1) The document provides a critique of the European Union's resolution on culture as part of its strategy for international cultural relations from an African perspective.
2) It argues that while the EU has the right to formulate its own cultural policies, these policies primarily serve the EU's soft power and economic interests rather than being co-formulated with other regions.
3) The critique questions how culture is treated as the fourth pillar of sustainable development by the EU resolution, arguing that development must be rooted in the cultures of its intended beneficiaries to be sustainable.
The CReW project is a series of events coordinated by the University of Siena and financed by the EU Erasmus+ Programme. It focuses on international cultural relations between the EU and other regions. The first event took place in Rabat, Morocco in 2018 and focused on culture as an engine for sustainable development. Participants included cultural diplomats, operators, and academics who discussed EU-MENA cultural relations and case studies of cultural programs. Key recommendations included engaging local stakeholders such as civil society and governments, and establishing better coordination of cultural initiatives and strategies between the EU and MENA regions.
Elena Polivtseva - Communication and Policy Manager IETM, International netwo...Crew Project
The document discusses challenges facing the European Union's strategic approach to international cultural relations and argues that grassroots cultural organizations and networks should be given a more central role. It outlines three main challenges: 1) rising nationalist tendencies are weakening European identity, so the focus should be on cultural understanding rather than promoting a superior identity, 2) changing demographics require listening to diverse communities within Europe, and 3) environmental sustainability demands meaningful long-term cross-border partnerships. The artistic field and networks can help address these through creativity, inspiring new ideas, and building long-lasting interpersonal connections across borders. Giving them a leading role would make the strategy more effective and sustainable.
Pierangelo Isernia and Alessandro G. Lamonica - University of SienaCrew Project
This document outlines the CReW Cultural Relations at Work project, which aims to bridge the gap between theory and practice in cultural relations. It discusses the project goals, events held in Rabat, London, and Stuttgart on sustainable development, cultural heritage, and intercultural dialogue. The research design section explains how a theoretical framework was constructed and case studies were selected, collected, and analyzed. Preliminary findings suggest projects reflect the strategic framework through organizational and relational dimensions. Challenges include strategic approach contradictions and consequences of a changing international order. The next steps will analyze pracademic activities and develop implications and recommendations.
The document summarizes the second Siena Cultural Relations Forum held in June 2019 in Siena, Italy. Over 60 cultural relations policymakers and practitioners attended along with academics to discuss bridging theory, policy, and practice of the EU's international cultural relations strategy. The forum covered topics related to implementing the EU's strategic approach. Day one included discussions on the impact of European elections and institutional sessions on progress and next steps in European cultural policy. Day two featured panels on key issues and preliminary findings from a related research project. Day three focused on design thinking sessions discussing the intersections of politics, culture, and communication in cultural relations.
Prof. Janet Blake (Shahid Beheshti University, Iran) - Cultural heritage as a...Crew Project
Cultural heritage law has evolved rapidly at the international level, moving from protecting tangible heritage to recognizing the importance of intangible and indigenous heritage. The 2003 Convention for the Safeguarding of Intangible Cultural Heritage fundamentally shifted the framework to recognize human rights and sustainability. It acknowledged heritage's role in supporting communities and development. States are now integrating safeguarding intangible heritage into policies for food security, education, environment, employment, and more to achieve sustainable development goals.
The Anna Lindh Foundation is a network of civil society organizations in 42 Euro-Mediterranean countries that works to strengthen intercultural dialogue and mutual understanding between cultures in the region. It has engaged over 173,000 civil society leaders and practitioners, reached over 620,000 people through public events, and engaged over 100,000 young people in debate activities in the Southern Mediterranean. The Foundation conducts research on intercultural trends, implements programs to engage and empower youth, and connects civil society networks across the region to promote intercultural dialogue.
The CReW project is funded by the Erasmus+ Programme and coordinated by the University of Siena in partnership with EUNIC Global. It consists of three events focusing on supporting culture as an engine for development, cultural heritage cooperation, and promoting intercultural dialogue. The events were held in Morocco, the UK, and Germany and brought together practitioners, policymakers, and academics. The final conference will be in Italy. The project aims to foster dialogue between academics and policymakers, cross-fertilize research and practice, improve professional training, and facilitate access to relevant content for international cultural relations.
The CReW project is a series of events coordinated by the University of Siena and financed by the EU Erasmus+ Programme. It focuses on international cultural relations between the EU and other regions. The first event took place in Rabat, Morocco in 2018 and focused on culture as an engine for sustainable development. Participants included cultural diplomats, operators, and academics who discussed EU-MENA cultural relations and case studies of cultural programs. Key recommendations included engaging local stakeholders such as civil society and governments, and establishing better coordination of cultural initiatives and strategies between the EU and MENA regions.
Elena Polivtseva - Communication and Policy Manager IETM, International netwo...Crew Project
The document discusses challenges facing the European Union's strategic approach to international cultural relations and argues that grassroots cultural organizations and networks should be given a more central role. It outlines three main challenges: 1) rising nationalist tendencies are weakening European identity, so the focus should be on cultural understanding rather than promoting a superior identity, 2) changing demographics require listening to diverse communities within Europe, and 3) environmental sustainability demands meaningful long-term cross-border partnerships. The artistic field and networks can help address these through creativity, inspiring new ideas, and building long-lasting interpersonal connections across borders. Giving them a leading role would make the strategy more effective and sustainable.
Pierangelo Isernia and Alessandro G. Lamonica - University of SienaCrew Project
This document outlines the CReW Cultural Relations at Work project, which aims to bridge the gap between theory and practice in cultural relations. It discusses the project goals, events held in Rabat, London, and Stuttgart on sustainable development, cultural heritage, and intercultural dialogue. The research design section explains how a theoretical framework was constructed and case studies were selected, collected, and analyzed. Preliminary findings suggest projects reflect the strategic framework through organizational and relational dimensions. Challenges include strategic approach contradictions and consequences of a changing international order. The next steps will analyze pracademic activities and develop implications and recommendations.
The document summarizes the second Siena Cultural Relations Forum held in June 2019 in Siena, Italy. Over 60 cultural relations policymakers and practitioners attended along with academics to discuss bridging theory, policy, and practice of the EU's international cultural relations strategy. The forum covered topics related to implementing the EU's strategic approach. Day one included discussions on the impact of European elections and institutional sessions on progress and next steps in European cultural policy. Day two featured panels on key issues and preliminary findings from a related research project. Day three focused on design thinking sessions discussing the intersections of politics, culture, and communication in cultural relations.
Prof. Janet Blake (Shahid Beheshti University, Iran) - Cultural heritage as a...Crew Project
Cultural heritage law has evolved rapidly at the international level, moving from protecting tangible heritage to recognizing the importance of intangible and indigenous heritage. The 2003 Convention for the Safeguarding of Intangible Cultural Heritage fundamentally shifted the framework to recognize human rights and sustainability. It acknowledged heritage's role in supporting communities and development. States are now integrating safeguarding intangible heritage into policies for food security, education, environment, employment, and more to achieve sustainable development goals.
The Anna Lindh Foundation is a network of civil society organizations in 42 Euro-Mediterranean countries that works to strengthen intercultural dialogue and mutual understanding between cultures in the region. It has engaged over 173,000 civil society leaders and practitioners, reached over 620,000 people through public events, and engaged over 100,000 young people in debate activities in the Southern Mediterranean. The Foundation conducts research on intercultural trends, implements programs to engage and empower youth, and connects civil society networks across the region to promote intercultural dialogue.
The CReW project is funded by the Erasmus+ Programme and coordinated by the University of Siena in partnership with EUNIC Global. It consists of three events focusing on supporting culture as an engine for development, cultural heritage cooperation, and promoting intercultural dialogue. The events were held in Morocco, the UK, and Germany and brought together practitioners, policymakers, and academics. The final conference will be in Italy. The project aims to foster dialogue between academics and policymakers, cross-fertilize research and practice, improve professional training, and facilitate access to relevant content for international cultural relations.
The EU contributes to the culture of its member states while respecting their diversity and highlighting their shared cultural heritage. Key areas of focus include improving knowledge of European cultures and history, preserving cultural heritage, cultural exchanges, and artistic creation. Member states are encouraged to cooperate on cultural matters and consider culture in other policy areas. The EU provides funding and support for cultural cooperation, mobility programs, television and film production, and innovation across cultural sectors. Mainstreaming culture into other programs involves development aid, foreign policy, and cooperation with neighboring countries. Upcoming priorities include the results of European elections and negotiations on future funding programs and regional strategies.
Janet Blake - Cultural Heritage as a Resource Crew Project
The document discusses the evolution of international policy and law surrounding cultural heritage and intangible cultural heritage (ICH). Key points include:
- ICH is now recognized as important for cultural diversity, human rights, and sustainable development in international agreements from the 1990s and 2003 ICH Convention.
- The 2003 Convention represented a paradigm shift by emphasizing community participation and the roles of ICH in cultural diversity and sustainable development.
- Recent policies call for culture to be better integrated into development goals and recognize cultural heritage as a human rights issue.
The CReW project consists of three events and a final conference focused on international cultural relations. The events took place in Morocco, the UK, and Germany, and addressed supporting culture for development, cultural heritage cooperation, and intercultural dialogue, respectively. The final conference will be in Italy. The project aims to foster dialogue between academics and policymakers, cross-fertilize research and practice, improve professional training, and facilitate access to knowledge on cultural relations. It encourages combining practical and theoretical approaches through case study analysis to create common understanding and applicable knowledge.
Eleonora Insalaco - Head of Intercultural Research and ProgrammingCrew Project
Young Mediterranean Voices (YMV) is a flagship youth network aimed at empowering young people across Europe and neighboring countries through debate training, advocacy skills development, and facilitating intercultural dialogue. The program builds on the successful predecessor Young Arab Voices and seeks to enhance youth participation in public policy, shape media narratives, and address common challenges. YMV provides debate training, leadership opportunities, and platforms for youth to influence decision-makers, while evaluating outcomes at the individual, group, and societal levels to create long-term social change.
Eleonora Insalaco - Head of Intercultural Research and ProgrammingCrew Project
This document discusses the key findings of a survey conducted by the Anna Lindh Foundation on intercultural trends in the Euro-Mediterranean region. The survey found increasing interest in news from neighboring countries, high levels of tolerance for diversity, and that education programs are seen as very effective for helping people live in multicultural societies. However, media coverage is still seen as influencing views of other cultures. The Anna Lindh Foundation is addressing these trends through actions focused on education, youth empowerment, and supporting civil society networks and local dialogue.
The document discusses the European Union's approach to international cultural relations. It outlines the EU's competencies on culture based on the Treaty of Lisbon. It also summarizes key EU policies and strategies such as the Agenda for Culture, Joint Communication on international cultural relations, and New Agenda for Culture. The document provides an overview of the Council Conclusions on international cultural relations which call for greater coordination between EU institutions and member states to strengthen cultural relations through joint projects.
The document discusses several EU programs that support international cultural relations and cooperation. It outlines programs like Creative Europe, which runs from 2014-2020 with a budget of €1.46 billion to strengthen Europe's cultural and creative sectors. It also discusses other development cooperation programs in places like the Western Balkans, Egypt, and partnerships with organizations like the Anna Lindh Foundation. The Cultural Diplomacy Platform and pilot European Houses of Culture project are highlighted as ways to engage international audiences and support cultural relations policies.
EU Cultural Diplomacy in the MENA RegionCrew Project
The document discusses EU cultural diplomacy in the Middle East and North Africa region. It outlines the EU's willingness to engage in cultural diplomacy through policies and committed leaders. It also discusses the capacity built through cultural programs, exchanges, and institutions. However, it notes challenges in gaining full acceptance from citizens and leaders in the region due to a lack of strategy and political challenges. Overall, the document analyzes the EU's approach to cultural diplomacy in the MENA region.
Alexis Mocio-Mathieu - French government initiatives to protect tangible and ...Crew Project
Alexis Mocio-Mathieu, Directorate for Culture, Education, Research and Network coordination – Human and Social Sciences, Archaeology and Heritage Unit- French Ministry for Europe and Foreign Affairs.
French government initiatives to protect tangible and intangible cultural heritage abroad
Simon Williams - Director British Council UkraineCrew Project
The document discusses EU cultural cooperation programs with Eastern Partnership countries. It describes how the EU-Eastern Partnership Culture Programme from 2015-2018 aimed to strengthen the cultural sector, boost collaboration between public and private actors, enhance civil society contributions, and increase participation in Creative Europe. Over 250 events were held with over 35,000 participants. Reports, newsletters, and online courses were produced. Cultural participation increased in the partner countries. Follow-on programs in Ukraine, like Culture Bridges and Europe House, continue providing grants, training, and exchanges to promote cooperation between Ukraine and the EU.
Kate Pugh (Chair Cultural Protection Fund Advisory Group & Alex Bishop) - The...Crew Project
The Cultural Protection Fund (CPF) is a £30 million fund managed by the British Council and Department for Culture, Media, and Sport to safeguard cultural heritage affected by conflict in the Middle East and North Africa region. It provides grants between £5,000-£3 million for projects led by UK and local organizations that involve conservation, training, and advocacy work. So far the CPF has funded over 50 projects across 13 countries, focusing on restoration of archaeological sites, training of local professionals, and education of communities about cultural heritage. The future of the fund depends on securing additional funding to expand its scope and impact beyond 2020 through strengthened coordination with other cultural heritage funders.
The document summarizes the European Houses of Culture project, which aims to test new models of cultural collaboration between the EU, EU member states, and local partners in non-EU countries. It provides an overview of recent EU policies and initiatives related to culture and international cultural relations. The project will provide funding of €750,000 over three phases: mapping existing cultural relations projects, selecting ideas for new projects through an open call, and funding and evaluating selected pilot projects. The goal is to bring European cultural relations to a new level through supporting diverse, locally-led cultural exchange projects across Europe and beyond.
Kate Pugh & Alex Bishop - Cultural Protection FundCrew Project
The Cultural Protection Fund is a £30 million partnership between the British Council and UK Department for Digital, Culture, Media and Sport running from 2016-2020. It provides grants between £5,000-£3 million for projects that protect cultural heritage in the Middle East and North Africa affected by conflict, with at least one local partner. Eligible projects focus on cultural heritage, training, and advocacy. The Fund has supported over 30 projects in 10 countries, focusing on archaeology, built heritage, and museums. It operates with transparency and takes an inclusive view of cultural heritage.
The MED CULTURE program is an EU-funded regional program operating in Southern Neighborhood countries from 2014-2019 that provides technical assistance and grants to cultural policy reforms. Its objectives are cultural policy reforms, developing a dynamic cultural sector, improved governance, and exchanges and networking. It measures its impact through indicators, consultations, participation in activities, communication indicators, and upcoming inquiries. It promotes culture as an engine for social and economic development through broadening participation, encouraging exchanges and partnerships, and promoting the cross-cutting role of culture.
David Mattingly - Archaeology and Policy Making on the Protection and Valoriz...Crew Project
- The document discusses the crisis facing cultural heritage in the Middle East and North Africa region due to threats like conflict, development pressures, and looting.
- It outlines the EAMENA project which uses aerial/satellite imagery and field surveys to create a database cataloging over 200,000 archaeological sites in the region and provides training to build capacity.
- The main threats to cultural heritage are identified as agricultural/urban expansion, lack of planning regulations, looting, and conflict. Conflict alone is not the main issue, but rather a combination of modernization and lack of protection for archaeological sites.
Amicall overview slides key points for eurocitiesThomas Jézéquel
This document summarizes a research project on integrating cities and communication strategies between local governments and migrants. The project included research partners from several European universities and was evaluated by Goldsmiths, University of London. It examined communication campaigns, intercultural activities, and face-to-face interactions in various cities that aimed to bring migrants and other community members together and combat misinformation. The document also analyzes challenges in evaluating such projects and maintaining innovation, and stresses the importance of local leadership, joined-up working within governments, and partnerships across sectors and stakeholders.
This document provides an overview of a project by the European Cultural Foundation and German Marshall Fund to support cultural actors of change in Belarus, Moldova, and Ukraine. It discusses the goals of facilitating networking, cultural cooperation, and empowering local artists. An initial mapping identified outstanding individuals and organizations playing a role in culture and change. Country reports were produced through questionnaires and meetings to understand each country's cultural situation and how culture could support democracy, Europeanization, and modernization. The reflection process aims to develop a 3-year plan and new cultural instruments tailored to local needs in order to empower cultural actors in supporting positive change in the region.
Cultural and Creative Sector : something to stand for! SviluppoBasilicata
This document discusses the importance of supporting the cultural and creative sector. It notes that fundamental changes in the economy and institutions require new approaches to supporting local cultural development. Specifically, the rise of large digital companies threatens local cultural industries, but these companies neglect niche markets that local initiatives could fill. Additionally, cultural power is shifting from national to local authorities, who are now major funders of creativity. The document argues that an inter-regional approach integrating local communities is needed for European cultural policy going forward.
The EU contributes to the culture of its member states while respecting their diversity and highlighting their shared cultural heritage. Key areas of focus include improving knowledge of European cultures and history, preserving cultural heritage, cultural exchanges, and artistic creation. Member states are encouraged to cooperate on cultural matters and consider culture in other policy areas. The EU provides funding and support for cultural cooperation, mobility programs, television and film production, and innovation across cultural sectors. Mainstreaming culture into other programs involves development aid, foreign policy, and cooperation with neighboring countries. Upcoming priorities include the results of European elections and negotiations on future funding programs and regional strategies.
Janet Blake - Cultural Heritage as a Resource Crew Project
The document discusses the evolution of international policy and law surrounding cultural heritage and intangible cultural heritage (ICH). Key points include:
- ICH is now recognized as important for cultural diversity, human rights, and sustainable development in international agreements from the 1990s and 2003 ICH Convention.
- The 2003 Convention represented a paradigm shift by emphasizing community participation and the roles of ICH in cultural diversity and sustainable development.
- Recent policies call for culture to be better integrated into development goals and recognize cultural heritage as a human rights issue.
The CReW project consists of three events and a final conference focused on international cultural relations. The events took place in Morocco, the UK, and Germany, and addressed supporting culture for development, cultural heritage cooperation, and intercultural dialogue, respectively. The final conference will be in Italy. The project aims to foster dialogue between academics and policymakers, cross-fertilize research and practice, improve professional training, and facilitate access to knowledge on cultural relations. It encourages combining practical and theoretical approaches through case study analysis to create common understanding and applicable knowledge.
Eleonora Insalaco - Head of Intercultural Research and ProgrammingCrew Project
Young Mediterranean Voices (YMV) is a flagship youth network aimed at empowering young people across Europe and neighboring countries through debate training, advocacy skills development, and facilitating intercultural dialogue. The program builds on the successful predecessor Young Arab Voices and seeks to enhance youth participation in public policy, shape media narratives, and address common challenges. YMV provides debate training, leadership opportunities, and platforms for youth to influence decision-makers, while evaluating outcomes at the individual, group, and societal levels to create long-term social change.
Eleonora Insalaco - Head of Intercultural Research and ProgrammingCrew Project
This document discusses the key findings of a survey conducted by the Anna Lindh Foundation on intercultural trends in the Euro-Mediterranean region. The survey found increasing interest in news from neighboring countries, high levels of tolerance for diversity, and that education programs are seen as very effective for helping people live in multicultural societies. However, media coverage is still seen as influencing views of other cultures. The Anna Lindh Foundation is addressing these trends through actions focused on education, youth empowerment, and supporting civil society networks and local dialogue.
The document discusses the European Union's approach to international cultural relations. It outlines the EU's competencies on culture based on the Treaty of Lisbon. It also summarizes key EU policies and strategies such as the Agenda for Culture, Joint Communication on international cultural relations, and New Agenda for Culture. The document provides an overview of the Council Conclusions on international cultural relations which call for greater coordination between EU institutions and member states to strengthen cultural relations through joint projects.
The document discusses several EU programs that support international cultural relations and cooperation. It outlines programs like Creative Europe, which runs from 2014-2020 with a budget of €1.46 billion to strengthen Europe's cultural and creative sectors. It also discusses other development cooperation programs in places like the Western Balkans, Egypt, and partnerships with organizations like the Anna Lindh Foundation. The Cultural Diplomacy Platform and pilot European Houses of Culture project are highlighted as ways to engage international audiences and support cultural relations policies.
EU Cultural Diplomacy in the MENA RegionCrew Project
The document discusses EU cultural diplomacy in the Middle East and North Africa region. It outlines the EU's willingness to engage in cultural diplomacy through policies and committed leaders. It also discusses the capacity built through cultural programs, exchanges, and institutions. However, it notes challenges in gaining full acceptance from citizens and leaders in the region due to a lack of strategy and political challenges. Overall, the document analyzes the EU's approach to cultural diplomacy in the MENA region.
Alexis Mocio-Mathieu - French government initiatives to protect tangible and ...Crew Project
Alexis Mocio-Mathieu, Directorate for Culture, Education, Research and Network coordination – Human and Social Sciences, Archaeology and Heritage Unit- French Ministry for Europe and Foreign Affairs.
French government initiatives to protect tangible and intangible cultural heritage abroad
Simon Williams - Director British Council UkraineCrew Project
The document discusses EU cultural cooperation programs with Eastern Partnership countries. It describes how the EU-Eastern Partnership Culture Programme from 2015-2018 aimed to strengthen the cultural sector, boost collaboration between public and private actors, enhance civil society contributions, and increase participation in Creative Europe. Over 250 events were held with over 35,000 participants. Reports, newsletters, and online courses were produced. Cultural participation increased in the partner countries. Follow-on programs in Ukraine, like Culture Bridges and Europe House, continue providing grants, training, and exchanges to promote cooperation between Ukraine and the EU.
Kate Pugh (Chair Cultural Protection Fund Advisory Group & Alex Bishop) - The...Crew Project
The Cultural Protection Fund (CPF) is a £30 million fund managed by the British Council and Department for Culture, Media, and Sport to safeguard cultural heritage affected by conflict in the Middle East and North Africa region. It provides grants between £5,000-£3 million for projects led by UK and local organizations that involve conservation, training, and advocacy work. So far the CPF has funded over 50 projects across 13 countries, focusing on restoration of archaeological sites, training of local professionals, and education of communities about cultural heritage. The future of the fund depends on securing additional funding to expand its scope and impact beyond 2020 through strengthened coordination with other cultural heritage funders.
The document summarizes the European Houses of Culture project, which aims to test new models of cultural collaboration between the EU, EU member states, and local partners in non-EU countries. It provides an overview of recent EU policies and initiatives related to culture and international cultural relations. The project will provide funding of €750,000 over three phases: mapping existing cultural relations projects, selecting ideas for new projects through an open call, and funding and evaluating selected pilot projects. The goal is to bring European cultural relations to a new level through supporting diverse, locally-led cultural exchange projects across Europe and beyond.
Kate Pugh & Alex Bishop - Cultural Protection FundCrew Project
The Cultural Protection Fund is a £30 million partnership between the British Council and UK Department for Digital, Culture, Media and Sport running from 2016-2020. It provides grants between £5,000-£3 million for projects that protect cultural heritage in the Middle East and North Africa affected by conflict, with at least one local partner. Eligible projects focus on cultural heritage, training, and advocacy. The Fund has supported over 30 projects in 10 countries, focusing on archaeology, built heritage, and museums. It operates with transparency and takes an inclusive view of cultural heritage.
The MED CULTURE program is an EU-funded regional program operating in Southern Neighborhood countries from 2014-2019 that provides technical assistance and grants to cultural policy reforms. Its objectives are cultural policy reforms, developing a dynamic cultural sector, improved governance, and exchanges and networking. It measures its impact through indicators, consultations, participation in activities, communication indicators, and upcoming inquiries. It promotes culture as an engine for social and economic development through broadening participation, encouraging exchanges and partnerships, and promoting the cross-cutting role of culture.
David Mattingly - Archaeology and Policy Making on the Protection and Valoriz...Crew Project
- The document discusses the crisis facing cultural heritage in the Middle East and North Africa region due to threats like conflict, development pressures, and looting.
- It outlines the EAMENA project which uses aerial/satellite imagery and field surveys to create a database cataloging over 200,000 archaeological sites in the region and provides training to build capacity.
- The main threats to cultural heritage are identified as agricultural/urban expansion, lack of planning regulations, looting, and conflict. Conflict alone is not the main issue, but rather a combination of modernization and lack of protection for archaeological sites.
Amicall overview slides key points for eurocitiesThomas Jézéquel
This document summarizes a research project on integrating cities and communication strategies between local governments and migrants. The project included research partners from several European universities and was evaluated by Goldsmiths, University of London. It examined communication campaigns, intercultural activities, and face-to-face interactions in various cities that aimed to bring migrants and other community members together and combat misinformation. The document also analyzes challenges in evaluating such projects and maintaining innovation, and stresses the importance of local leadership, joined-up working within governments, and partnerships across sectors and stakeholders.
This document provides an overview of a project by the European Cultural Foundation and German Marshall Fund to support cultural actors of change in Belarus, Moldova, and Ukraine. It discusses the goals of facilitating networking, cultural cooperation, and empowering local artists. An initial mapping identified outstanding individuals and organizations playing a role in culture and change. Country reports were produced through questionnaires and meetings to understand each country's cultural situation and how culture could support democracy, Europeanization, and modernization. The reflection process aims to develop a 3-year plan and new cultural instruments tailored to local needs in order to empower cultural actors in supporting positive change in the region.
Cultural and Creative Sector : something to stand for! SviluppoBasilicata
This document discusses the importance of supporting the cultural and creative sector. It notes that fundamental changes in the economy and institutions require new approaches to supporting local cultural development. Specifically, the rise of large digital companies threatens local cultural industries, but these companies neglect niche markets that local initiatives could fill. Additionally, cultural power is shifting from national to local authorities, who are now major funders of creativity. The document argues that an inter-regional approach integrating local communities is needed for European cultural policy going forward.
We are More Message Book A toolkit for campaign supporters Ghenadie Sontu
This document provides a toolkit for supporters of the "we are more - act for culture in Europe" campaign, which promotes increased funding and support for arts and culture from the European Union. The toolkit includes an elevator pitch to concisely promote the campaign, key messages to communicate the importance of culture, facts and figures to back up arguments, responses to potential questions, and information on getting involved in the campaign.
This document provides an overview of the social economy in Africa and its potential role in local economic development. It finds that while the term "social economy" is not widely used, Africa has a large number of organizations that pursue both social and economic objectives through collective action, serving as the social economy. Case studies of Ethiopia, Ghana, Kenya, and Morocco reveal various social economy organizations contribute to communities' wellbeing but face barriers like weak legal frameworks. The social economy has potential to support inclusive and sustainable growth if given adequate policy support and its traditional, community-focused forms are recognized.
Supporting cultural actors_change_belarus_moldova_ukraineGhenadie Sontu
This document provides a synthesis report of the East European Reflection Group process examining the role of cultural actors in promoting change in Belarus, Moldova, and Ukraine.
The report finds that while the cultural communities in each country play a role in developing democratic culture and public debate, they face similar challenges including lack of sustainable resources, difficulties communicating with government sectors, and needing improved advocacy and fundraising skills.
The report recommends several strategic lines of action for the European Cultural Foundation and German Marshall Fund partnership to support these cultural actors, including advocacy with European institutions, research on cultural community needs and situations, and capacity building for international organizations to work with cultural sectors in promoting change.
Measuring the impact of culture on jobs and growthMario Verissimo
1) The speaker discusses the need for better evidence and measurement of the impact of culture on jobs and economic growth in Europe.
2) Quality statistics and illustrative examples are needed to capture the economic and social contributions of cultural and creative sectors, as well as spill-over effects on other industries.
3) Close cooperation between policymakers, cultural sectors, and research institutions like the Joint Research Centre can help improve measurement methods and develop a strong evidence base to design better policies and support for culture.
The Council of the European Union adopted conclusions on culture in the EU's external relations with a focus on culture in development cooperation. The conclusions emphasize that culture can contribute substantially to the EU's external relations and development cooperation goals by building understanding and trust. They call for a more strategic and coherent approach to integrating culture in these policies. Specifically, the conclusions recommend mainstreaming cultural considerations into development programs and supporting cultural sectors in partner countries over the long term.
Synopsis Project: training - Cultural PoliciesKarl Donert
The SYNOPSIS project concerns Storytelling and Fundraising for Cultural Heritage professionals.
Cultural heritage covers a variety of activities, and a system of values, traditions, knowledge, and lifestyles that characterise society.
The heritage sector has to deal with new challenges and it is therefore necessary to develop new professionalism, able to promote and support cultural heritage as it improves not only the overall economic growth and employment, but also social cohesion and environmental sustainability.
Storytelling and fundraising skills assume a fundamental role in connecting the past to the future. Cultural Heritage storytelling is concerned with “communicating through stories”, creating narratives through which a cultural heritage enters into an emphatic relationship with people, managing to arouse public emotion. The purpose is to engage people to protect, exploit cultural heritage, and support it financially.
This presentation presents a basic introduction to European culture policies
National policy conference 2017 social transformationSABC News
This document discusses social transformation in South Africa and provides context for the 5th National Policy Conference. It summarizes key policies and interventions related to social transformation, including comprehensive social security, education, housing, health, and transportation policies. It also discusses nation building, the cultural and creative industries, sports and recreation, and social development policies. The document proposes resolutions to address challenges in these areas and support continued progress on social transformation goals.
The document discusses learning for active citizenship in building a Europe of knowledge. It argues that education should develop people's potential to participate fully in cultural, economic, political and social life. Promoting active citizenship is important for strengthening the European community. The document outlines how education, training and youth programs can encourage citizens' practical involvement in democracy at all levels. It provides examples of projects that promote learning for active citizenship with a European dimension.
The document discusses the objectives of the European Year of Intercultural Dialogue in 2008. The goals were to promote intercultural dialogue, highlight its benefits for a diverse society, and make citizens, especially youth, sensitive to developing open and respectful European citizenship. It also aimed to emphasize different cultures' contributions to the shared European heritage. The document notes that intercultural dialogue is important for policies on education, youth, culture, and more. It argues this poses challenges for education systems traditionally focused on forming a common national culture. School curricula must reflect diversity and cultures' contributions while still supporting political unity.
ANC Arts, Culture and Heritage Policy DocumentSABC News
This document discusses the ANC's policy on arts, culture and heritage in South Africa. It provides context on the ANC's vision for arts and culture dating back to the Freedom Charter in 1955. It then evaluates the ANC's performance in developing and implementing arts and culture policy over the past 28 years, noting that policies have been ad hoc with little input from the ANC. Key factors that led to the marginalization of arts and culture during democratic transition include the ANC forgetting the role it played in the liberation struggle and prioritizing other portfolios. The document argues that a vibrant arts and culture policy rooted in communities is needed to strengthen social cohesion.
This document provides a summary of a seminar report on engaging the African diaspora in Europe as strategic agents for development in Africa. The seminar was held in Brussels on June 25-26, 2008 and brought together 50 African diaspora organizations. The objectives of the seminar were to facilitate constructive policy dialogue between the diaspora and policymakers, contribute views from the diaspora to upcoming conferences, and identify the strategic role diaspora can play in Africa-EU development partnerships by mobilizing their resources and networks. The seminar helped diaspora organizations identify priority issues and formulate policy recommendations to present at subsequent conferences on migration, development, and Africa-EU relations.
Final agenda: Eighth Annual Meeting of the South East European Experts Networ...UNESCO Venice Office
Additional Documents
Eighth Annual Meeting of the South East European Experts Network
on Intangible Cultural Heritage
15-16 May 2014. Limassol, Cyprus
DISCLAIMER
The ideas and opinions expressed in the above presentations are not necessarily those of UNESCO and do not commit the Organization. The designations employed and the presentation of material throughout the documents do not imply the expression of any opinion whatsoever on the part of UNESCO concerning the legal status of any country, territory, city of area or of its authorities or concerning the delimitation of its frontiers or boundaries.
This document presents a model of competences needed for citizens to participate effectively in a democratic culture and live peacefully in diverse societies. The model identifies values, attitudes, skills, and knowledge that enable democratic participation. While necessary, competences alone are not sufficient - democratic institutions and addressing social inequalities are also required. Cultures are viewed as internally complex and constantly evolving. Intercultural situations arise from perceived cultural differences between individuals or groups, and intercultural dialogue is dialogue in this context. The model will inform education to prepare learners as competent democratic citizens.
The European Year of Intercultural Dialogue (EYID) in 2008 aims to promote mutual understanding between European cultures and celebrate the EU's cultural diversity. The EYID will focus on raising awareness, particularly among youth, of the benefits of intercultural dialogue. A budget of €10 million will fund information campaigns, flagship projects, and national projects supporting intercultural dialogue. Preparations are underway, including identifying best practices, recruiting cultural ambassadors, and launching a website to coordinate activities. Civil society groups see the EYID as an opportunity to engage citizens across Europe in developing approaches for diverse cultural groups to interact peacefully.
The document discusses the potential of cultural and creative industries (CCIs) in Europe. It notes that CCIs represent an innovative and growing economic sector that contributes billions to the EU GDP. However, CCIs face challenges from digital shifts, globalization, and piracy that threaten traditional business models. The document calls for strategic action to help CCIs adapt, innovate, access funding, and develop new skills in order to better unlock their economic and social potential for Europe.
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Mike van Graan - President of the African Cultural Policy Network
1. EUNIC Siena Cultural Relations Forum
2nd edition, June 26-29, 2019
Rectorate, University of Siena, Siena, Italy
“Bridging Theory and Practice. A European Strategic
Approach to International Cultural Relations: The state of the art”
Opening note by Mike van Graan, President of the African Cultural Policy Network: A
Critique from an African perspective
Thank you for the opportunity to be part of your meeting today, and for accommodating my
participation by way of technology. I’m talking to you in my capacity as part of the leadership
of the African Cultural Policy Network, and the nascent Global South Arts and Culture
Initiative. It is against this background that my provocation today will focus on the European
Parliament’s resolution on culture as part of the EU’s strategy for international cultural
relations, adopted in July 2017. Every country, region or political bloc has the right to
formulate cultural policies and strategies that serve their strategic interests in the economic,
political, cultural or geo-security spheres. The European Union is one of the most significant
political, economic and cultural blocs globally, and its influence is experienced in multiple
ways, through trade, military assistance, development aid, cultural partnerships e.g. through
EUNIC agencies, as well as through projecting its interests, perspectives and values via a
range of global media platforms. Thus, when the European Union formulates and implements
a resolution that focuses on culture in international relations, it is not simply a resolution that
has to do with promoting harmonious people-to-people relations across various divides; it is
fundamentally about culture serving the soft power interests of the European bloc, as the
Resolution itself declares. Countries and regions outside of Europe do not co-formulate
cultural policies with Europe, but they do experience the ramifications of such policies, with
many countries in the Global South embracing these policies as they come with resources,
or because such countries rarely have the capacity to interrogate such policies at government
level.
European cultural policies and strategies are far more likely to influence cultural and artistic
practice on the African continent than African regional cultural policies and initiatives. For
example, although not a specifically European policy, 44 African countries have ratified the
2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural
Expressions, 80% of the total number of countries on the continent. Twenty-four of these
had ratified the Convention by the end of 2008, three years after the approval of the text at
UNESCO’s General Assembly in 2005. By contrast, the African Union adopted its own
Charter for African Cultural Renaissance in January 2006; the Charter would come into force
once it was ratified by two-thirds of the 55 African countries. As of this year – 2019 – only 13
countries have ratified the Charter, so that it has now been decided that it will come into effect
once it has reached a threshold of a mere 15 ratifications. This critique of the Resolution will
pick up on some of its key themes.
Culture and Development. Objective 4 of the Resolution calls for cultural rights to be
promoted as integral to fundamental rights, and for culture to be considered for its intrinsic
value as a fourth standalone, transversal pillar of sustainable development together with
2. social, economic and environmental dimensions. Development is not a neutral activity. It is,
in fact, an act of culture. Whatever interests it serves and however it is defined, development
is premised on values, worldviews, ideas and ideological assumptions, with the development
process acting on the values, beliefs and meaning-making of the intended beneficiaries of
development. In 2009, the European Commission co-hosted with the ACP Secretariat a
colloquium in Brussels on the theme “Culture as a Vector of Development”; at that time too,
culture was regarded as one of the four pillars of Europe’s development policies. Soon after
that Colloquium however, culture was abandoned by the EU, yet here we are ten years later,
encountering a similar moment with the EU having just hosted a colloquium for creative
professionals on the theme “Culture for the Future”. There is a new EU parliament in place
with new commissioners about to be appointed, so that there is no guarantee that culture will
continue to be part of the EU’s development or international agenda. Such real and possible
changes point to the vulnerability of culture in development and international relations given
the shifts in political, economic, domestic, geo-strategic interests of donor or partner blocs
such as the EU. As we all know, the classic definition of sustainable development is “meeting
the needs of current generations without compromising the ability of future generations to
meet their needs” which underscores the relevance of the environmental, social and
economic pillars of development. However, the importance of culture as the fourth pillar of
sustainable development has less to do with this definition than with the understanding that
for development to be sustainable, it has to take cognisance of, and be rooted in the value
and belief systems, the traditions, the identity and meaning making – in short, the culture - of
the intended beneficiaries. For example, one of the SDGs goal is gender equity and the
empowerment of women and girls through education. However, in many societies, patriarchy
– underpinned by religious and other social values – assign women and girls to a lesser
status than men, so that development in this instance, needs to take this into account when
formulating strategies that address fundamental cultural questions that militate against the
realisation of the proposed development goals. The Resolution is rather weak on defining
and asserting – practically – the cultural dimension of the EU’s development agenda.
Creative and Cultural Industries. Objective 15 of the Resolution welcomes…the cultural and
creative industries as an important element of the EU’s strategy for international cultural
relations; (with) these industries contribut(ing) to Europe’s ‘soft power’ in their role as
ambassadors of European values… In recent times, the creative and cultural industries have
largely been regarded as the “cultural dimension of development”, that by contributing to job
creation and economic growth, they would generate resources needed for human and social
development. However, there are at least four primary reasons why the contribution of the
CCIs to human, social and economic development is a fallacious argument, at least in the
African context. First, most African countries have not had a problem with economic growth
over the last 15-20 years. This, however, has not translated into human and social
development; rather, inequality has deepened and the numbers of people who live below the
poverty line in Sub-Saharan Africa have increased in the last two decades. There is no real
correlation between economic growth and human and social development in the African
experience. Second, most Africans make their livings in the agricultural sector and/or the
informal economy. The potential for the CCIs to have some kind of economic impact is
related to the formal economy with features such as effectively policed copyright regimes,
successful tax systems and the capacity to monitor income streams and jobs per sector; few
of which exist in most African countries. Third, as with its rich mineral resources, Africa is not
short on the raw material of the CCIs – talent! And yet, as with mineral resources, there are
huge deficiencies (infrastructure, human resources, access to capital, etc) at all levels of the
value chain in every discipline – education, creation, production, distribution, consumption
3. and documentation. Finally, South Africa, with probably the most diversified economy on the
African continent, has concentrated on the creative and cultural industries since it adopted
the Cultural Industries Growth Strategy in 1998. However, notwithstanding relatively strong
CCIs (compared to other African countries), inequality (the top 10% earn 60% of national
income), poverty (55% of the population) and unemployment (26%) have all worsened in the
last two decades. It is inappropriate to burden the arts and culture sector with expectations
to address major development challenges that more productive sectors of the economy have
been unable to meet. Moreover, a cultural and creative industries approach to development
with such industries requiring significant markets to sustain themselves and grow, would
exclude most Africans from exercising their cultural rights to participate in the cultural life of
the community and to enjoy the arts, as they simply do not possess the disposable income
to be such markets.
Intercultural dialogue and EU values. Objective 41 emphasises the need to redefine the
important role of national cultural institutes in intercultural exchanges, bearing in mind that
some of these have long traditions with many contacts in third countries, allowing them to
serve as a solid foundation for cooperation and communication among the various European
players; points, furthermore, to their potential to promote and facilitate bilateral relationships
between countries and to help develop and implement a European strategy for cultural
diplomacy… The Resolution highlights the importance of culture as a means of soft power
and as an instrument of projecting European values globally, not least through EUNIC
agencies. Two of the key fault lines in the world today are inequality and culture; inequality
in political, economic, military and cultural power and culture with regard to the differences in
values, belief systems and identity-making.
Cultural diplomacy and intercultural dialogue are soft power strategies that serve particular
economic, political, security and related interests that cannot be divorced from the overall
structural inequalities that prevail. The Resolution barely addresses social, political and
economic injustices so that the deployment of culture to address symptoms of such
inequalities, is weak and unsustainable.
Destruction of cultural heritage. The Resolution applauds the decision of the International
Criminal Court of 27 September 2016 in which Ahmad Al Faqi Mahdi was found guilty of the
destruction of several mausoleums in Timbuktu and in which it ruled for the first time, in
accordance with the Rome Statute, that the destruction of cultural heritage may be regarded
as a war crime… The Rome Statute of the International Criminal Court was adopted in 1998.
As such, it could only be applied to crimes that fell under its jurisdiction from that point forward
or European countries, their leaders and army personnel would have been found guilty for
similar destruction and looting of cultural heritage during the colonial period. Furthermore,
there is a perception of hypocrisy in the application of such protection e.g. where the cultural
heritage reflects the personages of those that may have been in conflict with Europe e.g.
Muammar Gaddafi and Saddam Hussein, then it would appear to be acceptable that such
heritage is destroyed, lest it provoke or invoke renewed support for the ideas of such
personages. Europe’s lack of condemnation of Israel’s destruction of cultural institutions in
Palestine e.g. the bombing of the al-Meshal Foundation’s cultural centre in Gaza in August
2018, renders the Resolution suspect in its biases, and affirms culture as an extension of
Europe’s policies with regard to international relations.
Addressing conflict. The Resolution frequently mentions the role of culture as an instrument
of soft power, as a means of dialogue, as a platform for projecting European values, as a
front in the “war on terror”, and a tool against radicalisation and terrorism. The Resolution
does not attempt to address the causes of radicalisation – the social, economic, political and
cultural inequities and the alienation that these lead to, neither does the Resolution appear
4. to address nationalistic radicalisation and terrorism which has led to an increase in hate
crimes committed by white people on people of colour within Europe over the last while.
Human Rights. Objective 6 calls for artistic freedom of expression to be promoted as a value
and an endeavour of the European Union, fostering free dialogue and the exchange of good
practices at international level, with Objective 71 underlining the EU’s foundations based on
the values of respect for human dignity, freedom, democracy, equality, the rule of law and
respect for human rights… While the Universal Declaration for Human Rights states that “all
human beings are born free and equal in dignity and rights”, most people in the Global South
know that they do not enjoy the same rights and that they will not be treated with the same
dignity as their European counterparts. Europeans may travel globally to more than 150
countries without visas and sell their labour relatively freely, whereas workers from the Global
South and Africa in particular, find it nearly impossible to travel and work abroad, even though
remittances to Africa account for a significant part of Africa’s GDP, and even though many
wealthy countries grew their economies by forcibly kidnapping and removing Africans from
their continent to work as cheap, slave labour. While this applies to the minority who are able
to travel, it is nevertheless instructive that people of colour are treated as less than human,
certainly less than equal to their white counterparts at points of entry into Europe, almost
always suspected to be potential economic refugees at best, simply because of the colour of
their skin and their continent of origin. I know this from direct and persistent personal
experience.
Europe promotes individual human rights, but all Africans are treated as a group, as if they
are the same, with no distinction made on the basis of education, gender, skills, social status,
etc. It would be unacceptable to distinguish between people on the basis of these
characteristics in determining mobility, but the point being made is that none of these factors
matter more than the “race” and continent of origin of Africans when it comes to treating them
with dignity and respect as human beings who enjoy the same rights as white folk. The
emphasis on particular rights e.g. freedom of expression in repressive societies in particular
is welcome, but it is hypocritical given the difficulties that writers, artists, musicians and other
intellectuals face in obtaining visas to enter Europe, and to exercise their rights to freedom
of association and freedom of expression in fortress Europe. There is little value in promoting
culture as a means of anti-radicalisation or as a means of intercultural dialogue when
European repression of human rights and undermining of dignity contribute to radicalism.
Conclusion. There are many good recommendations in the Resolution on Culture in
International Relations, - the emphasis on youth, support for civil society, the call for greater
mobility, etc - but the overarching framework is about Europe’s political, economic, security
and geo-strategic interests, its values and its cultural hegemony, EUNIC institutions being
instruments of its soft power globally. Global South actors generally and African actors in
particular will engage with Europe and its agencies broadly in one of four ways:
a. by buying into and supporting the European agenda completely, actively supporting it
because of the benefits derived from such support
b. complete rejection of the European agenda and anything to do with it as agencies of
neo-colonialism and neo-imperialism
c. pragmatic engagement with muted criticism so as not to compromise much-needed
support and
d. robust engagement with the EU and its agencies in search of real partnerships based
on a degree of integrity
Cultural cooperation and collaboration take place in structurally unequal contexts, in a world
where the cultural hegemony of the economically and politically powerful is already assured.
The structural inequalities are, however, unsustainable and as long as these are not
5. addressed, there will be increased conflicts and tensions, greater waves of migration and
refugees, more radicalisation and attacks on Global North interests, so that culture as a
mitigating strategy will be relatively meaningless, particularly when the so-called progressive
values of Europe are contradicted by the actual experience of Global South citizens.
Rather than creating and projecting policies that narrowly assert its own interests, Europe
and its agencies such as EUNIC would do better to engage with its partners and even its
detractors outside of the European bubble, to co-create a more equitable, more just world
that better serves the interests of the majority who live in it.