PROGRAMME OF ACTION IN FAVOUR OF THE PALESTINIAN PEOPLE

STUDY ON

PALESTINIAN CULTURAL POLICY Paris, January 1999

Co-ordination Unit for Action in Favour of the Palestinian People DRG-98/WS/07

This study was prepared in implementation of

Executive Board 155 EX/Decision 9.1.

The terminology used in this study has no legal or

political implications and has only been adopted in

order to simplify the comprehension of the text. In

all matters concerning the status of the West Bank and

Gaza Strip UNESCO abides by the United Nations

Security Council and General Assembly resolutions and

decisions.

Foreword by the Director-General of UNESCO

The future state of Palestine is destined to be born at the dawn of a new millennium. The chal- lenges of the twenty-first century are such that all the creative powers of its people will be needed to tackle and overcome the obstacles ahead. If Palestine is to flourish, attitudes and approaches must be innovative and flexible. This study seeks to trigger and accelerate this process, encourag- ing people to question their entrenched habits and conceptions and to embark upon a rich and productive debate for the greater good of Palestine, its people and its national and cultural identity.

Palestine has no great industrial or agri- cultural base - only a thriving service sector will provide the wealth and resources which the coun- try needs. A host of studies by the United Nations, the World Bank and the European Union graph- ically demonstrate the gravity of Palestine’s pre- sent economic plight. The social and economic imperatives for change are therefore manifest, and this study seeks to demonstrate how culture can be the engine of such change. The challenge for the Palestinians is to create a dynamic culture by questioning ingrained patterns of thinking and acting: preserving what is most precious while enhancing it with the freshest that the present and future have to offer.

For this process of renewal to achieve its full potential, the watchword must be ‘culture for all’. Every sector of the population should have the opportunity to gain a thorough cultural edu- cation, and enjoy the pursuit of cultural activi- ties. Likewise, the debate on the issues raised in this study should embrace all Palestinians and not just the cultural and political elite.

The fundamental task for Palestinians is to appraise the three great influences which have

shaped their culture and plot a course amidst them which will allow them to preserve their national and cultural identity. The first of these influences is the traditional set of cultural re- ferences inherited from the pre-Islamic ‘Jahiliya’ to the end of the Ottoman Empire period; the second is the impact of Western cultures; and, the third, the most recent ‘religious’ tendency which seeks to ‘reislamize’ Palestinian society.

Palestinian society should not fear cultural pluralism but rather see in it a source of rich- ness. A healthy cultural policy is based on co- existence, evolution and dynamism. The weak- ness of a society lies in the imposition of one type of culture whilst all others are denied existence. If no coherent focus is afforded Palestinian cul- tural development, there is a grave danger that the population will simply lose its identity. This is the risk which this study seeks to avert. The ideas which follow are not necessarily ready-made solutions. They are intended to foster debate and not to lay down rigid rules or suggest definite mechanisms for how those ideas should be put into practice. Only when full debate has taken place and conclusions have been reached, can the practical steps be taken - hence the urgency for discussion to begin forthwith.

Federico Mayor

Fmword by the Director-General of .CJiWSCO

Contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Chapter 1 Palestinian heritage and contemporary culture . . . . . . . . . . . . . . . 9

Chapter 2 Access to culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Chapter 3

The role of the Palestinian Authority . , . . . . . . . . . . . . . . . . . . . . 19

Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

contats 5

Introduction

Palestine lies in a peculiar geographical situation: a small

but populous territory, flanked by a.rich and powerful

neighbour whose culture differs markedly. This geo-

political vulnerability has direct consequences for

Palestinian culture since it hampers both creativity and

the dissemination of culture. The production of books,

records and films is a difficult operation, and distribu-

tion of a book in 500 copies can be considered a suc-

cess. Yet, culture is of paramount importance to

Palestinians since it largely defines who they are and

who they aspire to be. Theirs is a pluralistic society con-

sisting of, and enriched by, a multitude of influences.

It is an open society that respects fundamental demo-

cratic values and one with strong ties to its Arab brethren.

Within this society we must distinguish two main

categories whose culture has been shaped by dieting

experiences and historical contexts, particularly as a con-

sequence of the countries in which they have lived.

Firstly, the generations of Palestinians who received their

schooling prior to the 1967 war are well-educated and

active in the cultural field. The younger generations,

however, are less and less well-read and increasingly con-

fine their reading to newspapers and magazines, while

spending far more time listening to the radio and watch-

ing television. As the influence of the mass media over

them grows, the appeal of museums dwindles. This phe-

nomenon is exacerbated by other factors which have

been peculiar to Palestinian society, such as curfews and

a general state of insecurity. Thus, the Intifada witnessed

a marked increase in the use of video recorders as books

became harder to come by and public amenities such

as theatres and cinemas became increasingly inac-

cessible. This trend has been compounded by techno-

logical advances as households have purchased more

sophisticated equipment, entailing a shift in cultural

practices from the street to the home. While the decline of book-reading and museum-

going is a worldwide phenomenon, it can be mitigated

and ultimately reversed if children are properly

schooled in the virtues of cultural participation. Since

these benefits are essentially intangible and unquan-

tifiable - at least in the immediate future - they are

too often overlooked or taken for granted. Yet, good,

wide-ranging and diverse culture is rarely sponta-

neously created. It has to be nurtured from childhood

through a range of measures which foster the curios-

ity and creativity of the young and which continue to

support them throughout their later lives. What char-

acterizes the Palestinians of today is an admirable inter-

est in their heritage, undoubtedly as a direct conse- quence of the many years of enforced denial of their

political and cultural identity. This renewed interest

has spawned an upsurge in cultural output in litera-

ture and, to a lesser extent, on the stage, in song and

in handicrafts. The circumstances, therefore, are pro-

pitious for positive change if there is judicious leader-

ship and guidance from the Palestinian Authority.

More attention is naturally focused on the role

of the Palestinian Authority’s economic policy in devel-

oping Palestinian society. Yet, this is more a question

of resources and means. Culture is an end, and a

reflection of values. It is the product of a people’s

long progression through history, and the expression

of human experience. It is a corpus of knowledge and

aesthetic beauty, a collective heritage born of human genius and enriched by successive generations. It spans

the arts - literature, theatre, cinema, television, the

plastic arts - and the very fabric of daily life - archi-

tecture, design and urban development. It ranges from

the painter in his studio to the touring theatre com-

pany to the large-scale publishing house.

Any normal society will strike a balance between

its economic, political, social and cultural needs.

Culture, however, is a phenomenon that cuts across

the whole of society and should be made available to

all citizens, irrespective of their background, status and

Introduction 7

wealth. Investment in it enhances their quality of life

and bolsters their identity. As such, it in turn becomes

a catalyst for socio-economic development as a whole.

This attempt to promote and invest in

Palestinian culture must take account of two factors.

Firstly, due attention needs to be paid to the

structure of the population, which falls into three main categories: the West Bank, including Jerusalem; the

Gaza Strip, and the Diaspora. The Diaspora comprises

those Palestinians who live in refugee camps in neigh-

bouring Arab countries as well as those who are legally

resident or integrated in the Arab States or other coun-

tries of the world. While this study is not directly

addressed to this Diaspora, its effects will undoubtedly

have a major impact on their cultural lives as well.

Furthermore, the one million Palestinians living in

Israel (known as the ‘Israeli Arabs’ by the Israeli author-

ities) are not included in this study. A key feature of

the population in the West Bank and Gaza Strip is the

preponderance of young people. In addition, increas-

ing numbers of women have joined the labour force.

Secondly, the nature of Palestinian society has

to be accommodated. Ethnically and religiously

diverse, it is open and pluralistic with a strong tradi-

tion of adherence to democratic values and inter-

communitarian intercourse.

The interplay of different generations, regions

and experiences has led to radical changes in cultural

practices, a phenomenon further compounded by

rapid technological progress. All of these factors have

to be harnessed through the adoption of administra-

tive measures in order that the expression of

Palestinian culture may be dynamic and fully-fledged.

The range of cultural activities which have devel-

oped over the years in the Palestinian territories, in

Israel and in the Diaspora is broad but unequally

spread, depending on the discipline concerned.

Likewise, the population’s access to those disciplines

varies. The causes of this assymetry are many. Artistic

works reach the public through a plethora of different

channels: directly from their creators or indirectly via

a cultural organization or distribution network.

Secondly, the population itself is unevenly distributed.

Additionally, the occupation left an administrative

vacuum which the Palestinian authorities have failed

to fill with the sort of infrastructure they have created

in the health and education spheres. Lastly, as a con-

sequence of this administrative void, there has been

no proper planning of Palestinian culture.

However, it must be stressed that the realm of

culture is also the domain of liberty, individual initia-

tive and creative spontaneity. Such freedom of choice

applies not only to the artist and his creation but also

to the public and its tastes - contingent, as they are,

on changing times and fashions.

MAIN OBJECTIVES

The Palestinian Authority’s attention should be focused on the following five goals:

1. The adoption of legislation on heritage, archives,

libraries, books, cinema, museums and on the pro-

fessional status of artists and performers.

2. The promotion of comprehensive vocational train-

ing in the arts.

3. The professionalization and development of cul-

tural activities, especially the performing arts.

4. The industrial development of many areas of culture.

5. The promotion of employment in the cultural

sphere.

REFERENCE FRAMEWORK

FOR PALESTINIAN CULTURAL DEVELOPMENT

Four fundamental criteria should govern this policy:

1. It should be deeply rooted in the natural and cul-

tural heritage of the Palestinian people.

2. It should be comprehensive, encompassing all walks of cultural life and the many component pro-

tagonists in Palestinian culture: artists, performers,

producers, distributors and management.

3. It should be dynamic, allowing the rich cultural tra-

ditions of the past to act as a springboard for the

culture of the future.

4. It should be open, both spatially and temporally,

enabling a genuine cross-fertilization of ideas and

trends with the outside world.

THE THREE BASIC PILLARS

OF PALESTINIAN CULTURAL DEVELOPMENT

This Palestinian cultural policy seeks to address three

fundamental concerns:

1. It tackles the whole spectrum of contemporary culture

and its interplay with Palestinian cuBural heritage.

2. It suggests ways and means of broadening access to

culture and the arts so as to make such access

genuinely universal. 3. It highlights the enabling role of the Palestinian

Authority and its partners in promoting these

objectives.

8

Chapter 1 Palestinian heritage and contemporary culture

THE PROMOTION OF CREATIVITY

Creativity, whether individual or collective, is the driv-

ing force of any independent culture. Without it, cul-

ture is doomed to banality and alienation. The

Palestinian cultural environment is generally under-

developed, professional cultural organizations are

scant, and few artists and performers can make a liv-

ing from their work. Palestinians lack comprehensive

initial education in culture and the arts. Much of

Palestinian culture is inevitably politicized and a

‘leisure industry’ is virtually non-existent. The many

years of occupation have also automatically precluded

the formation of a meaningful cultural policy.

Palestinian artistic creativity spans a host of

disciplines: novelists, composers, painters, poets,

choreographers, sculptors, engravers, film producers

- to name but a few. They are the lifeblood of

Palestinian culture, constantly appraising and reap

praising nature and human experience. Actors, singers, dancers, musicians and directors in turn give

new life to such works through the excellence and

originality of their interpretations. And technological

innovation often brings a new dimension to artistic

production and performance.

These cultural figures are rarely in a position

to fund their own work and are often among the last

to reap its rewards. There is therefore a need for

government support if their creativity is to be nurtur-

ed and their efforts are to be sustained. Indeed, not

only does there need to be adequate basic cultural

education for Palestinian artists, but provision must

also be made for the continual upgrading - and diver-

sification, where appropriate - of their skills. Failure

to provide such support inevitably leads to not only

financial but also artistic impoverishment, leaving

Palestinian culture in thrall to the more powerful influ-

ence of its Israeli and Western counterparts. It is

crucial, however, for such assistance to play an

enabling role and not to be used as a vehicle for official intervention in the work of the artists them-

selves. Government involvement must be prudent and

targeted, eschewing excessively rigid guidelines that

would merely strip culture of its originality and spon-

taneity. It should seek to foster excellence, fund inno-

vative projects and stimulate public demand, and

improve the lot of artists and performers through the

provision of legal, fiscal and social benefits.

In certain areas, there are enormous oppor-

tunities for artistic and commercial development if

artists and other workers in the cultural sector are

given sufficient logistical and financial support. Much

of Palestine’s heritage and culture is unique; yet its

potential has not been tapped. Nablus, for example,

is renowned throughout the Middle East for the qual-

ity of its traditional pastry-making, especially its kin@.

No real effort has been made, however, to industrialize

its manufacture and market it for large-scale export.

Likewise, Palestinian designers produce clothing of

the highest quality, originality and aesthetic beauty,

but they do not enjoy the support required to develop

their work and market their wares. Consequently, the

Palestinian Authority should undertake a major effort

in the area of research and development to encour-

age innovation and commercial development in the

cultural sphere for the benefit of the creators and the

national economy alike. Furthermore, the less celebrated cultural disci-

plines should not be overlooked, especially since

invaluable know-how may be lost as their practition-

ers dwindle in number, leading inevitably to a reduc-

tion in the breadth and diversity of Palestinian cul-

ture. The fact that they enjoy less popularity may

indeed be more a reflection of a lack of education and receptiveness on the part of the public rather than

any shortcomings in their intrinsic worth. Here again,

Chapter 1 -Palestinian heritage and contempwary culture

the need to provide the public at large with a proper

cultural education and initiation is evident.

Moving from the individual artist to the collec-

tive dimension, one must also acknowledge the need

for the development of a genuine cultural industry. Much of Palestinian culture has yet to progress beyond

the scale of cottage industry. In the areas of broad-

casting, publishing, music production and the cinema,

there is a dire need for modernization and profes-

sionalization. This is a sector which was left un-

addressed and unprotected by the Washington

Agreements. If a Palestinian cultural industry is to sur-

vive and prosper in the face of fierce competition from

its Israeli and Arab rivals, it must be afforded legisla-

tive protection. Distribution networks have to be

improved so that works can reach their audience as

readily as foreign products.

Conversely, Palestinian culture must be able to

match and hopefully outstrip its competitors in terms

of both quality and originality. Palestinian works will

always be at a disadvantage, however, if they do not

successfully reflect the specific tastes and experiences

of the Palestinian public. Failure to meet their expec-

tations and produce culture that chimes with their

innermost hopes and fears will only lead to submer-

sion by foreign imports and alien influences. Thus, in

protecting and fostering the creativity of its own artists,

the Palestinian Authority may safeguard an essential

part of its people’s cultural and national identity. In

so doing, however, it should steadfastly refrain from

any action which might hamper free artistic expres-

sion and the independence of the artist or constrain the choice available to the public.

GUARANTEEING THE STABILITY

OF CULTURAL ORGANIZATIONS

Owing to financial hardship and haphazard manage-

ment, Palestine’s arts clubs, cultural centres, theatre

companies, publishing houses, even its holy shrines

and historic monuments face an unstable future and

the threat of closure. Such a situation is the inevitable

consequence of many years of occupation which has

rendered even short-term planning and development

all but impossible. There are some 7 theatre compa-

nies, 8 cinemas, 21 publishing houses and 181 arts

clubs, cultural centres and art galleries in the

Palestinian territories. In addition, there are a few pri-

vate museums and 295 small libraries as well as the

religious and historical sites. Such is the fabric of con- temporary Palestinian cultural life. It is small in scale

and in need of substantial financial assistance if it is

to survive.

The Palestinian Authority cannot and should

not prevent anyone from setting up a cultural orga-

nization. It is impossible, however, to provide mean- ingful subsidies to a plethora of small bodies when

resources are limited. The Authority will therefore

have to be selective in deciding which organizations

will be eligible for government support. Naturally,

there is a danger that such selectivity will generate

a system of political patronage of the arts in which

cultural bodies will be tempted to toe a ‘pro-

establishment’ line in return for financial favour.

Subsequent suggestions in this study will attempt to

foreclose this danger by proposing the establishment

of independent advisory and supervisory bodies to

ensure that there is no abuse of government influence

in pursuit of political ends. Smaller cultural bodies

will doubtless continue to exist and it is vital for them

to do so if the great diversity of cultural activities is

to be preserved. Many will inevitably have to survive

on the strength of their own limited resources and

private backing, however.

The essential criterion for determining eligibil-

ity for public funding must be the need to guarantee

the stability and long-term viability of key cultural organizations so that quality and creativity are not

impaired. Government should also assess develop-

ments in public tastes and needs so that assistance is

appropriately targeted. In this respect, budgetary pol-

icy for culture should not differ substantially from

appropriations for health or education.

Naturally, it would be desirable for Palestine to have its own national cultural institutions like most

other countries. At present, there is no national music

conservatory, no national opera, no national arts

theatre company, no national archive, no national

library and no national museum. There are similar

gaps throughout Palestine’s cultural infrastructure.

While such shortcomings are historically understand-

able, it is no longer acceptable for them to persist. The Palestinian Authority must also carry out a

thorough statistical assessment of Palestinian cultural

life with a detailed examination of the geographical

distribution of cultural centres and activities. This stat-

istical survey should also encompass cultural enter- prises such as production and distribution companies,

retailers, artists’ agencies and press and public rela-

tions companies since they are the essential compo-

nents of a nascent Palestinian cultural industry.

Banks and funding agencies will invariably look

askance at the requests of cultural enterprises for

10 ChapterI-Pkt’ a s znzan heritage and contemporary culture

financial assistance. Their production and distribution activities are considered a high-risk investment because

of unpredictable and, at all events, limited market

demand. More seriously still, since the onset of the

Intifada, there has been a steep decline in economic

activity and, owing to repeated Israeli closures and

blockades, this has yet to be reversed. Cultural outlets

have suffered as a consequence, making their viability

and creditworthiness even more parlous. These cir-

cumstances mean that only governmental intervention

can secure the venture capital which they so urgently

need to ensure continuity in production, development

of human resources and skills, and market integration

and risk management.

Palestinian cultural organizations should also be

open to external contacts with their foreign counter-

parts. If such openness is to reap the expected bene-

fits, however, certain conditions need to be respected.

The Palestinians should produce original and high-

quality works which can match the best that other

countries have to offer. Relations should develop on

an equal footing and on the basis of true reciprocity.

The choice of partners should be made according to

cultural criteria and not be dictated by political con-

siderations. This does not mean that certain cultural

projects should not be undertaken within the frame-

work of specific bilateral or multilateral co-operation

agreements. They should not be an all-embracing

straitjacket, however, for international artistic ex-

changes. Palestinian diplomatic missions can play a

vital role in facilitating such exchanges and cultural

representatives should be included in official

Palestinian delegations when they travel abroad when-

ever possible.

Such international contacts can only enhance

the quality of Palestinian cultural life and burnish the

image other nations have of the Palestinian people.

Artists and performers are excellent ambassadors for

their countries. The diversity, vitality and maturity of

Palestinian culture and creativity cannot fail to impress

the world. Once again, however, the imperatives of

professionalism and quality must be met if the

Palestinians are to show themselves in their best light,

displaying their distinct identity, their deep roots, and

their unique position as inhabitants of the Holy Land.

This effort may also be furthered through the enrol-

ment of Palestinian artists and performers in

renowned foreign arts schools with the help of gov-

ernment scholarships and the generous assistance of

the host countries. Such international contacts also have an eco-

nomic dimension. Artistic exchanges may have com-

mercial benefits in the form of trade in the products

of Palestinian cultural enterprises. As pointed out

above, a properly structured and adequately funded

cultural industry can market, distribute and export

Palestinian artistic works. If the obstacles hampering

Palestinian cultural enterprises - a small national mar-

ket, limited expertise, underdeveloped networks and

tight budgets - can be overcome, therefore, there are

serious financial rewards to be gained from interna-

tional contacts.

DEVELOPING AND

PRESERVING PROFESSIONAL SKILLS

There are no reliable statistics on the exact number

of people professionally involved in Palestinian cul-

tural life. Many of them, especially the creative artists,

are self-employed. Others work in cultural organiza-

tions or other bodies with a cultural dimension, such

as theatre companies or publishing houses. Then there

are those who are engaged in cultural activity in pub

lit institutions, such as university librarians. They may

be artists and performers or managers and technicians.

It should not be overlooked that architects, actors’

agents, stagehands, translators, conservationists and

restorers, art teachers, heritage experts and docu-

mentalists all exercise cultural occupations. These people are the vital human resource that

make artistic creativity possible. They provide the

talent and genius that produce and disseminate it. If

this fount of cultural wealth is to be preserved, the Palestinian Authority must ensure that both the qual-

ity and quantity of human resources are maintained.

Some self-taught artists and specialists will always

emerge and prosper, but most of their colleagues

require a basic training in their fields of endeavour

and regular upgrading of their skills as technological

progress brings inevitable change. School and university education is often too

rigid to meet the more individual, personalized

requirements of the cultural student. Indeed, educa-

tion in the arts is generally undervalued as gifted pupils

are encouraged to pursue more narrowly academic

avenues of study, particularly the sciences, and a career

in the cultural field is especially frowned upon. Yet,

as mankind embarks upon a new millennium and a

post-industrial age, culture and communication will

play an increasingly powerful role in all walks of life

and in all key sectors of the economy. This means that

the traditional sciences are steadily losing ground to

more diverse and advanced areas of study in which

Chapter 1 -Palestinian heritage and contemporary culture 11

cultural education, communications and informatics

are acquiring ever greater importance. Paradoxically,

therefore, cultural education, the ‘poor relation’ of

academic study for so long, will have to take pride of

place in the school of the twenty-first century.

CONTINUOUS LEARNING

Technological innovation, evolving and increasing

quality criteria, and rapid change in the world of cul-

ture mean that there is a constant need to upgrade

one’s skills. This requires specialized education courses

and seminars, both at home and abroad. This is espe-

cially valid in those artistic fields where changes are

occurring especially quickly. It also requires an effort

to update the knowledge and skills of administrators

in the various fields of culture. Consequently, the

Palestinian Authority must pool the endeavours of a

number of key players: the ministries, municipal

authorities, public and private establishments, and pro-

fessional associations.

COPYRIGHT

Most artists and performers need to ply a second trade

in order to eke out a decent living. Thus, the time

spent engaged in an artistic activity is rarely com-

mensurate with the income it generates. This naturally

impairs artists’ creativity since they are compelled to

devote an inordinate amount of time to ensuring their

material well-being at the expense of their work.

If they were better remunerated financially, this would

not be as serious a problem. One solution lies in the

proper protection of artists’ copyright since this is

paramount in guaranteeing due financial reward for their creative efforts.

The Palestinian Authority must accord priority

to the enactment of legislation and establishment of

a copyright revenue collection and distribution sys-

tem which will ensure that artists are effectively

rewarded. Such legislation would include a law on the

professional status and contractual conditions of

artists in all major cultural domains. No nation, even

the most developed or the most repressive, can effec-

tively combat the small-scale but unquestionably ille-

gal practice of domestic copying of films and music

on to blank tapes. However, efforts have to be made

to prevent the thriving practice of commercialized ille-

gal copying and distribution of such works (‘boot-

legging’) since it is not only lucrative to the dis-

honest groups that benefit from such trade but also

deeply damaging to the financial well-being of artists

and their authorized production and distribution

companies. This is, however, an uphill struggle as tech-

nology becomes more sophisticated, and copying and production equipment becomes more readily

available.

Furthermore, upon accession to internationally

recognized statehood, Palestine must urgently sign and

ratify the major international conventions on the pro-

tection of intellectual property, including the Berne

and Paris Conventions. This would extend domestic

copyright protection to the international use of

Palestinian cultural works.

12 Chapter 1 -Palestinian heritage and contemporary culture

Chapter 2 Access to culture

Once artists’ working conditions have been under-

pinned by sound financial and legislative provisions

and their representative associations and organizations

have likewise been afforded a measure of genuine stab-

ility, Palestinian culture may truly flourish, both

domestically and internationally, and contribute sub

stantially to the development of Palestinian society. It

then becomes imperative to ensure that such culture

is actually accessible to all Palestinians: culture for all.

The Palestinian Authority must seek to uphold this

right in the most comprehensive manner and not suc-

cumb to sectarian pressures.

Statistics are notoriously misleading in any society

for assessing the measure of universality of cultural access.

Thorough public research is required to obtain even an

.I approximation, and no such study has been adequately

carried out in the Palestinian territories. Moreover, what

may seem a dishearteningly low rate of involvement today

would doubtless have been considered impressive during

the period of the British mandate while, conversely,

a more encouraging rate today may seem patently

unsatisfactory in the twenty-first century.

The right to culture is expressly enshrined in

the Universal Declaration of Human Bights:

Lb-tide 22

‘Everyone, as a member of society, has the right to

social security and is entitled to realization, through

national effort and international co-operation and in

accordance with the organization and the resources

of each state, of the economic, social and cultural

rights indispensable for his dignity and the free devel-

opment of his personality.’

Article 27

(1) ‘Everyone has the right freely to participate in the

cultural life of the community, to enjoy the arts and

to share in scientific advancement and its benefits.

(2) Everyone has the right to the protection of the

moral and material interest resulting from any sci-

entific, literary or artistic production of which he

is the author.’

There are many objective reasons which in the past

have made such universal access appear Utopian: cur-

fews, poverty, unemployment, poor geographical dis- tribution of artistic amenities and performances. More

serious in the longer term, however, is an inadequate

grounding of the public in a proper appreciation

of culture. Without the basic ability to understand

and interpret the arts, it is impossible to develop a

genuine taste for them.

To remedy these shortcomings, the Palestinian

Authority must thoroughly integrate cultural educa-

tion into school curricula and establish a cultural net-

work spanning the entire West Bank and Gaza Strip.

The first of these measures highlights one especially

important factor in cultural education: the school.

However, while the school is the place of choice for the development of this education, one must not over-

look the importance of other crucial factors such as

the family, the social environment and heritage.

The second measure will require a major

effort to map Palestine’s cultural amenities, embrac-

ing all avenues of culture across the entire territory.

Jerusalem and Ramallah, on the one hand, and Gaza,

on the other, have a special role to play in the area

of distribution and broadcasting since they are the

headquarters of most of the mass media.

DEVELOPING CULTURAL EDUCATION

The existence of cultural amenities, such as theatres

and museums, and investment in their infrastruc-

ture and resources will not of themselves guarantee

access to culture and the arts. A more fundamental

Chapter 2 -Access to culture 13

prerequisite has to be met if greater numbers of

people are to enjoy them: education.

Education is a long process, involving a num-

ber of important protagonists, especially school and

the family. The cultural context of one’s daily life and

one’s heritage are additional significant factors.

SCHOOL

When educating their pupils, teachers must constantly refer to a system of values which will be of immedi-

ate relevance to those pupils’ social and cultural back-

grounds. First and foremost - especially in a war-

ravaged region like the Middle East - they must

advocate tolerance and a culture of peace. If

Palestinian children are ever to grow up free from the trauma and antagonism of military tension and war,

they - like their neighbours in Israel and other Arab

countries - will have to be imbued with a deep sense

of respect for the history and beliefs of others as well

as a healthy pride in their own.

Such a development requires an accurate

knowledge of their roots and heritage and a truthful

perception of the historical events which have shaped

their lives and those of their forefathers. Equipped

with genuine awareness of their history and culture,

they may then build upon this knowledge through-

out their educational lives. Education needs

to stimulate this process and not allow socio-

cultural attitudes to stagnate and become mired in

traditionalism.

The various components of the Palestinian edu-

cational system - private, public and UNRWA - are

currently seeking to impart a basic education to pupils

and students which will endow them with the skills

and attitudes which are essential for the rounded

development of the individual: self-reliance, a creative

imagination, a sound grounding in history, a sense of

objectivity and a critical mind. Culture is a vital ingre-

dient in furthering this process although it is

all too often neglected. The arts need to be viewed

as an essential component of an all-embracing

education.

Furthermore, reading must be more strongly

encouraged in the schools. It is the engine of the

young mind’s imagination and the gateway to the

world of ideas, affording an acquaintance with the

great writers, philosophers, artists and scientists.

Finally, genuine access to the world of arts and cul-

ture presupposes that children acquire the language

skills required to afford them entry into the broader

range of artistic achievement from other countries.

Foreign language teaching therefore needs to enjoy a high priority in school curricula.

THE DAILY ENVIRONMENT

Architecture, town planning and rural develop-

ment, in turn, contribute to creating one’s daily

environment. Properly managed, they too can enhance people’s cultural outlook. Through sound

planning and rigorous legislative and regulatory

supervision and protection, the urban and rural

environment can, therefore, also educate the young

and old alike.

CULTURAL HERITAGE

Heritage may be important for a number of reasons:

its aesthetic beauty, its historical significance or its

prominence in the collective imagination. Moreover, it will be enriched tomorrow by the best of what is

produced today. It is a tangible anchor for a people’s

cultural identity; so many points of reference for its

history and collective memory. While generations will

seek to rewrite history in their own image and in the

light of their own experiences, heritage provides that

history with continuity through its permanence and

visibility, be it in the form of an archaeological site,

an historic monument or a national library. It may

also take the shape of a natural landscape of out-

standing picturesque beauty or historical significance.

It may manifest itself ethnographically in people’s

beliefs, customs, dress or furnishings.

All these examples bear witness to the centuries-

long evolution of people’s daily lives. The experiences

of the Palestinians have been especially rich and

diverse, and it consequently behoves their leaders, first

and foremost the Palestinian Authority, to protect

this heritage through adequate legislation and super-

vision. The heritage of the Palestinians was initially

nurtured through the efforts of small groups and indi-

viduals who were conscious of its importance. They,

in turn, called on the PLO to take on the task of pro-

tecting it. Now it is the Department of Antiquities

which has to take up the reins and ensure that

Palestinian history is not a mere recital of dates and

events, but a driving force in the education of a peo-

ple, establishing in their minds the ties that bind their

present to their past - so that they may better face

their future.

14 Chapter 2 Access to culture

THE ESTABLISHMENT OF A CULTURAL NEMlORK

Such a network must comprise two categories: a cen-

sus of Palestine’s cultural production and distribution

centres and organizations, and an inventory of media outlets. The Palestinian territories currently encom-

pass four principal centres. While East Jerusalem,

claimed as the capital of the future Palestinian State,

is still under the control of Israel, it nonetheless has

an indispensable role to play. Not far from Jerusalem,

lies the area comprising the provisional capital of

RamaUah and the adjacent historical and religious

towns of Bethlehem, Hebron and Jericho. Further

afield lie the other two main conurbations of Gaza in

the south and Nablw to the north, significant because

they actually embrace a number of municipalities as

well as surrounding rural areas.

For the Palestinian Authority, Jerusalem is irre-

placeable in the promotion and development of the

arts in Palestine. This is where the cultural industries

are located and where so many artists and their

representatives work. It is also the bridge to the out-

side world. In spite of the political pressures exerted

there by the Israeli authorities, it remains the nerve

centre of Palestinian cultural life, not least because

of its colossal importance in Palestinian history and

heritage. It is a magnet for all Palestinian artists, even

those who choose to continue to live elsewhere, in

their own towns and villages.

In the words of one leading Palestinian official,

‘Only Jerusalem, as the heart and soul of Palestinian

culture, can legitimately represent Palestine to the

world and play host to the international community’s

cultural representatives. It is this very prominence that

has caused the Israeli authorities to be so antagon-

istic towards it. As parts of Palestine secured

autonomous status and the Palestinians became

emboldened by their new sense of confidence and

artistic self-assertion, it was precisely to Jerusalem that

they turned for inspiration and guidance, prompting

Israel to shut down its links with the West Bank and

Gaza in 1996. Yet, as the city of peace and religious

diversity and tolerance, there is no better place to

encourage artistic creativity and exchange. A less short-

sighted Israeli Government would thus foster

Jerusalem’s role as a beacon for cultural activity rather

than seek to isolate it in a misguided attempt to strip

it of vast tracts of its cultural identity and dogmatically

pursue an uncouth policy of “judaization” of all aspects

of its life.’

Few other cities in the world can begin to rival

Jerusalem’s religious and historical pre-eminence.

Palestine is truly blessed to possess such a powerful

metropolis; yet, the fulfilment of its cultural vocation

is being thwarted by political myopia. A genuine era

of peace must recognize this vocation through mutual respect and dialogue so that Jerusalem does not merely

serve to attract and disseminate the artistic riches of

the Palestinian people, but also plays its natural role

as a crossroads for international and interreligious cul- tural exchange.

Moreover, many Israelis are equally conscious

of Jerusalem’s unique potential and the need for it to

be fulfilled. In the struggle of ideas which pits the

advocates of tolerance and dialogue against national

and religious chauvinism in Israel and Palestine, cul-

ture is the weapon of choice for advancing the cause

of genuine peace and mutual acceptance. Only an

alliance of like-minded Israelis and Palestinians can

successfully redeem Jerusalem and, more broadly, the

Holy Land from the violence and strife in which they

have languished for more than a century and restore

them to their rightful place for the world’s Jews,

Christians and Muslims.

Therefore, any solution to the question of

Jerusalem’s future status must preserve its unique cul-

tural significance as a rallying-point for all three

monotheistic faiths. Furthermore, its heritage must be

safeguarded and rehabilitated, and the wealth of cul-

ture emanating from it should be freely disseminated.

Gaza is the second focal point for structuring

the cultural geography of Palestine. Its interaction with

Jerusalem would invigorate the cultural life of the

Palestinian people and enhance access to cultural

activities for all Palestinians, wherever they might live,

be it in the West Bank or the Gaza Strip.

There follow the two areas of Bethlehem,

Ramallah, Hebron and Jericho on the one hand, and

Nablus, Jenin and Tulkarm on the other. These

regions are socially very diverse and possess distinctive

cultural identities according to population density, the

characteristics of their component towns and differ-

ing heritage. They nonetheless share the common fea-

tures of high-quality culture and a predisposition to

cultural tourism (of which more will be said later in

this study). While Ramallah, with its relatively buoyant ser-

vice sector, restaurants and cultural activities, is sym-

bolic of Palestine’s modernity, Bethlehem, Hebron

and Jericho exude religious and historical significance

with their rich heritage of holy shrines of all three

monotheistic faiths. Likewise, to the north, Nablus car- ries strong religious importance for Muslims,

Christians and Jews alike. In developing a cultural

Chapter z -Access to culture 15

focus for these two regions - the central and south-

ern towns near Jerusalem and the more northerly city

of Nablus and its neighbours, Jenin and Tulkarem -

the Palestinian Authority can not only contribute to

the narrow goal of fostering their artistic expansion,

but also provide a model of tolerance for pilgrims and

religious tourists of all faiths.

The common shortcoming of Palestine in its

entirety, however, is a lack of cultural amenities and

infrastructure capable of sustaining local production

and entertaining visits and imports from abroad; and

the scant facilities which do exist are unequally dis-

tributed among the regions - hence the need for the

Palestinian Authority to adopt a regional approach to

these matters, promoting the movement of cultural

activities from one region to another as well as to and

from Jerusalem and Gaza. If the logistical and finan-

cial obstacles to such movement were overcome in a

pragmatic fashion, there would be a spontaneous upsurge in cultural interest across Palestine. Such an

endeavour requires prudent and transparent financial

management of public funds, however, for - consid-

erations of cultural awareness and acumen apart - the

Palestinians are a well-educated and well-informed

people who do not take kindly to mismanagement and

poor governance.

THE MEDIA

The role of the printed and electronic media in pur-

veying culture and providing a critical assessment of

it cannot be overestimated. The establishment of a

cultural network in Palestine presupposes the proper

incorporation of all media, ranging from the tradi-

tional press and broadcasting media to the more

advanced technologies, such as optical fibres, satellite

broadcasting and digitalization. Initially, this may be

a costly investment but it is an unavoidable one since

such technologies are increasingly important in facili-

tating access to the arts. Moreover, initial investment

can be swiftly recouped.

In any event, over the longer term, television

and radio will still remain the least expensive and

most widely-used vehicles for the promotion of cul-

tural activities. Indeed, culture should be part and

parcel of their fundamental vocation. As has been

evident for many years throughout the world, the

media, especially television, can be both a force for

educational advancement and a vehicle capable of

inflicting immense moral damage, particularly on

young people, who are being exposed to gratuitous

violence with increasing frequency. If the Palestinians

can harness the media’s power and reach in a posi-

tive way, however, television can have an enormous

influence in promoting awareness of the country’s

heritage and in inculcating sound moral values in children’s minds. Through programmes that high-,

light their rich tradition of tolerance and erudition,

young Palestinians may thus develop a sense of pride

in their history and seek to emulate their heroes, past

and present.

With the introduction of new technologies, this

potential will only intensify as barriers to communi-

cation fall and opportunites expand. Indeed, as increasing amounts of leisure time are spent in the

home as a result of the purchase of video equipment

and home computers, the ability of television to

enhance or, conversely, impair people’s cultural aware-

ness will grow. Perhaps most significantly, television

and radio can help to remedy the problem of dis-

seminating artistic works to the public since much

greater numbers can be reached than would be pos-

sible if such technologies did not exist. Artists and per-

formers themselves can likewise benefit for they can

compensate for the relatively small size of their mar-

ket by gaining maximum access to it. The Palestinian media currently comprise one

public television channel and several private and local

channels, one radio station, 5 daily newspapers,

32 weeklies and bimonthlies, 9 monthlies, and a num-

ber of specialized magazines and journals. Evidently,

in conjunction with production and distribution out-

lets and organizations, they account for a major part

of the cultural network of Palestine. If they were fur-

ther strengthened, they could genuinely succeed in

servicing the entire territory.

PROMOTION OF CULTURAL ACTIVITIES

Palestinian culture is constantly threatened by its more

powerful rivals, especially those in Egypt and Israel,

since these competitors are better funded and more

strongly promoted through the media and the new

technologies. Moreover, culture itself has to compete

with other leisure activities such as sport, travel and

less erudite forms of entertainment. This means that

every effort has to be made to maximize the potential

of the arts to attract people’s attention and to affect

their lives. This is not merely a case of offering finan-

cial support to a theatre company or a museum. There

has to be a receptive audience for the resultant

product, be it a play or a book.

16 Chapter 2 - Access to culture

This cannot be achieved without substantial

investment in Palestine’s cultural industry. Cinema

clubs, bookshops, record shops, art galleries and other

cultural outlets all depend on distribution and retail

sales networks. If their stocks are to be constantly updated and expanded while profitability is main-

tained, producers and distributors must make the

necessary investment to ensure that retail demand is

met by adequate supplies and enhanced by appropri-

ate publicity and promotion. Since this is an effort

which, above all, requires a keen sense of business acu-

men, it is obviously not something which can or should

be performed by ministerial fiat. None the less, govern-

ment does have a role to play in promoting and pub

licizing the arts in general.

For example, the British Government, in a radi-

cal departure from previous administrations’ policy, is

currently phasing in, over a period of three years, a return

to free access for all to a number of leading national

museums and galleries. While such a move is costly to

the Exchequer, its benefits in increased access and cul-

tural awareness are incalculable. Moreover, the practice

of government funding for the arts can be extended to

many other areas: a subsidy to a theatre company will

enable it to lower entrance prices, thus greatly widening

its appeal to poorer people, guaranteeing an increase in

audience figures and ensuing revenues, and raising the

cultural knowledge of society as a whole.

KEY RECOMMENDATIONS

1. Establish a genuine cultural network encompassing the entire territory.

2. Map the distribution and development of cultural amenities.

3. Preserve and develop the religious, archaeological,

historical and architectural heritage.

4. Promote cultural imports and exports.

5. Publicize and promote the recording of artistic pro-

ductions for broader distribution.

6. Set up a society for the promotion of the arts and

culture.

7. Encourage the incorporation of cultural education

in various parts of the school curriculum while pro-

moting specific education in the arts and com-

munication.

8. Design educational projects in culture and the arts

for children and adults.

9. Promote reading in schools and society,

Chapter 2 Access to culture 17

Chapter 3 The role of the Palestinian Authority

The Palestinian Authority must co-ordinate the inter-

vention of various ministries (culture, education,

tourism, communication, municipal affairs) and their partners in civil society (associations, individual

artists and performers, town councils) in the cultural

sphere. It must also oversee the distribution of pub

lit funds and promote contributions from the private

sector and foreign donors to Palestine’s cultural

development.

There are various possible approaches to how government administers cultural affairs. France

takes an interventionist attitude to culture whereby

the arts are considered to be a political issue. The

state acts as both architect and engineer of cultural

policy. At the other end of the spectrum stands the

United States where central government interven-

tion is virtually non-existent and culture is very

much in the hands of the private sector. However,

in what is a federal system, there is a measure of

state and local government involvement. In the

United Kingdom, the government adopts a low-key

stance and decentralizes its intervention through a

number of agencies, including an Arts Council. The

present administration is now undertaking a major

overhaul of the entire field in order to make its

efforts more effective. In Sweden, culture is deemed

to be an asset for the entire public to share in.

Parliamentary debate is frequent and the state

adopts an active stance without, however, being

dirigiste.

In the Palestinian context, it is the Ministry

of Culture which is responsible for designing cul-

tural policies and managing cultural programmes.

As successor to the PLO in this endeavour, it must

seek to move on from what was previously seen to

be an overly ‘elitist’ approach to culture to one with

a much wider appeal to the broad masses of

Palestinians.

CENTRAL GOVERNMENT

Central government’s basic mandate spans the pro-

motion of culture in the broadest sense, the preser-

vation of heritage, the training of professionals in the

arts, and the expansion of access to culture in its

many forms. In a country where there has been no

meaningful opportunity to structure the arts in an

organized way, the Palestinian Authority must fill the void. It is a colossal undertaking, therefore, and

one which will necessarily require the creation of a

limited number of subsidiary and autonomous bod-

ies to share the burden. Moreover, it may be advis-

able for a law to be passed to permit a number of

national cultural institutions, such as the National

Library and national museums, to govern themselves

through publicly-appointed Boards of Governors. In

addition, the creation of independent selection and

appraisal boards to help in determining who will ben- efit from programmes would underline the neutral-

ity of government and its commitment to refrain from

direct interference in the work of artists and

performers.

The fulfilment of this enormous mandate will

entail the enactment of a substantial amount of

legislation. Many of these laws will be enabling

measures, granting autonomy to many of Palestine’s

cultural institutions. Indeed, the leitmotiv of the

Authority should be democratization and decentral-

ization, bringing culture and its administration

closer to the grass roots - both artists and consumers.

This naturally also involves the devolution of much

responsibility to the municipal authorities and the

striking of a healthy balance between the central and

local authorities. It would also be advisable to establish an inde-

pendent body of reputed experts to assist the Culture

Ministry in discharging its mandate. This ‘think-tank’

Chapter 3 - The role of the Palestinian Authority 19

would provide informed advice to the politicians on

all walks of cultural life and help to devise long-term

strategy. Within the ministry itself, a knowledgeable

and experienced workforce should be recruited, and

comprehensive, reliable data and statistics on Palestinian culture and its various components should

be maintained.

Furthermore, the Authority should seek to

enhance the relationship between artistic creativity

and technological progress. It should take account of

the internationalization of the production of culture

since this poses threats to domestic industry. While

globalization is an unstoppable phenomenon and gov-

ernment intervention is out of vogue, this does not

mean that the Palestinian Authority can afford to wash

its hands of its essential mission, especially in so pre-

carious a political and social environment as that

which prevails in Palestine after so many years of occu-

pation and tension. Indeed, in economic terms, much

of the cultural field in Palestine is ‘virgin soil’, and

the opportunity and necessity to develop a thriving

service sector and cultural industry must be seized.

Only government can provide the vision and clout

required to focus this undertaking successfully. It

must exude authority and public credibility with-

out succumbing to the temptations of ditigisme and

conformism.

CULTURE AND TOURISM

How successfully the structure of Palestine’s cultural

life is developed will have a decisive impact on that

culture’s future and, to a considerable extent, on the

country’s economic prosperity. For the heritage and

artistic creativity of Palestine are also economic assets

not to be squandered. The unique importance of its

holy shrines and historic sites makes it a natural mag-

net for tourism and, thus, a vital potential source of

revenue, especially if and when a genuine peace

settlement is reached. The inevitable boom in visits by

religious pilgrims and tourists has to be prudently

managed for the sake of the integrity of that heritage

and to prevent the sort of ill-advised and short-sighted

developments which have been all too obvious in other

countries.

When viewing Palestine’s tourist potential, one

may immediately draw comfort from the fact that the

country is not a natural destination for the visitor in

search of the ‘low-brow’ cocktail of ‘sun, sea and sex’.

Its beach resorts are few in number and confined to

the Gaza Strip, and they are unlikely ever to rival their

better-developed counterparts in Egypt, Israel and

Jordan, or in the Syrian Arab Republic and Lebanon.

Moreover, with its strong moral traditions, Palestine is

never likely to be a target for the sordid and increas-

ingly widespread problem of so-called ‘sex tourism’.

Rather, it should essentially attract the religious pilgrim and the cultural tourist and should concen-

trate its efforts to this end.

None the less, there is a danger that unscrupu-

lous, profit-driven entrepreneurs may seek to exploit

this rich potential in a way that undermines Palestine’s

heritage rather than safeguards it. The recent exam-

ple of an intended hotel development perilously close

to Solomon’s Pools outside Bethlehem is a case in

point, and only resolute intervention succeeded in pre-

empting its construction. Such firm intervention by

government may have to be repeated many times in

future to ensure that a proper balance is struck

between the legitimate need for tourist infrastructure

development and the even more pressing demand of

heritage protection. Encouragingly, the municipal

authorities in a number of major Palestinian towns

have already expressed an unambiguous understand-

ing of this concern.

THE NATIONAL

AND REGIONAL BALANCE

The unequal distribution of cultural activity in the

various parts of Palestine must be remedied. While

some regions teem with festivals, leisure outlets and

cultural ferment, others languish in relative inertia. It is the municipal authorities which have to play the

main role in offering their populations a range of cul-

tural activities and services relevant to their tastes and

needs, in supporting local institutions and in the devel-

opment and upkeep of libraries, exhibition centres

and theatres. They also have a key task to perform in

contributing to the safeguarding of locally-situated reli-

gious and historical heritage. The Palestinian Authority sets down national

policy for cultural infrastructure and its funding. This

encompasses a variety of functions:

- preparation of policies and programmes;

- management of national arts programmes;

- provision of expert advice; - support for the arts and the cultural industry;

- co-ordination; - evaluation;

- support for infrastructure and heritage develop-

ment.

20 Chapter 3 The role ofthe Palestinian Authmity

Regional authorities, meanwhile, complement

this central role in the following ways:

- conveying the needs of regions to the central

authorities; - managing a number of regional programmes;

- maintaining regional archives;

- promoting partnership at the local level.

In more narrow terms, the municipal authori-

ties have to preserve and develop heritage, create and

support local institutions, organize local leisure pur-

suits and develop local amenities.

SELECTION AND

APPRAISAL BOARDS

The composition and functioning of these boards

would be subject to formal rules consistent with gov-

ernment policy. Their appointees would come from

outside the civil service and would be chosen on the

strength of their proven competence in various

avenues of the arts from a roster of candidates nomi-

nated by artists’ associations and cultural organiza-

tions. They would act as a jury to analyse and appraise

the requests for grants and subsidies submitted by indi-

viduals or organizations and to make recommenda-

tions upon them to the ministry. They may even indi-

cate the sum of money deemed appropriate for each

successful request. Their composition and decisions

would be placed in the public domain through an

annual report by the ministry.

ARTISTS’ ASSOCIATIONS

While artists’ and performers’ associations already

exist for many of the arts, the Authority should actively

encourage their creation in others in order that a com-

prehensive network of bodies exists for professions as

diverse as writers, painters, actors, singers, film pro-

ducers, translators, graphic designers, record pro-

ducers and museum curators. Since they play an

invaluable role as spokesmen for their members’ inter-

ests and grievances, they require proper legislative pro-

tection through official recognition of their legal and

fiscal status. The Authority must actively co-operate

with them and consult them regularly on matters

which have a direct bearing on their careers and on issues of common concern. The time is probably ripe

for a thorough reappraisal of the development of such

associations and they should be thoroughly consulted

in this process.

ACADEMY ON CULTURAL POLICIES

The key institution upon which the Authority

should call would be an academy on cultural poli-

cies - a sort of clearing house responsible for com-

piling and collating reliable, constantly updated

sociological, statistical and economic information.

This information would provide ministries with a

precise indication of the cultural needs, customs

and practices of Palestinians. The Academy would

be governed by representatives of the ministries,

municipalities and artists’ associations, intellectu-

als and businessmen. It would act as a focal point

for qualitative and, quantitative data on cultural

heritage, cultural practices, cultural industries and

the funding of the arts. Much of this information

is already available in universities, research centres,

ministries and municipalities, but it has not been

consolidated in one place and is therefore of lim-

ited use. Once collated, this information can also

be more thoroughly analysed and debated in the

Academy. This exercise can be furthered by second-

ments of researchers to the Academy, the estab-

lishment under its aegis of networks of scholars in

the cultural field, and the implementation ofjoint

projects.

More specifically, the main functions of the

Academy would be to:

1. provide a solid corpus of studies and research on

cultural policies;

2. collect and keep up to date a compendium of cul-

tural indicators; 3. create an archive of documentation on cultural

heritage;

4. serve as a forum for debate on cultural policies

through the organization of symposia and seminars

and the publication of reports and studies;

5. disseminate information on cultural policies to

strategists, decision-makers, administrators and

researchers.

It should be stressed, however, that the Academy would

not operate as a sort of ‘National Council for Culture’.

Rather, it would serve as a centre for objective infor-

mation and provide a framework for shedding light

on factors relevant to strategic policy-making and

development planning.

ADVISORY COMMISSION

It is further suggested that an Advisory Commission

be created - rather than a National Council or Higher

Cha@r 3 The role of the Palestinian Authority 21

Council on Culture. This would allow greater flexi-

bility and obviate the creation of cumbersome admin-

istrative structures. It would rely heavily on the

Academy for its input and its fundamental mandate would be to offer opinions on the implementation of

cultural policy. Its kudos and credibility must stem

from its professional expertise and the quality of its

services, and its performance should be regularly

appraised - after periods of five years, for example. If

its usefulness proves to be questionable, it should be

modified accordingly or, if necessary, disbanded -

hence the advantage of its being a flexible, consulta-

tive body.

THE ROLE OF

THE PRIVATE SECTOR

Individuals from the private sector should be encour-

aged to contribute to the advancement of Palestinian

culture, both financially and administratively.

Businessmen may be appointed to governing bodies,

invited to spearhead public fund-raising campaigns

and encouraged to assist artists and performers

through the provision of logistical and personnel

support such as the loan of premises or the sec-

ondment of staff. They may also be decisive in using

their influence with companies and organizations

to secure valuable financial assistance for cultural

activities.

FINANCIAL CONSIDERATIONS

1. It is recommended that no less than 1 per cent of

the national budget be earmarked for culture.

2. Public subsidy should not overshadow the responsi-

bility of the private sector, and private funding of

major exhibitions, festivals and other cultural

events should be actively encouraged.

3. Consideration should be seriously given to the

possibility of according charitable status to many

private sector initiatives in the cultural sphere, thus

enabling individuals and private groups to benefit

from tax exemptions on cultural activities to which

they contribute for the public good.

4. The Palestinian Authority should be the driving

force behind the instigation of financial partner-

ship between the public and private sectors.

5. Municipal authorities must play a leading role in

the organization and consequent funding of cul-

tural activities. Many already do so in the areas of

music, theatre, dance, libraries and heritage. While

the Palestinian Authority can provide the basis for

local culture through research, development and

support for production and distribution, it is the municipalities which are effectively ‘at the cutting

edge’ of culture because of their proximity to their

populations and familiarity with their needs and

tastes.

BUDGET PLANNING

Budget planning must be especially rigorous. There

needs to be a clear definition of objectives and an

identification of those areas of culture which warrant

special attention and support. In determining which

bodies are to qualify for subsidy and which pro-

grammes and projects are to receive what measure of

assistance, the Palestinian Authority must pay special

attention to the long-term interests of Palestinian cul-

ture: how much funding should be granted to the pro-

tection of houses of historical interest; how much

should be earmarked for the national museum, a

national orchestra or theatre company; and how much

support should be extended to meet the demand for

vocational training in the arts? A plethora of choices

have to be made and this is only possible through dis-

ciplined and informed budget planning.

PUBLIC SUBSIDIES

With the proliferation and ever-increasing diversity of

cultural projects, it is accordingly difficult for the

Palestinian Authority to meet spiralling demand.

There is a danger that, once granted, a public subsidy

may be viewed by its recipients as an acquired right

to be reconfirmed year in, year out, irrespective of the

inherent worth of the initial project or the relevance

of its continuation. Such inefficiency and wastefulness

must be eradicated if genuine needs are to be prop

erly addressed and fully satisfied, and prime respon-

sibility for this lies with the recipient organizations and

associations themselves. There has already been an

unnecessary multiplication of cultural bodies and pro-

jects in Palestinian culture. Too often public generosity

has been abused in the undertaking of studies and

projects of dubious benefit and the time has come for

judicious pruning of demand. It is only through the

establishment of clear priorities and rigorous budget-

ing that unnecessary and costly dispersion will be

avoided.

22 Chapter 3 - The role of the Palestinian Authority

Conclusion

Through the ages, Palestine, owing to its Canaanite

inheritance, has been a land of spiritualism and mys-

ticism from which Judaism, Christianity and Islam have

sprung. A mosaic of peoples confronting a shared des-

tiny, it has also been a place of commerce and

encounter to which mankind owes much of its heri-

tage. Above all, however, it was destined to be a beacon

of tolerance and peaceful coexistence. The safe-

guarding and enhancement of the heritage of the Holy

Land, therefore, can only help both the inhabitants

of the region and visitors from elsewhere to compre-

hend more clearly the mark that religious openness

and cultural pluralism have left upon it. This study has sought to outline the problems

facing the development of a comprehensive cultural

policy for Palestine and to propose realistic solutions

to them. In conclusion, two points need to be stressed.

Firstly, Palestinian culture must be allowed to

develop freely and spontaneously without government

interference or control. If its enormous potential is

to be fulfilled, freedom of artistic expression must

be the paramount guiding principle, and any gov-

ernment action in the cultural field must be under-

taken in support of that purpose, rather than to its

detriment. This goal requires the adoption of legisla-

tion on heritage, archives, libraries, books, cinema,

museums and on the professional status of artists and

performers. Secondly, the time and attention devoted to cul-

ture in schools must be substantially increased. This

is no longer merely a question of making culture a

less marginal avenue of study. The rapidly growing

importance of modern technologies, such as elec- tronics and informatics, and the exponential surge in

the importance of communications, especially the

Internet and artificial intelligence networks, now make

culture a vital factor in how the world of the twenty-

first century develops. Thus, a thorough education in

culture and communication is no longer a ‘luxury’ to

be indulged when government resources permit. It

has now become a prerequisite which must be met if

Palestine is to compete and succeed in all sectors of

modern life, especially the economic field.

One of the most important proposals in this

study has been the creation of an academy to promote

these objectives and to develop these ideas in greater

detail. Its creation as well as the implementation of

most of the other proposals in this study will, how-

ever, require substantial funding. It is therefore sug-

gested that a special cultural fund be established in

order to attract financial assistance from private and

public sources as well as the international community.

The rewards to be gained from such an endeav-

our are unquantifiable. Indeed, nothing less than

Palestine’s future as a viable modern nation is at stake.

It is the harnessing of culture to the burgeoning world

of communications which will pave the way out of

underdevelopment and political and religious extrem-

ism. Clearly, a prosperous and democratic Palestine is

the best possible guarantee of long-term peace and

security in the Middle East. Moreover, with its wealth

of religious and cultural heritage, the Holy Land may

then more effectively fulfil its natural vocation as a

haven for the world’s pilgrims.

Conclusion 23

Contents