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Vol.1982/0187

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COMMISSION OFTHE EUROPEAN COMMUNITIES
COM(82)590 final
Brussels ,16October 1982
STRONGER COMMUNITY ACTION INTHE CULTURAL SECTOR
(Communication toParliament and the Council )
t<r --r*^7 s-%:- tSi
C0M(82 )590 final

CONTENTS
Summary ofaction and operations
STRONGER COMMUNITY ACTION IN THE CULTURAL SECTOR
Sections Annex
I. Freedom oftrade incultural goods 7-9
II.Improving theliving and working conditions
ofcultural workers 10-15 II
Thecultural sector and employment 11
Protection ofcultural workers 12
National aids 13
Freedom ofmovement and establishment 14
Cultural workers inthe regions 15
III.Widening the audience 16-18 III
IV.Conserving thearchitectural heritage 19-23 IV
Newpossibilities forfinancing conservation 21
Economic and social viability ofconservation
projects22

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Annexes
I. Record cards for works ofart
II.Improving theliving and working conditions ofcultural workers
-specific measures
Sheet 1-Collective authors' rights
Sheet 2-Droit desuite intheplastic arts
Sheet 3-Exhibition ofa150 young Community partners
Sheet 4-Advanced training through personal contacts
III.Widening the audience -specific operations
IV.Conservation ofthearchitectural heritage -
specific measures

SUMMARY_OF_ACTION_AND OPERATIONS
I•£Eê§dom_of _trade_i n_çuItural_goods
*"Simplification ofadministrative formalities atCommunity internalfrontiers .
-Introduction ofrecord card for works ofart.
II.l!DËE2¥ing_t he_li\ /i_ng_and_work2ng_cond2t ions_of_cultural workers
-Further awards ofCommunity scholarships orgrants :training inthe
various cultural professions ,including conservation ofthearchitectu­
ralheritage .
-Assistance from the European Social Fund fortraining cultural workers
and creating jobs inthecultural sector .
-Assistance from theEuropean Regional Development Fund forregional
cultural workers .
-Equal duration ofcopyright .
-General application ofcollective authors' rights .
-Adaptation ofauthors' andperformers' rights totechnological
development .
-Adaptation ofdramatists' andperformers' rights tothefinancing of
threatres and concerts .
-General application ofdroit desuite intheplastic arts .
-Protection against pirating ,particularly inrecordings .
-General application of aspecific social security scheme forself-
employed cultural workers .
-Spreading ofcultural workers' incomes over more than one tax year .
-VAT :exemption forplastic artists ;lower base ofassessment for con­
temporary works ofart andfor antiques .
III.Enlarg2ng_the_audi ence
-Continuing financial support forcultural events ofEuropean interest .

-2_
-Promotion of live "music and "Live "theatre .
-European Music Year .
-Travelling exhibition of150 young Community painters .
-Fostering cooperation between cultural advisers and Member States'
cultural institutes .
-Incentive todevelop aEuropean film distribution circuit .
-European Film Festival .
IV.Conservat ion_of _the_arcMtect ural_heri.t age
-Lowering ofinterest rates on"conservation loans "granted bythe
European Investment Bank .
-Financial support from Community Funds .
-Taxreliefs onconserving theprivate architectural heritage .
-Development andapplication of amethod ofassessing the economic
and social profitability ofconservation projects :"cost-benefit "
analyses .
-Research ontransformation oflimestone ,marble andbrick into
sulphates .
Taxreliefs forcultural foundations and patronage .

STRONGER COMMUNITY ACTION INTHE CULTURAL SECTOR
1. The Commission considers that thetime has come totake stock of
itsactivities inthecultural sector .Nearly five years have passed since
thecommunication of22November 1977 entitled "Community action inthe
1cultural sector ".Aninitial assessment can now bemade .
Major developments have occurred andcurrents ofthoughts are
emerging ,both ofwhich justify further appraisal .
2. The 1977 communication made both theinstitutions and those in­
volved incultural life aware oftwothings -the EECTreaty covers cultural
activities and theinstitutions are mindful ofthe problems ofcultural
workers .
The Commission welcomes the altogether favourable response to
its communication from the European Parliament and the Economic and Social
2Committee .
That paper was based ontwo findings :
(i)works produced bycultural workers andservices supplied bythem are
products andservices covered bytherules ofthe common market in
the same way asother products andservices and canobtain the maximum
possible practical benefit through theapplication ofthose rules ;
1Bulletin ofthe European Communities ;Supplement 6/77.
^Theopinions oftheEconomic andSocial Committee andParliament were given
on20December 1978 (ESC 1245/78en)and 18January 1979 (0JC39,12.2.1979 )
respectively .

-2-
(n)artists who create orperform works must benefit from measures taken ,
under theTreaties toachieve social progress (Legislation ,assistance
from Community Funds ,Community policies ,and soon)like all other
workers .
The Commission considered ,andstill considers ,that Community
action inthecultural sector should beboth complementary andsubsidiary to
what was already being done internationally .There istherefore noduplication
with theefficiently-run activities oforganizations like the Council of
Europe ,for which the development ofculture isaprime objective .
The support given bythe budgetary authority .Parliament inpar­
ticular ,has been such that the funds set aside for the purpose have in­
creased steadily ,from 20700 EUA in1976 to686 500 ECU in1982 .
The Commission has thus been able tofinance aprogramme reflecting
the guidelines set out inits communication .The main thrust has been the
financing of"Community grants ",which provide anumber ofyoung people with
the opportunity toundergo basic oradvanced training invarious cultural
professions ,plus support for anumber ofcultural events ofEuropean interest .
3. . The compatibility ofthis cultural purpose with aCommunity ,the nature
and objectives ofwhich are defined inprimarily economic terms ,has been under
consideration atthe highest level ever since the problem first came tothe fore­
front of.attention atthe Paris Summit ofOctober 1972 .
Ten years later fresh concern was expressed even more cogently ,
both inthe Memorandum onthe Revitalization ofthe Community presented
bythe French Government and inthedraft European Act sponsored byMr
Genscher and Mr Colombo .
The work ofParliament 'sCommittee onCulture has also made a
valuable contribution .This paper largely takes its cue from the reports -
onthe social situation ofcultural workers ,onregional cultures and
regional languages ,onconservation ofthearchitectural heritage ,on

-3-
promotion ofthe cinema ,etc.-already adopted orbeing drafted bythat
Committee ,and from thediscussions held last year lollowing aprogramme
statement bythePresident ofthe Commission and apublic hearing forcul­
tural workers .Asaresult ofthediscussions of24November 1981 ,the
Commission was able toidentify the problems ofthecultural sector ,learn
exactly howcultural workers feel about solutions tobeworked out and
ascertain that theprinciples andpracticalities ofthose solutions had
Parliament 'ssupport .
Finally ,the Agreement setting upthe European Foundation was
signed on29March 1982 .The Commission 'sownactivity will indue course
have todovetail with the work ofthe Foundation ,whose role and purpose
ismainly cultural .The needs ofcultural life are somany and sovaried
that there isroom for both Community action andthe work ofthe Foundation ,
forthey will befollowing quite different approaches .Their respective re­
sources are not merged ,but rather complement each other .Besides elimi­
nating anyduplication the aim must betoestablish fruitful collaboration .
4. Inthelight ofexperience this paper makes proposals forstronger
Community action inthecultural sector and indicates thepriorities .
Nooneexpects the Community tobecome involved inacademic argu­
ment over thedefinition ,purpose and substance ofculture ,ortoarrogate
anyexecutive powers oreven theslightest guiding function .
Nor indeed isthe aimtocoordinate Member States' cultural
policies .TheCouncil ofEurope isknown tobedoing this effectively
byacting onnational cultural policies through aconstant exchange of
information ,experience and ideas .
Besides cultural policies ,which necessarily apply atnational ,
regional andlocal level ,theCommunity 'srole isdetermined bythepowers
and resources available toitunder the EECTreaty .

-4-
5. The Community must bear the same economic andsocial responsibilities
towards the cultural sector that itbears towards other sectors under the
Treaties .Community action inthecultural sector isaform ofeconomic and
social action and consists ofapplying the EEC Treaty and Community policies
tothe situations ,themselves economic and social ,inwhich culture develops ;
far from being neutral towards itspreservation and development ,these
situations have aprofound impact onit.
Application ofthe Treaty tothecultural sector issometimes
general (measures covering all sectors ,including culture )and sometimes
specific (measures specially designed forit).
The Commission isnaturally mindful ofthespecific nature ofthe
problems posed bythecultural sector inrelation totheTreaty .
6. Stronger Community action inthecultural sector will have to
beorganized along the following four lines :
I. Freedom oftrade incultural goods .
II.Improving theliving and working conditions ofcultural workers .
III.Enlarging the audience .
IV.Conservat ionofthearchitectural heritage .
Only the main features ofeach ofthese four topics will be
considered here ;other aspects and future prospects are treated separately
inannexes .
I. FREEDOM OFTRADE INCULTURAL GOODS
7. Article 36ofthe EEC Treaty leaves the Member States free to
prohibit orrestrict exports of"national treasures possessing artistic
historic orarchaeological value "under certain conditions .

-5-
But apart from thealtogether justified exception provided for
byArticle 36,the Commi ssion cannot allow barriers to -freedom oftrade
inworks ofart.Such barriers are incompatible with Article 30to34.
They also run counter totheinterests ofcreative artists ,traders ,
andthe influence ofnational cultures .Finally ,although the
traditional concept of"national heritage "must not beabolished for any
particular works ofart,itshould begradually expanded forquite anumber
ofothers toculminate inanew concept of"Community heritage ",indicating
that works taken toanother Community country will less and less befelt as
aloss tothe country oforigin .
The Commission isplanning toset upagroup ofexperts toexamine
national arrangements and practices which constitute barriers tofree trade
inworks ofart .The group would also evolve criteria onthe basis of
antiquity ,rarity ,cultural significance and soon-which would
help inassessing barriers inthe light ofArticle 36.
8. Cultural workers will beamong thefirst tobenefit from freedom
oftrade inworks ofart and cultural goods ingeneral .Artists intheplastic
arts will beable toexhibit their works inCommunity countries other than their
own with aminimum offormalities and atvery little expense .Actors ,musicians
and film directors will enjoy the same advantages when they travel with their
scenery ,instruments orequipment .The aimistosolve what isboth a
practical and psychological problem :inpractical terms formalities still
required atinternal Community frontiers are time-consuming and expensive
and the deposits which must still bepaid often can besubstantial ;psycholo­
gically ,cultural workers and organizers ofcultural events ,including
exhibitions ,will not feel they are living inaCommunity until they can
move works ofart and equipment from one country toanother almost aseasily
and ascheaply asbetween two towns inthe same country .

-6-
The Commission hasalready puttothe Council aproposal for a
1Regulation which ,ifadopted ,will have adual impact onfreedom oftrade
inworks ofart andvarious cultural goods :and,insome cases ,deposits ,
will beabolished .
Theformalities will besimplified even further ifthe Council
2adopts asecond Regulation recently proposed bythe Commission .This proposal
concerns intra-Community trade ingoods generally ,andwill apply tocultural
goods like any others .
9. Ifthesimplification offormalities that achieving free trade
incultural goods entails iscarried through ,theresult will bethe
relaxation ,ifnotthe complete disappearance ,ofchecks which can sometimes
stop traffic instolen works ofart-though they have ofcourse never
succeeded ineliminating it.Any progress towards freedom oftrade must
therefore bebacked bymeasures tosupersede the checks -and,ifpossible ,
tobetter advantage .The main aimofthese would betomake itmore
difficult todispose ofstolen works ofart.
1
C0MC81 )378final ,15July 1981 :Proposal for aCounc iIRegulation (EEC)
introducing arrangements for movement within the Community ofgoods sent
from one Member State for temporary use inone ormore other Member States .
The terminology ofthis Regulation calls for twoclarifications :
-The word "goods "covers not only the cameras ,equipment and instruments
used bythe press ,the cinema ,radio andtelevision ,theatre companies ,
orchestras and soonbut also works ofart .
-The expression "for temporary use"does not mean that all the goods must
return tothe country oforigin .Works ofart can thus besold inthe
country towhich they were transported .
?C0MC81 )301final ,2July 1982 :Proposal for aCounci IRegulation (EEC)
onsimplifying formalities intrade within the Community .

-7-
Toimprove thechances ofrecovering them,theCommission is
planning tointroduce record cards forworks ofart (Annex I). Apoint
tonote inthis connection isthat thesuccess ofanysearch forstolen
works isoften compromised because theowners orthose incharge ofthem
areunable toprovide photographs anddescriptions forswift identification .
II.IMPROVING THE LIVING AND WORKING CONDITIONS OF CULTURAL WORKERS
10- The"improved working conditions and animproved standard of
living forworkers ,soastomake possible their harmonization while the
improvement isbeing maintained "(Article 117ofthe EECTreaty )canscarcely
bequoted inconnection with cultural workers without mentioning themeans
theArticle provides forattaining that objective ,andthe means setoutin
Article 118.Most ofthepoints inthese Articles aretobefound inAnnex
IItothis paper :harmonization oflaws,studies ,employment ,basic and
advanced training ,collective bargaining between employers andworkers .
Butbefore weconsider thedetails weneed anoverall view focused onemploy­
ment,protection ofcultural workers inthewidest sense oftheterm,national
aids and freedom ofmovement andestablishment .
Special consideration will begiven toamajor category here,
namely cultural workers intheregions .

-8-
Ih§_£y i£y£§!_§eçtgr_and_eme tournent
11. Employment iscertainly the keyproblem ofthecultural sector ,
inboth negative andpositive terms ;registered unemployment inthe cul­
tural occupations far exceeds thealready distressing levels inindustry
(unemployment among actors ,for example ,isrunning around 80% inmost Com­
munity countries ),yet thecultural sector could not only improve its own
employment situation but also offer new jobs elsewhere .
Besides theoften quoted example ofcreating jobs for the consei –
vation ofthearchitectural heritage end the employment spin-off in
tourism ,creation ofcultural employment generates afurther wave ofacti­
vities towhich industry ,commerce and thecrafts must respond .
Despite thetide ofmodernization andrationalization sweeping
into its "industrial "side (notably the media ),thecultural sector canstill
betermed a"labour-intensive sector ". This makes itone ofthe resources for
combating unemployment .Conservation ofthearchitectural heritage absorbs
agreat deal oflabour andwith assistance could absorb irore .Jobs canalso
becreated inthearts andcrafts and inanarea where demand ishigh -the
organization ofsocio-cultural activities .Finally ,though unemployment
there isparticularly high,the stage also offers scope .Clearly there can
benoquestion ofcreating jobs where they already abound -inthecapitals
andbigcities .They must rather becreated where they can meet real needs
-insmall towns andrural areas ,where there isaootential audience for
music ,theatre and the dance .

-9-
Jobcreation inthearts cannot ,however ,beconsidered inisola­
tion .Tobeeffective anyattack onthis front means that governments and
local authorities must bewilling tomake thenecessary investments andthat
the causes ofunemployment have been clearly determined .These vary from
country tocountry andprofession toprofession .They range from alack of
suitable training toalack ofinvestment toalack ofpublic participation .
The Commission wishes inparticular tohighlight thefact that
there are inadequacies onthe supply side incertain branches ofcultural
activity .Bymeans ofstudies andstatistics ithas been collating thedata
needed tospot the gaps andfill them,mainly through recourse toCommunity
instruments .But wemust gofurther .The Commission proposes toconduct a
survey ,inliaison with the Member States ,ofunsatisfied demand (foror­
chestra players ,for instance ,(ifnotsoloists )orforcreative craftsmen ).
Training programmes ,which would qualify for assistance from the Social Fund
would then beintroduced .Ifthe Member States sowish ,the Fund could pro­
vide assistance ,under the conditions andlimits set bythe current rules ,
tomount training programmes and create jobs inthearts .The Commission
undertakes togive careful and sympathetic consideration toprojects submit­
ted and,ifnecessary ,adjust the mechanisms atits command .
P£Otection_gf_cultural_wgrkers
12. According totheInternational Labour Organization the average in-
1come ofcultural workers "isoften below subsistence level .Itisno
wonder then that many ofthem leave their jobs andthat most ofthose who
stay are compelled todevote thegreater part oftheir time toasecond
"Lacondition deI'artiste ,aperpu general desproblemes deL'emploi etdes
conditions detravail etdevie"(16.8.77 ). Theartist 'scondition ,a
general picture oftheproblems ofemployment andofworking andliving
conditions .

-10-
occupation .Over the Last twenty-five years the work force inthecultural
sector hasdeclined byhalf .There isadanger that one daythere will be
ageneral shortage ofqualified cultural workers .
Cultural workers must especially beprotected aqainst (A)risks related
tosocial security entitlement ,(B)against the adverse effects ofthe development
 
oftechniques forthe reproduction andtransmission ofthewritten word,sound and
vision ,and (C)against certain tax legislation inappropriate totheir living and
working conditions .
(A)According tothefindings ofastudy organized bythe Commission ,the main
problem arising from social security forcultural workers arethat for wage
earners ,the requirement ofaminimum period ofoccupation precludes benefits
for those inneed ofthem,while for the self-employed itisvery difficult
for most authors andplastic artists topay both the employer 'send the em­
ployee 'scontribution .Two Member States have found ananswer tothe second
problem .France and the Federal Republic ofGermany have adopted asolution
based onthe concept ofthecollective employer .Inthe absence ofanindi­
vidual employer for each author orartist ,thepublishing houses and theart
business finance the employer 'scontribution for the whole profession ,of
which one orthe other isthe user .The Commission will urge the other Mem­
ber States tofollow suit .
(B)Technological development poses particularly complex problems .Itis
true that radio andtelevision ,for example ,provide jobs forcultural
workers and promote cultural events .Itisalso true that cultural workers
cannot adopt apurely defensive stance .They could infact take advantage
ofthe boom inaudivisual techniques .But they still need protection ,for

-11-
technological development istending tofavour some cultural workers and
penalize others .The reason isthat work opportunities arelimited because
asingle live performance reproduced andrelayed through space andtime can
reach spectators oraudience whocould otherwise have been reached only by
awhole series ofperformances orconcerts .
Commission departments have just completed preliminary studies on
guidelines forsatellite and cable television .The Commission isexpected to
approve these guidelines inthe rear future .
Oneofthe consequences oftechnological development isthat
authors' andperformers' work isused internationally .Butprotective legis­
lation wasinvariably conceived inanational context .This leaves loopholes
inprotection ,which can beplugged only bylegislation covering several
countries atonce .
(C)There follow just twoexamples oftaxprovisions unsuited totheliving
and working conditions ofcultural workers :since plastic artists are cui–
rently exempt from VAT only inDenmark and France ,thelegislation ofthe
other EEC countries submits them tothe same formalities asindustrial­
ists and businessmen ;for the basis ofassessment ,amethod ofcalculation
which reduces VAT onworks ofart operates only inFrance ,inthe United
Kingdom and,for antiques only,inBelgium .Obviously plastic artists are
notorganized tocope with complicated formalities .Nor canthere beany
doubt that ifthe burden ofVAT was lightened throuqhout the Community ,onthe
one hand sales ofcontemporary works ofart would recover (directly benefitina
artists atatime when they are being hard hit bythe economic crisis )and on
theother there would beless incentive toexport valuable antiques tonon-
member countries .

-12-
The Commission would point outthat itsubmitted tothe Council some
tine agoaproposal foraDirective 1which,while itsscope isnotexclusively
cultural ,would nonetheless constitute aninitial step towards adapting V AT
tothe living and working conditions ofamajor category ofcultural workers
and tothe situation oftheart market .
Thedraft Seventh Directive stipulates that :
?-fordirect sales plastic artists should beexempt ;
-for business transactions involving antiques aswell ascontemporary
works (originals )thetaxbase should becalculated not onthetotal sale
price but only ontheprofit margin -actual oraflat 30% .
National aids
13. There isnoquestion ofprohibiting aMember State from giving
special aid toanyparticular branch ofculture ,even ifitisorganized
industrially ,toaid the persons who perform their professional activity there .
But the granting ofaid must never besubject toanationality clause .
Inone particular cultural industry -the cinema -the Commission
believes that aid schemes toencourage the development ofnational productions
mayexist ,provided they donotcontravene thebasic rules of
the EEC Treaty .
Itisworth noting that inIreland authors ,composers andplastic
artists are exempt from income tax.
C0M(77 )735final ,6January 1978 :Proposal for aSeventh Council Directive
onthe harmonization ofthe laws ofthe Member States relating toturnover
taxes -Common system ofvalue added taxtobeapplied toworks ofart,
collectors' items ,antiques and used goods .
2They may,however ,opt tobetaxable .
"^Taxable persons remain entitled tooptforthestandard scheme .

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Freedg !T!_gf_movement _and_e stab Lishemnt
14. TheCommission feels that ingeneral terms itisvital forcultural
workers toenjoy full freedom ofmovement andestablishment .Theexercise
oftherights they share with other workers -whether wage-earners orseLf-
employed -could befacilitated bytheproposed Council Directive onright
ofresidence fornationals ofMember States intheterritory ofanother
 Member State .
Meanwhile ,those who live bytheir artmust beassured that the
freedom ofmovement andright ofestablishment deriving from theTreaty
apply tothem .
Cultural_workers_|n_the _regions
15. Themember countries oftheCommunity contain awide cultural and
linguistic diversity ,which enriches the life ofall their citizens .Re­
gional andminority languages must beprotected andsupported bythe Commu­
nity ,especially atatime when they are threatened bythe commercial forces
ofeconomic andtechnological change .There isgrowing recognition ofthis
need among theMember States and allgovernments are now actively encouraging
less-spoken andminority languages within their frontiers .
Much hasbeen said about regions and regional cultures forsome
tenyears now .Butthere hasbeen little mention ofcultural workers living
inaspecific region whoareworking topreserve andportray aspecific
regional culture .
Howarethey faring ?Their situation isactually worse than that
ofcultural workers ingeneral .Competition maybeless keen ,butopportuni­
ties arefewer .Openings fortheir work arelimited .
OJC207/14,17.8.79
0JC188/7,25.7.80
OJC292/3,11.11.80 .

-14-
The best ofthem Leave toseek aliving which they cannot find
Loca lly.
Something must bedone quickly tostop this exodus and assure a
definite presence ofcultural professionalism inthe regions .Regional
cultures stand inneed ofprofessionalism noless than than those with a
wider spread .Without professionals they will wither away and the regions
will beall the poorer .Added towhich cultural workers have the same right
asothers to"stay where they belong ".
Aspart ofspecific projects for the economic development ofthe
region conc^ed ,^6European Social Fund andtheEuropean Regional Develop­
ment Fund could contribute towards thetraining ofcultural workers inthe
regions and towards the creation oflocal employment inthecultural sector .
But the problem istodetermine howthis aid could bereally ef­
fective .Since cultural workers inthe regions have never had any help what­
soever ,ithas been necessary tostart from scratch .Soin1981 the Commission
mounted apilot project incollaboration with the royal Eisteddfod ofWales .
Integrated regional development programmes (especially the Mediter­
ranean programmes now being prepared )would offer ahighly appropriate set­
ting for ERDF operations infavour ofregional cultural workers .
Ingeneral terms ,the Commission considers that economic andsocial
measures toassist cultural workers inthe regions ,who will also benefit
from measures planned forother cultural workers ,will serve asaneffective
means ofprotecting andsupporting regional cultures and languages .

-15-
III .WIDENING_THE_ALJDIENCE
16. The development ofradio broadcasting ,television and new repro­
duction and relaying techniques for sound and vision has ledtoasubstantial
increase inthe number ofpeople reached bythe various forms ofcultural
expression .This development must ,however ,beaccompanied byspecific mea­
sures .Wecannot besatisfied with atrend which ,however favourable ,is
confined toone-admittedly the major -channel for disseminating culture .
Widening the audience involves offering other types ofcontact with
culture ,such as"live "performances inthetheatre and concert hall ,and
cinema showing offilms .Inthefirst case there isadirect rapport between
performers and audience and inboth cases the work isnot put onfor one
individual but for agroup ofindividuals who,together ,form anaudience .
"Live "culture must beencouraged not only because ofits special
role vis-a-vis the public but also because the constant creation itgenerates
feeds the media with material and supplies them with accomplished performers .
Aswill beseen from Annex III Community action inthe cultural sector is
pitched atvarious levels -beginning with the young -and exploits various
resources -including cultural exchanges -towiden the audience .European
Music Year ,tobeheld in1985 ,should also bedecisive inthat respect .
Awider audience would cffer cultural workers more opportunities
for work and thus enhance their earnings .

-16-
17. The expansion oftheaudiovisual media isbound tohave social ,
economic andcultural implications .
The task tobeaccomplished byCommunity action here hinges onthe
social implications ,inother words onhow audiovisual techniques will affect
the earnings ofcreative artists and the jobs and incomes ofperformers .
The problems posed bythe economic andcultural implications can
beovercome only through close collaboration between the Community ,the Coun­
cil ofEurope and the Member States .
The main consideration with the economic implications isthat the
activities oftheaudiovisual medias easily spill over national and Community
borders .Itistobehoped ,therefore ,that the Community and the Council
ofEurope will pool their efforts and work together onthe question ofhow
far and onwhat terms thecultural industries should help tofinance the
branches ofthe cultural sector -such asliterature and the theatre -from
which they take their rawmaterial and whose viability they are reducing by
their keen competition .The aim should besome kind ofequalization between
theprofitable andunprofitable branches ofthecultural sector .
Thecultural implications areclearly more complex .
Itisfor the Member States todecide how they must -and can-
adapt their cultural policies sothat wider dissemination does not lower
standards andthat the expression ofthevarious cultural identities is
preserved .

-17-
Many ofthedecisions which must betaken could beprepared inthe
Council ofEurope ,which has wide experience ofcultural policy and abroader
geographical coverage .
The aimofaEuropean audiovisual policy will betoavoid ruinous
competition between the media and get them towork together todisseminate
European culture ,guaranteeing each country itsrightful place inthe Community
and inthe international context .
18. The cinema inEurope isfacing special problems ,from country to
country ,inholding orexpanding its audience .Although many films are shown
ontelevision ,theonly waytoappreciate afilm istoseeitinthe cinema .
Oneofthe reasons forthedecline incinema-going isthat despite
their quality andattraction .Community-produced films have failed toestablish
themselves indistribution networks inthe face ofcommercial competition from
American-produced films :distribution ofEuropean-made films isnot yetefficient
enough onthe world market ,onthe Commurity market ,and even onindividual
national markets .
Thebest waytosecure more effective distribution would surely be
for Community distributors toestablish aEuropean network whose strength
would help tobalance the American Majors .
Astart could bemade with atrial period inwhich Community action ,
consisting mainly ofensuring that asufficient number ofcopies arereleased ,
will facilitate thedistribution offilms tobeselected ataEuropean Film
Festi vaI.

-18-
IV.CONSERVING THE ARCHITECTURAL HERITAGE
19. There isnoneed todwell upon thecultural justification for
conserving thearchitectural heritage ,given thesplendour ofthat heritage
inthe Community andthevalue that Europeans attach toit.
Thepoint tostress israther that thelegal basis forthe Com­
munity 'scontribution topreserving this heritage lies inthefact thatit
isacontribution toarich resource that generates economic activity
(tourism ,scientific research ,artpublishing ,andsoon)andthat con­
servation isitself aneconomically andsocially viable activity forthe
firm andworkers connected withit.
Apart fromthefactthateachproject keeps orcreates jobsonasite,a
well-preserved architectural heritage isatourist attraction which helps
toraise theliving standards intheregions *.
20. Community action inthecultural sector isheloing topreserve
thearchitectural heritage inmore Wcys than one.Community grants or
scholarships are being awarded totraining centres forvarious trades
(including thecraft trades );young people are being trained inheritage
management ;voluntary holiday work camps are being encouraged ;the useof
nuclear conservation techniques ,aspractised atthe Centre d'Etudes
Nucleaires inGrenoble ,isbeing promoted .
These various initiatives -towhich the Community must continue
tocontribute -are now being supplemented bynewpossibilities forfinancing
conservation projects -loans from the European Investment Bank,atareduced
rate ofinterest ,inline with theappropriation that Parliament inserted in
the Community budget .
*See the Commission 'scommunication tothe Council -"Initial guidelines for
aCommunity policy ontourism "-C0M(82 )385final ,1.7.82 .

-19-
Solving theproblems ofselection involved infinancing conservation
will bemade easier bytheresults ofastudy tobecommissioned onthe
economic andsocial viability ofconservation projects .
TheCommission isalso preparing thethree operations described in
Annex IV.
Newpossibilities forfinancing conservation
21. Article 130ofthe EECTreaty states that thetask oftheEuropean
Investment Bank shall betofacilitate bymeans ofloans thefinancing of
projects "fordeveloping less developed regions "andalso forbigger projects
ofcommon interest toseveral Member States which arebeyond thebudgetary
resources ofany one ofthem .
The second category ofprojects covers only constituents ofthe
architectural heritage whose dilapidation would beanirreparable loss to
the Community asawhole .
Incontrast ,projects "fordeveloping less developed regions "
appear more frequently .They sometimes fall into that category because
they are asubstantial part ofaprogramme todevelop thetourist potential
ofaregion -whose economic andsocial development will benefit .
The Bank hasalready said that inprinciple there isnothing to
stopitgranting conservation loans forcertain architectural projects ,
provided they meet the Bank'scriteria andrules concerning eligibility .

-20-
Moreover ,theappropriation entered inthe Community budget will
allow interest rates onsuch loans tobereduced .The Bank 'srates are
among the most advantageous forloans ofthis kind,butthey arestill close
tothose onthecapital markets where the Bank obtains itsfunds .They may
betoo dear forpromoters ofconservation projects .Arestored monument
does notyield the same profit ,outofwhich the loan can berepaid ,asa
recently built orexpanded factory .
Lastly ,the loans from the EIB'sownresources andtheinterest
subsidies borne bythe Community budget arenottheonly sources of
Community financing .Depending ontheproject ,these loans andinterest
subsidies might also besupplemented byfinancial assistance from other
Community Funds .Acase-by-case assessment should bemade todetermine
whether andtowhat extent assistance from one orother ofthese Funds
would bepossible .
Economie and social viability ofconservation projeets
22. When considering the pros and cons ofaparticular project the
public authorities canfairly easily estimate both the cost and thebenefit
interms ofthe number ofpeople employed onthesite .Butitishard for
them toforecast the spin off intourist employment and altogether impossible
togauge inadvance other economic andsocial advantages ,such asthe impact
onregional development andtheregional environment .
The Commission will set upagroup ofexperts towork out amethod
toenable those responsible tocarry out acost/benefit analysis ofevery
intended conservation project .

Clearly ,this will simply serve asapointer toguide
thedecisions that thenational ,regional and local authorities
wi11have totake .
<L5m Inconclusion ,itmust beremembered that certain forms
ofpollution andnuisance arecapable ofcausing irreversible damage
toEurope 's architectural heritage .Forthis reason theCommission
intends toensure that theconservation aspect isgiven itsproper place
intheaction programme onthe environment .One ofitsfirst tasks will
betolist thebuildings atgreatest risk andtocontinue studies defining
criteria forestablishing cause andeffect relationships forvarious types
ofpollution and nuisance .
The Commission proposal for aCouncil Directive concerning the
assessment ofthe environmental effects ofcertain public andprivate
projects (*), makes provision forallapplications forplanning permis­
sion tocontain adescription and assessment ofeffects onthe architec­
tural heritage .
***
24. There isnopretension toexerting adirect influence on
culture itself ortolaunching aEuropean cultural policy ;what stronger
Community action inthe cultural sector means ineffect islinking its
four constituents -free trade incultural goods ,improving the living
and working conditions ofcultural workers ,enlarging the audience and
conserving thearchitectural heritage -more closely tothe economic and
social roles which the Treaty assigns tothe Community ,tothe resources -
mainly legislative -that itprovides ,and tothe various Community policies
(vocational training ,social and regional ).
(*) OJ C169,9.7.1980

-22-
The Commission would ask Parliament and the Council to
take note ofintentions with regard tostronger Community action in
the cultural sector .
Itisconvinced that Parliament and the Council will make
avaluable contribution tothe debate itintends toorganize .
Itwill present concrete proposals tothe Council inthe
light ofthis debate .

ANNEX I
RECORD CARDS FOR WORKS OF ART
i- Itisobviously useful tohave aphotograph when searching for
stolen art works ,butitisnot enough initself andmust besupported by
other means ofidentification .
2. The Commission will instruct agroup ofexperts tocompile the
list ofheadings tobeput onaform tobeused byowners orcustodians
ofworks ofart .
Byfilling this form for each major work that they ownorhave
charge ofthey will beable toestablish the record card forthat work ;
when combined with the photograph ,itwill constitute akind ofidentity
card .
Should the work bestolen the card can begiven tothepolice
and customs andtoasmany aspossible ofthose people -museum curators ,
dealers ,collectors -whose good faith thethieves orpedlars will tryto
abuse .
Announcements inthe trade press ,orinespecially serious
cases inthe ordinary newspapers ,and ontelevision will also bepossible .
3. Ageneral register ofthefts will becompiled from all the cards
onstolen works .Itwill bekept inone ofthe Member States byanoffice
(tobespecified )which will make all the necessary arrangements sothat
those concerned can consult itifthey have doubts about the provenance of
anitem offered for sale tothem .
4. Itshould beemphasized that :
.the cards will not give technical details ofthe kind familiar toart
historians ,but asimple description that the layman canunderstand ;
.useofthe cards will bevoluntary and nocharge will bemade .They
will not becompulsory but simply afacility offered intheir own
interest toowners and custodians ofworks ofart,whowill keep their
cards tothemselves and make them public only after there has been a
theft .

ANNO II
IMPRQyiNG_IHE_LiyiNG_AfjO_WORKING_COND!IIONS
0F_CULTU RAL~W0RKERS_3_SPic IFIC_MEAS|JRES
I
1. Thefirst part ofthis Annex considers inoperational terms the
principles set out inanumber ofarticles ofthe EECTreaty ,inparticular
Articles 117 and 118 .
The second part deals with harmonization oftaxation both ofcul­
tural workers and ofculture .
Harmonization oflaws oncopyright and related rights
2. The work now being done byCommission departments will result ina
"green paper "which will open awide-ranging debate onthese rights and relevant
legislation .
The harmonization oflaws will also have tocover the work of
creative craftsmen and photographers aswell asdroit desuite forplastic
artists .
Authors and performers 'rights
Because ofitsimpact onemployment ,technological development has
been seen toimpoverish those whohold these rights .Thegeneral depression
oftheir standard ofliving isinlarge part duetothe anachronisms of
legislation ,which istrailing well behind technology .The Court ofJustice
hasalready spoken outagainst "thebreach made inlegal systems forthe
protection ofcopyright bytheincrease intheuseofreprography "^.
Reprography isnottheonly problem .There isalso the problem of
private recording byindividuals using thelatest reproduction techniques ,a
problem which will grow with theincrease inthenumber ofprogrammes offered
inthe home :cable networks ,local television and,shortly ,satellites .
The measures being prepared will modernize thelegislation soas
togive authors and interpreters better protection against the adverse
effects oftechnological development ontheir employment andtheir remuneration .
Good care will betaken not tooverlook oneparticular practice
which undeniably constitutes acriminal offence -pirating .The Community
isduty bound totake action tocounter what amounts totheft ofthe
remuneration that authors and interpreters should get from the legitimate
use ofrecords ,films and books inwhich they have invested their labour .
Itgoes without saying that any such measures must surely fail ifthey are
applied byeach country on apurely national scale .
1
Case 90/79,judgment given on8February 1981 .

-2-
TwoDirectives arealso planned .
Thefirst isspecific tocomposers andplaywrights .Ittakes
account ofwhat isinmany respects awelcome trend inthefinancing of
concerts andtheatres .Itoften happens that government andlocal authority
pays almost asmuch insubsidies asthepublic pays atthe boxoffice ,and
sometimes even more .The composer ortheplaywright suffers inthat his
remuneration isstill calculated only onboxoffice receipts ,whereas those
receipts have tomeet only theportion oftheexpense that thegrant does
not cover and sodonot increase very fast,certainly not asfast asthe
general cost ofliving .Anew method ofcalculation should beapplied so
that thebenefit ofthegrants isequitably shared between thethree parties
involved -theorganizer oftheconcert orperformance ,who hasvery heavy
expenses ,the members oftheaudience ,for whom thegrant ensures reasonable
prices ,andthe composer orplaywright ,whoisotherwise unfairly robbed ofa
share ofthe actual receipts .
The second ismore general inscope .Itwill replace with
asingle copyright period followed byaperiod ofcollective authors' rights 1
thefive different copyright periods still operate inour tencountries ,which
raise barriers totrade anddistort competition .Ifnothing istried before
the accession ofSpain the Community will eventually have sixcopyright
periods ranging from fifty toeighty years .
Protecting the work ofcreative craftsmen and photographers
4. The importance ofthis protection iscommensurate with thecultural
andsocial role ofcreative craftsmanship and the wide use towhich photo­
graphers' work isput .
Droit desuite forplastic artists
5. Inits 1977 Communication onCommunity Action inthe Cultural Sector
the Commission announced itsintention ofarranging for the introduction of
"resale rights "(droit desuite (Sheet 2))inthose countries which have not
yet done so.The Commission isstill convinced that something must bedone
toremove theinequality between theplastic artists inthose countries and
their counterparts incountries where thedroit desuite assures them and
their heirs ofashare inthe proceeds from successive sales .
Studies
6. Until the Commission made astart onitsstudies onthe economic ,
social ,legal andtaxation aspects oftheworld ofliterature ,fine arts,
music and the stage ,little work had been done inthis field inthe Member
States and none atall bythe Community .These aspects with the laws that
govern them and theprevailing practices were akind ofuncharted territory .
1Theprinciple andthebenefits ofcollective authors' rights (thepublic
domain associated with thedistribution ofproceeds from royalties are
explained onSheet 1attached tothis paper ).

-3-
Thestudies that have been made have established thecontours of
thecultural sector .They provide afirm basis forCommunity action .They
also elucidate thevarious measures tobetaken bytheministers with respon­
sibility forculture andbythevarious circles actively concerned ;inboth
cases extensive use hasbeen made ofthestudies .
This exploration is,ofcourse ,bynomeans complete ;further
studies still need tobemade .
7- Wishing tohave statistics toback upthestudies forthesake of
complete andreliable information .Parliament called forstraight application
ofthesecond paragraph ofArticle 122oftheEECTreaty ,andinvited the
Commission toinstruct theStatistical Office togather andupdate statistics
onthelevels ofemployment (which really means unemployment ),remuneration
andsocial benefits among cultural workers .
Anoutside institute hasalready been asked todevise amethod of
collating andprocessing thestatistics .This work will soon befinished .
TheOffice will then continue bymeans ofsuccessive studies toimprove the
information ononeorother ofthemain features ofthesocial situation of
thecultural sector .Thestudies will bepublished asandwhen they are
completed .
Employment
8- Bymeans ofanamendment inthe1982 budget Parliament inserted
anArticle headed "Promotion ofthecultural sector 1',which itjustified
asfollows :"Thepurpose ofthis Article istocontribute towards the
financing ofavariety ofprojects andpilot schemes aimed atoffering
thepublic awider variety offorms ofcultural expression ,thereby reducing
thelevel ofunemployment among cultural workers ".
Theappropriation under thenewArticle will first beused for
experiments topromote thecinema ,thetheatre andpoetry ,aswell asthe
plastic arts intheform ofthetravelling exhibition of"Ahundred and
fifty young Community painters "(Sheet 3).
Job creation inthe cultural sector isinline with the trend
towards developing thetertiary sector .Moreover ,thecost oftheinvestment
needed tocreate cultural employment istrivial when compared with thescaLe ofin­
dustrial .investments .Live performances could give employment ,notonly to
performers ,butalso toaconsiderable number ofadministrators andtechnicians
forlighting ,sound ,stage management andscenery design ,costumes ,the
making ofmusical instruments ,and soon.
Initial and advanced training
9. Since unemployment isatone ofitspeaks inthe cultural sector ,
there aremany more reasonably suitable applicants forone andthe same job
than inanyother sector .Competition issuch that more than anywhere else
employment hangs upon qualifications .Onanextremely tight labour market
the chances ofgetting ajob arenotonly increased by,but indeed depend on,
qualifications .

-4-
Qualifications are obviously anindividual solution tothe
employment problem .They arevalid only insofar asthey are part of
theoverall solution that national and local authorities canfind,notably
through cultural investments and the resultant wider audience .
Inthe matter ofqualifications the cultural sector isno
exception ;cultural workers ,like allother workers ,gettheir qualifi­
cations through training and retraining .
Training
10. Community scholarships orgrants have been instituted .They are
awarded toyoung people who have chosen tofollow one orother oftheartistic
occupations orcrafts involved inthe conservation ofthe architectural heritage
and toanumber ofyoung people who intend tobecome stringed-instrument makers ,
instrumentalists ,dancers ,choreographers orcomposers ,toname but afew.
11. Two training problems call for urgent solution .
-The concern forviability sometimes prompts organizers offee-paying
training courses instage work toaccept and keep students whom they
know for afact are not gifted enough tohave fair chance offinding
work later .
Poor training standards not infrequently compromise the future employment
ofapparently promising students .
-Ofallcultural workers itisdancers ,male and female , who have the
shortest careers .The problem ofretraining them therefore arises muchearlier .Insome cases the answer could well betomake them ballet -
masters ormistresses ,assisting thechoreographer indirecting rehearsals .
But nowhere inthe Community (or,forthat matter ,inother countries )does
any such specialized course exist .
Legislative measures should betaken which spell outthemoral and
educational standards toberequired oforganizers andteachers giving
fee-paying courses .
Ten Community grants ayear should beawarded toadanting school
which starts acourse forballet-masters ormistresses .
Advanced training
12. Foradvanced training Community action inthecultural sector makes
useofeither personal contacts (Sheet A)ormultinational activity :

-5-
-atthe end oftheir training young cultural workers may gooncourses in
aCommunity country other than their own,organized onthe basis ofArticle
50ofthe EEC Treaty ;
-experienced cultural workers from several Community countries put onvarious
cultural events ,towhich the Community makes afinancial contribution .
The combination ofatleast two national practices inmounting
these productions adds anew dimension tocultural exchanges .They nolonger
achieve only half their purpose ingratifying the audience .The performers
gain from them too.Their skills are raised tothe highest pitch bythe
valuable experience ofworking together .
The best known example isthe Community Youth Orchestra .Itprovides
full training and practice inensemble playing and figures prominently onthe
labour market for young musicians ,many of whom owe their subsequent engagement
byone orother ofour major symphony oropera orchestras toit.
Another project sponsored bythe Commission isthat ofthe
"European Rooms "organized bythe Norwich Castle Museum (the preparation
ofwhich involved the creation of averitable network ofmuseum curators
throughout the Community ). Luxembourg has the Wiltz European Festival ,
which owes its success totheefforts ofGerman ,French ,Italian and
Luxembourg actors ,singers and musicians ,who will bejoined next year by
atroupe ofDutch dancers .
Collective bargaining between employers and workers
13. Collective negotiations should first endeavour toput anend toa
practice still all too frequently found .Certain contractual clauses rob the
economically weaker party -the author ,translator ,actor ormusician -of
one orother safeguard that the law ismeant togive him .
Ifemployers and employees inthecultural sector were able to
agree onarrangements concerning translators ,the Commission would make
strict compliance with those arrangements acondition for granting financial
assistance topublishers aspart ofthe standing operation "Aid forliterary
trans lation".
 
* *
Harmomzation oftaxation
'4. Inharmonization directives designed first and foremost toestablish
andoperate the common market ,dueconsideration should begiven toother
exigencies ,including those relevant totheproduction andsupply ofcultural
goods and services .
Acloser study should bemade oftheposition ofcultural goods and
services intheestablishment andoperation ofthe common market ,inorder to

define moreprecisely thequite substantial rolethat theyplay init
Harmonization oftaxation could have three taraetc -=«•
kinder tocultural foundations andpatronage ;thespreading ofcuUuraI em
aWndservices !^5^ S6VeraL L0Wer V ATrates on""uralgiods
15. Since thescope forcultural foundations andpatronage hinges closeontheir taxposition ,theemployment ofcultural workers likewise Seoend onHarmonization oftaxation could have three targets :ataxcultural foundations andpatronage ;thespreading ofcultunrnmac rw/ar * r- « IJ._. _ ^ wuin 3 IUIIU
/ΛΤ __
and services . ^nurai goods
Ataxsystem kinder tocultural foundation andpatrons
:ronage h
depends on
ACouncil recommendation totheMember States could beconsidered .
Sprea dinqcultural workers 'incomes over several taxyears
16. Insome Community countries cultural workers areallowed tospread
thetaxable income from anexceptionally good year over several taxyears .
This system could well beapplied throughout the Community .Itdoes not
constitute aprivilege ,but simply reflects thespecific situation of
cultural workers .
Thegreat majority oftaxpayers enjoy abroadly stable income from
year toyear,theonly variations resulting from thedeclining value ofmoney
andthe normal advance oftheir careers ifthey are employees oroftheir
business ifthey are not.Incontrast ,cultural workers are rewarded at
highly irregular intervals .Their works provide anincome only after along
period ofgestation ,during which they are reduced toliving onthe proceeds
from previous work .Oranactor may get one season 'swork inbetween awhole
series ofseasons when,through nofault ofhis own but simply because the
parts are not available ,hefinds himself virtually out ofajob.Through
theeffect ofthe tax brackets apainter mayfall into ahigh bracket for the
year ofanexhibition which enables him tosell pictures and hethen has a
heavy ,indeed excessive ,taxbill .The same thing happens toanactor ina
year full ofengagements .
Lower V AT rates oncultural goods and services
17- Compounding thedifficulties ofmarketing ,high V ATrates restrict
openings and consequently employment forcultural workers .
Yet harmonization ofV AT onall goods andservices generally still
covers only the basis ofassessment .
Sowehave towait forthe second stage before cultural goods and
services canbesubject toharmonized rates which allow fortheneeds ofcul­
tural workers ,what cultural ventures cancontribute andtheexigencies of
the dissemination ofculture .

-7-
Sheet 1
COLLECTIVE AUTHORS' RIGHTS
1. Thepublic domain associated with thedistribution ofproceeds
from royalties extends the author 'sright (first forhimself andlater for
hisheirs )bycollective authors' rights -forallliving authors .
Inthe Community this system exists only inItaly and,inaslightly
different form ,inFrance .
2. Clearly anauthor must bepaid forhis work throughout hislife .
Likewise ,this remuneration should normally gotohisheirs during thefifty
years after his death .What iswrong ,however ,isthat theonly effect of
there being nocharge istoboost thedisseminator 's(publisher 's)profit .
Asthis never results inalowering ofprices ,readers and audiences
get nobenefit from thefree public domain .Ithas nopositive effect onthe
dissemination ofculture .
3. General application ofcollective authors' rights would offer
substantial advantages .
The sums collected would swell the social and cultural funds set
upbymost authors' associations .
The needs ofsocial funds arefar from being satisfied .
The lack ofresources ispreventing thecultural funds from playing
their role inpromoting works .This means that itisthepublic authorities
which ,under their owncultural policies ,bear almost theentire cost .If
the authors could themselves bear asignificant proportion ofthe burden they
would have afair share oftheresponsibility ofpromotion and would thus gain
the more definite independence with the democratic countries inwhich welive
cannot grudge them .
4. Initially ,collective authors' rights will probably have tobecon­
fined toworks which appear after the introduction ofthose rights and be
applied for aspecific period of,say,twenty years .
Butifthe intention istosecure resources forreally effective
action then these rights must eventually cover all works and remain ineffect
for aslong asthere are disseminators toexploit any oneofthem .
Thefinal objective isunlimited collective rights .

-8-
Sheet 2
DROIT DESUITE INTHE PLASTIC ARTS
'• This consists ofpayment totheartist orhisheirs ofapercentage
oftheprice obtained onsuccessive sales ofthework following theinitial
cession .
Inthis waytheartist obtains afinancial share inthe success
obtained byhisworks throughout their life,andnotjust when theyfirst
appear .
Forcreative artists intheplastic arts thetime limit applying
tothedroit desuite isofgreat importance ,since itisvery rare fortheir
talent tobeappreciated immediately :this generally demands aconsiderable
lapse oftime .
Inthe absence ofadroit desuite anyappreciation invalue brings
noreturn tothecreator orhisheirs ;however great theprofits oneach
resale (apicture ,forexample ,isoften resold several times ),they goex­
clusively tothe successive owners and dealers .
2. Although the Member States areallsignatories tothe Berne Con­
vention ontheProtection ofLiterary andArtistic Works of9December 1886,
into which thedroit desuite wasintroduced bytherevision of26June 1948,
such rights exist dejure and defacto inonly sixofthem :Belgium ,Denmark ,
France ,Italy ,Luxembourg and the Federal Republic ofGermany .
General application ofthedroit desuite would notonly eliminate
thesocially unacceptable inequality between artists inthevarious countries
ofthe Community but also asituation which ,insofar asitdistorts com­
petition ontheart market ,isinadmissible asregards thefunctioning ofthe
common market .
Since major sales (high value )tend tobeheld incountries where
costs are lower ,those countries where there isnodroit desuite benefit from
adistortion ofcompetition within the meaning ofArticle 100ofthe EEC Treaty .
3. The Intergovernmental Conference onCultural Policies inEurope or­
ganized byUNESCO inHelsinki in1972 recommended that member countries should
recognize the copyright oftheartists concerned onallpublic sales oftheir
works .
Thedroit desuite comes upagain inthe Recommendation onthe Con­
dition oftheArtist ,adopted byUNESCO in1980 .

-9-
Sheet 3
THE EXHIBITION OF AHUNDRED AND FIFTY YOUNG COMMUNITY PAINTERS
1. In1983 and 1984 atravelling exhibition will tour nine capitals and,
for Germany ,thecity ofCologne .Itwill display two canvases byeach of150
painters .
2. "Young painter "means someone who has not achieved fame but whose
talent isrecognized byhis peers ,thecritics and theenlightened public .
3. These are precisely the painters who
.canoffer thepublic the most striking view ofpainters inthe Community
today ,and who
.need tohave their work exhibited more widely inorder tomake adecisive
stride intheir careers .
The Commission has already been concerned with their situation .
Inthe middle of1981 ,after asurvey and preparation which took almost two
years ,itpublished the Handbook forPlastic Artists .Its purpose isto
familiarize painters ,aswell asengravers and sculptors ,with facilities
tohelp them intheir own countries and inother Community countries inwhich
they wish towork .These include scholarships ,prizes ,help with their first
exhibition ,grants for purchasing equipment and studio space .
Ithad been found that ,knowing little ofthese facilities ,artists
were not making much use ofthem .Sothe Handbook served apurpose -and a
social one .
3. The selection ofpainters tobehung intheExhibition will not be
onacompetitive basis between the Member States .They will beselected in
each country byanational committee .
4. Theoriginality ofthis exhibition isworthy ofnote .
The Council ofEurope ,for example ,from time totime sponsors
widely-admired exhibitions ofoutstanding treasures .Would the Commission ,
inturn,try tovie with itinterms oftheprestige and market value ofthe
works exhibited ?Itdecided toaimfor something completely different .The
Exhibition of aHundred andFifty Young Community Painters will not bea
glamorous collection ofrenowned pictures .Itsgreat fascination isthat
itwill display the work ofartists whowill betomorrow 'smasters -those
whowill bepainting for the 21st century .

-10-
Sheet 4
ADV ANCED TRAINING THROUGH PERSONAL CONTACTS
1■ Finding that personal contacts atseminars ,symposia ,colloquia
andcongresses areneither direct enough nor Long enough tomake anyeffective
contribution tothe advanced training ofcultural workers ,the Commission and
the Greek Ministry ofCulture and Science have mounted twooperations called
"Cultural workers inGreece "and "Greek cultural workers ". The Commission
hasalso undertaken another project specially intended foractors .
"Cultural workers inGreece -Greek cultural workers "
2. Thanks trasubsidy from the appropriation for Community action in
the cultural sector fifty cultural workers from the other nine member countries
representing all the cultural disciplines spent ten days inAthens from 10to
20November 1981 .
Within each discipline personal meetings were arranged onthe
spot bythetrade union andoccupational associations representing Greek
cultural workers .
3. InOctober 1982 fifty Greek cultural workers will be
invited tovisit Belgium 'sEUROPALIA Festival ,which this year
isdevoted toGreek culture .Small groups will then each gotoone ofthe
other eight countries .
The EUROPALIA Festival will beresponsible for the whole project ,
making itone ofthe major events ofits programme .
Personal contacts ineach country will bearranged ,inclose col­
laboration with EUROPALIA ,byCISAC (International Confederation ofSocieties
ofAuthors and Composers ),the IAA (International Association ofArt
Painting ,Sculpture ,Graphic Art),the Committee for European Affairs of
the FIA (International Federation ofActors )and the FIM (International
Federation ofMusicians ),FISTA V (International Federation ofTrade Unions
ofAudio-Visual Workers )and bythe trade union committee for the arts and
entertainment .
Actors
4. From mid-May tothe end ofJuly 1982 ayoung Italian theatre
company made aEuropean tour partially financed from the appropriation for
Community action inthe cultural sector .

-11-
Thework put onhadbeen selected asonewhich could easily
surmount the language barrier .Itillustrated oneofthegreat European
myths ,familiar toeveryone ,and wastreated inthestyle ofthe"Commedia
dell arte ,which conveys the words through mime,gestures and movements
Itwas noordinary tour .Ontheir journey through five other
Community countries theItalian troupe did more than perform .Appearing
most ofthe time atfestivals inthe Netherlands ,London ,Avignon and
Ajaccio ,they were able tomeet actors inthe host country and went tosee
the performances ofthose they hadinvited totheirs .
5. Theobjective wasalso topublicize inseveral countries the new
nethod ofcooperation with thereception structures forstage works that the
Office forArtistic Dissemination ,responsible fororganizing thetour,applies
within aspecific national framework .Actors would stand togain much interms
ofemployment ifthis method wasapplied throughout all thecountries ofthe
Communi ty,

ANNEX III
WIDENING THE AUDIENCE -SPECIFIC MEASURES
1. Anumber ofencouraging factors are emerging onthis front :
broadening ofeducation and Longer duration ofstudies ,aforeseeable
extension ofLeisure time ,akeen taste for forms ofcultural expression
like music ordancing ,theattraction ofthe stage for young people ,the
growing interest aroused byregional cultures and the development of
social intercourse .
Community action onthecultural sector should focus onwidening
the young audience (young people atschool and elsewhere )and onorganizing
specific events like European Music Year .Collaboration between cultural
advisers andcultural institutes inthe Member States andcultural exchanges
ingeneral all have arole toplay .
Young people atschool
2. Itisnot enough torepeat that the broader audience oftomorrow
must beprepared now andthat itistherefore uptotheteachers toarouse
their pupils' interest inthearts .Itishigh time wehelped them todo
this .The most effective means would betocall inplaywrights ,actors ,
composers andpainters everywhere who would act astheir cultural assistants .
Bydemonstrating thepractice ofeach cultural discipline they would be
attractively illustrating the imparting ofthe knowledge for which the
teachers arefully qualified .
Byapplying the methods which have proved their worth forforeign
language assistants Community action could promote the presence ofcultural
workers inthe education establishments ofCommunity countries other than
their country oforigin .
Young people outofschool
3. Itwould bewell toexploit theresults ofaijexperiment tobring
young theatre companies before their natural audience .These young companies
areparticularly suited toyoung audiences .
The creative contribution that young theatre and dance troupes
can make isimmeasurable .They are oneofthegreat resources ofourculture .
Butthey aremore often than notworking under very difficult economic
conditions .
Annex II,Sheet 4(second part )

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European Music Year
4. When the European Parliament decided that the Community and the
Council ofEurope would organize European Music Year -1985,the intention
was tocelebrate the tercentenary ofthebirths ofBach ,Handel andScarlatti .
Butitbecame clear that,ifawider audience was tobereached ,
there waslittle point insticking totheconventional approach ,which often
means giving the same concerts toasmall audience .
European Music Year will endeavour toenlarge the audience in
three directions :music ingeneral ,for young people and adults whostill
have nocontact with it;the works ofcontemporary composers ,all too
neglected bymusic lovers themselves ;young instrumentalists ,whose early
careers are often very difficult .
CoIlaborat ion ofcultural advi sers and cultural institutes
5. The Commission isglad tosee that there has been some response to
the suggestions itmade inits 1977Communication (organization ofreguLar
meetings ofcultural advisers and joint cultural events byseveral cultural
institutes ).
Here and there ,cultural advisers are getting together .But though
more meetings are being held they still lack astructure comparable with that
ofthe cooperation between commercial and press counsellors posted innon-
member countries .
Joint events between several institutes are not without precedent
either .But they have hitherto been few and far between and limited inscope .
Their spread would not only help toreduce the costs ofcultural exchanges for
each country concerned (nosmall advantage inthe present economic situation )
but would also broaden their impact .
Meetings between advisers should bemore highly organized and
cultural institutes should begiven the funds they need tomount joint events .
Cultural exchanges
6. Community action inthis area isbased onthe following principles :
-the event must bedesigned toenlarge the audience anddecentralize
culture ;

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-they must contribute ,where possible ,toimproving theliving and
working conditions ofcultural workers asenvisaged inAnnex II.
With their European dimension cultural exchanges are anatural
area for Community action ,the aim being toquicken thewill tounite the
nations ofEurope expressed inthefirst recital ofthe Preamble tothe
EEC Treaty and the last oftheobjectives set out inArticle 2.Itwill all
certainly take time andpatience .Butgradually cultural exchanges will do
away with thestereotypes andprejudices which still deform the image that
each people has ofthe others .They will even gofurther and reveal the
underlying unity ofcultural affinities ,relationships and resemblances in
adiversity that there can benoquestion ofdulling .Inthis way they
should gradually strengthen ties between the peoples ofthe Community .
This isthe path that the Community isfollowing .
Aninteresting example ofanexchange ofthis kind was the cycle
called "Quartet for Europe "or"Four-City Concerts "which took place in
three Community countries inOctober 1980 .Each ofthe four cities
involved footed thebill for aconcert which then toured the other three .
Ineach case the proceeds went tothecity inwhich the concert was given .
This experinent proved that itwaspossible tomake cultural exchanges
more flexible .Itshowed that what matters isthecultural value ,not the cost .
Itiseasy tosee what can bemade ofthe Four-City Concerts idea
if,asthe Community 'spartners would like ,acultural andsocio-cultural
aspect isincluded inthe next Lome Convention .Extension ofthe idea to
events ofall types would enable ustorebalance thepattern ofexchanges .

ANNEX IV
CONSERVATION OFTHE ARCHITECTURAL HERITAGE -SPECIFIC MEASURES
1. Community action inthecultural sector could also extend to
taxreliefs inconnection with conserving theprivate architectural heritage
and toaprogramme ofresearch onthe sulphation oflimestone ,marble and
brick .
Itshould also bepossible toact onParliament 1ssuggestion
that the Community bear the cost ofconserving amonument somewhere in
the Communi ty.each year .
Tax reliefs onconserving theprivate architectural heritage
2. Such reliefs are tobeconsidered not from the angle ofprivate
interests but from the point ofview offinancing conservation .The aim
would betorelease the funds needed for the conservation ofbuildings so
numerous and -sodifferent that governments and local authorities would be
altogether unable todothe work directly themselves .Theprivate archi­
tectural heritage ranges from historic houses (stately homes and mansions ,
but also rural buildings like mills and farmhouses )toturn-of-the-century
industrial buildings ,including factories and even workshops andretail
shops .
The Commission will present aproposal for aCouncil recommendation
tothe Member States .The proposal will spell out theobjective ,coverage
and impact ofthe Recommendation .
Theobjective would bethe general interest ofconservation ,the
need for which calls for aCommunity response .
The recommendation would concern only sites open tothe public .
Rare exceptions would apply tothose elements ofthearchitectural heritage
which .might suffer from crowds ofvisitors .
Itwould notaffect thedifferent rates oftax,involving only
establishment ofthe basis ofassessment .Lower bases would beproposed
inconsideration ofwhat might becalled a"cultural servitude ". The
cultural value ofabuilding does not increase but,instead ,often lowers
its market value .Moreover ,inthe case ofalisted building ,right of
ownership islimited byconstraints imposed bythe State inrespect of
the nature and cost ofconservation work .
Arecommendation onthe strength ofthe above considerations would
have agood chance ofapositive response from the Member States .

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Research into sulphation ofLimestone ,marble andbrick
3. The worst threat tothe architectural heritaae comes
from atmospheric pollution caused bythe useofpetroleum
products forheating and as'asource ofpower forindustry and
transport .Most ofthese fuels arerich inorganic compounds ofsulphur
andthis isthe main cause ofthe damage .The sulphur eats into the
surface ofthe limestone ,gradually changing itinto gypsum .Corniches
andstatuary aregradually destroyed .Even marble ,much less porous ,can
bebadly damaged ,and socanbrick .Noremedy has yet been found .
The Community could fund aresearch programme onthe many aspects
ofsulphation (causes ,prevention andtreatment ),about which little isyet
known .
Annua 1conservat ion operations
4. The operations recommended byParliament would
beyearly projects inthe sense that the funds for each would have
tocome from the budget for one and the same year .Butitwould clearly
take several years tofinish each project .
The whole ofthese annual projects would have more relevance
ifinstead ofbeing dissimilar they were focused onamajor theme ,say,
"the Greek and Roman theatres ".
The gradual conservation ofthese theatres (which would include
technical equipment forlighting and sound and improvements tothe
"auditorium ")might become oneofthe Community operations planned for
the Mediterranean regions .
Inmore general terms ,Community action inthecultural sector
has amajor economic andsocial role toplay intheintegrated development
programmes which the Commission ispreparing fortheMediterranean regions .
These regions sorely need their artists andcreative craftsmen ,their
architectural heritage ,museums andfestivals ,andthetourists they
attract ,sothat their cultural richness can compensate insome wayfor
their poverty inother respects .