SDC s Strategic Orientation. and artistic exchange with the South and East ( )

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1 SDC s Strategic Orientation for the promotion of intercultural and artistic exchange with the South and East ( )

2 SDC s Strategic Orientation for the promotion of intercultural and artistic exchange with the South and East ( ) Photographs: SDC/Muriel Hanusch, Caminada 2

3 «La culture est au début et à la fin de tout développement.» Léopold Sédar Senghor The SDC promotes intercultural and artistic exchange with the countries of the South and East as part of its global, integrated and comprehensive vision of culture and sustainable development. This approach provides an institutional anchor for the different aspects of promoting the cultures of the developing and transitional countries and cultural exchange. It will serve as a basis for setting up a new cultural programme to be implemented in Switzerland (Dimension A below). It should first be made clear, however, that the SDC does not have an explicit mandate from the FDFA or the cantonal or local authorities for promoting other cultures in Switzerland. It is not the SDC s primary task to nurture Switzerland s image through the cultural activities that it supports however with its programme it will contribute to that. 3

4 The 3 dimensions of the SDC s commitment to culture Dimension A: Access for artists from the countries of the South 1and East to the Swiss cultural scene and the Swiss public Support will be given to cultural partners in Switzerland who promote art forms from the countries of the South and East, contribute to intercultural exchange, and work to ensure that this cultural promotion enables artists from developing and transitional countries to have access to the general public, networks and the global market for culture and art. The Knowledge and Learning Processes Division is the service that is responsible for promoting the culture of countries of the South and East in Switzerland (operational programme) as well as for exchanging ideas and sharing know-how on the topic of culture throughout the SDC. Dimension B: Cultural promotion of partner countries As part of the country or regional priority strategies for cooperation, support for cultural projects is an essential element for developing capacities and sustainable development. It can be used as a means to facilitate change or transition, to achieve the aims of fighting poverty, prevent or resolve conflict, and ensure good governance, freedom of expression and democratisation. This type of support enables intercultural exchange to be encouraged, to strengthen social cohesion and civil society participation, to help maintain cultural diversity and different cultural identities, and to develop the skills and abilities of the actors in the cultural scene in these countries. At a multilateral level, the SDC may occasionally take positions in the normative procedures of the United Nations, notably within the General Assembly and the Economic and Social Council. The cultural projects or programmes that take place in the field are the responsibility of the geographical divisions within the SDC and their cooperation offices. The principles of the SDC s work in the field of culture that were set out in 2002 remain valid in this respect, including the principle of the cultural percentage that allows at least 1% of the programmes per country to be devoted to cultural activities. This cultural percentage is an indicator; it does not necessarily cover all the cultural initiatives in the field, some being part of other sector programmes (for example AIDS prevention with street theatre as part of a health programme). At a multilateral level, the SDC may take positions in the normative procedures of United Nations, notably within the General Assembly and the Economic and Social Council. 4

5 Dimension C: Development of intercultural competences A differentiated consideration of the culture and values of partners and a dialogue between equals that respects differences are the pillars of cooperation. As a key competence, intercultural perspectives and understanding need to be promoted both internally and among partner NGOs through measures that create awareness and promote the exchange of ideas and learning. Responsibility for Dimension C remains to be determined as part of the reorganisation of the SDC and the FDFA. Despite this distribution of tasks, the SDC does not consider the three dimensions as separate entities but as parts of a coherent whole contributing to the overall thrust of activities in connection with development and transition. Learning in one or other of the dimensions or in different target countries should boost the effectiveness and efficiency of all the cultural dimensions. In view of this, the SDC uses adapted mechanisms to encourage the exchange of information, ideas and know-how between cooperation offices and the staff involved in cultural projects at Head Office. Through this increased exchange, certain cultural partners in priority countries and regions will be able to receive support for activities carried out in Switzerland. 5

6 2 The aim and objectives of Dimension A (Access for artists from developing and transitional countries to the Swiss cultural market and the Swiss public) The aim of this dimension consists of taking into account culture and the arts as important factors in sustainable development, thus enabling them to contribute to the SDC s priorities through their specific means. The objectives of a cultural commitment by the SDC in Switzerland are: A.1 To promote and support, from Switzerland, access for artists, film directors and professional people from the culture scene in developing and transitional countries to the art and cultural market. The promotion of artists and cultural productions from SDC partner countries will be pursued in a more systematic manner. A.2 To help provide at the same time access to a broad general public in Switzerland for cultural expression and productions from developing and transitional countries. A.3 To facilitate within the SDC and on the basis of requests from staff the sharing of know-how and experience gained in cultural activities and development, and to help increase competencies in this field. 6

7 Implementing Dimension A The implementation of this approach will be through reinforcing the exchange of ideas among the staff of the SDC who are responsible for activities in the field of culture and development, as well as between the SDC and other players at a federal level. On request, the Knowledge and Learning Processes Division will facilitate exchanges within the SDC, encourage reflection on the experience gained in relation to culture and the integration of learning processes in the SDC s key procedures. Sharing know-how will be encouraged between members of the SDC s staff through the methods and techniques used for networking. In order to ensure that the SDC s work complements that of other players on the cultural scene, it coordinates its cultural activities with other federal offices at both the strategic and operational levels through appropriate, efficient and transparent mechanisms for exchanging information and dialogue. An annual budget of CHF 3 million has been set up and two positions (totalling 1.2 full-time jobs) have been allocated for planning, implementing and monitoring an SDC cultural programme under the terms of Dimension A. On the basis of the objectives that have been drawn up, a cultural programme corresponding to this dimension will be put together in autumn 2009; it will set out the activities that will be supported from 2010 onwards as well as the expected results of this involvement in the cultural field. This programme will also take into account the limited human resources available and will consequently reduce the number of projects. the programme and assuming its role as a facilitator of exchange of ideas in the cultural field. The SDC will continue to contribute towards steering the programme by means of current management tools (project cycle management). As far as the chain of production, promotion and distribution of cultural activities is concerned, the emphasis promotion will be on the market and the consumption of cultural products and promoting artists in order to achieve better publicity, circulation and sale of their works in Switzerland and Europe. With a maximum share of 60% for cinema and 30% for music, cinema and music will be the priority sectors for the cultural programme under Dimension A. This choice of priorities can be explained by the know-how and experience gained by the SDC in these two fields over the past 20 years as well as the position enjoyed by these two sectors in the market and in promotion. Cinema is a popular medium, a global and all-embracing art that combines most other means of expression and penetrates into an another world through its society, its language, its music and its means of expression, reaching out to other people and telling stories. It is the medium that reaches the greatest number of young people. Music is also a popular and unifying art which mobilises young people and ensures a positive visibility for developing and transitional countries. Music and cinema are appreciated by a broad section of the public through digital media and at a low cost, unlike some other art-forms. 3 The programme will concentrate on the partners that meet the new requirements. It is also planned to have a outsourcing of certain implementation tasks so that the Knowledge and Learning Processes Division has sufficient resources for managing 7

8 4 The principal directives for Dimension A >>The SDC s projects should complement the workings of the markets. The SDC sponsors projects that cannot gain access to the arts market by their own means or which, as a result of their specific status as cultural products, cannot simply be reduced to marketable consumer goods, and in order to develop their activities. >>The SDC supports projects on the basis of a principle of subsidiarity. The SDC supports projects whose setups funding demonstrates the participation of other public or private sponsors. It does not subsidise, however other federal authorities targeting the same aspect of the project. >>The SDC gives priority to partnerships with competent parties. The promotion of intercultural exchange and mobility of creative people working in cultural activities from developing and transitional countries is done through partnerships with professionals from the Swiss cultural scene, be they from the private sector or non-governmental. >>The SDC supports its partners in the medium and long term. In order to ensure continuity and efficiency, the SDC gives priority to programmes and events whose focus are not only momentary but continue year after year through selective activities that have lasting consequences. >>The SDC does not get involved in specifically local activities. The SDC takes care not to focus its cultural programme in Switzerland on elitist or local events that are of interest to only connoisseurs or a very limited public and concern only a small area, but rather events that will attract a large number of people and can have a multiplier effect. >>The SDC encourages consideration of its priority countries and development themes. The SDC regularly organises discussions about its programmes with its partners, leaving them the freedom they need to work and gain credibility. The aim of these discussions is to ensure a more important place for artistic productions originating in the SDC s priority countries and to define thematic windows that address the key issues of development. >>The SDC takes into account the diasporas that exist in Switzerland. Migration and the existence of diasporas in Switzerland will be taken into account in the implementation of the programme: the support given to artists from the diaspora should also have positive consequences for their home countries and serve as a catalyst for cultural development in their local areas. 8

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10 APPENDIX I Context and justification of the SDC s strategy of promoting intercultural exchange and artists from the southern hemisphere and Eastern Europe ( ) Culture may be understood as different forms of artistic expression (cinema, the performing arts, the fine arts, etc.). At the same time, it may be understood from a broad ethnological standpoint, which includes all aspects characterising a given society. This broader concept includes all distinctive features, whether they be of a spiritual, material, intellectual or emotional nature, that characterise a society or social group. The broader concept therefore goes beyond arts and literature to include such things as lifestyles, basic human rights, value systems, traditions and beliefs. As stated in UNCTAD s recent Creative Economy Report, globalisation and connectivity are new realities that have fundamentally changed the way culture is perceived. The term creative economy has been coined. Creative industries are situated at the crossroads between arts, culture, business and technology. They cover the full cycle of creation, production and distribution of intellectual goods and services. These industries are connected to traditional sectors such as folkloric arts or music as well as more technological sectors such as cinema or advertising. They generate an increasing number of jobs and their revenues far exceed what one would normally expect from the cultural sector in the traditional sense. The SDC s activities are based on the broader concept of culture, which includes both culture in the strict sense, as well as symbolic forms of knowledge and behaviour such as popular and traditional art, craftsmanship, oral traditions and traditional knowledge. The SDC also takes new information and communication technologies (ITC) into account, perceiving these to be an opportunity for developing countries to improve and promote their creative industries. According to UNCTAD s Creative Economy Report, the creative sector is one of the most dynamic sectors of world trade. Driven by ITC, world trade in creative goods and services has increased at an average annual rate of 8.7% in recent years. Culture has long played an important role in Swiss development cooperation activities, whether it be direct support for cultural projects in partner countries and Switzerland or indirect support by including cultural aspects in SDC development programmes or projects. Within the framework of its communication mandate and in the spirit of UNESCO s World Decade for Cultural Development ( ), the past twenty years have seen the SDC lending support to activities in Switzerland designed to encourage intercultural exchange and the presence of southern hemisphere and Eastern European cultural expressions. These awareness-raising activities have been intended to help the Swiss population gain a clearer understanding of people from the southern hemisphere and Eastern Europe and encourage greater solidarity towards these regions by establishing emotional and interactive contact. These events have also helped to support artists from these countries. The activities relating to cinematographic production and distribution, the performing arts, literature and the fine arts have been carried out with various partners such as festivals and museums. Significant results have been achieved in the area of cinema, where continuous SDC support has had both a quantitative and qualitative impact: more films from the southern hemisphere and Eastern Europe have been publicized, distributed, and shown in Switzerland, and at the same time audience numbers have grown. A recent assessment of Artlink Swiss agency for promoting artists from the South and East, showed how cinema has become an important means of promoting the performing arts from countries in the southern hemisphere and Eastern Europe.

11 The SDC s commitment to culture and development is based on Swiss legislation and the SDC s strategies. According to the Federal Act of 19 March 1976 on International Development Cooperation and Humanitarian Aid (SR 974.0), culture is recognised as an integral part of the development process. Cultural development is also mentioned in this Act as one of the objectives of development cooperation with Eastern European countries. 1 Moreover, the SDC s cultural commitment is set forth in international legislation: in 2005, UNESCO member states adopted the Convention on the Protection and Promotion of the Diversity of Cultural Expressions. While recognising cultural goods and services as both commercial products and carriers of identity, values and meaning, this Convention leaves states free to develop national cultural policies as they see fit. It also gives cultural goods and services a special status that places them beyond the scope of free trade negotiations. International cooperation and cultural expressions of developing countries are core aspects of this Convention. Switzerland became a signatory country to this Convention on 16 October 2008, which means that it is willing and able to take part in international efforts to promote cultural diversity. Culture is a value in and of itself. However, it is also a foundation, an object and a vector of development cooperation. And yet, culture is often relegated to the bottom of the list of development policy priorities, easily forgotten in times of crisis. Nonetheless, cultural expressions, the first glimpse of human creation and innovation, have always been catalysts of social change and introspection. Culture and art are the main expressions of social transformation, at the very heart of development. The non-exhaustive arguments that follow seek to highlight this interdependence. Culture, economic growth and poverty reduction. The culture of developing and transition countries is often very rich, diverse and flourishing. The cultural sector and creative industries form a major part of the informal economy. Indian cinema, for instance, is a perfect illustration of how cultural industries can be the source of large-scale economic growth. There is real, and yet still untapped, economic potential for certain cultural goods and services that can be gained by enlarging the domestic market and providing access to international markets. Culturally driven economic growth also helps to reduce poverty by creating jobs and income. Culture, prevention of conflicts, governance and democratisation. The deep underlying causes of conflict are rarely simple. A common denominator has nevertheless emerged from recent studies of conflict: socioeconomic and political disparities among groups can create tensions and spark conflicts. The same holds true for cultural exclusion such as the lack of recognition of minority groups, languages or religious practices. Policies that respect ethnic, linguistic and religious minorities require a multicultural approach that recognises differences, gives a voice to marginalised groups and promotes cultural diversity and freedom of expression. Promoting respect for cultural diversity helps to strengthen democracy and human rights. It also encourages active citizenship and greater social cohesion. Culture and globalisation as drivers of development. Facilitated by the rapid spread of information and communication technologies, globalisation has undoubtedly created new means of interaction between cultures. At the same time, it may have a detrimental effect on cultural diversity and could create new, or broaden existing, gaps between the capacities of rich and poor countries to project their culture. At the same time, new technologies also offer an unprecedented opportunity to further develop the artistic sectors of developing countries by encouraging them to produce more, at a lower cost, and for larger audiences. Intercultural exchange and dialogue. A culture that neither has the opportunity to enrich itself nor unfold as a result of contact with others is in danger of losing its identity. Strengthened by the free circulation of ideas, cultural diversity creates a world that is richer and more varied, a world that offers a wider range of possible choices, a world that feeds capacities and sustains human values. Cultural diversity makes an essential contribution to tolerance, mutual understanding and respect for differences. Intercultural dialogue enables open communication between people at the local, national 1 SR 974.0, Art. 6 (a); SR 974.1, Art. 2 (b). The Federal Council Dispatch on the Continuation of Technical Cooperation and Financial Aid for Developing Countries , which was drafted on 14 March 2008, mentions culture as a theme to be taken into account in development cooperation activities. The Federal Council Dispatch on the Continuation of Traditional Cooperation with Eastern European Countries, which was drafted on 15 December 2006, identifies culture as an indicator, object and instrument of the transition process that will take these former soviet-bloc countries towards the rule of law, pluralist democracy and a social, market-based economy. See Appendix II for more details regarding the above-listed references. 2/3

12 and international levels and determines the successful outcome of development cooperation and mutual understanding among states in general. The arts are also an arena for symbolic comparison and confrontation, enabling individual expression, critical introspection and mediation. The arts freely and easily cross borders. They establish connections, offer new possibilities for dialogue, and speak directly to people s emotions, encouraging them to respond and take action. Other appendices provide additional documentation regarding the SDC s strategic focus - Appendix II: National and international framework conditions - Appendix III: Culture in development cooperation activities and references - Appendix IV: Other national agencies whose bilateral activities combine culture and development - Appendix V: SDC working principles in the area of culture since /3

13 APPENDIX II: National and international framework conditions Message South of 14 March 2008 concerning the continuation of technical cooperation and financial assistance for developing countries Section 1.1 The challenges facing international development cooperation Contact and cultural conflict: The spread of radio, television and the internet, as well as an increase in individual mobility, have led to the almost instant exchange of information across a good section of the globe. Communication thus favours mutual understanding across national borders. The trend towards cultural uniformity and the desire to maintain one s own well-being have had negative consequences, however, including increased prejudice, an emphasis on cultural specificities and a growing tendency to reject or exclude others. This problem is evident not only in relations between countries, but also in countries and cities that are home to people of different ethnic backgrounds. Section 1.3 Switzerland s interests and responsibilities Cultural policy: Globalisation has brought countries and regions closer together from a political, economic and social point of view. In an effort to encourage the exchange of ideas and understanding between different peoples, Switzerland is in a position to protect the interests of different regions, different cultures and different religions through its development cooperation. Section 4.5 Collaboration with aid organisations and research institutions and public/private partnerships in Switzerland The SDC uses the media and communications platform to inform public opinion in Switzerland about our country s commitment to development cooperation. This information should enable each citizen to form his or her own opinion about current challenges. It should also promote the basic values that underlie the work done by the SDC: solidarity, good governance, respect for other cultures, etc. Message of 15 December 2006 concerning the continuation of cooperation with Eastern Europe and the CIS Section Encouraging stability and good governance to create democratic, constitutional states The main concerns of Swiss cooperation with Eastern Europe include the promotion of democracy and human rights. In fact, measures aimed at instituting good governance and a constitutional state play a crucial role in the success of Eastern Europe s transition. A democratic, participative and pluralistic concept of the state is essential if the individual persons, their identity and their culture, civil society, and freedom of opinion are to flourish under a stable political system (...) Many countries in Eastern Europe and the CIS have made remarkable progress with regard to good governance and human rights. They have adopted a modern constitution; they regularly organise elections based on democratic principles; and representatives of a multitude of parties sit in their parliament. This progress with regard to civil and political rights contrasts sharply with the marked sluggishness concerning the introduction of economic, social and cultural rights (...) In this respect, the efficiency of public services and effective decentralisation are of key importance. At the same time, institutions need to be set up at grass-roots level; the rights of minorities need to be respected, the power of civil society needs to be strengthened; and gender and cultural equality needs to be promoted (...) In the post-communist context, the problem of ethnic and religious identity is particularly acute, since nationalistic trends and politicians have been taking advantage of this problem for many years, unscrupulously manipulating the ethno-nationalistic conscience of young people to assuage their thirst for power. The Balkan wars show how disastrous the consequences of such manipulation can be. The fall of communism also led to massive confusion among the population. Major social change demands that nations create a new cultural identity. The collapse of values and cultural identity in Eastern Europe constitutes a risk that is often underestimated. The situation of artistic circles and cultural institutions is precarious, and cultural diversity is particularly poorly viewed in the multi-ethnic regions of South-Eastern Europe, the Caucasus and Central Asia. The protection and respect for cultural minorities and the promotion of diversity of local expression always help to achieve a pluralistic and open society. Cross-border cultural exchange also encourages mutual understanding and thus helps to prevent inter-ethnic tension and conflict. Appendix II

14 Section 2.2 The aims of the proposal The continuation of cooperation with Eastern Europe sits well with the aims of Swiss foreign policy: to ensure the peaceful co-existence of different peoples (...) Cooperation with countries in Eastern Europe is also advantageous from a domestic point of view: it is in Switzerland s own interest to ensure that Eastern Europe develops in a peaceful and sustainable way. Cooperating with Eastern Europe therefore means helping to guarantee security in the broadest sense. Allowing for the risk of latent conflict, migratory movements and organised crime, cooperation is an investment in stability, security and well-being, and Switzerland will be able to draw full benefit from this. Intensified contact and exchange of ideas also stimulates Swiss institutions, for example in the fields of science and culture. Section Good governance, stabilisation, democracy and security In order to prevent conflict and ease tension in regions where the situation remains precarious, first and foremost we need to promote not only peaceful solutions to conflicts, but also integration, reconciliation and cultural diversity, as well as taking measures to protect minorities and the disadvantaged. Be it in the western Balkans, Transcaucasia or Central Asia, these instruments are deployed through a cross-border approach. Section Regional priorities and programmes In order to complete its bilateral and regional programmes in specific countries, Switzerland is also implementing themed regional programmes that channel and make use of the specific expertise of certain Swiss partners, in particular in the fields of culture, research and police reform. Section Partners and institutions (...) Many organisations involved in these cooperation programmes have made an important contribution towards establishing solid partnerships which to this day continue to encourage better mutual understanding and an interest in cultural exchange. The immediate advantages of collaboration in research and cultural affairs for both sides have been obvious. UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions Article 7 Measures to promote cultural expressions Parties shall endeavour to create in their territory an environment which encourages individuals and social groups: (b) to have access to diverse cultural expressions from within their territory as well as from other countries of the world. Article 12 Promotion of international cooperation Parties shall endeavour to strengthen their bilateral, regional and international cooperation for the creation of conditions conducive to the promotion of the diversity of cultural expressions, taking particular account of the situations referred to in Articles 8 and 17, notably in order to: (a) facilitate dialogue among Parties on cultural policy; (b) enhance public sector strategic and management capacities in cultural public sector institutions, through professional and international cultural exchanges and sharing of best practices; (c) reinforce partnerships with and among civil society, non-governmental organizations and the private sector in fostering and promoting the diversity of cultural expressions; (d) promote the use of new technologies, encourage partnerships to enhance information sharing and cultural understanding, and foster the diversity of cultural expressions; (e) encourage the conclusion of co-production and co-distribution agreements. Article 13 Integration of culture in sustainable development Parties shall endeavour to integrate culture in their development policies at all levels for the creation of conditions conducive to sustainable development and, within this framework, foster aspects relating to the protection and promotion of the diversity of cultural expressions. Article 14 Cooperation for development Parties shall endeavour to support cooperation for sustainable development and poverty reduction, especially in relation to the specific needs of developing countries, in order to foster the emergence of a dynamic cultural sector by, inter alia, the following means: (a) the strengthening of the cultural industries in developing countries through: (i) creating and strengthening cultural production and distribution capacities in developing countries; (ii) facilitating wider access to the global market and international distribution networks for their cultural activities, goods and services; (iii) enabling the emergence of viable local and regional markets; (iv) adopting, where possible, appropriate measures in developed countries with a view to facilitating Appendix II

15 access to their territory for the cultural activities, goods and services of developing countries; (v) providing support for creative work and facilitating the mobility, to the extent possible, of artists from the developing world; (vi) encouraging appropriate collaboration between developed and developing countries in the areas, inter alia, of music and film; (b) capacity-building through the exchange of information, experience and expertise, as well as the training of human resources in developing countries, in the public and private sectors relating to, inter alia, strategic and management capacities, policy development and implementation, promotion and distribution of cultural expressions, small-, medium- and micro-enterprise development, the use of technology, and skills development and transfer; (c) technology transfer through the introduction of appropriate incentive measures for the transfer of technology and know-how, especially in the areas of cultural industries and enterprises; (d) financial support through: (i) the establishment of an International Fund for Cultural Diversity as provided in Article 18; (ii) the provision of official development assistance, as appropriate, including technical assistance, to stimulate and support creativity; (iii) other forms of financial assistance such as low-interest loans, grants and other funding mechanisms. Article 15 Collaborative arrangements Parties shall encourage the development of partnerships, between and within the public and private sectors and non-profit organizations, in order to cooperate with developing countries in the enhancement of their capacities in the protection and promotion of the diversity of cultural expressions. These innovative partnerships shall, according to the practical needs of developing countries, emphasize the further development of infrastructure, human resources and policies, as well as the exchange of cultural activities, goods and services. Article 16 Preferential treatment for developing countries Developed countries shall facilitate cultural exchanges with developing countries by granting, through the appropriate institutional and legal frameworks, preferential treatment to artists and other cultural professionals and practitioners, as well as cultural goods and services from developing countries. Appendix II

16 APPENDIX III: Culture in development cooperation Preliminary comment In its rich diversity, culture has the same intrinsic value for development as it does for social cohesion and peace. Cultural diversity is a driver of economic growth and helps people to live more satisfying intellectual, emotional, moral and spiritual lives. It is a vital asset when it comes to reducing poverty and achieving sustainable development. At the same time, recognition of cultural diversity encourages dialogue between civilisations and cultures and leads to respect and mutual understanding. Culture is a resource in its own right and access to culture should be a priority in development policies. Culture is the soul and voice of a people. Culture determines how a society works and, therefore, also its economic structure. This is why I think it is only by taking the distinct social and cultural character of Africa into account, its richness and diversity, that our development aid can make an impact on the actual situation on the ground and thus be more effective. The principle of having partner countries take ownership plays a key role in this respect: it should naturally lead to the systematic consideration of social and cultural dimensions. Louis Michel, The EU Development Policy, 2005 Economic development Like other countries, developing countries have rich and thriving cultural diversity. Much of the informal economy in developing countries is already related to the cultural sector and creative industries. The fact that cultural industries can foster economic development in developing countries is already evident on a large scale in China and India; increasingly, smaller developing countries are becoming aware of the economic potential. By developing the capacity of cultural industries, the domestic market can be enlarged, and opportunities to access the international market can be increased. The economic potential of certain industries in countries such as Morocco (cinema and publishing), Mali (music), Senegal (music), the Ivory Coast (publishing), Burkina Faso (broadcasting), South Africa (music and film) is remarkable. Today, the creative industries are among the most dynamic sectors in world trade. Between 2000 and 2005, international trade in creative goods and services experienced unprecedented annual growth, i.e. 8.7% on average. The value of worldwide exports of creative goods and services rose from USD billion in 1996 to USD billion in 2005, representing 3.4% of all world trade. [Source: UNCTAD 2008] In the countries of the European Union, the turnover of creative industries was EUR 654 billion in (By way of comparison: the turnover of the car manufacturing industry rose to EUR 271 billion in 2001 and the turnover generated by ICT manufacturers rose to EUR 541 billion in 2003 [figures for the EU-15]). The sector therefore accounted for 2.6% of the EU-15 s total GNP in Growth in the sector in was 12.3% higher than growth in the rest of the economy. In 2004, at least 5.8 million people were employed in the sector, i.e. 3.1% of all jobs in Europe. [Source: European Commission 2007] The production and consumption of cultural goods or services uses intermediate goods, supplies and equipment produced by other sectors of the economy. Consequently, growth in the cultural sector has a multiplier effect. Therefore, exports by developing countries of related creative goods (particularly computers, cameras, televisions, radios and audiovisual equipment) rapidly increased between 1996 and 2005, rising from USD 51 billion to USD 274 billion. This spectacular increase shows the catch- 1

17 up measures currently being applied by a certain number of developing countries in order to increase their capacity to supply global markets with value-added products. This phenomenon also confirms the fact that there is a constant increase in the demand for creative products whose distribution and consumption depends on related industries. [Source: UNCTAD 2008] The vast majority of developing countries do not always manage to convert their creative capacities into factors promoting development. The obstacles preventing developing countries from improving their creative economy are a combination of weak objectives on the part of the countries themselves and flaws inherent to the global system. Therefore, Africa s share of world trade in creative products remains marginal, at less than 1% of worldwide exports. [Source: UNCTAD 2008] Culture is an important driving force in tourism, which is one of the most successful European sectors. Tourism accounts for 5.5% of the EU s GDP (2004: 416 million visitors) and where Europe s share of the global tourism market amounts to 55%. [Source: UNCTAD 2008] The biggest festival in the Caribbean, the Trinidad Carnival, attracted more than 40,000 visitors in 2004 and generated USD 27.5 million in takings. As for the St. Lucia Jazz Festival, it attracted 10,000 visitors who spent USD 17.3 million in In Jamaica, the Reggae SumFest Festival would supposedly generate an economic impact of about USD 12.3 million. [Source: CARICOM 2006] Innovation Creative entrepreneurs and an energetic cultural industry provide a unique source of innovation for the future, particularly through their close links with new information and communication technologies (ICTs). This potential must be fully exploited. In the most advanced countries, creative industries now seem like a strategic choice to revitalise economic growth, create new jobs and bring about social cohesion. Towns classed as being creative are multiplying across Europe and North America, revitalising the economy of town centres by means of cultural and social activities which offer attractive jobs, particularly for young people. In May 2007, the European Commission proposed a new European agenda for culture in a globalising world. One of the main objectives of the new agenda is to promote culture as a catalyst for creativity within the framework of the Lisbon strategy for growth, employment, innovation and competitiveness. The Commission recognises that creativity forms the basis for social and technological innovation and therefore constitutes an important factor for growth, competitiveness and employment in the EU. These industries and the creativity they generate are an essential asset for the economy and competitiveness of Europe in a globalising world. [Source: European Commission 2007] Human rights and cultural identity Human development is not just a matter of achieving health, education, a decent standard of living and political freedom. The cultural identities of individuals have to be recognised, and individuals have to be free to express these identities without becoming victims of discrimination in other areas of their lives. Meeting the growing expectations of people who want to be included in society and who want respect for their ethnic background, their religion and their language requires more than democracy and fair growth. It also requires multicultural policies that recognise differences, promote diversity and encourage cultural freedom. Cultural freedom is one of the pillars of human development. Promoting a relationship with culture also strengthens democracy, human rights and the rule of law. 2/6

18 The first instrument of the genius of a people is their language (Stendhal). Literacy, knowledge, social integration everything is conveyed through language, which embodies the national, cultural and sometimes religious identity of individuals. It forms a major part of a human being. However, specialists at UNESCO estimate that half of the 6,700 languages spoken today are in danger of disappearing by the end of the century. The most frequent source of generalised exclusion, even in well-established democracies, is the single language policy. The choice of an official language the language of instruction in schools, the language of legislative debate and civic participation, the language of trade erects barriers and shapes the advantages enjoyed by certain people in life. English and Afrikaans are still the de facto languages used by the courts in South Africa, even though nine other languages have now been officially recognised. Minorities, such as the Kurds in Turkey or the Sinhalese in Sri Lanka, are fighting hard to have their languages recognised and used in education as well as in legal and political contexts. Recognition of a language is not a matter of allowing its use. It symbolises respect towards the individuals who speak it and their culture, as well as their full and complete integration in society. [Source: UNESCO/UNDP 2004] For over five hundred years since the arrival of the Spanish conquistadors, the indigenous peoples of Guatemala have suffered violent repression and exclusion. As the rural communities lost confidence in the country s legal system, public lynchings became the alternative to a formal justice system. This system became notoriously unable to convict criminals or even keep them in jail because of a corrupt bail-bond system. The Peace Agreements of 1996 brought about true reform by forcing the State to recognise traditional Mayan law and authority. These developments are the first towards recognising the distinct cultures of the indigenous peoples of Guatemala. [Source: UNDP 2004] A survey carried out in 60 countries by the World Bank among the inhabitants of poor areas revealed that these people value the recognition of their dignity over the possession of material goods. And the dignity that they claim manifests itself in the ability to express their viewpoints and have their artistic expressions recognised in the same way as those of the elite. [Source: World Bank 2000] Democracy and intercultural dialogue Democracy requires educated, informed and creative citizens, (potentially) free citizens capable of playing an active and responsible role. It can therefore be stated that a democratic community is one in which society encourages artistic creativity and allows creative people to challenge institutions and critically examine existing social standards. It accepts opposing points of view without resorting to lethal violence. It gives the most disadvantaged the chance to demonstrate their know-how and creativity so that they too can contribute to economic, social and cultural change. Solutions to identity conflicts fuelled by a culture of unilateralism can be found through dialogue between different cultures and a better understanding of different cultural values. Therefore, the promotion of world peace relies on policies being introduced on an international scale to promote the diversity of cultural expression, which in turn encourages dialogue between cultures and enables different cultures to be maintained. Consequently, intercultural dialogue is a tool that enables identity balance to be continuously restored by taking new possibilities and experiences into account and adding new facets to identity without depriving it of its roots. Intercultural dialogue helps us to avoid the pitfalls of identity policies and remain open to the requirements of modern societies. 3/6

19 It is art which can form the character of young people by opening their minds in order to evoke respect for others and the desire for peace. (Yehudi Menuhin). Cultural activities encourage the discovery of diverse cultural expressions and therefore contribute towards tolerance, mutual understanding and respect. Cultural creativity can greatly encourage respect for diversity. The arts are also an area of symbolic confrontation and contradiction, allowing individual expression, a place for critical introspection and mediation. They naturally cross boundaries, establish connections and appeal directly to people s emotions. Creative citizens who are engaged in cultural activities create new areas and new avenues for dialogue. [Source: Council of Europe 2008] Basing themselves on the concept of shared humanity, museums and historical sites are able to question selective accounts that reflect the historical predominance of a certain ethnic or national group. They are also able to provide areas of mutual recognition between individuals of diverse origins. A multicultural heritage illustrates the ability to live together in peace with respect for diversity. [Source: Council of Europe 2008] The indigenous peoples of the Chiapas State in Mexico have suffered political and socio-economic deprivation for a long time. Their demands for greater political autonomy, better socio-economic conditions and protection of their cultural heritage led to uprisings against the Mexican State in four municipalities. [Source: UNDP 2004] Social cohesion The Universal Declaration of Human Rights includes cultural rights that encourage participation in the cultural activities of societies (see previous). This participation contributes towards active citizenship and greater social cohesion. The different forms of cultural expression, both traditional and modern, facilitate the interpretation of social realities which are increasingly marked by globalisation, interdependence and diversity. It is through their culture that groups express themselves. And it is from the starting point of their culture that they are encouraged to respond to the challenges they face. Through its power of expression and its potential for innovation, creativity plays an essential role in social transformation processes. Cultural activities, goods and services are representative of identity, values and meaning. Belonging to a culture provides, not least of all, a quality of life and sense of direction. Art and culture and participation in cultural activities as well as social experiences that are associated and interwoven with participation in social life, nourish and develop an individual s principles for a good and successful life. In the realm of culture, society constantly re-examines its values and standards. Consequently, it is important for the development of society that as many people as possible become involved in cultural discourse. This is the background for programmes such as the EU s Citizens for Europe, which mainly seeks to do the following: encourage citizens to become actively involved in the process of European integration; enable them to develop a feeling of European identity; and improve mutual understanding among Europeans. In many areas of Europe, there is now a growing polarisation between communities and groups falling into either the haves and have-nots category. Marginalised inhabitants include ethnic minorities, immigrants, juvenile delinquents or the long-term unemployed. Deprived areas include town suburbs, decaying industrial areas, isolated and declining agricultural areas, etc. Strategies for empowerment are aimed at creating opportunities for marginalised inhabitants and deprived areas to develop these resources. In this respect, culture is a useful means of strengthening social integration and cohesion. Some of the relevant cultural activities in this respect are, in particular, the promotion of initiatives based on strengthening socio-economic competence (social cultural projects, cultural associations, amateur theatre or dance groups, festivals which are organised by volunteers). 4/6

20 Cultural diversity as a resource in itself Every culture originates from a process of mixing, meeting, colliding. Conversely, it is from isolation that civilisations die. (Octavio Paz) The diversity of cultural expression forms the basis of humanity s cultural heritage: A source of exchange, innovation and creativity, cultural diversity is as necessary for humankind as biodiversity is for nature. In this sense, it is the common heritage of humanity and should be recognised and affirmed for the benefit of present and future generations. (UNESCO Universal Declaration on Cultural Diversity, Article 1) Each creation grows from the roots of cultural traditions and develops through contact with others. This is why the heritage of cultural expression, which flourishes in a perpetual motion of rebirth and reciprocal enrichment, must be preserved in all its forms. It must be developed and passed on to future generations as evidence of human aspirations and experience in order to nourish creativity in all its diversity. With the aim of promoting artistic creativity, it is necessary to encourage the circulation of ideas and works and establish cultural policies aimed at ensuring that all cultures have the possibility to produce and distribute their works on a local, regional and global scale. People, groups and societies find their means of expression in artistic creativity. The critical debate with their own culture and with foreign cultures forms the basis of identity and enriches intercultural dialogue. As a State which is party to the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, Switzerland reaffirms its commitment to integrate the cultural dimension as a vital part of its relationships with partner regions and countries. For this integration to take place, an active intercultural dialogue has to be established with all countries and regions, for example, by taking advantage of the linguistic links Europe has with numerous countries. In this respect, it is also important to promote the great cultural diversity of our partners, to be at the service of local identities, to promote access to the culture of local inhabitants and to develop an economic resource that can have a direct impact on socio-economic development. Final comments: The framework conditions under international law Developing countries are faced with particular challenges when it comes to developing their cultural economy. They are frequently unable to tap into the significant economic potential of this sector. They also find it difficult to assert themselves in the global media and culture industry, which is controlled by a few dominant suppliers. There is a lack of infrastructure and suitable legal and political framework conditions (training and advanced training, performance venues, marketing channels, ICT, protection of copyright, State incentives, strategic cultural policy, etc.). It was within this context that the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions was drafted in This Convention seeks to protect and promote the diversity of cultural expressions and recognises the right of all countries to establish provisions in this respect. Objectives such as encouraging dialogue among cultures (Article 1 (c)) and fostering interculturality (Article 1 (d)) and reaffirming the importance of the link between culture and development (Article 1 (f)) clarify the character of the convention, which seeks to foster international co-operation. These objectives are set forth in Articles 12-18: promotion of international cooperation (Article 12), integration of culture in sustainable development (Article 13), cooperation for development (Article 14), collaborative arrangements (Article 15), preferential treatment for developing countries (Article 16), international cooperation in situations of serious threat to cultural expressions (Article 17), International Fund for Cultural Diversity (Article 18). The Federal Council stated in its Dispatch that Switzerland could make a major contribution in this area: After all, the convention confirms the innovative approach that Switzerland uses in the area of development cooperation, which places special emphasis on culture. (BBl ) Referring back to the UNESCO convention, the legitimacy of the activities of the Swiss Agency for Development and Cooperation in the area of culture was even more clearly 5/6

21 enunciated. The mandate given to the Swiss Agency for Development and Cooperation to strengthen the cultural economy, build capacities in developing countries and promote cultural exchange with developing countries is derived directly from international law. Sources and reference works: European Union International Colloquium, Culture and creativity, factors for development, Brussels, 1-2 April 2009 UNCTAD: Creative Economy Report 2008: The challenge of assessing the creative economy towards informed policy-making UNFPA: State of World Population 2008: Reaching Common Ground: Culture, Gender and Human Rights Council of Europe: White Paper on intercultural dialogue Living together with equal dignity, Swiss Agency for Development and Cooperation/Pro Helvetia: Culture at the Heart of Transformation. The Role of Culture in Social and Economic Development: Lessons Learnt from the Swiss Cultural Programme, Charles Landry, 2006 The economy of culture in Europe, a study prepared for the European Commission by KEA, European Affairs, Brussels, 2006 The Cultural Industries in CARICOM: Trade and Development Challenges, Keith Nurse, World Bank: Culture and Public Action: A Cross-Disciplinary Dialogue on Development Policy, 2004 UNDP: Human Development Report 2004: Cultural Liberty in Today s Diverse World Swiss Agency for Development and Cooperation: Culture is not a luxury. Cooperation and development: the cultural aspect, 2003 World Bank 2000: Voices of the Poor The Power of Culture action plan from the Intergovernmental Conference on Cultural Policies for Development, 1998 UNESCO: Our Creative Diversity Report of the World Commission on Culture and Development, 1995 David Vitali, Federal Office of Cultural Affairs (May 2009) 6/6

22 APPENDIX IV: Other national agencies whose bilateral activities combine culture and development SIDA Swedish International Development Cooperation Agency SIDA, the Swedish International Development Cooperation Agency, is a government agency under the Ministry for Foreign Affairs. SIDA's goal is to contribute to making it possible for poor people to improve their living conditions. Objectives Rationale, History, etc. Activities The aim of Side s culture and media cooperation is, consequently, to create conditions for cultural diversity, creative activities and op-port unities for mass media to operate freely. All these components in turn contribute to the fulfilment of the overall objective of Swedish development cooperation - to help create conditions that will enable the poor to improve their lives. Rationale One of the many dimensions of poverty is the lack of access to free speech and the arts. The essence of poverty is not only lack of material resources but also lack of power and choice. Poor peoples access to their own cultural heritage or to opportunities for artistic creativity is often limited. In many countries, freedom of expression and the right to information are restricted - which hampers the democratic development needed for poverty reduction and human rights for all. In recent years culture and media have played an increasingly important role in the struggle against poverty. They can empower people and give them strength by opening ways to knowledge, creativity, self-esteem and identification. Culture and media can increase individuals opportunities to exert influence over their own situation and to participate in society. History Sweden was one of the first countries to give culture a place in government development cooperation - first to a limited extent in the 1960s, and to an increasingly wider extent from the beginning of the 1980s when support to cultural activities designed to protest against the Apartheid regime in South Africa increased significantly. In recent years SIDA's culture and media cooperation has continued to develop with an even sharper focus on poverty alleviation. Support to media development also grew and developed during the 1990s. Its primary task has been to promote freedom of expression: this has mainly been through training programmes for journalists and sup-port to organisations working towards this aim. Support to culture and media activities in developing countries. Analysis, research and debate on the role played by culture in social and economic development. Making the cultural perspective visible within development cooperation. Participation in methodological development of culture and media cooperation. More than forty Swedish institutions theatres, museums, universities, university colleges, cultural centres etc. - work in partnership with similar institutions in developing countries. The Swedish institutions channel SIDA support to their cooperating partners in developing countries. Both partners contribute their knowledge and experience in order to achieve poverty alleviation. Institutional Solutions and Means It is primarily the task of the Division for Culture and Media at SIDA to work with direct support to these areas. Every year the Division channels approximately MSEK 200 to culture and media cooperation in developing countries and globally. However, other Divisions and Departments at SIDA also provide support to culture and media in order to achieve the desired results within their own fields of co-operation (health, urban development, development of democracy etc). Several Swedish organisations cooperating with the civil society in developing countries also receive support from SIDA for culture and media projects. The annual budget of SIDA s Division for Culture and Media is approximately 30M CHF. Other Departments also support activities in the field of culture.

23 NORAD Norwegian Agency for Development Cooperation The Norwegian Agency for Development Cooperation (NORAD) is a directorate under the Norwegian Ministry of Foreign Affairs (MFA). NORAD's strategy towards 2010 states that NORAD: aims to be the centre of expertise for evaluation, quality assurance and dissemination of the results of Norwegian development cooperation, jointly with partners in Norway, developing countries and the international community will ensure that the goals of Norway's development policy are achieved by providing advice and support to the Ministry of Foreign Affairs and Norwegian foreign service missions will administer the agency's grant schemes so that development assistance provided through Norwegian and international partners contributes effectively to poverty reduction. Objectives Rationale, History, etc. Activities Institutional Solutions and Means Underpin NORAD s general development cooperation goals Strengthen people s belief in their own identity, creativity and values Encourage popular participation in development processes Why culture? Throughout the ages and in every society, mankind has expressed itself through song, poetry, pictorial art and drama. This creative ability is a way of relating to life and to the world around us in everyday situations and at times of celebration, in sorrow and in joy. The possibility of expressing oneself through culture and the arts is crucial to human well-being, identity and pride. In a globalized world, individual cultures and cultural heritages help to give people a sense of belonging. Participation through self-expression and communication through culture is an important feature of free, democratic societies. The United Nations defines the right to participate in the cultural life of the community as one of the fundamental Norway s cultural cooperation with developing countries is carried out jointly by the Ministry of Foreign Affairs, Norwegian embassies and NORAD. The Ministry of Foreign Affairs is responsible for cultural exchanges, while the embassies focus on institution-building and human resource development in the cultural sector in their respective countries. NORAD is responsible for providing support for cultural activities through friend-ship links and nongovernmental organizations. NORAD s most important partners and channels for support are Norwegian nongovernmental organizations and their partners in developing countries, and cultural communities in civil society. Promote intercultural human rights (Article 27 of the Universal Declaration of Human Rights). understanding Culture as an instrument Living culture and physical and non-physical cultural heritage can be used as instruments to achieve other development policy goals. Culture offers a rich potential as a development co-operation tool. For instance, culture has proved to be an effective door-opener in peacemaking and reconciliation efforts. Culture is also a dimension of the way in which we organize our societies, and the way we govern and make decisions. Access to resources and power in a society is contingent on culture. Understanding the importance of culture and acknowledging the role that it plays in development processes is essential to understand-ding development as such. It can thus be argued that culture is a dimension of every sector of society and an element of sustainability in the context of development. As Lourdes Airside put it, Culture is a dimension of the totality of social, political and economic relations. (Our Cultural Diversity, UNESCO, 1998) History Norway, along with Sweden, was one of the first countries to include support for culture and the arts in development cooperation. Since the early 1990s, this support has been a small, but important part of development assistance. 2/5

24 DCCD Danish Center for Culture and Development The Danish Center for Culture and Development (DCCD) is a government funded organisation specialised in promoting the presence of Denmark s culture abroad, supporting the cultural sectors in partner countries of the South, and in facilitating the access (in Denmark) to the work of artists of the South. Objectives Rationale, History, etc. Activities Institutional Solutions and Means Presentation of art and culture from the developing countries in cooperation with partners in Denmark and abroad. Information and advice about cultural exchange and cooperation. Allocation of funds for Danish cultural cooperation with developing countries. Co-ordination and implementation of festivals in Denmark for the developing world's cultures. Facilitation of capacity building within the cultural sector in the developing countries as well as presentation of Danish art and culture. The objective of Denmark's development policy is poverty reduction. The basic premise of the present Strategy is the close correlation that exists between culture and development. Development processes are not solely related to economic and social factors. They are fundamentally a question of human development and thereby equally of history and values, of self-understanding and the processes of social interaction. For this reason culture is a key element in all development cooperation. The DCCD promotes cultural co-operation between Denmark and the developing countries in Africa, Asia, the Caribbean, Latin America, and the Middle East. The DCCD cooperates with Danish Embassies and representtations abroad on the task of carrying out the Danish strategy for culture and development. The long term program of development, which managed by the DCCD, is purposed to integrate and develop the culture in the Danish programs of development. 3/5

25 HIVOS Humanistic Institute for Development Cooperation HIVOS is a non-governmental, autonomous, non-profit institution. It is a development organization which stands for emancipation, democratisation and poverty alleviation in developing countries. Thematically, HIVOS gives priority to the following five policy areas: economic self-reliance, the arts and culture, gender, the environment, human rights and AIDS. Objectives Rationale, History, etc. Activities Institutional Solutions and Means 1. Open up, through art and culture, (more) space in society for critical reflection and dialogue on dominant social, political perceptions and practices that impede the development of a society based on participatory and just principles. 2. Contribute to people s selfesteem and notions of identity by stimulating a process of revalorisation and revitalisation of local cultural practices in a contemporary perspective. 3. Promote, through the arts and culture sec-tor, exchange and dialogue between societies in the South and North, contributing to intercultural understanding and cultural pluriformity. 4. Strengthen the capacity of an independent arts and culture sector in the South that works on one or more of the afore-mentioned objectives. HIVOS believes that art and culture perform a vital role in the advancement of democratic and varied societies. That is why HIVOS supports independent and innovative initiatives in Africa, Asia and Latin America that serve to inspire people, stimulate creativity and create possibilities for dialogue. Priorities include encouraging local cultural productions and festivals; developing new talent, developing national and international cultural exchange projects; organising cultural debates and improving the cultural infrastructure. The role of art and culture Art and culture are instrumental in achieving diversity and pluralism. Artists often have the capacity, and often hold a position in society allowing them to provoke, through their art, a debate on issues to contentious to address in the public space because of their political, cultural or religious content. Artists can question issues in a creative, eye-opening, sometimes confronting way. Apart from this confrontational role, the arts can also build bridges by expressing the feelings and aspirations that people share, fostering feelings of recognition and belonging. The arts can in this way contribute to and question individual and collective identities. This role of cultural empowerment can only flourish in a climate of free expression of thoughts, feelings and perspectives on society. This requires that the arts and culture sector remain as independent as possible from government, commercial and donor interferences. History The HIVOS Culture Fund was set up in The HIVOS Culture Fund supports independent artistic initiatives in developing countries. Those initiatives must also be accessible for a wide audience and have national and international appeal. The HIVOS Culture Fund works in such areas as production, exchange, marketing, distribution and capability increase. HIVOS overall budget is around 100 million Euros per year. In 2007, HIVOS spent a total sum of 4.3 million Euros on its partner organisations operating in the field of art and culture. That translates as 5 percent of the total HIVOS budget. In 2007, HIVOS supported a total of 116 partners, in 25 countries, who are involved in cultural productions and their presentation. 4/5

26 Culture et Développement Culture et développement is a French non-governmental organisation devoted to cultural cooperation. Objectives Rationale, History, etc. Activities Institutional Solutions and Means Three stakes Culture et développement focuses on the design and management of cultural projects that contribute to a country s economic development: Even when the technical and financial aspects of operations have been carefully prepared, a successful outcome can be undermined if little or no attention is given to the crucial importance of cultural aspects in a country s social and economic development. Failing to take cultural aspects into account also removes all hope of sustainable development. Therefore, culture needs to be placed at the heart of development activities. Autonomous structure funded by contributions and contractual assignments. It facilitates the dissemination of cultural goods. It supports local initiatives. It develops cooperation between the northern and southern hemisphere. Culture makes groups more dynamic, enables social perceptions and lifestyles to evolve, can encourage greater openness to change and provide access to knowledge. Through culture, the members of a given society gain a clearer understanding of who they are and what values they represent. Culture also enables self-projection and self-analysis. Creative individuals express cultural values and present the image that societies have of themselves. Creative individuals play a central role by portraying day-to-day life and conveying the messages that can help transform this reality. Apart from social and identity-related aspects, culture also offers economic potential that can be tapped by developing cultural trades, creating a professional cultural environment and producing cultural goods and services. Background and mission Culture et développement was founded in Paris on 27 November Its mission is to contribute to the expansion of cultural activities, particularly general education in developing countries, in France and other interested countries, to the dissemination of information and knowledge about this expansion, to the improvement of mutual understanding between people and nations in different parts of the world, and to the expansion of international cultural and social exchange. Culture et développement is now a fully autonomous organisation with its own identity. In order to become more decentralised and open to world cultures, the NGO restructured itself in 1986 and moved its main office to Grenoble. This enabled the NGO to develop its competencies, establish a network of partners and develop its own specific guiding principles. Culture et développement has been an autonomous organisation since Three types of activities Analyses, studies, research Information, training Engineering, pilot projects Three core themes Reading Music Heritage Geographical coverage Culture et développement carries out its activities mainly in six African countries and in Cuba. 5/5

27 Appendix V Vi s i o n «Sustainable development and the flourishing of culture are interdependent. One of the chief aims of human development is the social and cultural fulfilment of the individual.» (Action Plan, World Conference «The Power of Culture», Stockholm 1998) C U LTURE IS NOT ONE OF LIFE S LUXURIES. IT IS LIFE ITSELF. Principles of SDC Cultural Policy C u l t u re is a value in and of itself. At the same time, culture is also an instrument of development. In keeping with its mission, SDC p romotes cultural understanding and c u l t u r- al development with the aim of consolid a t i n g the processes of development and transition in the countries in which it is active. In so doing, it is of utmost concern to SDC to make a contribution to the formation and p re s e rvation of independent and diversified cultural landscapes. Cultural identity and cultural self-consciousness have become, p a rticularly in this age of globalization, m o re crucial than ever. Basic Assumptions The task of promoting culture expressly conc e rns all SDC departments. Departments E (Bilateral Development Cooperation) and O (Cooperation with Eastern Europe and the CIS) are already active in this domain. Never theless, in the field of humanitarian aid, cultural operations are also possible and a p- p ropriate, for instance in regions of conf l i c t (as a means of fostering dialogue, etc.). I n what follows, culture is not to be understood as simply «Culture with a big C», but r a t h e r in an extended sense, i.e., as a system of proc e d u res, norms, rules, and values that p e r- meates an entire society as a symbolic exp ression of social behaviour. Rather than being a static phenomenon, culture is always a dynamic process. Furt h e rm o re, it is extremely rare to encounter diff e rent cultures in a «pure» setting: practically all of the societies of the n o rth and of the south are multicultural. Globalization leads, at one and the same time, to both a standardization (McDonaldization) and to a more pronounced diff e re n- tiation of local cultures. Hence the main point in development cooperation, in post-conflict situations, and in the transitions countries Whenever possible and expedient, by virt u e of its activities in the cultural domain, SDC also fosters the participation and the partnership of the poorer segments of society in the cultural, social, and political pro c e s s e s ( e m p o w e rment). For members of SDC, it must become a matter of course to include the cultural dimension into their thoughts and actions (the «C u l t u re Reflex»). To this end, SDC fosters a w a reness-raising among its personnel and s t a ff in terms of the inter-cultural aspects of i n t e rnational cooperation. can be less that of combating the tendencies t o w a rds homogenization than one of emphasizing the opportunities for cultural d i ff e rentiation in our view, the more promising approach. For this reason, SDC always operates in keeping with a broad understanding of cult u re. Along with culture in its more limited sense, culture encompasses for SDC other symbolic forms of knowledge and behaviour as well, such as popular and traditional art, handicrafts, traditional knowledge, and c u l t u re transmitted orally from generation to generation, to name only a few. Activities in the domain of culture, however, must be concentrated on a certain few programs when speaking about practical implementation in the countries of SDC operation; o t h e rwise, we run the risk of dissipating our re s o u rces. To a significant degree, it is the local possibilities and conditions which dictate those actions which are chosen. The dialectical relationship between change and conservation, between openness and