Survey of Best Practices in the Cultural Policy Field to Advance Diversity in the Cultural Industries

Executive Summary

At the 5th Annual Ministerial Meeting in Cape Town, Ministers asked that research be undertaken on the role that cultural policy plays in growing cultural investment. Mexico and Canada, later joined by Senegal, agreed to lead a project team that would examine this issue. Since much good work in this area was also being undertaken by Croatia in their research on Models in Financing Culture, the project team sought to complement this work with a compendium of best practices in the cultural policy field to provide a showcase of policy successes and benchmarks with respect to encouraging a diversity of cultural expression.

INCP member states were asked in a survey to report on any policy approaches toward their cultural industries, whether general or program specific, which they wished to highlight. They were also asked if there were any particular challenges faced by their cultural industries which they had addressed through their cultural policies. Finally, they were asked if they had found any domestic or international agreements of particular help to their cultural industry policy work. A copy of the questionnaire which was sent to member states is attached as Annex I. To date responses from Canada, Senegal, Sweden and Switzerland have been received and are attached as Annex II.

Although such a small sample cannot provide a sense of any particular trends or approaches to successful policies in support of cultural diversity in the cultural industries, it does nevertheless begin to give a sense of the variety of approaches possible.

Sweden has presented as a best practice a funding model for small Swedish book publishers and record companies. The goal of the program is not to support these industries financially or guarantee their survival, but rather to stimulate an ambitiousness of production and a breadth of distribution. Although it is almost impossible to tell if a certain book or record whose production has been supported by state grants would have been produced without it, evaluations of this program have indicated that it has been instrumental in giving small publishers and producers the opportunity to act in the market.

Senegal has reported on the general difficulties faced by the cultural industries of many African countries, given their anachronistic legal systems and fiscal constraints. Senegal is therefore working to put in place a number of laws and regulations to help the cultural industries become a less informal economic sector. Among these are copyright laws and laws relating to the production and promotion of cinematography.

Canada has chosen to highlight a youth employment program, which aims not only to provide opportunities for young Canadians to gain the work experience required to develop productive cultural and heritage sectors, but also to provide them with culturally diverse job placements. As with the program highlighted by Sweden, it is difficult to judge the exact impact of such a program. However, if participation is an indicator of success, it must be noted that although advertising has remained modest from the outset, employers have been increasing their cash contributions to projects as word of mouth and satisfied students and employers continue to sustain the program's popularity seven years after its inception.

Switzerland has reported on the benefits co-production agreements have brought to its film industry. It has bilateral agreements with 6 other states, as well as being a signatory to the European Convention on Cinematographic Co-Production, which applies to co-productions between three or more states. These agreements have allowed Switzerland, as a small country, to produce a greater number of quality films per year than it would otherwise be able to, as well as bringing a greater diversity to the films in the Swiss market place.

The value of such a compendium can be seen in work done by the Organization of American States (OAS), through its Unit for Social Development, Education and Culture. They have undertaken a similar exercise and produced a Permanent Portfolio of Exemplary Programs in Culture. This document describes 29 programs from 11 countries, which form the basis of a cooperative strategy for exchange at the hemispheric level. It is available on the Internet at: http://www.oas.org/udse/documentos/portfolio-culture.doc

It is hoped that this compendium can prove a useful research tool for Ministers. If they consider whether further research needs to be done this area, they should consider the existing research demands on INCP members evidenced in the low response rate to this study.

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Annex I: Questionnaire

At the 5th Annual Ministerial Meeting in Cape Town, the Ministers asked that further research be undertaken on the role that cultural policy plays in growing cultural investment. Mexico and Canada agreed to lead a project team which would examine this with respect to cultural industries. Much good work in this area has been done by Croatia in their research on Models in Financing Culture, and the project team would like to complement this with a compendium of best practices in the cultural policy field, providing a showcase of policy successes and benchmarks with respect to cultural diversity. In order to further complement research that is being done by Sweden into Media Diversity Issues, we are soliciting your contributions to the following questions with respect to both your country's cultural industries and media.

Cultural Industries considered:

• Crafts

• Audiovisual (sound recording, radio and television broadcasting, film and video, new media)

• Print (book and magazine publishing)

• The Media (newspapers, news agencies)

1. Best Practices: Does your country have a policy or approach to its cultural industries that it would like to showcase? For example:

   • a particularly successful public institution or agency

   • a set of standards or regulations

   • a funding model

   • a decision making structure

   • a specific policy or program

2. Problem Analysis: Has your country faced a particular challenge with respect to its cultural industries that it would like to showcase?
   
   
   • What was the challenge or problem?
     
     
   • How did the solution develop?
     
     
   • What trials were encountered (anything unexpected)?
     
     
   • What was the eventual outcome: new or rewritten legislation, policy, funding model?
     
     
3. Domestic Agreements: Are there any agreements between your public/private/not-for-profit sectors that have proved particularly helpful to the development of the cultural industries?
   
   
4. International Agreements: Are there any international agreements, whether multi- or bilateral, that have proved particularly helpful to the development of the cultural industries?
   
   
   • Does your country want to highlight any experiences in international trade forums or other international organizations that have been helpful to its cultural industries and services?

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Annex II: Compendium

Canada

1. Best Practices: Does your country have a policy or approach to its cultural industries that it would like to showcase?

The Young Canada Works Program¹

The Department of Canadian Heritage's Young Canada Works program (YCW) aims overall to: promote the employability of young Canadians, encourage understanding and appreciation of Canada's achievements, build connections among Canadians, and build connections to Canada's diverse places.

The program concentrates on providing opportunities for youth to gain work experience and the enhanced skills required to develop productive cultural and heritage sectors. At the same time, it also focus on a fair and equitable distribution of opportunities across the country, based on population statistics, unemployment conditions, and other national, regional and/or local considerations.

In order to reach its objectives, YCW arranges contribution agreements with various organizations and associations in the culture and heritage sectors, who then provide funding to museums and cultural institutions across Canada for the hiring of youth. The placements and internships encourage domestic connections and interconnections through inter-regional and inter-provincial job placements, from urban to rural, Francophone to Anglophone work places and vice versa.

Involving Canadian youth from diverse backgrounds in internships and summer jobs encourages an innovative work place environment and fosters a revitalized continuum for succession planning as well as for the ongoing promotion of creation, dissemination, and preservation of diverse works, stories, symbols and passing on of knowledge and language skills. Work placements experienced in another part of the country allow for youth to gain perspective on their own lives, their career prospects, their immediate environment, and their fellow citizens and country.

2. Problem Analysis: Has your country faced a particular challenge with respect to its cultural industries that it would like to showcase?

Canada's proximity to the United States and the competition to domestic Canadian cultural industries posed by the structural advantages of market size and reach of US industries has meant that Canada has a long history of measures to support indigenous content. A broad spectrum of federal institution, policies and programs provide support throughout the cultural sector regarding the creation, production, distribution, conservation and consumption of cultural content, specifically Canadian content. Diversity is promoted through legislation (for example, the Broadcasting Act) and regulation (the Canadian Radio-television and Telecommunications Commission).

Technology-enabling change in long-range distribution of digital content has resulted in the licensing of a host of new specialized broadcasting services that often cater to minorities. However, increased medial concentration exacerbates concerns that a diversity of viewpoints, the traditional concern of competition in the media, remains an active and urgent issue.

3. Domestic Agreements: Are there any agreements between your public/private/not-for-profit sectors that have proved particularly helpful to the development of the cultural industries?

The Canada Council for the Arts, which is a national arm's length agency of the Government of Canada, is a body specifically designed "to foster and promote the study and enjoyment of, and the production of works in, the arts." To fulfill this mandate, the Council offers a broad range of grants and services to professional Canadian artists and arts organizations in dance, interdisciplinary and performance art, media arts, music, theatre, visual arts, and writing and publishing. The Council and its staff rely heavily on the advice of artists and arts professionals from all parts of Canada.

4. International Agreements: Are there any international agreements, whether multi- or bilateral, that have proved particularly helpful to the development of the cultural industries?

The film and television industry is expanding and new technologies are enabling the broadcasting of audio-visual projects throughout the world. The producers who must continually face escalating costs are increasingly interested in regrouping to produce quality audio-visual projects, thereby pooling their respective resources and expertise. Co-production agreements allow Canadian and foreign producers to work together, all the while benefiting mutually from the distribution networks to which they have individual access.

In addition to responding to industry interest and strengthening both countries' domestic audio-visual industries, which face considerable and increasing global competition, the signing of audio-visual co-production agreements support the development of expanding cultural relations with foreign countries.

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Senegal

1. Best Practices: Does your country have a policy or approach to its cultural industries that it would like to showcase?

A set of standards and regulations:

One of the obstacles to the development of cultural industries in Africa is the outdated legal framework that currently exists in most African countries. In many instances, there is a complete void in this area.

Consequently, Senegal has introduced a number of standards and regulations to establish a formal structure in this sector. This process is ongoing. Furthermore, some African countries have also taken steps in this regard:

• legislation providing for the oversight of film production, development, and promotion;

• measure setting out the terms for the Fonds de promotion de l'industrie cinématographique [fund to promote the film industry];

• measure creating a joint task force to combat piracy;

• bill on copyright and neighbouring rights.

Policy or program:

The Cultural Industries Development Program, presented by Council Member Moustapha Tambadou at the IDA seminar on cultural industries held in Tunis, constitutes a comprehensive framework.

2. Problem Analysis: Has your country faced a particular challenge with respect to its cultural industries that it would like to showcase?

What was the challenge or problem?

There were several problems (which are still not fully resolved), including the following:

• too few funding mechanisms

• absence of coverage and credit instruments

• outdated legal framework

• archaic taxation system

How did the solution develop?

Please see the overall project on the development of the cultural industries.

What difficulties were encountered?

Our country worked towards achieving the project objectives in a haphazard way because there was inadequate funding to apply the comprehensive strategy in a consistent manner.

What was the eventual outcome?

(See point 1)

3. Domestic Agreements: Are there any agreements between your public/private/not-for-profit sectors that have proved particularly helpful to the development of the cultural industries?

Not specifically. However, the State has introduced measures to provide tax exemptions for the purpose of promoting the creation of small businesses and small-and-medium-scale industries in the cultural field. It should be noted that, in addition, a number of multilateral and bilateral cooperation mechanisms have this same focus. Thus, the Programme d'Appui au Développement culturel, introduced by France, supports training and professionalization in sectors where private-sector operators provide for greater economic success.

4. International Agreements: Are there any international agreements, whether multi- or bilateral, that have proved particularly helpful to the development of the cultural industries?

Yes. Agreements with the IDA, through which a guarantee fund for cultural industries will be instituted in the very near future.

Does your country want to highlight any experiences in international trade forums or other international organizations that have been helpful to its cultural industries and services?

Yes

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Sweden

1. Best Practices: Does your country have a policy or approach to its cultural industries that it would like to showcase?

There is a funding model within the Swedish National Council for Cultural Affairs for Swedish book publishers and Swedish record companies.

The goal of state literature policy is to make quality literature available to everyone. For that reason there is both a publishing subsidy and a subsidy system for distribution. The intention of the publishing subsidy is, without undue control, to improve the financial conditions for the publishing companies to be ambitious in their publication, within the scope of the market and to reduce the limitations to a broad selection of quality publications which the narrow language area constitutes.

Publishing houses which publish a broad quality selection of literature should, in spite of the fact that the subsidy is paid afterwards, be able to count on receiving subsidies during a financial year and to include the subsidy in their budget. The subsidy is given to the publishers for individual titles but has as well the function as a general stimulation.

The state subsidies to book distribution have two main goals: Firstly to increase availability of quality literature in bookshops, secondly to maintain and strengthen a widely ramified network of bookshops. In order to receive state subsidies for book publication, publishers must make a certain number of copies of each subsidized book available for distribution to public libraries and booksellers.

These two examples are not industrial subsidies intended to support an industry financially or guarantee its survival. It is a selective subsidy to a sector of the market which is of importance in terms of literature and cultural policy.

There is a similar subsidy system for the small, independent Swedish record companies which support the production and distribution of quality records of all kinds; pop/rock music as well as classical, jazz and folk music.

It is almost impossible to tell if a certain book or a certain record, that has been supported by state grants, would have been produced without it. But there are quite a few examples on book series and record series that the subsidies have made possible over the years. (The collected works of the Swedish author August Strindberg, a series of the Classics for the compulsory schools, a wide range of variation of Swedish Jazz Classics, a series of Swedish Modern Classics in music and much more) Both the literature and the record subsidy systems have been evaluated and have been considered very important for giving small publishers and small producers the opportunity to act on the market.

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Switzerland

1. Best Practices: Does your country have a policy or approach to its cultural industries that it would like to showcase?

Incentive plans

What is involved?

On August 1, 2002, the new Cinema Act came into effect. Among other things, this statute provides that the Confederation institute specific incentive plans with respect to the film industry. These plans must define goals, means, and key criteria.

Objectives

The plans define the Confederation's policy on filmmaking. The Confederation will be working to:

• foster the production of Swiss films and co-productions

• increase attendance for Swiss films and co-productions

• provide opportunities for a new generation to continuously develop its artistic and technical skills

• improve working conditions for Swiss filmmakers and thus attract more individuals to this field

Outcome

The federal cinema policy is supported by regulations and harmonized.

Internet address

http://www.admin.ch/ch/f/rs/44.html#443

Foreign films in Switzerland

What is involved?

In order to ensure that a diversity of films is shown in its movie theatres, the Confederation supports the distribution of quality European films through specific financial assistance.

Objective

To show quality films made in Europe, with a view to maintaining cultural diversity.

Outcome

US films take in 50% of the total movie box office. However, this figure used to stand at 80%. Quality European films now make up over 45% of the market.

2. Problem Analysis: Has your country faced a particular challenge with respect to its cultural industries that it would like to showcase?

Succes Cinema (how assistance played a role in achieving success in this regard)

What was the problem with regard to Succes Cinema?

Absence of continuity in project development within the Swiss cinematography branch.

How was a solution arrived at?

A model for automatic support was implemented. The matter was studied by film professionals and the Office fédéral de la culture.

What was the end result?

A new instrument to support filmmaking: automatic assistance along with a funding model (the Cinema Act, which came into effect on August 1, 2001).
Pilot phase: 1996-2000
Under the responsibility of the Confederation beginning on January 1, 2001.

What is Succes Cinema?

Assistance to filmmakers under this program rewards films according to their box-office success. This instrument encourages film professionals to take greater responsibility for their work and for the creative aspect of filmmaking; it serves to make more products available and to strengthen independent and professional production structures.

The amount of the assistance is calculated on the basis of attendance for Swiss films.

The following are eligible for assistance:

• scriptwriters

• film directors

• producers

• distributors

• cinema operators

Internet address

www.succes-cinema.ch

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Switzerland

Swiss Films

What was the problem with regard to Swiss Films?

We were looking to avoid spreading our resources and efforts too thin in terms of promoting Swiss cinema, both at home and abroad. At this time, we have three institutions: the Swiss Film Center; Pro Helvetia; and the Swiss Shortfilm Agency.

How was the solution arrived at?

Under a three-year pilot project, the three institutions will be working together under the same roof and the same label, Swiss Films.

What was the final outcome?

A new institution for the promotion of Swiss cinema, Swiss Films.

Internet address

www.swissfilms.ch
www.pro-helvetia.ch
www.shortfilm.ch

3. Domestic Agreements: Are there any agreements between your public/private/not-for-profit sectors that have proved particularly helpful to the development of the cultural industries?

The Audiovisual Pact concluded between the Swiss Broadcasting Corporation and Production indépendante (Swiss audiovisual branch)

Objectives

• Encourage the production of diversified quality audiovisual works

• Encourage the production of independent cinema through solid structures that provide professional assistance.

• Provide more opportunities for the self-financing of independent productions

Implementation

The Pact includes a mechanism for funding reinvestment in independent audiovisual productions.

Funding

The Pact also provides for financial contributions for film and television productions.

Outcome

Along with the Confederation, the Swiss Broadcasting Corporation is the principal player in providing incentives to develop the film industry in Switzerland.
Without cooperation between the Confederation, Swiss Broadcasting Corporation, and the cinema branch, it would be practically impossible for Switzerland to support a professional film industry.

Internet address

www.srg-ssr.ch
www.filmnet.ch

4. International Agreements: Are there any international agreements, whether multi- or bilateral, that have proved particularly helpful to the development of the cultural industries?

Co-production agreements

Switzerland is a small country. It would not be possible to produce as many films annually through film financing from Swiss sources only. As a result, most films made take the form of co-productions. Switzerland has concluded co-production agreements with the following countries:

• Austria
• France
• Italy
• Germany
• Belgium
• Canada (including for television films)

It should be noted that Switzerland is a member of the European Convention on Cinematographic Co-Production, which applies to co-productions among three or more countries.

Outcome

It is now possible for our country to make a large number of quality films.

Agreements (Internet address)

http://www.admin.ch/ch/i/rs/0.44.html#0.443

1. This program is also Canada’s contribution to the Organization of American States’ Permanent Portfolio of Exemplary Programs in Culture. The OAS’s Unit for Social Development, Education and Culture has compiled this portfolio of program offerings upon which exchange activities at the hemispheric level will be based.

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