Activity 2 - PPT presentation by Avril Joffe and Andreas

Capacity-building workshop on periodic reporting

1 – 3 December 2015

Ethiopia

By Avril Joffe and Andreas Wiesand

Periodic reporting on the Implementation of the 2005 Convention

Quadrennial Periodic Reporting on the 2005 Convention

["quadrennial"? That's every 4 years…]

Part 1: Setting the Context for Periodic Reporting

Unit 1: Introduction to Periodic Reporting and Monitoring

Systems

Unit 2: The Periodic Report Scope and Frame

Part 2: Key Reporting Areas

Unit 3: Policies and measures

Unit 4: International Cooperation

Unit 5: Preferential Treatment

Unit 6: Integration of Culture in Sustainable Development Policies and Programme

Unit 7: Awareness Raising and Participation of Civil Society

Unit 8: Transversal Issues and UNESCO Priorities

Part 3: Data Sources and Assessment

Unit 9: Sources, Statistics and Indicators

Unit 10: Achievements and Challenges in the Implementation of the Convention


Key Questions

 What are the key concepts of the 2005 Convention?

 What are the obligations for reporting on the

implementation of the 2005 Convention?

 What are Monitoring Systems?

 Monitoring the implementation of an international instrument – why does this matter?

 Are there interesting monitoring practices?

 How is the monitoring system of the 2005 Convention organized?

 The National Point of Contact of the Convention - which functions does it cover?


The 2005 Convention: What it is…

• A legally-binding international agreement

• It ensures that artists, cultural professionals, practitioners and citizens worldwide can create, produce, disseminate and enjoy a broad range of cultural goods, services and activities, including their own.

• Adopted, because the international community signalled the

urgency for the implementation of international law that would recognize:

• the distinctive nature of cultural goods, services and activities as vehicles of identity, values and meaning.

• the dual nature of cultural goods and services: Both their

economic value AND their cultural value are important! In other words: they are not mere commodities or consumer goods that should only be regarded as objects of trade.


…and what it is not!


Guiding principles of the 2005 Convention

Eight key principles

1. Respect for human rights and fundamental freedoms

2. Sovereign right of all countries to adopt cultural policies and measures within their territory

3. Equal dignity and respect for all cultures

4. International solidarity and cooperation

5. Economic AND cultural aspects of development

6. Sustainable development

7. Equitable access to cultural expressions from around the world

8. Openness and balance


Periodic Reporting as a Tool to:

• Monitor Implementation Progress

• Facilitate Dialogue

Difference between monitoring and information sharing

Challenges faced by diverse stakeholders, for example:

• Can we really "measure" cultural diversity or development?

• Availability and reliability of data and information

• Certain strategic policy questions (potential conflicts with the

Convention)

• Existing policy instruments / institutions: Can they adapt to the key principles?

• Future needs, e.g. in regionals like Africa


Article 9 – Information sharing and transparency

Parties shall:

(a) provide appropriate information in their reports to

UNESCO every four years on measures taken to promote the diversity of cultural expressions within their territory and at the international level;

(b) designate a point of contact responsible for information sharing in relation to this Convention;

(c) share and exchange information relating to the diversity of cultural expressions.


Article 19 – Exchange, analysis and dissemination of information

Parties agree to exchange information and share expertise concerning data collection and statistics as well as on good practices.

UNESCO shall:

 facilitate the collection, analysis and dissemination of information, statistics and good practices;

 establish and update a data bank on pertinent governmental, private and non-profit organizations;

 pay particular attention to capacity-building and the strengthening of expertise for Parties.


Monitoring practices

• Goals and mission of monitoring

• Difference between "hard" and "soft" monitoring

• Standardized questions and indicators

• Availability of reliable data and information which are collected on regular basis and over a certain time period

• Secured verification procedures by specialists of the data and information

• Mechanisms to process and channel the expected results to reach relevant policy makers interested in evaluating goals, activities and instruments

About the ERICarts Institute

The European Institute for Comparative Cultural Research (ERICarts), established 1993 and based in Bonn/Germany, is an independent provider of empirical information and analysis to policymakers and other actors in the cultural field and in related policy sectors (e.g. media; education; youth; regional development; economy; security).

It relies on a network of experienced partner institutions and permanent correspondents in over 50 countries; many of them contribute to the Council of Europe /

ERICarts "Compendium of Cultural Policies &

Trends in Europe" www.culturalpolicies.net

.

Comparative studies for the European Union include, for example:

• "The Contribution of Culture to Local and Regional Economic Development

- Evidence from the Structural Funds" (with CSES);

• Mobility of Cultural Professionals ( www.mobility-matters.eu

); and

• "Sharing Diversity" (approaches to intercultural dialogue in Europe – www.interculturaldialogue.eu

).

My Motto for Today: Let's appreciate diversity!

"The more we share, the more we have"

Mohamed Mounir,

Egyptian singer, author and actor at the "Salam Ramadan" event,

Philharmonic Hall of

Cologne, October 13 and 14, 2007

12


Gathering information on what is done locally & globally to implement the 2005

Convention

Sharing information on what is done locally & globally to implement the 2005

Convention

To sum it up again:

Reporting

Objectives:

• Benefit from shared experiences and good practices in other countries

• Spot areas where more needs to be done

• Monitor progress over time


A Main Result of All Periodic Reports:

UNESCO's Global Monitoring Report

• Published biennially (2015, 2017)

• Swedish support (SIDA)

• Monitor the implementation of the 2005 Convention

• Facilitate information sharing and knowledge production

• Based on information provided at country levels

• Benchmarking and monitoring tool to promote the policies and measures reported on at a global level

• Building new indicators of progress

The 4 Highlights of the 2015 Report:


Quadrennial Periodic Reporting


Unit 1: Introduction to Periodic Reporting and Monitoring Systems






Unit 6: Integration of Culture in Sustainable Development Policies and

Programme





Unit 10: Achievements and Challenges in the Implementation of the

Convention


Key Questions

 What is the purpose of monitoring and periodic reporting in the context of the 2005 Convention?

 Why is the periodic reporting exercise important with regard to the implementation of the 2005 Convention?

 What are the expected outcomes of periodic reporting?

 What are the main steps in the preparation of reports?

 Who should be in charge of the preparation of periodic reports?

 What information should be presented in periodic reports?

 What are the benefits of participatory processes in the preparation of periodic reports?

 What good practices can be identified as regards the drafting and submission of periodic reports?


But first, let us consider the scope of application …

… what should the periodic report cover?


Scope of application of the 2005 Convention

The Convention defines “cultural expressions” as cultural goods, services and activities that result from the creativity of individuals, groups and societies.

It does NOT address the broader concept of cultural diversity.

This means that cultural heritage, tangible or intangible, is not covered by the scope of the 2005

Convention.



Article 9 of the Convention guidelines

The reports shall provide relevant information on measures Parties have taken to protect and promote the diversity of cultural expressions within

• The territory : government and its agencies at all tiers

• The International level : through

• bilateral and multilateral cooperation

• Preferential treatment measures

• Support for stakeholders participation in international activities

• Information and knowledge sharing


The 2005 Convention: A new international framework for governance and management of culture

1. Cultural policies and measures

- nurture creativity

- provide access for creators

2. Overall contribution of the cultural industries

- to economic and social development

3. Integrating culture in sustainable development policies

- in national development policies

4. International cooperation

- to facilitate mobility of artists

- facilitate flow of cultural goods and services



The scope of cultural expressions (activities, goods and services)

Article 8 – cultural goods and services as distinct commodities of a unique kind

Article 10 – strengthening capacities for creation and dissemination of cultural goods and services at the global level

Article 11 – building partnership between the public sector, the private sector and civil society



Article 3 ‘Policies and measures adopted by the

Parties related to the protection and promotion of the diversity of cultural expressions’

Protection

• sovereign right of States to main, adopt and implement appropriate policies and measures

• Preservation, safeguarding and enhancement of the diversity of cultural expressions

Promotion

• expansion of cultural exchanges

• access to global markets for cultural activities, goods and services


Pillars of the preservation and promotion of creative diversity: the 1972, 2003 and 2005

Conventions


Question:

What are the benefits and expected outcomes of the periodic reporting?

Group exercise

Periodic reporting is not only a statutory obligation of Parties; it can be considered and approached as a strategic tool for policy development on creativity within your country


Periodic Reports should analyze:

- How

- Why were the measures to promote

- What diversity of cultural expressions

- When introduced?

 What impact have these measures had since the implementation process began?


Mechanism

The Periodic Reports should be compiled in consultation with:

 Different tiers of government, including local and regional

 Different Ministries, including Labor,

Finance, Trade and Foreign Relations

 Relevant civil society organizations

 Statistics Offices / Bureaux


Section number

Heading

1

4

5

2

3

6

Executive summary

Technical information

Overview of cultural policy context

Cultural policies and measures

International cultural cooperation

Preferential treatment

Culture and sustainable development

Awareness-raising and participation of civil society

Transversal issues and UNESCO priorities

7 Achievements, challenges, solutions and next steps

Annex Complementary data, information and statistics

Suggested number of pages

1

1

1

8

3

3

3

3

2

2


Guidelines:

 We recommended you use the forms available on the Convention’s website

 Illustrate statements with facts and explanations

 Avoid long historical accounts

 Provide examples

 Use multiple sources for information and analysis

 Length: do not exceed 30 pages


Overview of cultural policy context

Describe the key objectives and priorities of your current cultural policy and the impact the Convention has had in their formulation or reformulation. In doing so, they shall address the following question:

Has the Convention been integrated into the policy development process in any of the following ways?

• It is (or has been) the basis for changing one or more policies;

• It is (or has been) a tool to promote policy discussion;

• It is (or has been) a reference for ongoing policy development.

In this section, also report on the opportunities and challenges to promote the diversity of cultural expressions in a digital environment.


Executive summaries

 Summary of the salient points of the report including main achievements and challenges

 Examples of executive summaries http://en.unesco.org/creativity/mr/periodicreports-available-reports


Process of periodic reporting

1. When submit?

2. Who needs to prepare it?

3. How to gather relevant data and information?

4. Which form to use? https://en.unesco.org/creativity/monitoringreporting/periodic-reports

5. To whom must the form be submitted?

6. How to submit the report?


Report submission checklist

 English or French

 Online Form (and offline option)

 Original signature of the official designated to sign it

 No more than 30 pages

 Executive summary

 Statements supported by facts and explanation

 Send to Secretariat of the Convention: (digital + original paper copy)


Video Tutorial on stakeholder involvement in Periodic Reporting http://en.unesco.org/creativity/mr/peri odic-reports/video-tutorials/


The Convention on Participation

“

Democratic governance presupposes forms of government and modes of decision-making that take account of the multicultural composition of contemporary societies and their wide variety of beliefs, projects and lifestyles.

In promoting a more inclusive form of governance, the management of cultural diversity can turn a societal challenge into a democratic strength […]”

UNESCO Report on Cultural Diversity, 2009


Participatory process

Article 11) Parties acknowledge the fundamental role of civil society in protecting and promoting the diversity of cultural expressions.

Parties shall encourage the active participation of civil society in their efforts to achieve the objectives of this Convention.

Parties ensure the involvement of civil society in the preparation of the reports according to jointly agreed modalities. The reports shall indicate the way in which civil society participated in the drafting process.

Parties can also cooperate with specialized bodies at national, regional and international levels to collect information and data requested in the framework of the quadrennial periodic reports.


Why is participatory process important?

 participatory process allows for the cross-checking of the accuracy and efficiency of the information collected

 Data collected can be clarified when needed

 Transparency is more easily ensured when all participate

 Key priorities, problems, achievements and challenges for the future can be identified more easily

 Structured dialogue with other stakeholders is reinforced, as a transparent and broad participatory process avoids consulting only the most influential groups

 The richness of the activities and measures detected is enhanced by more innovative approaches and examples can be identified through information sharing to prepare the report.


The process of participation is more important than the end product


Civil society participation in the drafting of Periodic Reports: various modalities

 collaborative processes involving joint drafting and revision of the report

 parallel processes whereby the Government and civil society prepared their own reports, with the latter integrated into the former

 consultative processes whereby civil society’s views and input were solicited through questionnaires and other forms of feedback, and then included in the Party’s report


Group exercise:

How best to involve civil society?

1. Who should participate

2. How will you ensure a diversity of stakeholders

3. How will you ensure legitimacy of stakeholders

4. What kinds of meetings should be arranged

5. What resources will be needed

6. What data is needed

7. How will this data be collected

8. What is the expected outcome











Programme






Convention

5 – Awareness raising and participation of civil society


Main Reporting Themes

6 – Transversal issues & UNESCO priorities

1 - Cultural policies and measures


(including digital issues)

2 - International cultural cooperation

4 – Culture and sustainable development

3 – Preferential treatment


Key questions on each policy / measure:

 What is the scope (local, national, regional level), nature

(legislative, regulatory, financial, institutional) and main features of the measure?

 Does it specifically target individuals (e.g. women) and/or social groups as defined in Article 7 of the Convention as

“persons belonging to minorities and indigenous peoples”?

 What are the results expected through the implementation of the measure?

 Which agency is responsible for its implementation and what financial resources have been allocated to implement the measure?

 Are non-governmental organisations and/or the private sector engaged in the implementation of the measure?


How was it implemented?

 Was this measure introduced or revised in order to: o Implement the provisions of the Convention?

o Support/nurture policy discussion inspired by the

Convention?

o Other reasons unrelated to the Convention?

 Has the implementation of the measure been evaluated ? If so, what were the main conclusions and which indicators were used to determine impact?












Key Questions

 What are cultural policies and measures?

 What policies and measures can be adopted to promote the diversity of cultural expressions?

 What is the governance of culture?

 What is the cultural value chain for cultural expressions?

 How do the processes of creation, production, distribution, dissemination and participation / access to culture relate to one another?

 What good practices exist in this field?

 How to avoid overlap between policies and measures related to

Articles 6 and 7 and those related to Article 13 with regards to the Periodic report exercise?


Overview of cultural policy context

The key objectives and priorities of the current cultural policy and the impact the Convention has had in their formulation or reformulation.


Address the following question:

Has the Convention been integrated into the policy development process in any of the following ways?

• It is (or has been) the basis for changing one or more policies;

• It is (or has been) a tool to promote policy discussion;

• It is (or has been) a reference for ongoing policy development.

In this section, also report on the opportunities and challenges to promote the diversity of cultural expressions in a digital environment.


Need to consider the country system of governance

National Government: all departments

What is it?

Measures

Decisions

Activities

Local municipalities

Multiple stakeholders


The Governance of Culture

Technical / administrative issues: human and financial resources available in the value chain

Capacity and

skills of the various public institutions and stakeholders

Measures, decisions and activities

Political will and the level of priority given to the cultural sector

Availability of data and information to contribute to facilitating informed and transparent governance


The 2005 Convention promotes a good governance model

 Encouraging the introduction of cultural policies and measures that

nurture creativity, provide access for creators to participate in domestic and international marketplaces

 Recognising and optimising the overall contribution of cultural industries to economic and social development

 Integrating culture into sustainable development strategies and national development policies;

 Promoting international cooperation to facilitate the mobility of artists as well as the flow of cultural goods and services, especially those from the global South.


Creativity and the cultural value chain

Cultural expressions result from the creativity of individuals, groups and society

Creativity nurtures and renews cultural expressions


To support

creativity,

Parties adopt cultural policies and measures at the different stages of the cultural value chain

Creation

Enjoyment/ participation

Production

Dissemination/

Distribution



Transversal issues

• Education and training for artists and cultural professionals

• Business support measures

• Regulatory and legislative framework

• Competition policy

UNESCO’s Framework for Cultural Statistics

Unesco Framework for Cultural statistics

Cultural Domains Related domains

A:

Cultural

&

Natural

Heritage

B:

Perform ance &

Celebrat ion

C: Visual

Arts &

Crafts

D: Books

& Press

E: Audio

Visual &

Interacti ve

Media

F:

Design

&

Creative

Services

A:

Tourism

A:

Sports &

Recreati on

Intangible cultural heritage

(oral traditions & expressions, rituals, languages & social practices

Education and training

Archiving & Preserving

Equipment & Support Materials

Intangible cultural heritage

Education & Training

Archiving & Preserving

Equipment & Support

Materials

Throsby, 2007:5

Models: DCMS, Symbolic Texts, Concentric Circles,

WIPO:

3. Concentric Circles Model 1. DCMS Model 2. Symbolic Texts Model 4. WIPO Copyright Model

Advertising

Architecture

Art and Antiques market

Crafts

Design

Fashion

Film and Video

Music

Performing arts

Publishing

Software

Television and radio

Video and Computer games

Core Cultural Industries

Advertising

Film

Internet

Music

Publishing


Video and computer games

Peripheral cultural industries

Creative arts

Borderline cultural industries

Consumer electronics

Fashion

Software

Sport

Core Creative Arts

Literature

Music

Performing arts

Visual arts

Other core cultural industries

Film

Museums and libraries

Wider cultural industries

Heritage services

Publishing

Sound recording


Video and computer games

Related industries

Advertising

Architecture

Design

Fashion

Core copyright industries

Advertising services

Copyright collection management societies

Motion picture and video

Music

Theatre and opera

Press and literature

Software and databases


Photography,

Visual and graphic art

Interdependent copyright industries

Blank recording material

Consumer electronics

Musician instruments

Paper

Photocopiers, photographic equipment

Manufacture, wholesale and retail of TV sets

Radio

CD recorders

Computers and equipment

Cinematographic instruments

Partial Copyright Industries

Architecture

Clothing, footwear

Design

Fashion

Household goods

Toys

What are The products & services of the Creative economy?

Its a vast field dealing with the interplay of various sub-sectors from traditional art crafts to technology-oriented multi-media services

Visual Arts

Paintings, sculptures and photograpy

Traditional knowledge

Art crafts, festivals and cultural activities

Music

Concerts, CDs, tapes, digitalized music

Literature and

Publishing

Books, newspapers and periodicals

Creative

Industries

Performing Arts

Theatre, dance, opera, puppetry, circus

Design

Architecture, interior objects, fashion and jewellery

Digital Animation and Multi-media

Software, videogames and advertising

Audio-Visuals

Broadcasting, cinema, television, radio

(UNCTAD)


Cultural Policies and Measures:

 Public policy: a state of objectives translated into a system of laws, regulatory measures, courses of action and funding priorities

 Cultural Policy: not only a policy document but a dynamic process of public action in the cultural sector


Measures are to be understood as those that:

 nurture creativity

 form part of an enabling environment for independent producers and distributors

 provide access to the public at large to diverse cultural expressions


Examples of what not to report on:

 policies and measures that have no bearing on the culture sector

 policies and measures in the domains of built, natural or intangible heritage

 policies and measures whose implementation was completed prior to the

adoption of the Convention in 2005


Policies and Measures (Article 6)

Cultural policies and measures protecting and promoting the diversity of cultural expressions within its territory a) Regulatory measures b) Measures that provide opportunities for domestic cultural activities, goods and services c) Measures aimed at domestic independent cultural industries and activities in the informal sector d) Measures aimed at providing public financial assistance e) Measures aimed at non profit organisations , as well as public and private institutions and artists and other cultural professionals f) Measures aimed at establishing and supporting public institutions g) Measures aimed at nurturing and supporting artists h) Measures aimed at enhancing diversity of the media


Policies and Measures (Article 7)

Individuals and social groups a) To create, produce, disseminate, distribute and have access to their own cultural expressions b) Take into account special circumstances and needs of women as well as various social groups, including persons belonging to minorities and indigenous people c) Access to cultural expressions from within their territory as well as form other countries of the world d) Recognize the important contribution of artist, others involved in the creative process, cultural communities, and organisations that support their work


Examples of measures:

• Legislative: on the arts and culture (including the status of the artist)

• Value Chain Measures:

• Training and ‘incubation’ schemes

• Support for artists’ mobility and establishment of artists’ residencies

• Support for production infrastructures and entities such as cultural industry companies or networks

• Financial support:

• Direct funding for the production of domestic content

• Lowering price barriers to access to cultural goods through measures such as free tickets, reduced or zero-rated VAT, etc.

• Export and import strategies:

• Promoting national and international market access through funding and subsidies

• Promoting the import of foreign cultural programmes, goods and services

• Advocacy and promotion: Implementing media policies, inter alia to promote public service media and diversity therein

• Access strategies: programmes for economically disadvantaged groups

Regulatory measures – at all levels


• Copyright regulation/ status of artists and social security; distribution rules; custom duties, taxes and charges

• Law on the status of artist

• Health insurance

• State support to small and medium entrepreneurship

• Publishing of electronic publications

Measures that provide opportunities for domestic cultural goods, services and activities

Measures aimed at providing domestic independent cultural industries and activities in the informal sector

• Special fairs, festivals, exhibitions, prizes to encourage artistic creation

• Provision of infrastructure

• Content quotas

• Public/private partnerships

• Access to cultural services and goods in rural regions through strengthening provision of public cultural service systems (radio, tv)

• Information for creation and expression

• Training centres

• Digital recording studios

Measures aimed at public financial assistance


• Grant and scholarship schemes

• PPPs to encourage art sponsorship

• Planned subsidy through dedicated funds for different art forms

• Financial support to performing artist

Measures that encourage non profit organisations, as well as public & private institutions etc

• Foster mobility of artists and cultural professionals

• Capacity building by training, exchange activities, apprenticeship and mentoring programmes

• Sharing of information on existing legal frameworks and on good practices

Measures aimed at establishing and supporting public institutions

• Establishment of Ministry of education and culture centres to facilitate access to educational and cultural goods and services

• Digital libraries

• National agencies to support arts and culture


Article 7

Parties shall endevour to create in their territory this environment which encourages individuals and social groups to create, produce, disseminate, distribute and have access to their own cultural expressions as well as to the ones from other countries of the world

‘SHALL’

The Parties have the obligation to development such an environment – ie it is more than a declaration of intent


Group Exercise

Part 1: Refer to case studies – analyse the examples and suggest what part of the value chain for transversal issue they relate to

Part 2: Consider some Ethiopian experience in Music, Film,

Performing Arts and Visual Arts and suggest possible measures that would be appropriate to these sectors

(if they don’t exist and are seen as important they can be reported on as future challenges in Section 7 of the report)

Refer to Handout 3: Cultural Policies and Measures


Good Practice: Measures to bridge internal cultural divides in Viet Nam

 developing infrastructure, including telephones and multi-service broadband connections in rural areas

 reducing the information gap between rural and urban areas

 promoting access and ensuring two-way communication from central to grassroots levels


Good Practice: Market development, investment and flow promotion measures in China

 funding

 government procurement

 performance venues and equipment

 simplified approval processes

 talent cultivation, commendation and rewards

 foreign investors can establish enterprises as wholly-owned or joint ventures











Programme






Convention











Programme






Convention












Key Questions

 What is international cooperation?

 How does international cooperation relate to the objectives and principles of the 2005

Convention?

 What types of policies and measures can be adopted in the field of international cooperation?

 How to report on international cooperation in the context of periodic reports?


Key Concept: International cooperation

 Collaboration between public, private and civil society actors from different countries or regions for the achievement of common goals:

 A right, an opportunity and an important task – or even a "duty" – for all peoples and all nations to share knowledge, skills and experiences

 Promote the enrichment of all cultures whilst respecting the distinctive character of each

 To be carried out for the mutual benefit of all nations practicing it

 Contribute to the establishment of stable and peaceful, long term relations between peoples


Main target groups of international cooperation policies and practices

Examples of international cultural cooperation include successful exchanges / programmes involving…

 public officials to dialogue on policy issues;

 professionals working in public sector cultural

institutions, aimed at building strategic and management capacities;

 professionals working in private companies, aimed at building creation and production capacities.

 artists and civil society actors, aimed at capacity building and information / dissemination


Relevant, successful or innovative international cooperation measures

Examples involving governments or public agencies include:

- signing treaties and international agreements increasing and facilitating the exchange of cultural goods and

services and professionals at the national, regional and international levels

- organizing, and participating in, international events

(festivals, forums, summits, fairs, symposia, etc.) to foster cultural exchanges

- providing information, advice and technical assistance on cultural policy-making, ICTs, business models, etc.

- supporting individual trans-border contacts, exchanges or co-

productions of artists, media professionals, small companies


Deficits not to be spared out in the reports, for example:

The North-South imbalance in artists' residencies

500

450

400

350

300

250

200

150

100

489

194

110

50

0

29

23

15

7 7

Europe North

America

Asia Australia/NZ Africa South

America

Mid-America Middle East

Source: ERICarts study "Mobility Matters", 2008 (Location of Residency Centres in the TransArtists' Network)


Examples of what not to report on:

 International cooperation measures that have no bearing on the culture sector

 international cooperation activities and projects in the domains of built, natural or intangible heritage

 international cooperation activities and projects whose implementation was completed prior to the adoption of the

Convention in 2005


Internal arrangements and partnerships

 Transversal or inter-ministerial cooperation

• Permanent working groups

• Specific meetings to discuss opportunities

 National priority-setting

• Agreement on strategic opportunities

• Civil society involvement in negotiations

 Multi-stakeholder partnerships

• Active participation by public and private actors in regular meetings / groups / discussions

• Foreign representatives to attend range of meetings


Good Practice: Brazil’s international audiovisual cooperation policy

 encourage international co-productions

 support the participation in international festivals

 promote Brazil in the international audiovisual sector

 encourage partnerships and access to financing











Programme






Convention












Key Questions

 What is preferential treatment?

 Why is preferential treatment relevant in the context of the 2005 Convention?

 What measures and policies can be adopted to integrate preferential treatment with regard to the diversity of cultural expressions?

 How to report on preferential treatment policies and measures in the context of periodic reports?


Preferential Treatment - Key Concepts

• Accorded to cultural goods and services and artists

• May, or in the words of the Convention, Art 16:

"Shall" be granted in order to ensure equal opportunities for all (probably the most "binding" clause of the treaty!)

• An exception to the general principle of ‘non discrimination’ (multilateral trade frameworks)

Global North Parties provide support to cultural expressions from Global South – creating commercial opportunities and ensuring more balanced flows of cultural goods and services


Preferential treatment to be applied in a holistic approach – exploring synergies between

 trade

 international development

 cultural instruments and policies


Key Points about Preferential Treatment

 Refers to cultural goods and services as well as artists and cultural professionals

 Refers to institutional and legal frameworks and other elements in the Convention

 Interpreted and applied to the Convention as a whole

 Parties have discretion in finding innovative ways to exercise preferential treatment

 A cross cutting principle transversally informing all types of international exchanges

 Has a wider (not narrow) meaning of "trade", involving both cultural and trade components




Preferential treatment measures can be reported on as having an impact on three different levels:

 individual: human resource development, including programmes to facilitate the mobility and exchange of artists and cultural professionals and build expertise among them;

 institutional or organizational: building capacities of cultural enterprises and organizations in promoting the economic and trade dimension of the sector, including support schemes and co-distribution agreements;

 industry: wider systemic relationships established through bilateral, regional and multilateral trade agreements, cultural policy and other frameworks


Internal Arrangements and Partnerships

 Transversal or inter-ministerial cooperation

• Avenues for dialogue such as permanent working groups, specific meetings between ministries in charge of foreign/ regional affairs, government ministries for culture and others

 National Cultural Development and Priority setting

• Strategies and action plans for international cultural cooperation or development and integration into bilateral, regional and multilateral agreements

• Monitoring and evaluation mechanisms

 Participation of Civil Society

• In policy making and priority-setting processes, as well as in the monitoring of international agreements


Examples of measures by developed countries:

 facilitating the mobility of artists and cultural

professionals, by simplifying procedures for issue of visas or lowering visa costs

 establishing funding arrangements and resource-

sharing, including co-production and co-distribution agreements

 providing technical assistance including equipment acquisition, technology transfer and expertise

 providing technical assistance

 improving access of cultural goods and services of developing countries to the markets of developed countries


Examples of measures by developing countries:

 assessing needs and priorities of their cultural sector

 fostering an enabling environment for the emergence of cultural industries at the national level

 providing strategic support to their domestic cultural sectors

 actively seeking knowledge and expertise in the areas of enhancement and dissemination of all cultural expressions


Key Lessons

 International cooperation (visas, mobility, coproduction agreements )

 Trade (new cultural protocol tool)

 Culture and development (culture’s role in sustainable development)

 Long term changes (require time)

 Bilateral Trade agreements (using the Convention as a counterweight)

 The impact of digital on production and broadcasting channels (accessing culture in new ways)

 Data collection challenges (requires interdepartmental coordination)

 Poor National level coordination to be improved


The Parties could:

Create interdepartmental groups

(including the ministries of culture, trade, employment, immigration, etc.) and envisage the best way to involve the point of contract of the

Convention in this process

Continue their involvement in

consultations undertaken by UNESCO

Secretariat and provide relevant information.

Civil society could:

Continue their efforts to raise

awareness of Articles 16 and 21 by organising events and the publication of studies

Have a louder voice and be more involved in the process, since it can draw attention to cases where the

Parties have or have not met their obligations.












Key Questions

 What is sustainable development ?

 What is the relationship between culture and sustainable development?

 How does the 2005 Convention address the relationship between culture and sustainable development?

 What are the relevant policies and measures in this area?

 What measures can be implemented at a national and an international level?

 What internal arrangements and partnerships can be adopted to foster strategies and policies in this area?

 What indicators can be used to evaluate the role of culture in sustainable development?


Sustainable development

Operational Guidelines on Article 13 define sustainable

development as

“development that meets the needs of the present without compromising the ability of future generations to meet their own needs”

Human development is understood as a process of enlarging people’s choices.


What is development?

UNDP Human Development Report defines development as

• the expansion of people’s freedoms to live long, healthy and creative lives;

• to advance other goals they have reason to value;

• and to engage actively in shaping development equitably and sustainably on a shared planet.

People are both the beneficiaries and the drivers of human development, as individuals and in groups.


Thinking about sustainable development …

Intrinsic and instrumental benefits from cultural expressions that contribute to individual and collective fulfillment of the cultural dimension

Economic

Economic growth

Material and nonmaterial wellbeing of economic dimension

Cultural

Sustainable

Development

Political

Benefits derived from natural resources and ecosystems of the environmental dimension

Environmental

Democracy, freedom of expression and human rights of the political dimension


What measures to describe in the Periodic

Report?

- measures to integrate culture in sustainable development policies and assistance programmes at the national and international levels.

Who implements these measures?

Agencies responsible for

• economic growth

• environmental sustainability

• social inclusion (national level)

• by development cooperation agencies

(international level).


Culture and Sustainable development policies at the domestic level

Article 13 refers particularly to sustainable development at a

domestic level, e.g. local, regional and national strategies and policies, although it can also be understood as an encouragement to consider cultural aspects in all types of policies and

programmes related to the diversity of cultural expressions:

‘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.’


Culture and Sustainable development policies at the international levels

‘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:

 the strengthening of the cultural industries ;

 capacity-building through the exchange of information, experience and expertise;

 technology transfer through the introduction of appropriate incentive measures for the transfer of technology and knowhow;

 financial support ’


What to highlight:

A particular focus of this section is on the nonfinancial aspects of the contribution of culture to development, i.e. on the role of culture in

• building inclusive societies and

• reducing inequalities .


Measures at the national level:

 integrating culture into overall national development plannin g, i.e., strategies, policies and action plans;

 achieving economic, social and environmenta l outcomes by integrating culture into, inter alia, poverty eradication and social inclusion strategies;

 securing fairness and equitable treatment of disadvantaged individuals and social groups (including women) to participate in cultural life;

 securing equity in the distribution of cultural resources between regions and urban and rural areas.


Measures at the international level:

 strengthening human and institutional capacities for policy development and entrepreneurship through training, networking, exchange of information, etc.;

 transfer of technology and expertise in the areas of cultural industries and enterprises: needs analysis, access to new information and communication technologies, development of new platforms, etc.

 financial support : contribution to the IFCD, integration of the cultural sector within framework plans for official development aid (ODA), facilitating access of the cultural industries to public and private funding, design of innovative financial mechanisms, etc.


Group exercise - part 1

 Handouts of 6 case studies

 Consider these cases

 What ministry was involved?

 Where any international parties involved?

 Who was the target group / beneficiaries?

 What was the project? What outcome was expected?

 Where did it happen?

 Is it useful to you in Ethiopia??


Group exercise - part 2

 Re Ethiopia

Identify potential policies and measures relevant to the integration of culture in sustainable development

 Consider the internal arrangements

 Interministerial cooperation

 Participation of civil society


Internal Arrangements and Partnerships

 Transversal or inter-ministerial cooperation

• Avenues for dialogue such as permanent working groups, specific meetings and preparation of papers between ministries in charge of foreign/ regional affairs, labour, economy, development, statistics and government ministries for culture

 National Cultural Development and Priority setting

• Beneficiary countries to provide a clear framework of priorities for culture and sustainable development

• Ensure synergies and coordination among different funders

 Participation of Civil Society

• In policy making and priority-setting processes as regards both national and international sustainable development strategies


Handout: CDIS: Improving the Evidence-Base

1.

Economy: measuring the contribution of culture to economic development.

2.

Education: analysing the priority given to culture within the educational system, notably as an enabler for inclusion and diversity.

3.

Governance: examining the system of national cultural governance, e.g. adoption of legislation and policy, distribution of cultural infrastructure, civil society participation, etc.

4.

Social Participation: illustrating the impact of culture practices, values and attitudes on social progress.

5.

Gender Equality: examining culture’s role in the reality and the perceptions of gender equality.

6.

Communication: analysing the conditions in place for disseminating and accessing diverse cultural content.

7.

Heritage: assessing public frameworks to protect and promote heritage sustainability.











Programme






Convention












Key Questions

 What is the definition of civil society in the Convention framework?

 What roles and functions for civil society do the Convention provisions promote?

 Why is it important to involve civil society in activities related to the

Convention implementation?

 What Parties are invited to do in order to support the emergence and active participation of civil society?

 How should civil society be involved in the preparation of the report?

 What may prevent civil society from fully assuming the responsibilities and opportunities offered by the Convention?

 What is awareness raising and how can civil society contribute to it?

 Why is it important to raise awareness for the quality of civil society contribution to the implementation of the Convention and what have Parties done so far?


Civil society

For the purposes of this Convention, civil society includes:

 non-governmental organizations

 non-profit organizations

 professionals in the culture sector and associated sectors

 groups that support the work of artists and cultural communities

Source: Operational Guidelines on Article 11 – Participation of civil society (para. 3)


Civil society in the Convention

Monitoring policies and programmes implementation and through active participation in periodic reporting

Service

Provider

Civil society produces, disseminates and promotes cultural expressions

Accountability Innovator

Awareness raising activities through information sharing on the objectives and implementation of the

C

Advocacy

Civil society plays a watchdog role over the values, principles and objectives contained in the C

Value-

Guardian

Civil society organisations are innovators in the field of cultural policies and activities


By ratifying the Convention, Parties:

 acknowledge the fundamental role of civil society in protecting and promoting the diversity of cultural expressions, and

 Commit to encourage their

participation in activities, designed to achieve the objectives of this

Convention.


Watch video about the role of civil society in the 2005 Convention

With Charles Villerand and Andreas

Wiesand


Good Practice: Governmental support to civil society in Burkina Faso

 elaborating and implementing cultural policies with the participation of civil society

 giving civil society access to data and statistics gathered by the Ministry of culture

 informing civil society about financing opportunities

 supporting cultural and arts education activities of civil society organizations


Information to be provided by civil society on what they have done to implement the

Convention:

 promoting the objectives of the Convention through awareness-raising and other activities

 Bringing the concerns of citizens, associations and enterprises to public authorities, including those of vulnerable groups

 Monitoring policy and programme implementation

 contributing to the achievement of greater

transparency and accountability in the governance of culture


Information to be provided by Parties on how they have involved civil society in:

 promoting the objectives of the Convention through awareness-raising and other activities

 collecting data and sharing and exchanging

information on measures to protect and promote the diversity of cultural expressions

 developing policies while providing spaces where the ideas of civil society can be heard and discussed

 implementing Operational Guidelines of the

Convention


Participatory governance of culture

Recognizing that the system of governance of culture involves a range of governmental and non-governmental actors, the Convention encourages Parties to facilitate the active participation of a diversity of actors in policy-

making processes as well as sharing responsibility in policy implementation.

This involves the active participation of civil society, individuals (e.g. women and youth) and social groups including persons belonging to minorities and indigenous peoples.


Civil society may also wish to share information on:

 activities they have planned for the next four years to implement the

Convention

 main challenges encountered or foreseen and solutions found or envisaged to overcome those challenges

Specify which civil society organizations contributed to the Report.


How have Parties involved civil society?

Some examples

 Formulating, monitoring, evaluating and amending cultural policies

 implementing cultural policies, including the allocation of public funding by institutions managed by civil society, to projects that realize the aims of the Convention or cultural policies

 Supporting autonomous cultural activities in the context of the

Convention’s objectives or as a principle of cultural policy more generally

 Distributing information and raising awareness about cultural policies and the Convention through civil society

 Communication and consultation methods to ensure the inclusion of the civil society’s views


Challenges to collaboration

 Inclusiveness in reaching entire spectrum of civil society and the private sector

 Awareness of the potential for involvement in reporting

 Funding to participate in meaningful ways

 Data validity providing accurate information

 Indicators to monitor the extent of involvement of civil society organisations

 Poor knowledge of the Convention within government, public agencies, civil society and of its benefits

 Lack of political support and trust between government and the cultural sector

 Poor communication channels between government and civil society


Reporting on awareness-Raising and Participation of civil society (Section 5 of the Reporting Framework)

Parties report on how they have involved civil society in:

Civil society reports on activities that they have undertaken for: the promotion, implementation and monitoring of the

2005 Convention


Benefits of awareness-raising

Increase cultural cooperation

Inform on risks and threats

Improve quality of policy design and planning

Support new funding strategies

Generate peer learning

Improve quality of products and services

Instill innovation











Programme






Convention












Key Questions

 How do the Global Priorities of UNESCO impact the reporting of the Convention?

 What policies and measures can be incorporated to ensure gender equality ?

 What policies and measures would ensure the participation of the Youth ?

 What are the new priority issues identified by the Convention governing bodies?

 What are the key policy discussions on

 Digital issues and the impact on the diversity of cultural expressions?

 Public service broadcasting and independent media ?

 The status of artists and freedom of artistic expression ?


Transversal issues

Parties are to report on the emerging transversal issue(s) identified for each reporting period. In doing so, they may be guided by key questions (a) – (i) of the Reporting

Framework.

A resolution of the Conference of Parties will determine transversal issue(s) to be reported on for each four-year reporting cycle.

For 2016-2019, no transversal issue was determined.


UNESCO Priorities: Youth

Empowering young people and promoting their participation in the implementation of the Convention is in line with the UNESCO Operational

Strategy 2014-2021 for Youth.

In this section, Parties describe at least one policy, measure or project to:

• encourage the participation of youth as creators, producers and beneficiaries of cultural activities, goods and services;

• facilitate the involvement of youth and youth-led organizations and the integration of their concerns and needs in cultural policy-making processes ;

• introduce new curricula or programmes in higher education and training institutions to build new skills required for the cultural and creative industries including entrepreneurial, management and technological skills;

• involve youth in collecting and disseminating information about the diversity of cultural expressions in their communities.


UNESCO Priorities: Gender Equality

Gender equality is a UNESCO global priority for the 2014-2017

Programme and Budget period.

In this section, Parties describe at least one policy or measure adopted to promote gender equality in the cultural sector, and support women as creators, producers and beneficiaries of cultural expressions.

In doing so, they may be guided by key questions (a) – (i) of the Reporting Framework.


Global Priority Africa: Flagship programmes


Thematic highlights

 Impact of digital technologies

 Diversity of media content

 Enhancing public sector broadcasting, quotas for television

 Status of artists and freedom of artistic expression

 Individual artists, arts producing or artsdelivery organisations, popular culture communities


Digital issues

 New giants of the cultural market

 Experimentation, digital arts and entrepreneurship

 Cultural polices in the age of Big Data and social media

 The Digital South


Access to culture

The Global

South

Creativity

International cooperation

Compendium of special measures for

Digital Dev.

Cultural industries

Information and statistics

Public awareness and civil society


Media Diversity and public sector broadcasting

 the specific role of enhancing media diversity for achieving the Convention’s objectives

 the need to ensure freedom of thought, expression and

information, the free exchange and circulation of ideas as well as diversity of the media for cultural expressions to flourish within societies;

 the principle of technological neutrality

 public service broadcasting as

 a measure for enhancing diversity of media and

 as an enabler of promoting and protecting the diversity of cultural expressions;

 binding policy standards regarding the dual nature of

cultural goods and services that should achieve a balanced and specific treatment of cultural and audiovisual goods and services in international trade policies.


Opportunities and challenges for reporting on media diversity

 Opportunities have broadened through expansion of audiovisual media

 Media freedom and other basic freedoms are necessary to enhance media diversity

 New types of media actors with blurring of boundaries

 Gender equity in media content and decision making

 Professional media institutions and public media

 Locally produced content and language

 Digital revolution and convergence

 Independent media producers/ public service media

 Community media and radio

 Public service media with editorial independence











Programme






Convention


Key Questions

 Why is the collection, analysis, dissemination and sharing of empirical information important in the context of the

2005 Convention?

 What is the role and relevance of national cultural information systems ? How can these be set up?

 What indicators and statistics could be used to prepare periodic reports?

 If a national cultural information system is missing, how to collect/analyse alternative data that may be relevant?

 Why do periodic reports ask for (optional) information on cultural economy, cultural industries, cultural infrastructure and cultural participation ?


Reporting on main achievements and challenges (Reporting Framework, Section 7)

Parties and participating stakeholders should share empirical information on:

 the results achieved

 the challenges encountered

 solutions found to overcome these challenges

 future outlook and next steps to be taken

Suggestion : specific empirical evidence to support the reporting on different policies and measures could already be provided in earlier chapters. In the absence of differentiated official statistics or cultural information systems, some of these – mostly "issue-driven" – data may need to be newly developed.


Designing and maintaining a cultural information system

A comprehensive evidence base is the optimal solution for:

• Understanding the realities and dynamics of the country’s cultural expressions

• Reporting on all aspects of the Convention

• Designing, implementing and evaluating cultural policy and cultural programmes

• Encouraging public debate on issues of cultural policy

• Providing evidence to explain/defend actions in support of the sustainable development of the sector

NOTE: Such information systems are not necessarily based in the national statistical office, can also be associated with a

Ministry of Culture, a research institute at the university, etc.


Let's revisit first the 'Culture for Development Indicators':

Improving the Evidence-Base (Handout CDIS)

1.

Economy: measuring contributions of culture to economic development

2.

Education: analysing the priority given to culture within the educational system, notably as an enabler for inclusion and diversity

3.

Governance: examining the system of national cultural governance, e.g. adoption of legislation and policy, distribution of cultural infrastructure, civil society participation, etc.

4.

Social Participation: illustrating the impact of culture practices, values and attitudes on social progress

5.

Gender Equality: examining culture’s role in the reality and the perceptions of gender equality

6.

Communication: analysing the conditions in place for disseminating and accessing diverse cultural content

7.

Heritage: assessing public frameworks to protect and promote heritage sustainability

Important: The process of searching for/validating data is already important!


Development and evaluation of cultural indicators and statistics: a few caveats

Can we really "measure" culture? Yes, we can, at least partially…

1. Statistical frameworks can complicate things!

2. Issues are key! The more precise policy issues are formulated, the better we can search for relevant indicators and empirical evidence.

3. Definitions make a difference!

4. Indicators must be simple!

5. Frequently, more potential data sources exist than statisticians expect! Interaction with stakeholders or professional bodies is important.

6. Size matters! How to achieve "representative" samples…

7. Don't fall into the evaluation trap!

Let's look at some examples for these points…

Ad 1: Statistical frameworks

Ad 2: Issues are key!


Ad 4. Indicators must be simple!

According to James Wagala (Regional M&E Coordinator

Africa at Global Clover Network), indicators should be:

Simple : An indicator has to be clear and understandable by all. Simplicity can be a key consideration here.

Relevant : An indicator has to speak to the result it is used to measure.

Economical : The indicator and datasets must be collectable at a manageable cost. Some indicators may be good but too expensive.

Assignable : The tracking of the indicator and collection of data to measure it must be assignable specifically to a member of the project team: One person has to take responsibility for the delivery…

Measurable : The indicator has to be measurable. Consider these two indicators for a training intervention: "Number of people trained" and

"Knowledge of trainees". While the second one may be a better measure for the output of a training, it may be very difficult to measure.

Let me also add the following:

Comparable over time : Indicators are most relevant when showing trends


Reporting on complementary data, information and statistics (optional Annex)

 Economy and finance

 Books

 Music

 Media

 Connectivity, infrastructure, access

 Cultural participation

 Additional clarifications

Parties are encouraged to provide statistics that already exist.


• 1. Economy and finance

• 1. 1. Total flows of cultural goods and services

• 1. 1.a. Cultural Goods

• a) Exports in cultural goods (total in USD; year; source)

• b) Imports in cultural goods (total in USD; year; source)

• 1. 1.b. Cultural Services

• a) Exports in cultural services (total in USD; year; source)

• b) Imports in cultural services (total in USD; year; source)

• 1. 2. Contribution of cultural activities to Gross Domestic Product

(GDP)

• a) Total GDP (in USD; year; source)

• b) Share of cultural activities in GDP (in percentage; year; source)

• 1. 3. Government expenditure on culture

• a) Total government expenditure (in USD; year; source)

• b) Share of culture in government expenditure (in USD and as percentage of total government expenditure; year; source)


2. Books a) Number of published titles (year; source) b) Number of publishing companies (year; source):

- Small size (1 to 20 titles per year)

- Medium size (21 to 49 titles per year)

- Large size (50 titles and above per year) c) Bookshops and sales

- Bookstore chains (total number and sales in USD; year; source)

- Independent book stores (total number and sales in USD; year; source)

- Book stores in other retail structures, including department stores (total number and sales in USD; year; source)

- Online retailers (total number and sales in USD; year; source) d) Translation flows: number of published translations (year; source)


3. Music a) Production: number of albums produced:

- Physical format (year; source)

- Digital format (year; source)

- Independent (year; source)

- Majors (year; source) b) Sales: total number of recorded music sales:

- Physical format, broken down by CDs and other physical formats (year; source)

- Digital format, broken down by Single Tracks and Digital

Albums (year; source)


4. Media

4. a. Broadcasting audience and share

Programme type

Audience share

Type of ownership (public, private, community)

Type of access (paid-free)

4. b. Broadcasting media organizations

Ownership (Public, Private, community, not specified)

Number of domestic media organization providing: radio channels only, TV channels only, both radio & TV channels (by type of ownership)

4. c. Newspapers

Publishing format: Number of titles

- Printed (free only, paid only, both free & paid)

- Both print and online (free only, paid only, both free & paid)


5. Connectivity, infrastructure, access a) Number of mobile telephone subscribers per 1000 inhabitants (year; source) b) Number of households with Internet access at home (year; source) c) Number of individuals using the Internet (year; source)


6. Cultural participation

Percentage of people participating in cultural activities at least one time during the past 12 months:

Cultural participation (in %)

Activity

Cinema

Theatre (including cabaret, opera and puppet shows)

Dance (including ballet)

Live concert / musical performance

Exhibition

Total

Female Male Total


Designing and maintaining a cultural information system

An evidence base is needed for

• Understanding the realities and dynamics of the country’s cultural expressions

• Reporting on all aspects of the Convention

• Designing, implementing and evaluating cultural policy and cultural programmes

• Encouraging public debate on issues of cultural policy

• Defending actions in support of the sustainable development of the sector











Programme






Convention


Key Questions

 What have been the main achievements reported upon by Parties to the 2005 Convention since it’s coming into force?

 What challenges and difficulties have been experienced in order to implement the Convention?

 What enabling factors have been identified?

 What solutions have been proposed to overcome existing challenges?

 What achievements, challenges and solutions do workshop participants identify in their respective countries?


Key findings from the first three reporting years (2012-2014; 71 reports)

• The Convention has led to the introduction of new

cultural policies and

measures in developing countries

• Countries have reassessed their international cooperation strategies to include culture among key objectives

Most countries have adopted legislation on the arts and culture, including the status of the artist

Many countries have integrated culture in their national development plans

Countries have not only promoted export of domestic cultural goods and services but also import of foreign ones


Key findings from the first three reporting years (2012-2014), continued

New forms of support for young artists and cultural professionals

More countries are integrating cultural and creative industries into development strategies and programmes

Cultural cooperation activities have become focused on specific cultural industry sectors such as music, film and book publishing and promoting the mobility of artists


Key findings from the first three reporting years (2012-2014), continued

Policy transfer also takes place from developing to developed countries

Many have been inspired by a policy or measure successfully implemented elsewhere.

Lack of cultural data and statistics hindering policy monitoring and evaluation


Lack of financial and human resources and insufficient publicprivate sector partnerships

Multiple understandings and usages of the concepts in the Convention contribution of culture to economic and social development

Key implementation challenges

Insufficient awareness among decisionmakers of the Challenges to organising inter ministerial cooperation


What solutions are proposed in the reports to address these challenges?

 To build strategic partnerships with various government agencies, civil society and private stakeholders

 To widely disseminate the Convention and news on relevant issues

 To train officials through participatory workshops

 To create institutions or observatories that engage indepth research to gather data and best practices

 To establish specific targets and benchmarks and developing a system of cultural indicators



NEXT STEPS


Drafting of the Periodic Report

 How to write the draft periodic report?

 How can the national team all be involved?

 Who else needs to be approached to help with information?

 What is the role of the statistics agency?

 When should the draft be presented to the national team?


Suggested timing

• Meetings of the National team and drafting committee

• Distance coaching by AJ and AW during this period based on written drafts

• March 10 th : Finalisation of the draft Periodic

Report

• March 14-18th: Presentation of final draft to multi-stakeholder consultative forum

• March 18 th - 24 th April: Finalisation of the periodic report

• April 25 th : Signature by Minister of Culture and

Tourism

• April 28 th : Submission to Secretariat of UNESCO

Thank you

For further information www.en.unesco.org/creativity/

Kassahun Abate: k.abate@unesco.org

Reiko Yoshida: r.yoshida@unesco.org

Activity 2 - PPT presentation by Avril Joffe and Andreas

About the ERICarts Institute

My Motto for Today: Let's appreciate diversity!

"The more we share, the more we have"

But first, let us consider the scope of application …

… what should the periodic report cover?

Mechanism

Guidelines:

Overview of cultural policy context

Executive summaries

Process of periodic reporting

Report submission checklist

Video Tutorial on stakeholder involvement in Periodic Reporting http://en.unesco.org/creativity/mr/peri odic-reports/video-tutorials/

Participatory process

How was it implemented?

Measures

Decisions

Activities

Creativity and the cultural value chain

Cultural expressions result from the creativity of individuals, groups and society

Creativity nurtures and renews cultural expressions

creativity,

Unesco Framework for Cultural statistics

Models: DCMS, Symbolic Texts, Concentric Circles,

WIPO:

What are The products & services of the Creative economy?

Cultural Policies and Measures:

Measures are to be understood as those that:

Sustainable development

What is development?

Thinking about sustainable development …

What to highlight:

Civil society

Civil society in the Convention

By ratifying the Convention, Parties:

Watch video about the role of civil society in the 2005 Convention

With Charles Villerand and Andreas

Wiesand

Key implementation challenges

NEXT STEPS

Suggested timing

Thank you

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