Cultural Policy Reading Group

2014

Presented By Ukhona Mlandu and Phila Nkuzo

Contents

• Introduction• Implementation • Critique• The Way Forward: South Africa

Introduction

1. What is the Convention?• The 7 parts of the document• Main pillars

Diversity of cultural expressions Intercultural interaction and building international markets Culture and development (particularly for developing countries) Respect for culture as a vehicle of identity, values, meaning Policy implementation

Introduction

1. What is the Convention?• Guiding principles and other documents

Universal Declaration of Human Rights Charter of the UN Cultural respect International co-operation

Introduction

2. Parties involved• UNESCO member states• African states ratified to date (in chronological order):Mauritius, Djibouti, Togo, Madagascar, Burkina Faso, Senegal, Mali, Cameroon, Namibia, South Africa, Tunisia, Niger, Cote d’Voire, Gabon, Egypt, Mozambique, Kenya, Benin, Nigeria, Guinea, Zimbabwe, Sudan, Seychelles, Ethiopia, Burundi, Congo, Lesotho, Malawi, Equatorial Guinea, DRC, Gambia, Tanzania, Angola, Central African Republic, Rwanda, Swaziland, Morocco, Comoros (38)• Global states ratified to date (96 including EU)

Introduction3. Historical ContextMandate“In October 2003, the Member States requested the Organization to pursue its normative action in the defence of human creativity.On the basis of the recommendation of the Executive Board, the General Conference of UNESCO requested the Director-General to submit at the October 2005 session a Preliminary Report accompanied by a Preliminary Draft of a Convention on the Protection of the Diversity of Cultural Contents and Artistic Expressions . ProcessBetween December 2003 and July 2005, the Director-General convened three meetings of independent experts and three intergovernmental meetings of experts. The Director-General submitted to the General Conference a report on the successive stages that have been completed and on the debates and recommendations of the meeting of governmental experts, accompanied by a preliminary draft convention.The instrument, which was renamed the "Convention on the Protection and Promotion of the Diversity of Cultural Expressions" following the recommendation of the intergovernmental meeting of experts, was adopted by the General Conference at its 33rd session on 20 October 2005.” – UNESCO WEBSITE

• South Africa’s involvement: Professor Kader Asmal was actively involved in drafting the Convention and represented South Africa

• Ratified on 21 December 2006

Introduction

3. How the document can be used• South African Government Departments

responsible to implement the convention: Department of Arts and Culture, Department of Education and the International Relations Unit in the Department of Arts and Culture.

Introduction

3. How the document can be used

“The Convention's main objective is to provide a legally binding international agreement that reaffirms the sovereign right of States to adopt cultural policies that support their cultural industries. The Convention does not want to control and restrict cultural expressions, but to promote and protect them. Recognizing that the diversity of cultural expressions is a "rich asset for individuals and societies, the protection, promotion and maintenance of cultural diversity are an essential requirement for sustainable development for the benefit of present and future generations.” – Wikipedia

Implementation

• Africa– African Countries directly implementing the

Convention:Namibia, Nigeria, Togo, Tunisia, Burkina Faso, Cote D’Ivoire, Egypt and Guinea

Case studies: • Egypt• Nigeria

Implementation

EGYPTSpecial policies and measures

• Policies and measures taken to foster and support artistic creation, targeting individual artists and art-production companies.

• Training and incubation schemes for young artists to allow them to carry out their projects

Graffiti with the word Leave! Tahrir Square, Cairo. July 4, 2013.

Implementation

EGYPTSustaining the development of the creative industries

Physical infrastructure: setting up a centre to

support cultural industries and activities, consisting

of workshops, galleries, lecture theatres etc.

intended to become a major teaching institution

(Darb 1718)

Darb 1718, Fustat

Implementation

NIGERIASupport to artists’ associations• Promoting the organisation of artists into

professional associations and trade unionsMeasures to improve the economic conditions of the artist• Protecting artists’ intellectual properties and ensuring

their incomes Nigeria has adopted copyright legislations. They also actively fight piracy and counterfeiting.

Implementation

NIGERIAInternational co-operation and preferential treatment• Bilateral agreementsChina and Nigeria: Establishment of a Chinese Cultural Centre in Abuja and Annual Nigerian Cultural Week in China

Implementation

NIGERIAInternational co-operation and preferential treatment• Bilateral agreementsBrazil and Nigeria:Nigerian cultural centre in Salvador da Bahia (2008)

Implementation: SA

• The shift in the focus of the proposed revised White Paper of Arts Culture and Heritage to is a looming policy limitation.

• Popularising the Convention• SA govt’s selectivity in their recognition of civil

society orgs and interventions is counter productive, example Quadrennial Report

Implementation: SA

• Industry led initiatives that are not deliberately designed to respond to the Convention but arise from industry affirm the relevance of the Convention

Examples: Mobility and Distribution: a) UK South Africa, French South Africa Seasonb) DTI Sector Specific Assistance Scheme : Emerging

exporters with priority areas : craft and Film- follows bilateral trade agreements.

c) Proyecto 360

Implementation: SA

French South Africa Season 2013

Implementation: SA

• Funding priorities country-wide are shifting to peri-urban and rural for wider access geographical and a fair spread of financial resources

• Financial ResourcesLack of tax incentives to drive investment from the

private sector into the sector Proposed Cultural Industry Fund despite objections

from the sector and its potential to centralise powerCurrent model that invests bulk of DAC funding to

buildings

Implementation: SA• Training and Education for sustainability – a development imperative• CATHSSETTA – Value Chain Analysis - critical skills and scarce skills

have been identified but the level of development of the educators and training facilities need to be addressed.

• Funds are available the complex nature of the SETA is time consuming in an industry where people are already spread too thin

• Arts Administration limited pool

• Arts in Schools- difference between artists and arts educators –provision to be made

Implementation

• South Africa– Threats: immigration Act

Critique

• STRENGTHS1. Provides an international framework and guideline 2. Not only does it affirm the importance of

preservation but its rooted in the idea of an evolving and contemporary expressions

3. Sovereign rights of each state and non invocation of articles to infringe on human rights

4. Highlights the role of cultural diplomacy as soft power.

Critique

• WEAKNESSES1. Developed countries “helping” developing

countries2. Not prescriptive3. Relationship between trade agreements and

ministries of culture4. Revision?5. Need to explain that its about diversity of

cultural expression and not cultural diversity.

The Way Forward

Civil Society’s role• Raising awareness on the convention

• Challenge government on lack of consultation• Civil : challenging the Government in its

implementation of the Convention