Cultural policies in the EU Member States : abridged edition.
Date: 2002-08-22
Institutions: Directorate-General for Parliamentary Research Services
Subjects: EU Member State, cultural policy, decision-making, financing, private sector

EUROPEAN PARLIAMENT

DIRECTORATE-GENERAL FOR RESEARCH

Working Paper

Abridged Edition

Cultural Policies in the EU Member States

Education and Culture Series

EDUC 107A EN

QA-ED-UC-107-EN-N

This document is published in EN only.

Authors:

Andrea Rosenauer, INST (Research Institute for Austrian and
International Literature and Cultural Studies, Vienna)
and Pernille Winther

Responsible official:  Pernille Winther

Division for Social and Legal Affairs
Tel.: (00352) 4300 22688
Fax: (00352) 4300 27720
E-mail: DG4-sociale@europarl.eu.int.

Manuscript completed in December 2001.

Paper copies can be
obtained through                 :

 Publications service
 Tél: (352) 43 00-24053/20347
 Fax: (352) 43 00-27722
 E-mail: dg4-Publications@europarl.eu.int

Further information on DG4 publications
can be accessed through     :

 www.europarl.eu.int/studies

Luxembourg, European Parliament, 2002
ISBN:.......................

The opinions expressed in this document are the sole responsibility of the author and do not necessarily
represent the official position of the European Parliament.

Reproduction and translation for non-commercial purposes are authorized, provided the source is
acknowledged and the publisher is given prior notice and sent a copy.

©  European Communities, 2002

Printed in Luxembourg

EUROPEAN PARLIAMENT

DIRECTORATE-GENERAL FOR RESEARCH

Working Paper

Abridged Edition

Cultural Policies in the EU Member States

Education and Culture Series

EDUC 107A EN

05-2002

CONTENTS

INTRODUCTION AND EXECUTIVE SUMMARY................................ .............................. 5

VOLUME I - COUNTRY PROFILES................................ ................................ .................... 7

1. General objectives and principles................................ ................................ ..................... 7

2. Decision-making and administration ................................ ................................ ................ 9

2.1. Description of the system................................ ................................ ........................... 9
2.2. Breakdown of cultural powers and responsibilities at national, regional, local and

municipal levels................................ ................................ ................................ ....... 11

3. Funding the cultural policy................................ ................................ ............................. 14

4. Support policy................................ ................................ ................................ ................ 16

4.1. Brief description of overall support policy to promote creativity .............................. 16
4.2. The role of fiscal policy as an instrument of cultural policy................................ ...... 18

5. International relations................................ ................................ ................................ ..... 20

6. The role of the private sector................................ ................................ .......................... 22

7. Current debate and future plans ................................ ................................ ...................... 24

VOLUME II - OUTLOOK FOR THE 21ST CENTURY................................ ........................ 30

Further Reading ................................ ................................ ................................ .................... 33

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Introduction

INTRODUCTION

In  January  2000,  the  Committee  on  Culture,  Youth,  Education,  the  Media  and  Sports  of  the
European  Parliament  asked  the  Directorate-General  for  Research  (DG  IV)  to  draft  a  report  on
cultural policies in the EU Member States as part of its Research Programme for the year 2000.
The aim of the study is to provide information about cultural policy in the various EU Member
States.

As very little comparative up-to-date information was available1, a questionnaire was sent to all
Ministries  of  Culture  in  the  EU  Member  States.  To  complete  the  picture,  one  artist  or  leading
figure in the arts from each EU Member State was asked to write an essay on his/her personal
reflections on 'European Culture in the 21st Century'.

The report therefore consists of two parts:

1.  Information on the cultural policies of the Member States of the European Union

and

2.  Reflections of artists from the EU Member States on 'European Culture in the 21st Century'.

1 Cf.: Cultural Policies in Europe. A Compendium of Basic Facts and Trends, Council of Europe and ERICArts
(eds.), ARCultMedia, Bonn, 2000. WWW: http://www.culturalpolicies.net/. The aim is to provide readers with
country profiles of all 47 signatories to the European Cultural Convention. At present, (December 2001), profiles of
20 countries are available via the web version, among them profiles of 7 EU Member States.

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Cultural Policies in the EU Member States

EXECUTIVE SUMMARY

Cultural policies in the Member States

Freedom of expression, the preservation of the cultural heritage and socio-cultural objectives that
allow  broad  participation  in  cultural  life  are  among  the  general  objectives  and  principles  of
cultural  policy  in  many  Member  States.  While  the  system  of  policy-making  and  administration
and the allocation of cultural powers and responsibilities in the Member States are quite diverse,
similarities  may  be  found  among  States  with  a  federal  model  and  among  States  where  a  more
centralised model prevails. The data given on the funding of the cultural policy shows that the
situation  varies  from  Member  State  to  Member  State  and  depends  to  a  large  extent  on  the
definition of culture. The support policies to promote creativity also vary to a fairly large extent
from  country  to  country.  As  regards  international  relations,  the  aims  of  the  EU  Member  States
are, on the one hand, to facilitate exchanges with other cultures in the world and, on the other,
for each single Member State to promote awareness of its culture. The role of the private sector
in the field of culture is expanding in all Member States. It is the goal of all the Member States to
reach a wider public in terms of current debates and future plans. Other plans involve improving
public-private  cooperation,  the  decentralisation  of  cultural  powers  and  responsibilities  and  the
protection of cultural diversity as a means of combating xenophobia and racism.

European Culture in the 21st Century

Artists from many cultural fields such as literature, poetry, architecture, music, film, theatre and
the plastic arts contributed to this section. The texts were received between July and December
2000.

The essays take as their theme the concept of Europe and they reflect the position of the artist in
a rapidly changing economic and social environment. They also develop ideas and proposals for
certain fields of culture and cultural policies. Some authors regret the fact that artistic production
seems to be affected more and more by the market. The importance of the freedom of the arts is
emphasised throughout.

Several  contributions  highlight  the  fact  that  the  wealth  and  diversity  of  European  culture  is  an
important  basis  for  European  identity.  To  encourage  this  diversity,  it  is  proposed  that  the  EU
gives  greater  support  to  translations  of  European  literature.  It  is  also  suggested  that  access  to
financial  support  for  intercultural  artistic  cooperation  and  projects  should  be  made  easier  and
quicker.

While  many  authors  agree  that  diversity  dominates  the  cultural  landscape  of  Europe,  they  also
observe  deep  proximities  and  similarities.  Unities  of  certain  artistic  styles  in  certain  historical
eras,  multiple  identities  and  pluriform  cultures  are  the  result  of  migration  and  of  a  dialogue  of
cultures.  An  enforcement  of  the  intercultural  dialogue  is  considered  important  for  a  cultural
policy  of  the  future.  The  basis  of  such  a  dialogue  requires  equality  between  'minority'  (or
marginal) and 'stronger' cultures.

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Country profiles

VOLUME I

COUNTRY PROFILES

1.  General objectives and principles

In  Belgium,  which  has  become  a  federal  State,  the  cultural  autonomy  of  the  three  linguistic
communities was gradually incorporated into the political structures in the period from 1968 to
1971. The law of 16 July 1973, known as the loi du Pacte Culturel, guarantees the representation
of these autonomous communities and protects ideological and political minorities. The Flemish,
Walloon  and  German-speaking  communities  are  responsible  for  cultural  domains  such  as  the
arts, audiovisual activities and lifelong learning, as well as for education, sport and the welfare of
children and young people; in these areas the linguistic communities enjoy devolved legislative
powers, which they can exercise by enacting specific decrees.

In Denmark cultural policy aims at giving people a cultural basis in life, both in terms of their
sense of history and the challenge of modern living. Cultural policy is based on four principles:
freedom  of  speech,  cultural  democracy,  quality  and  decentralisation.  Freedom  of  speech
guarantees  genuine  freedom  of  expression,  cultural  democracy  expresses  respect  for  cultural
diversity and the right to pluralism. Quality implies that quality assessments are conducted when
applications  are  submitted  to  fund  projects.  Decentralisation  ensures  broad  access  to  cultural
lives and promotes the principle of subsidiarity, which implies that decisions are taken close to
the citizens concerned.

In  Germany,  a  climate  characterised  by  tolerance,  liberty  of  expression  and  openness  to
innovation is the prerequisite for and, at the same time, the aim of a living cultural policy. The
German federal government and the sixteen 'Länder' governments together support and promote
all kinds of cultural activities. Furthermore the federal government deems itself responsible for
maintaining  and  supporting  self-governing  institutions  and  associations  and  developing  an
infrastructure for artists activities countrywide.

Greece regards culture as a basic element of national identity. Cultural policy is based on respect
for, and preservation of, cultural heritage, as well as on contemporary artists drawing inspiration
from  the  cultural  tradition.  Cultural  policy  mainly  focuses  on  cultural  heritage  and  cultural
development, the latter consisting of literature, the arts, cinematography and popular culture.

Spain regards culture as one of the basic elements that forms and gives expression to a person, a
society,  a  nation  or  a  civilisation.  Specific  public  powers  granted  by  the  Spanish  Constitution
provide access to culture and promote the conservation and enrichment of the historical, cultural
and  artistic  heritage.  Cultural  policy  in  Spain  has  been  invested  in  cultural  heritage  and  the
cultural infrastructure, as well as in the consolidation of the cultural industry. Because of the fact
that  over  four  hundred  million  people  have  Spanish  as  their  mother  tongue,  the  government’s
cultural policy tries to promote and support the world-wide Hispanic cultural heritage as part of
the Spanish culture as well.

The  preamble  to  the French  Constitution  declares  that  the  Nation  guarantees  equal  access  for
everyone  to  education,  vocational  training  and  culture.  The  objectives  of  the  French  cultural
policy  primarily  concern  the  maintenance  and  exploitation  of  the  cultural  heritage,  support  for
creativity  and  creative  artists,  the  development  of  higher  education  giving  access  to  cultural

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professions,  the  fight  against  inequalities  in  access  to  culture  and  the  development  of  artistic
culture.

The  mandate  of Ireland's  Department  of  Arts,  Heritage,  Gaeltacht  and  the  Islands  is  to  foster,
promote,  conserve  and  present  Ireland's  heritage  and  culture  in  the  broadest  sense.  Its  areas  of
responsibility include the Arts and Cultural Institutions, broadcasting and film, the buildings and
natural heritage, the Irish language and the Gaeltacht and the Islands.

In Italy, cultural policy has changed since 1996. The main new elements focus on rebuilding the
profile  of  the  cultural  portfolio  in  public  life  and  in  government,  reforming  governmental
structures and cultural management, increasing funding and establishing a single ministry to deal
with most aspects of cultural policy.

The  Luxembourg  government  considers  culture  to  be  a  determining  factor  of  every  society.
Culture  ranges  from  the  arts,  literature  and  creativity  to  reflection  about  the  individual  and
includes  the  search  for  identity  and  acceptance  of  other  people.  It  may  constitute  a  model  for
understanding  life  as  well  as  protection  from  fanaticism  in  any  form.  Luxembourg  is  to  adopt
new  legislation  with  a  view  to  promoting  artistic  creativity.  New  funding  is  being  provided  to
create a new public infrastructure for artistic activities. The government will also facilitate access
to  culture  for  all.  Further  objectives  include  the  protection  of  the  identity  of  Luxembourg's
inhabitants and an increase in efforts to promote Luxembourgish artists abroad. These aims will
be  achieved  through  close  cooperation  between  the  government  and  the  public  and  private
cultural sectors.

The elements which remain constant in the cultural policy of  The Netherlands are intended to
safeguard the best forms of cultural expression and ensure diversity within cultural and historical
traditions and forms of artistic expression. The guiding principle has always been to respect and
to support geographical, ideological and artistic diversity.

Cultural  policy  in  Austria  ranges  from  basic  cultural  needs,  such  as  freedom  of  the  arts  and
artistic  expression,  to  socio-political  objectives,  such  as  participation  and  equality,  as  well  as
management issues such as public-private cooperation. The modernisation and improvement of
public  cultural  policies  and  administration  are  among  the  main  objectives,  as  is  the
decentralisation of cultural authority.

The cultural policy of the Portuguese Government is based on the principle that the creation of
culture and its use constitute the essential rights of all citizens and are fundamental components
of  their  quality  of  life.  The  main  characteristics  and  objectives  are  based  on  democratisation
(broader  access  to  culture  for  citizens)  and  decentralisation  (transfer  of  powers  from  central
government to regional and local institutions as well as private undertakings). Further aims are
internationalisation (support in promoting culture and cultural agents abroad) and participation in
European networks of cultural production and dissemination.

Finnish  cultural  policy  has  traditionally  been  educational.  It  is  a  kind  of  enlightenment  policy
model in which socio-cultural activity, a network of public libraries and centres of art education
play  a  very  important  part  in  educating  citizens  and  promoting  access  to  the  world  of  learning
and literature. The cultural policy model is first and foremost an 'arm's length' model whereby a
number  of  expert  bodies  give  advice  to  the  Ministry.  The  model  has  a  highly  cooperative
character,  with  artists'  professional  associations  and  trade  unions  playing  an  important  role  in
formulating and implementing policies concerning artists as well as project funding.

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In Sweden national, regional and municipal authorities share the all-embracing goals of cultural
policy.  These  goals  are  devoted  to  safeguarding  freedom  of  expression,  ensuring  equality  of
participation  in  cultural  life  for  all,  preserving  and  exploiting  cultural  heritage,  and  promoting
cultural education and intercultural exchange.

The British  government  believe  that  their  cultural  objectives  and  principals  play  a  key  part  in
meeting their wider governmental social, economic and educational objectives. Because of this
they  have,  like  the  Swedes,  an  all-embracing  goal  of  cultural  policy.  The United  Kingdom's
Department for Culture, Media and Sport (DCMS) aims to bring quality to the fields of culture,
media and sport and to make these activities available to a broad public. Further main objectives
include  raising  the  standards  of  cultural  education  and  training  and  developing  new  jobs  in  the
creative industries.

2.  Decision-making and administration

2.1. Description of the system

Belgium is a federal State. The regions and the linguistic communities have their own legislative
powers, exercised through a Council, and executive powers, exercised through the regional and
community  governments.  The  Ministère  de  la  Communauté  française  Wallonie-Bruxelles
administers  the  cultural  affairs  of  the  French-speaking  community,  the  Ministerie  van  de
Vlaamse  Gemeenschap  those  of  the  Flemish-speaking  community  and  the  Ministerium  der
Deutschsprachigen  Gemeinschaft  those  of  the  German-speaking  community.  Some  of  the
powers relating to these specific cultural policies, however, are reserved for central government;
these  include  the  enactment  of  measures  to  guarantee  the  right  to  work  and  the  right  to  social
security,  legislation  on  general  taxation  and  copyright  and  cross-cultural  or  cross-community
responsibility  for  the  administration  of  certain  major  national  institutions,  notably  the  La
Monnaie  Royal  Opera  House,  the  Palace  of  Fine  Arts  and  the  Royal  Museums  of  Art  and
History, all of which are located in Brussels.

The  Danish  Ministry  of  Culture  produces  initiatives  providing  support  for  the  creative  arts,
music, theatre, film, libraries, archives and museums, as well as for higher education and training
within these areas. It is also responsible for copyright, disseminating cultural information, radio
and television, sport and international cultural  cooperation. The Ministry of Culture comprises a
central division and a number of cultural institutes. These institutes enjoy considerable freedom
and independence in relation to the Ministry of Culture.

In  Germany,  the  Länder  (federal  states)  and  their  Kultusministerien  (Ministries  of  Cultural
Affairs) or Wissenschaftsministerien  (Ministries  of  Science)  are  mainly  responsible  for  cultural
policies.  The  main  task  of  the  Kultusministerkonferenz  (KMK,  Permanent  Conference  of  the
Ministers of Cultural Affairs of the Länder of the Federal Republic of Germany) is to secure a
requisite  minimum  of  unity  in  the  fields  of  education  and  culture.  For  many  years,  the  Federal
Minister  of  the  Interior  was  responsible  for  national  cultural  policy.  In  1998,  the  Office  of
Staatsminister  für  Kultur  und  Medien  beim  Bundeskanzler  (State  Minister  for  Culture  and  the
Media  at  the  Federal  Chancellery)  was  created  to  unify  powers  and  responsibilities  relating  to
cultural policy.

The Greek Ministry of Culture is responsible for defining and implementing cultural policy and
for cooperation with local administrations and private institutions. It also plays an advisory role
in  the  allocation  of  funding  for  the  arts.  The  Ministry  is  also  responsible  for  drafting  laws

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concerning  the  protection  and  promotion  of  the  cultural  heritage.  To  support  the  Minister  of
Culture,  various  councils  and  commissions  operate  within  the  Ministry,  such  as  the  Central
Archaeological Council, the Commission for the Marketing of Books with Cultural Content, the
Advisory Commission for Fine Arts, and the Commission for Artists' Pensions.

In Spain, the  Comisión Delegada para Asuntos  Culturales  (Delegate  Commission  for  Cultural
Matters)  is  a  delegate  organ  of  the  government  for  the  coordination  and  promotion  of  cultural
policy.  The  Ministerio  de  Educación,  Cultura  y  Deporte  (Ministry  of  Education,  Culture  and
Sport)  is  the  body  of  the  General  State  Administration  entrusted  with  formulating  and
implementing general government guidelines on cultural policy. It performs this task through the
Secretariat  of  State  for  Culture  which  controls  the  Directorate-General  for  Fine  Arts  and  the
Cultural  Heritage,  the  Directorate-General  for  Books,  Archives  and  Libraries,  and  the
Directorate-General for Cultural Cooperation and Communications.

In France responsibility for culture lies with a member of the government. Since 1978, with two
exceptions  (1981-86  and  1993-95),  the  powers  relating  to  culture  and  communication
(audiovisual  and  printed  press)  at  ministerial  level  have  been  the  responsibility  of  a  single
ministry.  A  number  of  other  ministries  contribute  to  cultural  policy, notably  the  Ministère  des
affaires étrangères (Foreign Ministry), which is in charge of French cultural policy abroad, and
the  Ministère  de  l'éducation  nationale  (Ministry  of  National  Education),  which    is  responsible
for art education.

The mandate of Ireland's Department of Arts, Heritage, Gaeltacht and the Islands  is  to  foster,
promote, conserve and present Ireland's heritage and culture in the broadest sense. Its areas of
responsibility  include  the  Arts  and  Cultural  Institutions,  broadcasting  and  film,  the  built  and
natural heritage, the Irish language and the Gaeltacht and the Islands.

In Italy, the  Ministero per i Beni e le Attività Culturali (Ministry for the Cultural Heritage and
Activities) was created in October 1998 and is subject to the powers and responsibilities of the
Minister  for  the  Cultural  and  Environmental  Heritage  together  with  performing  arts  and  sport,
which were previously attributed to the Presidency of the Council of Ministers.

The  Luxembourg  Ministère  de  la  culture,  de  l'enseignement  supérieur  et  de  la  recherche
(Ministry of Culture, Higher Education and Research) serves as the central body responsible for
promoting  culture  and  stimulating  artistic  life.  Together  with  the  Ministère  des  affaires
étrangères  (Ministry  of  Foreign  Affairs),  it  is  responsible  for  cooperation  programmes  at
bilateral and multilateral levels.

In  the  Netherlands,  the  Ministerie  van  Onderwijs,  Cultuur  en  Wetenschappen  (Ministry  of
Education, Culture and Science) has been responsible for culture and cultural policy since 1994.
Culture  is  included  in  the  portfolio  of  one  of  the  Ministry's  two  State  Secretaries.  Proposals
submitted  by  the  State  Secretary  are  discussed  in  the  Parliament's  Cultural  Affairs  Committee,
which  includes  representatives  of  all  the  parliamentary  parties.  Committees  of  independent
experts advise the government on policy decisions, on questions of allocating funding for the arts
and on matters concerning artistic quality.

The  general  clause  of  Article  15  of  the  Austrian  Constitutional  Law  assigns  most  cultural
powers to the provinces (Bundesländer) - 'cultural sovereignty' -, while the federal government is
expressly  assigned  powers  in  respect  of  'sovereign'  matters  such  as  scientific  and  technical
archives  and  libraries,  artistic  and  scientific  collections  and  federal  facilities  (federal  museums,

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National  Library),  federal  theatres,  historic  monuments,  religious  denominations,  foundations
and funds.

The  Portuguese  Ministério  da  Cultura  (Ministry  of  Culture)  was  created  in  1995  in  order  to
strengthen  the  position  of  culture  in  a  wider  context  and  to  initiate  a  dialogue  and  establish
synergies  with  the  other  ministries.  The  ministry  is  supported  by  several  Councils  such  as  the
High Council of Libraries and the National Copyright Council.

The  main  executive  responsibility  in  Finland  is  held  by  the  Opetusministeriö  (Ministry  of
Education) through its Minister of Culture, which is also responsible for sports and youth affairs.
These  sectors  have  been  integrated  within  a  Department  for  Culture,  Sport  and  Youth  Policy.
The  Arts  Councils  distribute  public  money  at  'arm's  length'  from  the  Ministry  to  professional
artists  and  advise  the  Ministry  of  Education  on  the  formulation  and  implementation  of  policies
for the arts (The 'arm's length' principle implies mutual independence of the parties. The 'arm's
length'  bodies  -  the  Art  Councils  -  have  independent  decision-making  powers).  The  system
comprises  nine  national  arts  councils  (one  for  each  art  form,  i.e.  architecture,  cinema,  design,
dance, literature, music, photographic art, theatre and visual arts), and the Central Arts Council,
which acts as a 'joint body' for the 'art-form' councils. The members of the national arts councils
are renowned artists or art experts.

In  Sweden,  the  national,  regional  and  municipal  authorities  share  responsibility  for  public
subsidies in the cultural field and each county council and municipality makes its own decisions
on priorities and special activities. The  Kulturdepartementet (Ministry of Culture) as part of the
central government is responsible mainly for longer-term planning and coordination.

In  the  United  Kingdom,  the  Department  for  Culture,  Media  and  Sport  holds  policy
responsibility  for  museums,  galleries  and  libraries,  buildings,  the  arts,  sport  education,
broadcasting  and  the  media  and  tourism,  as  well  as  the  creative  industries  and  the  National
Lottery.

2.2. Breakdown of cultural powers and responsibilities at national, regional, local and

municipal levels:

In Belgium, a community executive has the sole right to exercise the powers of each linguistic
community  in  the  cultural  sphere,  even  in  cases  where  other  cultures  are  involved.  Belgian
policy  on  subsidising  the  arts  is  based  on  the  principle  of  subsidiarity,  which  means  that  it  is
conducted  in  partnership  with  the  provincial  authorities  and  with  the  local  authorities  (the
municipal  or  communal  councils).  This  policy  of  partnership  is  most  clearly  visible  in  the
'cultural contracts', formal agreements by which the task of promotion of the arts is delegated to
local cultural centres, which are normally responsible for the local cultural infrastructure.

Danish cultural policy is characterised by the concept of self-management and the 'arm's length'
principle.  The  Kulturministeriet  sets  the  goals,  determines  the  financial  parameters,  makes  the
arrangements  for  subsidies  and  oversees  organisational  structures  (self-management  principle).
The greater part of cultural activity is initiated at local and regional level; municipal and county
councils support numerous cultural initiatives and institutions. The 'arm's length', or delegation,
principle has been used to establish independent arts councils and boards, independent of central
government, which are given authority to distribute funds for arts and culture.

In the Federal Republic of Germany, responsibility for the arts and culture lies mainly with the
Länder and the municipalities. Consequently, they also bear the main financial burden of cultural

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support.  They  provide  more  than  90  %  of  all  financial  support.  The  support  given  by  central
government is concentrated on measures of national and international importance. In such cases,
central  government  acts  in  cooperation  with  the  respective  Land  or  with  a  municipality.  The
central  government  is  also  responsible  for  areas  such  as  the  promotion  of  German  unity  on  a
cultural  level,  the  cultural  promotion  of  the  German  minorities  in  the  eastern  part  of  Central
Europe, promotion of the cinema, protection of the German cultural heritage and representation
of the Federal Republic of Germany's interest in cultural policy within the EU.

The  Greek  Ministry  of  Culture  draws  up  guidelines  for  cultural  policy  at  national  level.  At
regional  level,  the  Ministry  cooperates  with  inspectors  for  the  pre-historical  and  classical
antiquities,  for  Byzantine  and  Post-Byzantine  Monuments,  for  modern  monuments  and
archaeological  and  Byzantine  museums.  At  local  and  municipal  level, cultural  development  is
decentralised, by means of cultural centres, art galleries, local festivals and municipal museums
which support and encourage cultural creativity.

The  1978  Spanish  Constitution  regulates  the  delegation  of  authority  in  cultural  matters.  The
State has exclusive power over legislation concerning intellectual property and is responsible for
the  preservation  of  the  cultural  and  artistic  heritage,  including  monuments.  The  autonomous
Communities  may  assume  powers  relating  to  museums,  libraries,  music  conservatories  and
monuments of interest to the autonomous community as well as to the promotion of culture.

The  central  administration  in  France  currently  consists  of  six  directorates  (French  Archives
Directorate;  Books  and  Reading  Directorate;  Architecture  and  Heritage  Directorate;  French
Museums  Directorate;  Music,  Dance,  Theatre  and  Performing  Arts  Directorate;  Central
Administration  Directorate)  and 
(Plastic  Arts  Delegation;  Regional
Development and Management Delegation). The regional decentralised administration is part of
the  Ministry  of  Culture  and  Communications;  their  financing  is  a  component  of  the  central
budget  and  administered  by  the  Ministry.  According  to  the  general  rule  of  organisation  of
decentralised  state  departments,  these  administrations  are  under  the  authority  of  the  regional
prefects. They are composed of two kinds of departments: the directions régionales des affaires
culturelles (DRAC; Regional Cultural Affairs Directorates) and the services départementaux de
l'achitecture et du patrimoine (SDAP; Departmental Architecture and Heritage Services).

two  delegations 

The  administration  of  cultural  affairs  in  Ireland  is  shared  between  the  central  and  local
government. The Department of Arts, Heritage, Gaeltacht and the Islands has main responsibility
at national level.

In  Italy,  the  breakdown  of  competencies  between  the  State,  regions  and  local  bodies  was
completely  reorganised  in  1998.  The  State  now  has  responsibility  for  all  functions  and  tasks
involved in protecting the cultural and environmental heritage. The management and promotion
of culture operates on the principle of maximum cooperation between the State, regions and local
bodies. However, three of the five autonomous regions have full responsibility for their cultural
and  environmental  heritage.  The  other  fifteen  regions  are  laying  down rules  concerning  local
museums  and  libraries,  tourism  and  the  performing  arts,  in  accordance  with  the  national
legislation. The provinces and the municipalities have administrative powers for the protection of
the environment, the cultural heritage and development of tourism. They are responsible for the
management  of  the  museums,  libraries  and  archives  owned  by  them  and  promote  cultural
activities and events.

The  Ministry  of  Culture  in  Luxembourg  administers  and  coordinates  the  activities  of  the
cultural  centres  and  associations.  A  number  of  public  institutions  (partly  created  by  the

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government)  are  responsible  for  the  promotion  and  management  of  various  institutions  and
programmes.  The  Agence  luxembourgeoise  d'action  culturelle  (ALAC,  Luxembourg  Cultural
Action  Agency)  works  to  maintain  the  synergies  between  State  and  city  and  oversees  the
collection and dissemination of cultural information. It also serves in an advisory capacity for the
authorities.

In  the  Netherlands,  the  distribution  of  tasks  between  the  State,  the  provinces  and  the
municipalities has been the subject of debate since the early 1970s. The debate was prompted by
central  government's  efforts  to  transfer  a  large  number  of  tasks     including  responsibility  for
cultural  policy     to  local  authorities  for  reasons  of  efficiency.  In  theory,  the  State  became
responsible for maintaining the national museums, the symphony orchestras and the theatre and
dance  companies.  The  provinces  were  given  responsibility  for  disseminating, coordinating  and
maintaining  the  full  range  of  cultural  activities  at  provincial  level.  The  municipalities  are
responsible  for  maintaining  the  various  venues  and  facilities  and  for  scheduling  performances.
With  respect  to  the  large  cities,  separate  agreements  were  made  with  the  cities  of  Amsterdam,
Rotterdam and The Hague. In actual practice, however, it is not so easy to separate these three
tasks.

Since  1997,  arts  affairs  in  Austria  have  been  administered  by  the  Bundeskanzleramt  (Federal
Chancellery) and assigned to the State Secretary responsible for culture, the arts, EU affairs and
sport, under the aegis of the Chancellor. Activities in the federal provinces are administered by
the  executive  offices  of  the  relevant Bundesländer  governments  and  their  departments.  Towns
with  a  population  of  more  than  20  000  usually  have  their  own  cultural  affairs  offices  which
report to the mayor or to a Cultural Affairs Councillor.

The Ministry of Culture has authority over all fields of culture policy in Portugal. As Portugal is
not  divided  into  regions,  the  municipalities  are  responsible  for  planning  and  managing  cultural
centres  and  cultural  institutions,  as  well  as  for  supporting  cultural  activities  and  projects  of
interest to the municipality.

In Finland, State and municipalities share financial responsibility. The State takes responsibility
for the national institutions, but it also  cooperates with municipalities in providing funds for the
widest  possible  access  to  art  and  cultural  services  for  the  population  as  a  whole.  This  is  done
through the system of statutory subsidies which guarantee the basic financing of public libraries,
arts education, museums, theatres and orchestras in municipalities.

The Swedish model of government administration is characterised by extensive decentralisation.
The  national,  regional  and  municipal  authorities  share    the  comprehensive  goals  of  cultural
policy in Sweden, but each county council and municipality takes its own decisions on priorities
and special activities.

The United Kingdom's Department for Culture, Media and Sport is responsible for all cultural
issues in England and for some issues across the whole of the United Kingdom, e.g. broadcasting
and export controls on cultural objects. Scotland, Wales and Northern Ireland have responsibility
for  their  own  cultural  issues.  However,  the  Department  of  Culture,  Media  and  Sport  has
established Regional Cultural Consortia in each of the eight English regions outside London  to
map out regional cultural strategies and to provide a strong voice for culture and creativity in the
regions.  The  Consortia  serve  as  intermediaries  between  cultural  strategies  at  national  and  local
levels.

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3.  Funding the cultural policy

As the facts and figures given for funding the cultural policy in the  Member States were quite
heterogeneous  and  covered  different  periods,  a  comparison  is  not  possible.  Furthermore,  the
expenditure  of  the  Member  States  on  culture  depends  on  the  definition  of  culture,  which
sometimes  comprises  mainly  the  arts  and  artistic  activities  but  sometimes  ranges  from
socio-cultural activities to education.

. . .

In  Belgium,  the  total  amount  allocated  to  the  pursuit  of  cultural  policies  by  all  tiers  of
government represented about one per cent of gross domestic product in 1998.
The  contribution  of  the  French-speaking  community  is  ten  times  that  of  central  government.
Most  of  this  community  budget  is  allocated  to  the  Belgian  public  broadcasting  service  Radio
Télévision belge, which receives just over 50% of the total. The other recipients, in descending
order,  are  the  performing  arts,  to  which  34%  of  the  remaining  resources  are  devoted,  general
affairs  (including  the  cultural  centres  and  employment  schemes)  with  20%,  education  and  the
welfare  of  children  and  young  people  with  19%,  audiovisual  activities  other  than  radio  and
television with 15%, books and literature with 8% and national heritage and the visual arts with
4%.

The Flemish community spent 4.3% of its total budget on culture in 2000. The main expenses
were  devoted  to  subsidies  for  Flemish  radio  and  television.  The  Flemish  Government  however
has a limited range of powers, and the percentage is therefore not comparable with the 'national'
figures for other countries.

About  1.8%  of  total  public  expenditure  in  Denmark  is  spent  on  culture  and  the  arts.  In  real
terms, State expenditure on culture increased from 1986 to 1999 by approximately 40%. Music,
creative arts, film and artistic training have particularly benefited from this increase. Funds from
the National Lottery and football pools provide a substantial proportion of State financing.

In  1996,  Germany  spent  1%  of  total  public  expenditure  on  the  arts  and  culture,  including
funding  for  universities  for  the  fine  arts,  adult  education  and  the  public  library  system.  Strong
pressure has been exerted on the Länder of the former GDR to maintain their cultural activities
and  to  preserve  their  cultural  infrastructure.  From  1987  to  1996,  the  breakdown  of  public
expenditure on culture was 54% for municipalities, 41% for the Länder and 5% for the State.

In Greece,  financing  is  provided  by  the  ordinary  budget,  the  State  Investment  Programme  and
the National Lottery.

Because  of  the  lack  of  standardisation  in  the  budget  structure,  the  diversity  of  organisational
structures and the lack of a clear definition of 'culture', it is difficult to ascertain the total amount
of money that the Spanish Government allocates to culture. Between 0.1% and 0.17% of gross
domestic  product  (between  0.25%  and  0.9%  of  the  total  public  budget)  was  spent  on  cultural
programmes overall by central government between 1993 and 1999. Funding the cultural policy
in the autonomous communities and expenditure on culture by local authorities are not included
in these figures.

The  budget  for  culture  in  France  has  undergone  some  substantial  changes  to  its  sphere  of
activities in the last 10 years, among them the inclusion of the  délégation générale de la langue
francaise (DGLF; General Delegation for the French Language) and architecture.

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For  2001,  a  budget  of  0.994%  of  the  State's  net  expenditure  is  planned  for  culture,  a  slight
increase from the budget of 2000 (0.98%).

Since funding for cultural purposes in  Ireland is entered against different budget lines, it is not
possible to give an overall estimate of total public expenditure on culture.

The annual cultural budget of Italy is regulated according to the financial law: in 2000, 0.39% of
the  total  State  budget  was  spent  on  the  cultural  heritage  and  activities.  The  bulk  of  this
expenditure  was  devoted  to  the  preservation  of  the  cultural  heritage  (from  archaeological  and
architectural heritage to libraries and archives).   About 63 % of the cultural budget is attributed
to the state, 10 % to the Regions, 2 % to the provinces and 25 % to the municipals.

In  Luxembourg,  the  budget  for  culture  is  allocated  to  the  Ministry  of  Culture,  the  Interior
Ministry and the Ministry of Public Works. The budget has been steadily increased since 1990.
In 2000, 1.71% of the total budget was put aside for culture.

The cultural budget of the Netherlands is divided into sections for MLB (Media, Language and
Literature and Libraries), the arts and the cultural heritage. Public expenditure on culture in the
Netherlands, as a percentage of the total public budget, has been approximately 0.5% for the last
10 years.

In 1997,  Austria spent 1.3% of total public expenditure on culture and the arts. Nearly 59% of
this  budget  was  spent  by  the  federal  government,  the  remainder  being  divided  among  the
Bundesländer  (25%)  and  Vienna  (just  under  16%).  A  large  percentage  of  federal  monies  (ca.
45%) is spent on large-scale projects and institutions, such as the federal theatres and museums,
as  well  as  on  performing  arts  activities.  Extra  funds  for  non-traditional  fields  of  culture  are
derived from indirect levies, on radio licences, for example.

Portugal's  cultural  expenditure  for  the  year  2000  was  0.6%  of  total  central  government’s
expenditure and 0.2% of the GDP. The Ministry of Culture spent this fund on a wide range of
cultural activities.

The  expenditure  of  the  Finnish  Ministry  of  Education  on  promoting  the  arts  and  cultural
industries,  developing  museums  and  libraries,  preserving  the  cultural  heritage,  and  supporting
sports  and  youth  work  accounts  for  some  1.2%  of  the  total  national  budget.  The  allocation  for
arts and culture (not including sports and youth work) in the State budget for 2000 amounted to
0.9% of the entire budget. Because of a recession, central government expenditure on culture has
fallen  slightly  since  1993.  Lottery  profits  constitute  a  significant  proportion  of  the  State
financing of the arts and cultural life.

Because of the repercussions of an economic crisis on public finances in Sweden, municipal and
county council cultural budgets were cut back in the first half of the 1990s. However, since 1996,
there has been a recovery, which has had a positive effect on the municipalities' cultural budgets.
They show a growth in real terms of almost 10 per cent since 1994. State cultural expenditure in
1998 may be estimated at 1.3% of the total national budget, while municipal cultural expenditure
amounted to approximately 3% of all municipalities' budgets.

Government funding for the arts in the  United Kingdom will increase substantially in the next
few  years.  Support  for  public,  sports  and  cultural  activities  comes  from  the  Department  for
Culture, Media and Sport.

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4.  Support policy

4.1. Brief description of overall support policy to promote creativity

The French-speaking community in Belgium allocates budgetary funds through administrative
agreements  to  guarantee  the  provision  of  universal  public  services.  The  main  allocations  are
made  to  the  public  radio  and  television  service  RTBF,  which  receives  about  50%  of  the  total
community  budget,  and  to  the  cinema  and  audiovisual  centre  administered  by  the  community.
The  community  awards  grants,  on  the  basis  of  non-transferable  contracts  which  establish  the
rules  of  a  partnership,  to  the  main  theatres  and  cultural  centres  whose  work  is  created  and
performed in Wallonia. These include, for example, the Royal Opera Company of Wallonia, the
Philharmonic Orchestra, the Museum of Contemporary Art and the Les Halles European Cultural
Centre.
By  granting  official  approval  and  subsidies  on  the  basis  of  prescribed  criteria,  the  community
supports  ‘centres  of  expression  and  creativity’  and  artistic  projects  conducted  by  civic
associations in the framework of its youth welfare and lifelong learning policies.

Initiatives  are  taken  to  create  and  develop  artists’  studios  as  well  as  host  organisations  in  the
domains of theatre, dance and cinema and residential structures in the domains of the performing
arts and translation in various cultural institutions.

The Flemish community of Belgium promotes measures to stimulate the creativity of individual
artists in various fields such as music and performing arts.

The Danish Ministry of Culture has established a number of councils and boards which, on the
basis of professional, qualitative criteria, are responsible for distributing  subsidies to recipients.
Subsidies to the visual arts are provided in the form of three-yearly working grants to promising
young  artists,  while  lifelong  subsidies  are  awarded  to  artists  recognised  for  long-term
accomplishments  in  the  arts.  Support  for  music  provides  subsidies  for  professional  orchestras,
choirs  and  ensembles,  concerts  and  festivals.  Subsidies  to  theatres  and  theatre  companies  are
awarded nationally and by municipalities and counties. Subsidies for full-length feature films are
provided by the Danish Film Institute. With regard to literature, the public lending remuneration
scheme,  introduced  originally  in  1946,  represents  the  most  significant  funding  of  Danish
literature.  Funds  are  distributed  to  authors  and  translators  of  books  published  in  the  Danish
language. Support for other cultural activities is awarded by the Development Fund.

In accordance with the Federation's responsibility for the State as a whole and because German
law assigns responsibility for promoting arts and culture mainly to the Bundesländer, the support
of the German federal government concentrates on three major tasks: improving and developing
conditions  to  enable  the  arts  and  culture  to  flourish,  establishing  and  promoting  cultural
institutions which are important for the whole nation, and preserving and protecting the cultural
heritage. The BKM ( Beauftragter der Bundesregierung für Angelegenheiten der Kultur und der
Medien;  Federal  Government  Commissioner  for  Cultural  Affairs  and  the  Media)  provides
individual support for artists. An example is a promotion programme at the arts fair 'Art Cologne'
for  young  artists  who  are  currently  unknown  on  the  art  market.  In  addition  to  this  promotional
programme,  a  large  number  of  other  supporting  measures  for  artists  are  available  which  are
subject to different criteria.

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Greece finances private theatres and a range of national and state institutions such as the State
Theatre  of  Northern  Greece  and  the  Athens  State  Orchestra.  The  Minister  of  Culture  also
subsidises  artists  participating  in  international  exhibitions.  Honorary  pensions  are  awarded  to
artists representing all fields of artistic creativity, for example musicians or choreographers.

Spain provides a wide range of grants, financial aids and subsidies to several different areas of
the  cultural  sector,  which  are  managed  by  the  various  directorates-general  subordinate  to  the
State  Secretary  for  Culture.  These  forms  of  support  include  aid  for  the  training  of  arts
professionals,  grants  for  the  preservation  and  restoration  of  cultural  heritage  and  aid  for
promoting and diffusing written Spanish culture, as well as support for film, the audio-visual arts
and the performing arts.

The  Ministry  of  Culture  in  France  provides  significant  financial  support  to  numerous  cultural
organisations  every  year.  The public  institutions  receive  two  types  of  subventions,  which  are
paid  directly.  Other  organisations  receive  funds  to  finance  permanent  or  temporary  cultural
activities. The major recipients of such support are literature and libraries, historical monuments,
museums,  the  plastic  arts,  music,  dance,  theatre  and  the  performing  arts.  One  of  these
organisations  is  the  Centre  national  de  la  cinématographie  (CNC,  National  Cinematography
Centre), which supports film productions and the necessary infrastructure.

The Irish An Chomhairle Elaìaon (Arts Council) is an autonomous body established in 1951 to
stimulate public interest in and promote the knowledge, appreciation and practice of the arts. It is
the Irish State's principal instrument of arts funding and is an advisory body to the Government
in  arts  matters.  The  Arts  Council  supports  all  aspects  of  the  arts  in  Irish  and  English  -
architecture,  dance,  drama,  film,  literature,  music,  opera,  and  visual  arts.  It  also  supports
individual professional artists through direct awards and bursaries.

The  Italian  Ministry  for  Cultural  Heritage  and  Activities  uses  initiatives  to  encourage  artistic
creativity  and  contemporary  architecture  by  promoting  international  design  competitions  (for
example, the Centre for Contemporary Arts in Rome, the Museum for Audiovisual Arts), prizes
for young artists, temporary exhibitions (Venice Biennale; Rome Quadriennale, etc.). The Fondo
unico per lo spettacolo (Single Fund for the Performing Arts) allocates funds for the cinema, for
prose, for music and for the national bodies for poetry. Moreover a new draft law has been tabled
for promoting architectural and urban heritage.

Luxembourg's Ministry of Culture subsidises a large number of cultural activities and events. It
also  provides  scholarships  for  professional  artists,  in  particular  for  beginners  in  the  fields  of
literature,  the  plastic  arts,  stage  arts,  music,  photography  and  cinematography,  in  order  to
encourage  artistic  creativity.  The  law  provides  for  special  leave  for  people  working  in  or
connected with the arts.

In the Netherlands, long-term or 'structural' subsidies are awarded to institutions that constitute
an  indispensable  part  of  Dutch  culture  or  that  are  likely  to  make  a  major,  but  essentially
temporary,  contribution  to  art  in  the  Netherlands.  Such  subsidies  are  awarded  for  temporary
projects  or  one-off  activities  and  come  almost  exclusively  from  the  various  funding  bodies.  A
substantial  proportion  of  cultural  policy  is  financed  by  cultural  funds,  which  operate  as
independent  administrative  bodies.  Central  government's  responsibility  goes  no  further  than
providing funds and laying down the specific conditions under which the fund in question must
operate. Authority to allocate subsidies from the annual budget is delegated to the funds' boards.
The  creation  of  such  funds  has  streamlined  the  procedure  for  allocating  subsidies  to  individual
artists or arts institutions. Subsidies are awarded for all art forms.

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In  Austria,  public  responsibilities  for  cultural  affairs  have  been  re-allocated,  by  sector,  to
different institutions or bodies. Organisations such as the  Österreichisches Filminstitut (Austrian
Film  Institute),  Kulturkontakt  (Centre  for  East-West-Contacts)  or  the  Österreichischer
Kulturservice  (ÖKS:  Austrian  Cultural  Service)  are  responsible  for  promoting,  supporting  and
coordinating artistic production within their field of responsibility.

Portuguese cultural policy subsidises the fields of cinema, the audio-visual arts and multimedia,
literary  creation,  and  the  plastic  and  performing  arts.  For  each  field,  a  specialised  institute  is
responsible  for  the  financial  support  of  projects,  scholarships  or  financing  the  participation  of
artists at international events.

In  Finland,  the  policy  towards  promoting  artistic  creation  relies  heavily  on  direct  support  for
professional  artists.  The  Arts  Council  of  Finland  grants  public  funds  to  the  artists  through  the
nine  national  art  councils  and  the  13  regional  arts  councils.  These  tax-free  grants  are  allocated
for  periods  ranging  from  six  months  to  five  years  to  artists  in  the  fields  of  literature,  fine  art,
music, theatre, dance, crafts and design, photographic art, cinema and architecture.

Grants to activities in the cultural field in Sweden are either allocated to central, regional or local
institutions  or  to  independent  groups  or  individuals.  Authorities  like  the  Swedish  National
Council  for  Culture  decide  who  is  to  receive  them.  Central  government  has  also  supported
creativity by allocating funds to institutions, projects or similar that have  given proof of talented
work and special capacity. Through the Sveriges författarfond (Swedish Authors’  Fund) and the
Konstnärsnämnden  (Arts  Grant  Committee),  the  government  supports  individual  artists
financially through different sorts of grants. There is also a system of State income guarantees,
through which nearly 160 artists are guaranteed a minimum annual income.

The  UK  government  has  two  clear  goals  for  their Department  for  Culture,  Media  and  Sport
(DCMS); excellence and access. They have therefore stripped away unnecessary bureaucracy to
ensure that money gets where it is needed. It distributes government funding and Lottery funds
to  artists  and  arts  organisations,  both  directly  and  through  the  different  British  national  Art
Councils. Wherever possible, non-departmental public bodies are encouraged to maximise non-
central government funding from other sources.

4.2. The role of fiscal policy as an instrument of cultural policy

In Belgium, a reduced rate of VAT (6%) applies to cultural events, and there is also a system of
tax  exemption  in  respect  of  donations  made  to  approved  cultural  organisations  with
responsibility  for  the  entire  territory  of  the  French-speaking  community  or  the  Flemish
community.  Official  approval  is  granted  to  cultural  organisations  by  the  Federal  Ministry  of
Finance.    With  regard  to  patronage  and  sponsorship  of  the  arts  by  the  private  sector,  Belgium
does  not  have  a  legal  mechanism  which  would  allow  businesses  any  real  tax  concessions  for
measures designed to promote cultural activity in general and artistic creation in particular.

Instruments of fiscal policy play only a very small part in Denmark's cultural policy. There are
no special tax regulations for artists or cultural events but sponsorship of cultural institutions and
donations of artistic works are tax-deductible.

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To  give German  cultural  life  a  sound  footing,  theatres,  orchestras,  chamber  music  ensembles
and museums are exempt from taxes in certain circumstances. There are also tax reductions for -
among other things - the sale of artistic works and artistic performances, as well as a reduction of
inheritance  tax  for  artistic  works  or  collections  (it  is  also  possible  to  offset  inheritance  tax  by
donating works of art to the State).

The tax scheme applicable to non-profit-making organisations in  Spain is regulated by law (ley
de  mezenasco;  the  Sponsorship  Act).  There  is  a  plan  to  improve  these  tax  incentives  by
increasing the number of possible deductions. A series of tax measures applies to the acquisition,
preservation, restoration and promotion of property forming part of the cultural heritage and also
to donations to the State and public entities. A further measure is the possibility of paying taxes
by  donating  property  that  forms  part  of  the  Spanish  Historical  Heritage  to  the  State  and  other
Public Bodies.

Fiscal policy in France is one of the determining elements of the cost of cultural works or events
and of the balance of the art market, and must therefore be adapted to the specificity of cultural
heritage and artistic production. As a result, artists enjoy specific tax measures, which take into
account,  for  example,  the  irregular  nature  of  their  income.  Further  tax  provisions  encourage
individuals  and  companies  to  help  preserve  and  enrich  the  cultural  heritage  through  donations
and gifts, as well as by sponsoring activities.

Italian legislation, which has  often been amended in its details, provides for tax allowances for
individuals  who  invest  in  research,  exhibitions  or  restoration  activities  related  to  the  cultural
heritage and who make donations to public institutions, and also provides for  the  possibility  of
paying death duties  by donating  objects  of  cultural  value.  Some  other  facilities  are  provided to
real estate owners, and for non-profit-making associations.

In  the  Netherlands  tax  legislation,  for  which  the  Ministry  of  Finance  is  responsible,  also
contains  elements  that  affect  culture.  Lower  turnover  tax rates  (VAT)  apply  to  certain  cultural
events  as  well  as  to  books  and  daily  newspapers.  Steps  have  also  been  taken  to  maintain  the
quality of Dutch museums and to retain valuable works of art for the Netherlands by introducing
new measures affecting gifts and inheritance tax.

The Austrian legislation also provides for a number of important instruments of indirect support
for the arts. This  refers to various legal provisions of social policy and fiscal policy, the system
of social security for artists, measures taken in the field of labour-market management, copyright
legislation (both direct and indirect payments), the encouragement of private-sector support for
the  arts  by  means  of  tax  incentives,  and  tax  deductibility  for  private  donations  and  arts
sponsorship. Certain public subsidies have been tax-free since 1997. These include grants, prizes
and supplements from the Austrian Film Institute for promoting the creation of film concepts and
screenplays,  income  and  assistance  from  public  funds  or  from  the  funds  of  public  or  private
foundations, insofar as  compensation  for expenditure or expenses is concerned, or for activities
abroad.

In Portugal, a Sponsorship Act regulates income tax reduction for groups and individuals who
make  donations  in  money  or  in  kind  to  public  or  private  authorities  whose  activity  consists
mainly in realising cultural initiatives.

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In Sweden, all costs incurred in order to earn an income are tax-deductible, provided the income
derives from a professional activity. How local tax authorities apply the rules for tax deductions
may  sometimes  be  of  great  importance  to  the  individual  artist.  VAT  for  cultural  activities
(events,  performances,  etc.)  is  6%,  which  is  the  lowest  of  the  three  existing  VATs.  VAT  for
books  is  currently  25%.  Some  cultural  activities  (public  non-profit-making  organisations)  are
exempt from taxation.

5.  International relations

Promoting  awareness  of  national  culture  and  art  ranks  high  among  the  objectives  of  the
international relations of most of the Member States.

All Member States maintain good and frequent relations with other EU Member States and the
EU institutions. National cultural contact points2 provide information about cultural activities in
the EU and provide information for candidates interested in participating in various Community
cultural programmes.

All  Member  States  are  members  of  the  Council  of  Europe  and  participate  fully  in  all  of  its
activities.

All  Member  States  have  national  Commissions  for  UNESCO  and  take  part  in  numerous
projects supported by UNESCO.

. . .

The Member States also specified the following features of their international relations:

In  Belgium,  the  linguistic  communities  have  enjoyed  a  right  of  autonomy  in  the  field  of
international  relations  since  1993  and  are  therefore  able  to  conclude  agreements  not  only  with
national  governments  but  also  with  regions  and  other  administrative  subdivisions  of  other
countries.  This  autonomy  has  also  enabled  them  to  open  representative  offices  abroad.    The
French-speaking  community  has  an  International  Relations  Directorate  (Commissariat  général
aux  Relations  internationales  de  la  Communauté  française  de  Belgique).  The  Directorate  is  a
public  body  which  also  engages  in  multilateral  initiatives  with  international  and  European
organisations.

The  Flemish  Community  of  Belgium  has  international  agreements  with  other  countries,
constitutional  regions  and  provinces,  e.g.  the  Netherlands  and  other  neighbouring  countries,  as
well as the regions of Catalonia, Scotland and Wales.

The  first  goal  of  Danish  international  cultural  exchange  is  to  promote  the  qualitative
development  of  Danish  art  and  culture;  the  second  is  to  promote  awareness  of  Danish  art  and
culture  and  the  third  is  to  promote  awareness  of  Denmark  and  Danish  policy,  since  this  can
contribute to opening new avenues. The idea is that Danish culture will find inspiration and gain
experience by interacting with people in other countries and sharing their culture.

2 A list of these contact points can be visited at: http://europa.eu.int/comm/culture/contact-point_en.html. Retrieved:
15 December 2001.

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The  Federal  government  of  Germany,  the  local  governments  of  the  Bundesländer  and  the
municipalities cooperate in arranging and implementing cultural conventions with foreign States,
foreign  municipalities  and  in  representing  Germany  at  international  cultural  conferences.
Germany's  municipalities  also  maintain  a  range  of  partnerships  with  municipalities  in  Central
and Eastern Europe and in the Russian Federation.

France seeks to develop European cultural activities. As regards relations with countries outside
the  EU,  three  specific  activities  are  pursued:  the  promotion  of  foreign  cultures  in  France,  the
promotion  of  French  culture  abroad  and,  finally,  institutional  cooperation  (expertise  and
training).

Ireland  is  directly  involved  with  a  number  of  Irish  historical  and  cultural  organisations  in  the
USA. Ireland is also linked with certain European and International cultural organisations.

In  addition  to  its  other  bilateral  contacts,  Italy  devotes  special  attention  to  countries  bordering
the Mediterranean Sea.

Luxembourg cooperates regularly with the Belgian Province of Luxembourg, the German states
Saarland  and  Rhénanie  (Rhineland-Palatinate)  and  the  French  province  of  Lorraine  in  an
interregional  commission,  known  as  SAAR-LOR-LUX.  Luxembourg  participates  regularly  in
summits of French-speaking countries and the European Union.

The Netherlands  maintains  strong  relations  with  Flanders  and  the  German  state  of  Nordrhein-
Westfalen (Northrhine-Westphalia), where the Dutch language is an important factor. Attention
is  given  to  Germany,  France  and  the  UK  because  they  provide  important  markets  for  the  arts.
The  historical  links  that  the  Netherlands  has  with  a  number  of  countries  outside  Europe
(Indonesia, Surinam and South Africa) provide a reason to prioritise cultural relations with those
countries.  Contacts  with  Russia,  Hungary  and  the  Czech  Republic  seek  to  provide  support  to
reinforce  the  cultural  infrastructure  and  thereby  promote  the  process  of  democratisation.  The
year 2000 marked 100 years of relations between the Netherlands and Japan.

Austria has signed bilateral agreements with all its adjacent States and with several other States
world-wide. Joint cultural programmes have been carried out with Israel and Iran.

For  historical  reasons,  and  because  of  mutual  interests,  Portugal's  relations  with  Portuguese-
speaking countries, with particular emphasis on Brazil and Cape Verde, have been encouraged in
recent  years  with  positive  results.  Portugal  emphasises,  inter  alia,  cultural  exchanges  with  the
USA,  Japan,  China,  Morocco  and  Argentina.  When  Portugal  held  the  EU  Presidency,  it  was
given the task of organising an Informal Council of Ministers of Culture.

For  Finland,  the  Cultural  Agreement  signed  by  the  five  Nordic  countries  in  1971  forms  the
cornerstone  of  Nordic  cultural,  educational  and  research  cooperation.  Bilateral  Cultural  Funds
are maintained with Iceland, Norway, Sweden and Denmark. Since 1954, Finland has also had
15 cultural and scientific institutes abroad.

Sweden has a long tradition of cooperation with its Nordic neighbours in intra- and international
affairs.  Sweden  actively  promoted  the  UN's  decision  to  establish  the  World  Commission  on
Culture.  In  1998,  it  also  hosted  the  intergovernmental  UNESCO  Conference  on  'The  Power  of
Culture', at which the UNESCO report, entitled 'Our Creative Diversity', was discussed.

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The  British  government  and  their  DCMS  have  certain  relations  with  international  cultural
organisations to promote British culture around the world.

6.  The role of the private sector

Private initiatives play an important role in the French and Flemish Communities of Belgium.
In  addition  to  complementing  public  sponsorship,  these  initiatives  sometimes  propose  creative
projects  in  the  French  Community.  Initiatives  also  come  from  the  commercial  sector  (banks,
industries,  etc.)  and  from  non-governmental  organisations.  Public-private  collaboration  takes
many  forms.  Some  are  short-term  (organisation  of  exhibitions,  congresses,  etc.),  others  more
permanent  (annual  festivals,  Biennale,  prizes  or  competitions).  Assistance  may  be  logistical
(loan of facilities, exhibition halls, etc.) or financial (donations, loans, scholarships, participation
in and representation on Executive Boards). The role played by the private sector in the Flemish
Community also takes the form of an exchange of knowledge.

In Flanders the not-for-profit Foundation of the Arts seeks to act as a middleman between the
not-for-profit sector and the private sector. On 16 June 2000, the Flemish government decided to
promote the introduction of public-private partnership projects in as many areas as possible.

The private sector in  Denmark contributes in two ways.  First, a number of private businesses
produce  art  and  culture  commercial  terms,  second,  the  private  sector  contributes  to  art  and
culture  by  means  of  sponsorship  and  foundations.  Cooperation  between  culture-producing
businesses and the public sector takes the form of public aid schemes.

In the Federal Republic of Germany, private initiatives help to shape cultural life in many ways,
such as the establishment of associations and foundations, and acceptance of honorary roles, as
well as through donations and sponsoring from individuals or enterprises. There  are  no  general
statistics on private initiatives in  Germany at present. The Federal Government recently changed
its tax laws with a view to encouraging private participation in cultural activities.

Private  Greek  institutions,  working  independently  of,  or  in  cooperation  with  the  Ministry  of
Culture,  contribute  to  the  promotion  of  fine  arts  in  Greece  and  develop  their  activities  at  the
international level with cultural communication as their objective.

In Spain, tax incentives for foundations and private enterprise to encourage cultural activities are
laid  down  in  law.  In  addition  to  participation  in  cultural  activities  by  private  persons  on  an
individual  basis,  there  are  two  large  groups  of  institutions  in  Spain  which  are  active  in  the
cultural sphere: the Savings Banks and the Foundations.

In  France,  private  initiatives  are  crucial  for  performing  arts.  Festivals,  for  example,  are  often
supported by private initiatives, even if they receive financial support from the State. In the field
of the plastic arts, private galleries promote new artists and trends. Private foundations also play
a  role  in  supporting  artists.  The  State  and  the  local  authorities  support  and  subsidise  a  large
number of private initiatives. On the other hand, many sponsors or owners of collections support
public  initiatives.  For  example,  the  financial  participation  of  large  international  enterprises
helped to facilitate the renovation of the Centre Georges Pompidou.

The growing Irish economy creates opportunities to broaden audiences and strengthen finances.
To exploit the new opportunities in corporate arts' sponsorship and public-private partnerships, it
will be necessary to improve the management and marketing capacities of arts organisations.

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Private  sponsorship  in  Italy  is  mainly  related  to  activities  in  the  fields  of  conservation  and
restoration of cultural heritage. However, private agencies have also begun to involve themselves
in the management of cultural heritage.  Cooperation between public and private sectors may be
readily  seen  in  activities  where  business  undertakings  cooperate  with  profit-seeking  and
non-profit-making organisations. Recent legislation allows the participation of the private sector
in  the  management  of  cafeterias,  reception  facilities,  ticket  sales,  and  museum  shops.  The
privatisation of public activities, like the Biennale of Venice or certain opera companies, may be
seen as a step towards increased cooperation between the public and the private sectors.

In Luxembourg, the traditional sponsors,  especially the banks, are today increasingly operating
an  autonomous  cultural  and  artistic  policy  which  tends  to  favour  prestigious  collections  and
projects. As a result, the people working in the arts who do the actual work get almost none of
the support they once received from their former benefactors. The National Cultural Fund is now
more or less a social agency for culture. To increase its modest funds, the government will try to
find new ways of utilising them to promote sponsorship and to create new methods of financing.

In  the  Netherlands,  private  associations  and  foundations  are  the  third  source  of  funding  for
cultural  life.  A  growing  number  of  subsidised  cultural  institutions  have  friends'  societies  or
private support foundations. These so-called allied organisations finance some of the institutions'
activities,  for  example,  the  purchase  of  works  of  art  or  musical  instruments.  They  derive  their
income  from  membership  fees,  gifts  and  legacies.  Sponsoring  by  trade  groups  and  industries  is
handled  by  agreements  concluded  between  individual  companies  and  cultural  institutions  or
facilities.

Severe budget cuts in the last two years have prompted Austria to intensify its efforts to increase
the  role  of  the  private  sector  in  cultural  support.  The  initial  steps  have  been  taken  towards  a
public-private  partnership  in  the  fields  of  audio-visual  media,  theatres  and  museums.  The
privatisation of public institutions such as Austrian museums may be regarded as a step towards
more effective cooperation between the public and the private sectors.

Activities  funded  by  private  initiatives  have  increased  in  Portugal  in  recent  years,  which  is  a
result of a growing interest in cultural objects and it is also a reflection of the current policy in
this  sector.  Private  (financial)  support  of  initiatives  and  co-productions  with  the  Ministry  of
Culture has also increased significantly in the last five years.

In Finland, there has been a decisive trend towards less state control. Because of the inadequacy
of, or even decrease in public funding, foundations and the business sector play a greater role in
sponsoring  the  arts.  Cultural  institutions  seek  new  partnerships  with  the  private  sector  to  cover
their  costs.  The  National  Opera  and  the  Museum  of  Modern  Art  have  made  interesting  new
sponsorship agreements with the private sector.

In  Sweden,  the  importance  of  private  sponsorship,  as  a  complement  to  public  financing,  has
increased  in  the  cultural  field.  For  larger,  publicly-supported  cultural  institutions,  however,
private sponsorship still accounts for only a small part of total revenue. Sponsorship is estimated
to constitute, on average, one or two per cent of the cultural institutes' revenues.

The  creative  industries  in  the  United  Kingdom  are  considered  one  of  the  most  significant
wealth-creating sectors. The Department for Culture, Media and Sport is engaged in helping to
promote these industries and to provide them with a stimulating economic environment. Recent
developments  include  the  initiatives  for  the  development  of  skills  put  forward  by  the  Creative
Industries  Task  Force.  Among  the  proposals  were  measures  to  facilitate  access  to  capital  for

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creative businesses. The idea behind the establishment of the Creative Industries Task Force is to
bring public and private sector sponsors together to create closer cooperation  in  addressing  the
issues which influence the success of creative businesses.

7.  Current debate and future plans

Nearly all Member States refer to efforts to reach a wider public as one of their central aims.

. . .
In Belgium, the French-speaking community is aware that, if culture is to acquire a prominent
place in the knowledge-based society of the future, it will be important to intensify the pursuit of
policies designed to promote mobility and exchanges between young people and to ensure that
all the electronic cultural networks in Europe are made accessible to everyone. Similarly, in the
hybrid  society  of  Belgium,  in  the  capital  of  Europe,  there  is  a  need  to  organise  encounters
between  different  cultures  and  beliefs  in  order  to  highlight  and  develop  their  common  basic
elements.  The  principle  of  subsidiarity  in  national,  regional,  provincial,  municipal  and  civic
cultural policy assumes a strategic role in this respect and commits all parties, public and private,
to  encourage  the  expression,  in  every  art  form,  of  each  aspect  of  people’s  heritage,  be  it  their
history,  their  architecture  or  their  intangible  treasures.  ‘Culture  is  a  vehicle  for  any  journey,
except  voyages  of  conquest’.  In  this  sense,  culture  forges  bonds  of  peace  between  all  living
beings  (and  all  who  have  died),  and  peace  is  the  sole  guarantor  of  universal  liberty,  equality,
justice and fraternity.

The Flemish  Community of  Belgium  attaches  great  importance  to  using  the  new  information
and  telecommunication  technologies  to  place  culture  within  the  reach  of  everyone.  A  decree  is
being drafted which will serve as a framework for the whole of Flemish cultural policy.

Current additions to  Danish cultural policy involve library activities, changes in the music law,
and  regional  cultural  agreements.  Further  initiatives  include  cultural  policy  proposals  for
programmes for children and sports.

In  Germany,  the  promotion  of  cultural  programmes  in  the  five  Bundesländer  of  the  former
German  Democratic  Republic  and  the  combination  of  culture  and  tourism  in  those  states  have
become  important  issues  for  discussion.  Other  recent  issues  include  the  cultural  promotion  of
Berlin  and  the  combination  of  cultural  and  industrial  support  for  the  cinema  and  for  memorial
sites.  Cultural  policy  in  Germany  interacts  closely  with  the  processes  of  transformation  in
society. With citizens claiming rights to co-creation and co-administration of social and cultural
life, public arts administration has to take a critical look at its future role.

Greece  pursues  the  aim  of  protecting  cultural  diversity  by  using  culture  to  oppose  xenophobia
and  racism.  Further  plans  include  cooperation  with  the  Ministry  of  National  Education  to
develop  disciplines  with  a  cultural  content,  to  encourage  cultural  activities  and  to  give  the
Olympic Games a cultural dimension.

Spain  gives  particular  attention  to  the  dissemination  of  Spanish  culture  to  its  citizens  and  to  a
series  of  measures  targeted  outside  Spain,  by  promoting  co-productions  in  Latin  America,  for
example.  Further  aims  include  the  evaluation  and  restructuring  of  internal  administration.
Furthermore,  a  new  Sponsorship  Act  is  designed  to  establish  tax  incentives  for  private  persons
and  companies  making  donations  to  cultural  activities.  To  attain  these  goals,  a  series  of  legal
measures  is  planned,  as  is  increased  investment,  particularly  in  the  main  cultural  institutions.

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Extension  of  museums'  opening  times  and  the  use  of  new  technologies  in  conservation  are
additional issues being discussed for the future programme.

Support for cultural industries as well as a new definition of cultural institutions are among the
French  core  issues  for  the  future.  The  limits  of  the  capability  of  public  agencies  to  support
emerging cultural and artistic practices is another topic in the current debate. The establishment
of  a  cultural  democracy  should  involve  the  entire  population  and  lead  to  more  decisive  action
being  taken  against  the  inequalities  of  access  to  culture.  A  clarification  of  the  division  of
responsibilities among the various public bodies is also planned.

Ireland's  Arts  and  Culture  Capital  Enhancement  Support  Scheme  (Access)  has  as  its  goal  the
improvement of the infrastructure for the arts and culture by supporting the development of new
facilities  at  regional,  county  and  city  levels  and  by  renovating  existing  facilities  and  buildings
that serve the cultural infrastructure.

Italy's policy focuses, firstly, on the integration of all competencies related to cultural heritage,
performing arts, publishing and sports into one ministry and, secondly, on the division of powers
and  responsibilities  for  the  protection  and  management  of  cultural  heritage  between  State,
regional  and  local  institutions.  Among  the  core  issues  are  public  support  for  contemporary
creativity,  the  performing  arts  (music,  dance,  theatre)  and  cinema.  Future  plans  in  the  cultural
policy  field  include  measures  to  strengthen  and  to  integrate  public  and  private  financial
resources. A better use of public resources (like the EU) and the planning of activities by means
of negotiations between the public sector (central and local) and civil society are further issues
for the future. In addition, emphasis is placed on the protection and upgrading of contemporary
cultural expression and the promotion of literature (books and reading).

For  the  Netherlands,  quality  remains  one  of  the  main  criteria  for  granting  cultural  subsidies.
Additional basic issues include the social outreach of projects, programmes and events, as well
as new methods of assessment and accountability. Emphasis in cultural education will shift from
supply  to  demand,  so  as  to  enable  and  encourage  pupils  to  discover  cultural  and  artistic  works
and  events.  Future  plans  in  the  Netherlands  focus  on  greater  attention  to  culture  via  the  New
Media,  encouragement  of  cultural  entrepreneurship,  without  making  artistic  or  cultural
concessions, and, finally, a more open attitude towards cultural diversity.

Strategies to stimulate employment in the cultural sector and to underpin the cultural expression
of  ethnic  groups  were  among  the  recent  issues  discussed  in  Austria.  In  addition  to  gender
equality  in  the  arts  and  the  media,  major  goals  of  the  cultural  policy  have  included  increased
contacts  at  international  level  and  the  dissemination  and  promotion  of  Austrian  contemporary
and experimental art abroad. The newly formed coalition government will make some significant
changes.  The  coalition's  policy  paper  no  longer  includes  the  promotion  of  contemporary  arts;
instead,  a  paragraph  on  promoting  research  into  Volkskultur  (popular  culture)  has  been  added.
This  shift  will  have  a  significant  impact  on  future  cultural  policy,  which  is  opposed  by  many
artists, institutions and cultural organisations.

Portugal's  cultural  programme  is  devoted  to  a  consolidation  of  the  core  issues:  books  and
reading,  protection  and  upgrading  of  the  cultural  heritage,  creation  (in  all  artistic  fields),
decentralising responsibility for culture, and disseminating Portuguese values, works and artists
internationally.  Further  actions  involve  demanding  more  professionalism  from  all  cultural
institutions and reaching new audiences.

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New issues in Finnish cultural policy include public-private non-profit-making partnerships and
the link between culture and sustainable  development. One current focus is the culture industry,
which combines artistic creativity and business. In the Finnish Government's recent programme,
culture is seen as an increasingly important factor in national and international development.

Among  Sweden's  core  issues  are  literature  and  reading,  the  improvement  of  conditions  for
artists,  and  a  focus  on  architecture  and  design.  Another  issue  is  the  continuation  of  the
decentralisation process. In addition, emphasis is placed on strengthening the position of the arts
in the education system and on the role of culture as a factor contributing to regional growth.

Draft  guidance  for  local  authorities  on  developing  local  cultural  strategies  was  launched  in  the
United Kingdom on 25 June 1999. Cultural services provide a wide range of benefits and may
help to tackle social exclusion and assist with regeneration. Fourteen local authorities across the
country  piloted  the  guidance  strategy.  There  is  no  statutory  requirement  to  pursue  a  cultural
strategy. Pursuit of such a strategy is, however, one of the Best-Value Performance Indicators for
local authorities. A revised final version of the guidance strategy will be issued in autumn 2000
to all local authorities to assist them in their work towards developing a cultural strategy.

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Sources of the replies to the questionnaire:

Belgium  (French
Community)

Belgium (Flemish
Community)

Ministère de la communauté française
Direction générale de la culture
44, Boulevard Leopold II
B-1080 Bruxelles
Martine Lahaye
Fax: +32 (2) 4132053
E-Mail: martine.lahaye@cfwb.be
http://www.cfwb.be

Ministerie van de Vlaamse Gemeenschap
Cel voor Cultuurbeleid,
Directoraat Generaal Administratie Cultuur,
Parochoaansstraat 15
1000 Brussels
Dr Bart Van der Herten
Fax +32 2 553 69 69
http://www.wvc.vlaanderen.be

Denmark

Germany

France

Greece

Kulturministeriet
Nybrogade 2
Postboks 2140
D-1015 København K, Denmark
Per Voetman
E-Mail: pv@kum.dk
Beauftragter der Bundesregierung für Angelegenheiten der Kultur
und der Medien
Graurheindorfer Straße 198
D - 53117 Bonn, Germany
Michael Berens
E-Mail: Michael.Berens@bkm.bmi.bund400,de
Ministère de la culture et de la communication
Département des affaires internationales
12, rue de Louvois
F-75002 Paris
Fax: +33/1/40153740
E-Mail: Anne-Sophie.Barreau@culture.gouv.fr
Ministry of Culture
Dept. for Relations between Greece and the European Union
Ermou 17
10563 Athens, Greece
Georgios Liondos, Chief of the Direction
Fax:+301/3310796

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Spain

Ireland

Italy

Luxembourg

The Netherlands

Austria

Ministerio de Educación, Cultura y Deporte
Secretaría de Estado de Cultura
José Pérez Lázaro
Subdirector General de Cooperación Cultural Internacional
Plaza del Rey núm. 1
28004 Madrid, España
Fax: +34-915232573
E-mail: jose.perez@dgcc.mcu.es
http://www.mec.es
Department of Arts, Heritage, Gaeltacht and the Islands
Cultural Institutions Division
43-49 Mespil Road
Dublin 4, Ireland
Chris Flynn
Principal Officer
E-Mail: cflynn@ealga.ie
Emilio Cabasino, Adela Compagna. Ufficio Studi del Ministero
per i Beni e le Attività Culturali (Department of Studies of the
Ministry for the Cultural Heritage and Activities)
Ministero per i Beni e le Attività Culturali
Ministro Giovanna Melandri
Via del Collegio Romano 27
I-00186 Roma
Fax: +39/066790426
Ministère de la Culture, de L'Enseignement supérieur et de la
Recherche
20, montée de la Petrusse
L-2273 Luxembourg
Christiane Daleiden Distefano
E-mail: christiane.daleiden@ties.itu.ch
Ministerie van den Onderwijs, Cultuur en Wetenschappen
Europaweg 4
Postbus 25000
2700 LZ Zoetermeer
Fax:+31/(0)79/3234989
E-mail: n.a.e.m.pijls@minocw.nl
Österreichische Kulturdokumentation. Internationales Archiv für
Kulturanalysen
Direktorin: Veronika Ratzenböck, Bearbeitung: Andrea Braidt
Ständige Vertretung Österreichs
E. Pacher
Av. de Cortenbergh 30
B-1040 Brussels
E-Mail: Elisabeth.Pacher@OVbrusse.bmaa.gv.at

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Finland

Sweden

United Kingdom

Country profiles

Ministerio da Cultura
Gabinete das Relações Internacionais
Rua de S. Pedro de Alcantara 45-2°
1269-139 Lisboa, Portugal
Fax: +351 21 324 19 44
Patricia Salvação Barreto (Directora), Maria de Lourdes Simões
de Carvalho
E-mail: lourdes.carvalho@mail.pt
Opetusministeriö (Ministry of Education)
Meritullinkatu 10, Box 293
00171 Helsinki, Finland
Iina Berden, Senior Adviser
Fax: 00358 9 1341 6987
E-mail: iina.berden@minedu.fi
http://www.minedu.fi
Kulturministeriet (Ministry of Culture)
Per-Olof Ångman
Drottninggatan 16
Stockholm, Sweden
E-mail: per-olof.angman@culture.ministry.se
http://www.culture.ministry.se
Department for Culture, Media and Sport (DCMS)
2-4 Cockspur Street
London, SW1Y 5DH, United Kingdom
Michael Helston
Fax: +44/(0)1712116032
E-mail: michael.helston@culture.gsi.gov.uk
WWW: http://www.culture.gov.uk

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_____________________________________________________________________________________________

VOLUME  II

OUTLOOK FOR THE 21ST CENTURY

Producers of cultural works from all the EU Member States and from many artistic fields such as
literature, architecture, music, film, theatre and sculpture, agreed to set down their thoughts about
'European Culture in the 21st Century'.

The following contributions have as their theme the concept of Europe and European culture as
well  as  the  position  of  artists  in  a  changing  economic  and  social  environment.  In  addition,
various ideas and proposals are developed for various cultural areas and for cultural policy.

This series of texts reflects the wealth and diversity of European culture as an important basis for
European identity. Even if many authors agree that diversity determines the cultural landscape of
Europe and, hence, its identity, they nevertheless observe agreements and parallels at the same
time.  Multiple  identities  and  supranational  cultural  multiplicity  have  developed  through
migration  and  cultural  dialogues.  A  strengthening  of  the  intercultural  dialogue  is  considered
important for the positive continued development of a European cultural process and a forward-
looking  cultural  policy.  The  basis  for  such  a  dialogue  requires  equality  of  the  participants  and
mutual respect for one another.

. . .

In  Neighbours  to  each  other  (sic),  Gérard  MORTIER,  the  Belgian-born  artistic  director  of  the
Salzburg  Festival,    explains  the  cultural  identity  of  Europe  in  terms  of  its  modern  myths
(Dr Faustus, Don Juan) and from art history. The diversity within this identity is viewed as the
determining element of European culture, which constitutes the wealth of the European identity.
Festivals,  meeting  places  for  people  from  diverse  cultures,  seem  particularly  for  enhancing  an
awareness of a European identity.

The  Danish  author  Jens  SMÆRUP  SØRENSEN  specifies  several  characteristics  of  Culture  in
Europe  through  which  spiritual  openness  becomes  apparent.  Cultural  idealism,  apparent  in  a
desire to further beauty and artistic greatness untainted by commercial interests, runs through the
whole  history  of  the  ruling  class.  An  additional  feature  of  culture  in  Europe  is  the  diversity  of
national  and  linguistic  forms  of  expression  and  traditions.  Increased  support  for  the  translation
and  publication  of  literary  works  would  strengthen  a  European  feeling  of  identity  and  cultural
awareness.

In Weakness and Adaptation,  the  German  author  Norbert  NIEMANN  criticises  the  tendency  to
make  the  publication  of  literary  works  more  and  more  dependent  on  commercial  interests,  and
less  and  less  on  artistic  quality.  He  shows  that  authors  who  continue  to  define  their  role  in  a
social  context  are  far  less  popular  than  the  new  type  of  writer,  who  jumps  on  the  latest
bandwagon  and  sells  well.  However,  art,  which  is  understood  as  a  job  and  a  product,  loses  its
reflective tradition, and that constitutes a loss for society.

In his contribution European Culture in the 21st Century, the French composer Rémi GOUSSEAU
views  the  dialogue  of  cultures  as  the  wealth  of  Europe.  The  similarity  of  musical  languages  in
the  Middle  Ages,  with  each  region  having  its  own  accents,  is  remarkable  and,  despite  the
creation of nations, the interdependence of the languages has been preserved. In his opinion, the
culture  of  the  21st  century  will  depend  on  Europe's  capacity  for  making  the  space  and  the
resources required for a free existence available to artists.

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Vassilis VASSILIKOS, Greek writer, filmmaker and diplomat, fears that European culture in the
21st century will be impoverished through homogenisation. New Technologies must not be seen
as the only channel for the dissemination of culture, but as part of a network of cultural channels.
Alternatives to monopolies and Americanisation could serve to protect cultural diversity and the
polysyllabic culture of Europe. As civilisation has always been partially dependent on economic
and  military  dynamics,  a  European  Army  (on  the  basis  of  a  solid  euro)  should  consolidate  the
culture of the population it represents.

Mihály  DÉS,  essayist  and  editor  of  the  Spanish  cultural  review  'Lateral',  recounts Tales  of  the
End of the Millennium. These 'tales' question intellectual attitudes and those of cultural policies
towards cultural interraciality, towards the use of culture, and towards popular and mass culture,
virtual culture and the end of the world. With a view to combating prejudice, open debates on the
social function of culture and a discussion of the links between popular culture, commercialism,
new technologies and the forming of elites could provide a way into the next millennium that is
not determined by apocalyptic visions of the end of culture.

In A Note from Ireland, the Irish author Theo DORGAN describes  the cultural activities and the
framework  in  which  they  take  place  in  his  country.  The  Gaelic  language  can  express  unique
cultural  characteristics,  while  English  makes  it  possible  for  Irish  writers  to  find  a  special
presence  in  the  world.  A  strong  oral  tradition  and  the  increasing  importance  of  the  visual  arts
determine cultural life, along with traditional Irish music, which is viewed as a place of fantasy
with out boundaries.

Under  the  title  A  European  Cultural  Programme,  the  Italian  author  and  journalist  Corrado
AUGIAS  reflects  on  the  situation  in  Europe  and  future  prospects.  The  cultural  panorama  of
Europe is shaped by diversity, where proximity and similarity can be simultaneously observed.
Diversity can give impulses for new initiatives; the common roots can, in this case, represent the
point  of  departure.  More  possibilities  for  exchange  and  the  exploration  of  interactions  between
cultures are possible working hypotheses.

In  his  essay  entitled European Culture in the 21st Century, the architect  Léon  KRIER,  born  in
Luxembourg, suggests that, for half a century, the ideology of modernism has destroyed cities,
landscapes  and  the  human  spirit.  Harmonious  development  requires  a  profound  change  of
mentality  and  the  abandonment  of  outdated  thinking  that  is  embedded  in  industry  and
collectivism. He sees a new appraisal of arts and craft skills and improved training in that area as
an important precondition for the revival of a dynamic European culture and economy.

The plastic artist, Rob MOONEN, from the Netherlands, discusses national and European culture,
and cultural policy with the German artist, Olaf Arndt. Under the title Bottoms up!,   he sets out
problems  concerning  the  judging  and  promoting  of  contemporary  art.    A  comparison  of  the
dictates  of  supposed  quality  and  market  suitability  and  the  dynamic  of  informal  networks  can
show that art is not  produced 'top down' but 'bottom up'. Artists acting as the spearhead against
racism  and  revenge  should  be  intensively  promoted.  Simplified,  accessible  systems  for
supporting the projects of all European artists are an additional desideratum.

In her essay entitled  Deracinating,  the  Austrian  author  Sabine  SCHOLL  presents the theme of
mixed identities (not only) in Europe. Instead of the repeatedly undertaken search for roots, she
considers  that  the  search  for  hidden  and  suppressed  elements,  for  meetings  with  strangers,  i.e.
with  others,  is  paramount.  She  advocates  a  juxtaposition  of  success  and  failure,  a  process  in
which there is more than just one language and one homeland for the individual.

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Nuno JÚDICE, Portuguese author and diplomat, presents his views on  A Cultural Policy for the
Century to Come. He sees intercultural dialogue as the central point for future developments, a
dialogue  in  which  the  voices  of  the  strong  and  the  weak  are  heard  to  an  equal  degree.  It  is
precisely respect for the diversity of European cultures which contributed to the enrichment  of
all forms of expression in the 20th century. In order to retain its cultural wealth and to represent
European unity in this diversity, a culture which can be defined as European can be established.

The  geographical  triangle Athens  -  Jerusalem  -  Helsinki  defines  the  concept  of  Europe  for  the
Finnish author Anja SNELLMAN. The corners of this triangle are intellect, religion and hope. The
principal  virtues  of  art  are  truth  and  beauty,  although  the  current  trend  to  seek  financial  profit
transforms  art  into  entertainment.  Nevertheless,  Snellman  is  convinced  that,  in  the  near  future,
seriousness will be protected (and appreciated) 'like a rare plant'.

The Swedish author  Lars GUSTAFSSON says that  Europe is a difficult concept, although in the
reference books it may seem easy. The reason for this is not least a lack of simultaneity because
of  regional  differences.  Different  development  trends  make  it  impossible  to  speak  of  a  single
Europe. The existence of a European history appears to point to a common perspective, to goals
which,  to  be  sure,  are  continuously  questioned  in  European  culture.  His  conclusion  is  that:
'Europe is a picture of history which questions itself again and again.'

The English film producer Steve Bowden pleads for a European culture in the 21st century that
forms an active part of people's lives and that is accessible without difficulties of understanding.
He understands film as an important element for the maintenance of cultural identity on the one
hand,  and,  on  the  other,  as  a  business  as  well.  With  regard  to  the  cultural  industries,  the  film
industry  may  create  employment  opportunities  and  stimulate  the  local  economy  and  thereby
influence  the  lives  of  people.  This  perspective  leads  to  the  idea  of  rethinking  the  present
definition of culture and its possible use.

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FURTHER READING

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Arlt,  H.,  'Zivilgesellschaften  und  Kulturgesellschaften.  Im  Kontext  des  Entwurfs  einer  EU-Grundrechtscharta',  in
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Göschel A., “Kulturpolitik und Bürgergesellschaft”, in Kulturpolitische Mitteilungen, No. 90/III/2000.

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