,23 |77.113.358 |0,14 |39,541 |2.822 |1,062 |2.997 |
|1997 |123.506 |9.808.506 |1,26 |81.782.027 |0,15 |39,541 |3.124 |1,042 |3.255 |
|1998 |133.446 |10.468.500 |1,27 |86.968.544 |0,15 |39,720 |3.360 |1,023 |3.437 |
|1999 |143.917 |11.117.630 |1,29 |93.068.288 |0,15 |39,720 |3.623 |1,000 |3.623 |
Sources: For the GDP and the regional population: ‘Contabilidad Regional de España. Base 1986. Serie 1991-96’, I.N.E.
Evolución del valor adquisitivo de la peseta según el Índice del Coste de la Vida elaborado por el I.N.E. (Development of the purchasing power of the peseta according to the Cost of Living Index prepared by the INE.)
Table 3: Gasto cultural de las corporaciónes locales
Cultural expenditure by local corporations
1996
Absolute figures in millions of Pesetas
| |DIPUTACIONES | |
| |Presupuesto total (1) |1.477.224 |
| |Gasto cultural (2) |41.605 |
| |% (1)/(2) |2,82 |
| |AYUNTAMIENTOS | |
| |Presupuesto total (1) |1.682.208 |
| |Gasto cultural (2) |59.534 |
| |% (1)/(2) |3,54 |
| |TOTAL Corporaciones Locales | |
| |Presupuesto total (1) |3.159.432 |
| |Gasto cultural (2) |101.139 |
| |% (1)/(2) |3,20 |
Contrasting data is provided by the recent publication by the SGAE-Foundation Autor on the culture and leisure industries in Spain and their contribution to GDP (1993-1997). This estimates, on the basis of tax sources, that in 1997 the Public Administrations as a whole devoted a total of ESP 261.801 million to culture.
Cultural Budget of the Autonomous Communities
The statistics have been obtained on the basis of initial budgets including expenditure by the general Autonomous Community Administration, their independent bodies and public bodies and companies carrying out cultural activities. Access to the Autonomous Community budgets was provided by the Directorate General for Territorial Finances of the Ministry of Economy and Finance.
The level of detail in the information for each Community varies widely. In most cases there is a very general definition of programmes. For this reason, and in order to standardise the figures obtained, they have been divided into the following broad areas of expenditure:
1) Historical and artistic heritage,
2) Museums, archives and libraries,
3) Promotion and diffusion of culture,
4) Cultural management and general services.
As may be observed from the tables (cf. especially Table 2), non-aggregate figures are given in areas 2 and 3. However, these figures cannot be considered as final — particularly the figures for area 3, where programme 3.5, ‘Cultural Promotion and Cooperation’ operates as a catch-all for all promotion expenditure relating to any cultural event (theatre, music, cinema, etc.) with no further details being given.
The programmes have the same content as State programmes. In this case, ‘Promotion and Diffusion of Culture’ is the total expenditure on theatre, music, cinema, promotion of books and cultural cooperation. It excludes programmes relating to linguistic planning and promotion of the use of the regional language.
The ‘Management and general services’ programme is an estimate obtained by calculating the percentage that cultural programmes represent of the total of the Council’s expenditure heading that includes cultural activity. These headings normally cover other areas such Young People, Sport, Women, the Environment or Tourism.
The sum for cultural programmes constitutes cultural expenditure which has been consolidated internally and which therefore excludes transfers to Autonomous Community bodies and public bodies or companies which manage cultural programmes.
The aggregate figures exclude the independent cities of Ceuta and Melilla, which are considered within the section dealing with local corporations.
Cultural expenditure by local corporations
As we know, local corporations have no obligation to produce a budget for each programme. Their performance depends on a decision by each local body (article 4º 4, Order of 20 September 1989). It is therefore practically impossible to compile a standardised list of public expenditure on culture for the purpose of these statistics.
Nevertheless, an attempt has been made to estimate cultural expenditure within local bodies, estimating an overall figure on the basis of payments for 1996 for local bodies as a whole, listed as follows:
- Regional governments, independent cities, councils and island town councils;
- Municipal authorities of provincial capitals and municipalities with a population of over 100,000.
Analysis is based on the budget structure for local bodies established in the Ministry of Economy and Finance Order of 20 September 1989.
Three activities are listed under Activity 4.5 ‘Culture’:
4.5.1. Promotion and diffusion of culture,
4.5.2. Physical education, sports and recreation,
4.5.3. Archaeology and protection of the historical and artistic heritage.
The amount and financial structure of the estimated expenditure correspond to activities 4.5.1 and 4.5.3, since they are considered to most closely resemble what has been defined as ‘Culture’. However, the following limitations must be taken into account:
- The difficulty of obtaining exact information from the budgets for local bodies due to the heterogeneity of their administrative structures (culture expenditure is combined with young people or education or tourism).
- The limitations of the budget classification which groups heterogeneous expenditure together in a single subsection (4.5.1); very few bodies have developed a structure of programmes which allows each type of expenditure to be ascertained in detail.
- In some cases, there is no available classification by activity, and only a financial classification is presented.
- Bearing in mind these limitations, the information has been treated as follows (cf. Table 3).
- The estimated expenditure corresponds to subsections 451 and 453 for 1996 for financial items.
- The information has been compiled on the basis of the settlements which local bodies send to the General State Administration Audit Office (IGAE).
- The figures refer to the general management of the body and its departments.
- Only the figures for the current financial year are considered. Amounts carried over from previous years managed during the current financial year are therefore excluded.
4. Support policy
The consolidation of the Spanish cultural industry and the Spanish language requires active, effective policies to encourage creativity and participation by all members of society and to promote Spanish culture abroad. The public authorities are obliged to promote and oversee access to culture, to which everyone is entitled (article 44 of the EC), and this, given the role played by the private sector in today’s society, inevitably leads to the planning and implementation of policies to encourage private participation in the cultural sector, as this sector comprises activities of general interest.
In turn, any cultural policy worthy of the name must take full account of preserving and enriching the nation’s cultural and historical heritage and this, in the case of Spain, is an obligation which the Spanish Constitution entrusts to the public authorities (Article 46 of the Spanish Constitution).
In both cases, support of creativity, whether through subsidies, training or other types of programmes, is basic to these policies, as are tax incentives.
4.1. Encouraging creativity
The Spanish Ministry of Education, Culture and Sports, through the Secretary of State for Culture exercising its powers to promote and encourage the activities listed in section 2, has been sponsoring a wide range of grants, financial aid and subsidies in several different areas of the cultural sector.
For information we list below the various types of aid for the year 2000, handled through the various directorates-general of the Secretary of State for Culture, indicating the maximum aid available from the overall budget for each category[10]:
DG for Cooperation and Cultural Communication
- Aid for cultural activities and promotion: 556 000 000 (total budget);
- Aid for training culture professionals: 185 000 000 (total budget);
- Aid for travel: 10 000 000 (total budget);
- Aid for cultural cooperation with Latin America: 60 000 000 (total budget);
- Grants from the Ministry of Education, Culture and Sports (Secretary of State for Culture) to further artistic studies in the USA (academic year 2001-2002): 45 000 000 (total budget);
- Grants for the preservation and restoration of the cultural heritage: 14 400 000 (total budget);
- Grants for museum science: 30 240 000 (total budget);
- Grants for plastic arts and photography: 8 080 725 (total budget);
- Grants for library science and documentation: 17 280 000 (total budget);
- Grants for archive science: 16 200 000 (total budget);
- Grants for management of cultural projects: 16 200 000 (total budget).
DG for Fine Arts and the Cultural Heritage
Aid for the promotion of Spanish art and support of new trends in the arts
- Private enterprise:
Promotion of Spanish art abroad: ESP 50 000 000,
Promotion of Spanish art: ESP 50 000 000;
- Families and non-profit institutions:
Promotion of Spanish art: ESP 50 000 000.
Subsidies and aid to finance archaeological excavations abroad: 40 000 000
DG for Books, Archives and Libraries
- Aid for promoting and disseminating written Spanish culture;
- Aid for promoting the dissemination, marketing and distribution of Spanish books abroad: 45 000 000 (total budget);
- Aid for the translation and publication in foreign languages of literary or scientific works by Spanish authors: figure not available;
- Aid for encouraging the publication of Spanish books for public libraries: 180,000,000 (total budget);
- Aid for encouraging the translation and publication of works by Spanish authors in the official languages of Spain: 7 000 000;
- Aid for non-profit companies and institutions publishing cultural journals: 182,000,000 (total budget);
- Aid for non-profit institutions or bodies to carry out archive projects (charged to capital transactions);
- Aid for non-profit institutions or bodies to carry out archive projects (charged to capital transactions).
Institute of Cinematography and Audiovisual Arts (ICAA)
- Aid for making full length feature films by new directors, and for experimental films: 450 000 000 (total budget);
- Aid for producing short films: 5 000 000 each;
- Aid for completed short films: 10 000 000 each;
- Aid for distributing European Community cinematographic films: 10 000 000 each;
- Aid for writing screenplays for feature films for the cinema or for TV: 4 000 000 each;
- Aid for writing screenplays for feature films: 2000,000 each;
- Aid for preservation of negatives and original frames: 50 000 000 (total budget);
- Aid for organising and holding film and audiovisual arts festivals in Spain: 33 500 000 (total budget);
- Agreement between the I.C.A.A and the I.C.O for establishing a line of financing for cinematographic production: 215 000 000 (total budget);
- Agreement between the I.C.A.A and the I.C.O for establishing a line of financing for cinematographic exhibition: 50 000 000 (total budget);
- Aid for the participation and promotion of selected films in international festivals: 160 000 000 (total budget).
National Institute for the Performing Arts and Music (INAEM)
- Aid for projects involving musical and music theatre productions:
1) Annual production including tour: 7 000 000,
2) Biennial production including tour: 20 000 000;
- Aid for programmes promoting musical and music theatre productions in the various Autonomous Communities: 10 000 000;
- Aid for programmes promoting Spanish culture through performance abroad of musical and music theatre productions: 5 000 000;
- Aid for projects for musical and music theatre productions by non-profit bodies (national area) 10 000 000;
- Aid for festivals, exhibitions, congresses, and competitions concerning music and music theatre and ongoing programmes of music theatre activities: 10 000 000;
- Aid for dance production projects:
1) Annual production including tour: 7 000 000,
2) Biennial production including tour: 20 000 000;
- Aid for programmes promoting dance performances in the various Autonomous Communities: 10 000 000;
- Aid for programmes promoting Spanish culture through dance performances abroad: 5 000 000;
- Aid for dance projects by national non-profit bodies: 5 000 000;
- Aid for dance festivals, exhibitions, congresses, competitions and programmes of ongoing choreographic activities: 15 000 000.
Total aid to musical and music theatre productions and dance in the various categories:
1) 18 207 456A, budget headings 441,451,461,473,481 and sub-heading 485.00: ESP 340 500 000
2) 18 207 134B, budget headings 471 and 482: ESP 46 000 000
Total: ESP 386 500 000 .
- Aid for programmes promoting and developing theatrical communication in the year 2000 (four categories):
1) Aid for festivals, exhibitions, fairs and other activities organised by municipal government or by private enterprise concerned with theatre management: 16 000 000;
2) Foreign tours: 10 000 000;
3) Support for theatrical and circus activity (national area, non-profit bodies): 8 000 000;
4) Theatrical publications: 8 000 000;
- Aid for festivals, exhibitions, fairs and other activities organised by municipal government or by private enterprise concerned with theatre management: 16 000 000;
- Foreign tours: 10 000 000;
- Support for theatrical and circus activity in the national area by non-profit bodies: 8 000 000;
- Theatrical publications: 8 000 000;
- Aid for programmes for the national promotion of current dramatic art and the preservation and promotion of classical theatre in 2000: 35 000 000;
- Aid for programmes to develop circus activity through communication and promotion plans in Spain and abroad and technical development during the year 2000: 10 000 000.
Prado National Museum
- Aid for study in several areas of the Museum: 10 000 000.
Queen Sofía Art Centre National Museum
- Grants for museum training at the Centre: 10 000 000.
4.2. Tax Policy and Cultural Policy
Although there are several legal provisions on tax incentives with regard to culture and cultural heritage in the various laws regulating the various taxes, the most relevant in this context is Act 30/1994 of 24 November, on Foundations and tax incentives for private participation in activities of general interest, more widely known as the Patronage Act. This Act aimed to provide a legal basis for encouraging altruistic activities — including in the field of culture — in line with society’s current needs, by adjusting the tax system for non-profit bodies to take account of their social - hence, cultural - function.
Despite this, one of the legislative commitments of the Ministry of Education, Culture and Sports for the present legislature is to reform the existing act, in order to improve the aid and tax benefits and thus make it more attractive to invest in these general interest activities. The aim is to set out the demands of the various parties involved in the cultural sector in a text which meets with the widest possible consensus among the Spanish Autonomous Communities in the framework of the Council of Historical Heritage, as a preliminary step before negotiating with the Ministry of Finance. The objectives are basically twofold:
- To improve tax incentives by increasing the percentages of deductions;
- To introduce new incentives or new applications for existing incentives.
Another case in point is the tax treatment of books; in this regard, contact has been established with the relevant agencies, specifically with the Ministry of Finance Directorate-General of Taxation, with a view to devising formulas to benefit the sector and encourage and protect publishing and reading.
Title VIII of Act 16/1985, of 25th June, on the Spanish Historical Heritage lays down a series of tax measures aimed at helping to preserve and enrich the historical heritage. These measures consist of:
- Deductions from certain taxes for investment in acquiring, preserving, restoring or promoting property forming part of the cultural heritage, donations to the State and other public bodies[11];
- Similarly, donations of property forming part of the Spanish historical heritage are accepted as a method of tax payment; in the last four years, this has amounted to ESP 5 762 million pesetas, of which 3 000 million correspond to 1999 alone[12].
Although this is not a tax incentive per se, among the measures aimed at promoting the historical heritage is what is known as the cultural one percent which provides that for every public work financed totally or partially by the State, a proportion equivalent to at least 1% of the State funding will be earmarked for financing work to conserve or enrich the Spanish historical heritage or encourage artistic creativity, preferably with regard to the work itself or in its immediate surroundings.
6. The role of the private sector
The legal basis for the role of private enterprise in promoting cultural activities is in the Act on Foundations and Tax Incentives for private participation in activities in the general interest. This establishes the basic rules for foundations as legal entities which, in accordance with the founder’s wishes, devote funds to the performance of activities in the general interest. It also contains a number of legal instruments intended to grant tax incentives for private sector activities which benefit culture.
In addition to participation in cultural activities by private persons on an individual basis, there are two large groups of institutions in Spain which are active in the cultural sphere: the Savings Banks and the Foundations.
The Savings Banks are part of the financial system, but are subject to a special system of rules which obliges them to devote part of the profits obtained from the performance of their main function to social activities. One of the main social activities is funding cultural centres and events. The attached table shows the amounts devoted to cultural activities by the Savings Banks according to information supplied by the Spanish Federation of Savings Banks.
The Foundations, which are governed by the rules referred to above, also devote a substantial part of their funds to cultural activities. In 1998, the total expenditure by foundations whose main activity was in the cultural sphere (the 405 foundations entered on the Registry of Cultural Foundations of the Ministry of Education, Culture and Sport) amounted to ESP 32 724.5 million.
As may be observed, these two large institutional groups, Savings Banks and Foundations, contributed over ESP 80 000 million in 1998. This financial contribution is higher than the entire budget of the Secretary of State for Culture for that financial year. This is a clear indication of the enormous importance, in quantitative and qualitative terms, of these institutions in the context of finance for culture in Spain.
Finally, we refer briefly to the figures for consumption of cultural products within overall consumption by Spanish families. The Survey of Family Budgets (with data from 1998) estimates this figure at ESP 1.12 billion, which represents 3.18% of total consumption by families.
7. Current debate and future plans
The intention over the next few years is to continue and intensify the working method which has been developed in the cultural sphere, paying particular attention to disseminating Spanish culture — our language, our historical heritage and the works of our creators and contemporary artists — in the following three directions.
1) Towards citizens, making culture available to them and giving them easy access to it, using the new technologies for that purpose. Our intention is to value our historical heritage, conserve it and make it accessible for citizens. This applies to both monuments and items preserved in cultural institutions (museums, archives and libraries), in which even greater investments will be made.
2) Towards internal administrations, cooperating with the Autonomous Communities, local corporations and private bodies on cultural matters and aiding and encouraging cultural communication between the Autonomous Communities, in agreement with them. The intention is to promote cultural communication between the State and the Autonomous Communities with exhibitions all over Spain, commemorations, tours by national companies, etc., also starting up an ambitious programme of scholarships to train professional people in the cultural sphere.
3) Towards the outside world, paying special attention to the common Latin-American area, Ibermedia Programmes, the ISBN integrated index, the Ibersalas programme, etc., approved at the Summit Meetings of Latin-American Heads of State and Government.
In order to fulfil these objectives, there is a programme of future activities and projects, the most significant of which are as follows.
1) An Act to Develop and Promote Cinematography: to reinforce the legislation that has been introduced, with the screen quota being phased out, measures to promote co-productions between Spaniards and overseas nationals, consolidation of automatic aid for production, etc;
2) A new Foundations Act: to create a framework to allow social organisations to play a greater part in promoting the various aspects of culture;
3) A new Patronage Act: to establish tax incentives and benefits for companies and private individuals who wish to cooperate by donations, investments and expenditure on cultural activities which are primarily in the general interest;
4) Increased emphasis on the Investment Plan, particularly in the main cultural institutions; museums, archives and libraries owned by the State and those whose management has been transferred; development projects co-financed by ERDF funds;
5) Extending museum opening hours, to provide the greatest possible access by citizens to cultural assets;
6) Publicising the cultural heritage and the use of new technologies in conservation: digitalisation of archive material, virtual access to museum collections, virtual visits to museums, connecting public libraries to the Internet, etc;
7) Consolidating Spain’s image overseas: from Spanish culture to culture in Spanish: support for cultural industries overseas, extension of networks and increased activity by the Cervantes Institute, strengthening cultural relationships within the Latin-American sphere, creation of a space for free circulation of books, and a Latin-American network of theatres.
FRANCE[13]
1. General objectives and principles
1.1. What is the official definition of cultural policy?
The answer may be found under 2.1.
1.2. What are the main elements and objectives?
Cultural policy is made through different instruments, networks or institutions, which may be financed directly by the state or supported by the state jointly with other partners.
By way of example, the state directly administers 5 national theatres, but supports more than 250 theatres. Similarly, it manages 33 national museums but supports almost 600 museums. As far as the architectural heritage is concerned, the Ministry maintains and manages 110 national monuments, but participates in the maintenance of 39 000 historic buildings and sites.
The main objectives of this policy:
- The maintenance and promotion of the heritage and the optimal use of historic buildings and the non-movable heritage;
- Support for creativity and creative artists;
- Provision of higher education courses giving access to cultural professions;
- Combating inequality in access to culture;
- The development of artistic practice.
2. Policy decision-making and administration
2.1. Please give an overall description of the system of cultural policy, including the role of the minister, the ministry, the Parliament, special committees etc
In France, the cultural policy under the aegis of the public authorities is conducted, as is generally the case with public policies, within the national constitutional framework of France, subject to the effects of European treaties and directives.
The preamble to the Constitution of 27 October 1946, which reappeared in the preamble to the Constitution of 4 October 1958, declares that 'the Nation guarantees equal access for all children and adults to education, training and culture'.
In the fields of culture and communication, Parliament intervenes in the following cases: fiscal questions (for example sponsorship); the basic principles of local authority autonomy (see 2.2), education, property regimes, real rights and civil and commercial obligations (for example, in the area of copyright and related rights), labour law, trade union and social security law (e.g. social security for artists); and the establishment of categories of public institutions (see, for example, Law No 75-1 of 3 January 1975, which created the Georges Pompidou National Centre for Art and Culture ['Centre Georges Pompidou'], or the draft law currently under discussion of a national public institution of an administrative nature in the field of archaeology). Under French constitutional law, what is not expressly regulated by law falls within the field of regulations, and, therefore, of government action.
In France, responsibility for culture lies with a member of the government. Since 1978, with two exceptions (1981-1986 and 1993-1995), the competences related to culture and communication (audiovisual media and the press) at ministerial level have been the responsibility of a single ministry.
The current mission statement of Minister of Culture, in force since Decree No 97-713 of 12 June 1997, lays down the following responsibilities:
- 'The Minister's mission [...] is to ensure the broadest possible public access to the most important works of the human heritage, and in first place of the heritage of France, to secure the widest possible public for our cultural heritage, to encourage artistic and intellectual creation and to develop the practice of the arts.
- Together with the other ministers concerned, he is responsible for launching activities organised by the state with a view to disseminating French culture and encouraging interchange with the other cultures of the world. He is responsible for the development of the cultural industries. He contributes to the external cultural activities of France. [...]
- He prepares and initiates activities contributing to the dissemination, use and enrichment of the French language.
- He [...] assumes the coordination [...] of all [...] large-scale architectural and planning projects of the state carried out in Paris or the provinces, on the basis of delegation by the Prime Minister [...]'
The Minister is the head of the state administration responsible for cultural affairs. He organises its day-to-day activities with the assistance of his 'cabinet' (ministerial office'). He delegates his power of signature to the director of his 'cabinet' and to each of the directors of the central administration, but he may at any time sign the documents of the central administration himself. Only the minister may countersign decrees, which are in France the main category of individual regulation or act of law and must be signed by the Prime Minister and, in some cases, by the President.
A number of other ministries contribute to cultural policy, notably the Ministry of Foreign Affairs (which is responsible for France's cultural policy abroad) and the Ministry of Education (which is responsible for art education).
The departments of the Ministry of Culture and Communication are organised according to the general principles of administrative organisation in France, as laid down in particular by the amended framework law No 92-125 of 6 February1992 on the territorial organisation of the Republic and by the amended decree No 92-604 of 1 July 1992 comprising the 'decentralisation charter'. These texts establish that decentralised departments are to be considered a normal level of State action and that the central administrations are to 'carry out, at national level the role of conception, organisation, guidance, evaluation and monitoring'. They are composed of a central administration, a local decentralised administration and departments with national competence (for the competences of the state and local authorities, see 2.2).
The central administration, on the basis of the amended decree No 82-394 of 10 May 1982, is at present composed of six directorates (directorate for the archives of France, directorate for books and reading, directorate for architecture and heritage, directorate for the museums of France, directorate for music, dance, theatre and performing arts, directorate of central administration) and two delegations (delegation for plastic arts; delegation for regional planning and development). An important reorganisation took place in 1998 with the merger of the directorate for architecture with that for heritage (historic monuments, inventory of the artistic treasures of France, archaeology, etc) and of that for music and dance with that for theatre and performing arts. The technical department legal service for information and communication matters, for the communications sector, is a department of the Prime Minister's office. Its services are also available to the minister responsible for communications. The national centre for the cinema, a public institution, has the functions of a central administration in the field of cinema and, to some extent, audiovisual arts.
The decentralised local administration is composed of two kinds of departments: the regional directorates for cultural affairs (DRAC) and the 'département' services for architecture and heritage (SDAP). Both are departments of the ministry and their financing is part of the cultural budget and administered by the ministry, and they are, according to the general rule of organisation of decentralised state departments, under the authority of the prefects.
The regional directorates for cultural affairs operate under the amended decree No 77-115 of 3 February 1977. They are the main level of territorial administration, as decentralised from the ministry, and they manage most of the intervention appropriations (heading IV) and investment appropriations (headings V and VI) of the budget of the ministry. Mostly, they are departments responsible for partnership relations with the local authorities and with the legal persons in public and private law who carry out actions of collective interest in the domain of culture. They also provide counselling and expertise services, and intervene in the area of financing cultural activities and institutions. They are both regional and inter-'département' offices, under the authority of the prefect of the region but also, for matters related to each 'département' within the region, under the authority of the prefect of each 'département'. This way of proceeding, which is relatively unusual, has been adopted in view of the somewhat limited resources available to the cultural affairs administration (a single DRAC has 60 to 120 permanent staff) and, also, the satisfying level of coordination existing between the cultural policies of the state and the dialogue between the state and the local authorities (see the procedure for planning contracts). According to Decree No 92-604 of 1 July 1992 containing the decentralisation charter (Article 3), 'the region is the level of government [...] corresponding to the organisation and coordination of the policies of the State related to culture [...]'.
The administration of architecture and heritage at the 'département' level is placed under the authority of the 'département' prefects. It is regulated by Decree No 79-180 of 6 March 1979, as amended by Decree No 96-492 of 4 June 1996. Being a department of the Ministry of Culture (to whose orbit these services were returned in 1995, after having sixteen years under the Ministry of Supply), it has a role oriented to the protection of the urban and landscape heritage and the supervision and maintenance of public monuments. Its competences depend not only on the Minister for Culture but also on the Minister for Planning and the Minister of the Environment. These are mostly small departments with six to ten staff.
Some departments with national competence, while not having legal personality, have a certain financial autonomy; they have a very specific responsibility, the nature or the importance of which exceeds territorial limits, but they remain under the direct authority of the central administration and not under that of the prefect, with whom, however, they cooperate. Most of the departments for the conservation and administration of the cultural heritage are organised in this way: most of the national museums, some departments of archaeology, some laboratories, etc
The Ministry of Culture and Communication also acts as a trustee, on whom the State has conferred certain responsibilities and tasks. These do not generally refer to the regulation of any sector of national private activity, the exception being the National Centre for the Cinema, which has a particular status fixed by Law No 46-2360 of 25 October 1946. Of 58 national public institutions under the tutelage of the Minister, 32 are higher educational and training institutions (two national conservatories of music and dance, the national higher schools of fine arts, decorative arts and industrial design, the Ecole du Louvre, 22 schools of architecture, etc), nine are institutions responsible for the conservation and development of the cultural heritage in one form or another (the Centre for National Monuments, the Louvre, the Versailles/Trianon museums and park, the Association of National Museums, the National Library , etc), six are halls for performing arts (the National Opera of Paris, the Comédie Française, the National Theatre in Strasbourg, etc), and two exist to support economic and cultural sectors (the National Book Centre, the National Centre for the Cinema). Other departments have mixed responsibilities (especially the National Centre for Plastic Arts, which has functions related to the heritage, the production of goods and education).
The field of culture is difficult to define, and a broad conception of cultural questions could end up including a large part of general public action, especially concerning education. Without going so far, one may affirm that some public policies and some institutions have a more emphatic cultural character or effect, without being, for reasons of history or administrative organisation, under the direct management of the Ministry of Culture. Thus, many museums and libraries depend on departments of ministries other than Culture (the Army Museum, the Museum of the National Conservatory of Arts and Professions, the Museum of Natural History, etc). The Ministry of Culture has to have a sufficient capacity of expertise to facilitate interministerial coordination and proper cooperation between the institutions. This coordination is organised by staff with specialisations in the cultural and heritage field (curators, librarians and documentalists).
The cultural domain proper does not include any independent administrative authorities of the state which could correspond to the notion of 'special committees'. However, we have to mention the Higher Audiovisual Council (CSA), an important independent authority with specific competences in the field of audiovisual communication. Insofar as the CSA is monitors compliance with the terms and conditions governing the activities of audiovisual companies. and given that, especially in the area of public audiovisual policy, those terms and conditions contain a number of cultural stipulations, this body may be said to have an influence on cultural affairs. However, there are numerous advisory commissions within the administration which have to submit preliminary reports on decisions of the State concerning cultural affairs. Examples are: the Higher Commission on Historic Monuments, which has to give a preliminary report on the classification of historic monuments; the Regional Commissions on Heritage Sites, reorganised by Law No 97-179 of 28 February 1997, and Decree 99-78 of 5 February 1999, which gives a preliminary report on decisions on registration of historic monuments and which supervises certain acts of architects in relation to national buildings; and the Advisory Committee of the National Museums and the Artistic Council of the National Museums, governed by Decree No 90-1027 of 14 November1990, which examine acquisition proposals made at state level for the collections of the national museums.
2.2. Breakdown of cultural competence at national, regional and local level
This question is understood here as relating not to the internal organisation of the state (see 2.1) but to the distribution of competences between the state and the local authorities.
In the French legal system, it is possible to assert that, allowing for certain areas of exclusive authority of the State, cultural competences are not strictly 'divided' between the State and the different categories of local authorities (regions, 'départements', municipalities or groups of municipalities), but that all these categories of public authority can intervene in cultural matters. The State keeps some exclusive prerogatives, especially with regard to the protection of cultural products and the control of their export (see the Law of 31 December 1913 on historic monuments, Law No 92-1477 of 31 December 1992 on exports of works of arts, and the Law of 27 September 1941 on the regulation of archaeological excavations), on the organisation or regulation of some private activities (provisional regulation No 45-2339 of 13 October 1945 on public performances, as amended by Law No 99-98 of 18 March 1999; on the subject of public auctions of works of art, a draft law is currently before parliament). The constitutional principle of free administration by local authorities enables the different categories of authority to institute and manage public cultural departments (museums, art schools, theatres, multidisciplinary cultural centres, etc), with a high degree of autonomy, subject to respect for certain rules laid down in law (e.g. provisional regulation No 45-1546 of 13 July 1945 on museums). The so-called decentralisation laws - No 83-8 of 7 January 1983; No 83-663 of 22 July 1983; No 86-29 of 9 January 1986; and No 86-972 of 19 August 1986 (see the General Local Authority Code) - have transferred facilities of the state and of public departments initially created and administrated by the state to local authorities (lending libraries run by the 'départements', municipal libraries, municipal museums run by the 'départements', etc). One public service which must absolutely be provided and is regulated by specific rules is the archive service. Under Law No 79-18 of 3 January 1979 and the General Local Authority Code (Articles L 1421-1 ff.), the archives of the decentralised departments of the state are collected in the archive sections of the 'départements'. These services, which previously depended on the national government, are now organised at local level and are financed by the 'départements'. The regions have their own archives; they conserve them or, by agreement, they entrust them to the archive service of the 'département' in which the capital of the region is located. The 'départements' and the municipalities own their archives.
On the other hand, under the decentralisation laws the State has the right to exercise scientific, technical and pedagogic monitoring over most of the decentralised cultural bodies.
In almost all cultural fields without exception, cofinancing by the State and the local authorities is allowed: the State can attribute subventions to institutions or events run or organised by the local authorities; the latter (less often) may offer the State cooperation funds for some events which are organised by the State but are also of local interest; or the State and one or more local authorities may cofinance, through subventions, the activities of a third body (usually an association, but sometimes an enterprise). Only the areas of reading and archives receive global state financing within the overall decentralisation budget; there are, however, specific arrangements for the financing of libraries.
Law No 91-428 of 13 May 1991 lays down specific measures for Corsica (the 'Collectivité Territoriale Corse' or CTC). It recognises Corsica's specific competences and has enabled the transfer of budget resources, personnel and material from central government to the CTC. A cultural charter in 1998 and a 'plan contract' in 1999 have further consolidated the bases for cofinancing, by central government and the CTC, of some joint projects.
As an exception to the general regime governing higher education, the State has no monopoly on art education at the higher level. Thus, municipal schools of plastic arts, for example, offer pre-university level courses.
There is currently discussion in France concerning the possibility of further decentralisation in the different fields of activities of the local authorities. In the cultural domain, this would primarily concern the improvement of the management mechanisms available to local authorities for cultural activities and public cultural services. Law No 99-586 of 12 July1999, on cooperation between local authorities, aims to facilitate greater recourse by local authorities to personalised administration of public, industrial or commercial departments, as well as the management by groups of local authorities of permanent cultural institutions whose influence exceeds the territorial limits and whose running costs exceed the financial capabilities of a particular one of them (this is often true of orchestras, municipal operas, or schools of music, dance or plastic arts).
3. Cultural budget
3.1. Brief overview of the public cultural budget: breakdown into main areas and development over the last ten years
The budget of the Ministry of Culture has a dual structure: budget headings and budget aggregates.
While the budget headings comprise the appropriations according to their nature (administration, intervention, investment) and are subdivided into chapters and articles, the budget aggregates bring together, on a relatively stable basis, a set of budget resources connected to a series of activities, and are subdivided into components.
The budget aggregates were integrated for the first time into the draft finance act for 1996. The objective of this reform was to give more transparency to the action of the state: what does the State do in cultural affairs? at what cost? with what objectives? with what results? This new presentation has been improved on for the draft finance act for 2001. In fact, having been accompanied by indications on expenditure and activity of the departments, the aggregates are now accompanied in the 'blue budget booklet' by an analysis setting out the general objectives of the ministry and by tables of expected expenditure and expenditure currently under execution.
The aggregates chosen for the budget presentation are now, therefore, a useful indication of the main areas of action of the budget of the Ministry of Culture.
The main areas of action of the Ministry of Culture
Heritage
The first budget aggregate ('agrégat 11') brings together the activities concerning archives, books and reading, historic monuments and the architectural heritage, museums, and the plastic arts heritage.
Archives
Access to public archives is an important element of citizenship, for individuals or groups wishing to exercise their rights in law to or to acquire a closer knowledge of the past by consulting archive documents.
Through the national archives directorate, the Ministry of Culture conducts an active policy for archives encompassing collection, conservation and access.
The Ministry is responsible for the deposit of documents whose administrative usefulness has expired, organises transfer to other supports for the most fragile documents, and offers back-up facilities for the administration of the funds. This latter function is crucial for maximum public access.
Books and reading
Through the directorate for books and reading, the Ministry of Culture proposes and, with the aid, if necessary, of the public institutions under its tutelage, implements national policy concerning support for the production and distribution of books, the encouragement of reading and the preservation of the literary heritage.
Among the public institutions concerned with reading, two are particularly important: the National Book Centre (CNL), whose task is to support the entire reading chain by offering grants, subventions and loans; and the National Library, which is the Ministry's main arm for the preservation of the national literary heritage, having as its task to collect, enrich and conserve that heritage. For this purpose, it receives a subvention of FRF 675 m, in addition to the 1913 posts entered in the national budget.
Monuments and architecture heritage
The Ministry of Culture and Communications, which is responsible for studying, preserving and promoting this heritage and for promoting quality and creativity in architecture, intervenes either directly or by supporting initiatives taken in this domain by local authorities, private owners of monuments, associations or scientific societies, throughout France in both urban and rural contexts. The image and identity of France have been formed by the existence of this wealth of objects: masterpieces and treasures, as well as more modest objects or buildings with a special significance, not to mention the industrial heritage with its impact on the life of a region, embracing techniques, customs and skills, as ably brought to life by the ethnologists.
The promotion and valuation of heritage not belonging to the state depends on the various public or private owners, whom the state may support, notably through partnership agreements: agreements with cities in the field of architecture, agreements with cities or wider localities of particular artistic or historical interest, or 'heritage and architecture' clauses in contracts made with cities or planning contracts.
Museums
France has more than one thousand museums, some of them recent: this testifies to the interest not only of the state but also of the local authorities in culture and in the tourist potential of museums.
Today, the key task of the Ministry of Culture is to preserve, protect and study these collections, through the Directorate for the Museums of France (DMF).
The DMF also has the objective of developing the dissemination and the presentation of artworks to the public. For this, it relies on national museums depending on the state, such as the Louvre, the Musée Rodin or the Musée d'Orsay, and also on the whole network of controlled and classified museums belonging to local authorities or other legal persons.
The DMF follows the architecture and museum programmes and monitors the museums scientifically and technically. It also contributes to enriching the collections by purchasing artworks and art-objects, and is responsible for ensuring compliance with the laws and regulations related to their export and to the circulation of cultural products.
The Ministry of Culture actively supports the principle of equal access to culture, and particularly, to the museums: thus, entry to the national museums is free on the first Sunday of each month.
Plastic arts
Through the Delegation for the plastic arts, the Ministry of Culture conducts two essential tasks. It supports the creation and diffusion of works of art, and is responsible for the constitution of the public heritage of the future.
23 regional funds for contemporary art and 36 centres of contemporary art form the main instrument of diffusion and cultural regional policy. The National Fund for Contemporary Art (FNAC) participates in the creation of the heritage of the future by acquiring works of living artists. In 1999, the initial allocation to the FNAC for purchasing works of art was FRF 21 m (17 m for plastic arts, 1.5 m for decorative arts and design, 2 m for photography): more than 400 works were purchased.
Distribution of costs:
|Components of the aggregate |
| |Cost indicators |
| |1999 |2000 |
| |Forecast |Outcome |Forecast |
| | | | |
| |Costs - execution and/or forecasts (in FRF m) |
|Archives |72 |49 |91 |
|Books and Reading |1 777 |844 |1 801 |
|Monuments and Architectural |1 689 |1 951 |1 775 |
|Heritage | | | |
|Museums |1 908 |2 072 |1 685 |
|Plastic Arts |283 |296 |304 |
|Total |5 729 |5 212 |5 656 |
Cultural development and performing arts
The second budget aggregate ('agrégat 12') brings together activities in support of cultural development, music, dance, theatre and performing arts, cinema and the French language.
Music, dance, theatre and performing arts
The basic guidelines of the Ministry of Culture aim at supporting the vitality of artistic creativity and the institutions for creation and diffusion and encouraging cultural democratisation. This policy is put into action by the Directorate for music, dance, theatre and performing arts (DMDTS).
The creation of the DMDTS in 1998 was the result of the merger of the directorates for theatre on the one hand and music and dance on the other, the aim being to institute a global policy in the interests of a dynamic performing culture.
This reorganisation within the Ministry has led to a new policy: reform of support for companies, introduction of subsidised venues, relaunch of the writers' aid policy, introduction of a policy for ticket prices in the national theatres, greater support for contemporary musics, the circus and street arts, etc.
The Ministry of Culture supports artistic creativity by aiding creative projects, and also through certain institutions: public ones like the National Opera of Paris or the Comédie Française; 44 national and regional dramatic centres; 19 centres for choreography; 14 opera venues; and 23 permanent orchestras.
The Ministry of Culture contributes to the diffusion of the performing arts by donations to the national venues (69), contemporary music venues and other outlets, albeit on a more occasional basis.
Cinema and audiovisual productions
The policy of the Ministry of Culture in the field of cinema is conducted through the National Cinema Centre (CNC).
This centre's main tasks are:
- Regulation of film and audiovisual production;
- Economic support for the cinema and audiovisual and multimedia production;
- Promotion of cinema and audiovisual production and their diffusion to a wide variety of publics;
- Preservation and diffusion of the cinematic heritage.
Cultural development
The Ministry of Culture, through the Delegation for development and local action, aims:
- To promote regional development by striving for greater consistency of cultural policies at national and regional level;
- To broaden interministerial partnerships in the cultural domain;
- To encourage new partnerships and innovative cultural practices;
- To develop multimedia cultural venues (ECMs) in view of their role in the production and diffusion of artistic products.
The French language
The Ministry of Culture, through the General Delegation for the French language (DGLF), exercises a planning role for the policies aimed at defending the French language and promoting multilingualism. The DGLF coordinates the action of the public administrations as well as that of public and private bodies active in this field. It is responsible for informing professionals and the general public. It takes measures, using its own means or in cooperation with other bodies, to promote the use of the French language and multilingualism. It collects data to enable the government to define priorities and measure the impact of actions under way, and prepares general reports. It is also responsible for the preservation and development of the other languages of France.
Distribution of cost:s
|Components of the aggregate |
| |Cost indicators |
| |1999 |2000 |
| |Forecast |Outcome |Forecast |
| | | | |
| |Costs - execution and/or forecasts (in FRF m) |
|Music, dance, theatre and performing arts |3 262 |3 153 |3 393 |
|Cinema and audiovisual productions |2 746 |4 042 |2 877 |
|Inc. support fund for cinema and audiovisual |2 485 |3 763 |2 622 |
|production | | | |
|Cultural development |378 |502 |411 |
|French language |12 |11 |15 |
|Total |6 398 |7 708 |6 696 |
Specialised training and education
The third budget group comprises appropriations for institutions of higher education and structures of professional training and insertion, grants and cultural and educational activities.
Higher education and professional training
The Ministry of Culture and Communication makes important efforts in the field of artistic and cultural education, providing financial support for a large number of public institutions of higher education, such as the Ecole du Louvre, the French Academy in Rome or the National Higher School of Fine Arts.
The Ministry also supports institutions offering courses for beginners and for professional insertion which play an agreed national role, such as the National Theatre School in Strasbourg and the Jeune Théâtre National (JTN). Moreover, the Ministry of Culture is responsible for 22 architectural schools spread throughout France.
Student grants
Higher education grants are awarded, according to social criteria, to students at higher education institutions depending on the Ministry of Culture and Communication (6798 grants were awarded over the academic year 1999/2000).
Cultural and educational activities
The Ministry of Culture supports cultural and educational activities. For example, it gives subventions to institutions teaching music and exercises pedagogic supervision over them. It also supports educational actions in schools, in cooperation with the Ministry of Education, in order to develop artistic and cultural education all the way from the kindergarten to the university.
Besides, in 2001 the Ministry of Culture will support the creation of educational departments in local museums, arts centres and music, dance and theatre institutions.
Distribution of costs:
|Components of the aggregate |
| |Cost indicators |
| |1999 |2000 |
| |Forecast |Outcome |Forecast |
| | | | |
| |Costs - execution and/or forecasts (in FRF m) |
|Higher education and professional training |916 |889 |1 048 |
|Student grants |105 |103 |124 |
|Educational and training actions |351 |330 |367 |
|Total |1 372 |1 322 |1 539 |
Personnel, equipment of the departments and transversal actions
The final budget aggregate ('agrégat 14') brings together three main types of component: 'personnel', 'transversal actions' and 'support function'.
Even if this budget aggregate mainly concerns the appropriations to be used for the Ministry's support functions, it also offers the opportunity to undertake a number of transversal actions within the Ministry of Culture: international action, research and regional cultural planning.
International action
The Ministry of Culture offers financial support to the following activities: democratisation of access to the cultural heritage and contemporary artistic production of other countries; support for professional networks or cultural agents in the Community or international context; development of awareness of European procedures and programmes; and training courses for officials from outside France who are active in the cultural field.
Research
The main aims are: to contribute to the progress of scientific and technical knowledge in the domains of competence of the Ministry (archaeology, history of art, artistic techniques, musicology, architecture, artistic creativity, sociology and economics of culture); to accompany, through applied research, the missions of preservation and development of the national cultural heritage; to design large-scale research instruments; and to conduct research in the social sciences as a basis for cultural policy.
Other objectives are: to give a structure to the scientific community, thanks to the creation of mixed research units (there are about 20 of these mixed and associated research units so far), networks and common programmes; and to encourage cooperation and ensure best use of the means available as regards personnel and equipment, in order to create a synergy at national level and secure a favourable position for national teams within European and international research consortia.
A further aim is to capitalise on the knowledge acquired and present it to the scientific community and the general public, especially using the means offered by the information society (websites and multimedia CD-ROMs).
Regional cultural planning
This component concerns the decentralised capital operations which contribute to regional cultural planning and 'irrigation'.
Distribution of costs:
|Components of the aggregate |
| |Cost indicators |
| |1999 |2000 |
| |Forecast |Outcome |Forecast |
| | | | |
| |Costs - execution and/or forecasts (in FRF m) |
|Personnel - aggregates 11 to 13 |2 563 |2 345 |2 754 |
|International action |48 |46 |46 |
|Research |718 |702 |727 |
|Regional cultural planning |263 |343 |100 |
|Support function - central administration |884 |859 |1000 |
|Support function - decentralised administration |220 |252 |286 |
|Total |4 696 |4 547 |4 913 |
Evolution of the budget over the last 10 years
The culture budget has undergone some substantial modifications in the scope of its activities over the last ten years.
In the context of the promotion of Francophone culture, a Prime Minister's department was set up in 1994 within the Ministry of Culture, namely the General Delegation for the French Language (DGLF).
Architecture was brought within the budget of the Ministry of Culture 1996 after having been the competence of the Ministry of the Environment. This measure was aimed at achieving a more coherent public policy for the protection and administration of the architectural and urban heritage. This transfer of competences affected, in 1996, a total of FRF 723.74 m and 2464 posts, and represents the most significant change of the past ten years.
Several institutions were transferred in 1996 to the culture budget:
- The Radio-France orchestras, i.e. the Orchestre National de France and the Orchestre Philharmonique, accounting for FRF 357.35 m;
- The National Audiovisual Institute (INA) (FRF 70.24 m);
- The Cité des sciences et de l'industrie (FRF 274.30 m for operations and FRF 268.24 for equipment).
However, the Radio-France orchestras and the National Audiovisual Institute were removed from the culture budget in 1998. They have now been placed within a special account (No 902-15) under the heading of compensation for exemptions from the audiovisual licence.
Since that time, there have been no important changes in the budget.
3.2. Percentage of the cultural budget within the national budget
In his general policy speech of 19 June 1997 to the National Assembly, the Prime Minister promised that the culture budget would reach the level of 1% of the national budget by the end of the present legislative term in 2002.
In 2001, the budget of the Ministry of Culture will be FRF 16 496 m (excluding the transfer of payroll taxes from the general budget) and will be 0.994% of net state expenditure, as opposed to 0.980% in 2000 (within the unchanged structure of the general national budget of 1998).
The distribution according to budget headings is as follows:
Heading III (departmental resources): FRF 7 905
Heading IV (public interventions): FRF 5 086
Heading V (state investment) : FRF 1 943
Heading VI (state investment subsidies): FRF 1 736
However, state expenditure on culture is not confined to the budget of the Ministry of Culture. In fact, the other ministries contributed FRF 20.7 bn to culture in 1996. Even in 1993, this expenditure represented FRF 20.1 bn, or 1.17% of the total budget.
Evolution of the budget share of the Ministry of Culture within the national budget
(budget as adopted, variable structure) - Construction expenditure included
|Year |Cultural Budget |Percentage | |Year |Cultural Budget |Percentage |
| |(D.O.+CP) - | | | |(D.O.+CP) | |
| | | | | | | |
| |in FRF m | | | |in FRF m | |
|1971 |669 |0,414 | |1991 |12105 |0,933 |
|1972 |845 |0,479 | |1992 |12955 |0,98 |
|1973 |1075 |0,547 | |1993 |13822 |1 |
|1974 |1332 |0,606 | |1994 |13506 |0,95 |
|1975 |1453 |0,560 | |1995 |13556 |0,91 |
|1976 |1605 |0,547 | |1996 |15532 |1 |
|1977 |1867 |0,557 | |1997 |15126 |0,97 |
|1978 |2229 |0,559 | |1998 |15145 |0,95 |
|1979 |2371 |0,516 | |1999 |15710 |0,969 |
|1980 |2655 |0,505 | |2000 |16039 |0,98 |
|1981 |2977 |0,482 | |2001 |16496 |0,994 |
|1982 |5994 |0,760 | |Sources: |
| | | | |from 1971 to 1991: |
| | | | |Budget of the Ministry of Culture 1981-1999 |
| | | | |from 1991 to 1998 : |
| | | | |key figures 1998 |
| | | | |from 1999 to 2001: |
| | | | |Minister's press conferences |
|1983 |6990 |0,792 | | |
|1984 |8049 |0,857 | | |
|1985 |8566 |0,861 | | |
|1986 |9626 |0,934 | | |
|1987 |8991 |0,856 | | |
|1988 |8824 |0,815 | | |
|1989 |9960 |0,864 | | |
|1990 |10484 |0,859 | | |
3.3. Breakdown of the budget at national, regional and local level
• Distribution of global cultural expenditure and cooperation between central government and local authorities
One cannot deal with the issue of decentralising culture without evoking the distribution of global cultural expenditure. In fact, the public financing of culture is divided almost equally between central government and the local authorities. The decentralisation laws have affected only a few competences in the strict sense in the cultural domain. This near-absence of a strict distribution of competences has facilitated the emergence of a partnership between the state and the local authorities, as evidenced in the numerous cofinancing arrangements. The state now plays now a broader role of stimulating and coordinating public cultural policies, thanks to specific means destined to encourage cooperation between the different agents (ministries and local authorities).
The decentralisation of the appropriations of the Ministry of Culture
Since 1992, the decentralised departments have been competent in law for state administration and management of the State as well as for relations with the local authorities. The central administrations and the departments with national competence are responsible only for tasks which are of a national character or whose execution cannot in law be delegated to a lower level.
Within the State administration, the organisation of the Ministry of Culture may seem to be an exception, because its only horizontal services are the regional directorates for cultural affairs (DRACs). This contrasts with other ministries whose structure operates at the level of the regions and the 'départements'. The DRACs depend on the dual authority of the prefects of the region and of the 'département'.
Administrative decentralisation has been further developed in recent years. In 2000, the level of decentralised appropriations reached 66% (excluding personnel expenditure and allocations to public institutions and to services with national competence); the equivalent figure for 1997 was 30%.
The action of the Ministry in favour of decentralised management of the DRACs concerns the entire field of activity. Cultural activity (the Delegation for development and local activities) is a priority, with a decentralisation rate of more than 80%. The sector of music, dance, theatre and performing arts now attributes more than 70% of its appropriations to the decentralised level, and this percentage will increase next year with the transfer of the administration of the last venues and companies still managed from Paris. The plastic arts sector exhibits a decentralisation rate of 68%. At 55%, the architecture and heritage sector seems to be lagging behind, but these are large amounts for the Ministry of Culture and Communication (over FRF 1 bn), while for the architecture subsector of this area budgetary decentralisation is only now getting under way: as yet, corresponding architectural offices do not exist in all of the regional cultural affairs directorates.
Some sectors of the activity of the Ministry, in accordance with their role or their organisation, exhibit a lower decentralisation rate, but this will increase in the next few years. Particularly if one considers only appropriations for subventions under headings IV or VI, these sectors already reveal a substantial element of decentralised management. This is the case for the cinema and the national museums.
By contrast, the areas of books and reading and the national archives have been substantially decentralised for a longer period of time (over 90% of appropriations). In some cases, the decentralisation has been partial in nature.
The attached tables indicate the breakdown, by central directorate and by heading, of the percentage share of decentralised appropriations within the appropriations under the initial finance law (LFI) for 1998, 1999 and 2000. One more column has been added showing the forecasts for 2001.
|DAG/SDAFG/ | | | | | | | |
|Decentralisa| | | | | | | |
|tion mission| | | | | | | |
|Breakdown by central directorate and heading of the share of decentralised appropriations within the appropriations | |
|under the Law of Finance (LFI) 2000, and forecasts for 2001 | |
| | | | | | | |02/10/00 |
|Central |Heading |LFI |EP / SCN |Decentralisable |Decentralised |% of |Decentralised |
|Directorate | | | |Appropriations |Appropriations |decentralised/ |appropriations |
| | | | | |2000 |decentralisable |Forecast 2001 |
| | | | | | |appropriations | |
|CNC |III |47 171 299 |47 171 299 |0 | | |0 |
| |IV |218 429 263 |0 |218 429 263 |37 896 000 |17,35% |44 911 000 |
| |V |7 500 000 |7 500 000 |0 |0 | |0 |
| |VI |48 000 000 |48 000 000 |0 |0 | |0 |
|TOTAL CNC | |321 100 562 |102 671 299 |218 429 263 |37 896 000 |17,35% |44 911 000 |
|DAF |III |26 759 200 |26 759 200 |0 | | |0 |
| |IV |18 247 152 |0 |18 247 152 |9 100 000 |49,87% |9 600 000 |
| |V |23 700 000 |23 700 000 |0 |0 | |0 |
| |VI |65 000 000 |0 |65 000 000 |65 000 000 |100,00% |111 070 000 |
|TOTAL DAF | |133 706 352 |50 459 200 |83 247 152 |74 100 000 |89,01% |120 670 000 |
|DAG |III* |1 195 630 405 |781 491 773 |414 138 632 |157 704 133 |38,08% |167 804 133 |
| |IV |28 181 724 |28 181 724 |0 |0 | |0 |
| |V |428 430 000 |279 990 000 |148 440 000 |0 |0,00% |0 |
| |VI |77 800 000 |44 000 000 |33 800 000 |200 000 |0,59% |0 |
|TOTAL DAG | |1 730 042 129 |1 133 663 497 |596 378 632 |157 904 133 |26,48% |167 804 133 |
|DAP |III |173 194 628 |173 194 628 |0 |0 | |0 |
| |IV |354 477 738 |0 |354 477 738 |243 775 000 |68,77% |235 317 000 |
| |V |67 900 000 |67 900 000 |0 |0 | |0 |
| |VI |42 550 000 |12 700 000 |29 850 000 |29 850 000 |100,00% |32 630 000 |
|TOTAL DAP | |638 122 366 |253 794 628 |384 327 738 |273 625 000 |71,20% |267 947 000 |
|DAPA |III |256 430 136 |171 432 544 |84 997 592 |38 200 000 |44,94% |39 200 000 |
| |IV |386 941 781 |0 |386 941 781 |102 876 000 |26,59% |165 912 189 |
| |V |1 316 370 000 |222 000 000 |1 094 370 000 |639 440 000 |58,43% |639 440 000 |
| |VI |510 785 000 |90 000 000 |420 785 000 |309 570 000 |73,57% |309 570 000 |
|TOTAL DAPA | |2 470 526 917 |483 432 544 |1 987 094 373 |1 090 086 000 |54,86% |1 154 122 189 |
|DDAT |III |0 |0 |0 |0 | |0 |
| |IV |453 226 650 |0 |453 226 650 |378 936 046 |83,61% |379 724 046 |
| |V |0 |0 |0 |0 | |0 |
| |VI |86 740 000 |0 |86 740 000 |57 441 800 |66,22% |61 000 000 |
|TOTAL DDAT | |539 966 650 |0 |539 966 650 |436 377 846 |80,82% |440 724 046 |
|DLL |III |646 630 155 |646 630 155 |0 | | |0 |
| |IV** |1 095 730 788 |0 |1 095 730 788 |1 016 810 079 |92,80% |1 052 194 546 |
| |V |100 000 |100 000 |0 |0 | |0 |
| |VI |58 000 000 |58 000 000 |0 |0 | |6 000 000 |
|TOTAL DLL | |1 800 460 943 |704 730 155 |1 095 730 788 |1 016 810 079 |92,80% |1 058 194 546 |
|DMDTS |III |1 512 329 277 |1 512 329 277 |0 |0 | |0 |
| |IV |2 192 024 694 |0 |2 192 024 694 |1 622 930 323 |74,04% |1 742 200 053 |
| |V |56 000 000 |53 000 000 |3 000 000 |0 |0,00% |0 |
| |VI |304 295 000 |95 000 000 |209 295 000 |132 026 000 |63,08% |171 000 000 |
|TOTAL DMDTS | |4 064 648 971 |1 660 329 277 |2 404 319 694 |1 754 956 323 |72,99% |1 913 200 053 |
|DMF |III |439 364 943 |439 364 943 |0 |0 | |0 |
| |IV |159 202 969 |0 |159 202 969 |71 875 000 |45,15% |73 825 000 |
| |V |106 000 000 |106 000 000 |0 |0 | |0 |
| |VI |203 215 000 |73 150 000 |130 065 000 |130 000 000 |99,95% |130 000 000 |
|TOTAL DMF | |907 782 912 |618 514 943 |289 267 969 |201 875 000 |69,79% |203 825 000 |
|DAI |III |0 |0 |0 |0 |0,00% |0 |
| |IV |47 112 336 |0 |47 112 336 |5 000 000 |10,61% |8 000 000 |
| |V |0 |0 |0 |0 |0,00% |0 |
| |VI |0 |0 |0 |0 |0,00% |0 |
|TOTAL DAI | |47 112 336 |0 |47 112 336 |5 000 000 |0,00% |8 000 000 |
|DGLF |III |0 |0 |0 |0 |0,00% |0 |
| |IV |11 597 692 |0 |11 597 692 |2 000 000 |17,24% |2 000 000 |
| |V |0 |0 |0 |0 |0,00% |0 |
| |VI |0 |0 |0 |0 |0,00% |0 |
|TOTAL DGLF | |11 597 692 |0 |11 597 692 |2 000 000 |17,24% |2 000 000 |
|Recherche |III |12 007 886 |3 093 739 |8 914 147 |0 |0,00% |0 |
| |IV |0 |0 |0 |0 | |0 |
| |V |18 100 000 |12 300 000 |5 800 000 |300 000 |5,17% |0 |
| |VI |289 000 000 |243 500 000 |45 500 000 |11 017 000 |24,21% |11 017 000 |
|TOTAL Research| |319 107 886 |258 893 739 |60 214 147 |11 317 000 |18,79% |11 017 000 |
|General TOTAL | |12 984 175 716 |5 266 489 282 |7 717 686 434 |5 061 947 381 |65,59% |5 392 414 967 |
*HEADING III : Except personnel
**HEADING IV: 41-10 incl. (general attribution of decentralisation DLL: )
The figures correspond to the approved budget of the Ministry of Culture and Communication for 2000
|LFI 2000 |DAG/SDAFG/ Decentralisation mission |
|HEADING | |L.F.I |EP / SCN |Decentralisable |Decentralised |% of decentralised/ |Decentralised |
| | | | |appropriations |appropriations |decentralisable |appropriations |
| | | | | | |appropriations |forecasts 2001 |
|HEADING |III |4 309 517 929 |3 801 467 558 |508 050 371 |195 904 133 |38,56% |207 004 133 |
|HEADING |IV |4 965 172 787 |28 181 724 |4 936 991 063 |3 491 198 448 |70,72% |4 765 878 380 |
|HEADING |V |2 024 100 000 |772 490 000 |1 251 610 000 |639 740 000 |51,11% |639 440 000 |
|HEADING |VI |1 685 385 000 |664 350 000 |1 021 035 000 |735 104 800 |72,00% |832 287 000 |
|TOTAL | |12 984 175 716 |5 266 489 282 |7 717 686 434 |5 061 947 381 |65,59% |6 444 609 513 |
|Heading III Personnel |3 243 717 284 |0 |0 |0 |0,00 |0 |
|General Total |16 227 893 000 |5 266 489 282 |7 717 686 434 |5 061 947 381 |65,59% |6 444 609 513 |
4. Support policy
4.1. General description of the support policy in the domain of culture: for example, grants to artists, theatres or special events
The Ministry of Culture provides significant financial support every year to numerous cultural organisations, where they have the status of a public institution or are simple associations, for example.
- The public institutions receive two types of subventions, which are paid directly:
• A subvention from the appropriations under heading III (facilities of the departments), chapter 36-60. In the budget for 2000, these appropriations represent FRF 3621 m, i.e. 22.6% of the budget of the Ministry;
• A subvention for equipment (heading VI of the budget). Both of these subventions appear in the budget of the institutions.
They may also receive state support for investment expenditure under heading V: in that case nothing appears in the budget of the institution and the State takes responsibility for the project.
- The other organisations receive 'intervention appropriations', paid under heading IV of the budget of the Ministry (public interventions). These may be either central appropriations (cultural interventions of national interest, chapter 43-20) or decentralised appropriations (chapter 43-30). For 2000, the total sum of intervention appropriations is FRF 3730 m. These appropriations are not aimed at supporting the organisations' running costs: but are intended for permanent or temporary cultural actions. Public institutions may also receive this type of appropriation for specific events.
Contracts are the dominant form of dialogue between the Ministry of Culture, its public establishments and its outside partners. Concerning the public establishments, more and more contracts with three- or four-year targets are being signed. For other structures receiving grants, this form of contract has become of major importance. For example, last year the public service charter for the performing arts came into effect. This document defines public service responsibilities very clearly: it distinguishes between the responsibilities of the state and those of the grant-receiving teams, and fixes the rules to be applied to the administration and management of the establishments entrusted with public service missions.
Generally, payment of a grant to a body is conditional on compliance with the terms of the agreement signed.
Some forms of financial support in key fields
Books
Aids are payable by the Directorate for books and reading (DLL) and by the National Book Centre (CNL), which is a public institution.
The DLL provides aids for the sale of books on the export market and the translation of French works into other languages. It also supports major national events such as the Paris Book Fair (Salon du Livre) and the event 'Lire en fête'.
The National Book Centre aims to support the entire book production process by means of grants, subventions and loans. These represented, in 1999, a total of FRF 130 m (35% for publishers, 32.1% for libraries etc, 16.9% for the authors, 12.4% for major operations and 3.5% for bookshops):
The Centre is financed via two taxes: the first (0.2%) on publishers' profits and the second (3%) on means of copying.
Until 1999 the proceeds of these taxes were initially paid into a special transit account known as the 'national book fund'; since 2000, they have been paid directly to the Centre.
Reading
The State supports reading through the regional directorates for cultural affairs (DRACs), which provide direct aid to numerous activities for the promotion of reading. The total available in decentralised funding for books and reading is FRF 70 m.
Historic monuments
The State is responsible for the conditions under which work is performed on historic monuments, and offers grants and tax subsidies in accordance with the rules in force.
The State may also provide financial support, especially within partnership agreements, for the promotion and development of property of heritage interest belonging not to the State but to public or private owners.
Museums
The Directorate for national museums supports the national museums and a number of other officially registered museums by means of subventions for administration purposes and/or investment. For 2000, the Louvre, for example, received a grant for administration of FRF 274.3 m and a grant for investment of FRF 30 m, for a total budget of FRF 545 m.
Plastic arts
Creativity is encouraged by means of individual support for plastic artists (repayable advances, support for first exhibitions, grants for studies, research or residence in France or abroad), paid from the Fund for the Promotion of Creativity (FIACRE); the different forms of support (aid for publication, aid for first exhibitions, research grants, co-publishing, loans and repayable advances) provided by FIACRE in 1999 amounted to FRF 6 m. Also to be mentioned here are installation grants (enabling an artist to set up a studio) and such measures as the conversion of industrial premises or abandoned warehouses.
In addition, creativity has traditionally been supported through the purchase and commissioning of works by the State. In 1999, the budget for public commissions was FRF 17 m at national level. In the same year a sum of more than FRF 12 m was decentralised for projects submitted by the DRACs in partnership with local authorities.
Music, dance, theatre and performing arts
In order to promote creativity, the State relies upon public establishments as well as upon several production networks throughout France.
- The public establishments: the National Opera of Paris (759 000 spectators, 341 performances in 1999), five national theatres (the Comédie Française - including the Studio theatre, Chaillot, the Odéon, la Colline, the National Theatre in Strasbourg). The State attributed FRF 1444 m to these establishments in 1999.
- The national and regional dramatic centres: Their number is 44 and their essential mission is creation. They develop their activities under three-year contracts. In 1999, the State attributed FRF 333 m to these structures, or almost 59% of the total amount received by them in public support. Their percentage of own resources is approximately 30%.
- The national choreographic centres: There are 19 of them. In their spirit, they are close to the dramatic centres: they have a basic mission of creation and are entrusted to choreographs. However, most of them lack equipment for diffusion. In 1999, the State attributed FRF 70 m to these structures, or 46% of the total amount received by them in public support. Multiannual conventions regulate their relations with the State and the local authorities. Their percentage of own resources is approximately 35%.
- The 'production opera houses': There are 14 'production opera houses' (13 in the regions plus the Opéra Comique). In 1999 the State attributed FRF 125 m to them; this accounts for 16% of all public support received by them. Their percentage of own resources is 20%.
- The permanent orchestras: They are 23 of these. In 1999 they received FRF 204 m from the State, accounting for 30% of all subventions received. Support for these orchestras takes the form of a system of agreements with the State and the local authorities based on a charter of objectives. Their own-resources rate is approximately 18%.
The State provides financial support for theatre and dance companies. These are flexible artistic units which can benefit from two main categories of support:
- Support for officially recognised companies: This support is provided to long-standing companies which have been recognised as being of a national and international high artistic quality. These companies are linked to the State by a three-year agreement on objectives. Their structure has to be stable and they should show the capacity to diversify partnerships on both the artistic and the financial level. In 1999, the State supported 245 theatre companies to a total of FRF 136 m, and 10 dance companies to a total of FRF 6 m.
- Support for productions: This support is provided for the realisation of creative projects. The motivation here is young artists' willingness to take risks or the willingness to give an experienced artist or group the resources permitting the realisation of an ambitious or important project. In 1999, the State supported 254 theatre companies to a total of FRF 22 m and 87 dance companies to a total of FRF 9 m.
- Support for annual operations has to be added here. In 1999, the State supported 111 theatre companies (FRF 15 m) and 55 dance companies (FRF 6 m) on this basis.
In 1999, in total, the State supported more than 700 companies and allocated approximately FRF 200 m to them.
The directorate for music, dance, theatres and performing arts assists and supports the diffusion of live performing arts through networks of multidisciplinary venues.
- The national venues are multidisciplinary diffusion points for live performance and cultural activities. The 69 national venues - 2 of them being situated in the overseas 'départements' (Martinique and Guadeloupe) - represent a global economic weight of more than one billion francs. The State has participated to the sum of FRF 251 m, i.e. about 31% of total subventions, the share of the local authorities being approximately 48%.
- Drawn up in 1999 and launched in 2000, the programme of recognised venues provides, over a period of three years, for the recognition of 150 venues spread all over France. The network of recognised venues concerns diffusion points which play a major role in the support of the performing arts (development of a particular area, residences, etc). This support is given on the base of a precise programme of activities, which should clearly identify the objectives and supply precise qualitative and quantitative data on the activity (minimum number of performances by area, number of workshops, etc). This support is formalised on the basis of a three-year agreement, which is renewable. In 2000, the State was expected to allocate FRF 40 m to venues eligible under this programme.
- The State also supports also the network of the contemporary music venues (SMAC). The forms of music concerned have roots in the traditional heritage, cultural history or cultural movements, and encompass a domain including modern amplified music, jazz and improvised music, song and traditional music. A contemporary music venue is, first of all, a point of diffusion for different forms of music, conducted by a professional team, in the context of an artistic and cultural project including education, practice and diffusion and validated by the public authorities. The eligible venues are financed on the basis of a precise programme of activities, having signed a renewable three-year agreement linking the public authorities concerned to the venue. In 1999, the state allocated FRF 25 m to its support programme for contemporary forms of music.
The State may also support certain short-term activities in other venues, as well as festivals, where these offer a high-quality programme oriented to contemporary creation with an independent and ambitious artistic direction.
Cinema and audiovisual productions
The National Centre for the Cinema (CNC) manages the financial support given by the State to the cinema and audiovisual industries, as well as the donations made by the Ministry of Culture and Communication. The intervention appropriations and the support account administrated by the CNC amounted to FRF 4042 m in 1999.
The CNC provides three types of automatic support:
- support for the producers, calculated on the basis of their box-office receipts and their revenue from the TV and video markets (FRF 257 m in 1999);
- support for the distributors, in proportion to their box-office receipts, on condition they are French or French participants in a coproduction (FRF 81 m in 1999);
- support for cinema operators, in proportion to the revenue received from the surcharge on ticket prices intended to finance equipment and modernisation projects and the creation of new cinemas (FRF 298 m in 1999).
The CNC also provides several types of selective support:
- support for the production of feature films (in 1999, the CNC signed 49 agreements for advances on receipts prior to the making of the film, to a total of FRF 123 m, and 13 agreements for advances on receipts subsequently to the making of the film, to a total of FRF 5 m);
- support for improving the quality of screenplays (19 aids were attributed for rewriting in 1999, out of 174 projects investigated, to a total of FRF 7 m);
- support for foreign-language films (FRF 6 m in 1999);
- support for international coproductions (43 aids were attributed in 1999 to a total of FRF 21 m);
- support for the production of short films (60 projects were financed in 1999 out of 1435 considered, to a total of FRF 10.5 m).
The CNC acts to maintain box-office numbers by attributing selective aids for the creation and modernisation of cinemas (in 1999, aid was provided to a total of FRF 72 m to 108 projects involving 246 screens) and by copying films for small and medium-sized towns (24.6 MF was allocated for 2217 copies made in 1999). With these procedures, it has been possible to preserve a large number of cinemas on French territory (there were 4764 cinemas with 989 111 seats in 1998, as opposed to 4297 with 931 206 in 1992).
In addition, numerous aids are granted to national and international events, the most famous of which is the Cannes Festival. Selective allocations to promote art-cinema projects are also made, and certain special measures support the distribution of art-house films and less commercial types of film. In 1999, 734 cinemas obtained the classification 'art et essai' (art-house cinema), receiving between them a state subsidy of FRF 43 m. An additional 35 cinemas in Paris and a further seven in major cities received a special grant, to a total of FRF 12 m, intended for cinemas showing an intellectually challenging but commercially less uncompetitive range of films.
Regional planning in the cultural sphere
Cultural policies are implemented in coordination with the local authorities throughout France by means of the following support mechanisms:
- The preparation of collective plans for the cultural service plans with a view to sustainable cultural development over a twenty-year period.
- Planning contracts between central government and the regions, instituting a framework for cultural development in the medium term (last year of execution of the eleventh plan, preparation of the twelfth plan for 2000-2006).
- Encouragement for the emergence of structured cultural policies at local level (agreements for cultural development, cultural chapters in city contracts). In 1999, the regional directions of cultural affairs (DRACs) allocated FRF 14 m to agreements for cultural development and FRF 9 m to cultural activities under city contracts. The total sum allocated to urban policies in 1999 by the Delegation for development and local action was FRF 1.975 m.
- Support for the construction or improvement of local cultural centres. In 1999, the DRACs allocated FRF 17 m to local cultural facilities.
The French language
The Delegation for the French Language (DGLF) takes measures, with its own means or in relation with other bodies, to encourage the use of the French language and multilingualism.
Thus, two forms of support are used by DGLF:
- Support for simultaneous interpretation aims to encourage public or private organisers of international meetings in France to make greater use of this service. In 1999, 42 events received support (as against 49 in 1998).
- Support for publication in regional languages and bilingual publication: this is organised jointly with the National Book Centre (support to libraries for buying books, and a policy of 'filling the gaps' encouraging the reprinting of certain titles).
Higher education and training
The Ministry of Culture and Communication makes a considerable effort to encourage the teaching of artistic and cultural subjects through financial support for numerous institutions of higher education, in respect of both current and capital expenditure. The Ministry of Culture and Communication is also responsible for 22 schools of architecture. The total administrative budget for these schools is FRF 221 m, for which a subvention of FRF 164 m is provided in the initial finance law for 2000.
The ministry also supports institutions responsible for initial and vocational training of recognised national importance.
The State also provides financial support in the form of grants for students in two different areas: higher education grants and research grants.
Higher education grants are attributed according to social criteria to students attending higher education institutions which depend on the Ministry of Culture and Communication (6798 grants for the academic year 1999-2000).
Grants for advanced study and research are awarded in a wide range of fields including: archaeology, public records, historic monuments, ethnology, architecture, music, dance, theatre, plastic arts, photography and international affairs. This type of financial support is intended for postgraduate students.
Cultural and educational activities
The State offers grants to institutions teaching music (a total of 388, variously associations or municipal offshoots), over which it exercises educational inspection activities. Total financing by the Ministry of Culture and Communication here amounts to FRF 175 m, or 8% of the total budget of these institutions (FRF 2188 m).
The Ministry of Culture also contributes financial support to activities aimed at increasing young people's cultural awareness. Among the different measures supported, the local educational contracts (CEL) should be mentioned. This term refers to a system of partnership connecting the activities of four ministries; culture and communication, education, youth and sport and urban policy, with a view to a common policy for young people in out-of-school hours. The sum funded for projects at national level by the DRACs in 1999 was FRF 10 m.
International action
Support is provided for a number of purposes: democratisation of access to the non-French cultural heritage (FRF 15 m for Community cooperation actions and FRF 17 m for international cooperation activities); and encouragement of professional networks in the international context (FRF 3 m).
4.2. In general, what is the role of fiscal policy in the domain of culture: are there, for example, special clauses for artists or cultural events?
Fiscal policy is one of the determining elements of the cost of cultural works or events and of the balance of the art market, and must therefore be adapted to the specificity of cultural heritage and artistic production.
In this respect, the necessity of protecting and conserving the national heritage and of promoting artistic production has justified the introduction of fiscal measures such as tax relief, tax exemption and fiscal simplification. The most important of these are:
The tax regime for artists
Artists benefit from specific measures which take account of the irregular character of their income.
They are taxable under the regime of 'non-commercial income'. However, in order to facilitate payment of income tax, authors and artists may opt for a deduction of 15% at source on their gross income (Article 182C of the general tax code).
They may also choose an option called 'smoothing' (of their taxable base) by asking to pay tax on the basis of their average income for the tax year in question and the following two or four years (Article 100a of the general tax code).
Finally, artists are exempted from the professional tax (local tax on economic activities) and benefit from a reduced VAT rate (5.5%) on their productions, under the option available to EU Member States under the sixth VAT directive.
Fiscal mechanisms for the preservation of the cultural heritage
In order not to discourage private collections, the law has provided, since the introduction in 1982 of a capital tax, that works of art should not be included under that tax (the 'social wealth tax' - Article 885 I of the general tax code).
For similar reasons, property tax payable on the buildings registered as historic monuments may be deducted, under certain conditions, from the taxable income of the owners.
Fiscal mechanisms for the enrichment of the cultural heritage (donations, gifts and sponsorship)
• Exemptions: donations and gifts
Cultural objects are in principle subject to death duties.
However, there are mechanisms under which cultural goods may be used in payment of death duties in the form of donations or gifts.
In fact, Article 1311 of the general tax code provides for exemption from death duties at no further charge for works of art donated to the State with its agreement.
In the same way, as an exception to the general principle of paying registration taxes in cash, Article 1716a of the general tax code permits a taxpayer to pay off, under certain conditions, inheritance taxes or wealth tax by donating works of art to the State.
Finally, Article 795 A of the general tax code provides for complete exemption from death duties at no further charge in the case of property registered as a historic monument, and also for the furniture of such property where there is an agreement signed with the State providing for the opening of the monument to the public.
• Actions in favour of sponsorship
Fiscal advantages are established by the law of 23 July 1987 in favour of natural or legal persons supporting, in different ways, artistic or cultural activities.
According to Article 238a of the general tax code, enterprises are allowed to deduct from their taxable income, up to a maximum of 2.25% - 3.25% of their turnover, payments made to charities or bodies of a cultural character or serving the preservation of the artistic heritage or the diffusion of culture or to enterprise or heritage foundations.
Similarly, enterprises buying works of living artists in order to exhibit them to the public may deduct, over ten years, the purchase costs of these works.
Finally, donations made by individuals for the benefit of charities or bodies of general interest of a cultural character or serving the preservation of the artistic heritage or the diffusion of French culture, the French language or scientific knowledge give the right to a deduction of 50% of their value, up to a limit of 6% of taxable income.
• Cultural events
Legal persons and non-profit associations which are do not exist to pursue particular interests are not subject to commercial taxes in respect of their activities where they are not in competition with the private sector (Articles 256B and 261(7)(1b) of the general tax code).
However, where taxed, services of a cultural character benefit from a reduced VAT rate (Articles 279g and 281c of the general tax code).
5. International relations
5.1. Please give a description of current cultural policy and future perspectives
The importance of the international dimension of the Ministry of culture and Communication has been confirmed by the decree of 11 June 1997 laying down the minister's competences:
'Together with the other ministers concerned, he initiates actions conducted by the State in order to assure the dissemination of French culture and facilitate exchanges with other cultures of the world. He is responsible for the development of cultural industries. He contributes to the exterior cultural action of France.'
The Department of International Affairs proposes, coordinates and organises, in cooperation with the other services of the Ministry and the other ministerial departments concerned, the international policy of the Ministry of Culture and Communication.
This international policy is concentrated on two major objectives: to promote cultural pluralism and to develop international cultural cooperation. These objectives guide the four main tasks of the international action of the Ministry of Culture and Communication, in general, and, in particular, the Department of International Affairs:
- Promotion of foreign cultures in France,
- Promotion of French culture abroad,
- Institutional cooperation (expertise and training),
- Promotion of cooperation at European level.
5.2. What relations do the public bodies have with:
5.2.1. Other EU Member States?
At European level, the regulation of cultural action and the emergence of specific support programmes for cultural activities contribute to the formation of a European cultural area. Bilateral relations with certain EU Member States are affected by this process and thus emerge strengthened.
5.2.2. Non-EU countries?
The relations of the Ministry of Culture and Communication with non-EU countries are conducted under the following three headings structuring the international action of the ministry: promotion of foreign cultures in France, promotion of French culture abroad, and institutional cooperation (expertise and training).
5.2.3. The EU institutions?
The Ministry of Culture and Communication aims to protect cultural diversity, to promote the plurality of cultural supply and to develop European cultural action. All directorates of the Ministry of Culture and Communication are involved. The Department of International Affairs prepares for the Councils of EU Ministers of Culture and follows all Community negotiations affecting the Ministry of Culture and Communication. This particularly applies to the second term of 2000 and the French Presidency of the Council. It also aims to enhance awareness of EU procedures and programmes on the part of all French cultural actors, with the help of 'Relais Culture Europe', a cultural contact point created in 1998 and supported by the European Commission and by the Ministry.
5.2.4. The Council of Europe?
Within the Council of Europe, the activities related to culture proper depend on the Committee on Culture, whereas those concerning the promotion and preservation of the cultural heritage depend on the Committee on Cultural Heritage. The Ministry of Culture and Communication is represented in both committees, by the Department of International Affairs for the first and by a member of the Directorate for architecture and heritage for the second. These two committees meet twice a year. The other two committees (Education and Higher Education) are the responsibility of the Ministry of Education. These four committees are themselves dependent on the 'Council of Cultural Cooperation' (CDCC), which meets once a year.
5.2.5. UNESCO?
The Ministry of Culture and Communication is one of the ministries responsible for the French Permanent Delegation to UNESCO. It also administers the French National Committee for UNESCO, which it supports financially, and takes part in the activities of the Permanent Committee and certain specialised subcommittees (culture; human rights; information and communication). The Ministry is involved through the Department of International Relations, as well as through the Directorate for books and reading, the Directorate for architecture and heritage and the General Delegation for the French language.
5.2.6. Other institutions?
The Ministry of Culture and Communication supports the international Organisation of Francophone Cultures, notably in the context of the organisation of the Francophone Games, the Francophone Summit and the creation of the Francophone 'information highway' fund (this fund, created under the aegis of the intergovermental agency for the Francophone community, exists to finance projects for the use of the 'information highways' for the creation of French-language content).
6. The role of the private sector
6.1. What role do private initiatives play in promoting creativity?
If the public bodies as a whole (the State and the local authorities) play an essential role in cultural life, private initiative also has an indispensable part to play.
In the area of the performing arts, most of the venues where young artists may be discovered belong to the private sector. Similarly, festivals, which are also important for the discovery of new talents, are often private initiatives, even where they receive financial support from the State.
In the field of plastic arts, private galleries are promoting new artists and new trends.
Private foundations also play a role in promoting creativity, even if they often give priority to recognised artists. Some of them specialise in music (grants for young instrumentalists) or in the plastic arts (organisation of debut exhibitions). Performing arts and literature are less often supported.
6.2. Is there collaboration between public and private sectors?
Of course, there is collaboration between public and private sectors.
The State and the local authorities give support and subventions to a large number of private initiatives. On the other hand, many sponsors or owners of collections are supporting public initiatives.
These are mainly large-scale exhibitions of older or contemporary art, or big festivals. However, also involved may be the restoration or the purchase of works or support for the administration of a large institution. The renovation of the Centre Georges Pompidou has been facilitated by the financial participation of large international enterprises.
7. Current debate and future plans
7.1. What have been the core issues in the current cultural policy?
If cultural policy is based on solid foundations benefiting from a wide consensus, there are still issues which are an object of discussion or of research. These concern mainly the following:
- The effects of decentralisation since 1981 and the ever more important role played by the local authorities in the arts;
- The de facto exclusion of a large part of the population from cultural life;
- The conditions of preservation of cultural diversity at a time, when information systems are facilitating the circulation of works.
For these reasons, the core issues for the future of cultural policy are as follows:
- The definition of a new form of relations between the State and the local authorities and among the local authorities themselves;
- A new perspective for public cultural policies from the viewpoints of service and citizenship, rather than seeing the public, as in the past, as a mere recipient of a service;
- The introduction of a policy for cultural and artistic education for all children and young people throughout their education;
- A new project-oriented definition of the tasks of cultural institutions and the capacity for the public bodies to define areas of intervention in order to support emerging cultural and artistic practices;
- Support for the culture industries with a view to safeguarding and extending cultural diversity.
7.2. Do you plan changes in the current policy?
- More decisive action to combat unequal access to culture by means of a locally-oriented cultural policy and the establishment of forms of cultural democracy which can integrate the whole population on the basis of diversified practice;
- Clarification of the division of powers between the different public authorities by designating lead actors according to area and territory.
IRELAND[14]
1. General objectives and principles
The best document showing the main elements and objectives of the Departments cultural policy is the Departments Statement of Strategy. Cf. Annex 1: Department of Arts, Heritage, Gaeltacht and the Islands: Statement of Strategy 1998-2001.
2. Policy decision-making and administration
The Statement of Strategy will give some idea of role of the Department (ministry) and the Minister in formulating cultural policy. The role of the Dail (parliament) is to critically question the Government and the administrations formulation and execution of policy. Two main Dail Committees scrutinise the work of this Department, these are, the Public Accounts Committee and the Joint Committee on Heritage and the Irish Language.
The Cultural Institutions Division is responsible for bringing forward policy and providing funding for the 'national' institutions. These are:
- The National Museum of Ireland,
- The National Library of Ireland,
- The National Archives,
- The National Gallery of Ireland,
- The Irish Museum of Modern Art,
- The Chester Beatty Library and Galleries of Oriental Art,
- The National Concert Hall.
The Cultural Institutions Division also has a role in the funding of a small number of 'non-national' institutions, for instance the Archbishop Marsh's Library (1707) in Dublin and the Hunt Museum in Limerick City.
The only 'regional' issue the Division is currently involved with is the establishment of a branch of the National Museum of Ireland in the West of Ireland for the Museums Folklife Collection. The statutory independent Arts Council is involved in local or municipal issues.
3. Cultural budget
The following budgets are part of the answer to this question. The allocations for archaeology, inland waterways and nature conservation (National Parks and Nature Reserves) are not included.
a) National Cultural Institutions Budgets
2000 : IR£9.905 million 1996 : IR£4.417 million
1999 : IR£6.741 million 1995 : IR£3.810 million
1998 : IR£6.034 million 1994 : IR£3.071 million
1997 : IR£5.588 million
Prior to 1994 the cultural institutions budget was calculated on a different basis which renders it not directly comparable with succeeding years.
b) National Gallery of Ireland Budget
This is one of the very few 'national' institutions which has its own 'vote' or account in the parliamentary allocations, these figures are not included in those given above in (a).
2000 : IR£6.484 million 1995 : IR£1.738 million
1999 : IR£2.540 million 1994 : IR£1.420 million
1998 : IR£2.274 million 1993 : IR£1.160 million
1997 : IR£2.031 million 1992 : IR£1.048 million
1996 : IR£1.859 million 1991 : IR£1.016 million
c) Cultural Projects allocations
This is a relatively small allocation for specialist archival projects or grants to specific bodies.
2000 : IR£2.518 million 1996 : IR£4.496 million
1999 : IR£8.498 million 1995 : IR£5.348 million
1998 : IR£3.018 million 1994 : IR£2.734 million
1997 : IR£3.002 million
This category did not exist in a comparable form prior to 1994.
4. Support policy
This is dealt with in the Statement of Strategy (cf. annex 1).
In relation to funding and policy in the 'arts' area the ARTS COUNCIL (info@artscouncil.ie, website ) may provide interested parties with more detailed information.
5. International relations
We facilitate the establishment and the development of linkages between the Department and national institutions with relevant and equivalent bodies in other EU MS. This takes place through EU Council meetings, Council of Europe, United Nations and Unesco meetings and very often directly on professional matters.
We have direct dealings with a number of Governmental institutions in both the UK and in the U.S.A. for historic and cultural reasons particular to Ireland. On this as well, the Arts Council (info@artscouncil.ie, website ) may provide interested parties with more detailed information.
6. The role of the private sector
There is provision under the Irish Taxation laws that private individuals may avail of a tax allowance on the full value of a donation of an artefact, collection of artefacts or work of art to any of the national institutions.
The value of the item must be in excess of IR£75,000 up to a cumulative maximum of IR£3.0 million in any calendar year. This mechanism is often availed of.
In relation to artistic creativity please consult the Arts Council (info@artscouncil.ie, website ).
7. Current debate and future plans
The Minister has recently opened a debate on the revising of the laws governing the Arts Council.
The Irish Heritage Council is an independent statutory body which has the power to advise the Minister on specific heritage issues, some of which would cross into the cultural area as well. The Heritage Council can be contacted at heritage@heritage.iol.ie.
The administrative Division in the Department under my colleague Mr. Dermot Burke is responsible for relations with the Arts Council which is independent. They are also responsible for the recent Cultural Development Incentive Scheme which is just finishing and the new ACCESS scheme which is commencing. Details of these are attached now in the document entitled Annex 2 (Dept. of Arts, Heritage Gaeltracht and the Islands: Cultural Development Incentives Scheme). The document provides more details to some of the questions posed in the questionnaire.
Ireland: Annex 1
STATEMENT OF STRATEGY 1998 - 2001, April 1998
The Mission Statement
To enrich the quality of life
and sense of identity of all our citizens
and to preserve our inheritance
for present and future generations,
the Department of Arts, Heritage, Gaeltacht and the Islands
will actively foster and promote our heritage and culture, including the Irish language,
and support the economic and social development
of our offshore islands.
CHAPTER 1:
Introduction
The lives of almost every person in Ireland are touched in some way, probably on a daily basis, by matters which come within the remit of the Department of Arts, Heritage, Gaeltacht and the Islands. In terms of the heritage, for example, we have the benefit of thousands of national monuments throughout the country, and of the many buildings of historical and architectural merit in our cities and towns. From the point of view of the natural heritage, we appreciate and enjoy the countryside, seashore, forests and mountains, and the wildlife that inhabits them. Many people get pleasure and inspiration from the arts. Broadcasting, through the medium of radio and television, impacts on the whole population, be it through news bulletins or through the many programmes that provide information and enjoyment for so many people. Film has been enjoying a major upsurge in Ireland and the numbers going to cinemas has been growing significantly. The Irish language is a significant factor in the lives of many, whether they be students, Gaeltacht residents, members of the Irish language community, or persons interested in speaking Irish on an occasional basis. Our offshore islands, while they may be small in terms of their individual populations, have a particular importance and significance in the context of the cultural life of the nation which far exceeds their relative size.
All of these areas impinge on our lives day after day, offering opportunities for enrichment, while reminding us of the precious heritage that has been passed on to us, in trust, for handing on in turn to future generations. These aspects of our heritage and culture - the means to enrich the quality of life and sense of identity of all and the responsibility to preserve our inheritance for present and future generations - provide the basic underpinning for the work of the Department and their fundamental importance is reflected in the Mission Statement set out in this document.
In seeking to carry out its responsibilities, the Department will be guided by this Statement of Strategy, which maps out the broad path to be travelled over the coming three years in the various areas for which the Department has responsibility. The Statement lays down high-level policy goals for each of those areas and pinpoints a number of the key issues to be achieved in bringing those goals to fruition. The specific actions and the timescales for achieving them will be contained in individual Divisional Business Plans, which are being drawn up at present and are referred to further in later sections of this document.
The present mandate of the Department
The Department of Arts, Culture and the Gaeltacht was established in 1993 when responsibilities were transferred to the then Department of the Gaeltacht from the Department of the Taoiseach and the former Department of Tourism, Transport, and Communications in relation to functions concerning arts and culture, including film, and broadcasting respectively.
The heritage functions of the Office of Public Works - now entitled Dúchas The Heritage Service - were transferred to the Department, mainly in 1996. These functions relate to the conservation and management of national monuments and historic properties, national parks and wildlife, and inland waterways
Following the formation of the present Government in mid-1997, responsibility in relation to the development of offshore islands was transferred to it from the Department of the Taoiseach and it was re-titled the Department of Arts, Heritage, Gaeltacht and the Islands. The Department now has a staff of some 1,700 persons at peak periods (including some 1,100 industrial staff) and its gross budget for 1998 exceeds £174m.
The mandate of the Department is to foster, promote, conserve and present our heritage and culture in the broadest sense, to provide institutional and other arrangements which will assist in their support, development, conservation and presentation, and to promote the development of our offshore islands.
The Department's areas of responsibility include:
- The Arts and Cultural Institutions,
- Broadcasting and film,
- The built and natural heritage,
- The Irish language and the Gaeltacht,
- The Islands,
- The role of the Department.
The Department's main areas of responsibility can be brought together under the combining concepts of our heritage and culture, in the broadest sense. While the actual terms are difficult to define, the Irish phrase oidhreacht can help to point the way in that it conveys a sense of inheritance, of something precious passed on by previous generations which can be preserved and added to by the present generation and handed on, in turn, to future generations. This concept encompasses the living arts as well as the built and natural heritage; the Irish language and the Gaeltacht, as well as the development of our populated offshore islands.
In terms of the vision underlying this Statement of Strategy, the Department has a role to play in regard to conservation, protection, promotion, presentation and celebration of our heritage and culture and, in this context, will seek to promote:
- pride and self-confidence,
- a sense of ownership for all the people of the nation,
- greater accessibility, knowledge and appreciation for all,
- open and fair consultation,
- a greater sense of partnership.
CHAPTER 2:
The Statement of Strategy
The Department's initial Statement of Strategy, which was published in May 1997, was drawn up under the Strategic Management Initiative (SMI). The Statement was based on the work of a Departmental SMI Group, comprising the Secretary General, the Assistant Secretaries and the Department's Principal Officers, and drew heavily upon the outcome of a series of SMI workshops for staff at all levels, which was held in Dublin, Galway and Sligo. The workshops, which were organised with the assistance of the Centre for Management and Organisation Development (CMOD), were designed to give staff the opportunity to have a meaningful input into the process of drawing up the Statement of Strategy. The staff participation in the workshops was of a very high quality and the views expressed were taken into account in the final drafting of the initial Statement of Strategy. Those views were also fed into the drafting process for the revised Statement of Strategy. In addition, staff will be involved in drawing up the practical Business Plans for the implementation of the strategies elaborated in this Statement.
As with the initial Statement of Strategy, the purpose of the revised Statement is to help management and staff to focus on the major goals to be achieved and to provide the backdrop against which the divisional and section Business Plans can be drawn up. The new Statement is, of course, designed to reflect Government policy as laid down in the Government Programme An Action Programme for the Millennium together with initiatives put forward or underlined by the Minister since her appointment. Indeed, the Statement of Strategy is intended to provide the link between Government policy and the implementation of that policy and will form the basis for managing the day-to-day work of the Department in the provision of its services and the management of performance. In accordance with the underlying principles of the SMI, the Statement will also seek to point the way forward in relation to:
- the contribution which the Department can make to national economic and social development;
- the provision of better, high quality, services; and
- the more effective and efficient use of the Department's resources;
- Environmental Analysis;
- External Environment.
-
The Department is acutely aware of the fact that it operates in an environment which is dynamic and that it needs to be geared to anticipate, influence and plan for constant change. During the course of preparing the initial Statement of Strategy, published in May 1997, an extensive and detailed examination of the external environment in which the Department operates was conducted. The examination included taking into account the views of many of the Department's clients, elicited by means of structured interviews. The outcome has been updated in the drafting of this revised Statement to take account of the changes and trends - political, social, economic and technological - that have taken place or that can be anticipated. Underpinning this process has been the Programme for Government An Action Programme for the Millennium, which, in addition to identifying specific targets relating to areas within the Department's remit, also sets broad parameters for economic and social progress that the Department is obliged to take into account.
The external factors impacting on the Department which were considered include, inter alia:
Legislative changes which impact on areas within which the Department operates or which relates to wider areas, such as public sector reform.
The increased importance of the European Union in matters pertaining to the work of the Department, particularly in terms of compliance with Directives and other EU legal instruments.
The future of the Structural Funds, especially in light of the profound influence which EU funding has had to date in various areas of the Department's work, including the heritage, the arts, the Gaeltacht and film, and future Exchequer funding of capital projects, particularly the pressure that will come on such funding if there is any severe curtailment of the levels of Structural Funds in the post-1999 period.
Attitudes to heritage have changed significantly in recent years with a growing public awareness of the value of our heritage and the need for its protection, conservation and presentation, allied to greatly increased expectations in relation to the contribution which the State should be making in this regard.
Increased appreciation of the environment and the mainstreaming in the public mind of the many issues relating to it have become major factors for consideration.
The focus on the position of the Irish language has sharpened, especially with the advent of Teilifís na Gaeilge and the Government's commitment to a Bill of Rights for Irish speakers.
Customer service and the expectations of the public in this regard have become an essential factor to be considered by organisations throughout the public service.
Technological developments have been of particular significance for certain areas of the Department's remit, particularly in relation to the Information Society, broadcasting, digital television and the convergence of telecommunications and broadcasting.
Internal Environment
A critical feature in the ability of the Department to meet the challenges posed by an increasingly dynamic external environment is its internal capacity to be proactive and responsive as necessary. A number of recent initiatives and changes have placed increasing emphasis on the requirement for organisational change.
The Strategic Management Initiative has demanded a strong emphasis on the focus and priorities of the Department.
The Quality Customer Service Initiative has placed renewed focus on service to our customers.
The Freedom of Information Act, 1997 will increase access by the public to information in the Department, with implications for systems and methods of operating throughout the Department.
The Public Service Management Act, 1997, will lead to increased levels of delegation and accountability within the Department.
Partnership 2000 has major implications for increased involvement, consultation and partnership at all levels within the Department.
In seeking to deal with its mandate, as well as other prerogatives arising, the Department has been acutely aware of the good will, co-operation and exceptional effort which has been forthcoming from the staff generally. It has also been very conscious of the challenges and difficulties faced in the delivery of that mandate, including:
- less than adequate resources;
- increased customer expectations;
- under-developed support services in areas such as training and information technology; and
- the requirement for increased cohesion within what is a relatively new Department.
The Department has already set in train a number of initiatives to address some of these issues, including:
- the setting in place of a business planning process with formal review and monitoring systems;
- the publication of a Quality Customer Service Action Plan;
- the completion of an analysis of training and development needs of staff;
- an examination of the optimum structure for the delivery of our heritage services;
- the establishment of a network for senior staff; and
- the development of an information technology strategy.
In addition, the Human Resource area will be examined, taking account of the move towards a formal performance management system as well as the necessity to delegate certain responsibilities to line management.
CHAPTER 3:
The Mission Statement
To enrich the quality of life
and sense of identity of all our citizens
and to preserve our inheritance
for present and future generations,
the Department of Arts, Heritage,
Gaeltacht and the Islands
will actively foster and promote our heritage and culture, including the Irish language,
and support the economic and social development
of our offshore islands.
In seeking to carry out its Mission, the Department will:
- formulate national policy in relation to the encouragement of the contemporary arts, including the performing and visual arts, literature, broadcasting and film and the audio-visual sector;
- support the development of the national cultural institutions and maintain, increase and present our national collections of moveable heritage;
- formulate national policy and provide a high quality and effective service in relation to the built and natural heritage, including the management of national monuments and historic properties, national parks and wildlife, and inland waterways;
- support the economic, social, linguistic, physical and cultural development of the Gaeltacht and encourage the greater use of the Irish language in the rest of the country; and
- promote the sustainable development of the populated offshore islands in particular.
In furthering these areas of action, the Department will:
- ensure that its policies contribute fully to the Government's economic and social strategies for job creation and the elimination of social exclusion, taking account of the appropriate elements in the National Anti-Poverty Strategy;
- promote inclusiveness and regional balance to ensure wider access to our heritage and the arts;
- deliver its services in a courteous and efficient manner, in Irish and/or English, as appropriate, in accordance with the Department's Quality Customer Service Action Plan;
- develop and implement its policies through enhanced consultation with other Departments and relevant institutions, agencies and community groups;
- contribute to the elaboration and promotion of policies that are in the national interest within the EU and other international fora; and
- maximise the potential of staff to contribute to the achievement of its goals, and to effectively and efficiently manage its financial and physical resources through the development and implementation of human resource, training and IT strategies.
CHAPTER 4:
The Operational Areas: Main Goals
Arising from the consultation process with representative client organisations and individuals, as well as input from Government policy, as outlined in An Action Programme for the Millennium, Ministerial and Departmental initiatives, and EU policies, a list of Core Policy Goals has been drawn up. These will provide the broad focus for the work of the Department in the main operational areas over the next three years. Each Policy Goal is underpinned by a set of Supporting Objectives and Key Issues.
The Arts
Core Policy Goal
To facilitate the implementation of strategies for the arts, by providing an appropriate resource, policy and legislative framework that will support their stimulation and development.
Supporting Objectives
- to provide appropriate support for An Chomhairle Ealaíon in the implementation of strategies for the arts;
- to maximise the economic and employment creation potential of the arts and culture sectors; and
- to create an environment that fosters access to and participation in the arts by all sections of Irish society.
Key Issues
- to review the impact of the expenditure on the Arts Plan prepared by An Chomhairle Ealaíon having regard to the Government decision to meet the Plan's final year funding target of £26m in 1998 and the Government's priority concerns in relation to disabled artists, regional emphasis and support for the arts in and through the Irish language;
- to review the existing legislative and administrative structures to support the arts;
- to promote the development of cultural infrastructure throughout the country through the Cultural Development Incentives Scheme;
- to promote specific incentives for the development of the music industry in Ireland and examine the feasibility of establishing of a Music Board along the lines recommended in the FORTE Report; and
- to pursue with the Department of Education and Science the issue of cultural and artistic activities being afforded due weight in the school curriculum.
Broadcasting
Core Policy Goal
To develop a policy and legislative framework for broadcasting, in an environment of rapid technological development, that will be conducive to
- Irish radio and television being of the highest quality and remaining the preferred choice of a majority of Irish listeners and viewers;
- the provision of quality broadcasting services in the Irish language; and
- optimising the opportunities presented by the emerging technologies for the provision of new Irish-based broadcasting services.
Supporting Objectives
- to develop appropriate legislation, structures and strategy in conjunction with other Government Departments and State agencies
- to oversee the introduction and regulation of digital broadcasting in Ireland,
- to facilitate existing broadcasting services both public and private in developing their full potential,
- to ensure that the application of new technologies to existing communications infrastructures as well as broadcasting transmitter networks will have a positive impact on Irish broadcasting, particularly in relation to the origination of local, regional and community based broadcasting services,
- to ensure that issues arising from the convergence of telecommunications and broadcasting are addressed in a way that will optimise the contribution that broadcasters, programme makers, other product generators, infrastructure operators and other participants in broadcasting and broadcasting-related activities can make to the Information Society in Ireland.
Key Issues
- to establish Teilifís na Gaeilge as a separate statutory entity and to ensure adequate ongoing support for the service;
- to transpose into Irish law the amendments to the TV Without Frontiers Directive and to ensure that television coverage of major domestic sporting events remain accessible to Irish viewers on free-to-air television such as RTÉ, Teilifís na Gaeilge and TV3;
- to foster independent radio services through the Independent Radio and Television Commission;
- to co-operate in the ongoing efforts to bring about a significant improvement in the reception of RTÉ television services (including Teilifís na Gaeilge) in Northern Ireland;
- to review the independent production provisions of the Broadcasting Acts; and
- to ensure that broadcasting considerations receive due weight in the ongoing development of Government and EU policy in relation to the Information Society.
Film
Core Policy Goal
To develop, monitor and evaluate an integrated policy for the sustainable development of the Irish film industry.
Supporting Objectives
- to establish an industry Think Tank to evaluate the effectiveness of the existing schemes and incentives for the film industry and to formulate proposals for a 10 year strategic plan for the future of the industry; and
- to establish a Screen Commission.
Key Issues
- to operate, monitor and review the tax incentive scheme for the certification of film projects;
- to provide appropriate support to Bord Scannán na hÉireann in the development of an indigenous film industry;
- to continue funding support, through the Operational Programme for Industrial Development 1994-99, for the National Training Committee for Film and Television;
- to review the role of STATCOM - the committee of senior officials of Government Departments and State agencies with responsibility for the co-ordination of State involvement in the film sector - in consultation with Bord Scannán na hÉireann and in the context of the establishment of the Think Tank; and
- to facilitate, through bi-lateral and multi-lateral co-production agreements, the involvement of Irish producers in film and TV co-productions.
Cultural Institutions
Core Policy Goal
to promote the development of the cultural institutions, on an autonomous basis where appropriate; to encourage the continuing relevance of the institutions' activities to the public at large; and to provide an effective policy and legislative framework for the protection and appreciation of our moveable heritage.
Supporting Objectives
- to provide a resource, policy and legislative framework for the cultural institutions, taking account of demands arising from changes in society and legal requirements;
- to encourage the development of the cultural institutions in accordance with agreed strategic objectives, indicators of performance, and mechanisms for review of achievements and co-operation between the institutions;
- to establish and support a National Cultural Institutions Council; and
- to establish a policy framework to facilitate greater access to the national collections by the general public and the development of local and regional museums.
Key Issues
- to make the necessary practical arrangements for the transition to autonomous status of the National Library and National Museum in accordance with the provisions of the National Cultural Institutions Act, 1997;
- to implement other aspects of that Act relating to the protection and development of the institutional and moveable heritage;
- to co-operate with the Department of Education and Science in exploring the feasibility of establishing a Dublin Centre for the Performing Arts at the Earlsfort Terrace site currently occupied by UCD;
- to oversee the completion of capital projects for the cultural institutions being part-funded through the Operational Programme for Tourism 1994-99;
- to facilitate, in co-operation with the Office of Public Works, other capital projects for the cultural institutions;
- to establish and develop strategies in consultation with the cultural institutions concerned to address their maintenance and capital development needs;
- to examine the case for special tax incentives to encourage cultural developments;
- to maintain effective working relationships with the cultural institutions and the Heritage Council; and
- to encourage the cultural institutions to maximise their appeal to the general public and, in particular, to young people, the socially disadvantaged and visitors from abroad.
Heritage
Core Policy Goal
To protect, maintain, conserve, manage and present the built and natural heritage.
Supporting Objectives
- to develop a National Heritage Plan and to encourage the development of local heritage plans;
- to provide the appropriate policy, legislative, administrative and financial framework for all areas of heritage responsibility (natural, archaeological, architectural and waterways);
- to maintain and develop Dúchas as a high quality and effective Heritage Service;
- to develop and maintain an effective working relationship with the Heritage Council;
- to participate in international endeavours to protect the built and natural heritage;
- to maintain effective working relationships with relevant Government Departments, State agencies and other interested bodies, and to ensure that heritage policy is taken into account by them in the preparation of policies and legislation;
- to facilitate the development of cultural tourism in a manner consistent with the primary function of conservation of the built and natural heritage; and
- to promote and develop an increased public appreciation of the importance and value of the built and natural heritage.
Key Issues – Archaeology
- to examine issues and develop policy in the following areas:
licensing of archaeological excavations; wetlands, underwater, urban and industrial archaeology; archaeology in the planning process, in road construction and service schemes and in the general operation of Local Authorities; archaeology and afforestation;
- to complete the Inventory Stage of the Archaeological Survey of Ireland;
- to survey and take appropriate protective measures in relation to wetlands archaeology;
- to prepare a maritime record in the area of underwater archaeology, to establish capabilities for underwater inspections and administer a diving licensing system;
- to review the provisions of the National Monuments Acts to ensure adequate protection and conservation of the archaeological heritage; and
- to promote the preservation of heritage landscapes.
Key Issues – Architecture
- to introduce measures for strengthening the protection of the architectural heritage in association with the Department of the Environment and Local Government and with local authorities;
- to provide a co-ordinating and advisory service to local authorities in relation to protected buildings;
- to promote higher standards in conservation practice;
- to progress the National Inventory of Architectural Heritage, to publish interim surveys and to prepare legislation to place it on a statutory basis;
- to examine issues and develop policy in relation to vernacular architecture and industrial heritage;
- to complete the programme of works under the EU Operational Programme for Tourism 1994-99;
- to review the provisions of the National Monuments Acts to ensure adequate protection and conservation of the architectural heritage; and
- to develop appropriate policy proposals in the context of the Policy Statement on Architecture adopted by Government in May 1997.
Key Issues - Natural Heritage
- to secure the conservation of a representative range of ecosystems and maintain and enhance populations of flora and fauna in Ireland;
- to implement the Wildlife Act, 1976, and the provisions of the EU Habitats Directive and Birds Directive,
- to implement and review, as appropriate, provisions for the designation, control and supervision of Special Areas of Conservation, Special Protection Areas and Natural Heritage Areas, having particular regard to the need to consult with interested parties;
- to prepare draft legislation to amend the Wildlife Act, 1976, and to give protection to National Parks and Historic Properties;
- to make the necessary arrangements for the implementation of EU legislation and policies and for the ratification and implementation of the range of international Conventions and Agreements relating to the natural heritage;
- to prepare a National Plan under the Convention on Biological Diversity and make the necessary arrangements for ensuring its implementation;
- to manage, maintain and develop National Parks and Nature Reserves; and
- to develop policy as appropriate in relation to issues such as protected areas, including national parks, and biodiversity related matters.
Key Issues - Historic Properties
To manage, maintain and develop historic properties, gardens and arboreta.
Key Issues – Waterways
- to develop policy and strategy for the restoration and protection of inland waterways and their industrial archaeology and natural heritage and for the development of their leisure, amenity and tourism potential;
- to manage, maintain and promote the integrated development of the existing inland waterway network;
- to complete the programme of restoration and development under the EU Operational Programme for Tourism 1994-99;
- to conserve the industrial heritage and the ecology of the inland waterways; and
- to provide a design and advisory service in engineering related matters across all the divisions of the Department, where considered appropriate.
Key Issues – Presentation
- to continue to implement a high quality visitor service in presenting heritage sites to visitors from Ireland and abroad;
- to expand the heritage educational programmes;
- to seek to improve public access and information at heritage sites; and
- to develop a high quality information service on heritage matters.
The Irish Language and the Gaeltacht
Core Policy Goal
To reverse the decline in the use of Irish as the principal means of communication in the Gaeltacht and to extend the use of Irish in the rest of the country.
Supporting Objectives
- to continue to promote, primarily through the Department's own programmes and schemes and those of the bodies under its aegis, the intensification of the linguistic, cultural, social, physical and economic development of the Gaeltacht and to maintain the primacy of the Irish language and its associated culture therein;
- to support the implementation of Government policy in relation to the Irish language and the Gaeltacht through the activities of Údarás na Gaeltachta and Bord na Gaeilge;
- to encourage the expansion of the use of Irish and the delivery of State services through Irish on a countrywide basis; and
- to maintain effective working relationships with Government Departments, State agencies and other bodies to ensure that Government policy in relation to the Gaeltacht and the Irish language will be taken into account in their activities.
Key Issues
- to assess, in conjunction with Údarás na Gaeltachta, that organisation's strategic plan and its implementation, taking account of the financial implications for the Exchequer;
- to review the policies of the Department pertaining to the Gaeltacht;
- to review legislation within the remit of the Department pertaining specifically to the Gaeltacht;
- to review the operation of the Irish language summer colleges;
- to evaluate the impact of current schemes and programmes on the speaking of Irish in the Gaeltacht and to refocus expenditure if necessary;
- to promote measures to improve the availability of general State services through Irish, especially for the people of the Gaeltacht, including the preparation of an Irish Language Bill;
- to avail of suitable opportunities to promote the case for an enhanced status for the Irish language in the EU; and
- to seek to ensure the effectiveness of the voluntary Irish language organisations.
Offshore Islands
Core Policy Goal
To promote the sustainable development of the populated offshore islands in particular and to seek to ensure the provision for islanders of adequate levels of services.
Supporting Objectives
- to facilitate the provision of an adequate all year round level of access to transport for island communities;
- to encourage island communities to establish representative development organisations to work with Government Departments, State agencies and local authorities in developing the islands - infrastructure, industry, agriculture, fishing, tourism, etc; and
- to promote and co-ordinate Government policies in relation to the islands.
Key Issues
- to support the provision of adequate piers, air and ferry services, as far as practicable;
- to assist with the improvement of island roads;
- to support the implementation of coastal erosion remedial and preventative programmes in conjunction with the relevant State and local authorities;
- to examine issues arising from the higher costs associated with living on islands; and
- to encourage the relevant authorities to provide island communities with access to
• basic services such as roads, water, electricity, telecommunications and refuse collection;
• adequate health services; and
• education for children on their native islands through primary level, at least, and through second level also, if at all possible.
CHAPTER 5:
Support Services: Main Goals
In the organisational context, the support services available to the Department are crucial to achieving the results envisaged in this Statement of Strategy. As is the case in regard to the operational areas of the Department, a Core Policy Goal, underpinned by a set of Supporting Objectives and Key Issues, has been drawn up for each of the main support service areas - Human Resources, Financial Management and Information Technology.
Human Resource Management
Core Policy Goal
To support the Department's overall strategy through the effective management of its human resources.
Supporting Objectives
- to develop and implement a strategy for human resource management;
- to introduce a structured process of performance management;
- to ensure that the skills and competencies required for effective operation within the Department are identified and made available through targeted training programmes;
- to ensure that the training function facilitates the personal and professional development of staff, thereby linking the development of the individual to the overall needs of the Department;
- to promote and develop good internal communications at all levels; and
- to foster an integrated corporate culture within the Department.
Key Issues
- to develop specialist expertise in areas involved in the delivery of the human resource function;
- to devolve appropriate personnel management tasks to line managers;
- to promote better understanding and consistent practice among managers in relation to human resource management;
- to put in place an effective training function;
- to address current structures in the light of the organisation review consultancy currently underway on the heritage functions of the Department;
- to promote equality by implementing policies which ensure equal treatment for all staff;
- to ensure compliance with Health and Safety legislation;
- to ensure as far as practicable that an adequate number of staff with the necessary personal and professional skills is available to the Department;
- to ensure that an adequate number of staff competent in written and spoken Irish is available to meet the Department's needs;
- to ensure that all of the constituent elements of the Department are integrated into a single cohesive unit; and
- to ensure that suitable accommodation is available for all staff and to seek to have Dublin based headquarters staff accommodated at a single location.
Financial Management
Core Policy Goal
To set in place and operate proper financial management systems to enable the efficient and effective management of the Department's resources and operations in accordance with best Government accounting procedures and in conformity with statutory and other requirements.
Supporting Objective
To provide high quality financial information in a timely fashion to enable managers to efficiently and effectively manage and monitor programmes and projects, attain targets and review outcomes.
Key Issues
- to ensure that systems accommodate the demands of the Public Service Management Act, 1997, and other developments, including Administrative Budgets and the increasing emphasis on Value for Money;
- to address the implementation of the key recommendations in the Report of the SMI Working Group on Financial Management;
- to integrate and update existing accounts systems for recording, classification and analysis, having regard to the transfer of Dúchas The Heritage Service to the Department;
- to provide fast and efficient payment procedures to suppliers of goods and services to the Department, taking account of the Prompt Payment of Accounts Act, 1997, and the Department's commitment to quality customer service;
- to ensure that the Department's financial systems are adapted in good time to facilitate the introduction of the Euro;
- to provide, through the Internal Audit Unit, a system-based internal audit function as a service to the Department and to managers in particular; and
- to monitor and report on expenditure and progress on projects funded under the EU Operational Programme for Tourism 1994-99.
Information Technology
Core Policy Goal
To develop and put in place appropriate IT systems in all offices and areas of the Department for the purpose of supporting policy and organisational goals and acting as a management tool to facilitate organisational change.
Supporting Objective
To develop a strategic IT Investment Plan, which will form an integral part of the Department's corporate strategy and address, inter alia, investment in staff training for the installation and use of IT systems within the Department, the redesign of business processes and procedures, and the achievement of greater efficiency and the provision of better services to the public through the application of the IT function.
Key Issues
- to implement the IT Investment Plan on a prioritised basis and in consultation with line divisions;
- to take account, within that process, of current critical issues, including
• record management requirements dictated by the Freedom of Information legislation;
• the Year 2000 problem; and
• the advent of the Euro.
- to address the implementation of the key recommendations in the Report of the SMI Working Group on Information Technology;
- to continue to provide the appropriate geographic and database systems to support the specialist requirements of Dúchas The Heritage Service;
- to expand the Wide Area Network as far as practicable to link the Department's offices; and
- to make Internet e-mail more widely available.
CHAPTER 6:
Focal Operating Principles
In keeping with the objectives of the SMI regarding the contribution which the Department can make to national economic and social development and the provision of better, high quality, services, the Department has adopted a number of focal operating principles - relating to employment, customer service, and the all-Ireland and international dimensions - which underpin its activities in the pursuit of its Mission.
Employment
To maximise the employment creation potential in relation to the arts, the cultural industries, the film/audio-visual sectors, broadcasting, heritage, the Irish language, the Gaeltacht and the islands.
This is particularly important, especially in the light of commitments in the Government Programme An Action Programme for the Millennium and Partnership 2000.
In relation to the Gaeltacht, Údarás na Gaeltachta has an excellent track record in providing employment in recent years. At 31 December 1997, some 7,800 persons were employed on a full-time basis and some 4,000 persons on a part-time/seasonal basis in industries assisted by an tÚdarás. The employment creation potential of the Irish language itself and its associated culture - including its role in the development of sustainable cultural tourism - will continue to be fully and sensitively pursued.
In the Film sector there have been significant achievements. The most recently published figures for 1995 show that there was some 16,100 employment placements in 27 production projects with combined budgets exceeding £87m, of which more than £54m was spent in the Irish economy. In relation to Broadcasting, progress has also been recorded, with Teilifís na Gaeilge, for example, supporting the provision of some 200 jobs in the independent television production sector.
The cultural institutions, national monuments, historic properties, national parks and waterways provide an essential underpinning throughout the country for the development of employment in the tourism industry. The majority of visitors to Ireland cite cultural and heritage factors as their main reason for visiting Ireland. Some 300 guides are employed on a seasonal basis each year by Dúchas The Heritage Service, which, along with some 40 permanent staff, provide a guide service at 50 heritage sites around the country. In 1997 there were almost 2.8m fee-paying visitors to those sites, which generated more than £3.5m in receipts during the year.
The 1994 Coopers and Lybrand report on the cultural industries found that they give mixed employment to some 32,800 people, or to 21,500 full-time job equivalents, and have a value of over £440 million per annum; the report also concluded that the work of sustaining our culture is by no means carried out exclusively by virtue of State subvention. In fact, only 12% of the income of cultural industries comes from grants, while 88% of income is earned by way of direct trading activity. In a further study commissioned by the Arts Council in 1994, the arts, as defined in relation to the remit of the Council, generated an output of £225m and employed some 14,500 people. The Council now estimates that in the fourth year of its Arts Plan its activities and its support of individual artists and arts organisations gives rise to over 22,000 full-time jobs and stimulates a very significant turnover of close on £500 million. The increase to £26m. to the Arts Council in 1998 will see additional direct investment in the arts through an increase in the amounts and the number of awards to individual artists and arts organisations. This in turn will stimulate further employment and investment in the cultural field and in the economy generally. The conclusions of those reports confirm the view that, in addition to direct grant aid from the Exchequer, policies for the development of cultural activities must include strategies to remove obstacles to the full exploitation of people's creative skills.
Quality Customer Service
To implement the Department's Quality Customer Service Action Plan, thereby ensuring that our services are provided with courtesy and efficiency, in Irish and/or in English, as appropriate, to all our customers and to the general public.
Given the diverse nature of its functions, the Department clearly has a very wide client base of State bodies and agencies operating under its aegis. In areas such as the arts, heritage and the Irish language, for example, the Department also provides services directly to the community as a whole.
In December 1997, the Department published a Quality Customer Service Action Plan which outlines the work of the Department, identifies its customers and, where possible, the level of contact with them. It also identifies the fact that a number of steps have already been taken to provide a quality service to customers. The Action Plan proposes a consistently excellent quality of service which builds on the strengths in the existing service to the customer. To meet the individual targets in the Plan will require considerable internal change and improvements and the steps to achieve the necessary results over the next two years are summarised.
As the Action Plan focuses on external customers, principally the public, it is important to note that the performance and involvement of staff is crucial to its success. Organisational research has shown that there is a correlation between effective customer service and good staff management focus. The Plan, therefore, supports a quality approach to human resource management within the Department.
The Plan envisages that the new customer service standards will be operational by 1 November, 1999. The proposals set out in the Plan are not, however, cast in stone and will be reviewed, particularly in the light of deeper internal consultation and feedback from customers. The Action Plan proposes changes which extend beyond November 1999 and will require updating to take the Department well into the next millennium. In the meanwhile, customers will be advised of ongoing improvements in service as they are implemented.
The Department is committed to taking the lead in the promotion of measures to improve the availability of State services through Irish, especially for the people of the Gaeltacht. Key issues to be addressed by the Department in this regard include the preparation of an Irish Language Bill. This is a critically important part of Quality Customer Service and has been highlighted on a number of occasions, including in a study some time ago on the provision of services in Irish by the State in the Galway Gaeltacht. That study, which may be assumed to reflect the situation nationally, was critical of the failure of Government Departments and other public bodies to facilitate the people of the Gaeltacht and Irish speakers generally in conducting their business through Irish.
All-Ireland dimension
To promote co-operation with the appropriate Northern Ireland authorities and bodies in relation to arts and culture, the Irish language and heritage issues.
The Department is committed to increasing cross-border co-operation in all relevant areas by expanding engagement with a broad range of cultural and arts bodies, representative of both the majority and minority communities in Northern Ireland.
Specific steps have already been taken to co-operate with the corresponding Northern Ireland authorities and agencies in relation to arts and culture, the Irish language and heritage issues. A Joint Committee comprising An Chomhairle Ealaíon and the Arts Council of Northern Ireland already exists to deal with North/South arts issues.
Preliminary steps have been taken to establish north-south liaison under the auspices of the Columba Initiative which seeks to foster contact between the Gaelic speakers of Scotland and Ireland - north and south - with a view to increasing mutual understanding and co-operation.
The Department is also actively promoting cross-border co-operation in areas relating to the built and natural heritage, including
- Ulster Canal feasibility study
- traditional thatch
- underwater archaeology
- biodiversity and other natural heritage issues.
The Department expects that the ongoing efforts, under the auspices of the Anglo-Irish intergovernmental conference, to bring about a significant improvement in the reception of RTÉ television services (including Teilifís na Gaeilge) in Northern Ireland will have an early successful outcome.
International profile
To continue to articulate the Irish viewpoint in relation to the Department's remit in the EU and other international fora.
Almost every aspect of the Department's work is informed, to a greater or lesser degree, by international considerations. These are particularly important in the heritage and broadcasting
areas at present. The Department is committed to participating in international endeavours and to arranging for the earliest possible ratification of all appropriate conventions and agreements.
Many of the key projects planned by the Department, or already in hand, for the period to 1999 will be funded in large measure from EU sources - mainly under the different Operational Programmes for Tourism, Industrial Development and Fisheries. It will be important to ensure the effective drawdown and management of EU funds under the Structural Funds programme and to avail fully of other EU sources of funds. It will also be important to take a proactive role in discussions regarding future Operational Programmes in the post-1999 period.
CHAPTER 7:
Key Challenges
Resources
The issue of resources, especially staff resources, is critical in terms of being able:
- to achieve the progress necessary to ensure that the goals and objectives outlined in this Statement of Strategy are realised; and
- to anticipate, influence and respond in a flexible manner to change in the environment in which the Department operates.
Resources and their deployment, both in the Department and in the institutions and bodies under the Department's aegis, need to be subject to continuing critical examination in the light of the ever-increasing workload, the expansion of services and the demands for higher levels of efficiency.
Clearly, the Organisation Review currently being carried out by external consultants in regard to the heritage functions of the Department will have particular relevance in this context. The terms of reference of the Review are as follows:
"Within the overall context of the Department's Statement of Strategy to review the management structure, operations, organisation processes and staffing of the heritage functions of the Department with the view to identifying the measures necessary to provide a high quality co-ordinated and effective service, and to draw up a practical action plan to implement these measures. This review will also take into account the existing structures and resources in the remainder of the Department."
The issue of restructuring operations and work practices, as appropriate, will fall to be addressed in light of the outcome of the Review.
The question of resources is a major challenge facing the Department as there can be little doubt but that the continued expansion in the role and functions of the Department has not been matched by a corresponding growth in staff resources. It is an inescapable fact that work will have to be prioritized in the context of the preparation of the Business Plans to ensure that the tasks most essential to the achievement of the strategies contained in this Statement are given the resources that they require.
Cross-Departmental Issues
The Department recognises the need to clearly identify cross-Departmental issues and to establish stronger co-ordination, interactive and partnership arrangements with other relevant Departments whose functions impinge on the areas of responsibility of this Department.
Ongoing work in this regard has resulted in a number of important cross-Departmental issues being identified and targeted for priority action.
These include:
- Digital Broadcasting in association with the Department of Public Enterprise and the Office of the Telecommunications Regulator;
- Arts and Education issues in association with the Department of Education and Science;
- Coastal Zone Management in association with the Department of the Marine and Natural Resources and the Department of the Environment and Local Government;
- The Information Society in association with the Department of the Taoiseach;
- Biodiversity in association with the Department of the Environment and Local Government, the Department of Agriculture and Food and the Department of the Marine and Natural Resources;
- The Irish Language and the Gaeltacht in association with all Government Departments and Offices; and
- Offshore Island Development in association with all Government Departments.
In the context of the formulation of Business Plans, each Divisional Head will identify relevant cross-Departmental issues and, if appropriate, set in place formal structures to ensure that the necessary progress is made to ensure that Government policy is achieved in relation to the area in question.
In many areas of the Department's activities - film and the national cultural institutions, for example - the co-operation of other relevant Government Departments and State agencies on a day-to-day basis is obviously ongoing and vital to the achievement of progress.
Communications
The issue of internal communications is inextricably linked with the ongoing efforts to achieve better co-ordination and a more integrated approach across the various Divisions and between staff working in different locations. Indeed, efforts to promote more effective communications within the Department are very much in accordance with the principles of partnership and participation enshrined in Partnership 2000.
Many of the initiatives already referred to will impact strongly on the area of communications. For example, the Training Needs Analysis study is expected to underline strongly the need for initiatives to improve communications throughout the Department. The Principal Officer Network has the capability for helping to meet the necessity for communication between the various Divisions within the Department.
In the section on Human Resource Management, the necessity to promote and develop good internal communications at all levels is explicitly recognised and will constitute an important element of the Human Resource Strategy which is to be drawn up later this year. In addition, the proposed IT Strategy will also be particularly relevant in supporting enhanced intra-Departmental communications.
The Department is committed to addressing these issues and will undertake practical initiatives with a view to improving the methods by which staff are kept informed, inter alia, about the plans and operations of the Department, internal policies and procedures, and performance-related matters. These initiatives will be priority issues for management at all levels.
Freedom of Information
In the context of the requirements of the Freedom of Information Act, 1997, a Records Management System is being developed that will facilitate access to records for the purposes of the legislation. In addition, administrative arrangements have been set in place which will enable Freedom of Information (FOI) requests under the terms of the Act to be facilitated.
Given the history of the establishment of the Department, there are, as might be expected, a number of different filing systems in operation and a survey recently carried out showed the number of files in the Department to be in excess of 640,000. It will be a major challenge for the Department to take the necessary steps to ensure that it will be possible to comply with FOI requirements in relation to this large volume of files - firstly on a manual basis and later on computer, as envisaged in the proposed IT strategy.
Integration and Co-ordination
There was an explicit recognition in the Department's initial Statement of Strategy of the need for an examination of the means by which the internal operations of the Department might be better co-ordinated and a more integrated approach adopted by the various Divisions, especially in matters that are cross-Divisional in nature.
This is another example of a challenge facing the Department which arises, in large measure, from the history of its establishment and the manner in which it was formed from a combination of elements from a number of different Departments.
A number of initiatives have already been taken, or are in hands, in the context of the ongoing change programme which will contribute to greater integration within the Department and to greater efficiency in the context of cross-functional linkages. These include:
- the Organisation Review of the Department's heritage functions, referred to above;
- a Training Needs Analysis study, being carried out by external consultants, which will identify current and probable future training needs for staff, highlight the operational developments needed to strengthen the management structures and make specific recommendations for action, including steps to encourage more effective co-ordination;
- the establishment of an SMI Co-ordination Group, chaired at Assistant Secretary level, to co-ordinate, advise on and assist with the planning and implementation of the change programme within the Department; and
- the setting up of a Principal Officer Network which is intended, inter alia, to assist in the integration process in the Department, in moving towards a sense of common corporate identity, in engaging with the Top Management Group (MAC) in relation to appropriate issues and in helping to provide the necessary co-ordination in a range of areas so as to encourage a Departmental rather than a divisional or sectional view.
CHAPTER 8:
The next steps: continuing the Strategic Management Process
Participation and Ownership
It is clear that the implementation of the strategies set out in this Statement will be a major challenge for the Department as a whole, and for the individual staff members in each area.
There can be little doubt but that one of the major concerns with advancing the process of strategic management in the Civil Service as a whole has been the lack of ownership and real involvement among staff in relation to that process. The implementation stage of the process, where staff will be directly involved in drawing up practical Business Plans for their own areas of work, should help to resolve this problem. However, difficulties will remain until much greater progress has been achieved in regard to consultation with, and participation by, staff at all levels.
Within the Department, reference has already been made to some significant steps taken in recent months which should prove of major assistance in making the process of strategic management more relevant - and acceptable - to staff. These include:
- the drawing up of a Customer Service Action Plan by a broadly based working group representative of different areas and grades within the Department and its acceptance by senior management;
- the preparation of a Training Needs Analysis study by external consultants, working in tandem with a steering group which is representative of many grades and work areas within the Department; and
- the carrying out of a review of the Department's heritage functions by consultants in liaison with a project board and a project steering group on which the Department has significant representation and which involves considerable consultation with staff.
-
The Department is committed to the deepening and widening of this type of participative approach, which is in line with that agreed in Partnership 2000 and is designed to encourage staff ownership of goals and work objectives together with the wider changes to be implemented as part of the overall strategic management process. Priority areas to be addressed in the coming months include Human Resources and Information Technology. It is critical that staff at all levels - and managers in particular - be encouraged to adopt a strategic approach to work, rather than seeing strategy as an additional burden which must be endured. The initiation of formal devolution of responsibility to managers in accordance with the provisions of the Public Service Management Act, 1997, will clearly have major implications in this regard.
Business Plans
The drawing up and adoption of the Business Plans will also be critical in terms of setting out clearly the specific steps to be taken in order to achieve each of the Department's goals.
The Business Plans, taking account of the nature of the work involved, will seek to:
- reflect in detailed operational terms the goals and objectives of the Department;
- identify the individual divisions, work units and teams within the Department;
- assess the appropriate work programmes for each division or unit;
- based on these work programmes, and having regard to available staff resources, determine and specify clear objectives in relation to divisions or units of the Department and/or for individual officers, grades or teams of officers as appropriate;
- assign, as systems allow, the resources associated with achieving these objectives; and
- assign responsibility for the achievement of these objectives, based on appropriate performance indicators and on available resources.
The work will involve a closer examination of the priorities versus resources issue, which is a critical one. It is clear that the rapid growth of the Department has put considerable pressure on human resources in many areas. It is also clear that every work issue cannot be given the same priority in a situation where such resources have not increased at a commensurate rate.
Reference has already been made to the need to reconsider the structural arrangements within the Department itself as well as the relationship of the Department to the bodies under its aegis. During the internal analysis phase of the initial Statement of Strategy, there was some discussion of the management processes within the Department as a whole and of ways in which its internal operations could be better co-ordinated and a more integrated approach adopted by the various Divisions. In order to move this process forward, each head of Division will carry out, in the context of the preparation of Business Plans, a review of work practices in order to ascertain whether work is being carried out within the Department which should be discontinued, modified or transferred to an outside agency.
Monitoring
The process of formulating Business Plans will also seek to define meaningful and measurable indicators which will allow for the measurement of performance in the various areas and mechanisms whereby progress can be measured at Divisional level. The performance management system to be introduced across the Civil Service will integrate the Divisional Business Plans with individual and team performance. A high-level review of progress will be put in place, involving regular assessments on a Divisional basis at MAC level. The SMI Co-ordination Group will also have a monitoring role, particularly in the context of the preparation of annual reports under the terms of the Public Service Management Act, 1997.
Bodies under the aegis of the Department
A very wide range of bodies and agencies with diverse roles and functions comes under the aegis of the Department. Some - such as the National Museum and National Library - are national cultural institutions. Others - such as the Arts Council or the Heritage Council - are independent statutory bodies which can advise the Minister on policy issues. Bodies like Údarás na Gaeltachta, Bord na Gaeilge or Bord Scannán na hÉireann may be promotional and may also pay grants from the State funding provided to them. Bodies such as the Independent Radio and Television Commission have mainly regulatory functions. Others, such as the Irish Museum of Modern Art or the National Concert Hall, are cultural institutions incorporated under the Companies Acts.
While some of the bodies and agencies which come directly under the aegis of the Department have already undertaken considerable work in the area of strategy, it was decided that a number should nonetheless be selected in the context of the initial phase of extending the strategic management process to that section of the wider public service with which the Department is directly involved.
Those bodies were:
- An Chomhairle Ealaíon/The Arts Council,
- An Chomhairle Oidhreachta/The Heritage Council,
- Bord na Gaeilge,
- Bord Scannán na hÉireann/The Irish Film Board,
- Radió Telefís Éireann,
- The Independent Radio and Television Commission (IRTC),
- The Irish Museum of Modern Art,
- The National Archives, inclusive of the National Archives Advisory Council,
- The National Concert Hall,
- The National Gallery of Ireland,
- The National Library of Ireland,
- The National Museum of Ireland,
- Údarás na Gaeltachta,
- The chief executives/directors of the bodies concerned have been formally requested to set in train the necessary steps to produce a strategy document for their own organisation, set clearly within the context of the Government Programme and the Department's own Statement of Strategy. Each body has also been asked to nominate a liaison officer at senior level who would operate as contact person for the purpose of pushing forward the strategic management process in partnership with the Department. This initiative will be pursued over the coming months.
Conclusion
As stated in the Department's initial Statement of Strategy, the ultimate success of the strategic management process will depend on many factors. The areas of communication and consultation - in particular the development of an integrated comprehensive IT system as well as a coherent training philosophy - within the Department, together with the rationalisation of the management structure in certain areas, have been highlighted on various occasions as being of particular importance. While the change process in the Civil Service will make staff more accountable, the process of elaborating goals and Business Plans will also allow staff more responsibility in carrying out their work. This should generate a greater sense of purpose, of job satisfaction and of team membership, which are vital to the overriding aim of delivering the Department's services as efficiently and effectively as possible, in order to achieve its Mission of enriching the quality of life of all through our heritage and culture.
Ireland: Annex 2
Department of Arts, Heritage, Gaeltacht and the Islands
Cultural Development Incentives Scheme 1994 – 2000
The Cultural Development Incentives Scheme (CDIS) was funded in part by the Operational Programme for Tourism 1994 - 1999 and is the responsibility of the Department of Arts, Heritage, Gaeltacht and the Islands. The CDIS was primarily designed to assist development of infrastructure for the four main categories of the visual and performing arts - arts centres, theatres, galleries and museums.
The total amount of funding available under the Scheme was IR£18.5m (23.5 Euro ) and this amount, together with matching finance from successful project promoters has facilitated a total capital investment in arts and culture infrastructure to over IR£45m. (57.14m. Euro) A total of 37 projects were offered grants under the scheme and all projects will be completed by the end of 2000..
In general projects were only considered for funding under the CDIS if they involved a grant application of IR £50,000 (63,500 Euro) or more and met the following broad criteria for eligibility:-
- Projects had to demonstrate a distinct and recognisable cultural aspect;
- Projects had to have tourism potential;
- The facilities to be developed must be equipped to a high standard accommodating drama, music and other performance disciplines, exhibitions, film and community events;
- Projects had to lead to the creation of both direct and indirect employment at levels which are significant in terms of the circumstances pertaining locally;
- Projects had to be linked to the provision of a skilled staff to allow a dynamic interaction with the world of business, tourism and industry and thus allow the arts to realise their full economic, as well as social, potential;
- Projects had to have a strong marketing element in order to ensure their maximum usage by the local population and overseas visitors alike; and
- Projects had to be viable. The ability of the promoters to demonstrate that they will be in a position to meet the on-going operational costs of the proposed project was a necessary condition for the granting of aid.
The Arts & Culture Capital Enhancement Support Scheme (ACCESS) 2001 - 2006
A new scheme to build on the success of the CDIS was announced in May 2000 by the Minister for Arts, Heritage gaeltacht and the Islands . This new Scheme - The Arts & Culture Capital Enhancement Support Scheme (ACCESS) will have funding of IR £36m. ( 45.71m. Euro) available to approved projects over the period 2001-2004.
ACCESS will primarily assist the development of arts and culture infrastructure and in particular integrated arts centres, theatres, museums and galleries as well as arts studios and other arts production, creative and performance spaces.
The programme will have three separate and distinct strands,
- New Facilities at Regional / County / City Level;
- The redevelopment of existing arts and culture facilities and venues including new build, additional build or major refurbishment;
- Smaller community based projects.
In order to be considered for grant assistance all projects must:
1. demonstrate the need for the facilities being proposed in terms of its geographical catchment area, the population base and in the context of the existing and proposed arts and culture activity that the project will envelope;
2. demonstrate the expected impact the provision of such facilities may have on existing similar or equivalent facilities within and adjacent to its geographical catchment area;
3. demonstrate a distinct arts and culture aspect and have the aim of providing greater access to and participation in arts the culture activities;
4. have the aim of promoting excellence in arts and culture practice;
5. lead to the provision of high standard arts and culture infrastructure;
6. lead to the creation of direct and indirect employment in the arts and in the local economy generally;
7. be viable in terms of management structures and operational funding requirements;
8. be accessible to people with disabilities both in terms of general access and in terms of their participation in the practice of arts and culture activity.
Developers of Projects must demonstrate their ability:
1. to project manage and deliver the proposal within the proposed time frame and within the proposed funding package;
2. to secure the required capital funding package over and above any grant aid awarded to complete the project;
3. to operate the facility being proposed in the long term both from a management and funding point of view;
4. to enter into a legal agreement with the Minister for Arts, Heritage Gaeltacht and the Islands which puts a charge against the property being developed for the amount of the grant award.
ACCESS - Three Strands of Development.
Strand 1: New Facilities at Regional / County / City Level
Applications under this strand of the Scheme are invited for large scale infrastructural development to provide new arts and cultural facilities to meet the needs of a region, county or city, in particular to address a generally accepted shortfall in the infrastructure of the catchment area of the project.
Arts Projects should, where possible facilitate the development of strategic partnerships between Regional/Local Authorities, the Arts Sector/ Arts Community and other stakeholders. As well as the provision of performance and exhibition spaces projects should, where appropriate, address the provision of workshop spaces, studios, rehearsal areas, education and community arts facilities as part of the overall development.
Proposals for the development of museums should be in accordance with the definition of a museum as promoted by the Heritage Council i.e.
"A museum is a not-for-profit institution that collects, safeguards, holds in trust, researches, develops and interprets collections of original objects and original objects on loan, for the public benefit. It functions publicly as a place where people learn from and find inspiration and enjoyment through the display and research of original objects."
Plans for museums based on specialist collections should be consistent with the types of holdings held or proposed to be held by the National Museum and National Library and museums designated by the Minister under section 69 of the National Cultural Institutions Act, 1997.
The development of infrastructure under this strand should adhere to regional, county or local arts and heritage plans - with due consideration for single site ventures encompassing both arts and heritage provision.
An application for a project under this strand of the Programme should include a detailed submission clearly demonstrating the need for the facility in terms of its geographical catchment area and the population base it proposes to serve. It should provide an assessment of the impact of those facilities on existing similar or equivalent facilities, if any, within and adjacent to its geographical catchment area.
A maximum of 75% grant will be provided under this strand of the scheme.
Strand 2: The redevelopment of existing facilities and venues including new Build, additional build or major refurbishment.
Applications are invited from existing arts and cultural operators to facilitate major refurbishment of existing facilities and venues. Proposals can, where appropriate, provide for new extensions to existing buildings or new buildings to house existing arts and culture operations. In developing their proposals applicants should examine the feasibility of entering into strategic partnerships with other operators, local authorities and other key players to allow for more effective use of space and available revenue funding.
The applicant is required to make a detailed case clearly demonstrating the need for the redevelopment of the facilities in terms of geographical location, the impact on existing or equivalent facilities, the spatial spread of the facilities being proposed, the population base being served as well as existing and proposed arts or cultural activity that the project will envelope.
Museum proposals should be based on the definition of a museum as outlined in the text relating to Strand 1 above. All projects should take cognisance of published national, regional and county arts and heritage plans.
A maximum of 75% grant will be provided under this strand of the scheme.
Strand 3: Community based projects.
This strand of the scheme will assist the development of smaller scale culture and arts facilities at local and community level. Applications are invited for both new facilities or the refurbishment of existing facilities and applicants should clearly demonstrate the requirement for the facilities being proposed and how they will enhance access and participation in arts and culture activities at local and community level. Proposals should take cognisance of published national, regional and county arts and heritage plans.
While a maximum of 75% grant will be provided in most cases exceptions may be made and grants up to a maximum amount of 85% may be awarded under this strand of the scheme.
Contact point.
The contact point for the Scheme is the Arts Division, Department of Arts Heritage, Gaeltacht and the Islands, 43 - 49 Mespil Road, Dublin 4. E-mail at slynam@ealga.ie. Detailed guidelines and application form are available. Closing date for applications is 31St October 2000.
ITALY[15]
General objectives and principles
1.1. Cultural policy in Italy[16]
If we are to offer an overview of Italian cultural policy, some historical and political background has to be explained. The political and administrative features of today's Italy are relatively recent. The national State assumed its final unified shape in 1870 and the republican constitution dates from 1948. One of the main characteristics of the country resides in the fact of its having been marked, since the very beginning of western civilisation, by a continuous superposition and integration of different cultures, the concrete traces of which are spread over the whole territory of the nation, resulting in a unique richness and in a particularly dense urban heritage. Many of the cities have played, in different historical periods, the role of authentic political, administrative and cultural 'capitals'. It is also to be mentioned that, till the end of World War II (1945), the country had an essentially agricultural economic profile and had thus kept ancient natural and environmental characteristics intact. These features of Italian life have changed rapidly and irremediably (and often with destabilising consequences) over the last fifty years of economic growth and industrial development. A further aspect concerns the role of the Catholic church and the religious institutions connected to it, which have had a decisive influence on the characteristics, the division and the conservation of a very rich heritage and have also profoundly influenced the nature of Italy's cultural identity. This heritage, to a large extent, is still the property of religious bodies or of the Vatican City, which, as is well known, is a sovereign state in its own right.
This history, as summarised above, has strongly influenced the choices made in cultural policy, with the stress being laid, from the seventeenth century, on the protection and conservation of the cultural heritage.
Another relevant fact has of course been the twenty-year period of fascism, during which the intellectuals were obliged to give unconditional support to the regime. At that time, the characteristic elements of classical and Roman civilisation were used as elements in official communications policy and to justify nationalistic propaganda. In that period, 'cultural policies' and the promotion of the arts were conducted by the Minculpop (Ministry of popular culture) while, at the time of drafting the republican constitution, the institutional competences of the different sectors (cultural goods, performing arts, publishing, information) dependent on different state services. The constitution provides for a high degree of administrative decentralisation, with the transfer of many competences of the State to the Regions: this transfer is not complete, and there has recently, not without some controversy, been a reattribution of responsibilities as regards certain aspects of the protection of the cultural heritage. The idea is that the State, Regions and local authorities should collaborate in management and development activities (Decree-Law No 112/1998, Title IV, Chapter V, Articles 148-157). In the light of the changing political conditions and the specific characteristics of contemporary culture a reorganisation of responsibilities has recently been effected within the State administration, bringing together in a single 'Ministerio per i beni e le attività culturali' (Ministry for cultural heritage and activities) the competences in the fields of cultural heritage, performing arts, publishing, copyright and sport (Decree-Laws Nos 368/1998, 300/1999 and 303/1999; a implementing regulation will appear in due course concerning, inter alia, the new internal organisation of the Ministry).
1.2. Main elements and objectives
A brief indication of the main elements and objectives of Italian cultural policy will now be offered, in the context of the above general framework. The trends of recent years are worth underlining. Since May 1996, when the Prodi government came to power, under the successive Ministers Walter Veltroni (up to October 1998; he was also deputy prime minister) and Giovanna Melandri, the area of cultural heritage and activities has entered a new phase. The main aspects may be summarised as follows:
- Rebuilding of the profile of the culture portfolio within the government team and in public opinion, accompanied by an increase in funding;
- Creation of a single ministry for culture bringing together competences in such fields as: protection and management of the cultural and environmental heritage (archaeology, monuments, museums, archives, libraries, landscape); promotion of cultural activities, artistic creativity and performing arts (theatre, music, dance, etc); copyright and publishing; and sport;
- New legislation on the management and development of the cultural heritage and cultural activities, through a convention between the different institutional and administrative levels (State, Regions, local authorities) and through the creation of societies or foundations of mixed nature (both public and private);
- Modernisation of the museums.
For the cultural heritage, work is organised along the following lines:
- Restoration of the major historic buildings and reopening or reorganisation of the main museums/ monuments/ archaeological areas at national level, backed up in many cases by the simultaneous organisation of cultural events (exhibitions, festivals, etc) at national or international level;
- Use of Community funds (Structural Funds) and of a proportion of lottery receipts; conventions on joint investment with the Regions and the local authorities;
- Protection of the landscape, as publicised via the National Conference on Landscape (Rome, October 1999);
- Promotion of reading and easier access for consulting documents at the State Archives (extension of opening hours);
- Greater stress on artistic production and contemporary architecture in opening the Centre for documentation and evaluation of contemporary art (a project awarded, on the basis of an international competition, to the architect Zaha Hadid);
- Improvement of visiting facilities for the museums, via an extension of opening hours and the introduction of more reception services, cafeterias, souvenir kiosks and bookshops;
- Development of the public/private relationship in the management of the cultural heritage, culminating in the adoption, in connection with the 1999 budget, of the law enabling full tax deductibility for donations by companies to cultural institutions.
On the performing arts, the institutional activity of the Ministry has yielded concrete results in the distribution of the FUS (Consolidated Fund for the Performing Arts), which reached, during 1999, a total of LIT 960 bn and has been steadily increasing over the last four years (the current budget provides for a total of LIT 1000 bn), 40% of which are used to finance opera houses. The rest of this public funding goes on activities such as film production and distribution, literature, dance, the circus and touring performing arts. Recently, the committees which decide on the allocation of this type of funding have had a facelift to increase the transparency of their activities. During the last few years, particular attention has been paid to amending the legislative instruments in this field so as to bring them into line with the rules in force in other European countries. The new laws on theatre and music are at the discussion phase. Experiments have also been made in the area of management and administrative autonomy for some organisations, through the privatisation of opera companies, the Venice Biennale and the National School of Cinema. The Ministry is also playing an important role in organising the activities of Cinecittà in order to promote the free circulation of films and the showing of Italian films in the cinemas.
The competences related to sport are essentially under the control of the CONI (Italian National Olympic Committee) which brings various sport federations under a single umbrella. A substantial reform has been carried out within CONI in order to make a better distinction between the role of the controlling and the controlled and also between CONI and the federations, given that the latter have legal personality. The composition of its two governing bodies has been modified in order to increase participation by the athletes and technical personnel in the work of CONI and the federations. With a view to greater public participation in sport, amateur sport associations have been encouraged. Italy has also given priority, extending to international level, to action against doping in sport.
2. Legislative and administrative procedure
2.1. General description of the system (role of the Minister, the Ministry, Parliament, the commissions and other bodies competent in the field)
The main institutions of the Republic which can have an influence on natural cultural policy options are the two houses of Parliament (the Chamber of Deputies and the Senate), in their role as legislators and as monitors of government activity; and the government itself, whose presidency and composition are determined by the political coalition having the majority in the Parliament.
The practice of widespread legislative delegation by the Government over the present parliamentary term has given the Ministry for Cultural Heritage and Activities an important role in relation to the proposal for major reforms in the sector (decentralisation and cooperation with the Regions and local authorities, organisational measures, public/private cooperation, tax incentives).
A significant role in the definition of legislative measures in the sector is played by the committees of the Chamber and the Senate ('Comm.VII'), in which laws related to culture and sport are subjected to prior scrutiny (and are in some cases adopted).
The Constitution provides for more radical forms of decentralisation to the Regions which have been as yet been implemented only partially. The five Autonomous Regions (Valle d'Aosta, Trentino-Alto Adige, Sicily, Sardinia and Friuli-Venezia Giulia) acquired, after World War II, exclusive or parallel legislative and administrative competences in certain fields specified in their respective regional statutes (among them antiquities and fine arts, protection of the landscape, museums and libraries). The three first-named today enjoy full autonomy concerning the cultural and environmental heritage.
The 'Ministero per i Beni e le Attività Culturali' (Ministry of Cultural Heritage and Activities) was created in October 1998 (DLGS 368/1998). Its creation brought together under one roof the competences and functions of the Minister for the Cultural and Environmental Heritage and those for performing arts and sport which at the time pertained to the Presidency of the Council of Ministers. Copyright and intellectual property were later added (DLGS 303/1999). In the context of the subsequent governmental reform, it was decided that in the next legislature the number of ministries would be twelve: the Ministry of Cultural Heritage and activities has retained its separate identity (DLGS 300/1999). Within this ministry, an important role will be played by the General Secretariat, the Council for the Cultural and Environmental Heritage, the technical and scientific committees and the Committee for the Performing Arts. The Ministry's staff plan will be defined by a ministerial regulation which is currently in process of approval. The Ministry will be comprise eight Directorates-General, divided up by areas of competence, the Regional Delegations, which will coordinate the activities of the existing local delegations (also divided up by areas of competence: archaeology, historic buildings and landscape, artistic and historic treasures), the national libraries and the State Archives. It will also be responsible for the development and coordination of relations with the local authorities.
2.2. Cultural competences at national, regional, local and municipal levels
The breakdown of competences between State, Regions and local authorities (as already defined in the Constitution, Articles 117 and 118) was reorganised completely by Dlgs 112/1998, Chapter V, Articles 147-157, in which it is stated that the State will have the responsibility concerning the functions and tasks of protection of the cultural and environmental heritage, whereas for the aspects of management, development and promotion the principle of coordination of the bodies concerned and of an optimal cooperation between State, Regions and local authorities has been established. The fifteen 'ordinary' Regions (which play an orientation and coordination role vis-à-vis the local authorities) are responsible for laying down rules concerning local museums and libraries, regional and urban planning, tourism and the performing arts, in accordance with the national legislation. The provinces and municipalities have administrative competence in the fields of protection of the environment, cultural heritage and development of tourism (Law 142/90, Articles 14-19). They are responsible for the management of the museums, libraries and archives owned by them, and promote cultural activities and events.
3. Cultural budget
3.1. Public budget in the cultural sector: breakdown into main areas and evolution over the last 10 years
3.2. Public expenditure on culture as a proportion of the total budget
The annual budget allocates specific funds for the management of the cultural heritage and activities according to the finance law (for the year 2000, Law 23, December 1999, No. 488). A decree of the Minister for the Treasury, the Budget and Economic Planning (D.M. 28.12.1999) allocated, for the year 2000, a total of approximately LIT 4070 bn, corresponding to 0.39% of the total state budget. In fact, whereas the amount allocated for performing arts and sport is about LIT 1313 bn, the expenditure planned for the cultural heritage (archaeological, architectural, environmental, historical and artistic heritage, libraries and archives) is LIT 2757 bn (0.26% of the total state budget) and includes expenditure on administration and personnel. The resources available are substantially increased thanks to the hypothecation of a percentage of lottery receipts (LIT 300 bn per annum since 1998, and, for 2001, 400 bn under the finance law), and also to the EU's cofinancing (under the Structural Funds) of many projects included in the programmes for the Objective 1 regions. The Community Support Framework allocates, for the period 2000-2006, LIT 2600 bn under the heading of cultural resources: national cofinancing raises this amount to LIT 5200 bn.
3.3. Public expenditure on culture broken down between national, regional, local and municipal levels
At this time, there are no exact figures on expenditure by the Regions, provinces and municipalities on the restoration, cataloguing, management of cultural services or promotion of cultural activities. A estimate has been attempted for 1980-1990 in the Report on the Cultural Economy in Italy (Association for Cultural Economy, Rome, 1994), which attributes about 63% to the State, 10% to the Regions, 2% to the provinces and 25% to the municipalities.
4. Support policy
4.1. Support policies to promote creativity (scholarships for artists, theatres, special events, etc)
Recently, the Ministry has assumed initiatives tending to encourage artistic creativity and contemporary architecture by promoting international competitions (e.g. for the seat of the Centre of contemporary arts in Rome and for the Audiovisual Museum), prizes for young artists and temporary exhibitions (Venice Biennale, Rome Quadriennale, etc). Moreover, a new draft law has been tabled for the promotion of the architectural and urban heritage.
For the performing arts, public support is provided through the FUS (Consolidated Fund for the Performing Arts), which allocated, for the year 2000, a total of LIT 970 bn and, for 2001, 1000 bn (broken down as follows:19% for the cinema, 16% for literature, 13% for music, 40% for the national opera houses).
4.2. Fiscal policy as an instrument of cultural policy (including performing arts and cultural events)
The applicable legislation, which has often been amended in its details, provides for tax allowances for individuals who invest in research, exhibitions or restoration activities related to the cultural heritage and who make donations to public institutions, as well as the possibility of paying death duties by donating objects of cultural value (Law 2.8.1982, No 512; see the consolidated income tax code - DPR 917/1986 - and the consolidated code on inheritance tax and donations - DPR 346/1990: updated as regards quotas by a number of financial laws). Some other facilities are foreseen for real estate owners, notably in the cases of the tax on the increase in value of property and the municipal property tax. There are special measures for non-profit associations (DLGS 4.12.1997, No 460, section 'ONLUS').
5. International relations
5.1. Brief overview
The Ministry is represented in all forums concerned with international relations in the field of cultural heritage and activities.
In agreement with the Ministry of Foreign Affairs, cultural relations are maintained with countries from all geographical areas of the world. One may cite the restoration work carried out in recent years in Xian, China, or the missions of experts who have been working recently in Macedonia in the wake of the Balkan conflicts.
Special attention is paid to the Mediterranean countries, with which there are already strong relations of cooperation and of exchange of technical know-how, either bilaterally or within such Community programmes as Euromed Heritage.
These relations will be developed further over the next few years.
5.2. Relations of public bodies with other EU Member States, non-EU countries, the EU institutions, the Council of Europe, UNESCO, etc
Relations with the other EU Member States are highly developed, both within the Union and at bilateral level.
5.2.1. With other EU Member States:
In the Community sphere, there is a strong convergence of points of view in different sectors. One may mention here Italy's determined initiative, taken together with France and Germany, which led, in cooperation with the IOC, to the 1999 Conference of Lausanne and, subsequently, to the creation of the World Anti-Doping Agency, which further developed its anti-doping action at the recent Sydney Olympics.
Another instance of convergence of views with the majority of Member States is the Media Plus programme, which should be approved for the next five years in 2001.
On a bilateral level, relations are very close. One may cite the recent agreements on film co-production signed with Germany and the French-speaking Community of Belgium, as well as the agreement with France which is to be signed on 6 November.
5.2.2. With non-EU countries:
Relations operate on the basis of cultural agreements whose protocols are subject to regular renewal.
5.2.3. With the EU institutions:
Relations are highly developed. The Ministry is represented by its officials in the working groups which meet regularly in Brussels to discuss diverse subjects. questions. With the European Parliament, exchanges with the Committee on Culture and with individual MEPs are very frequent. With the Commission, a permanent exchange of information operates, notably on the Community programmes in force.
5.2.4. With the Council of Europe:
Italy was a founder member of the Council of Europe in 1949. The Ministry participates actively with its own officials in the work of the Council of Europe's Culture and Heritage committees, which meet regularly in Strasbourg. Among the activities of the Culture Committee, particular attention is paid to projects for the development of cultural policies in eastern Europe and to those related to the impact of new technologies in the heritage sector. In the Heritage Committee, the Italian delegation has been one of the moving forces behind the European Convention on Landscape, which will be submitted for signature by the European Ministers of Culture in Florence on 20 October.
5.2.5. With UNESCO:
Italy is taking part in numerous projects supported by UNESCO. UNESCO's World Heritage list now includes 31 Italian sites, while others are currently being examined by the various committees with a view to their recognition.
6. The role of the private sector
6.1. The role of private initiatives in promoting creativity in Italy
The framework for private support for promoting creativity is a part of the more general picture, as described in point 4. It may be added, however, that sponsorship in Italy is mainly related to activities in the fields of conservation and restoration of cultural heritage. In recent years, nonetheless, there has been a change of approach, as private bodies have also become involved in the management and development of the heritage (see below).
It is quite impossible in Italy to offer a global picture of the contribution of private initiatives to supporting creativity, because no lists exist, nor are there any bodies which could play an institutional role in verifying or monitoring the relevant data.
6.2. Cooperation between public and private sectors
The institutional framework of responsibility for cultural policies suggests the primacy of the public (especially governmental) sphere over the others. Awareness within civil society of the notion of participation in choices over the management of the national cultural heritage is a relatively recent phenomenon, which has regained visibility as a by-product of tourist activity. Cooperation between public and private sectors can be subdivided into two main types, according to whether the activities involve commercial undertakings or non-profit organisations. Another current development is the privatisation of certain public entities, such as the Venice Biennale and some opera companies (see next point). Commercial undertakings, which in the past played a passive role confined to giving funds for the financing of restoration and/or conservation activities, are today more and more willing to take on an active and dynamic role in the management and development of the heritage. This approach has been facilitated by recent legislation which authorises participation by private companies in such activities as the management of cafeterias, reception facilities, ticket sales, souvenir kiosks and bookshops in the museums (Law 14.1.1993, No 4, Article 4), as well as the possibility of government participation in private companies which exist for the purpose of management and development of the cultural heritage (Legislative Decree of 20.10.1998, No 368, Article 10).
7. Current debate and future plans
7.1. Main recent issues in cultural policy
It is not easy to summarise the present wide-ranging and detailed debate, but certain salient points may be stressed, namely:
- The integration of all competences related to cultural heritage, performing arts, publishing and sport within a single ministry;
- The institutional distribution of competences for the protection, management and development of the cultural heritage between central government, the Regions and the local authorities, and the support policies for the cultural heritage and related activities carried out by the different levels of government in Italy;
- The privatisation of certain cultural entities and the outsourcing to private companies of certain services related to the management and development of the cultural heritage and related activities;
- Public support for contemporary creation and for performing arts (music, dance, theatre) and cinema;
- The reform of the internal organisation of the Ministry of Cultural Heritage and Activities (implementing regulation - DLGS 368/1998);
- The widening of the range of cultural possibilities offered and the policy of encouraging the cultural activity of an ever-wider spectrum of the public;
- The reform of the Italian National Olympic Committee.
7.2. Major changes expected in cultural policy for the future
Given the extent and the importance of the institutional and legislative changes of the last five years, as outlined above, a substantial change in the policies introduced in those years is unlikely to be on the cards. Nevertheless, one can imagine that the core issues for national cultural policy will be the following:
- A clearer division of labour between central government and the local authorities;
- Consolidated integration of public financial and economic resources (national and local) with private resources, and improved use of EU resources; negotiating of planning actions between the public sector (national and local) and civil society;
- Closer attention to public demand in the area of culture, as expressed by a growing number of citizens; improvement of user and communication services;
- Consideration of innovative management models for cultural institutions; this could include different forms of privatisation and experimentation with local and thematic networks;
- Relaunching of the policies for the protection and development of contemporary arts and the promotion of books and reading;
- Research into the forms of economic (and professional) development most suited to the cultural sector, given its role in Italy as a key tourist attraction.
LUXEMBOURG[17]
1. General objectives and principles
As a determining factor of every society, culture embraces simultaneously arts, literature, ways of life, fundamental human rights, value-systems, the capacity of thinking about oneself, creativity, the search for identity and the acceptance of the other. The practice of culture, seen in this way, can be a model for learning about life and it can protect against all kinds of fanatical attitudes.
The Government therefore wants to work in close cooperation with the public and private cultural sectors in order to improve our means and infrastructures in the fields of culture.
a) In order to promote artistic creativity, the Government will implement the law on the statute of the self-employed professional artist and of the occasional performer, as well as that on the promotion of artistic creativity, while also significantly increasing the value of grants for artistic creation. A social and cultural fund will be created and at least 1% of the budget for new public infrastructures will be invested in works of art. This law will undergo an evaluation, in cooperation with the bodies concerned, after having been in force for two years.
The Government will increase public orders from artists, develop support to production and take the necessary promotion measures.
It will continue to support, in line with the principles of subsidiarity and budgetary transparency, associations working in the fields of socio-cultural animation which strive to raise awareness to art and artistic creativity, in the hope of ensuring a balance between public and private initiatives. The Government will encourage new initiatives in contemporary music.
b) In order to improve access to culture for all, the Government will update the law of 28 December1988 concerning the state cultural institutions. The six sections of the Institute of the Grand-Duchy, predecessors of the cultural institutes, will have their place there. The activities of the National Centre for Literature and of the 'Casino Luxembourg, Forum for Contemporary Art', will be consolidated. The Government will encourage cooperation with other national and international cultural institutes and will support the decentralisation of their activities with a view to enhancing public awareness of the arts and scientific culture.
It has been decided to proceed as soon as possible to the adoption of the draft law amending the law of 18 July 1983 on the conservation and protection of historic buildings and sites. This will result in new rules governing advertising.
c) At the level of infrastructures, priority will be given by the Government to the construction of a concert hall with 1500 seats (a hall for chamber music with 300 seats being included) in Luxembourg-Kirchberg. The project of the new National Audiovisual Centre, together with a regional cultural centre and a regional music school in Dudelange will be completed. The project of an annex to the National Library will be realised, as will a restructuring of the head office at Boulevard Roosevelt/Rue Notre-Dame. The alterations to the National Museum of History and Art and the construction of the Grand-Duc Jean Museum of Modern Art, as well as the Fortress Museum, the Vauban Cultural Route, and the Cultural Meeting Centre in Neumünster will also be completed. The Government will commission an analysis of the possibilities of using the CFL rotundas in Bonnevoie for cultural purposes, in the context of a planning strategy to be developed jointly with the Luxembourg city council.
The Government will draw up a general plan for rebuilding the blast furnaces in Esch/Belval (a project has already been adopted to create a music area for young people within the former blowing hall). It will also draw up a project for establishing, in the same location, a Documentation Centre on the history of the national iron and steel industry and will consider the possibility of establishing rehearsal halls for young musicians.
Under its decentralised cultural policy, the Government will continue to give logistic and financial support to the regional cultural centres and other cultural premises, for their construction as well as for their management, and also to the municipalities.
d) In the conviction that the people of Luxembourg draw their cultural and material wealth from their capacity to confront the diversities of their own and others' culture in a spirit of unity, the Government will undertake the necessary measures to enable Luxembourg's society to guarantee the cultural identity of each of its inhabitants.
It will take concrete measures to improve the state of knowledge concerning the language and culture of Luxembourg. This will entail the production by the Permanent Council for the Luxembourgish Language of monolingual and multilingual Luxembourgish dictionaries and the establishment at the University Centre of a department of Luxembourgish studies (Luxembourgish language and literature and Luxembourg culture). Support will be given to efforts in other countries to increase awareness of the particular nature of Luxembourg culture. As regards national history, it will commission a manual on the recent history of the country and will arrange for a new, updated version of the exhibition on Luxembourg identity ('150 years of an independent Luxembourg'). The Government will speed up work on the reorganisation of the National Museum of the Resistance in Esch-sur-Alzette and the creation of the World War II Documentation Centre in Luxembourg city (Villa Pauly).
e) In the context of its policy of encouraging culture in the regions, the Government will submit to Parliament a draft law on the creation of a service for regional cultural activities and the establishment of a five-year equipment programme for regional cultural infrastructure.
It will create, within the Luxembourg Agency for Cultural Action, a cultural programming service to improve the coordination of cultural activities; it will extend the central ticketing system to the whole country and will draw up a national cultural calendar.
f) Artistic and cultural projects will be proposed in cooperation with the municipalities in primary and secondary schools: painting workshops, theatre workshops, musical activities, reading by authors, etc. A programme called 'Culture for young people' will be developed; it will include special weeks during which cultural institutions will be brought into the schools in order to develop, together with the educational services of the institutes, an awareness of art and scientific culture. Cooperation with the socio-cultural side of the national radio and with other media will be strengthened.
g) The Government has decided to survey new modes of intervention of the national cultural funds in order to promote sponsoring and to create new forms of financial support for the culture industries. Particular attention will be paid to requests for information on cultural statistics.
h) At the international level, the Government will increase its efforts to promote our artists abroad: under bilateral agreements, the Ministry of Culture will continue to send Luxembourg artists to different festivals and cultural events.
The Ministry of Culture will continue to negotiate, to sign and execute, together with the Ministry of Foreign Affairs, cooperation programmes under the bilateral agreements. The Government will examine the possibilities of adapting the existing agreements to the new European context, while also seeking to reach new agreements with additional countries.
i) A programme of events will be drawn up to celebrate the year 2000 and the beginning of a new millennium.
2. Decision-making and administration
The Ministry for Culture, Higher Education and Research is the central administration in charge of the cultural promotion and stimulation of the arts. Its functions are of a diverse nature:
a) General administration
b) Coordination of the activities of the cultural centres and their partners:
- National Museum of History and Art
This museum holds a collection in the fields of archaeology, fine arts, numismatics, weapons the history of the fortress, and popular and industrial arts. It is located in the heart of the old town.
- National Museum of Natural History
Established in the former Hospice St Jean in Luxembourg-Grund, the new museum opened in the autumn of 1996. It has seven sections: zoology, botany, ecology, anthropology, palaeontology, geology and geophysics.
- National Archive
The role of the Archive is to collect, classify, register and evaluate the archive documents from a historical perspective.
- National Library
This is the largest educational library in the country. It has three functions: it is Luxembourg's museum of the printed word; it is an encyclopaedic library, offering readers some 700 000 books covering all subject areas; and, since 1989, it has operated as the national ISBN agency, attributing book identification numbers to Luxembourg publishers and carrying out verification and cooperation activities jointly with the international bodies.
- Service of National Historic Buildings and Sites
As its name indicates, this service is responsible for listed buildings and historic sites at national level. It also handles the supplementary inventory of all buildings of archaeological, artistic, aesthetic or scientific interest which are considered to merit preservation.
- National Audiovisual Centre
The task of this institution is to conserve, restore and evaluate the audiovisual heritage of Luxembourg. It also deals with copyright on audiovisual works. It promotes the work of professional art photographers and enhances public awareness through training courses. It further produces studies, reports, portfolios and other publications of a documentary and cultural nature.
- National Centre for Literature
The National Centre for Literature is situated in Mersch, in an impressive eighteenth-century building known as 'Maison Servais'. It is a centre for documentation and research for Luxembourg literature from 1815 to the present day, and a forum for social and cultural activities related to books and reading.
- 'Casino Luxembourg, Forum for Contemporary Art'
Run as a private foundation, the Forum for Contemporary Art has the mission of displaying present-day art in all its diversity and complexity, as well as providing information and background data to enable the public to understand contemporary art and its challenges, thus offering as many people as possible the opportunity to become acquainted with it and discuss it.
- The European Institute for Cultural Routes
Luxembourg has actively participated from the beginning in the Council of Europe's 'cultural routes' programme (with regard to the rural habitat in Luxembourg and the larger region), and has created a 'heritage route', the 'Circuit Wenzel', as well as an industrial itinerary, organised jointly with its partners from the SARLORLUX region (Saarland-Lorraine-Luxembourg). For after the programme as such had finished and therefore needed to be transformed into a routine activity, Luxembourg had put itself forward to host certain institutional functions within the framework of a convention with the Council of Europe. It therefore became necessary to establish a series of external relations for this service activity, in order to ensure more dynamic networks and secure a better diffusion of the project and its results. This was the origin of the idea of creating a European Institute for Cultural Routes, which could operate jointly with the existing Cultural Centre located in the former Abbey of Neumünster (Luxembourg).
The Institute was inaugurated on 1 July 1997 in the Tour Jacob, which had been restored and equipped for that purpose by the Ministry. The administrative arrangement between the Secretary-General of the Council of Europe and the President of the non-profit-making association 'European Institute for Cultural Routes', containing the terms and conditions of the Institute's contract with the Council of Europe and the details of the financial contribution by the Council of Europe, was signed on 9 June 1998. In 1999, the relations between the Institute and the Grand-Duchy of Luxembourg definitively assumed the form of a contract: a convention of financial support was signed to the sum of LUF 2 500 000. The Council of Europe's financial contribution is LUF 1.5 bn.
The success of the initiatives under this programme is becoming more and more evident with time. An increasingly diverse range of subject-matter is being covered. The number of initiatives concerning cultural tourism for which the Institute's services are requested and the number of countries involved are continually growing.
c) Socio-cultural activities
- Regional cultural activities:
In pursuit of its policy of cultural decentralisation, the Ministry for Culture, Higher Education and Research has opened regional cultural centres in the North (Diekirch), in the South (Esch-sur-Alzette) and in the East (Mensdorf). The municipalities and the government have started a programme of renewing the cultural infrastructure, building new equipment and modernising existing infrastructures in order to respond to an increasing demand.
The regional cultural centres have the task of helping the municipalities in the realisation of cultural and architectural concepts and in implementing financial and planning arrangements.
A regional cultural organiser is, among other things, a cultural coordinator for an entire region. He has to be the link between the different municipal cultural committees; in addition, it is his task to defend the interests of the region, to coordinate activities and to secure lasting synergies.
Finally, this action has to contribute to the realisation of a regional cultural development programme, to be established by the Government together with the municipalities.
- The 'Bookbus' service
Two library buses travel around the country, and the number of books thus lent is steadily increasingly.
- The 'Museum Bus 2000'
The mobile museum of the National Museum of History and Art is an invaluable means of promoting knowledge and raising the profile of the natural heritage.
- Larochette cultural and social centre
This centre offers the children of the region of Larochette various activities: creative workshops, a toys and games lending centre, a video library and help with homework.
Public institutions
a) National Cultural Fund
Under the name 'National Cultural Fund', the Government has created a public institution having legal personality.
This Fund receives, manages and uses, for the benefit of the recipient institutions (Institute of the Grand Duchy, University Centre of Luxembourg, National Museum of History and Art, National Museum of Natural History, National Library and municipal libraries, National Historic Buildings and Sites Department, recognised cultural associations of public interest), donations from public and private sources made with the aims of:
- promoting art and sciences
- preserving, restoring and appropriately classifying the national cultural and historical heritage (both buildings and movable objects).
b) National Fund for the promotion of audiovisual creation
This Fund is a public institution with the mission of promoting cinematographic and audiovisual creativity in Luxembourg and encouraging the production, coproduction and distribution of works in this field.
c) 'Grand-Duc Jean Museum of Modern Art' Foundation
The 'Grand-Duc Jean Museum of Modern Art' Foundation, established by the Government on 31 July 1998 under the law of 28 April 1998, exists to create and administer the Grand-Duc Jean Museum of Modern Art.
The relationship between the government and the foundation is governed by the framework convention establishing the conditions and arrangements for support from the State to the 'Grand-Duc Jean Museum of Modern Art Foundation', signed on 23 July 1999.
The permanent management of the Foundation is delegated to its artistic and administrative board. 1999 was its first full working year, during which it established its operational and administrative structures and acquired state-of-the-art computer equipment and furnishings.
Since June 1999 the Foundation has been an institutional member of ICOM (the International Council of Museums).
c) Henri Pensis Foundation
Since 1996 the RTL Symphony Orchestra has been run by the Henri Pensis Foundation, named in honour of its founder and first conductor. The Luxembourg Philharmonic Orchestra is playing an important part in the musical activity of the Grand Duchy. Its activities have included two cycles of concerts, exchanges with orchestras from other countries and cooperation with other cultural associations (Soirées de Luxembourg, the Lëtzebuerger Gesellschaft fir nei Musek [Luxembourg New Music Society] and the Echternach and Wiltz Festivals).
d) Neumünster Abbey
This is a place for creativity and cultural debate in the spirit of the Cultural Centres network. Neumünster Abbey will offer a broad forum for intercultural dialogue and exchange. It will encourage the sharing of experiences, support transnational projects and develop cooperation between cultural agents of different origins. The Neumünster Cultural Centre will be a public institution; a support committee has been formed, and within a few weeks from the time of writing an international patronage committee will be in place. A three-person mini-team will prepare the unveiling of the project, which is scheduled for August. The Centre is expected to open in 2002.
Scientific Societies
The Institute of the Grand Duchy is a private research body whose members are co-opted. It consists of six sections:
- History,
- Natural sciences, physics and mathematics,
- Medical sciences,
- Linguistics, folklore and toponymy,
- Arts and literature,
- Moral and political sciences.
The Luxembourg Agency for Cultural Action (ALAC)
Created after the success of Luxembourg's 1995 stint as European Capital of Culture, the ALAC has on its board of directors representatives from the Ministry of Culture, Higher Education and Research, the Ministry of Foreign Affairs, the Ministry of Finance, the Luxembourg Tourist Information Office and the City of Luxembourg. It is financed by subventions from the national government and the City of Luxembourg and from its own resources. The objectives of the ALAC are to maintain the synergies between government and city, to advise the authorities, the institutions, the associations and the artists, to organise the collection and dissemination of cultural information, and to contribute to the promotion of Luxembourg culture abroad. In addition, it is occasionally entrusted with ad hoc tasks by Luxembourg institutions in response to particular needs.
3.Cultural budget
|Budget for 1990 | |
|ordinary budget*: |395.759.000.- |
|extraordinary budget: |120.000.000.- |
|Total amount: |515.759.000.- |
(The department for scientific research was the responsibility of the Ministry of Cultural Affairs over the period 1900-1992: LUF 140.723.000 were within the ordinary budget and have been deducted from the total amount: 536.482.000 - 140.723.000=395.759.000)
|Budget for 1991 | |
|ordinary budget*: |510.716.000.- |
|extraordinary budget: |152.100.000.- |
|Total amount: |662.816.000.- |
(see note for 1990 budget )
|Budget for 1992 | |
|ordinary budget*: |574.182.000.- |
|extraordinary budget: |174.100.000.- |
|Total amount: |748.282.000.- |
(see note for 1990 budget )
|Budget for 1993 | |
|ordinary budget: |626.893.000.- |
|extraordinary budget: |232.000.000.- |
|Total amount: |858.893.000.- |
|Budget for 1994 | |
|ordinary budget: |719.844.000.- |
|extraordinary budget: |230.000.000.- |
|Total amount: |949.844.000.- |
|Budget for 1995 | |
|ordinary budget: |882.763.000.- |
|extraordinary budget: |260.000.000.- |
|Total amount: |1.142.763.000.- |
|Budget for 1996 | |
|ordinary budget: |1.052.775.000.- |
|extraordinary budget: |336.000.000.- |
|Total amount: |1.388.775.000.- |
|Budget for 1997 | |
|ordinary budget: |1.133.229.000.- |
|extraordinary budget: |406.000.000.- |
|Total amount: |1.539.229.000.- |
|Budget for 1998 | |
|ordinary budget: |1.309.984.000.- |
|extraordinary budget: |446.000.000.- |
|Total amount: |1.755.984.000.- |
|Budget for 1999 | |
|Ordinary budget: |1.666.815.000.- |
|Extraordinary budget: |387.000.000.- |
|Total amount: |2.053.815.000.- |
Total amount of the 1999 budget of the Ministry of Culture compared with the total budget: 2.053.815.000- out of 179.814.542.000.- = 1.14% of the total budget
|Budget for 2000 | |
|ordinary budget: |1.902.305.000.- |
|extraordinary budget: |455.000.000.- |
|Total amount: |2.357.305.000.- |
compared with the total budget: 2.357.305.000 out of 194.106.919.000 = 1.21% of the total budget
Evolution of the draft budget for 2000 compared with the 1990 budget: an increase of LUF 1.851.546.000 (= + 257.06%)
Expenditure adopted for culture in the national budget for 2000 (ref. A 148)
Ministry of Culture: ordinary budget 1.902.305.000.-
Ministry of Culture: extraordinary budget 455.000.000.-
Ministry of the Interior 203.080.000.-
(Art. 09.1.43.003: Breakdown of the participation of all municipalities in financing musical education (p. 2768))
Ministry of Public Works
22.5.72.012 (construction and transformation, etc, for cultural purposes only:
47.000.000 - 8.500.000 = 38.500.000 - (p. 2876)
22.5.74.082 (purchase of furniture, etc:
22.500.000 - 10.500.000 (p. 2877) = 12.000.000,-)
Fund for administrative public investments: 753.600.000.-
52.3.93.000 (p. 2903)
BN: conversion of cellars : 5.6 m
MNHA: Fapral warehouse: 48 m
MNHA: equipment: 100 m
Neumünster Cultural Centre: 330 m
BN: Kirchberg annexe: 150 m
Bonnevoie: 50 m
Concert hall for young people: 70 m
Note: These figures do not include expenditure on the construction of the Grand-Duc Jean Museum of Modern Art (law of guarantee).
Total expected expenditure on culture (Ministry of Culture + Ministry of the Interior + Ministry of Public Works) under the national budget for 2000: LUF 3.361.985.000.
Total expected state expenditure (ordinary and extraordinary): 194.106.919.000 LUF. Percentage of expenditure on culture within total budget: 1.73%.
4. Financial aid policy
- Scholarships for artistic creativity
In order to stimulate artistic creativity and support professional artists, a number of scholarships have been available since 1990 for professional artists, especially those at the beginning of their careers, in the fields of literature, plastic arts, performing arts, music, photography and cinema.
On the request of those concerned and after verification of the compatibility of the application with the terms of the ministerial regulation of 8 January 1990 on the support for artistic creativity, self-employed artists may receive a certain number of monthly payments enabling them to have a financial base permitting them to dedicate themselves to their creative projects with less constraints.
The law of 30 July 1999 concerning:
a) the status of the self-employed professional artist and the occasional performer and
b) the promotion of artistic creativity states in its Article 9 that scholarships
may be granted to professional or non-professional artists upon application and within the limits of the available budget appropriations, as a means of support for artistic creativity or a means for professional development and retraining.
- The law of 30 July 1999 concerning:
a) the status of the self-employed professional artist and the occasional performer; and
b) the promotion of artistic creativity
Since the adoption of this law, four Grand-Ducal regulations on its implementation have been issued (see implementation of the government declaration, p.5).
- Cultural leave
The law on cultural leave adopted on 20 April 1994 states in its Article 1:
'A form of special leave called cultural leave has been established in the interest of the persons defined hereinafter by the term "cultural agents", i.e. prominent creative and interpreting artists, experts in the field of culture and representatives of federations, unions and associations of cultural workers resident in the Grand Duchy and practising their cultural activity additionally to a paid or self-employed activity or a liberal profession.'
A period of cultural leave may be requested by means of a written application addressed to the Ministry for Culture, Higher Education and Research, to be submitted at least three months in advance. This request must contain a short description of the artist's career, a copy of the invitation and, for events of a commercial nature, a copy of the contract of engagement sent by the organiser to the applicant or to the organisation of which he is a member.
- Subsidies
Every year, the Ministry for Culture, Higher Education and Research supports a large number of cultural activities and events through subsidies. The questionnaire, prepared by the Ministry and sent to the persons or associations asking for financial support, gives a good overall view of matters and contributes the optimal promotion of culture in Luxembourg.
• Associations which have signed a convention with the Ministry of Culture
A large number of associations in the areas of fine arts, cinema and photography, multidisciplinary creativity, literature, music, heritage, science, socio-cultural activities, the theatre and cultural journals are beneficiaries of a convention signed with the Ministry of Culture.
• The National Cultural Fund
This fund also allocates aid to cultural projects. It is necessary to make the difference between sponsorship (where monies are made available to the Fund in return for a tax deduction pursuant to the law of 1982) and the promotion of various cultural categories by means of the Fund's own resources.
5. International relations
A. Bilateral cultural relations
The Ministry is responsible for cultural promotion abroad, in close cooperation with the Luxembourg embassies.
The numerous cultural agreements which Luxembourg has signed (at present 24) with partner countries mainly concern the areas of education and science, culture, youth and sports. They provide for exchanges of experts and postgraduate scholars, access to universities, study and specialisation grants, and the organisation of exhibitions and cultural events. For example, the Ministry for Culture, Higher Education and Research has dealt with 64 dossiers of students from non-EU countries staying for an extended period in Luxembourg.
The institutions at which these students have registered are the University Centre of Luxembourg and its Public Research Centre, the Conservatories of Music in Luxembourg and Esch-sur-Alzette, and the Institute of Higher Technology and the Language Centre in Luxembourg.
B. Multilateral cultural relations
1. Within the wider region SAAR-LOR-LUX (Saarland-Lorraine-Luxembourg):
Luxembourg cooperates regularly with the Saarland, Lorraine, Rhineland-Palatinate and the Belgian province of Luxembourg within an interregional commission set up by an intergovernmental treaty in 1971. This commission is responsible for the development of the common cultural heritage, finances joint cultural structures and organises symbolic actions in all the arts.
Robert Schuman Choir and INECC
INECC (the European Institute of Choral Singing) is a crossborder institute dedicated to the human voice in all its facets. In 1998 INECC set up the Robert Schuman Choir. This choir consists of young people aged between 16 and 26 from Lorraine, Luxembourg, the Saarland and Wallonia.
2. Within the European Union:
The Ministry of Culture participates actively in the meetings of the Committee on Cultural Affairs, which assists the Council of Culture Ministers, as well as in the numerous meetings of experts which take place as part of the complementary events organised by the successive EU presidencies.
Thus, the Ministry of Culture attends the meetings of the Council of Culture and Audiovisual Ministers of the European Union twice a year. Before these meetings, there is generally an informal meeting of the culture and audiovisual ministers in each of the two Member States which hold the Council presidency in a given year.
Here we must add that the former Community programmes for cultural cooperation, ARIANE, KALEIDOSCOPE and RAPHAEL, have now been replaced by the framework programme known as 'Culture 2000'.
This programme comprises three actions:
- An action for the realisation of specific and innovative actions in the cultural sphere;
- An action for the establishment of structured multiannual agreements on transnational cultural cooperation;
- An action for the realisation of special cultural events having an European and/or international dimension.
A cultural contact point: the Europe-Luxembourg Cultural Network
Luxembourg has initiated the establishment of a cultural contact point which will become fully operative in the course of 2000. The organiser will provide, on a national level, information about the cultural activities of the EU and will give information to candidates for the various Community cultural programmes. In this way, it is hoped that the quality of the projects will improve and less candidates will be refused.
3. With the world French-speaking community ('la Francophonie'):
As this area now falls within the field of responsibility of the Ministry for Culture, Higher Education and Research, Mrs Erna Hennicot-Schoepge participates in the summits of the world French-speaking community.
4. With the Council of Europe:
The delegation of the Ministry for Culture, Higher Education and Research participates regularly in the meetings of the Council for Cultural Cooperation (CDCC) and in the Culture Committee of the Council of Europe.
5. With UNESCO:
Of particular importance is the National Commission for Cooperation with UNESCO. This body was restructured by a ministerial decree of 26 November 1984. It now depends on the Ministry for Culture, Higher Education and Research.
The responsibilities of the National Commissions for UNESCO are defined in UNESCO's constitution.
According to its Article VII, the National Commissions' responsibilities are the following:
- 'associating [the] principal [national] bodies interested in educational, scientific and cultural matters with the work of the Organisation';
- 'act[ing] in an advisory capacity to their respective delegations to the General Conference, to the representatives and alternates of their countries on the Executive Board and to their Governments in matters relating to the Organisation'; and
- 'function[ing] as agencies of liaison in all matters of interest to [UNESCO].'
The National Commission for UNESCO is also actively involved in the meetings and activities of UNESCO in Paris.
6. The role of the private sector
Traditional sponsors, especially the banks, are today increasingly operating an autonomous cultural and artistic policy, but we have to state that this is accompanied by a clear disengagement in other fields. Of course, one must welcome the formation of collections of paintings or photographs and the organisation of prestigious concerts, but, equally, one cannot help noting that cultural workers at ground level are no longer supported, or are barely supported, by those who would once have been their benefactors.
The National Cultural Fund has effectively become a kind of social agency for culture. Its financial resources are modest: its income comes partly from a proportion of lottery receipts, via the 'Grand-Duchess Charlotte' Organisation for National Assistance, and partly from private sponsors (donations under the law of 1982).
The coalition agreement of August 1999 stated that the government will endeavour to devise new forms of intervention by the National Cultural Fund, in order to promote sponsorship and establish new financing systems.
THE NETHERLANDS[18]
1. General objectives and principles
The constant factors in Dutch cultural policy are safeguarding the best forms of cultural expression and ensuring multiformity within cultural and historical traditions and artistic expression.
In the latter case, the state has been called upon to equip ideologically or geographically defined communities with the authority and funds allowing them to maintain their own cultural facilities. This is the way in which state involvement developed in broadcasting, in amateur artistic activity, public libraries and also regional museums. The guiding principle has always been to respect or to foster geographical and ideological multiformity. This approach mainly produced forms of cultural expression which reflect the tastes and preferences of groups within society which, for a long period of time, were divided from one another into separate 'pillars'.
The state was called upon to support works of high artistic and historical quality, works which transcended ideological or geographical divisions. In this context, the main requirement was not representation but the wish to confront people with unusual or unfamiliar cultural achievements. The necessary powers and funds were generally not granted to organisations of participants but to institutions whose task it was to produce or to preserve. It was not the size of the group of cultural 'consumers' or sympathisers which was of greatest significance, but the quality of the work as determined by experts. This tradition is reflected in national policy for the various artistic disciplines and for museums and historic buildings and sites of national importance. In this way, support was provided primarily for forms of artistic expression which did not mirror the dominant preferences in terms of numbers, forms which deliberately put some distance between themselves and such preferences and were thus able to gain a certain measure of distinction. This changing pattern of searching for distinction while guaranteeing representation or to put it differently promoting quality while fostering diversity is the central element of Dutch cultural policy.
There was and still is broad consensus on the legitimacy of public support for culture. This is largely because a general cultural climate has been nurtured which places great emphasis on individual freedom of expression in the broadest sense of the words. A second subject of broad, principled agreement is diversity. The struggle for multiformity has led to a large measure of tolerance within Dutch society, with encouragement being given to a broad spectrum of divergent cultural interests. A third important factor is the way in which the quality principle has become an important component of cultural policy over the past few years, something which reaches back to the earliest foundations of specific cultural policy. The fourth and final widely supported principle of Dutch cultural policy has to do with restraint on the part of the state with respect to matters of cultural policy. This principle is not without its paradoxes. In order to fulfil its task of advancing civilisation, the state must select but at the same time should not and does not wish to make value judgements of its own. To avoid this dilemma, it delegates the selection process. Over the past forty years, an advisory procedure has been instituted; before the Ministry reaches a decision, it consults a number of experts or an advisory body. In practice, where actual content and quality are concerned, the advice given is almost always followed.
2. Policy decision-making and administration
2.1. Overall description of the system:
Subsidy system
The policy cycle associated with the cultural policy document essentially brings the government's overall cultural policy up for review once every four years. The review is not limited to the principles of cultural policy but extends to the financial impact on the different sectors and institutions.
Before the introduction of the Arts Plan and the Cultural Policy Document, all subsidies were determined by the State Secretary for Culture on an annual basis. The purpose of the four-year subsidy cycle is:
- To make the cultural budget more flexible by eliminating the automatic allocation of annual subsidies to established institutions, and by subjecting these institutions to a comprehensive and simultaneous analysis once every four years;
- To offer the institutions a certain measure of continuity by furnishing a four-year subsidy with a basis in the law;
- To make government procedures more transparent by forcing both the national government and the institutions to articulate and defend their policies more than they had in the past.
Every institution is free to submit a new subsidy application for each new period, but the fact that it has already received a subsidy does not mean that it will continue to do so. In actual fact, however, it would be unrealistic in the case of certain institutions to raise the question of survival every four years, although the size of the subsidy and the contents of the policy plan remain open to debate even if the relevant institution counts as one of the 'crown jewels', for example the Royal Concertgebouw Orchestra or the Rijksmuseum. Neither can the national government simply abandon institutions which have a basis in law or facilities which house valuable collections assembled with public funds, for example the Netherlands Film Museum in Amsterdam.
Subsidy categories
There are two categories of subsidy in the Ministry's present system: the long-term subsidy and the incidental subsidy. Long-term or 'structural' subsidies are awarded to institutions which form an essential and therefore indispensable part of Dutch culture, or which are likely to make a major, but essentially temporary, contribution to artistic practice in the Netherlands. Incidental subsidies are awarded for temporary projects or one-off activities, and come almost exclusively from the various funding bodies.
Policy plan
Cultural institutions applying for a structural subsidy are required to submit an application a year before the start of a new cultural policy period. The application must include a policy plan for the coming period. The Ministry forwards the applications to the Council for Culture and requests its opinion, with the final decision being taken no later than thirteen weeks before the start of the next period. The policy plan must provide a complete survey of the institution's artistic or substantive goals for the next four years. It must also analyse its policy during the previous period. Each plan is accompanied by a budget of incomings and outgoings for the period ahead.
The policy plan is important to both the institutions and the national government. It forces the institution to formulate basic principles and realistic goals and to be systematic in its approach. It functions as a touchstone for government during the subsidy decision-making process and when it comes to the time to evaluate the results, both during and after the end of the subsidy period.
By setting general and special subsidy conditions, the national government forces the recipients to work towards its cultural policy targets. These conditions are related to the quantity and quality of production, to dissemination and public scope, to the quality of financial management and, after the fact, to the way financial and artistic aspects are accounted for. The Council for Culture is responsible for assessing the artistic merit of the plans in the preliminary phase and the quality of the results afterwards.
Activity plans
Once the State Secretary for Culture has allocated a subsidy, the relevant institution is obliged to submit an annual activity plan stating how the basic principles of its policy plan are to be implemented for a one-year period.
Once the institutions have implemented their policy plans in the form of concrete activities, the Council for Culture has another major task throughout the four-year period: it must keep an eye on the artistic side of these activities and analyse them intermittently. The analyses serve two purposes: they verify that the institution is actually doing what it promised to do in its policy plan, and they influence the decisions taken on any future subsidy applications.
The State Secretary for Culture also checks whether and, if so, to what extent the institution is keeping to the policy plan as approved. In the event of a major deviation from a plan halfway through, the State Secretary for Culture may decide to withhold part or even all of the subsidy.
Budget financing
The system of allocating four-year subsidies essentially gives the institutions more leeway in determining their artistic and business policy. The institution has a considerable measure of freedom in implementing its policy plan, as long as it does what it promises to do in the plan. For example, an institution may decide to save up during the first two years of a subsidy period in order to undertake extra activities in the third year. It is now also possible to compensate shortfalls in a particular year or season with surpluses in others, provided that the operational budget balances out over the entire subsidy period. This system, known as budget financing, places more pressure on the artistic and business management; after all, the institution is not only expected to develop a mid-term to long-term policy but it is also held accountable for the final results. Whereas the government used to make up operating deficits (as well as reclaim any surpluses), it now no longer does. Having been assigned the role of entrepreneur, institutional managers are now also expected to do everything possible to give their business a solid financial basis. They should be able to absorb business setbacks on their own.
Objections and appeal
According to the General Administrative Law Act (Algemene Wet Bestuursrecht), any interested party (usually an institution) which does not agree with a decision taken by the Minister or State Secretary must submit a notice of objection to this decision before bringing appeal proceedings. The notice of objection must be submitted to the individual who has taken the decision. The interested party will be examined about the notice of objection.
Once a decision on the objection has been taken, the interested party may bring an appeal against it before the court. The time and place of the appeal are announced in the decision on the objection.
Minister and ministry
The state's involvement in culture in the nineteenth century was concentrated in the hands of the monarch in the first half of the century and in the hands of the Minister of the Interior in the second. From 1919 onwards, however, it was the Ministry of Education, Arts and Science which assumed responsibility for the nation's policy on the arts and culture. The Ministry was reorganised in 1965, with the arts, antiquities, nature conservation, broadcasting and libraries being separated from education and science and henceforth regarded as 'extracurricular cultural activities'. These activities were classified under the heading 'culture' and merged into the new Ministry of Culture, Recreation and Social Work. The founding of this Ministry coincided with the expansion of the welfare state. According to the Minister at that time, the new Ministry was 'an expression of the growing realisation that provisions to stimulate prosperity had to be accompanied by provisions for cultural and social well-being'.
In 1982, the Ministry of Culture, Recreation and Social Work and part of the Ministry of Social Affairs and Public Health were merged to form the Ministry of Welfare, Health and Cultural Affairs. The new Ministry distanced itself from the ideology of well-being which had prevailed in the sixties and seventies; by then, culture had come to be viewed more as a separate state concern. This perspective was thrown into even sharper relief in 1985, when a single directorate-general assumed responsibility for policy on the media and on the creative and performing arts, museums, historic buildings and sites, archives, and international cultural policy. Libraries were added to this list four years later. One of the fundamental conditions for a coherent cultural policy had been met.
It was in this construct that responsibility for 'cultural policy' reverted in 1994 to the Ministry from which it had been pried in 1965, giving rise to the present Ministry of Education, Culture and Science. Culture has become part of the portfolio of one of the Ministry's two State Secretaries. The Ministry has given a new impetus to cultural education. In keeping with the organisational model adopted by the former Ministry of Education and Science, the separate Directorate-General for Cultural Affairs was abandoned as of 1997. The remaining cultural departments are now the responsibility of the Director-General for Culture and Employment Terms, who is a member of the Executive Council. Professional arts education traditionally falls under the Higher Vocational Education Directorate, and along with culture forms part of the portfolio of the State Secretary.
Parliament
In parliament, issues in the field of culture are the responsibility of the culture committee of which representatives of all the political parties in the parliament are members. Together they decide on proposals from the State Secretary.
Advisory committees
The Dutch government takes very few decisions on the arts and culture without first consulting a committee of independent experts on the subject. This practice is in line with two concepts, each based on a question of principle: the concept that the national government should devote as much effort as possible to the main lines of policy, and the concept that the national government should not be involved in assessing artistic or cultural merit. The task of the external advisors is to underpin policy decisions by providing explicit arguments. The external experts furnish different types of advice:
- Policy recommendations;
- Advice regarding the most desirable distribution of a budget over various sectors or disciplines;
- Advice regarding specific subsidy applications assessment of quality is generally an important element of this advice;
- Selection of candidates for the award of a prize or honorary stipend.
Even before the national government revised the advisory structure in 1997, the external advisory process was given a firmer footing by the establishment of a single advisory body for culture. Known as the Council for Culture (Raad voor Cultuur), it superseded the Arts Council (Raad voor de Kunst, founded in 1947; established by law in 1955), the Cultural Heritage Council (Raad voor het Cultuurbeheer, which in turn consisted of several bodies involved in cultural heritage; established in 1991), the Media Council (Mediaraad) and the Advisory Council for Libraries and the Dissemination of Information (Raad van Advies voor Bibliotheekwezen en Informatieverzorging, RABIN). Unlike the procedure which applied to these former councils, the administrators responsible for policy are no longer obliged to solicit the advice of the Council for Culture or any other advisory body. This is one of the changes introduced in the new advisory structure. The only exceptions are new legislation, when the Council of State (Raad van State) must be consulted, and socio-economic issues, for which administrators must seek the advice of the Social-Economic Council (SER).
Despite this, it is still customary to consult the Council for Culture, not only about the main lines of policy, but also and unlike in the case of the other advisory bodies about any cultural institution which applies for a long-term subsidy. The council judges them on their artistic merit or on the cultural and historical significance of their intended activities. With 25 Crown members, including the chairman, the Council for Culture is larger than most of the government's other advisory bodies. The council's various committees also include external members appointed by ministerial decree. Applications for incidental subsidies are dealt with by the funding bodies, which are discussed in a later section.
The Council for Culture does not advise on the budget, although the financial scope must obviously be uppermost in its mind. The council's recommendations are of considerable influence, but the ultimate decision-making power lies with the administrators. The Minister or State Secretary responsible must, after all, often take a broader view than artistic merit alone.
Temporary advisory committees
In addition to the advisory structure described in the foregoing, the State Secretary for Culture frequently appoints external advisory committees. Such committees are set up to advise on politically and administratively sensitive re-organisational issues. This is often the case in the performing arts and the broadcasting system. Some examples of temporary committees for the performing arts are the Landelijke Werkgroep Orkestenbestel (National Working Party for the Orchestra Sector, the Landelijke Werkgroep Dansbestel (National Working Party for the Dance Sector), the Batenburg Committee and the Commissie Landelijk Toneelbestel (National Committee for the Theatre Sector). Recent years have seen the publication of advisory papers on the media sector by the Donner, Van der Zwan and Ververs committees.
Funds
An important part of cultural policy is now implemented through cultural funds, which operate as independent administrative bodies. The current funding bodies take the form of a foundation, but this has had no effect on their private-law character. The national government's responsibility goes no further than furnishing monies and determining the specific conditions under which the fund in question must operate. The authority to allocate subsidies from the annual budget is delegated to the funds' boards. Parliament has the final word when it comes to the size of the budget. The State Secretary for Culture's monitoring task is generally restricted to laying down the articles of association and the rules describing how subsidies are to be allocated. The Council for Culture assists the State Secretary for Culture in this task, but the State Secretary for Culture does appoint all board members himself and he monitors the board's policy.
The creation of such funds has streamlined the procedure for allocating subsidies to individual artists or art institutions. Subsidy applications require the competent authority to take numerous similar decisions on matters of artistic merit. The State Secretary for Culture used to consult the Council for Culture or another permanent advisory body on such questions, but in the current system it is the board of the relevant fund which is responsible for assessing quality and handling the financial side. The boards generally also call in external experts to advise them on matters of quality. At present the following funds are in effect:
- The Fonds voor de Letteren (Literature Fund, 1969);
- The Bedrijfsfonds voor de Pers (Press Industry Fund, 1974);
- The Fonds voor de Scheppende Toonkunst (Creative Music Fund, 1982);
- The Fonds voor Beeldende Kunsten, Vormgeving en Bouwkunst (Fund for Visual Arts, Design and Architecture, 1987);
- Stimuleringsfonds Nederlandse Culturele Omroepproducties (Dutch Cultural Broadcasting Productions Promotion Fund, 1988);
- The Fonds voor Bijzondere Journalistieke Projecten (Fund for Special Journalistic Projects (Fonds voor Bijzondere Journalistieke Projecten, 1990);
- Nederlands Literair Produktie- en Vertalingenfonds (Netherlands Fund for Literary Production and Translation, 1991);
- Fonds voor de Podiumkunsten (Performing Arts Fund, 1993);
- Mondriaan Stichting (Mondriaan Foundation, 1993);
- The Stimuleringsfonds voor Architectuur (Architecture Promotion Fund, 1993);
- The Nederlands Fonds voor de Film (Dutch Film Fund, 1993);
- The Fonds voor het Bibliotheekwerk voor Blinden en Slechtzienden (Fund for Libraries for the Visually Handicapped, 1995);
- and finally, the Fonds voor de Amateurkunst (Amateur Art Fund), which was founded in the autumn of 1997.
2.2. Competence at national, regional, local and municipal levels.
The distribution of tasks between the state, the provinces and the municipalities has been a subject of debate since the early seventies. The debate was prompted by the central government's efforts to transfer a large number of tasks including responsibility for cultural policy to the local authorities for reasons of efficiency. The intention was to reorganise domestic administration and improve the workings of the state services.
At the same time, a need arose in the culture sector to simplify the regime of funding, basing it on a manageable division of tasks between the state and the lower tiers of government. This became particularly urgent after problems had arisen with the so-called linked subsidies. In the linked-subsidy system, a specific cultural facility or organisation for example a regional orchestra or theatre company would be kept afloat by different subsidisers, at times representing all three tiers of government. In such cases, the organisations depended on a large number of government decisions. The powers were not clearly delineated, and a proposal by central government could only be implemented after all the various parties had reached agreement. Furthermore, if one of the subsidisers withdrew, the entire funding structure was endangered, and the organisation along with it.
The redistribution of tasks between the state, the provinces and the municipalities had far-reaching implications from the very beginning. In theory, the state became responsible for maintaining the national museums, the symphony orchestras and the theatre and dance companies. The provinces were made responsible for disseminating, coordinating and maintaining the full range of cultural activities at provincial level. Lastly, the municipalities, bore responsibility for maintaining the various venues and facilities and for scheduling performances. In actual practice, however, it would not prove as easy to separate these three tasks as the theory suggested. In respect of the large cities, the state decided on a different approach. It arrived at separate agreements, known as 'covenants', with the cities of Amsterdam, Rotterdam and The Hague. These administrative agreements covered state and municipal co-financing of cultural institutions located in the major cities.
3. Cultural Budget
Table: Outline of expenditure on culture from public funds, 1984 to 1998 inclusive
(amounts x 1 million guilders)
| |1984 |1985 |1986 |1987 |1988 |1989 |1990 |
|Cultural heritage | | | | | | | |
|Museums |57.8 |50.3 |48.4 |45.5 |50.5 |73.6 |65.2 |
|Hist. Mon. |209.0 |221.6 |144.3 |155.9 |160.0 |120.6 |99.7 |
|Archaeol. |3.3 |2.9 |3.2 |2.9 |4.9 |3.7 |4.0 |
|Archives |8.4 |8.7 |7.4 |7.2 |8.4 |8.2 |8.9 |
|Other |1.2 |0.1 |0.8 |4.4 |2.4 |2.7 |3.3 |
| | | | | | | | |
|Total |279.7 |283.6 |204.1 |215.9 |226.2 |208.8 |181.1 |
| | | | | | | | |
|MLB | | | | | | |
|Media |955.6 |1 008.0 |1 039.3 |931.4 |1 199.8 |1 264.0 |1 191.4 |
|Lang.&Lit. |9.6 |10.0 |11.6 |11.5 |11.5 |12.5 |27.0 |
|Libraries |336.0 |334.3 |50.4 |62.7 |66.9 |58.7 |49.3 |
| | | | | | | | |
|Total |1 301.2 |1 352.3 |1 101.3 |1 005.6 |1 278.2 |1 335.2 |1 267.7 |
| | | | | | | | |
|Arts | | | | | | |
|Vis. art/des |36.6 |32.2 |38.1 |78.8 |77.1 |102.2 |78.1 |
|Film |15.4 |16.3 |18.3 |18.4 |21.5 |21.8 |24.0 |
|Perf. |154.2 |235.5 |214.4 |241.0 |238.7 |229.6 |238.4 |
|Amat/Educ |30.3 |27.6 |28.9 |21.9 |22.1 |22.3 |23.8 |
|Other |12.3 |7.6 |10.1 |24.7 |11.3 |19.5 |18.9 |
| | | | | | | | |
|Total |248.8 |319.2 |309.8 |384.8 |370.7 |395.4 |383.2 |
| | | | | | | | |
|Other culture |116.0 |118.0 |155.6 |133.9 |143.8 |133.7 |148.5 |
| | | | | | | | |
|Total for Culture |1 945.7 |2 069.2 |1 770.8 |1 740.2 |2 018.9 |2 073.1 |1 980.5 |
Table: Outline of expenditure on culture from public funds, 1984 – 1998
(amounts x 1 million guilders) (continued from p.187)
| |1991 |1992 |1993 |1994 |1995 |1996 |1997 |1998 |
|Cultural heritage | | | | | | | |
|Museums |70.8 |96.6 |87.1 |110.3 |194.3 |211.3 |194.4 |195.9 |
|Hist. Mon. |136.4 |189.2 |153.3 |138.2 |410.4 |126.5 |122.5 |121.6 |
|Archaeol. |4.8 |5.2 |4.4 |6.7 |17.6 |24.4 |19.3 |17.4 |
|Archives |11.1 |13.4 |13.7 |14.2 |41.0 |43.6 |43.7 |44.3 |
|Other |5.9 |1.9 | |2.8 | | |9.0 |9.1 |
| | | | | | | | | |
|Total |229.0 |306.3 |258.5 |272.2 |663.3 |405.8 |388.9 |388.3 |
| | | | | | | | | |
|MLB | | | | | | | |
|Media |1 248.7 |1 307.6 |1 439.5 |1 481.1 |1 498.2 |1 509.3 |1 518.0 |1 487.4 |
|Lang.&Lit. |31.8 |29.8 |31.2 |30.2 |32.6 |22.6 |24.0 |23.2 |
|Libraries |48.4 |47.2 |41.1 |45.7 |44.5 |56.7 |64.7 |64.7 |
| | | | | | | | | |
|Total |1 328.9 |1 384.6 |1 511.9 |1 557.0 |1 575.3 |1 588.6 |1 606.7 |1 575.3 |
| | | | | | | | | |
|Arts | | | | | | | |
|Vis. art/des |82.5 |103.1 |105.3 |127.6 |119.7 |117.5 |127.2 |143.3 |
|Film |24.8 |28.7 |26.0 |26.0 |28.1 |28.2 |22.7 |24.7 |
|Perf. |244.3 |255.5 |262.3 |271.2 |276.3 |267.4 |281.8 |302.8 |
|Amat/Educ |25.3 |27.0 |26.3 |25.2 |25.7 |25.8 |30.7 |30.0 |
|Other |17.3 |17.7 |4.3 |9.9 |8.1 |11.8 |29.5 |31.8 |
| | | | | | | | | |
|Total |394.2 |432.0 |424.2 |459.9 |457.9 |450.7 |491.9 |532.6 |
| | | | | | | | | |
|Other culture |145.7 |174.0 |5.8 |15.0 |12.8 |11.8 |16.2 |12.1 |
| | | | | | | | | |
|Total for Culture |2 097.8 |2 296.9 |2 200.4 |2 304.0 |2 709.3 |2 456.8 |2 503.7 |2 508.3 |
Sources: Government budgets (former Ministry of Welfare, Health and Cultural Affairs and the present Ministry of Education, Culture and Science), 1984-1998. The amounts up to and including 1996 are based on the Final Budget Act (Slotwet), and those for 1997 and 1998 on the 1998 Budget.
The public cultural expenditure of the Netherlands as percentage of the total public budget has been roughly 0.5% percent for the last 10 years.
Table: Spending on culture by the state, provinces and municipalities (amounts x 1 million guilders, based on Statistics Netherlands' time series, classification used from 1994 on)
| |State | | |Provinces | | |Municipaliti| | |Total | | |
| | | | | | | |es | | | | | |
| |current |constant |% |current |constant |% |current |constant |% |current |constant |% |
| |Prices |Prices | |Prices |Prices | |Prices |Prices | |Prices |Prices | |
|1975 |529.4 |529.4 |40.2 |76.7 |76.7 |5.8 |709.8 |709.8 |53.9 |1 315.9 |1 315.9 |100.0 |
|1979 |514.8 |408.2 |31.4 |102.7 |81.4 |6.3 |1 021.2 |809.8 |62.3 |1 638.7 |1 299.5 |100.0 |
|1982 |926.3 |606.6 |37.6 |147.4 |96.5 |6.0 |1 386.6 |908.1 |56.4 |2 460.3 |1 611.2 |100.0 |
|1985 |1 110.5 |670.6 |43.8 |139.3 |84.1 |5.5 |1 283.7 |775.2 |50.7 |2 533.5 |1 529.9 |100.0 |
|1988 |1 144.2 |683.9 |46.2 |138.4 |82.7 |5.6 |1 193.9 |713.6 |48.2 |2 476.5 |1 480.3 |100.0 |
|1991 |937.0 |519.7 |32.6 |174.1 |96.6 |6.1 |1 761.5 |977.0 |61.3 |2 872.6 |1 593.2 |100.0 |
|1994 |1 010.3 |517.0 |31.8 |203.2 |104.0 |6.4 |1 963.0 |1 004.6 |61.8 |3 176.5 |1 625.6 |100.0 |
Amounts based on budget figures; the figures related to the provincial and municipal capital services are projections.
The current prices are the actual sums entered, the constant prices have been adjusted for inflation.
Source: Statistics Netherlands.
Support Policy
4.1. Overall support policy:
For general description of overall support policy, see chapters 2 and 3.
4.2. Fiscal Policy
The general role of fiscal policy as an instrument of cultural policy'
Tax legislation, for which the Ministry of Finance is responsible, also contains elements that affect culture. The system of turnover tax (VAT) is divided into two rates: a high rate of 17.5 % and a low rate of 6 %.
European legislation allows the Member States to charge the low VAT rate on tickets to shows, the theatre, circuses, fun fairs, amusement parks, concerts, museums, zoos, cinemas, exhibitions and similar cultural events and venues. The Netherlands lowered the VAT rate on cinema tickets from 17.5 to 6 % on 1 January 1996, the same date on which the tax on admission tickets to public museums or collections (and on the sale of catalogues, photographs and photocopies by these museums) was also lowered to 6 %. It is the intention to lower the rate for theatres and concert halls as of 1 September 1998.
The sale of books and daily newspapers has been subject to the low VAT rate for many years. The high VAT rate is charged for magazines, sound media and videotapes. Artists who work on commission, such as text writers, composers of advertising jingles, architects and designers, all charge the high VAT rate.
The tax authorities consider that certain forms of subsidy are subject to VAT. The Ministry of Finance, however, determined that subsidies arising from the Bekostigingsbesluit cultuuruitingen would not be subject to VAT. This decree covers all subsidies granted by the Ministry of Education, Culture and Science on the grounds of the Specific Cultural Policy Act, including subsidies furnished by the cultural funds set up by this Ministry.
Steps have also been taken to maintain the quality of Dutch museums and to retain valuable objects of art for the Netherlands by introducing new measures affecting gift and inheritance tax. Institutions that serve the common good may qualify for a considerable reduction in, and in certain cases even a remission of gift and inheritance tax. The reduction takes the form of a special rate of 11 per cent which is charged under certain conditions. The right to a remission of gift and inheritance tax applies to amounts under a certain limit, specified on an annual basis. In 1997 the limit was NLG 7 933 for gifts and NLG 15 866 for bequests. In certain special situations the institutional beneficiary also has the option of appealing to the Minister of Finance for remission of the gift or inheritance tax levied. A full exemption from gift or inheritance tax is possible for museums and for the societies or foundations which support them, provided their collection is of national or regional importance and the acquisition serves the common good.
In another special scheme, a museum or supporting museum foundation may receive a full exemption from gift tax if the Minister of Finance has acceded to a request by the museum to this effect. The museum's collection must be one of national or regional significance and the gifts must serve the common good. A similar exemption applies to inheritance tax.
A further measure introduced into Dutch tax law on 1 January 1997 resembles much older measures in France and the United Kingdom: payment of inheritance tax can be made by transferring art objects which form part of an inheritance to the state (dation en lieu). This avoids situations in which the beneficiaries of legacies consisting largely of art objects can only afford the relevant inheritance tax by selling one or more of these objects. The scheme applies to objects of cultural significance to the Netherlands, or to objects whose sale outside the Netherlands would mean a cultural impoverishment. The remission of the inheritance tax on works of art transferred to the state is equal to 120 per cent of their value.
There are a number of other tax measures pending which will give a major boost to the film industry. The tactic is to extend existing schemes designed to encourage certain branches of industry to the film industry as well. Examples of such schemes are special depreciation arrangements and methods, reductions in payments for research and development work and tax benefits covering financial participation in film projects.
5. International relations
International cultural policy
The international dimension of cultural policy has in any case garnered much more attention in recent years. From the Dutch point of view, foreign cultural policy is definitely not an instrument with which to protect one's own culture. It is far rather a means to enter into confrontation with other cultures on the basis of an attitude of cultural self-awareness, to exchange knowledge and experience with them, and to profile Dutch culture within an international context.
In 1995, a sense of growing dependence on international and even global developments and of the loss of traditional certainties led to the government taking a long hard look at foreign policy in general. This review of foreign policy also extended to foreign cultural relations. The government memorandum dealing with these matters reformulated a number of principles. Cultural collaboration, it stated, promotes not only understanding between peoples but enriches both parties and clarifies the international profile of the Netherlands. Other aspects of foreign policy can benefit from this. With greater emphasis than previously it was stressed that foreign cultural policy and foreign affairs are dependent on one another. They combine to reinforce one another.
In order to provide support for this new foreign policy, the government made extra funds available to the ministries concerned. In the cultural sector, this amounted to NLG 6 million annually, since increased by Parliament to 16 million. How this extra budget is used, is the responsibility of the Ministries of Foreign Affairs and of Education, Culture and Science jointly.
The approach set out in the review memorandum to the relationship between foreign policy and foreign cultural policy has determined the way in which international cultural policy has since developed. Two basic principles would now seem to have been more or less generally accepted. On the one hand, the two ministries involved expressly operate on the basis of the realisation that culture and cultural collaboration can only play a worthwhile role as a tool of foreign policy, if they are at the same time recognised as constituting a goal in themselves. Additionally, both agree that cultural policy can only be successful if it recognises that cohesion is necessary within foreign policy and that certain presentations take place within a foreign policy context.
The current 'free port' programme
The desire for an approach taking into account the interests both of the cultural sector and of foreign policy is clearly present in the latest two Cultural Policy Documents. This introduces a new concept, that of the Netherlands as a 'free port', a reference to the fact that this country has for centuries been an international meeting place. The decision to concentrate more on what the Netherlands itself has to offer has led to a shift of emphasis in policy, which was previously directed primarily at exporting the products of Dutch culture. A number of programmes are now being set up with the explicit goal of reinforcing the image that the world already has of the Netherlands as an international 'free port'. This is a cohesive and guiding element for current foreign cultural policy. What it in fact means is that more attention than in the past is now being given to the Netherlands itself. Emphasis is being placed on the various festivals with which the Netherlands has already made its name abroad. If they are to reinforce their international reputation, they will need to be in a position to invite foreign journalists and to run promotional campaigns aimed at potential visitors from abroad. An artist-in-residence programme is being developed in collaboration with the relevant funds, so as to make it possible to have leading foreign artists live and work in the Netherlands for lengthy periods. The 'free port' idea will also be expressed in increased facilities for international conferences aimed at foreign artists, cultural facilitators and journalists, for programmes of visits, and for promoting the Netherlands as a location even more than it already is for the head offices of international cultural networks. Many new democracies both in Europe and beyond which are currently developing their own cultural policy are interested in accessing Dutch expertise and support. Providing information about Dutch cultural policy and the Dutch cultural infrastructure also fits in with the 'free port' idea.
Infrastructure
Dutch embassies have a cultural attaché whose job it is to assist in implementing international cultural policy. A programme has been developed in collaboration with the Ministry of Foreign Affairs to give their role greater weight, particularly in countries which are to be considered special targets of the Netherlands' foreign cultural policy. In North America, good results have been achieved with the appointment of a Dutch cultural expert based at the Consulate-General in New York whose task it is to streamline cultural relations between the Netherlands and the United States, and in doing so to act as a sort of cultural agent. A number of other missions abroad will also be reinforced, with the experience gained in New York playing a role, although without necessarily merely copying that model.
Multilateral cultural relations
Developments within the European Union have been the subject of much attention in recent years. The Netherlands was one of those taking the initiative towards including a cultural chapter in the Maastricht Treaty on European Union (Article 151 EC Treaty). Without wishing to ignore the desire for collaboration within the Union, this chapter points out the diverse character of European culture and guarantees as far as possible the individual responsibility of the Member States in the field of culture. At the same time, Article 92 of the EC Treaty was amended so as to create greater scope for national subsidies as an instrument of national cultural policy. These changes have given the cultural sector a higher profile and a more secure position within the large-scale context of the Union and by comparison with other areas of policy. The advent of the European Union as a factor in international cultural relations places heavy demands on the traditional multilateral organisations in the field of culture, such as the Council of Europe and Unesco. The Ministry of Education, Culture and Science places the emphasis less on the foreign policy significance and development of these organisations than on the importance that components of their programmes can have with respect to national cultural policy or on the opportunities they offer for effective contributions by the Netherlands.
Bilateral cultural relations
The document on International Cultural Policy for 2001-2004 prioritises a number of countries and regions. It does so because the restricted funding available makes it necessary to select countries and regions, at least if one wishes to give cultural relations a certain measure of depth and significance.
As far as Europe is concerned, the emphasis is on the Netherlands' own region. Closer regional relations are considered to be a precondition for effectively promoting one's own cultural interests, and it is for this reason that cultural relations with Flanders and North Rhine-Westphalia have in fact been intensified. Within the context of collaboration with Flanders, the desire to strengthen the position of the Dutch language is an important factor. Given that a language is more than just a means of communication, deliberate maintenance of Dutch is considered highly important. The Dutch Language Union is active in this field as the intergovernmental collaborative body working on behalf of the Netherlands and Flanders.
In the case of a number of countries outside Europe (Indonesia, Surinam and South Africa), the historical links which the Netherlands has built up in the course of time, and the shared heritage which these have produced, are in themselves sufficient reason to prioritise cultural relations. In all three countries, the Netherlands has left behind an extensive heritage of buildings, archives and archaeological sites. There is a growing belief that responsibility for this heritage should be a joint one, and concrete projects some in collaboration with the Ministry of Development Co-operation are being developed and financed from the cultural budget.
The world's new democracies are another focus. In Africa, this means primarily South Africa; in Central and Eastern Europe, the countries concerned are Russia, Hungary and the Czech Republic. The underlying belief is that providing support to reinforce the cultural infrastructure can promote the process of democratisation. Collaboration with these countries is therefore aimed primarily at developing local expertise by means of placements, teaching programmes and training courses. The projects which have already been carried out have led to an increased number of cultural exchanges and to greater opportunities for joint productions.
Within the Kingdom of the Netherlands, cultural relations between the mother country and the Dutch Antilles and Aruba have a special place. The basic principles for cultural collaboration with these other parts of the Kingdom have recently been set out. Collaboration will take place in close co-operation with other cultural institutions. Here too, the accent is on developing a suitable cultural infrastructure, including public broadcasting.
In Asia, the focus will be on celebrating four hundred years of relations between the Netherlands and Japan in the year 2000. Cultural relations with Morocco and Turkey where many immigrants to the Netherlands have come from will be intensified. Finally, attention is being paid to Germany, France, Great Britain and North America for entirely different reasons, namely because they are the most important 'markets' for culture, markets which Dutch arts and culture cannot afford to ignore.
6. The role of the private sector
Private institutions
In addition to the turnover generated by customers and government subsidies, there is a third source of funding for culture which comes from private associations and foundations. This form of private initiative has been around for a long time, in some cases for more than 200 years. Many private institutions qualify for a reduction in or a remission of gift and inheritance tax. The articles of association describe the aims which the institution supports. Large institutions work with general aims of a social or cultural nature; small institutions often have highly specific aims, for example the award of study or travel scholarships and grants for the purchase of materials.
Foundations which own stock in a company combine a variety of different tasks. Their articles describe the social and cultural aims to which they lend their support. If the company is not listed on the stock exchange, the foundation's task involves safeguarding the ownership balance. In each case their activities may have an impact on the company image.
Two private institutions should be given a separate mention here. The first is the Prins Bernhard Fonds (Prince Bernhard Fund), which was founded in London during the German occupation. The Prince Bernhard Fund and its affiliate, the 'Anjer' Funds, provide subsidies, commission works of art and award prizes in the broad field of culture, covering not only music, language and literature, theatre, dance and the visual arts, but also science, cultural education, historic buildings and sites, and nature conservation. The two funds spend between NLG 25 and 30 million on about 3 500 projects every year. The Prince Bernhard Fund concentrates on projects of national significance. The 'Anjer' Funds there are twelve provincial funds and three funds in major urban centres are active on an extremely small scale, for example by providing a large number of grants to the amateur arts for the purchase of materials.
In recent years the Prince Bernhard Fund has made its expertise available through the so-called Fondsen op Naam. These allow private parties and companies to set up funds in their own name for a specific cultural purpose, with management and the allocation of grants being covered by the Prince Bernhard Fund. The amount being managed in this fashion is running close to NLG 50 million.
The Prince Bernhard Fund receives most of its income from different national lotteries, including the 'BankGiro', 'De Lotto' and 'Kras' lotteries. It is the most important channel for cultural funding provided by the Dutch lotteries and the betting and gaming sector.
The Vereniging Rembrandt was founded in 1883. The purpose of this society is to preserve and increase the number of art treasures in the Netherlands held in public ownership. It assists museums in acquiring works whose prices exceed the regular acquisition budgets. The society and the Prince Bernhard Fund have agreed on their separate tasks and activities. In addition to membership fees, donations by private parties and companies, legacies and income from its own capital, the society receives approximately NLG 1 million a year from the Prince Bernhard Fund.
Friends' societies
A growing number of subsidised cultural institutions have friends' societies or private supporting foundations. These so-called allied organisations finance some of the institutions' activities, for example the purchase of works of art or instruments. They derive their income from membership fees, gifts and legacies. They are also a source of volunteers who lend the institution a helping hand, in particular in the field of cultural heritage.
Sponsoring
The third source of cultural funding is trade and industry, channelled through agreements concluded between individual companies and cultural institutions or facilities. Companies make monies or services available in exchange for the right to associate their name or the name of one of their products or services with the facility or institution, or with one of the productions or events organised by the institution.
The sum which goes to culture by way of sponsoring is estimated to lie between NLG 50 and 80 million annually. Sponsoring is therefore an additional source of funding for the cultural sector. For trade and industry, sponsoring is part of a marketing operation, either at the product or the corporate level. That means that sponsors tend to be attracted to the larger, more established institutions and to events which aim to draw a huge public response, such as festivals and special exhibitions.
7. Current debate and future plans
A new method of assessment and accountability
The current core issue in cultural policy is the confrontation and interaction between provision and public. The current State Secretary for Culture considered it necessary to switch to a new way of assessing the institutions. In addition to quality, the Council for Culture has been given three criteria: social outreach, ticket subsidy ratio and position within the system. To reach its final judgement, it will have to strike a balance between the institution's scores for these four criteria and (of course) those for the formal considerations laid down in the Cultural Expression Funding Decree. They are not individual headings under which institutions may apply for grant, but assessment factors which must always be viewed in relation to each other. The assessment will normally be based on the institution's policy plan and on an estimate of the feasibility of this plan in the light of current performance. The extent to which the council relies on future predictions or current performance may vary from one criterion to another.
Quality
Quality will remain the main criterion for the award of subsidies to culture. Government will be prepared to subsidise a high quality activity in which there is (as yet) little public interest, but not a low quality activity with a mass audience. Of course, this does not mean that an activity with a mass audience need necessarily be of low quality or indeed that an activity with little public appeal must inevitably display exceptional merit.
Social outreach
The current State Secretary for Culture argues that whether quality is actually meaningful is something that will only emerge in interaction with an audience. The Council for Culture emphasises that the audience must be included as a factor in the overall assessment. It may be a wide audience, a specific target group or a select coterie of connoisseurs. The factor is of course most relevant in relation to provision for those such as performing arts companies and museums. But even more avant-garde and experimental institutions, for whom this factor will not be decisive, must be able to indicate what social role they envisage for themselves, at least in the long term. That role may be to play a part in public, cultural or intellectual debate but the question must always be whether those specific institutions are in fact the bodies best fitted to play their chosen part, or whether that role should now be left to the younger generation.
A larger audience: 15% box-office receipts
The 1993-1996 policy document on Investeren in Cultuur ('Investing in Culture') introduced the requirement that subsidised performing arts institutions should generate 15% of their own income from sources other than grants. All but a few are now meeting this requirement. At least, they are meeting it under the present wide definition of self-generated income. The requirement will now be made more stringent, not by imposing a higher percentage but by tightening up the definition to include only box-office receipts. In addition, the 15% norm will now be assessed on an annual basis.
New audiences: 2% target group activities
In addition, cultural institutions will be given 2% extra subsidy, based on their grant income, for attracting new audiences (in particular, young people and members of cultural minorities). They may do so either through activities in the field of arts education or, for example, through projects run for and by young people, targeted activities in old inner-city areas, special tours of local theatres or introductory programmes for cultural minorities. Such activities must not be part of the institution's mainstream activities and the 2% must include only the variable costs of provision and not the institution's normal overheads.
Ticket subsidy ratio
The third new criterion to be applied in deciding the allocation of scarce resources is the cost factor: the price expressed as the total amount of subsidy to be paid for a particular item of cultural provision. The average ticket subsidy ratio establishes a direct relationship between the level of subsidy and the number of tickets sold. There are three reasons for including this ratio as a factor in the assessment of grant applications. Firstly, there are major disparities not only between sectors (this is usually obvious), but also within individual sectors. Secondly, use of this criterion casts a different light on institutions which apply for bigger grants in order to reach larger sections of the population. If they achieve their goal and hence reduce the ticket subsidy ratio, they will actually be cheaper and not more expensive, despite their higher grants. The third and final reason is that subsidy is often directly related to the vulnerability of provision. By contrast, the average ticket subsidy ratio expresses not vulnerability but viability. It is a useful assessment criterion to apply alongside the amount of grant requested. Both these figures should be considered as part of the assessment, but neither will be decisive in itself.
Institutional profile and position within the system
A fourth new criterion is mission-based assessment. Mission-based assessment means that individual institutions need to have a clear idea of their terms of reference. If these are well-defined, it will be easier than it now is to attach specific conditions to grant decisions so that it will be clear to all concerned what the recipients are expected to achieve. Such conditions might relate, for example, to internationalisation. Conditions might also be agreed with the orchestras about the programming of modern and/or Dutch repertoire, or about the relationship between the mainstream orchestras and those employed by the broadcasting organisations. Agreements might be made with the major dance and theatre companies about social outreach, with museums about the organisation of exhibitions of equal (or indeed greater) interest to cultural minorities, and with archives about collection policies which do justice to the multicultural nature of the Netherlands. At sector level, overall provision should consist of more than simply the sum of the ambitions of the individual institutions. It should be properly balanced and encompass all the various roles and responsibilities which the sector can be expected to undertake. There must be room for experiment, for artistic inquiry and for artists to seek their own individual means of expression: in short, it must include a 'laboratory' function. But it cannot be done to the exclusion of everything else. There must be scope in the system for other functions: for example, to address differing sizes and types of audiences, to undertake educational activities, to work with amateurs, or to initiate international activities. Consequently, if too many institutions within a given sector all wish to fulfil the same function, stricter selection will be required. Clearly, a positive value will be ascribed to synergy between different institutions in a particular town or area.
New media
The extra attention required for culture via the new media will also be reflected more in government cultural policy. Sufficient scope must be found for new art forms based on or inspired by digital technology. This is important both because would-be exponents are frequently young and (not least) because these art forms frequently appeal to a young audience.
Cultural entrepreneurialism
Ensuring greater market influence will be a first step in the direction of improving service to the public. After that, the current State Secretary for Culture wants to get rid of a dated approach to subsidy applications based on the avoidance of profit. There is much more to be said for a system that challenges (and if necessary equips) people in the arts to finance their own activities, either by finding new sources of income or by making the best use of existing methods of self-financing. There is much more point in topping up the budget for a cultural activity with the last little bit of funding that is difficult or impossible to find elsewhere than in propping up an entire budget that is shaky from its very foundations. There is no reason immediately to assume that this kind of success-oriented approach will necessarily produce cultural decay and impoverishment. Longer runs and revivals of successful shows, concerts and exhibitions offer another way of profiting from success without making artistic or cultural concessions.
Cultural Outreach Action Plan
In order to make the arts and culture available to as many people as possible, the current State Secretary for Culture introduced a five-point Cultural Outreach Action Plan. The first step is to improve programming. The second immediate priority is to implement the policy document 'Make Way for Cultural Diversity' (see later section). Thirdly, extra investment will be required in cultural activities for and by young people. Next, the programme will include action to improve the visibility of our cultural assets. And finally, developments in the physical planning field make it particularly urgent to place culture-based planning on the national agenda.
Improved programming
The current State Secretary for Culture introduced a special programming budget for cultural venues to improve programming and fund target group activities organised by them. Clearly, not all venues will qualify for support. The plan for the venues should include at least the following elements:
- A special programming budget for cultural venues, absorbing the present state subsidies to encourage audience uptake in the performing arts. The greater emphasis on financing demand should make it possible to attract a larger and broader audience.
- Increased market influence in the performing arts field. A practice has evolved whereby the buyout fees paid by the theatres frequently cover only a fraction of the actual production costs incurred by the companies. The result is oversupply and half-empty auditoriums, since the theatres focus their marketing efforts mainly on other performances which do represent a financial risk to themselves. This is a problem for the subsidised theatre, dance and music ensembles. By raising the buyout fees to a level comparable to that of non-subsidised productions and at the same time subsidising the venues and reducing financial support for the companies in these sectors, the current State Secretary for Culture hopes to:
• improve the quality of programming;
• build in incentives to attract larger audiences for these programmes;
• encourage longer runs or revivals of successful productions;
• switch from an obligation to tour to incentives to tour;
• offer institutions a better chance of achieving the more stringently defined 15% norm.
- Use of the central government grant to local authorities for the visual arts and design to finance projects, commissions, acquisitions, etc. Local art lending centres will often be involved in such activities and can therefore benefit from the scheme in that way. In order to increase demand, the current State Secretary for Culture plans to target resources still more accurately at acquisitions and commissions.
- As part of this plan, a start will be made with increasing the mobility of museum collections by means of public lending or the establishment of branch collections. Where necessary, top-up funding could be provided for interesting exhibitions attempting to reach out to new audiences. Museums can also enter into alliances with societal organisations and develop activities directed at new sections of the public.
Make way for cultural diversity
The current State Secretary for Culture wants a more open attitude to different cultures. That kind of attitude will lead to a proactive approach to the recruitment of producers, directors, actors and other artists who can help to increase the diversity of provision but have previously had little access to subsidies. In this respect, there is a need to break down the barriers between different disciplines. Promising initiatives and individual talent must be guided towards appropriate facilities and schemes. Cultural diversity must not only be tolerated, but must be actively sought out, organised and coached.
The current State Secretary for Culture wants to take up this challenge by providing a substantial new injection of financial and organisational resources. It is not his intention to set up a separate fund for this purpose, because of the considerable risk that all the other cultural institutions and funds would then wash their hands of responsibility. It seems much better to establish an action plan and associated budgets which will incite cultural institutions and funding bodies to create more room for cultural diversity. This kind of approach has three main advantages. Firstly, it will make the cultural institutions and funds more aware of cultural diversity. Secondly, it will ensure that they safeguard quality standards. (This is important because the action plan will not succeed if it is merely a programme of positive discrimination. The intention is to ensure that the creativity and talent of the cultural minorities inspires and enriches the culture of the Netherlands and vice versa. After all, cultural policy should not be a substitute for welfare and community work.) Thirdly, it can prime the artistic and financial pump by producing good plans to attract resources from elsewhere.
Investment in the young
The current State Secretary for Culture has given cultural education a substantial boost through the Culture and School project (voucher-project). The State Secretary for Culture states that emphasis in cultural education must shift from supply to demand. This means that the budget made available for the continuation of the Culture and School project will be redirected more towards the schools. Pupils are about to embark on new courses in cultural and artistic appreciation in the upper years of secondary education. In order to enable and encourage them to undertake their own voyages of discovery, the schools will be given vouchers to distribute, together with free Cultural Youth Passports giving them discounts on admission charges for arts events. This method of subsidy will have two effects. Young people will be given the chance to use cultural facilities at reduced charge, and cultural institutions will be encouraged to devise activities appealing to this particular audience. Municipal and provincial institutions serving cultural education and amateur arts must likewise switch their focus from supply to demand. There are some 240 such institutions, ranging from specialist music schools to broad-based arts centres. Between them they offer an extremely varied pattern of provision embracing all disciplines. It is important that they continue to innovate in their programmes, to make their services more professional and to improve their often poor communication with young people and cultural minorities. Arts education has a major role to play in this respect.
Visibility of collections
Various state-subsidised museums have set an example of energy and enterprise by organising major exhibitions attracting visitors from round the world. Yet a large proportion of the treasures entrusted to them are never on view to the public. These are not only items whose only interest is to complete collections and/or illustrate the history of collection policies. Many of the objects concerned are capable of appealing to a broad public and should be brought up out of the stores and put on display. The urgent need to allow the public to benefit more from the works of art stacked in museum depots is enhanced by the realisation of the vast public capital which the items represent and the many possible alternative uses that could be devised for this enormous accumulation of assets.
Selection and upgrading of collections
The current State Secretary for Culture considers selection the key to establishing and maintaining proper control of collections and to upgrading them. Parts of collections can in principle be sold off, on condition that the entire proceeds are used to improve public collections and not, for example, to fund roof repairs or building extensions. Another condition must be that the new owner will guarantee public access. An independent body must decide whether these conditions are met.
Renewal of collections
A living collection needs to be revitalised and improved. To encourage this, the current Dutch government has made a special budget available to subsidise acquisitions. The Mondrian Foundation has designed regulations for the use of this budget and these have been submitted for consideration by the Council for Culture. The regulations explicitly link the award of acquisition subsidies to the mobility of the collections concerned. To promote the mobility of collections in the coming period, the current State Secretary of Culture intends to take a number of measures. These will include replacing the Mondrian Foundation's existing subsidies for the harmonisation of public collections with a special subsidy for improving mobility and extending the special Framework Agreement on arrangements for insuring items on loan. In addition, he shall make funds available for this purpose from the overall budget of my ministry and from the interest received on the acquisitions budget under the Cultural Heritage Preservation Act.
Digitalisation
The current State Secretary for Culture feels it is part of the core responsibilities of heritage institutions to digitalise their collections and make them available via the Internet or other digital media. This applies to all institutions dealing with the heritage, whether in the field of museums, archives, public and academic libraries, historic buildings or ancient monuments and archaeology. The digitalisation of cultural and scientific collections requires careful national coordination and the Dutch Digital Heritage Association ((DEN) Digitaal Erfgoed Nederland) has a particular role to play in this respect. To ensure that this is done, he intends to provide strong encouragement for national coordination via the grant conditions. In 1999, the Mondrian Foundation is to launch a temporary grant scheme for digitalisation projects.
Culture-based planning
The current State Secretary for Culture sees it as his duty to maximise the positive attention paid to historical and modern heritage features in the development process. He is eager to see a cultural basis as the point of departure for urban and rural development planning. The Belvedere project, which focuses on the use of cultural history to inspire present-day physical development in the Netherlands, demonstrates that cooperation with other relevant government departments is necessary and fruitful. A policy document on this is shortly to be submitted to the Lower House. The Ministry of Culture is currently investigating how an incentives fund and investment contributions can be used to improve planning and produce a design process directed at creating a more aesthetic urban environment through the integration of cultural history, architecture, nature and the visual arts. Steps will be taken to ensure that better use will be made of current knowledge and ideas in the worlds of design and cultural history when major decisions are being made about the future development of the country. As an important client, the State should itself set a good example.
AUSTRIA[19]
1. General objectives and principles
2 Please indicate your country's definition of cultural policy
Austria enjoys the reputation of being a country steeped in culture. In its eventful history, culture and cultural policy have always played - and continue to play - a significant role in the formation of an Austrian identity.
In the 20th century, Austria's history was marked by the decline of the Habsburg Empire and the end of the monarchy, by difficult times in the First Republic between the wars, by its non-existence as a state from 1938 to 1945, and a period of allied occupation from 1945 to 1955.
Austrian post-war cultural policy was mainly representational and nonpolitical. It favoured support for federal theatres or festivals and contemporary works of literature, theatre, the visual arts and music were rather ignored. Most of the artists and intellectuals who were driven away by National Socialism were not invited to return.
The post-war attitude toward culture changed with the general European politicisation and radicalisation of the 1960s. The cultural vanguard became a political factor and was employed as a tool to prepare for the upcoming political changes in Austria, i.e. the Social Democratic government of Bruno Kreisky, which promised modernisation and reform in all areas including a concept of culture embracing all modes of life. Moreover, cultural policy was to be regarded as a different aspect of social policy.
A package of cultural policy measures from the Federal Ministry of Education and the Arts was adopted in 1975. Its main goals were to improve the cultural habits and education levels of the public and to reduce the educational gap between city-dwellers and the rural population. A culture service (öks) operated by the Ministry was established to create contact between artists and culture workers on the one hand and schools, adult education establishments, companies and cultural centres on the other. This marked a turning point insofar as it launched a dialogue between governing bodies and artists and art mediators. The decisive step towards the current system of art promotion was taken up at that time, and gradually extended and refined over the next 25 years, including the establishment of various advisory bodies (incl. boards, juries and commissions and specialised curators). Such bodies were given some decision-making powers in an effort to make the arts promotion system more democratic. In addition, intermediary bodies sprang up, supervised by the government and to some extent anchored in private business.
In the 1980s, the country was seized by a veritable culture boom in the sense that more and more events were organised and cultural spending increased by approximately seven times the annual amount of the past 25 years. In general, the reason for the increase was due to support for large-scale events, numerous festivals and big exhibitions. Toward the end of the 80's, cultural policy priorities shifted and discussion became focused on issues of cultural sponsorship and privatisation at a time when there was a renewed grand coalition between the Christian Democratic Party (VP) and the Social Democratic Party (SP) and the political about-turn of 1989. While initially public discussion on privatisation was of marginal significance in the 80's, it became a burning issue in the latter half of the 90's especially in fields such as musicals, popular operas and museums which - judged by international standards - could raise a greater share of funds in the market than more avant-garde art forms.
3 What are the main elements and objectives?
The Chancellor and the Secretary of State for Arts Affairs commissioned a working group of experts to analyse federal cultural policies and administration. Proposals were drawn up to modernise and improve the public cultural administration (cultural management). The working group has produced a draft report and the final version, the 'White Paper on the Reform of Austrian Cultural Policy' (publisher: Falter Verlag), was published recently. Generally, the main objectives of cultural policy making in Austria are focussed on the issues as illustrated in the table below:
| | | |
|Management: |Sociopolitical Objectives: |Basic Cultural Needs: |
|Transparency, promotion, competition, |Participation, equality, social security, |Freedom of art and artistic expression, |
|efficiency, public-private co-operation, |representation, understanding the economic |pluralism, quality, innovation, creativity, |
|flexibility, decentralisation, planning, |facts of culture sector |identity, internationalisation |
|service orientation | | |
2. Policy decision-making and administration
2.1. Please give an overall description of the system, including the role of the minister and ministry, the Parliament, special committees, bodies, etc..
Austria's political system is that of a federalist state. The general clause of Article 15 of the Constitutional Law assigns most cultural competence to the provinces/states/Länder (known as 'cultural sovereignty'), while the federal government is expressly awarded competence for 'sovereign' matters such as scientific and technical archives and libraries, artistic and scientific collections and federal facilities (federal museums, National Library), federal theatres, historic monuments, religious denominations, foundations and funds.
2.1.1. Federal Level
The Arts Affairs Department of the Federal Chancellery (BKA) and State Secretary for Art, European Affairs and Sport are responsible for:
arts policies and laws; general cultural policy affairs; the promotion of arts: the visual arts, music and performing arts (including curatorships), photography, film and media art (video), literature (including children and youth) and publishing, cultural initiatives; EU cultural affairs; bilateral and multilateral cultural affairs.
The Constitutional Law Department of the Federal Chancellery is responsible for media policy and press subsidies. The Association of Austrian Federal Theatres also falls under the remit of the Federal Chancellery.
The Federal Ministry of Education and Cultural Affairs (BMUkA) is in charge of educational and school matters (excluding universities). Its Department of Culture and Art Affairs is responsible for:
federal museums and the Austrian National Library; education, the protection of monuments and the preservation of the cultural heritage; Further responsibilities are the Austrian Phonotheque (sound archives) and the Viennese Court Orchestra.
The Cultural Policy Department of the Federal Ministry of Foreign Affairs (BMaA) is in charge of:
General international bilateral cultural affairs, international multilateral cultural affairs, cultural funding and international sports relations, international exhibitions and film affairs, scientific and technological co-operation, conferences, general planning, events, co-operation with universities, student grants, Austrian cultural institutes abroad.
The Federal Ministry of Science and Transport is in charge of research/science affairs and in this respect also for university affairs (including the former art colleges, which have recently been transformed into universities)
2.1.2. States / Länder level
The Federal Länder in Austria include: Burgenland, Carinthia, Lower Austria, Salzburg, Styria, Tyrol, Upper Austria, Vienna, Vorarlberg. Each have cultural departments in the executive offices of the provincial governments. In some cases, they are combined with science and/or education.
2.1.3. Local level
Political responsibility for culture at the local level rests with either the city/town councillor - or in smaller municipalities - the mayor. The majority of local government offices - or municipal administrations - have cultural departments (often combined with science and/or education) which are responsible for:
Libraries, folklore, ensemble preservation
Communities of fewer than 20 000 inhabitants generally have no culture department of their own.
2.2. Breakdown of cultural competence at national, regional, local and municipal levels.
Since 1997, arts affairs have come under the Federal Chancellery and have been assigned to its State Secretary who is responsible for culture, arts, EU affairs and sports under the aegis of the chancellor.
Cultural Administration of the Federal Provinces (States/Länder) and Local Authorities
The federal provinces are active in promoting culture in all relevant fields, based on elements of private law. Activities are undertaken by the executive offices of the relevant state government and their departments. All the state governments have at least one department that concerns itself with cultural affairs. The political responsibility for this is generally assumed by a member of the state government. Occasionally, some cultural powers are the specific responsibility of the governor. Administrative matters are handled by civil servants also known as provincial cultural coordinators.
The capitals of the federal provinces as well as small rural municipalities allocate considerable resources to cultural promotion, which are aimed at urban institutions, local museums, libraries and adult education facilities. Towns with a population of more than 20 000 usually have their own culture offices which report to the mayor or a councillor for culture.
Inter-ministerial or intergovernmental co-operation
Annual intergovernmental information meetings are held between the 9 Länder and the federal government. Political and administrative staff are invited to participate in these meetings at the invitation of the federal government. Informal, inter-ministerial meetings are organised on request between the ministries and administrators responsible.
3. Cultural Budget
3.1. Public cultural expenditure as a percentage of the total public budget
In 1997, approximately ATS 18 billion (circa ECU 1.4 billion), or about 1.3% of all public expenditure, was spent on culture and the arts by the federal and state governments (excluding the local level) - a substantial amount when compared to other countries around the world. Over 59% of this budget is spent by the federal government while the remainder is divided among the state governments (25%) and Vienna (just under 16%). With such a 'high' proportion of total expenditure spent by the federal government on culture (1997), Austria ranked 'first' at an international level.
A high percentage (ca. 45%) of federal monies for culture goes towards the maintenance of large-scale projects and institutions such as the federal theatres and museums as well as on performing arts activities - the majority of which are located in Vienna. Federal theatres are financed by the Federal Chancellery while the federal museums are financed from the budget of the Federal Ministry of Education and Cultural Affairs. This situation, however, will change in view of the new law of July 1998 which allows theatres and museums to become limited companies (GmbH).
Subsidies from the federal provinces (excluding Vienna) have nearly tripled since 1980. The majority of resources are spent on education, followed by the performing arts. The former includes considerable investments in music schools and conservatoires.
Additional support for 'non-traditional' fields of culture, such as contemporary art, or more general art promotion, is derived from indirect levies on radio licences, for example. An advisory board monitors spending within the Federal Chancellery and the Federal Ministry of Education and Cultural Affairs. Seven federal provinces have emulated this example and are similarly levying a 'broadcasting, radio or culture schilling'. The extra funds have, in fact, made quite an impact on the budgets of some public institutions (in some cases up to 15% of the culture budget). Funds are also obtained from the 'blank cassette' fee levied by autonomous collection societies which equalled ATS 97.3 million (about ECU 7 million) in 1996.
3.2. Public cultural expenditure as a percentage of the total public budget
About 1.3% of all public expenditure, was spent on culture and the arts by the federal and state governments (excluding the local level)
3.3. Public cultural expenditure broken down between national, regional, municipal and local levels
State Arts Expenditure in Austria, 1997
|Levels of government |million ATS |% of overall public expenditure |
|Länder | | |
|Burgenland |168 869 | 0.93 |
|Kärnten |485 152 | 2.67 |
|Niederösterreich |673 706 | 3.71 |
|Oberösterreich |1 298 640 | 7.15 |
|Salzburg |483 410 | 2.66 |
|Steiermark |772 011 | 4.25 |
|Tirol |631 452 | 3.48 |
|Vorarlberg |114 304 | 0.63 |
|Länder Total |4 627 544 |25.48 |
| | | |
|Vienna |2 841 308 |15.64 |
| | | |
|Federal Gov't |10 692 755 |58.88 |
|Total |18 161 607 |100.00 |
By comparison, the arts expenditure of local communities in 1997 amounted to circa ATS 5.1 - 5.4 billion.
(Figures: Cultural Policies in Europe. A Compendium of Basic Facts and Trends. Council of Europe/ERICarts. Bonn 2000)
4. Support policy
4.1. Brief description of overall support policy to promote creativity: for example grants to artists, theatres or to special events.
Public responsibilities for cultural affairs have been re-allocated, by sector, to different institutions or bodies. Depending on the allocated tasks and responsibilities different models of institutions or partnerships have been adopted, for example:
The Austrian Film Institute: (previously: Austrian Film Promotion Fund) was established with a separate legal personality following amendments made to the Film Promotion Act in 1998. It is charged with implementing the structural improvement of the Austrian film industry, promotion of film production, and stimulation as well as increasing the quality of Austrian film culture. The Film Institute is headed by a manager and a board of trustees, whose duties are defined in the Film Promotion Act. The Austrian Film Institute is funded by the Arts Department of the Federal Chancellery (Division for Photography).
Kulturkontakt (Centre for East-West Cultural Contacts): organised as an autonomous association, KulturKontakt Austria was founded by the former ministry for culture and art in 1989 as an interface between artists, art sponsors and ministries and to assist in bringing the arts and business communities together. In 1990 the association was given additional tasks supporting and coordinating cultural projects with and in the countries of Central, Eastern and South-eastern Europe by way of cross-border co-operation and it supports educational reform in the CEE countries.
The Austrian Cultural Service (Öks): Established in 1977 upon an initiative of the then Ministry of Education, the Öks is a service institution for cultural education and the dissemination of the arts to Austrian schools. The main purpose of the service is to provide teachers of all subjects with support and advice to enable them to realise cultural and art projects. The Öks arranges for artists to visit schools, establishes contacts with artists and sponsors and assists in co-operative ventures. It also advises, informs and paves the way for financial support. Together with teachers and artists, it develops art programmes and programmes for structural improvement in favour of cultural education and considers how art and creative education could become a permanent part of the curricula.
Several years ago, in a move towards democratisation of the decision-making process, various types of consulting bodies concerned with art promotion were introduced, including the establishment of advisory boards, juries, commissions (e.g. artists' commission and the commercial artists' commission), curators, funds and bodies affiliated to the Federal Ministry (Chancellery). Ad hoc juries have been set up in each of the nine Länder.
In 1991, the Art Minister appointed the first two 'curators', both for a term of two years, for contemporary visual arts. These curators have the powers to launch initiatives and projects which are not based on applications for benefits or recommendations by the advisory boards but are based on their own programme that reflects their personal ideas. The curators project aims to increase the innovative force, define core structures and achieve a type of cultural management that enters wholeheartedly into risks. Each curator has a budget of ATS 15 million per year.
4.2. In general, what is the role of fiscal policy as an instrument of cultural policy, for example, do you have special fiscal treatment for artists, cultural events, etc. in your country ?
An attempt to take stock of the prevailing legal regulations in the cultural sector in Austria is impeded by two factors. Firstly, Austria is a federal state with relatively independent provinces; this independence is reflected in the assignment of responsibilities for cultural matters to the provinces. Secondly, the Austrian Federal Constitution does not explicitly mention art and culture. Statutory provisions regulating the cultural sector have not been laid down in a comprehensive Cultural Act, nor have they been systematically collected.
In such circumstances, one needs to examine the numerous statutory rules to understand the explicit or implicit provisions that they contain with respect to the cultural sector, such as the Federal Constitution Act or the Basic Law on Civil Rights (including Freedom for the Arts - Paragraph 17a, adopted 1982). Federal regulations or acts address allocation of state subsidies (1977), arts promotion (1997), public broadcasting (1999), copyright (1997), film (1998), theatre (1998), museums (1998) and heritage protection (1990). Acts on the Promotion of Culture are passed by the federal Provinces, except Vienna.
The Federal Art Promotion Law adopted in 1988 (and amended in 1997) included the provision that the Federal Finance Law must include the requisite funds for public art promotion and that the social situation of artists and the framework for private sponsoring needed to be improved. The law stipulated that promotion must be directed mainly at 'contemporary art, its spiritual changes and its variety' and listed the fields to be supported by way of production, presentation, dissemination and preservation of works and documents. Facilities that serve this purpose must be similarly supported. The law also enumerated individual measures (e. g. funds granted, acquisitions, loans, commissions, prizes awarded) that may be taken. The advisory system practised in various areas since 1973 (specialised juries that conduct preliminary discussions and decisions regarding the granting of funds) was embodied as a discretionary approach. Mention was also made of the conflicts between the federal and state governments in relation to competence, which needed to be avoided, and stated that the principle of 'subsidiarity' must be employed.
In addition to direct public support for the arts and culture, Austrian legislation also provides for a number of important instruments of indirect support for the arts. These refer to various legal provisions of social policy and fiscal policy, the system of social insurance for artists, measures taken in the field of labour market management, copyright legislation (both direct and indirect payments such as library royalties), the encouragement of private sector support for the arts by means of tax privileges, tax deductibility for private donations and of arts sponsorship. While such policies are welcomed, few sector specific legal regulations have been formulated, though surprisingly in such areas as orchestras or theatres.
The more recent legislative initiative to grant cultural institutions 'full legal capacity' was enacted in August 1998. The federal museums are now considered to be scientific institutions under public law. Such a legal status enables them to operate according to general business principles, e.g. using revenues for ear-marked purposes, carrying out commissions for third parties and participating in private institutions and inter-governmental organisations.
Furthermore, in August 1998, federal theatres (Burg- and Akademietheater, Staats- und Volksoper) were reorganised as limited companies under private law. The 'owner' of such 'companies' is the Republic of Austria to whom the Chancellor - as manager- is responsible. The cultural tasks of the companies are defined in the Federal Theatre Organisation Act, 1998.
Social security / labour relations: In Austria, there is no specific regulation to ensure social security provisions across all fields or artistic professions. There are no corresponding programmes for obligatory insurance or legally guaranteed socio-political compensating measures. Negotiations are carried out on an individual basis between the 'employer' and 'employee' or 'freelance worker'.
There are, however, some exceptions in the fields of film and theatre and with regard to freelance artists, as, at present, fine artists have access to an artists´ social security programme. A more recent amendment to the Employment and Social Security Law Amendment Act, 1997 may change this situation in the future. It stipulates that freelance artists would be treated as professionals on a self-employed basis in the year 2000 - however, without any special regulations to support artists within the social security system. At the moment a working group with representatives of all the parties involved in this matter is developing and discussing the possibility of special regulation. To date, no results have been made available.
Taxes: On the basis of an amendment to the Federal Arts Promotion Act (1988) in 1997, certain public subsidies are now tax free, retrospectively to 1991. These include: grants, prizes and supplements from the Austrian Film Institute for promoting the creation of film concepts and screenplays; income and assistance from public funds or from the funds of public or private foundations, insofar as it concerns compensation for expenditure or expenses, or - with the exception of private foundations - for activities abroad.
Cultural industries / Film / TV
The Film Promotion Act (1998) regulates the Austrian Film Institute. The amendments made in 1998 were designed to strengthen the economic base of the Austrian film scene by making international co-productions easier, encouraging support for distribution systems, and providing for a cinema support scheme.
The global development in the audiovisual media sector and media industry as well as the severe competition in this sector, required prompt reorganisation and proper regulations in the Austrian audiovisual media sector (e.g. referring to the monopoly held by the ORF) and therefore, amendments were made to the Public Broadcasting Law 1997/1999 to enable the public TV broadcasting system to be efficiently managed in the face of increasingly fierce competition.
Copyright
Recent amendments to the Copyright Law 1980/1997, have made provision for:
- writers and authors to receive a levy from the sale of blank tapes and;
- the collection of reproduction fees from importers of copying machines as well as from bulk users such as educational facilities and copy shops.
Cultural heritage and properties
The most crucial reform made in recent years concerns the federal museums. The Federal Museums Act of 1998 now grants full legal capacity to museums and has transformed them into scientific institutions under public law - an important step towards more autonomy. Another very recent political and juridical debate aims at the formulation of a 'Federal Law for the Restitution of Works of Art from Austrian Collection' to the Jewish heirs.
Legal incentives for public-private partnerships
In Austria only 2% of the overall cultural funding is supplied by the private sector, despite the existence of a regulation passed in 1987 by the Federal Ministry of Finance entitled 'Sponsors Ordinance'. Under this regulation an enterprise/ entrepreneur is granted a tax break on expenses for sponsoring cultural events. Various criteria are listed in the ordinance which must be fulfilled in order to qualify for the tax break. The latter, in effect, negates the effect of the regulation.
5. International relations
5.1. Brief overview of the current policy and the perspective for the future
Bilateral conventions on co-operation in the fields of education, culture, research, youth and sports have remained the major instrument of Austrian cultural policy abroad. Some countries can provide the required budget funds for cultural exchanges and presentations only through these intergovernmental agreements. The practical implementation and updating is undertaken in meetings of joint commissions that take place periodically and define the co-operation for the years to come in the form of agreements or working programmes.
Conventions have been concluded with Belgium, Bulgaria, Croatia, Egypt, the Federal Republic of Yugoslavia, Finland, France, Hungary, Indonesia, Italy, Luxembourg, Mexico, Norway, Poland, Portugal, Romania, the Russian Federation, Spain, Croatia, the Slowak Republic, Tunisia and the United Kingdom. Negotiations are being prepared for the conclusion of cultural conventions with the People's Republic of China.
With Israel and the Iran there are cultural programmes on the basis of a 'Memorandum of Understanding on Cultural and Educational Cooperation between Austria and Israel/Iran'. The exchange of cultural activities is negotiated every time, and the opinion of the respective division or council is asked.
Intensive cultural relations - such as those with Germany and the United States - exist without the conclusion of conventions at government level. Third World states in particular frequently express their interest in cultural conventions. However, Austria is now rather reserved with regard to the conclusion of new cultural conventions, wishing to avoid long-term appropriations of budget funds. Besides, too much regulation and channelling would be inconsistent with an open-minded cultural exchange between democratic states, which should ideally be carried out by the competent institutions as directly as possible, without a lot of red tape.
5.2. What relations do public bodies have with:
5.2.1. Other EU Member States? See above.
5.2.2. Non-EU Member States? See above.
5.2.3. The EU Institutions?
Division II/9 of the Art Department operates as the intermediary and contact point within Austria as well as for the EU institutions in Brussels. Its responsibilities include developing Austrian positions and statements (e.g. with regard to EU cultural promotion programmes) presented to national and EU institutions, representing the Federal Chancellery in the EU Council Committee for Cultural Affairs, as well as analysing EU laws.
Division II/9 comprises three sectors (art laws, Cultural Contact Point Austria and EU coordination centre).
Since 1 January 1995, Austria has participated as a member of equal standing in the formal and informal Councils for Culture Ministers, Council working parties, and Commission committees. The EU co-ordination centre works out Austrian statements and positions in relation to national and EU institutions.
5.2.4. The Council of Europe?
Body responsible: Division II/10 and the Ministry of Foreign Affairs. Within the Council of Europe, Austria is very active in the CDCC (Council for Cultural Co-operation) and its sub-committee on culture (CC-Cult), delegating experts to all programmes and projects. Austria's co-operation with the Council of Europe spans a wealth of activities, among them the multicultural photo show 'Pictures of Home and from Abroad' celebrating the 40th birthday of the Council of Europe, or the European Cultural Management Placement - Pilot Data Base Project contributed by the International Institute for Culture and Management in Salzburg. The Democracy, Human Rights, Minorities: Cultural and Educational Aspects programme was so successful in launching its Austrian Graffiti, Sound & Video project that the Council of Europe resolved to expand it at European level.
5.2.5. Unesco
Body responsible: Division II/10 and the Ministry of Foreign Affairs. Within the scope of Unesco, projects of the AUSTRIAN Unesco Commission continue to be supported by Division II/10, regardless of the shift in competencies to the Ministry of Foreign Affairs. The Division also sends department delegates to three expert panels of the Commission. The final report of the symposium on 'The Future of Culture' (Vienna in 1997) is now available. 10 artists were invited to Austria within the scope of the 'Unesco-Aschber Bursaries for Artists Scheme' of the 'International Fund for the Promotion of Culture' from the Unesco Regions Latin America, Asia and Africa. Another focus was on the Unesco Conference 'The Power of Culture' in Stockholm. At the conference, the Unesco Report 'Our creative Diversity' on culture and development was discussed. At the NGO level, numerous events and discussions took place. Austria took part in a Council of Europe event on 'Culture and Civil Society' with a presentation of the Project 'Life Stations'.
6. The role of the private sector
6.1. What role do private initiatives play to promote creativity in your country?
Due to severe budget cuts in the last two years, efforts to clarify this aspect have intensified. Small steps towards public-private partnership have been made in the fields of the audiovisual media, theatres and museums.
The arguments used against privatisation in the cultural sector include the threat that the public authorities would push their responsibility for funding culture more and more onto the management of each institution, and finally onto the private sector, as sponsors, etc. The growing dependency on private funders would have negative consequences on cultural development as private funders (have to) expect economic profits. Most of the cultural institutions, of course, cannot satisfy such economic conditions.
Further arguments against privatisation include the threat of negative financial, economic and professional consequences in the course of privatisation (e.g. the loss of job guarantees for civil servants, reduced salaries, reduced staffs, etc.).
In order to avoid misunderstandings concerning cultural life in Austria it is important to emphasise that in Austria private initiatives, associations, groups etc. play an important role in the cultural sector (as well as in the social welfare sector).
7. Current debate and future plans
Throughout the 1990's there were tremendous public efforts to find ways to support the cultural sector. The grand coalition (Social Democrats and Christian Democrats) increased the arts and culture budgets with the goal of improving the cultural infrastructure as well as the conditions required for creative artistic autonomy. Structural improvements in the publishing and film sectors, a revamping of the copyright legislation and firm support for unconventional, even disquieting art forms were some of the initial efforts made by the grand coalition.
In 1994 the (continuing) grand coalition announced the restoration of works at the federal museums and modernisation of the Austrian Library, support for contemporary art was to be further strengthened and decentralised cultural initiatives would remain focal points for promotion. The coalition agreed to extend film promotion measures and to launch an 'art offensive' in official and non-official educational institutes. Media policy was presented and for the first time it made mention of the audio-visual media (advocating a dual system of public and private, commercially-based media operating under the same conditions). Amendments were made to the Public Broadcasting Law which enabled the public broadcasting system to be efficiently managed in the face of increasingly fierce competition.
The coalition agreement of 1996 once again provided for continuing support to cultural institutions, guaranteeing them assistance in terms of social security. It also promised active participation in EU film promotion programmes, more intense art and culture dissemination in schools and among the young, more contacts at the international level and the promotion of Austrian contemporary and experimental art abroad.
The agreement stipulated steps to reorganise the federal theatres towards granting them 'partial legal capacity', furthermore steps to initiate measures to strengthen the economic independence of theatres - which finally resulted in the reorganisation of the former Federal theatres into limited companies under private law in August 1998. Also the Austrian National Library was to be given partial legal capacity, and the federal museums obtained full legal capacity by August 1998.
7.1. What have been the core issues facing public cultural policy in your country recently?
Decentralisation vs. centrality
Best examples are the reforms of the federal museums and the restructuring of the federal theatres, but also different measures taken to transfer responsibilities for cultural affairs.
New forms of international cultural collaboration
The Austrian Cultural Institutes abroad (part of the Federal Ministry of Foreign Affairs) initiate and finance a lot of activities and events, mainly to present Austrian culture abroad.
Further measures are support for the participation of Austrian artists at international festivals, exchange of artists, funding of artists´ workshops abroad etc. Measures discussed and to be taken are the re-structuring of the Austrian cultural policy by strengthening a cultural representation instead of a diplomatic one and by increasing the operating budget of the Austrian Culture Institutes abroad on the one hand and on the other hand by intensifying cooperation between Austrian artists and artists from abroad, supporting participation in international projects, programmes, networks in order to integrate Austrian creative artists and their works in international activities.
Heritage development
Some of the country's most important cultural institutions in the heritage field, namely the federal museums, the Austrian National Library, the Austrian Phonotheque (sound archives), the Viennese Court Orchestra and the Federal Office of Historic Monuments are currently undergoing a process of change with regard to their organisational, juridical and economic structure. The most crucial reform that has already passed the parliamentary decision-making process grants full legal capacity to the federal museums and transforms them into scientific institutions under public law - an important step towards more autonomy. New statutes are to be developed by the Federal Ministry of Education and Cultural Affairs for each of the federal museums and, additionally, the Austrian Parliament has called for an 'Agenda Museum 2010' to define the scientific, educational and cultural scope of the museums.
Another very recent political and juridical debate is aimed at the formulation of a 'Federal Law for the Restitution of Works of Art from Austrian Collections' to their Jewish heirs. A working group has been charged with clarifying the provenance of the works of art in question.
Strategies to stimulate employment in the cultural sector
Employment, the greatest and most urgent European challenge of the 1990s, is at the top of each national agenda as well. Nowadays, politicans are looking for jobs everywhere: the prospering cultural sector (increasing in turnover) has been taken into account in the search for new jobs. It is said that there are many new jobs in the cultural and media sector, but they are mostly short-term and underpaid jobs. The Austrian labour market researcher Norbert Gellner refers to about 100 000 jobs in the cultural field in Austria (estimate). The cultural sector was not included in the Austrian national employment strategy until 1999. But 'culture and employment' was one of the main cultural policy issues during the Austrian EU presidency last year (1998). One finding from that conference (see the publication 'Cultural Competence. New technologies, culture & employment', edited by the österreichische kulturdokumentation) was that we all know very little about the sector's specific employment rates and conditions. It is said that a study about the Austrian work force in the cultural sector will be commissioned by the Department for the Arts (Federal Chancellery) and the Ministry for Labour and Social Affairs in the near future.
Last but not least, some Austrian government schemes to stimulate employment (programmes) (e.g. experimental labour market policy measures) generally and which are of interest for cultural organisations, institutions and cultural workers (employed and unemployed) should be mentioned: in 1998 a new programme called 'newstart' was implemented. Cultural organisations also had the opportunity to recruit workers for one year (precondition: unemployed people, good training opportunities). In addition to government activities (for which the Ministry of Labour, Health & Social Affairs is responsible) the Austrian Labour Market Service (AMS) (arms length principle) runs some programmes which should stimulate employment in the labour market in general, i.e. in the cultural sector and the market as well (e.g. support for re-employment; setting up support for new entrepreneurs (precondition: unemployed people who are willing to set up new firms).
Language issues and policies
The cultural and social rights of ethnic groups and members of cultures using foreign languages are in principle protected by law. The dominant language spoken in Austria is German. Minority languages covered by law include Croatian and Hungarian (found mostly in Burgenland) and Slovene (found mostly in Carinthia). Policies in Burgenland have implemented quotas in the education system stipulating that, the numbers of students speaking, for example Croatian, will determine the major language of instruction in the schools.
There is also elementary education in Hungarian for the Hungarian minority in the Burgenland.
The largest ethnic minority in Austria are the Carinthian Slovenes who have access to a 'minority education right' which provides for secondary education in Slovene.
Relation between media and culture ('identity')
Since the ending of the monopoly of the Austrian Broadcasting Corporation the Austrian media scene has been divided into:
- a public law broadcasting and print media (ORF, gazettes),
- a private law profit oriented sector (private radio, TV and publishing), and
- a non-profit media sector (free radio, cultural print media, editions).
Measures being discussed and planned concern promoting culture and the arts in the media (scene), financing free radios according to the European standard, freeing cultural institutions of the advertising tax etc.
Despite its position, the ORF continues to be a very important cultural institution in Austria and has public cultural and educational tasks defined by law.
Equality issues and cultural policies
Equality issues concern all aspects of policies. Both the decision-makers and promoters of art and the artists and creative people are dominated by men. Expert reports have shown that there are no women managers of public galleries in Austria, that although 54.5% of the students in higher education are women, female professors/teachers (especially of music and composition) are non-existent, that the ratio of men to women working at the ORF is 2:1, that women in general earn 1/3 less than men in the marketplace despite the fact that women work approximately 7 hours more per week. Let us also not forget the embarrassing debates between members of the Vienna Philharmonic Orchestra and the public prior to the first women harpist being admitted to the prestigious ensemble. One of few cultural policy measures to support women is the parental leave benefit which is granted to freelance creative artists. In Austria, freelancers /self-employed people cannot claim parental leave benefit.
In recent years, a working group on arts and culture within the Ministry for Women's Affairs was created to discuss alternative policy approaches to gender equality in the arts and media. A project team, led by Mediacult, Vienna, is undertaking a national review of the status of women working in the arts and media in Austria as part of a larger European comparative project being co-ordinated by ERICArts for the European Commission.
Arts education: programmes and models
At school level art education in general includes music and the visual arts. At high school level the pupils can usually choose between arts subjects and the arts subjects offered differ depending on the school type. Schools geared towards vocational education often do not offer any arts education.
Following a trend in other European countries such as Finland, or initiatives being taken in the Netherlands, a new law was introduced in 1998 to grant art colleges university status. The process of transforming art students into 'university' students began at the end of 1998. However, this applies only in some schools, as many art colleges still remain without university status.
Culture industries: development programmes and partnerships
In the mid 1990s the governing parties advocated a dual system of public and private commercially based media operations under equal conditions. The amendment to the Public Broadcasting Law was designed to enable the public TV broadcasting system to be efficiently managed in the face of increasingly fierce competition.
A film/television agreement on the promotion of cooperation was concluded in 1981 (supplemented in 1989 and 1994) between the Austrian Film Institute and the Austrian Broadcasting Corporation (ORF). This agreement aims at jointly promoting Austrian feature films and has set aside a certain percentage of funds to be allocated to the promotion of films of an innovative character, short films and documentary films, as well as to encourage young talent. Upon expiry of this agreement, the ORF would be entitled to show the films promoted under this agreement on TV at any time.
7.2. Do you plan any major changes in the current policy?
Since February 2000, a new government coalition has been in power in Austria. The newly formed coalition between the ÖVP - the Austrian People's Party - and the FPÖ - the Austrian Freedom Party has signed a coalition document which differs from the previous coalition document (between ÖVP and SPÖ - the Social-Democratic Party) in some significant aspects: The promotion of contemporary arts, which has been a key issue for Austrian cultural policies since the 1970s, is no longer included in the 17 paragraphs of the cultural section in the coalition document. Instead, a paragraph is introduced which sets out promotion of a research focus on 'Volkskultur' (folklore), which is to be achieved through networking with art universities and research institutions. Without doubt, the shift of focus from contemporary (also avant-garde) art to 'Volkskultur' will have a significant impact on future cultural policy; at the moment, many arts institutions, artists, cultural initiatives etc. are united in a protest movement against this new trend. Another change can be identified in the role public cultural policy is to take on in connection with private funding for the cultural sector. The introduction of measures for the 'commercial exploitation of creative achievements and a target-group oriented service for promoters' will definitely change the relationship of the arts (and culture) with the private sector.
PORTUGAL[20]
1. General objectives and principles
1.1. Definition of cultural policy
The intervention of the government in the field of culture is based on the fundamental principle that cultural creation and enjoyment constitute essential rights of the citizen and are components of his quality of life; consequently there results an inalienable responsibility of the intervention of the State in this domain. Thus, like education, training and science, culture will also be a priority for governmental action.
The State cannot and should not monopolise cultural life: on the contrary it has a strict obligation to respect, keep alive and stimulate the multiplicity and the variety of the cultural initiatives emerging from the midst of civil society. Exactly for that reason, the government will have as priorities of its cultural intervention the study and the promotion of new models of active cooperation and complementarity between the regional and local authorities and the autonomic initiatives of the citizens (artistic creators, cultural promoters and consumers, individually or through professional or civic associations).
In this context, the government is aware of the fact that the harmonious development of Portuguese cultural life calls for a progressive transfer of competences and facilities which are today concentrated in the central administration to the organs of the regional and local authorities, as well as to private bodies of various kinds nature operating in diverse fields. However, there are some cultural areas where only the State is able to provide the large-scale infrastructures necessary for cultural activities, especially at national level; the volume of the necessary investments, the imperatives of continuity for proper functioning and the reduced capacity to manage own resources all point in this direction. The government will clearly assume its responsibilities in this field by ensuring full stability of infrastructures in terms of institutions, finances, programmes and efficiency.
While the period 1995/99 has been a period of affirmation of the new cultural policy, the second term 1999/2003 can be defined in terms of a three-pronged strategy: consolidation, depth and innovation.
1.2. The main characteristics and objectives are based on five fundamental factors.
Democratisation:
- Greater access for the citizens to cultural activities;
- Close cooperation with the Ministry of Education;
- Policy coordination with the Secretariat of State for the Media.
Decentralisation:
- Closer cooperation with local authorities and local cultural institutions;
- Regional centres of the institutions responsible for policy for the heritage and the visual arts;
- Itinerant activities.
Internationalisation:
- A factor of construction and affirmation of national identity;
- A global strategy for the defence of the Portuguese language;
- Increasing participation of Portuguese institutions in the European networks of cultural production and circulation;
- Ssupport in promoting culture and cultural agents abroad.
Professionalisation:
- Stable circuits of production, circulation and consumption;
- Adequate capacity of intervention;
- Establishing forms of association between the cultural institutions of the State and conservatories, schools, institutes and universities;
- Training and retraining programmes;
- Support for cultural projects with an educational or training dimension.
Reorganisation:
- Institutional decentralisation;
- Priority to professional specialisation;
- Greater transparency and rigour;
- Preference for investments in policies generating infrastructures.
In the course of the development of these central strategic objectives, the following five key determinants of cultural policy appear as core factors:
- Protection and development of the heritage;
- Defence of books and promotion of reading;
- Emphasis on creativity (in theatre, cinema, dance, plastic arts, music, photography, opera and literature);
- Cultural decentralisation;
- Internationalisation of Portuguese culture.
2. Policy decision-making and administration
2.1. Description of the system
The Ministry of Culture is the governmental body responsible for conducting a global and coordinated policy in the field of culture and the domains related to it.
The Minister of Culture is assisted in his functions by the State Secretariat for Culture.
In order to perform and follow up its tasks, the Ministry of Culture includes the following departments:
- The General Secretariat,
- The Regional Delegations for Culture,
- The Office for International Relations,
- The General Inspectorate for Cultural Activities,
- The Copyright Office.
The following are support bodies for the Ministry of Culture:
- The National Council for Culture,
- The High Council for Libraries,
- The High Council for Archives,
- The National Copyright Council,
- The Commission for the Classification of Spectacles.
The following public bodies having legal personality are under the tutelage of the Minister of Culture:
- The Fund for Cultural Promotion,
- The Portuguese Institute for the Architectural Heritage,
- The Portuguese Institute of Archaeology,
- The Portuguese Institute of Museums,
- The Institute of Contemporary Arts,
- The Portuguese Centre for Photography,
- The Institute for Cinema, Audiovisual Arts and Multimedia,
- The Portuguese Institute for Conservation and Restoration,
- The Portuguese Cinematheque and Museum of the Cinema,
- The National Library,
- The Portuguese Institute for Books and Libraries,
- The Institute of National Archives/Torre de Tombo,
- The Portuguese Institute of Visual Arts,
- The National Theatre 'Dona Maria II',
- The National Theatre 'São Carlos',
- The National Theatre 'São João',
- The National Ballet Ensemble,
- The National Orchestra of Porto,
- The Portuguese Academy of History,
- The Portuguese Academy of Fine Arts,
- The International Academy of Portuguese Culture.
The Ministry in Culture was created in 1995, with the purpose not only of conferring greater prestige on the cultural administration but also of strengthening the position of culture in the wider contexts of political projects and practice and raising the cultural policy to a higher level of discussion, in conditions favourable to dialogue and synergies with the other ministries.
The creation of the Ministry did not represent any kind of pointless or immobilist centralisation; on the contrary, decentralisation and regionalisation became, from that year on, key priorities in the field of culture.
From October 1995 on a wide-ranging institutional reform of the cultural administration was launched. This reform introduced the distinction, under the minister's tutelage, between the departments depending on the minister (central support services and regional delegations) and the organisms (legal persons) having a wider degree of autonomy. These organisms, corresponding to virtually the entire range of the ministry's activity, obtained greater flexibility, and can thus now more easily deal with requests in the field of competence, notably in terms of field experience and employment of specialised personnel. Some of these institutions have been new creations, because they had no exact equivalent in previously existing administrative structures. The aim of this institutional reform was to increase the range and efficiency of the various manifestations of cultural policy, and to promote stability, fairness and transparency in relationships with other cultural agents, the administration and the other partners.
As one of the organs of national sovereignty, the Parliament (Assembly of the Republic) has, in its role as legislative body and a body responsible for monitoring government acts, created various permanent specialised committees among them the Committee on Education, Science and Culture. The functions of this committee are: examination of draft laws and legislative proposals; approval of texts in its area of competence adopted in plenary; gathering of information on political and administrative subjects within its brief; and monitoring the application by the government and the administration of the laws and resolutions passed by the Assembly. Its membership consists of parliamentarians drawn from all the parties represented in the Assembly of the Republic.
2.2. Breakdown of cultural competences at national, regional, local and municipal levels
The competences and functions in the field of culture lie with the Ministry of Culture and its various departments.
As Portugal is not divided into regions, the municipal organs at a local level have the following functions:
- To plan, manage and realise public investments in cultural centres, scientific centres, libraries, municipal theatres and museums, and in projects in the field of the cultural, landscape and urban heritage of the locality.
- To propose the classification of buildings, complexes and sites, in legal terms.
- To proceed to the classification of buildings, complexes and sites of local interest and to ensure their maintenance and conservation.
- To participate by means of protocols with public, private or cooperative bodies in the conservation and maintenance of the heritage and classified areas.
- To organise and constantly update the inventory of the cultural, landscape and urban heritage of the locality.
- To manage the museums, classified buildings and sites in terms to be defined in law.
- To support non-professional cultural projects and agents.
- To support cultural activities of local interest.
- To support the construction and conservation of cultural facilities of local relevance.
The municipalities are also competent to license and tax local performance venues.
They may delegate their competence in this field to the parishes*.
*(There are two tiers of local authority in Portugal: municipalities and parishes.)
3. Cultural budget
3.1. Brief overview of the public cultural budget
Expenditure of the Secretariat of State for Culture* broken down by sectors for 1985-1995
(sums given are in thousands of PTE at 1985 prices; percentages in the columns)
|Sectors |1985 |1986 |1987 |1988 |1989 |1990 |
|Total |4 041 750 |4 994 177 |5 601 983 |7 016 754 |6 821 561 |6 898 699 |
|Museums |15 |13 |12 |13 |11 |12 |
|Archives |4 |4 |3 |5 |5 |9 |
|National monuments |7 |9 |5 |7 |4 |3 |
|Archaeology |1 |1 |1 |1 |1 |0 |
|Other forms of |5 |7 |6 |3 |9 |3 |
|heritage | | | | | | |
|Books and reading |7 |7 |12 |14 |15 |15 |
|Music |4 |3 |2 |10 |3 |3 |
|Performing arts |12 |17 |16 |14 |15 |17 |
|Plastic arts |2 |0 |2 |1 |1 |4 |
|Cinema, audiovisual |12 |7 |10 |9 |10 |9 |
|arts, photography | | | | | | |
|Socio-cultural |3 |11 |9 |7 |7 |6 |
|activities | | | | | | |
|General admin. of |28 |22 |23 |17 |19 |18 |
|culture | | | | | | |
|Total |100 |100 |100 |100 |100 |100 |
|Sectors |1991 |1992 |1993 |1994 |1995 |
|Total |8 517 684 |10 063 537 |10 469 479 |12 236 279 |11 598 141 |
|Museums |14 |13 |16 |18 |12 |
|Archives |7 |8 |8 |7 |8 |
|National monuments |7 |13 |11 |14 |16 |
|Archaeology |0 |0 |0 |1 |1 |
|Other forms of |4 |5 |3 |2 |2 |
|heritage | | | | | |
|Books and reading |11 |8 |8 |7 |7 |
|Music |4 |3 |3 |2 |3 |
|Performing arts |16 |16 |17 |13 |15 |
|Plastic arts |1 |0 |0 |0 |0 |
|Cinema, audiovisual |11 |12 |12 |10 |10 |
|arts, photography | | | | | |
|Socio-cultural |7 |6 |8 |16 |12 |
|activities | | | | | |
|General administration|19 |16 |14 |11 |12 |
|of culture | | | | | |
|Total |100 |100 |100 |100 |100 |
Source: SEC/DGESGO/GP, Culture, Report on the activities of the years concerned.
Notes: the categories mentioned are those used in the source. According to SEC, the category 'performing arts' includes theatre, ballet, song and opera. The category 'cultural activities' is related to folklore and handicraft and to 'circuses'. The category 'general administration of culture' refers to 'joint actions' and to the 'development of the ministry'. The 'other forms of heritage' include the Film Archive and the Academies (at least in part). The expenses from 1985 to 1987 are in conformity with the revisions made in the report of 1988. The 1985 constant prices relate to the general consumer price index (= 100 for 1985).
*Government department responsible for culture
(From: 'Cultural Policies in Portugal'. Monitoring Centre for Cultural Activities)
Expenditure of the Ministry of Culture broken down by sectors for 1995-2000
|Domains |1995 |1996 |1997 |1998 |1999 |2000* |Variation |2000/1995 |
| | | | | | | |Value |(%) |
|1. Heritage |12,9 |13,6 |12,8 |14,5 |15,0 |18,4 |5,5 |42,6% |
|2. Archives, libraries, books and |4,4 |5,3 |5,8 |5,6 |6,3 |7,7 |3,3 |75,0% |
|reading | | | | | | | | |
|3. Performing and visual arts |3,5 |4,1 |5,4 |6,7 |7,0 |7,9 |4,4 |125,7% |
|4. National theatres, ballet and |3,3 |4,0 |4,1 |4,3 |5,1 |6,2 |2,9 |87,9% |
|orchestra | | | | | | | | |
|5. Cinema, audiovisual arts and |2,9 |3,9 |3,7 |5,2 |5,2 |5,8 |2,9 |100,0% |
|multimedia | | | | | | | | |
|6. Socio-cultural activities |3,0 |3,2 |3,1 |3,4 |3,5 |3,9 |0,9 |30,0% |
|TOTAL |30,0 |34,1 |34,9 |39,7 |42,1 |49,9 |19,9 |66,3% |
*Forecasts for 2000 (in 'Orçamento 2000 - Proposta' [Budget 2000 - Draft], General Secretariat of the Ministry of Culture)
3.2. Public cultural expenditure as a percentage of the total budget
The global budget of the Ministry of Culture for the year 2000 stood at PTE 49.9 bn, or 0.6% of total central government expenditure and 0.2% of GDP.
3.3. Public cultural expenditure broken down between national, regional, municipal and local levels
Expenditure by municipalities on culture (1986-1997) (mainland Portugal only)
| |1986 |1987 |1988 |1989 |1990 |1991 |1992 |1993 |1994 |1995 |1996 |1997 |
|PTE m at constant prices|3.996 |5.636 |6.827 |8.295 |10.292 |13.841 |17.718 |23.545 |25.690 |27.326 |32.501 |42.622 |
|PTE m at constant (1997)|9.381 |12.016 |13.283 |14.302 |15.618 |18.729 |21.901 |27.178 |28.231 |28.824 |33.266 |42.622 |
|prices | | | | | | | | | | | | |
|Rate of real annual | |28,1 |10,5 |7,7 |9,2 |19,9 |16,9 |24,1 |3,9 |2,1 |15,4 |28,1 |
|variation | | | | | | | | | | | | |
From: 'Despesas dos municípios do Continente em Cultura. Observatório das Actividades culturais' (Expenditure of the municipalities on culture in the Portuguese mainland. Monitoring Centre for Cultural Activities.)
Expenditure by the municipalities on culture under NUTS II (1986-1997)
in PTE m at constant (1999) prices
[pic]
From: 'Despesas dos municípios do Continente em Cultura. Observatório das Actividades culturais' (Expenditure of the municipalities on culture in the Portuguese mainland. Monitoring Centre for Cultural Activities.)
4. Support policy
4.1. Cinema, Audiovisual Arts and Multimedia
In this field, the Institute for Cinema, Audiovisual Arts and Multimedia (ICAM) finances projects in the following areas:
Production - There are different forms of support for the creation and production of films, audiovisual arts and multimedia. These include support for feature films, first productions, short films, documentaries, cartoons and co-productions. The protocols signed with the TV channels, public (RTP) and private (SIC), permit support for national film production and for production for television (dramas, documentaries, cartoons).
Performance - The aim is to contribute to the improvement of the technical conditions of the halls and to create channels of distribution for Portuguese, European and lesser-known films.
Training - Supports in this field is aimed at developing and improving academic and vocational training and creating new kinds of public.
Promotion - The distribution and promotion of national works are one of the objectives of financing in this domain, in order to give them access to the national, European and international markets. The internationalisation of Portuguese production in the audiovisual, film and multimedia fields is another of the great projects of the ICAM.
International programmes - There is active participation in various international programmes, e.g. Media 2, Eurimages and Ibermedia.
Literary creation
In the field of books and reading, under the aegis of the Portuguese Institute of Books and Libraries (IPLB) there is a 'Programme of scholarships for literary creation', the objective of which is to offer writers the most convenient conditions for working, that is, the possibility for the grant recipient to dedicate himself full-time to his creativity, thus promoting the production of literary works of cultural value.
The areas covered are poetry, narrative and drama. 12 scholarships are given each year, two of which are for comic strips.
There are also programmes supporting translations of Portuguese authors published abroad and the presence of those authors at international events (book fairs, literary meetings or other initiatives).
Plastic arts
The umbrella of the Institute of Cultural Activities (IAC) covers systems for supporting artists and creation in this field. An example is the financing of participation of these artists in international events (biennales, exhibitions).
Performing arts
Financial support is given to projects in the fields of dance, music and theatre, and to multidisciplinary projects.
Natural or legal persons in private law may apply in the areas of creation, interpretation, production and dissemination.
The grants cover projects lasting 3 or 4 years, as well as projects with a maximum duration of 12 months.
4.2. The role of fiscal policy
There exists also a Statute of Sponsorship, approved by Decree-Law No 74/99 of 16 March 1999, as amended by Law No 160/99 of 14 September 1999, the objective of which is the reduction of income tax for collective persons (IRC) and individuals (IRS).
This statute comprises donations (in money or kind) to public or private bodies whose activity consists mainly in realising cultural initiatives.
The bodies covered by the rules on gifts to the state are: the State itself; the autonomous regions and the local authorities, as well as some of their departments, institutions and bodies, even where these assume a personalised form; associations of municipalities and parishes; foundations in which the State, the autonomous regions or local authorities are initial participants; and, again with reference to initial endowments, foundations of a purely private character which pursue essentially cultural aims and whose statutes provide that, in case of extinction, their estate or goods shall revert to the State or shall be ceded to bodies covered by Article 9 of the CIRC (code on taxation of collective persons).
The tax advantages for those making donations to these public bodies are of two types:
- For collective bodies (CIRC) - acceptation as costs of the donations made as a whole, with a bonus of 20%.
Donations made in the framework of multiannual contracts having specific cultural objectives may benefit from a bonus of 30%.
- For individuals (CIRS) - deduction at source at a rate of 25% of the donations made (bonus on the same basis for collective bodies).
In the case of donations to the State and to collective persons having public utility status under Article 9 of the CIRC, the tax advantages are automatically given, without any certification procedure being required. The following are not covered: foundations in which the participation of the State is lower than 50% of the initial endowment, and foundations of a purely private character which pursue cultural aims and whose statutes provide that, in case of extinction, their estate or goods shall revert to the State or shall be ceded to bodies covered by Article 9 of the CIRC.
The bodies covered by the rules on donations to private bodies are: cultural cooperatives; institutes, foundations and associations which pursue research, cultural activities or activities in defence of the historical and cultural heritage; bodies working in the field of theatre, ballet, music, organisation of festivals and other artistic events or producing cinematographic, audiovisual or literary works; and museums, libraries and historical or documentary archives .
The tax advantages for those making donations to such bodies are also of two types:
- For collective bodies (CICR) - Acceptance as costs of donations up to a limit of 0.6% of turnover and/or volume of services provided, with an bonus of 20%. Donations made in the framework of multiannual contracts having specific cultural objectives may benefit from a bonus of 30%.
Acceptation as costs of donations as a whole where made for cultural activities or programmes recognised as being of particular cultural interest (bonuses as above).
- For individuals (CIRS) - deduction at source at a rate of 25% of the donations made (bonus on the same basis for collective bodies) and up to a maximum of 15%.
In the case of donations made to private bodies, the advantages laid down in the CICR and IRS are subject to joint official recognition by the Ministers of Finance and Culture.
5. International relations
The Ministry of Foreign Affairs is competent for the pursuit of external cultural policy, in conjunction with other government departments, especially the Ministry of Culture.
For this purpose, there exist in Portugal various public and private institutions in receipt of budget allocations, which are of great importance here and undertake permanent external cultural action of an intensive nature. As examples we may evoke the Instituto Camões and the Institute for Portuguese Cooperation, which depend on the Foreign Ministry, the Calouste Gulbenkian Foundation, the ICEP and the National Commission for the Commemoration of the Portuguese Discoveries.
Although the different institutes of the Ministry of Culture are competent in the fields of dissemination, cooperation and exchange with similar foreign institutions, it is the Office of International Relations (GRI) within the Ministry of Culture which has the task of contributing to the external diffusion of Portuguese culture, according to the following guidelines:
- Strengthening of cultural ties with countries from all continents;
- Diffusion of the historical and cultural values which constitute the national identity;
- Distribution of contemporary works and internationalisation of cultural agents;
- Diffusion of applied arts in the context of the promotion of traditional handicrafts;
- Support for the Portuguese citizens wishing to follow courses abroad in higher education centres of recognised intellectual quality;
- Promotion of the Portuguese language as a cultural, political and economic instrument;
- Active and aware participation in international bodies and forums.
The acquisition of skills by Portuguese artists and experts in cultural areas currently exhibiting a deficit is one of the central objectives of the policy of the Ministry, which therefore awards, every year and on the basis of an open competition, grants for postgraduate studies abroad.
Relations with other Portuguese-speaking countries, notably Brazil and Cape Verde, have been encouraged in recent years, with positive results, for reasons of history and mutual interest.
Concerning the strengthening of the strategic importance of the Portuguese language on the international scene, the Camões Prize has been created as a fundamental means of recognising the language's finest exponents: every year, a author writing in Portuguese is awarded the prize, independently of his country of origin or residence. The value of this prize is PTE 12 m.
In this context also, at European Union level Portugal is defending the cultural and strategic value of Portuguese, as the European language with the third largest number of speakers outside Europe.
In the field of bilateral relations, the objective is to strengthen cultural ties with a large spectrum of countries through the conclusion of cultural agreements.
The realisation of summits is another one of the mechanisms used to reinforce cooperation with countries with which Portugal has particular historical ties - this is the case especially with the meetings of the Ministers of Culture of the CPLP (Community of Portuguese-Speaking Countries), the Luso-Brazilian, Luso-Spanish, Luso-Moroccan, Ibero-American and Luso-American Summits, etc.
Another means of multilateral intervention is active participation in such international organisations as the European Union, UNESCO and the Council of Europe.
5.1. Brief overview of current policy and perspectives for the future
Relations with the Member States of the European Union have been very productive in the last ten years, in the context of complementary and strategic options.
5.2. What relations do public bodies have with ...
I
t is also necessary to stress cultural exchanges with the US, Japan, China, Morocco, Argentina and others countries. With the above-named there has been, in the last decade, close cultural contacts, for reasons of historical ties or as a result of the permanent interest of local cultural institutions - as in the case of the US, where the presence of Portuguese culture has been asked for in cities like Washington, New York, Chicago, San Diego or Newark.
5.2.3. The GRI represents the Ministry of Culture in the EU institutions, including the Committee on Cultural Affairs and some of the Commission's management committees. IT was responsible for organising, under the Portuguese Presidency, the informal Council of Culture Ministers.
5.2.4. It is also the GRI which represents the Ministry of Culture in the Council for Cultural Cooperation - CDCC - and the Culture Committee, both organs of the Council of Europe. It is the concern of the Ministry of Culture, through the Office of International Relations (GRI), to defend, within the Council of Europe, cultural and linguistic diversity and the protection of the material and non-material heritage in conformity with the orientations followed by the Committee on Cultural Affairs of the EU.
5.2.5. Relations with UNESCO are the responsibility of Portugal's National Commission for UNESCO. Nevertheless, we have to mention the participation of the GRI in the discussions on the preliminary drafts of the 'Unidroit Convention', and in representation of the Ministry of Culture at the biannual General Assemblies.
6. The role of the private sector
6.1. The role of private initiative
In the last years, we have witnessed an increase of activities of private initiative, which is a result of interest in obtaining cultural objects but is also a reflection of current policy for the sector.
6.2. Collaboration between public and private sectors
The Ministry of Culture has significantly increased its allocations in the last five years (see 3.1) in support of initiatives of private promoters and also of co-productions.
7. Current debate and future plans
7.1. Recent core issues for public cultural policy
Over the present legislative term, the cultural programme has been characterised by a three-pronged strategy: consolidation, depth and innovation.
Consolidation
As noted above, the Ministry of Culture has promoted five main areas as core objectives of its policy: books and reading; protection and development of the heritage; creation (in cinema or opera, plastic arts or dance, theatre or music); cultural decentralisation; and the internationalisation of Portuguese values, artworks and artists.
These aspects need to be consolidated, not only through financing but also through the promotion of real facilities which would allow them to take root.
Further action
There are two main dimensions which cultural policy has to consider in its in-depth effort: professionalisation and the conquest of new publics.
First, the role of culture in any process of development is demanding greater professionalism from all: artists, creators, technicians, cultural agents and mediators. Therefore, the State has to contribute to the realisation of this objective, by promoting professional education and training, by offering study grants, and by creating better working conditions and improving social security arrangements.
We must, secondly, keep in mind that only the conquest of a new public by introducing cultural goods into daily lives of all Portuguese citizens will ensure that culture becomes a permanent and living element of citizenship.
Innovation
To consolidate a policy and to ensure that it takes root are necessary if we are to ensure, in a spirit of realism and determination, another objective: innovation.
The aim is to innovate in full awareness of the continuing and enormous transformations of the contemporary world and their consequences in the cultural sphere - their effects on the expectations of the public, the demands of communities, the strategies of artists. However, we must not forget that the cultural area depends more on a complex dynamic of supply than on crude mechanisms of consumption: this peculiarity is, indeed, the very fount of national identity and creativity.
We must innovate while also paying close attention to all the diverse phenomena of the 'cultural area'; we must accept the need for a policy which is open to the demands of the heritage as well as to those of creation, in the conviction that culture is a strategic dimension of national development.
7.2. Do you plan any major changes in current policy?
No significant changes in present cultural policy are foreseen.
FINLAND[21]
1. General objectives and principles
The national definition of cultural policy, in the narrowest sense, covers 'the arts', which means the creative and performing arts and the work of individual artists. This is the policy domain of the arts councils. In a more extended sense, it covers cultural and arts institutions of the creative and performing arts, museums, libraries, cultural heritage, arts education and international cultural cooperation. This is the traditional domain of the Ministry of Education and the National Board of Antiquities. 'Culture' in a still wider sense includes the cultural industries and the media. Nowadays these are also the domains of the Ministry of Education. Other definitions also include adult education, socio-cultural activities, sports and youth work. A wider definition of culture, often used when discussing the implication for employment, also covers non-cultural professions in the media, cultural industries, crafts professions, cultural tourism and even advertising. The broadest concept of culture is to be found in what is called cultural-based development.
The Finnish cultural policy model is first and foremost an 'arm's length' model whereby a number of expert bodies give advice to the Ministry. These bodies have some independent decision making power. The Finnish arm's length model has a highly corporate character, with artists' professional associations and trade unions playing an important role in formulating and implementing policies concerning artists as well as in determining project funding. This model is also reflected in the management of copyright institutions and the role these institutions play. There is a special Finnish model in the system of copyrights, some of which are entirely collective, e.g. library compensation for authors and display compensation for visual artists. Finnish cultural policy has traditionally been educational- a kind of enlightenment policy model. In this model socio-cultural activity, a network of public libraries and centres of art education play a very important part in educating citizens and promoting access to the world of learning and literature.
State and municipalities share financial responsibility. The state takes care of the national institutions, but it also cooperates with municipalities in providing financing for the widest possible access to art and cultural services for the population as a whole. This is done through the system of statutory subsidies which guarantee basic financing for public libraries, art education, museums, theatres and orchestras within the municipalities. The same state subsidy system has been extended to cover special museums, group theatres, and additional financing of institutions with regional functions.
The Finnish model has three unique features, though pressures for change are growing. First, reliance on public ownership and public budgets and, especially, on legislation, which has made public allocations for the arts and culture statutory. The criteria for these allocations can only be changed through an act of legislation passed by Parliament. Recently, general decentralisation processes (which, in addition to the performance contracts and the simplification of budgets, include the delegation of powers from the state to the municipalities) have started to undermine this strict legislative order. Second, the central role of 'earmarked funds', that is the profits from the Veikkaus Oy, (the state owned company running lottery, lotto and sports betting), in financing the arts and cultural life as well as sports, youth work and science. Since the recession in the early 90s these discretionary funds have been used to finance the statutory state subsidy system, which means less funds for projects. Furthermore, it appears that foreign lottery and betting companies, especially those operating on the Internet, will soon be eating into the profits of Veikkaus Oy - how much and with what effects remains to be seen.
Third, the Finnish model has never properly worked out the role of the regions in cultural policy making. Though the arts council system in 1968 was extended to the regions through 11 regional arts councils, these remained a part of the state administration (Ministry of Education and Culture and Provincial Councils). Within the system of professional cultural institutions financed jointly by the state and the municipalities, some have received the status of regional institutions (regional history and art museums, regional theatres) and were granted additional subsidies for regional functions. This system, however, has never been truly regional. The 19 regional councils set up by the municipalities (and revitalised by EU membership) have indeed taken over some of the planning and project management tasks even in the cultural sphere, but their role in enhancing cultural development in the regions is marginal.
2. Policy decision-making and administration
The chief executive power in cultural policy in Finland belongs to the Council of State which initiates legislation and oversees central government administration. At this topmost executive level there are no advisory cultural bodies. The primary executive responsibility is discharged by the Ministry of Education through its Minister for Culture, who is also responsible for sports and youth affairs. These three sectors have been integrated into a 'cultural policy line' within the Department for Culture, Sports and Youth Policy.
Finland's Arts Council (Central Arts Council and nine art forms councils) is hands-off. Its main task is to administer grants to artists.
The National Board of Antiquities protects Finland's cultural heritage and environment and gathers and disseminates information. The Board is a cultural and research institution, which supports the work of Finnish museums and related research. As a preservation authority, the Board is responsible for the protection of antiquities, architectural heritage, culturally and historically valuable environments, and cultural property in collaboration with other authorities and museums. The National Board of Antiquities provides various services to the general public, decision-makers, museum staff, researchers and students.
The Finnish Film Foundation for support to film production and distribution.
Changes in 1992 to the subsidy structure of professional museums, orchestras and theatres into statutory formula-based ones (like those affecting public libraries and art education) and other administrative reforms have lightened the bureaucratic work of the Ministry, enabling it to concentrate more and more on strategic planning.
The Ministry of Finance directs the economic planning of all ministries and drafts the annual budget proposals for the Parliament, which has the final say on the budget. In this process, parliamentary committees play a major role. The Committee of Education and Culture deals with cultural policy issues, but the sub-committee on culture of the powerful Committee of Finance proposes the financial limits for budget allocations and legislative reforms. Whilst earlier special bottom line allocations by Parliament to cultural projects had an impact on cultural policies, these allocations now have scarcely any importance at all. Finland has an extensive system of local self-government under which the municipalities have their own right of taxation. The state (central government) eliminates inequalities in cultural provision through statutory subsidies.
Cultural policy decision-making at the municipal level is essentially a matter for the Municipal Council (elected assembly), the Executive Board (reflecting party divisions in the Council) and the executive staff, headed by the mayor. Regarding sectoral administration and expert bodies, the trend in the 1980s was to bring all cultural matters (theatre, music, amateur arts, etc.) under one expert body, the Cultural Board. In the 1990s the trend was reversed, and cultural matters have been increasingly subordinated to broader structures (boards overseeing recreation, tourism, etc.).
Finnish public administration revolves then around two poles, the state and the municipalities. There is no autonomous regional administration with elected bodies. Provincial councils are extensions of central government; their number was recently reduced from 11 to five, with many of the functions being transferred to more specialised regional agencies run by the state. In 1994 the 19 regional councils, which are associations of municipalities, have become responsible for regional development and planning. Since 1995 when Finland joined the EU, they have gained an even larger role by monitoring programmes financed within the framework of the EU programmes.
The issue of inter-sectoral cooperation was debated in the late 1980s, but a clear understanding of the concept was never reached in general terms, let alone in the sphere of cultural policy. Cultural policy making emanates from the Ministry of Education though with links to the Ministry of Industry (e.g. SMEs in the cultural sector), the Ministry of Transport and Communications (the media, communication and information technologies), the Ministry of Justice (copyright and other intellectual and property rights issues) and the Ministry of Labour (public works, construction projects and employment policies). In 1994 approximately FIM 300 million was spent on culture by these agencies, while the cultural budget of the Ministry of Education totalled around FIM 3 billion (on a narrow definition of culture).
3. Cultural budget
Within the Ministry of Education, the cultural policy sector promotes the arts, lays the groundwork for art institutions, safeguards cultural heritage, facilitates the library system, promotes the cultural industries, and supports competitive and non-competitive sports and youth work. Combined expenditure is about FIM 2.4 billion, or EUR 390 million. The cultural policy sector accounts for about 1.2% of the national budget excluding appropriations for education and training.
The share of arts and culture (excluding sports and youth work) in the state's 2000 budget is about FIM 1.7 billion (EUR 270 million), or 0.9% of the budget. The share of culture in state spending in Finland is among the highest in Europe.
The central government's expenditure on culture has decreased slightly since 1993 owing to the recession; municipal expenditures have also fallen slightly. The share of state cultural expenditure in total state expenditure decreased from 1% in 1992 to 0.8% in 1997. The share of municipal cultural expenditure in total municipal expenditure fell from 1.3% in 1992 to 1.2% in 1997. The share of total public expenditure of GDP fell from 0.7% in 1992 to 0.50% in 1997. In 1997 the state's share of public cultural expenditures was 49% and that of municipalities 51%.
44% of the state's financing of arts and culture in 1992 came from lottery profits; in the year 2000 it was 72%. Initially these profits were intended to be purely discretionary. Government funding increasingly depends on people's willingness to bet and gamble. In 1999 only 30% of state funding came from taxpayers' money.
Public cultural expenditure per capita in 1998 was FIM 621. The share of public cultural expenditure in GDP amounted to 0.50% in 1998.
Regional cultural institutions and projects are financed by the state or the municipalities or jointly (regional museums, theatres, and libraries, etc.). In 1997 the state contributed 49% and the municipalities 51%.
4. Support policy
The promotion of artistic creativity has traditionally played a central role in Finnish national cultural policy. At the national level it relies heavily on direct public support for professional artists. The arts councils administer state grants to artists through 9 art forms councils and 13 regional arts councils.
The Finnish system was introduced in 1968. The arts councils acting on their own distribute public money to professional artists, and advise the Ministry of Education on formulating and implementing policies for the arts. There are nine national arts councils (one for each art form: architecture, cinema, design, dance, literature, music, photography, theatre, and visual arts), plus the Central Arts Council, which acts as a 'joint body' to the 'art form' councils. The system also covers the regional level through thirteen regional arts councils.
The Central Arts Council consists of the chairpersons of the nine national arts councils plus four members appointed by the Council of State (Cabinet). They are not paid for their services but receive a small monthly fee. Decisions and proposals are made upon the recommendations of the 'art form' councils.
The members of the national arts councils are appointed for a period of three years by the Council of State from among persons proposed by the main associations/organisations and institutions engaged in the field of arts and culture. Each 'art form' council has 7-11 members who must possess 'artistic merit' or 'expertise in the arts'.
The Central Arts Council and the National Arts Councils, which have 100 highly respected artists and art experts as members also offer peer evaluation to the Ministry of Education when it allocates discretionary money for the arts. The arts councils make annual proposals to the Ministry of Education for appropriations to the state arts budget.
National Arts Councils allocate annual artist grants for periods ranging from 6 months to 5 years. In addition, the Central Arts Council awards five-year grants: 1996 (10), 2001 (20), and 2006 (30). They are tax exempt. In the year 2000 the annual grant was FIM 77,155.
An amount equivalent to 50 artist grants is allocated each year by the Central Arts Council to individual artists or working groups for materials, equipment, study trips, training courses, gallery and studio rents, etc.
Other forms of direct support include grants to playwrights, travel grants, and library compensation grants as well as compensation grants to visual artists. The National Council for Theatre annually awards grants to playwrights whose plays premiered the previous year. The aim is to support national drama and to protect playwrights' working conditions. A total of FIM 650,000 was awarded in the year 2000.
Direct support for artists by art form provided in 1999 (totalling FIM 72 million)
[pic]
Library compensation grants, based on public lending rights, compensate writers and translators for free use of their works in public libraries. 10% of the allocation for book purchases by public libraries is annually granted as library compensation grants. A total of FIM 12.2 million was allocated to fiction writers and translators in 1999. Compensation grants to visual artists are based on the idea of their works being owned and displayed by public authorities. FIM 5 million is to be allocated to visual artists in the year 2000. In addition, the new form of 'compensation grants' was introduced in 1999 when the allocation (FIM 500 000) for library grants for musicians and composers was established. These compensation grants were decided by the Ministry of Education up to the year 2000, after which such forms of support will be delegated to the Arts Council.
The Central Arts Council annually allocates travel grants to artists and experts in the arts, as well as artist-in-residence grants. Approximately FIM 2 million will be allocated in the year 2000.
5. International relations
Nordic cooperation
The cornerstone of Nordic cultural, educational and research cooperation is the Cultural Agreement signed by the five Nordic countries in 1971, though official Nordic cooperation dates back to 1947. The Agreement covers the Ministry of Education sector as a whole: education, research and cultural cooperation.
The Ministry of Education is represented in the cultural and educational committees, working groups and steering groups under the Nordic Council of Ministers. In 2001 Finland will hold the presidency of the Council of Ministers and its various organs.
In 1998 the appropriations allocated to cultural, educational and research cooperation in the Nordic Council of Ministers budget totalled DKK 325.2 million (approx. EUR 43.7 million): DKK 187.4 million (approx. EUR 25.2 million) for education and research, and DKK 137.8 million (approx. EUR 18.5. million) for culture. The contribution of Finland represents 17.6% of the budget.
Finland has bilateral Cultural Funds with all the other Nordic countries: Iceland (1974), Norway (1979), Sweden (1960) and Denmark (1981).
In 1998 the Ministry of Education allocated FIM 4.9 million (EUR 0.8 million) to Nordic cooperation. Grants and subsidies are divided almost equally between educational and cultural projects. Funds are allocated to bilateral or multilateral projects covering the Nordic countries and self-governing regions.
Bilateral cooperation
Finland has cultural agreements, programmes for cultural exchange or bilateral funds with 43 countries. The cultural agreements are bilateral treaties for which the Ministry of Foreign Affairs and the Ministry of Education are jointly responsible. These agreements cover all fields of competence of the Ministry of Education: education, research, arts, cultural heritage, libraries and archives, civic organisations, cultural institutes, sports and youth. They are implemented by means of three or four-year exchange programmes. The earliest was concluded with Estonia in the 1930s, but most date from the 70s and 80s. The Finnish Government has found it useful to support private or organisational initiatives, which make up a significant part of the cultural exchanges.
The Ministry of Education supports bodies and organisations which are involved in cultural exchanges and publicise Finnish culture abroad, such as museums, the Finnish Literature Information Centre, the Performing Music Promotion Centre (ESEK), and the Exhibition Exchange Centre (FRAME).
The Ministry also supports three publications which publicise Finnish literature, design and architecture, and music abroad: Books from Finland, Form Function Finland, and Finnish Music Quarterly. These publications are extensively used in cultural cooperation.
Finnish institutes abroad
Finland has 15 cultural and scientific institutes abroad. They are run by foundations.
The cultural institutes (year of establishment in brackets) are located in: Paris (1990), London (1991), Copenhagen (1992), Antwerp (1993), Tallinn (1994), Berlin (1994), St. Petersburg (1993), Stockholm (1995), Madrid (1996) and Oslo (1996).
The scientific institutes are located in: Rome (1954), Athens (1984), Jerusalem (1994) and Tokyo (1998). Finnish Foundation for the Visual Arts in the United States (1989).
The institutes receive discretionary subsidies from the Ministry of Education towards their personnel, running and information costs. The 90s were a time of rapid expansion in the network of institutes. They are based on initiatives emanating from civil society. They cooperate with various partners in education, research, arts and culture, as well as with public administration and the business world. They provide a focus for events, lectures and discussions which reach a wide audience, ranging from interest groups and individual citizens to the public administration. The activities and impact of the cultural institutes are being assessed.
Multilateral cooperation
The most important agencies of international cooperation covered by the Ministry of Education are international organisations set up under intergovernmental agreements: the UN Educational, Scientific and Cultural Organisation (Unesco), the Council of Europe, the Organisation for Economic Cooperation and Development (OECD) and, in the field of copyright, the World Intellectual Property Organisation (WIPO).
Finland became a member of Unesco in 1956. The first National Commission was appointed in 1957. The Finnish National Commission consists of a chairperson and 11 members chosen from among top experts in fields of Unesco competence by the government, on the proposal of the Ministry of Education, for a period of three years.
In addition to the ordinary members, a maximum of 34 special members may be appointed to the National Commission by the Ministry of Education. These members, together with the ordinary members, form the enlarged National Commission, which has 46 members. Permanent experts may also be appointed if necessary.
The enlarged National Commission is divided into sub-commissions according to fields of competence in Unesco. Ordinary members serve as chairpersons of the sub-commissions.
The Finnish National Commission for Unesco includes the following sub-commissions:
- Education,
- Natural Sciences,
- Social and Human Sciences,
- Culture,
- Communication.
The National Commission's tasks are listed in paragraph 2 of the Decree on the Finnish National Commission for Unesco (1966). The National Commission takes initiatives covering the following:
- Measures taken by Finland resulting from decisions and recommendations adopted by Unesco's general conferences, its executive bodies, and international conferences and meetings organised by Unesco;
- Representation of Finland in Unesco's general conferences, its executive bodies, and international conferences and meetings organised by Unesco;
- Dissemination of information in Finland on the aims and activities of Unesco and awakening public interest therein;
- Other major questions relating to Unesco activities;
- Other matters relating to Finland's participation in international cultural cooperation, assigned to the Commission by the Ministry of Education.
The National Commission works in liaison with the Ministry of Education. The Commission also cooperates closely with the Foreign Ministry, partly through a ministerial representative in the National Commission, and partly through frequent contacts by the secretariat with the Ministry or the Finnish Permanent Delegation to Unesco.
The Ministry of Education takes part in the activities of the Council of Europe and its committees on education, higher education and research, culture and the cultural heritage, and its steering committees for sports, youth and the mass media. The Council is an important forum for pan-European discussion and networking in the Ministry's areas of responsibility.
The second Summit of Heads of State and Government emphasised the role of culture and education in promoting European social integration and democratic development as well as their role in the emerging knowledge society, which is changing the conditions of cultural diversity and creativity. Finland is actively engaged in 'New Information Technologies', a culture committee project, launched in 1998 in a response to a request of the Summit. The project is currently detailing and identifying main windows of opportunity for cultural policy in the knowledge society.
Finnish cultural policy was reviewed by the Council of Europe's Cultural Committee in 1994. The findings have been used to develop Finnish cultural policy. In the years 1998-2000 Finland has been engaged in an initial study (next step of cultural policy review programme) on the National Cultural Institutes in Transition - Decentralisation and privatisation, together with five other member countries. In the area of media and communications, Finland has actively contributed to the development of normative instruments and the activities both of Eurimages, which promotes European film production, and of the Audiovisual Observatory.
On the initiative of Finland, the Council of Europe's youth committee (CDEJ) has adopted the country review as a youth policy tool. Finnish youth policy was reviewed in 1997. One priority for the Council of Europe and Finland has been to combat racism in Europe. Finland chaired the steering committee for sports and physical education (CDDS) in 1997-98. Finnish priorities are the promotion of sport for all, fair play and other ethical values, and action against doping and spectator violence.
EU Affairs
The Ministry of Education prepares and follows up matters relating to education and vocational training, youth, culture, audiovisual matters within the Ministry's remit, copyright, recognition of degrees, and sports in the European Union. Together with the Ministry of Trade and Industry, it initiates and monitors matters relating to research and development in the European Union. The Education Minister represents Finland in the meetings of the Education Council and attends the meetings of the Research Council. The Minister for Culture is Finland's representative in the Cultural Council and the Youth Council.
The EU's activities in education, youth, research, culture and audiovisual issues consist mainly in the preparation of decisions, resolutions and recommendations. Since 1995 Finnish cultural players have engaged in Community cultural programmes.
The Ministry of Education shares in the preparation of Community legislation on intellectual property in the field of copyright. This includes the drafting of copyright-related directives, and the preparation of copyright issues to be discussed in international forums. The Ministry also drafts Community legislation on the recognition of degrees. It helps to prepare Finland's positions on horizontal issues concerning the enlargement of the European Union, institutional reforms, employment, and the information society. The Ministry coordinates the implementation, financing and monitoring of EU structural funds programmes within its remit.
6. The role of the private sector
In the public sector there has been a decisive trend towards less state control. Foundations and the business sector play a greater role in funding the arts, not because of a new allocation of responsibilities or policy measures, but because public funding has stagnated or decreased. Institutions have to look for extra funding, and individual artists must seek alternative funding options for their projects.
Cultural institutions take the lion's share of government funding of the arts and culture. These institutions are once again forced to seek new partnerships with the private sector to cover their rising costs. The National Opera and the Museum of Modern Art, for example, have entered into interesting new sponsorship agreements with the private sector. Foundations are becoming more important players in funding individual artists and their projects, and their grants are becoming as important to artists as those granted by Finland's Arts Council.
There are some non-profit organisations and NGOs, including endowments and foundations, in the cultural sector. They mostly involve drama and dance groups, fine arts workshops, societies for the renovation of cultural heritage, and societies for the preservation of traditional cultures.
7. Current debate and future plans
In 1993 cultural policy was debated in the Finnish Parliament on the basis of a report prepared by the government at the request of the Parliament and more specifically the parliamentary Committee on Education and Culture. The report listed the following cultural policy objectives for the state:
- Developing further the structure and content of national cultural policy and the related legislation in an increasingly globalising environment;
- Supporting creativity, safeguarding the effective functioning of national cultural institutions, and further promoting higher education in the arts;
- Promoting, through general education, the understanding of different cultures and their value systems;
- Promoting multilingualism and taking the cultural needs of special groups and cultural minorities into account;
- Promoting partnerships between public authorities, non profit and private sector agencies;
- Enhancing ecologically sustainable development with respect to natural and man made environments.
New on this list are public-private non profit partnership and the link-up between culture and sustainable development. In subsequent planning documents and programmes of the two subsequent governments these objectives did not feature at all. A third issue - turning Finland into a 'cultured' and 'enlightened' information society - has featured more prominently. The Ministry of Education produced two strategic policy papers: 'Information Strategy for Education and Research' in 1995, and a report on 'A Culture-Oriented Information Society' also in 1995.
In Finnish cultural policy, one current focus is the cultural industry, which combines two areas traditionally considered separate: artistic creativity and business. In 1997 the Ministry of Education set up a Cultural Industry Committee, which published its final report () in March 1999.
In the development of cultural industry different ministries jointly introduce new subsidy schemes. The Ministry of Education promotes and supports the marketing of products as well as R&D and pilot projects.
The latest Finnish Government started its work in 1999. Its programme emphasises that 'culture is becoming an increasingly important factor in national and international development'. The government therefore intends to raise the profile of cultural policy in social decision-making.
Development of the information society, with an important role for culture as well, also features prominently in the programme. The programme represents a shift from technologies to culture, from machines to content. Undeniably, machines and other technical equipment are important in developing the information society, but one especially important challenge is to develop cultural industries and content production. The government programme includes a big multi-sectoral project with this in view. It started in 2000 and will come to the fore in the near future.
SWEDEN[22]
1. General objectives and principles
1.1. Please indicate your country's definition of cultural policy.
Cultural policy refers to a collective structure for society's activities to support and promote culture. The successful implementation of a cultural policy requires clearly defined objectives, working methods, procedures for follow-up and evaluation, responsible political and administrative bodies plus financial resources.
Cultural policy includes matters of general cultural policy, activities, theatre, dance and music, libraries; literature and cultural journals, architecture, image and design and decorative arts, remuneration and grants to artists, film archives, the heritage; museums and exhibitions, research and development measures in the cultural sector and religious denominations. Measures in other policy fields also help to further the aims of national cultural policy, just as measures in the field of cultural policy contribute towards the achievement of policy aims in other fields.
1.2. What are the main elements and objectives?
The current basic principles for national cultural policy and action in Sweden are derived from the objectives of the national cultural policy, as enacted by the Swedish Parliament in 1996. In autumn 1996, the government presented a bill on culture to the Parliament (Riksdagen) based on the recommendations of four parliamentary commissions. The Riksdag decided new policy goals. The main elements of the bill were to introduce a new system for contributions to regional activities (theatres, dance and music institutions, museums, libraries, film and video centres, regional arts consultants) and, in respect of books, to introduce a new law on public libraries, which, among other things, guarantees the free loan of books and rules that there must be a public library in every municipality.
The cultural field in Sweden is characterised by very little general legislation. Its few legal obligations include matters to do with heritage conservation, film and (since 1997) public libraries. Numerous regulations, however, have been issued by the government for the guidance of central institutions or concerning the use of government funds for various cultural purposes. The aim of Swedish cultural policy is, in short, to support and stimulate cultural activity throughout the nation.
The 1996 policy goals passed by the Riksdag are:
- To safeguard freedom of expression and create genuine opportunities for all to use that freedom;
- To work to create the opportunity for everyone to participate in cultural life and cultural experiences and engage in creative activities of their own;
- To promote cultural pluralism, artistic renewal and quality, thereby counteracting the negative effects of commercialism;
- To make it possible for culture to be a dynamic, challenging and independent force in society;
- To preserve and use the cultural heritage;
- To promote cultural education; and
- To promote international cultural exchange and meetings between different cultures on the domestic front.
These goals are of overriding importance for all cultural work or institutional activities receiving state support at the national level. For regional and municipal levels, such national goals apply to state subsidies and are combined with the overall goals of the level/region concerned.
The 1996 goals are labelled national goals in order to mark their importance for the whole of publicly supported cultural life, and they serve as guidelines for cultural development on national as well as on regional and local level and form the immediate basis for the state's consideration.
In 1998 the Swedish Parliament passed three Bills, by which literature and reading will be strengthened, conditions for artists improved and architecture and design highlighted.
Measures to mention in this context are:
- New distribution subsidies for libraries and booksellers and permanent support for the promotion of reading among children and young people;
- New financial assistance for certain exhibitors of visual art, increased support for regional and local theatre, dance and musical institutions and new compensation for composers and musicians for phonograms lent out by libraries; and
- Objectives for work in the field of architecture and design and inclusion of aesthetic clauses into the Planning and Building Act, Roads and Highway Act and the Railway Construction Act.
The state directly supports its own cultural institutions, theatres, archives, museums and certain administrative bodies. The state is also responsible for whatever legislation exists in the cultural sector, especially in the care of archaeological findings and cultural heritage linked to the environment. There is also legislation relating to the freedom of the press, copyright, archives and broadcasting.
Since the 1970s regional institutions have been developed for the various arts through a special state grant system. There is now a network of theatres, orchestras, museums and libraries throughout the country in accordance with the guidelines for a national cultural policy first set up by the Swedish Parliament in 1974. The grant system now also includes the film and the dance sectors.
2. Policy decision-making and administration
The Swedish model of government administration is characterised by extensive decentralisation, with relatively small ministries responsible for budgeting and for the drafting of legislative proposals. Executive national authorities, on the other hand, can often be relatively large, with resources for research and for the implementation of policy decisions. It is up to the national authorities concerned, on the basis of budget, legislation and appropriation warrants, to interpret and give effect to the Government's policy decisions and objectives. Policies are framed by ministers and ministries on the basis of outline legislation and through the budget, as well as on the basis of appropriation warrants. These are the instruments which ministers and ministries have at their disposal for 'steering' the national authorities concerned.
The national, regional and municipal authorities share responsibility for public subsidies in the cultural field. They also share the all-embracing goals of cultural policy in Sweden, but each county council and municipality makes its own decisions on priorities and special activities.
The Municipalities (numbering 289) are tax-levying elective units and are responsible for cultural activities and public libraries within their geographical boundaries. Cultural activities can include music schools, theatres, art galleries and museums, as well as local branches of the adult-education organisations. Funding comes mainly from locally derived municipal income. (Other sources include regional and central government grants.)
The County Councils (numbering 21) are tax-levying, elective units and geographically cover two or more adjacent municipalities. Their main responsibility is for regional health services. Their support for cultural activities includes regional theatres, orchestras, museums and libraries, including hospital libraries.
The County Administrative Boards may coincide with the geographical area of a county, but are the regional offices of the national government. A governor, appointed by the central government, leads each province. The County Administrative Boards have special responsibilities in the natural environment and the cultural heritage fields. The provincial antiquity officer works in close contact with the National Heritage Board and with municipalities and regional museums, for example.
The National Government's principal responsibility lies in co-ordination and longer-term planning via the appropriate ministries and related bodies. Following the appropriations made by the Riksdag, the central government also awards grants to share in the support of cultural activities carried out by the county councils and municipalities and by other organisations. The government directly supports its own national cultural institutions, theatres, archives, museums and certain administrative bodies.
Traditionally, the arm's-length principle is applicable to the relationship between the government and national cultural institutions like the Royal Opera, the Dramatic Theatre and central museums. This means that the government appoints the board and the director, supports the institutions financially and formulates specific goals for their activities related to the national cultural objectives. However, the government does not control the content of their activities, such as their choice of repertoire and artistic expression. Privatisation, i.e. withdrawal of state responsibility for existing cultural institutions, is not on the national political agenda at present.
On the basis of material prepared by the Ministry of Culture (headed by the Minister) the regering (government) issues proposals which are then considered by the Riksdagen (Parliament), followed by formal decisions, which the government implements. The Parliament decides on the individual budgets for most national institutions. Local and regional institutions receive financing determined by the National Council for Cultural Affairs (see below) as part of a lump-sum provision for one or more categories (regional theatres or symphony orchestras, regional museums, regional libraries, independent theatre groups etc.) The government also appoints committees etc. of inquiry and makes certain appointments of key individuals in the administration. The state is also responsible for whatever legislation exists in the cultural sector, especially in the care of archaeological findings and cultural heritage linked to the environment. There is also legislation relating to the freedom of the press, copyright, archives and broadcasting.
In the field of cultural policy there are a large number of agencies, authorities and institutions, which are associated with the Ministry of Culture. Some of these can be mentioned.
The Statens kulturråd (National Council for Cultural Affairs) is responsible for some general implementation of national cultural policy. The Council's operational units deal with questions of drama, dance, and music; art, design, museums and exhibitions; literature, arts periodicals and public libraries; cultural activities within popular movements and other organisations; developmental and multicultural activities; and information. Its functions are to keep itself and the government informed of cultural developments; make allocations of funds voted by parliament and authorised by the government, compile and publish informational material, including statistics on the status and development of cultures.
The Riksantikvarieämbetet (National Heritage Board) is responsible for cultural heritage issues. The authority co-operates with the county heritage officers at the county administrative boards and with regional museums concerning projects, documentation and long-term strategies of preservation and access to information.
The Svenska Filminstitutet (Swedish Film Institute) is responsible for carrying out the national film policy, which is laid down in a financial agreement between the state and the video and film industry.
The Svenska Institutet (Swedish Institute), together with the National Council for Cultural Affairs, is responsible for support and initiatives promoting international cultural and scientific exchange. Their current focus is on exchange and dialogue with the countries in Central and Eastern Europe and the Baltic States. The Swedish Institute also functions as a distributor of information about Sweden.
The Riksarkivet (National Archives) and the provincial archives are national authorities specially charged with national government archive activities and with archive conservation throughout the country.
Sveriges Radio (SR; Swedish Radio), Sveriges Television (AB, SVT; Swedish Television), the Sveriges Utbildningsradio (UR; Swedish Educational Broadcasting Company) and TV4 AB have Parliament transmission permits for terrestrial radio and television broadcasting.
Voluntary organisations in Sweden
A large proportion of cultural activity is based on the work of popular education organisations, the organisations of cultural workers and organisations for amateur activities. These play an important role in cultural policy. The state, the municipalities and the county councils provide extensive funding support for the cultural activities of voluntary organisations.
Apart from the above-mentioned agencies/organisations there are a certain number of additional authorities and national institutions. An explanatory organigram of the state cultural administration in Sweden can be seen in picture 1.
Picture 1: The State Cultural Administration in Sweden
| |Areas of culture |Authorities |National Institutions |Shared support to regional |
| | | | |institutions |
| |Theatre, dance, |The National Council|The Swedish Concert Institute |31 theatres and dance |
| |music, visuals, |for Cultural affairs|The Swedish Travelling Exhibitions |companies |
| |arts, museums, |National Public Art |The National Touring Theatre |14 symphony or chamber |
| | |Council |The Royal Dramatic Theatre |orchestras |
| | |The National |The Royal Opera |19 regional music centres |
| | |Handicraft Council |State and mainly state supported museums: |27 regional museums |
| | |The Swedish Language|The National Historical Museum |19 regional libraries |
| | |Council |The National Art Museum |20 regional art |
|Parliament | | |The National Museum of Modern Art |co-ordinators |
| | | |The Swedish Museum of Natural History | |
| | | |The National Museum of World Cultures | |
| | | |The Nordic Museum | |
| | | |The National Collections of Music | |
| | | |The Royal Armoury, Skoloster Castle | |
| | | |and the Hallwylska Museum | |
| | | |The Swedish Museum of Architecture | |
| | | |The National Museums of Military | |
| | | |History | |
| | | |The National Maritime Museums | |
| | | |The National Museum of Technology | |
| | | |Skansken open air museum | |
| | | | | | |
| |exhibitions, | | | |
| |literature, public | | | |
| |libraries | | | |
| | | | |The talking book and Braille Library | |
| | | | |The Foundation of Easily Readable | |
| | | | |Books and News Information | |
| | | | |The Foundation Culture of the Future | |
|Government | | | | |
|Ministry of Culture| | | | | |
|Ministry of |Heritage |The National | | |
| | |Heritage Board | | |
|Culture |Archives |The National | |7 regional archives. |
| | |Archives | |The city archives of Stockholm |
| | | | |and Malmö are serving as regional|
| | | | |archives |
| | | | |5 dialect, place-name and |
| | | | |folklore research archives |
| |Film |The Nat. Board of Film |Swedish Film Institute | |
| | |Classification | | |
| | | | | | |
| |Artistis |The Swedish Authors' Fund | | |
| | |The Arts Grant Committee | | |
| | |The Swedish Pictorial Artists| | |
| | |Fund | | |
| | | |National Board for Youth| | |
| | | |Affairs | | |
| |Youth | | | |
| |Mass Media |The Press Subsidies Council |Swedish Television | |
| | |Talking Newspapers Council |Swedish Radio | |
| | |The Swedish Radio and TV |Swedish Educational Broadcasting | |
| | |Authority | | |
| | |The Broadcasting Commission | | |
| | |The Council on Media Violence | | |
| |Academies | |The Royal Swedish Academy of Fine Arts | |
| | | |The Royal Swedish Academy of Music | |
| | | |The Royal Swedish Academy of Letters, History | |
| | | |and Antiquities | |
| | | | | | |
Since Sweden is the least densely populated country in Europe sometimes with great distances between human settlements, some institutions have been founded to overcome this particular difficulty by being 'mobile'. They are: the Swedish National Touring Theatre, the Swedish National Concert Institute and the Swedish Travelling Exhibitions. As regional institutions grew, their national functions became more centred on new co-ordinating tasks.
Efforts have been made to develop databases in the cultural field in order to make information available to the general public. A special cultural network 'Culture Net Sweden' has been established to increase accessibility to the knowledge and information in cultural institutions ().
Focus has been put on cultural heritage as a force for democratic development of society. An important task is to involve people who seldom get into contact with this sector. The central cultural heritage institutions have been commissioned to find a strategy to continue and develop the democratic functions of the cultural heritage.
3. Cultural budget
It is not possible to provide a statistical summary of a country's cultural policy with all its different artistic areas, present situation and development in a few pages. The following answers to questions 3.1 - 3.3 are based on the definition of cultural budget used in the report 'Cultural Statistics 2000' (Swedish National Council for Cultural Affairs, 2000). The national cultural budget does not completely correspond to this definition. For example, popular education is included in the following. Most of the figures below refer to 1998.
3.1. Brief overview of the public cultural budget; breakdown by main areas; the development within the last 10 years.
Development over the last 10 years
At the beginning of the 1990s the Swedish economy entered an acute crisis with repercussions for public finances. In the first half of the 1990s there were cutbacks in municipal and county council cultural budgets. However, since 1996 there has been a recovery, which is further confirmed in the 1998 statistics. Thus the municipalities' cultural budgets show real growth of almost 10 per cent since 1994. The weakened national economy of the 1990's has meant less scope for culture policy reforms. Reforms instituted during this period have primarily been financed via changes in priorities. However, the cultural sphere at state level has maintained its position and been spared funding cuts.
Public cultural spending 1988-1998 million SEK
|Current prices |1998 |1990 |1992 |1994 |1996 |1998 |
|State |3 819 |4 710 |5 027 |5 735 |6 526 |7 334 |
|County councils |825 |938 |1 021 |1 078 |1 145 |1 241 |
|Municipalities |4 794 |5 737 |6 001 |6 093 |6 593 |6 909 |
|Total |9 438 |11 385 |12 049 |12 906 |14 264 |15 484 |
Source: Facts and Figures on Culture 1999:6. Ed. Statens kulturråd/SCB, Sweden
National-level sector breakdown 1998
|Sector |Million SEK |Percentage |
|General Cultural Activities |346 |5 |
|Theatre, Dance and Music |1 430 |19 |
|Libraries, Literature and Journals |217 |3 |
|Visual Arts, Design and Crafts |79 |1 |
|Grants and Salaries to Artists |52 |3 |
|Archives |298 |4 |
|Cultural Heritage |393 |5 |
|Museums and Exhibitions |939 |13 |
|Film and Media |163 |2 |
|Research and Development |42 |1 |
|Popular Education /Culture |2 491 |34 |
|News Media (Radio, Newspapers) |684 |9 |
|Total |7 334 370 |100 |
Source: Facts and Figures on Culture 1999:6. Ed. Statens kulturråd/SCB, Sweden
Theatre and Dance
Public financing of theatre totalled just over SEK 1 900 million (EUR 226 million), of which the state (on average) accounted for 56 per cent, the municipalities for 34 per cent and the county councils for 10 per cent. Non-public support (box-office plus miscellaneous revenue) averaged 19 per cent of the theatres' total revenue.
Music
From the country's 14 music institutions/symphony orchestras and 20 county music orchestras a total of about 2.3 million visits were reported, of which the county music orchestras accounted for 1.5 million visits and the symphony orchestras for almost 170 000 visits. Public financing was the same for both orchestral organisations, just over SEK 270 million (EUR 32 million). Of the music institutions' public grants, the state accounted for 30 per cent, the county councils for 6 per cent and the municipalities for 64 per cent. The corresponding percentages from the county music organisations were 78, 19 and 3 per cent. Of the music institutions' revenues, 7 per cent were box-office revenues, while box-office revenues at the county music organisations were only 1 per cent. The municipal music schools are found in almost all municipalities, with voluntary music lessons for over 300 000 pupils. The municipal costs for the music schools were over SEK 1 billion.
Museums and art
The public funding for the museums totalled SEK 1 778 million (EUR 212 million), of which the state accounted for 63 per cent, the municipalities for 25 per cent and the county councils for 12 per cent. Of the museums' total revenues, admission fees made up 10 per cent.
The state funding in the area of visual and spatial arts was about SEK 80 million (EUR 9.5 million) (excluding art museums). The county councils invested SEK 28 million (EUR 3 million) and the municipalities approximately SEK 160 million (EUR 19 million), mainly for art purchases, adornment and exhibitions.
Cultural environment
State investment in cultural environment conservation (monuments and sites) was SEK 560 million (EUR 67 million). The main part was channelled as different grants to restoration projects via regional authorities. The county councils give financial support to the 1 750 local heritage societies, for example. 20 000 field work hours were reported for archaeological digs.
Archives
Most of the state funding of archives, about SEK 300 million (EUR 36 million), goes to the National Archives and the seven provincial archives. 460 000 shelf metres of paper are registered in the archives and the National Archives reported over 100 000 research visits.
Libraries
Altogether the municipalities' costs for public libraries amounted to SEK 2.9 billion (EUR 0.3 billion). The state contributes over SEK 60 million (EUR 7 million) in financing for the regional libraries central lending.
Book publication
Book publication covered 12 500 book titles and it is estimated that book sales were about 20 million, which means 2.3 books bought per inhabitant. Original publication in the Swedish language was 10 200, or 76 per cent of all publication. Just under half of all book sales were fiction, while 25 per cent were non-fiction and 22 per cent books for children and young people. It is estimated that the total sales value was about SEK 4 billion (EUR 0.5 billion). The government subsidies to literature amounted to over SEK 60 million (EUR 7 million), of which publishing subsidies for book publication amounted to SEK 28 million (EUR 3 million) and subsidies to libraries' purchases of literature to SEK 25 million (EUR 3 million).
Press
Internationally, Sweden has a large daily press, with 170 daily newspapers and an average edition on weekdays of 4.2 million copies. The state press subsidy, whose purpose is to guarantee a broad spectrum in creation of public opinion, is SEK 550 million (EUR 65 million) and goes to so-called secondary newspapers, which have been outdistanced by a competitor in a locality in terms of advertising and risk being closed down. The popular press consists of just over 400 newspapers with a total net circulation of 22 million copies. The number of cultural periodicals was about 240, of which 170 periodicals received state subsidies of about SEK 20 million (EUR 2 million). Most cultural periodicals were in the subject category of art, music, theatre and film.
Film
The country's cinemas reported 15.8 million cinema visits, which averaged out among the population, is equivalent to 2.1 visits per inhabitant. In 1979/80 about 25 million visits were made, thus showing a fall in audiences at the country's cinemas of 36 per cent in the last two decades. The number of film premiers was about 200, of which twenty or so were produced in Sweden. Counted by country of production and number of cinema visits, USA-produced films accounted for three-quarters, while Swedish films attracted 16 per cent of the cinema audience. State subsidies to film production and distribution were SEK 130 million (EUR 15 million) and the average ticket price in 1998 was SEK 66 (EUR 7.9).
Television and radio
The government grants permits for television broadcasts from ground transmitters and nation-wide radio broadcasts. Four programme companies have such permits. Sveriges Radio (the Swedish Broadcasting Corporation) is a public service company that broadcasts on four nation-wide channels and 26 local channels. The broadcasting time for Sveriges Radio was 120 000 hours, with about 500 hours per week on the national channels. Music was the largest programme category with 44 per cent of the broadcasting time. Sveriges Television (the Swedish Television Company) is also a public service company with the 2 channels SVT1 and SVT2, which had a weekly average of 90 and 84 broadcasting hours respectively. The commercial TV4 has been the largest television channel in terms of audience since 1994.
Adult education
Total public subsidies for adult education are estimated at SEK 3 300 million. The cultural statistics also show that the 11 adult education associations had 2.8 million participants in 1998 in over 330 000 study circles. About 132 000 of the circles were in art, music, drama and cultural subjects, corresponding to 40 per cent with a total of 1.1 million participants. Singing and music was the most popular subject, followed by dramatics.
Artists and cultural workers
The state policy for artists, with allowances and grants to artists accounted for SEK 240 million (EUR 28.6 million). These subsidies mainly concern freelance occupational groups. The statistics on artists and cultural workers are deficient, but educational statistics show that about 4 000 people graduated from higher educational institutions in the arts in the last decade. The various artists' organisations with affiliated authors, musicians, pictorial artists, actors etc. cover over 30 000 members. As far as employment within cultural institutions is concerned, the statistics show that altogether over 18 000 man-years were worked in 1998. About 7 500 man-years were reported from the country's public libraries and research libraries and about 4 500 at the country's publicly financed theatres. In the museums 5 000 man-years were worked and the publicly financed orchestras reported over 1 300 man-years.
3.2. Public cultural expenditure as a percentage of the total public budget.
State cultural expenditure in 1998 can be estimated as 1.3 per cent of the total national budget. The share of municipal cultural expenditure in all municipalities' budgets in the same year was about 3.0 per cent. Cultural expenditure in county councils took just over 1 per cent.
3.3. Public cultural expenditure broken down between national, regional, municipal and local levels.
Central government spending on culture in 1998 equalled SEK 7.3 billion or 47.4% of the total public spending on culture. During this same period, the 21 regional governments/county councils spent SEK1.2 billion or 8.0 %, and the 289 local authorities/municipalities SEK 6.9 billion SEK or 44.6%.
25% of the expenditure made by the regions went to national adult education organisations; 39% of municipal spending went to public libraries (of which some are also school libraries), 17% to municipal music schools and culture centres for young people and 7% to the local branches of the adult education organisations.
Public cultural expenditure in billion SEK and percentage by level of government
|Level |1996 |1998 |
|Central Government |6 526 |45.2% |7 334 |47.4% |
|County councils |1 145 |7.3% |1. 241 |8.0% |
|Municipalities |6 593 |47.5% |6 909 |44.6% |
|Total |14 264 |100 % |15 534 |100 % |
Source: Facts and Figures on Culture 1999:6. Ed. Statens kulturråd/SCB, Sweden
Total cultural expenditure in the Swedish economy in 1998 is estimated at SEK 43.8 billion (EUR 5.2 billion). Most culture in Sweden consists of private consumption, about SEK 28.3 billion (EUR 3.4 billion), while total public funding amounted to SEK 15.5 billion (EUR 1.8 billion). Private cultural consumption includes expenditure on media consumption, for example CDs, videos and subscription fees for newspapers and magazines.
4. Support policy
4.1. Brief description of overall support policy to promote creativity: for example grants to artists, theatres or to special events.
Grants to activities in the cultural field are either allocated to central, regional or local institutions or to independent groups or individuals. Authorities like the Swedish National Council for Cultural Affairs or the Arts Grant committee make the selection of specific activities and individuals. The process involves expert panels from the area in question.
The National Public Art Council, formed in 1937, commissions contemporary art for display in various premises of national authorities including also universities, regional boards and courts in different parts of Sweden. In 1999 approx. 1200 works of art were purchased and 63 more comprehensive projects were completed on a yearly budget of SEK 39 million. The Council does not give grants but will co-finance non-governmental partners with up to half the costs for artistic contributions to housing areas, schools, public places and even the traffic environment. The Council also keeps an archive and makes exhibitions promoting knowledge and debate related to art and artistic contributions to public space.
Another way in which central government has been supporting creativity has been to allocate funds to those institutions, projects or similar that have given proof of talented work and special capacity. A yearly million SEK is given to each one of seven institutions during three years. This also includes the task of disseminating information and methods linked to the creative work being done by these 'national missions' representing design, circus, theatre, heritage and cultural centres for the young.
The development of copyright in the artistic field has long formed part of the priorities of national cultural policy. Recently possessors of legal rights in the music field have been awarded copyright-based financial compensation for the losses they have been caused by private copying of phonograms, such as on blank cassette tapes. Reimbursement to composers and musicians has also been introduced for public lending of phonograms and to composers for public lending of sheet music. For authors, translators and illustrators such reimbursement has existed since the 1960s.
Through the Sveriges författarfond (Swedish Authors' Fund) and the Konstnärsnämnden (Arts Grants Committee) the government supports individual artists financially through different sorts of grants, and thereby gives them the opportunity to develop their artistry. The Authors' Fund is directed towards authors, translators, book illustrators and cultural journalists. The Fund allocates the state compensation for public lending at libraries. A portion of this compensation is given to the individual originator in direct proportion to the number of public loans of his/her work; if the loans of one individual originator exceed a certain number, a part of the compensation is transferred to the Fund itself, from which grants and scholarships are allocated to writers etc. The Arts Grants Committee allocates travel grants, project grants or stipends for one year or more to artist categories which do not fall under the Authors' Fund. The Arts Grants Committee also runs a studio programme for visual artists (IASPIS), open for artists from Sweden and from abroad. Both in the Fund and in the Committee, decisions on grants are taken by bodies in which professional artists are in a majority.
There is also a system of state income guarantees, through which about 160 artists are guaranteed a minimum annual income, about SEK 180 000 in 1999. Decisions on artists to be included in this system are taken by the government, on the recommendation of the Author's Fund and the Arts Grant Committee.
A special source of financing is the government's ten-year allocation of funding to a special Foundation Culture of the Future (Framtidens kultur). This foundation was established by the Swedish Government in 1994, and was allocated capital amounting to SEK 529 million. The purpose of the Foundation is to financially support long-term and innovative cultural projects, thus stimulating regional culture in a wide sense in order to encourage economic growth and development in the regions. The resources of the foundation contribute to development in all artistic and cultural fields while maintaining a strong emphasis on quality, new creative partnerships and dialogue.
4.2. In general, what is the role of fiscal policy as an instrument of cultural policy, for example, do you have special fiscal treatment for artists, cultural events, etc. in your country?
The Swedish tax system is general. All costs incurred in order to earn an income are tax deductible, provided the income is from professional activity. How local tax authorities implement the rules for tax-deductibility may sometimes be of great importance for the individual artists.
The VAT for cultural activities (events, performances etc.) is 6 percent, which is the lowest of the three existing levels of VAT. The VAT for books is currently 25 percent. Some cultural activities (public non-profit organisations) are excluded from the taxation.
5. International relations
5.1. Brief overview of the current policy and the perspective for the future.
In the 1996 Bill passed by the Riksdag the promotion of international cultural exchange and meetings between different cultures on the domestic front is one of seven policy goals. Within the context of increasing globalisation it is crucial to strengthen the exchange of international impulses. It is highly probable that international exchange will be of even greater importance in the future.
5.2. What relations do public bodies have with other EU Member States, non-EU Member States, the EU Institutions, Council of Europe,Unesco and others?
Due to the fact that the Swedish system is very decentralised in relation to the national government it is difficult to specify the relations of public bodies in general, since Swedish public bodies decide themselves on what kind of international relations they should have with other states or institutions/organisations. However, Swedish public bodies often participate in existing international networks.
In this context it is important to note that Sweden has a long tradition of cooperation with its Nordic neighbours in matters that include intra- and international affairs.
The Swedish National Council for Cultural Affairs and the National Heritage Board have been commissioned by the Government to follow developments within the EU on cultural matters. The Council and the Board function as contact points for the cultural programmes within the EU, and since 1998 also as the EU Commission's contact for these programmes in Sweden. The Council and the Board co-operate with the National Archives and the Swedish Film Institute. Together they also report on the outcomes.
Sweden has long taken an active part in the activities of the Council of Europe. Sweden was among the first countries to sign the Cultural Convention of 1954 and has, since then, been involved in a number of projects within the framework of the Council, for instance in the fields of cultural policy (the National Reviews, In from the Margins etc.) and heritage (Heritage Days etc.)
Sweden actively promoted the decision by the UN to establish the World Commission on Culture and its analysis connected to the UN Decade on Culture 1987-1997. In 1998 Sweden also hosted the intergovernmental Unesco conference, The Power of Culture, where the report Our Creative Diversity (Unesco) and also the Council of Europe report In From the Margins were discussed. The Action Plan for Cultural Policies for Development (The Stockholm Action Plan) proposed to the governments is often referred to in national policy in Sweden, with its close links to local life, culture and the environment.
The Swedish Institute launched a three-year programme (Partnership for Culture) in 1997 geared towards Eastern Europe and the Baltic area, including multiple projects and artists in different fields of culture. In order to stimulate Swedish cultural institutions and artistic professionals to focus on multicultural activities a Forum for Multiculturalism has been set up on an experimental basis.
6. The role of the private sector
The importance of private sponsoring, as a complement to public financing, has increased in the cultural field. When it comes to larger publicly supported cultural institutions sponsoring is still a small part of the total income. Sponsoring is estimated to be one or two per cent of the cultural institutions' revenues on average.
The pros and cons of sponsorship have been debated in the media in the last few years, but the government and parliament have not yet adopted any official position as to the principle of sponsorship as a means of financing. There are no special legal incentives aimed at promoting private sponsoring of culture.
Among other areas, the music, film and book industry play an important role for the production and distribution of cultural goods and services and thereby promote creativity.
7. Current debate and future plans
7.1. What have been the core issues facing public cultural policy in your country recently?
In 1998 the Swedish Parliament passed three Bills, by which literature and reading will be strengthened, conditions for artists improved and architecture and design highlighted. Measures to mention in this context are: new distribution subsidies for libraries and booksellers and permanent support for the promotion of reading among children and young people, - new financial assistance for certain exhibitors of visual art, increased support for regional and local theatre, dance and musical institutions and new compensation for composers and musicians for phonograms lent out by libraries and - objectives for work in the field of architecture and design and inclusion of aesthetic clauses into the Planning and Building Act, Roads and Highway Act and the Railway Construction Act.
Decentralisation processes have always been in focus during the last twenty years, and in the 1990's changes were introduced which give room for greater regional autonomy concerning the allocation of state funds within the regions. A three-year test programme of independent regional decision-making regarding state contributions to cultural institutions is being carried out in three provinces.
The number of radio and television stations has increased since the 1980's and growth continues. The development of the broadcast media is a central cultural-political issue.
For a number of central government agencies and companies, including many cultural institutions, rent costs make up a large proportion of the grant awarded, which has been pointed out as one reason for their financial difficulties. The Government Offices will therefore be urgently reviewing the issue of rent allowances on the premises of public agencies and specific companies.
In the last few years the government has increased its horizontal working methods where long-term policy issues are concerned. This has led to new areas of co-operation between the Ministry of Culture and other ministries and between the Council for Cultural Affairs and other sector authorities. A few examples are: 'Culture and Learning': The Ministries of Culture and Education have drawn up guidelines for the long-term work of strengthening the position of the arts in the education system. The physical environment: including a national policy for architecture and design currently being investigated by the Ministries of Culture, Education, the Environment and Industry, Employment and Communications. The Ministries of Culture and Industry, Employment and Communications study the role of culture for regional growth. Social conditions for artists, e.g. taxes, pensions and labour market provisions, are continuously discussed between the Ministries of Culture, Finance, Social Affairs, Legal Affairs and Industry, Employment and Communications.
There has been a growing structural imbalance within the unemployment support system, due to the constant high number of artists who do not make a regular living from their profession. As was reported in a Governmental survey 'Work for artists' in 1997 there were also discrepancies and sometimes even collisions between the policy goals of the employment sector and those of the cultural sector.
There was a need for both sectors to find a common definition of the artistic professions as such and their labour market. The Government wanted to reduce the quantity of support from the labour market authorities that had been geared to employing artists in recent years by defining the target group more narrowly. Some part of the budget for unemployment was then transferred to vital financing within the cultural sector including various promotional schemes for artists such as a new form of employment pool (Teater-Alliansen) for actors between contract periods.
These initiatives will be evaluated, but it is already obvious that co-operation between different sectors of society such as the labour market, culture and also education is crucial in order to obtain a creative and non-passive system.
The role of culture as a regional growth factor in Sweden has recently been strongly emphasised. In the special growth agreements, which each county is to conclude with the Government during 2000, culture is pointed out as an important component of social development.
The Government underlines that efforts in the area of culture have both a short-term effect in the form of an increased number of jobs, and a long-term effect in the form of improved attractiveness, stronger creativity and development of regional identity.
7.2. Do you plan any major changes in the current policy?
The course of policy was set through the enactment of the 1996 Resolution on cultural policy, which remains the foundation of Government policy activities.
Conditions for artists continue to be a high priority issue for cultural policies. The aim is to create conditions for professional artists that will enable them to base their livelihoods on the income from their artistic work
As regards developments in the library sector, it is apparent that considerable differences still exist among the municipalities regarding access to and the quality of library services. Sometime during 2001, it is planned to submit to the Parliament proposals amending the Libraries Act, which has been in force for nearly four years.
To enhance the status of the Swedish language, and to give everyone in Sweden equal opportunities to acquire the language, the Government plans to appoint a parliamentary commission.
A parliamentary committee with representatives from all the political parties in the Riksdag is working on drawing up directions for the public service companies for the next licence period, beginning in 2002.
The Government has appointed a special expert to analyse and study the need for amending the Radio and Television Act and the Act on TV licences.
Work is underway to protect children and young people from harmful media programmes, e.g. in the form of violence and pornography. Focus will be given to this issue during the Swedish presidency of the EU. A seminar on the subject of children and young people in the new media society will be held in Stockholm on 12-13 February 2001.
UNITED KINGDOM[23]
1. General objectives and principles
1.1. Please indicate your country's definition of cultural policy
The fundamental aim of UK cultural policy is to make the best things in life available to the largest possible number of people. Our goals are to increase access to and participation in the cultural and sporting life of the nation and to enhance the quality of the experience on offer, whetting peoples' appetite for excellence. We want also to nurture educational opportunities across our sectors, to secure the fullest contribution they can make to our economic life, to promote their role in urban and rural regeneration, in pursuing sustainability and in combatting social exclusion.
We believe that our objectives play a key part in meeting the Government's wider social, economic and educational objectives and we work closely with colleagues across Government to ensure that our contribution is maximised.
1.2. What are the main elements and objectives?
Our key aim is to improve the quality of life for all through cultural and sporting activities, and to champion the creative and leisure industries. In order to achieve this aim, we have identified six objectives and performance targets. These are set out in a Public Service Agreement between Her Majesty's Treasury and the Department for Culture, Media and Sport:
Objective I: Sustain and develop quality, innovation and good design; create an efficient and competitive market, including by removing unnecessary regulation and other obstacles to growth so as to develop the tourism and creative industries; and promote Britain's success in the fields of culture, media and sport at home and abroad.
Objective II: Broaden access for all to a rich and varied cultural and sporting life and to our distinctive built environment; and encourage conservation of the best of the past.
Objective III: Develop the educational potential of the nation's cultural and sporting resources; raise standards of cultural education and training; and ensure an adequate skills supply for the creative industries and tourism.
Objective IV: Ensure that everyone has the opportunity to develop talent and to achieve excellence in the areas of culture, media and sport.
Objective V: Maintain public support for the National Lottery and ensure that the money raised for good causes supports DCMS's and other national priorities.
Objective VI: Promote the role of the Department's sectors in urban and rural regeneration, in pursuing sustainability and in combatting social exclusion.
Performance Targets
In order to measure the extent to which we have met these objectives we have agreed a number of performance targets. These are as follows:
- Ensure all public libraries have internet access by December 2002;
- Raise significantly, year on year, the average time spent on sport and physical activity by those in the age group 5 years to 16 years;
- Introduce at least 12 Creative Partnerships by March 2004, targeted on deprived areas, ensuring that every schoolchild in the Partnership area has access to an innovative programme of artistic and creative opportunities;
- Increase the number of children attending museums and galleries by a third by 2004;
- Increase by 250,000 by 2004 the number of people experiencing the arts for the first time.
Value for Money
Conduct a benchmarking study of value for money in bodies funded by the Department by April 2002, and significantly improve the average performance by April 2004.
2. Policy decision-making and administration
2.1. Please give an overall description of the system, including the role of the minister and ministry, the Parliament, special committees, bodies, etc.
The Department for Culture, Media and Sport is headed by the Secretary of State, the Rt Hon Chris Smith MP. His responsibilities include Departmental strategy, expenditure and organisation; public appointments; National Lottery Policy. Chris Smith is also the Chairman of the Millennium Commission.
The Secretary of State is assisted by three Parliamentary Under Secretaries of State: Kate Hoey MP; Janet Anderson MP and the Rt Hon Alan Howarth CBE MP. Their responsibilities are allocated as follows:
- Kate Hoey MP, Minister for Sport: support for Secretary of State on the National Lottery; social exclusion, access and equal opportunities.
- Janet Anderson MP: responsible for Tourism. Broadcasting. Film and the Press; The creative industries (including the music industry); The Millennium; Regional and local authority policy issues; Women's Issues; Green Issues.
- The Rt Hon Alan Howarth CBE MP, Minister for the Arts: responsible for the arts, the crafts, music, and the Government Art Collection; museums and galleries; libraries; the built heritage; the Royal estate; architecture and design; DCMS interests in information technology; training and education; European and international matters.
The above Ministers are members of the House of Commons. Lord McIntosh of Haringey is the DCMS spokesman in the House of Lords, the UK's Upper House.
UK Parliamentary procedure allows Members of Parliament to put Parliamentary Questions to the DCMS Ministers. Subjects may be explored in more detail by the Culture, Media and Sport Select Committee, a committee of MPs set up to examine the expenditure, administration and policy of the Department for Culture, Media and Sport.
UK spending on culture operates on an "arm's length” basis, through a number of Non-Departmental Public Bodies. These include the Arts Council of England, the British Library, British Museum, UK Sport and the British Tourist Authority, the National Endowment for Science, Technology and the Arts (NESTA) and a number of museums and galleries. Some NDPBs, such as the Arts Council of England, also act as distributors of National Lottery Funds.
2.2. Breakdown of cultural competence at national, regional, local and municipal levels
National
The UK Parliament and Government are responsible for all cultural issues in England, and for some issues across the whole of the United Kingdom. However, in Scotland, Wales and Northern Ireland, most cultural issues are now the responsibility of the Scottish Parliament and Executive, the National Assembly for Wales and the Northern Ireland Assembly and Executive respectively ("the devolved administrations”). The Scotland Act 1998, the Government of Wales Act 1998 and the Orders in Council made under it, and the Northern Ireland Act 1998 specify which issues remain the responsibility of the UK Government in each of those parts of the UK. It should be noted that while the Scottish Parliament and the Northern Ireland Assembly are able to make primary legislation in respect of those issues which have been devolved, the National Assembly for Wales is only able to make secondary legislation and responsibility for primary legislation for Wales remains with the UK Parliament and Government.
The UK Parliament and Government retain both legislative and policy responsibility for the whole of the UK in the following areas:
- Acceptance in Lieu of Tax,
- Broadcasting,
- Export Controls on Cultural Objects,
- Government Indemnity Scheme,
- National Lottery,
- Public Lending Right.
DCMS also retains legislative and policy responsibility for Film in Wales. All other subject areas are the responsibility of the devolved administrations.
In addition to the specific reserved subjects, EU and International issues are also reserved to the UK Government. As with other such matters, however, it has been agreed that the devolved administrations retain a legitimate interest. They are, therefore, involved in the relevant processes, in accordance with the arrangements set out in the Concordat on the Co-ordination of European Union Policy Issues and the Concordat on International Relations which have been agreed between the UK Government and the devolved administrations.
Most cultural spending in the UK is administered by a range of Non-Departmental Public Bodies (NDPBs) which receive funding from the UK Government or from the relevant devolved administration. These bodies include organisations responsible for the arts, sport, film and heritage in England and their counterparts in Scotland, Wales and Northern Ireland. Many museums and galleries are also run as NDPBs, including the Victoria and Albert Museum, the Natural History Museum and the Tate Gallery. Although some NDPBs operate only in England, many are run as national institutions. Some NDPBs which deal with matters which are the responsibility of the devolved administrations in Scotland, Wales and Northern Ireland, continue to have functions and responsibilities in those parts of the UK.
NDPBs which are responsible for matters in England, or the UK as a whole, receive funding directly from DCMS, in accordance with their funding settlement which is announced in three-yearly Spending Reviews. Funding agreements, which are publicly available, set out the aims, objectives and targets which each NDPB has agreed with the Department in return for its funding.
Regional
Cultural policies in the regions are determined by regional agencies working in DCMS sectors. An example is the ten Regional Arts Boards which operate in England, and which receive grant-in-aid from the Arts Council of England.
In addition, DCMS has established a Regional Cultural Consortium (RCC) in each of the eight English regions outside London. The Chairs of the RCCs were appointed by the Secretary of State for Culture, Media and Sport. The other members are drawn from the regional agencies working in archives, arts, heritage, libraries, museums, sport and tourism, the Regional Development Agencies, local government, the creative industries including film, broadcasting, architecture and design, and from other interests such as the countryside, recreation and education.
The RCCs are strategic, not executive, bodies (this function is retained by the regional agencies mentioned above). Their role is to provide a single voice to promote and speak for all the cultural and creative interests in each region, to forge links across the spectrum of interests and to advise and inform central and local government, National Lottery distributors, Regional Development Agencies and other regional partners. Each RCC is also responsible for preparing and publishing a regional cultural strategy to identify priorities and objectives for each region and to feed into and draw from national priorities, other regional strategies and local plans.
Local
Local authorities are major players in delivering cultural services and DCMS is committed to forging a strong and positive relationship with local government. A key element of our local government policy is to encourage local authorities to develop Local Cultural Strategies and DCMS has published guidance for all local authorities on developing these strategies by the end of 2002. The strategies will help local authorities to express their own cultural visions and priorities in response to the needs and aspirations of local communities. They will also provide a strategic overview, recognising the role of cultural services in tackling the wider objectives of social inclusion, regeneration, lifelong learning and healthier and safer communities.
DCMS is a member of the Central Local Partnership, which provides a high level, high profile forum for Ministers to meet with senior representatives of the Local Government Association to consider major issues affecting local government in England. DCMS Ministers meet the LGA leading cultural and tourism members for Cultural Central Local Partnership Discussions at least once a year and officials also meet LGA officials on a quarterly basis to discuss matters of mutual concern.
3. Cultural budget
Government funding for the arts will increase by £100 million, increasing the funding of the year 2000 from £238 million to £338 million in 2003-04. There will be a particular emphasis on help for regional theatres, and 12 new "creative partnerships" will be established where arts and cultural institutions will help young people develop their creative and artistic skills.
Over 50 non departmental public bodies receive funding from the DCMS to deliver direct sporting and cultural support to the public. The DCMS budget for 2000/01 is £1 billion of which 90% goes directly to the service providers in the cultural and sporting sectors.
The Arts Council of England (ACE) receives direct funding from DCMS and in 2000/01 is receiving £238 m. ACE is the national body for the arts in England. It distributes Government funding and Lottery funds to artists and arts organisations, both directly and through the10 Regional Arts Boards. ACE aims to make the arts available to the widest public, to integrate the arts more fully within education, to bring the challenge of new art in all forms to as many people as possible, and to celebrate the diversity of England's cultural assets.
3.1. Brief overview of the public cultural budget; breakdown on main areas; the development within the last 10 years.
As stated earlier, spending on culture in the UK is generally undertaken by bodies other than DCMS: not just DCMS' Non-Departmental Public Bodies (NDPBs), but also by local authorities and a range of other organisations. Although the DCMS budget for 2000/01 is over £1,000 million, 90% of this is passed on to service providers in cultural and sporting sectors (including NDPBs).
The following table explains in summary how this money has been allocated by subject area in 2000/01:
| |£ million |
|Museums and Galleries |226 |
|Libraries |89 |
|Museums, Libraries and Archives Council* |19 |
|Arts |238 |
|Sport |52 |
|Historic Buildings, Monuments and Sites |145 |
|Royal Parks |22 |
|Tourism |48 |
|Broadcasting and Media |104 |
|Administration and Research |26 |
|Spaces for Sport and the Arts |15 |
|National Lottery Commission |- |
|European Regional Development Fund |31 |
|Reserve |- |
| | |
|* (now Resource: the Council for Museums, Archives and Libraries) | |
|Total |1 015 |
3.2. Public cultural expenditure as percentage of the total public budget.
This figure is not available
3.3. Public cultural expenditure broken down between national, regional, municipal and local levels.
Local authority expenditure for culture, sport and tourism in 1998/99 was £1,871 million. The estimated total for 1999/2000 is £1,904 million.
4. Support Policy
The Government undertook a Comprehensive Spending Review (CSR) in 1997 in order to identify key priorities for every Department and to determine spending over the three years from 1998/99 to 2000/1. In 2000, the exercise was repeated and spending plans have been agreed for every Government Department from 2001/2 to 2003/4.
The Government has two clear over-arching goals for the Department for Culture, Media and Sport (DCMS): excellence and access.
In the 1997/98 Comprehensive Spending Review, funding was targeted on extending and improving access (for example children and pensioners now get into museums free, and others will pay £1 from September 2001). Much has been done to streamline delivery mechanisms (for example the creation of the Film Council and Resource, the new museums, libraries and archives body). The Government has stripped out unnecessary bureaucracy to ensure that money gets where it is needed (£2 million annual savings are being made in the arts funding system).
DCMS has policy responsibility for the way National Lottery proceeds are given out. We have taken positive steps to ensure that the distribution of Lottery funding now considers revenue rather than just capital schemes and strikes the right balance between different regions of the country. We sponsor the National Lottery Commission and co-ordinate the activity of the organisations which distribute money from the National Lottery to the six "good causes": sport, the arts, heritage, charities, the New Opportunities Fund (covering health, education and the environment) and (formerly) projects to mark the year 2000.
Our key aim on the distribution of Lottery funds is to focus funding into the whole of Britain through independent bodies; on regulation it is to ensure that the National Lottery is run fairly and raises as much money as possible for the good causes; on operations it is to ensure the efficiency of the National Lottery operator. Out of every pound spent on the National Lottery around 28 pence goes to the Good Causes and at the beginning of February 2001 the total donation is £10.6 billion.
Wherever possible, Non-Departmental Public Bodies are encouraged to maximise non-central government funding from other sources. This is most apparent in the museums and galleries sector, but also in arts, sport and other sectors.
Key figures
| |£ million |
| |2000-01 |2001-02 |2002-03 |2003-04 |
|Total DCMS* |1,015 |1,120 |1,170 |1,240 |
|of which: Resource Budget |941 |998 |1,100 |1,160 |
|Capital Budget |74 |122 |70 |80 |
*Departmental Expenditure Limit, includes £15 million in 2000-01 and £60 million in 2001-02 from the Capital Modernisation Fund for 'Space for Sport and Arts'
5. International relations
5.1. Brief overview of the current policy and the perspective for the future.
Following a successful British Presidency of the European Union in 1998, the Prime Minister Tony Blair called on all Government Departments to effect a 'Step Change' in their relations with Member States: to pursue a policy of constructive engagement with Europe. This policy means that Ministers and officials speak regularly to their EU counterparts and has resulted in an increasing number of joint initiatives with Member States.
Our approach is borne out of a realisation that our future belongs in the EU, and that we need to engage actively in the process of give and take which characterises discussions in Brussels. This includes active support for EU enlargement.
DCMS will shortly publish its International Strategy, and this will explain in more detail our international policies and how we intend to pursue them.
5.2. What relations do public bodies have with:
5.2.1. Other EU Member States?
DCMS actively engages with partners in other EU Member States (including bilaterally) and is involved in the day-to-day business of the European Institutions to ensure that DCMS interests are fully represented. Our work with EU and non-EU Member States is aimed at strengthening the image of Britain abroad and of promoting a better understanding in Britain of other cultures. We aim to achieve this through negotiation and co-operation. Much of this work is undertaken in partnership with the British Council, which actively promotes British culture around the world.
5.2.2. Non-EU Member States?
DCMS recognises the broader international picture beyond the EU, including through our interests in the promotion of culture, the creative industries and tourism. In addition to meetings with and visits to counterparts in EU Accession States, DCMS maintains good relations with counterparts in many countries, including USA and Canada, Australia and New Zealand, Japan and many others.
DCMS has a particular interest in supporting the work of Accession States to meet the requirements of Chapter 20 of the acquis communautaire.
5.2.3. The EU Institutions?
Ministers and officials regularly attend and contribute to the work of Informal and Formal Councils; a number of committees such as the Advisory Committee on Cultural Goods and the Cultural Affairs Committee; and working groups such as that on Audio-Visual issues. DCMS also maintains links with British and other Members of the European Parliament and its committees.
5.2.4. Council of Europe?
We believe that the Council of Europe provides a useful forum for the consideration of issues across the whole of Europe, some of which will be taken forward by the EU. A significant amount of practical and valuable work on the exchange of information and the development of cultural policies across Europe has been successfully undertaken by the Council of Europe. DCMS fully supports the Council of Europe's aim "to promote awareness and encourage the development of Europe's cultural identity and diversity” and is actively involved in certain of the Council's programmes in this area.
It is a Government priority to support the enlargement of the EU and to develop relations with Accession States. Much policy work to this end is taken forward by officials through the Council of Europe.
5.2.5. Unesco?
The UK Government rejoined Unesco in 1997. DCMS provides £35,000 funding each year to the UK National Commission Secretariat and acts as observer to its Culture Committee.
5.2.6. Others?
Following the Stockholm conference in March 1998 the Government agreed to be a member of a new working group, the International Network on Cultural Policy. The group is based in Ottawa, Canada, and Ministers meet annually in Canada. The main purpose of the group is to provide a forum to discuss the growing issue of cultural diversity in the face of globalisation.
6. The role of the private sector
DCMS recognises that it has a vital role to play in promoting the creative industries and helping to provide an economic environment in which they can flourish. That applies both to organisations in receipt of public funding and to commercial enterprises.
As a means of achieving this, DCMS created the Creative Industries Task Force, to bring together private and public sector players to work in partnership to address the issues which influence the success of creative businesses. To date, the Task Force has undertaken a number of initiatives to develop skills and to ensure that creative businesses have better access to capital.
The private sector is also involved in promoting creativity through sponsorship, donations and corporate membership schemes. These include schemes (including public funding) to encourage businesses to sponsor arts and sporting activity - with an emphasis on social inclusion and education.
7. Current debate and future plans
The past 3-4 years have seen an increased recognition of the way in which DCMS sectors (such as arts and sport) can contribute to the achievement of wider Government objectives, such as combatting social inclusion and neighbourhood renewal. They have also witnessed a closer working relationship between central and local government, and the recognition of jointly-shared aims.
A further key development has been the introduction of Public Service Agreements between HM Treasury and individual Government Departments, and funding agreements between Departments and its funded bodies. These set out the targets which the funded body has agreed to work towards, in return for its funding. They are available on request to members of the public and demonstrate key priorities for the body involved.
Cultural policies will be developed in accordance with the second Comprehensive Spending Review, published in 2000. That Review built on the progress already made on excellence and access, and introduced a new focus on realising the potential of culture, sport and the creative industries to enrich education, particularly in schools. As a result of the Spending Review, additional funds have been provided to help schools encourage children to play sports, laying the foundations for a healthy lifestyle and developing our future champions. There is also funding to introduce a programme of Creative Partnerships in areas of educational need and to take forward a number of initiatives to improve access to arts, museums, libraries and galleries.
The new spending plans provide for:
- Increasing children's participation in sport through high quality sports teaching and coaching and an expansion of competitive sports in schools, building on the valuable contribution of the Lottery and the Capital Modernisation Fund in developing facilities for school and community use. This will bring long-term health benefits and improve performance in international competition;
- Encouraging links between arts organisations, museums, the creative industries and schools. The Government is introducing a programme of Creative Partnerships to give every child in each Partnership area access to a range of cultural and creative opportunities tailored to their individual interests and talents;
- Building and maintaining a sustainable infrastructure of arts organisations to enable them to develop the quality of their work, fostering high standards and innovation;
- Broadening access to the arts. The New Audiences Fund has already produced over one million additional attendees in its first year. The Government will help arts organisations to make fuller use of their capacity, so that the new money translates directly into more work on stage and in galleries, to bring the best in the arts to more people than ever before; and widening access to museums and galleries. The next three years will see increasing visitor numbers as the Government takes forward and develops recently announced access initiatives. These will allow free entry to the national museums and galleries for children, pensioners and those on benefits, while others pay a flat £1 admission charge. The access initiative has already produced a 19 per cent increase in the number of children visiting.
New spending plans provide an annual average real terms increase of 4.3 per cent over three years. This will ensure that the DCMS sectors are able to create and maintain a sustainable infrastructure. This is particularly important in:
- sport where, although the Lottery has been able to fund facilities, investment in skills and in school sport has been inadequate;
- arts organisations which carry the burden of fixed overheads while capacity goes unexploited; and
- museums and galleries where a backlog of repairs and maintenance work undermines the quality of service.
FURTHER READING
Albert, M., “Territorium und Identität, Kollektive Identität und moderner Nationalstaat”, in Österreichische Zeitschrift für Politikwissenschaft, No. 3, 1999.
Arlt, H., "Kulturprozesse, Weltpolitik, Kulturwissenschaft", in TRANS, Internet-Zeitschrift für Kulturwissenschaft, No. 5, 1998.
Arlt, H., "Zivilgesellschaften und Kulturgesellschaften. Im Kontext des Entwurfs einer EU-Grundrechtscharta", in Jura Soyfer, Internationale Zeitschrift für Kulturwissenschaften, Vol. 9°, No. 3, 2000.
Austen, S., Kulturpolitische Gesellschaft (Ed.), Kultur-Markt Europa. Jahrbuch für europäische Kulturpolitik, Cologne, 1989.
Bauböck, R., Rundell, J. (Ed.) "Blurred Boundaries. Migration, ethnicity citizenship", Public policy and Welfare, Vol. 23, European Centre Vienna, Aldershot, 1998.
Bauer, A., Die Bedeutung der Kulturpolitk als Identitätsstiftender Faktor im Europäischen Einigungsprozess, Wirtschaftsuniversität Wien, Dipl.-Arb.;Vienna, 1996.
Bekemans L. (Ed.), Culture: Building Stone for Europe 2002, European Interuniversity press, Brussels, 1994.
Béghain, P., Le patrimoine : culture et lien social, Presses de Sciences Po., Paris, 1998.
Bennet, O, "Cultural policy in the United Kingdom: Collapsing rationales and the end of a tradition", in European Journal of cultural policy, No. 1.2, 1995.
Bessis, S., De la exclusión social a la cohesión social. Síntesis del coloquio de Roskilde, 2 a 4 de marzo de 1995, MOST, collection "Políticas sociales", 2, Paris, 1995.
Bianchini, F. (Ed.), Cultural policy and urban regeneration. The West-European experience, Manchester U. Press, Manchester, 1993.
Blin, M., “L’Europe et la culture”, Les Rapports du Sénat N° 213, Délégation pour l’Union européenne du Sénat français, Paris, 2001.
Breidenbach, J., Zuckrigl, I., Tanz der Kulturen. Kulturelle Identitäten in einer globalisierten Welt, Antje Kunstmann, Munich, 1998.
Chombart de Lauwe, H., La culture et le pouvoir, L’Harmattan, Paris, 1983 (2nd ed.).
Coccossis, H. (Ed.), Planning for our cultural heritage, Aldershot, 1998 (reprint).
Council of Europe:
▪ Council of Europe and ERICArts (Eds.), Cultural policies in Europe. A compendium on basic facts and trends, ARCultMedia, Bonn, 2000.
▪
▪ Cultural policies in Europe, Regions and cultural decentralisation, Council of Europe Publishing, Strasbourg, 2000.
▪ Visibility DGIV in cooperation with the Cultural Policy and Action Dep.(Ed.), Cultural policy in action throughout Europe, Council of Europe Publishing, Strasbourg, 2000.
▪ Cultural policy in France, Council of Europe Publishing, Strasbourg, 1991.
▪ D'Angelo, M., Vespérini, P., Cultural policies in Europe: a comparative approach, Council of Europe Publishing, Strasbourg, 1998.
▪ In from the margins. A contribution to the debate on culture and development in Europe, Council of Europe Publishing, Strasbourg, 1997.
▪ Mundy, S. (Ed.), Cultural policy, A Short guide, Council of Europe Publishing, Strasbourg, 2000.
▪ Networking culture -The role of European cultural networks, Council of Europe Publishing,
▪ Strasbourg, 1992.
▪ The governance of culture: Approaches to integrated cultural planning and policies, Policy notes, No 5, Council of Europe Publishing, Strasbourg, 1999.
▪ Views from the bridge of Europe, Council of Europe Publishing, Strasbourg, 1999.
"Développement culturel", Bulletin du Département des Études et de la perspective du Ministère de la Culture (France)
Culturelink Network; Cultural Policies Database; first searchable Cultural Policy Database, online since 1997.
“Die Zukunft Europas. Kultur und Verfassung des Kontinents”, Vorträge, Debatten und Dokumente der internationalen Konferenz in Rom, 17.-19. October 1990, Bertelsmann-Stiftung, Gütersloh, 1991.
Durusoy, G., “Vielsprachigkeit und Kulturgrenzen”, in, INST, Internationale Kulturwissenschaften – International Cultural Studies – Études culturelles internationales, 1999.
Ellmeier, A., Rásky, B., “Cultural policy in Europe – European cultural policy? Nationstate and transnational concepts”, Veronica Ratzenböck, Schriftenreihe der Österreichischen Kulturdokumentation, Internationales Archiv für Kulturanalysen, 5, Vienna, 1998.
European Parliament, Europa 2000, Cologne, 1996.
European Parliament, “Les industries culturelles et l’emploi dans les pays de l’Union européenne”, DGIV working paper, Education and Culture Series, EDUC 104A XX, 06/1999.
Graf Strachwitz, R., “Was heißt Kulturpolitik in der Zivilgesellschaft?”, in Kulturpolitische Mitteilungen, No. 90/III/2000.
Göschel A., “Kulturpolitik und Bürgergesellschaft”, in Kulturpolitische Mitteilungen, No. 90/III/2000.
Harauer, R., (Ed.), Die Zukunft der Kultur in Europa, Vienna, 1998.
Huchet, B., Malosse, H., Vers la grande Europe. Essai pour reconstruire une communauté de peuples et d’États, Brussels-Paris, 1996.
INST, Cultural Studies and Europe or the reality of Virtuality, Vienna, 1998.
Jetschke, A., Liese, A, “Kultur im Aufwind. Zur Rolle von Bedeutungen, Werten und Handlungsrepertoires in den internationalen Beziehungen”, in Zeitschrift für Internationale Beziehungen, Vol. 5/No.1/1998.
Kawashima, N., “Comparing Cultural Policy: Towards the Development of Comparative Study“, in European Journal of Cultural Policy, 1.2 (1995).
Kawashima, N., Planning for Equality? Decentralisation in Cultural Policy, Centre for the Study of Cultural Policy, Warwick, 1996.
Langsted, J., ”The Regionalisation of Cultural Policy: Danish Experiences in a Global Perspective“, in The International Journal of Cultural Policy, No 6/1, fall 2000.
“Les statistiques culturelles dans l’UE“, Rapport final du LEG, Population et conditions sociales, 3/2000/E/N°1, Commission européenne, Luxembourg, 2000.
MacGuigan, J., Culture and the public sphere, Routledge, London, 1996.
Negus, K., Pickering, M., “Creativity and Cultural Production“, in, The International Journal of Cultural Policy, No 6/2, spring 2000.
Niedobitek M., The Cultural Dimension in EC Law, Kluwer Law International, London/The Hague/Boston, 1997.
Palard, J., Vers l’Europe des régions ?, La Documentation française, coll. Problèmes politiques et sociaux, N° 806, Paris, 1998.
Patriat, C., La Culture un besoin d’État : l’intervention politique dans la culture, Hachette, Collection Forum, Paris, 1998.
Pollak, J., Mokre, M., “Europäische Kulturpolitik als Identitätspolitik. Formen, Prozesse, Resultate“, in Österreichische Zeitschrift für Politikwissenschaft, No.3/1999.
Rásky, B., Wolf Perez, E.M., “Cultural policy and cultural administration in Europe”, Schriftenreihe der Österreichischen Kulturdokumentation, Internationales Archiv für Kulturanalysen, 4, Vienna, 1996.
Raunig, G., (Ed.), “Widerstand, Kulturarbeit, Zivilgesellschaft”, eine Konferenz der IG Kultur zu den zivilgesellschaften Facetten des kulturellen Feldes, IG Kultur Österreich; Vienna, 2000.
Redaktionsgruppe Weißbuch Kulturpolitik, Weißbuch zur Reform der Kulturpolitik in Österreich, Bundeskanzleramt, Kunstsektion; Vienna, 1999.
Santagata, W., Signorello, G., Contingent valuation and cultural policy design, Nota di lavoro, 54/1998, Fondazione Eni Enrico Mattei, Milan, 1998.
Schwencke, O., Das Europa der Kulturen – Kulturpolitik in Europa, Kulturpolitische Gesellschaft e. V., Bonn, Klartext Verlag, Essen, 2001.
Sousa Ribeiro, A., “Globalisierung und kulturelle Identität“, in TRANS. Internet-Zeitschrift für Kulturwissenschaften, No 5/1998.
Theatre Worlds in Motion: structure, politics and developments in the countries of Western Europe, H. van Maanen, S.E. Willmer (Ed.), Amsterdam, 1998.
Thuriot, F., Culture et territoires. Les voies de la coopération, L’Harmattan, Paris, 1999.
Unesco:
▪ Cultural industries: A challenge for the future of culture, "Unesco culture and development collection", Paris, 1982.
▪ Culture, trade and globalization, "Unesco culture and Development Collection”, Paris, 2000.
▪ de Ruijter, A., van Vucht Tijssen, L. (Eds.), Cultural Dynamics in Development Processes, “Unesco Culture and Development Collection”, Paris, 1995.
▪ Garzón, A., National Book Policy. A Guide for Users in the Field, “Unesco Professional Training Library; Education”, Paris, 1997.
▪ Informe Mundial sobre la Cultura. Cultura, Creatividad y mercados, “Informes mundiales de la Unesco”, Paris, 1999.
▪ King, L. (Ed.), Learning, Knowledge and Cultural Context, Unesco-UIE, Paris, 1999.
▪ Les clés du xxie siècle, ouvrage dirigé par Jérôme Binde, éditions Unesco/Seuil, Paris, 2000.
▪ Our Creative Diversity, Report of the World Commission on Culture and Development, Unesco, Paris, 1995.
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▪ World Culture Report 1998. Culture, Creativity and Markets, “Unesco World Reports”, Paris, 1998.
Veltman, K.H., “Goals of Culture and Art”, in TRANS. Internet-Zeitschrift für Kulturwissenschaften, No. 0/2000.
Webster’s World of Cultural Policy, An online resource center for the study of cultural policy from the perspective of cultural democracy.
Weiss, B., “Die kulturelle Praxis globaler Beziehungen”, in Österreichische Zeitschrift für Politikwissenschaft, No.3/1999.
Wiesand, A.J., Kunst ohne Grenzen? Kulturelle Identität und Freizügigkeit in Europa. Eine Einführung in Gegenwart, Probleme und Entwicklungschancen europäischer Kulturpolitik, Cologne, 1987.
Young, C. (Ed.), The Accommodation of Cultural Diversity, Macmillan Press; London, 1999.
Zacharias, W., “Kulturpolitik als kommunikative Interaktion”, in Kulturpolitische Mitteilungen, No. 91/IV/2000.
-----------------------
[1] Cf.: Cultural Policies in Europe. A compendium on basic facts and trends / Council of Europe and ERICArts (eds.). Bonn: ARCultMedia, 2000. WWW: . The aim is to provide the readers with country profiles of all 47 signatories of the European Cultural Convention. To date (December 2001), profiles of 20 countries are available via the web site, among them profiles of 7 EU Member States.
[2] Received in November 2000. English translation by Gertrude Durusoy, ADIKAM, Izmir, revised by the Translation Directorate of the European Parliament.
Drafted in French by:
Ministère de la communauté française
Direction générale de la culture, 44 Boulevard Leopold II, B-1080 Bruxelles.
Martine Lahaye, Fax: +32 (2) 4132053, E-Mail: martine.lahaye@cfwb.be, Web: .
[3] Received in August 2001. Translated and revised in English by the Translation Directorate of the European Parliament.
Drafted in Flemish by:
Dr Bart Van der Herten, algemeen coördinator, Cel voor Cultuurbeleid, Directoraat Generaal Administratie Cultuur, Parochoaansstraat 15, 1000 Bussels, Belgium, Fax +32 2 553 69 69.
[4] An annual Ministry of Finance guide to the Flemish budget.
[5] Received in June 2000. Partial Translation (by Eurocom, Vienna).
Drafted in English and Danish by:
Kulturministeriet
Nybrogade 2; Postboks 2140; DK-1015 København K, Denmark
Per Voetman; E-Mail: pv@kum.dk.
[6] Received in November 2000. English translation (by Gertrude Durusoy, ADIKAM, Izmir), revised by the Translation Directorate of the European Parliament.
Drafted in German by:
Beauftragter der Bundesregierung für Angelegenheiten der Kultur und der Medien
Graurheindorfer Straße 198; D - 53117 Bonn, Germany
Michael Berens; E-Mail: Michael.Berens@bkm.bmi.bund400.de
[7] Cf.: Verband deutscher Städtestatistiker (Hrsg.): Ein Strukturbericht zum Thema Bildung und Kultur; Städte in Zahlen, Heft 8, Opladen 1998. (Union of German Urban Statisticians (ed.): A Structural Report on Education and Culture. Cities in figures. No 8, Opladen 1998 [in German]).
[8] Received in June 2000. English translation (by Gertrude Durusoy, ADIKAM, Izmir), revised by the Translation Directorate of the European Parliament.
Drafted in Greek by:
[pic] (Ministry of Culture),Dept. Relations Greece - European Union,
Ermou 17; 10563 Athens, Greece
Georgios Liondos, Chief of the Direction; Fax:+301/3310796
[9] Received in November 2000. Translation to English, provided by the Secretaría de Estado de Cultura and approved by ADIKAM. Revised by the English Translation Division.
Drafted in Spanish by:
Secretaría de Estado de Cultura; Ministerio de Educación, Cultura y Deporte
Plaza del Rey núm. 1; 28004 Madrid, España
WWW:
José Pérez Lázaro, Subdirector General de Cooperación Cultural Internacional;
Fax: +34-915232573; E-mail: jose.perez@dgcc.mcu.es
[10] The information supplied below is an extract taken from the full information available at the website of the Secretary of State for Culture:
[11] For instance, in the Personal Income Tax (Act 40/1998, of 9th December, section 55.5).
[12] Section 73 of Act 16/1985, of 25th June, modified by the Tenth Additional Provision of Act 30/1994, of 24th November. Section 36.3 of Act 29/1987, of 18th December, on regulations governing the Estate and Gift Tax.
[13] Received in October 2000. English translation (by Gertrude Durusoy, ADIKAM, Izmir), revised by the Translation Directorate of the European Parliament.
Drafted in French by:
Ministère de la culture et de la communication; Département des affaires internationales
12, rue de Louvois; F-75002 Paris; fax: +33/1/40153740
Anne-Sophie Barreau, E-Mail: anne-sophie.barreau@culture.gouv.fr
[14] Received in August 2000.
Drafted in English by:
Department of Arts, Heritage, Gaeltacht and the Islands; Cultural Institutions Division
43-49 Mespil Road; Dublin 4, Ireland
Chris Flynn, Principal Officer, E-Mail: cflynn@ealga.ie
[15] Received in October 2000. English translation (by Gertrude Durusoy, ADIKAM, Izmir), revised by the Translation Directorate of the European Parliament.
Drafted in Italian by:
Emilio Cabasino and Adela Compagna. Ufficio Studi del Ministero per i Beni e le Attività Culturali (Research Department of the Ministry for Cultural Heritage and Activities).
Ministero per i Beni e le Attività Culturali
Minister: Giovanna Melandri; Via del Collegio Romano 27; I-00186 Roma; Fax: +39-066790426
[16] An exhaustive survey of cultural policy in Italy, carried out under the Council of Europe's programme for evaluation of cultural policies, may be found in: C. Gordon (ed.), 'Cultural Policy in Italy', Council of Europe, European Programme of National Cultural Reviews, Cultural Committee, Strasbourg, 1995, 2 vols. Since 1996, as is indicated in the present text, much has changed as regards the Ministry's internal organisation and its new broader competences, but many of the issues and problems dealt with in that report are still of current interest.
[17] Received in August 2000. English translation (by Gertrude Durusoy, ADIKAM, Izmir), revised by the Translation Directorate of the European Parliament.
Drafted in French by:
Ministère de la Culture, de L'Enseignement supérieur et de la Recherche,
20, montée de la Pétrusse, L-2273 Luxembourg
Christiane Daleiden Distefano, E-mail: christiane.daleiden@ties.itu.ch
[18] Received in June 2000
Drafted in English by:
Ministerie van den Onderwijs, Cultuur en Wetenschappen
Europaweg 4; Postbus 25000; 2700 LZ Zoetermeer; Fax:+31/(0)79/3234989
E-mail: n.a.e.m.pijls@minocw.nl
[19] Received in May 2000.
Drafted in English by:
Österreichische Kulturdokumentation. Internationales Archiv für Kulturanalysen (Direktorin: Veronika Ratzenböck, Bearbeitung: Andrea Braidt)
Ständige Vertretung Österreichs: E. Pacher; Av. de Cortenbergh 30; B-1040 Brussels
E-Mail: Elisabeth.Pacher@OVbrusse.bmaa.gv.at
For the preparation of this chapter, material of the following publication was used: “Cultural policies in Europe: a compendium of basic facts and trends”, Council of Europe/ERICarts in co-operation with ARCult Media, Bonn 2000 ().
[20] Received in June 2000. English translation (by Gertrude Durusoy, ADIKAM, Izmir), revised by the Translation Directorate of the European Parliament.
Drafted in Portuguese by:
Ministério da Cultura, Gabinete das Relações Internacionais
Rua de S. Pedro de Alcántara 45-2°; 1269-139 Lisboa, Portugal; Fax: +351 21 324 19 44
Patricia Salvação Barreto (Directora), Maria de Lourdes Simões de Carvalho, E-mail: lourdes.carvalho@mail.pt
[21] Received in November 2000.
Drafted in English by:
Opetusministeriö (Ministry of Education)
Meritullinkatu 10; Box 293; 00171 Helsinki, Finland
Iina Berden, Senior Advisor; Fax: 00358 9 1341 6987; E-mail: iina.berden@minedu.fi
WWW:
For the preparation of this chapter, material of the following publication was used: “Cultural policies in Europe: a compendium of basic facts and trends”, Council of Europe/ERICarts in co-operation with ARCult Media, Bonn 2000 ().
[22] Received in November 2000.
Drafted in English by:
Kulturdepartementet / Swedish Ministry of Culture
Drottninggatan 16; Stockholm, Sweden
Per-Olof Ångman; E-mail: per-olof.angman@culture.ministry.se
For the preparation of this chapter, material of the following publication was used: “Cultural policies in Europe: a compendium of basic facts and trends”, Council of Europe/ERICarts in co-operation with ARCult Media, Bonn 2000 ().
[23] Received in October 2000.
Drafted in English by:
Department for Culture, Media and Sport (DCMS)
2-4 Cockspur Street; London, SW1Y 5DH, United Kingdom
WWW:
Michael Helston; Fax: +44/(0)1712116032; e-mail: michael.helston@culture..uk
Further information may be obtained in:
Department for Culture, Media and Sport (DCMS): Annual Report 1999. London: The Stationery Office, 1999 (order via The Publications Centre, London, Fax: +44/(0)1718738200).
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