UNESCO 2005 Convention on the Protection and Promotion of the Cultural Diversity Expressions Report
Southern Cross Conference Room- Suva Fiji 29-30 th May 2013
Prepared by: Department of National Heritage, Culture and Arts
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Table of Contents No: Workshop Particular(s) Page(s)
1 Overview of the Workshop 3 2 Day: 1 – 29 th May 2013 4-5 Official Opening of the National Consultation Minister for Education, National Heritage, Culture and Arts -Ambassador Filipe Bole
3 Presentation: 1 Overview of UNESCO and 2005 Convention 6 -UNESCO Programme Specialist for Culture, Dr. Akatsuki Takahasi
4 Presentation:2 International Federation of Coalitions for Culture 6-7 Diversity (IFCCD) IFCCD Secretary General Mr. Charles Vallerand 5 Group Breakout Session & Presentation: 1 UNESCO 2005 8-9 Convention Articles 6 Industry Presentation(s):1 10 -13 Ministry of Industry and Trade,Fiji Arts Council,Fiji Intellectual Property Office,Ministry for Social Welfare, Women and Poverty Alleviation 7 Closing of Day Ones Proceeding 13 - 14 8 Day: 2 – 30 th May 2013 Recapitulating of Day: 1 Proceedings 15-18
9 Industry Presentation(s):2 19 - 27 iTaukei Trust Fund, National Centre for Small Micro Enterprise Development (NCSMED), Film Fiji, Rabi Council, Pacific Island Private Sector Organisation, Fiji Conservatorium of Music, 10 Presentation 3: Cultural Industries & UNESCO 2005 Convention 28 -34 UNESCO 2005 Convention Technical Expert, Ms. Helene George 11 Presentation 4: International Fund f or Cultural Diversity (IFCD): 34 -36 Dr. Akatsuki Takahasi 12 Group Breakout Session & Presentation 2 - Application for IFCD 36 - 40 13 Industry Presentation(s):3 41 -48 Fiji Rotuman Association, Ministry of Education-Curriculum Advisory Unit/Technical Vocational Unit, Fiji Fashion Week Ltd, Fiji Performing Rights Limited, Vou Dance Group
14 UNESCO 2005 Convention – The Way Forward 48 -49 Closing of the two days workshop 15 Photo Gallery 50 -52 Appendices Financial Report
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OVERVIEW
The UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions (October 2005) has potential to enhance international cultural cooperation for development. This cooperation offers a timely opportunity for the international community to renew political commitment for protection and promotion of the diversity of cultural expressions designed to lead to sustainable development.
With the theme “Cultural Diversity-Impetus For A Dynamic And Sustainable Development”, the Ministry of Education’s Department of National Heritage, Culture and Arts facilitated a two day National Consultation on the UNESCO 2005 Convention on the Protection and Promotion of Cultural Expressions from the 29- 30 th May 2013 (Programme attached as Appendix 1) .
Objectives: At the end of the two days workshop participants are expected to:
i. Understand the UNESCO 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions; ii. Share knowledge on how their respective organisations are protecting and promoting diversity of cultural expressions and identify the various challengers experienced and offer solutions or probable solutions to these challengers; iii. Familiarise themselves with the International Fund for Cultural Diversity application; and iv. Identify the way forward for Fiji’s ratification of the UNESCO 2005 Convention.
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Summary of Presentations and Discussions
Day: 1- 29 May 2013
Opening by the Minister for Education National Heritage Culture & Arts, Honorable Ambassador Filipe Bole
The Honorable Minister highlighted the importance of the link between culture and education and its role in enhancing our identity and creativity. He stated that there needed to be a consolidated effort to ensure that opportunities are capitalized and not missed through a lack of accessibility or effective information sharing.
There were current initiatives being implemented under the Ministry to strengthen the teaching of culture into the curriculum and to have a national review of the education system to consider culture.
The Honorable Minister stated that there is a strong recognition that culture is a vector for development and that it needs to be taken seriously as a potential contributor to our economy. The National Consultation is timely, as it has been convened, alongside the current development of a National Cultural Policy with SPC and the Department of Culture. The ratification of the Convention will further support the implementation of the Cultural Policy.
The Honorable Minister made a request to the participant that there needed to be in depth consultation and that there were questions that needed to be asked over the next few days some of which include:
• Whether the Convention will strengthen sustainable development and ensure cultural diversity? • Although there is a huge potential for the cultural industries to drive economic growth, how will ratification address our current challenges such as the lack of coordination and communication between stakeholders?
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• The cultural industries are informal and disorganized, how will the convention help us address these issues? • What is the impact on the industry in ratifying the convention? • What is the likelihood of receiving technical and financial assistance? • What are the financial implications of ratification?
The key aim of this consultation is to understand the Convention, and to ensure that through the Convention we can create an enabling environment for the cultural industry. If the implementation of the Convention will benefit our communities financially, drive growth in the sector, while also ensuring that our knowledge and skills continue to be practiced and transferred through our communities, then government will make that commitment and provide the necessary support. The importance of the next two days is to scrutinize the Convention to ensure we are able to make an informed decision. (Full Minister’s Speech attached as Appendix 2)
Garlanding of Chief Guest and UNESCO Experts
(L-R: UNESCO 2005 Convention Technical Expert Ms. Helene George, Minister for Education, National Heritage, Culture & Arts Ambassador Filipe Bole, UNESCO Programme Specialist for Culture, Dr. Akatsuki Takahasi)
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Presentation: 1 Dr. Akatsuki Takahashi, UNESCO Culture Expert Samoa
Dr. Akatsuki Takahashi gave an overview of UNESCO and an introduction to the 2005 Convention and outlined that the cultural and creative industries in the Pacific are rapidly expanding and presenting potential for transformative impact on the regions economy. At present several trade agreements are in place, which have both positive and negative implications. While these agreements allow access and mobility, they also encourage foreign imports, which can weaken local SMEs. The Key focus of the Convention is to enable and facilitate cultural diversity. The National Consultation is a chance to discuss a way forward for sustainable growth of the cultural and creative industries in Fiji including Fiji’s position on the 2005 Convention. Dr. Takahashi briefed participants on the various Articles of the Convention in order to lay the foundation for the following presentations and discussions. (Refer to Appendix 3 for Dr. Akatsuki Takahashi’s presentation.)
Presentation: 2 Mr. Charles Vallerand, Secretary General International Federation of Coalitions for Cultural Diversity (IFCCD)
Mr. Vallerand stated that the International Federation of Coalitions for Cultural Diversity is a coalition of civil society groups, artists, creators, and technicians in the field of arts and culture from poets to multi media producers. There are currently approximately 33 professional organisations in the Canadian coalition and about 43 national coalitions around the world.
The Convention negotiations started when globalisation had emerged and this was becoming a major issue particularly for developing nations. While there was a strong movement to develop economies and to open up markets, there was also increasingly dialogue about the need to be aware of the fragile balance between free trade, and the rights and access to culture and communities.
Mr. Vallerand remarked that the Convention is becoming established, but implementing the instrument is now the challenge. Targets and ensuring achievements is a challenge. Other key challenges include:
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• Convincing the international community to engage culture in ‘mainstream’ agenda for poverty reduction, gender balance, and positive action for women, etc. and ensuring culture is considered as an enabler and a facilitator. • Intergenerational conversation and communication and ensure that we protect our heritage, language and ancestral knowledge while also including culture as a job and income generator, that develops communities through cultural economies.
Mr. Vallerand informed the National Consultation that the key focus areas for coalitions worldwide have been:
• Status of the artist; • Mobility and access; and • Social inclusion and freedom of expression.
The Convention is open and flexible and allows countries to address their own challenges and issues and to implement the Convention according to each nations own levels of development. (Mr. Vallerand’s presentation appended as Appendix 4)
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Break out session 1 Update: Articles of the UNESCO 2005 Convention
The UNESCO 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions, the most recent of the UNESCO’s cultural convention provides an innovative and flexible framework which has a broadened vision of diversity that recognizes it as a source of creativity that underpins the importance of nurturing contemporary creation.
A central objective of the 2005 Convention is to create an enabling environment where artists, cultural professionals, practitioners and citizens worldwide can create, produce, distribute, disseminate and enjoy a broad range of cultural goods, services and activities. To reach this goal, the Convention calls for cultural policies to nurture creativity, to provide access to creators to participate in domestic and international market places and to ensure that artistic works are accessible world wide.
The objective of the session was to provide participants with an opportunity to peruse through the articles of the convention while at the same allowing them to share their views of the articles in relation to the work of their respective organisations.
The workshop participants were divided into six (6) breakout groups and were assigned a number of Articles to consider. Each group was then asked to present their understanding of the Articles, its implications and the challenges or issues that they felt needed to be considered in the process to ratification.
Having presented group interpretations of the UNESCO 2005 Convention’s Articles it was noted that each of the groups did believe that the Articles were important and applicable to Fiji, there was also a general support for the ratification of the UNESCO 2005 Convention and specifically the Articles that groups were assigned to.
However, participants raised the need for clarifications in the following areas:
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Financial considerations such as the contribution to the Fund. Are we able to sustain our contributions and therefore be an party to the conventions? Does this ability or inability hinder/ influence decisions made about funding applications from Fiji? What is the implication to Fiji considering the current political situation, will there be differential treatment? Does Fiji or the Pacific qualify since it does not have an institution that can be considered a Regional Integration Organisation?
(Discussions and deliberations during the group break- out sessions on Articles of the 2005 Convention)
In addressing the issues raised by the participants UNESCO Programme Specialist for Culture Expert Dr. Akatsuki Takahasi and UNESCO 2005 Convention Technical Expert Ms. Helene George confirmed the following:
State contribution to the International Fund for Cultural Diversity (thereafter referred to as Fund) is purely voluntary; State ability or non ability to contribute to the Fund and Fiji’s political situation will not in any way affect decisions on funding applications from Fiji ; Upon ratification of the UNESCO 2005 Convention the Fijian Government, Non Governmental Organisations in Fiji can apply for the Fund.
(Presentation of group discussions of the various Articles of the 2005 Convention)
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Industry and Stakeholder Presentation(s): 1
An objective of the UNESCO 2005 Convention National Consultation Workshop was to provide an avenue whereby respective participants from various organisations are able to share how protecting and promoting diversity of cultural expressions and identify the various challengers experienced and offer solutions or probable solutions to these challengers. (Refer to appendix 5 for all Industry Presentations during the two days national consultation.)
Mr. Sekove Tamanitokula; Chief Economist Ministry of Industry and Trade:
Fiji Made and Buy Fiji Campaign is a brand that has been developed to differentiate Fiji products both domestically and internationally.
The aim of the program is also to provide a platform for producers to promote and protect their products. Some of the key challenges that this program is attempting to address are:
• Quarantine Issues; • Replication of local products; • High prices; • Consistency; • Market access; • Marketing Fiji’s uniqueness; • Quality and standards; • Patriotism and brand loyalty; and • Infrastructure and implementation.
Dr. Elise Huffer, Cultural Affairs Advisor; Secretariat of the Pacific Community :
Dr. Huffer outlined SPC’s role in Culture and some of the key initiatives and projects being undertaken by the Human Development Program through the Cultural Affairs Advisory. From these initiatives there is a realization of the key needs of the Cultural Industries throughout the Pacific such as:
• Policy and strategic directions • Coordination between stakeholders • Public and private sector understanding • Strengthening associations, councils • Facilitating and advocating for a supportive environment • Accessible financing • Appropriate trade environment
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• Cross-sectorial approach.
SPC’s key role has been to:
• Support cultural policy development for example Solomon Islands just adopted their National Cultural Policy and SPC is still working with 5 other countries. • Profiling of cultural sector through tools for valuing culture and producing documents for informing stakeholders. • Mainstreaming culture to agriculture, health, environment, etc. • Generate research • Enhance information dissemination • Expand networks • Increase opportunities
Mr. Laisiasa Veikoso, Director, Fiji Arts Council
Mr. Veikoso gave an overview of the Fiji Arts Council from its inception through to their current initiatives and achievements. He advised that some of the key roles of the Fiji Arts Council were to:
• Provide dynamic programs for artists and arts organisations; and • Ensuring position as a national agency for the promotion and protection of culture.
Mr. Veikoso highlighted some of the recent key achievements:
• Featured on the Oprah Winfrey show in 2012 by marketing Fiji as a tourism destination; • Strengthening Cultural Tourism through travel shows internationally; • Establishment of a business arm of the Fiji Arts Council and working in collaboration with Fiji embassies overseas. Some preliminary work with Malaysia, Brazil, Emirates had been done to develop Fiji Art Centers that promoted Fiji products; • Marketing and sale of local crafts to Trade Aid NZ; • National Craft Exhibitions; • Caramaka (Professional pathways), working with the Ministry of Education to strengthen the teaching of arts in schools. This was specifically targeted at PEMAC teachers, as some were only trained in PE and asked to teach arts and crafts, or music teachers asked to teach crafts. The aim of the training was to provide them with the necessary skills to be more effective in their schools • NZ Rugby World Cup – cultural and arts expo alongside the event
Mr. Veikoso pointed out that there were three major challenges for the Fiji Arts Council:
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• Funding; • Human resources; • Infrastructure.
Ms. Kelera Vuibau, representative of Fiji Intellectual Property Office. (FIPO)
Fiji has been a part of WIPO since 1972 and this comes under the office of the Attorney General. Fiji has ratified various WIPO administered treaties.
The FIPO representative stated that there were key enforcement issues which were due to the:
• Lack of resources; • Financial and Technical skills; • Lack of training and understanding of the WIPO treaties and its implementation by staff.
There are plans and initiatives in place to promote IP which include:
• Capacity Building • Steering Committee • WIPO Day celebration • Public awareness initiatives
Ms. MairaVafo’ou, Ministry for Social Welfare, Women and Poverty Alleviation
Ms. Vafo’ou gave an overview of the role of the Ministry and highlighted one of its key focus projects, which was the establishment of Womens Resource Centers and the One centre, one product policy. These Centers have been established since 2010 and new centers are in the process of being established. Some of these notable initiatives are:
• Wayevo Resource Centre in Taveuni which focuses on coconut and bamboo products; • Bureta Resource: coconut crafts, fan; • Macuatu Resource centre: Kuta; • Nasalia Resource Centre in Naitasiri: tavioca and banana products; • Rotuman Resource Centre:fans, baskets.
Maira Vafo’ou added that apart from product development, the Centers would also focus on the:
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• Establishment of provision of raw materials • Project management;
Maira Vafo’ou stated that their aim was to provide practical and effective grassroots initiates but that these all had their challenges. Some of the probable solutions that had been identified were the need for:
• Project management training • Partnerships • Stakeholder coordination to maximize on resources and solutions.
Conclusion of the Day’s proceedings:
Mr. Sipiriano Nemani, Principal Policy and Conventions Officer, Department of National Heritage, Culture and the Arts
The cultural industries has a wide scope and many of the key stakeholders that are here are aware of and work directly in the many facets of this vast industry.
The National Consultation heard the presentations made by Dr. Atsakuki Takahashi and Dr. Charles Vallerand, which give you an overview of the Convention, the implications and the issues.
Through the various presentations and sessions the participants have discussed their findings and understandings of the Convention, and there have been many issues and ideas raised. The presentation from Dr. Elise Huffer gives you a regional perspective of the wide range of programs and initiatives that are being undertaken to develop the cultural industries and the key areas issues such as product development and how we able to engage the national and regional community.
The Fiji Arts Council has given an overview of the role of promoting and developing the arts from a civil society point of view. The Fiji Intellectual Property representative articulated the links between IP and the Cultural Industries. The presentation by Moira from the Ministry of Women highlighted the disparity in access for women, and reiterated that their contribution is vital and plays a key role in the cultural industry.
These presentations highlight that are many activities, initiatives and program happening right at our doorstep. There is a wide array of stakeholders that have a lot to play in the cultural industries, and who are a key component of the Convention. These inputs will be a key contributor to the Department of National
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Heritage, and Culture’s evaluation of the Convention and the recommendations that they make to government.
(Industry stakeholder presenters- top left-right Mr. Tamanitokula, Ms. Huffer, bottom left-right Ms. Vuibau , Ms. Maira Vafo’ou)
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Summary of Presentations and Discussions
Day: 2- 30 May 2013 Recap of Day: 1
The day began with a recapitulation by participants of matters highlighted in the previous day’s discussions and presentations. Highlighted matters are as follows:
Dr. Apolonia Tamata, iTaukei Trust Fund opened the morning session with a query relating to the presentation by Kelera from the Solicitors Generals office. Dr. Tamata queried as to what happens after the FIPO office receives the oppositions to the branding of masi designs by Air Pacific. What is the process after that? The planes have arrived and designs continue to be used. Dr. Tamata stated that there was a nation wide effort to submit oppositions including one from the iTaukei Trust Fund Board and so the question was whether this would ever be dealt with.
Ms. Helene George, UNESCO 2005 Convention Technical Expert stated that these issues could be addressed through then Convention. The key thing for nations is to develop national policies on the use of indigenous, traditional knowledge. It is important to develop these policies and related legislations so that there is an understanding on how to use traditional knowledge, ownership, etc. The Convention provides you with the framework to address these concerns and to deal with them through international legislation and protection mechanisms.
Mrs. Maraia Vakasilimiratu, Department of National Heritage, Culture & Arts stated that oppositions to Trademark Registration in Fiji takes three months, during these three months the relevant Government Authorities carry out further investigations and deliberations before a decision is made on Trade Mark registration application lodged at the Auditor General’s Office.
Adi Niqa Tuvuki, Fiji Craft Society stated that she was grateful for the opportunity to be a part of the consultation. She added that the awareness and recognition of the importance of traditional knowledge systems was something that needs continued work. She had recently shared with the Director of the Fiji Arts Council about the concern and issues of sharing this knowledge through workshops. She stated that it was important to share knowledge and build skills with other nations such as those in the Melanesian Spearhead Group, but outlined the concern about
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how much knowledge should be shared. There are current initiatives being developed between Fiji and the MSG countries for the revival of pottery skills, which have been lost in most of these countries. Fiji was one of the few Pacific countries that retained this knowledge and so the dilemma was whether re teaching these skills would be equivalent to giving away our identity. Passing on these skills and brining these groups to look into traditional knowledge we have in Fiji may cause concerns to local communities. If this knowledge is given do this equate to giving away our identity? Or do we only teach them contemporary work? How do we share without giving away importance knowledge? These questions would apply to all our crafts people, artists and practitioners who undertake development and community work.
Mrs. Maraia Vakasilimiratu, DNHCA stated that there was always a balance to consider in relation to traditional knowledge and expressions of culture, and the sharing of traditional knowledge and expressions of culture. The most important thing to consider in this process is to firstly identify the true custodians, and through consultation, seek their consent to share their traditional knowledge. If they don’t give their consent then we have no right to give away or share their knowledge. Traditional knowledge and expressions of culture are not ours to give away and so it is a matter of proper consultation and identification of custodians are before we teach and pass on this knowledge ourselves.
(Participants during the 2 nd day of National Consultation on the UNESCO 2005 Convention)
Mr. Sekonaia Colati, Ministry of Education echoed the concern on the protection of traditional knowledge and cultural expressions. However he added that Fiji was part of a region that had very strong historical links whether blood, voyaging, and common skills and knowledge interlinked our communities. He expressed that due to this ‘regionalism’ it was difficult to identify the origin of work and therefore difficult to seek appropriate permissions etc. He also added that another trend that was of concern was the deterioration of authentic performance, which was directed at tourism. The authenticity and originality of lyrics and actions was often compromised in order to develop performance that attracted tourists. If the authenticity of these performance works wasn’t being protected and practiced they then it would fade away.
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Dr. Akatsuki Takahashi advised that UNESCO had another Convention for the Protection of Intangible cultural heritage, which focused on the safeguarding and protection of indigenous expression, and heritage. Through this Convention we were able to develop policy and legislation to undertake the protection of intangible cultural heritage. When it comes to contemporary cultural expression then we are able to apply the 2005 Convention. This is where the concerns of commercialization can be addressed. However there is a fine line between contemporary and traditional expression and so there was a recommendation to countries to ratify both Conventions so that they were able to address both these issues.
Mr. Taniela Tuinaceva, Ministry of Youth and Sports , stated that the issue of protecting cultural heritage was not being taken this seriously, which is why there was a lack of cooperation at all levels of government and the private sector. He added that it was important to develop the necessary policy to ensure that there was cultural heritage intact for our young people and for the future generation. There was an urgent need for professional schools and centers such as music centers and schools that would enable formal education. This was the first time for this part of the Ministry to be part of such consultations and the key challenge would be working out how to convince superiors to include culture in our programs in the department. Without this action in focusing on the protection and passing on of cultural heritage, when our elders have passed on this knowledge will be gone. Mr. Tuinaceva added that for his community in the Lau group, the traditional carvers of canoes were no longer there. In the past his ancestors built and sailed canoes from Fiji to Tonga, these were important trading links but now this practice and this knowledge is gone. Other government Departments also needed to be involved and to be partners in the research and development of these areas.
Mr. Joseph Daurewa, Film Fiji stated that in Day One, his group had assessed the articles and collectively agreed that there were some areas of the Convention where forceful implications could arise. The particular articles were procedural in nature and the practicality of those articles so far as Fiji is concerned, would be challenging. Particularly articles highlighting the regional economic body was very interesting as it highlighted an approach to ratifying the convention. If Fiji is put to task, we are hopeful that it will be successful. On of the areas that we could look at is to take onboard relevant issues that countries have had prior to and after adoption of convention and relate this to the Pacific.
Dr. Elise Huffer, Secretariat of Pacific Community offered a solution to Adi Niqa Tuvuki’s concerns, and stated that one of the ways of dealing with the protection of traditional knowledge and sharing skills with other Pacific communities was to initiate discussions using the historical perspective and connections of Lapita 17 | P a g e
pottery as a foundation for sharing. This was an era where most Pacific people practiced and shared this knowledge and each island has evidence of Lapita heritage. By working in this context and perhaps involving the Fiji Museum as partner this would form a culturally appropriate foundation for the sharing of pottery skills and Lapita knowledge. With this historical perspective a discussion can be initiated on the revival of skills and knowledge and to develop a policy and protocol on how to facilitate this process. This can be done through facilitators. All the countries in the MSG are also currently working on different national mechanisms for their own protection of traditional knowledge so this will ensure that there are mechanisms in place to bring producers and facilitators together and to draw on existing knowledge. Part of the workshop can be making decisions about the use of the knowledge and future initiatives on how to protect the skills as well as to ensure its continued practice.
Ms. Makelesi Lewaravu, Investment Fiji emphasized that this national consultation inputs into the bigger picture of economic development and there is a need to ensure that when investment and development projects are in the pipeline that there is consideration of the people and how these projects will affect communities. The same considerations also need to be developed in the development and exporting of products to other countries. These considerations will enable investment and trade agencies to contribute to, and to explore the potential links between culture and development. We regularly deal with the exporting of products to developing countries such as China Australia and New Zealand. It is often difficult to export cultural product like tanoas etc. however cultural products coming into the country have no problems. Quarantine is often major issue that needs to be dealt with and with many Fiji government agencies there is a lot of red tape and policy involved in these areas and way forward is to develop a multi agency consultation to move the cultural industries forward. We also need to develop national policy to enable us to formally work together with other agencies in order to develop cultural products and facilitate investment into the cultural industries of Fiji. Some of the projects that may take us forward could be to do a SWOT analysis for companies coming to Fiji and local companies wanting to export and take their investment, contributions or possible degradation of culture into consideration when approving applications. There is also a need to relook at investment law together with other existing laws.
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Industry and Stakeholder Presentation(s): 2
Dr. Apolonia Tamata, Itaukei Trust Fund :
The role of the iTaukei Trust Fund in relation to promotion and protections of cultural diversity expression
The Fiji government established the iTaukei Trust Fund in order to foster the advancement of Fijians and Rotuman. iTaukei Trust Fund has existed for 10 years and the cultural heritage section began in 2009. TTFB has several mandates, which include Funding. TTFB works closely with indigenous individuals and institutions and has supported several productions, publications and initiatives that support the cultural industries. Some of these key initiatives have been: i. Performing arts
o Lakovi, Na ketekete qele. Na I Tukuni kei Di Nono o Na ILululu o Involved in the production of Masi/ Fijian producers and worked with the Fiji Arts Council The focus of many of these publications has been the conflicting issues between modern and traditional values and problems associated with alcohol, smoking, and drugs in the urban areas and how this substance abuse affects traditional values such as marriage ii. Publishing House
TTFB has supported the publishing of supplementary reading resources for primary schools, Bilingual dictionary; Lakovi (text) used in form 7 syllabuses, Na moli koula – also a text. iii. Fijian Studies Programme, USP
Another of TTFB’s mandate is the funding for management and entrepreneurial skills, which focuses on training communities and individual to manage traditional resources. Many of these operators are from communities and so find it difficult to manage traditional resources.
There are also program focused the training of traditional leadership knowledge and skills and the research and support for small-scale tourism operators. TTFB has also offered research support for small-scale tourism operator to identify cultural products that they can promote.
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TTFB also sponsors research into languages, art and culture of indigenous Fijian and Rotuman to enable these communities to develop a better understanding and preservation of their heritage.
Dr. Tamata also presented on their accomplishment in Heritage Architecture and in particular with the Vale ni Bose which is located in Suva. Ms. Tamata stated that within this one building there was so much tangible and intangible culture from outside to inside of the building. The Great Council of Chiefs had always asked for a meeting house and the Vale ni Bose was finally built to facilitate this meeting place for the chiefs of Fiji. However it has never been used since it opened in 2009.
Some of the important cultural symbols are present in the Vale ni Bose such as the replica of the breastplate, civavonovono that was worn by high chiefs to remind them that they are chiefs and that it was an honor inherit in them and passed down through generations. Other important replicas are the Ceuceu, which are clubs that form the legs of the meeting tables, and individual carvings on the back of each chair. Special architectural features were also evident such as the Loru, which is a key feature of the Fijian house. The Sau ni Tanoa is also on the civavonovono. Masi is also there and not trademark. Entrance is symbolic of the warriors, and the itukutuku ni veigauna are the storyboards around the room that detail some of the stories about important events and issues that have impacted on the lives of indigenous Fijians.
Part of the continued development of this venue will be the performance and museum space, which is currently being designed.
Question & Answer Session:
Mr. Peni Cavuilagi, Director, DNHCA enquired whether in the planning and development of the Fijian trust fund in performance space and museum are the possibilities of considering other spaces. One of areas that the DNHCA is advocating for is the development of infrastructure to promote artists and provide this access to the public. It would be ideal for organisations such as DNCHA and FTTB to coordinate and facilitate these initiatives. We currently don’t have a National Art Gallery and DNCHA have been advocating for this to be considered by government. There may be the possibility in the current redesign plan with FTTB where this can also be considered.
Dr. Apolonia Tamata: The Trust Fund looks at proposals and if it would benefit Rotuman and Fijians then it would get an endorsement. There are always possibilities to work together to arrive at joint proposals. Ms. Tamata also advised that as part of the redesign for the museum they were ensuring that they developed 20 | P a g e
a space that was different from the National Museum and that focused on the legacy and heritage of Fiji’s chiefs. Initially the plans had been to develop a Chief’s Centre, however with new government policy they are relooking at having a space that is inclusive, interactive and an exhibition centre and performance space. FTTB was mindful of concerns there were hardly any spaces in Suva where we artist and craftspeople could exhibit and a centralized place for culture and heritage for tourists. All these areas were being considered as part of the development.
Mr. Ravi Chand, CEO, National Centre for Small Micro Enterprise Development (NCSMED)
NCSMED is a government statutory body, which was created in 2000. The primary focus of NCSMED is to promote and develop the Small Micro Enterprise sector.
However, recently they have also begun to look at medium enterprises. The SME sector includes any business that is doing $100,000 and less in turnover, or that has significant assets. Medium Enterprises are those that have a turnover of less than $500,000.
NCSMED have its limitations but their aim is to support and promote SME’s, as there is recognition that they are important for job creation and community livelihood. One of the strategies of NCSMED is the business incubation center. Currently there is one in Rakiraki and a second one in Suva, which is due to open soon. The centers assist by providing training for entrepreneurs and helping businesses link to markets. NCSMED also assists in product development and the key thing is encouraging businesses to be unique, creative and innovative. NCSMED also focuses on cluster development because businesses are so small and many find it hard to sustain and therefore by working in clusters they are able to support each other.
NCSMED also manages the Northern Development Program, which has a strong potential for a focus on craftspeople, and cultural producers, who could gain direct assistance. Government provides 1 million dollars per year for this initiative and many SME’s could get up to 60% funding for business development. Grant equity assistance. To date there are a few artisans and those serving the tourism industry who have benefitted from this scheme.
A dynamic cultural sector is always good for the economy, and this activity has happened for a long time in Fiji, but has not being included by policy makers, whenever we attend development meetings. Mr. Chand stated that he was not an expert in culture, and his main focus was to help business make money and to
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enable sustainable business. Over these two days consultation Mr. Chand had been reflecting on the meaning of cultural products to the tourism industry and of the notion that we have always seen culture as an auxiliary service to the main tourism industry. However this national consultation has altered his perception and understanding that it is the resorts, the five star resorts, the Sheratons, the big tour guide companies, the airlines, etc., are actually the facilitators, facilitating the cultural experience that tourists want. Many people think the other way around and so it is this perception that needs to be changed. Fiji needs to see cultural products as key products in the industry.
The key question is understanding how we focus on preserving cultural products and assets and aligning it with the word ‘economy’. Traditionally our people in Fiji have a lot of talent but this must convert into economic benefit for its people. Mr. Chand related his experience on a recent visit to the potters of Naselai, in Rewa. This village is famous because of its pottery makers and in particular the ‘saqamoli’. However no one in the village could produce a sample of this particular artifact but we only able to show evidence of this being made in the village through photographs in album. They are so beautiful craftspeople and are custodians of an important heritage but it isn’t a livelihood for them anymore and so the practice is diminishing. It doesn’t make logical or economic sense for people to spend hours learning and practicing that craft if it won’t bring a sustainable livelihood for the community. If we are to preserve this heritage then there must be avenues to provide economic benefit to these people. When we are developing national, regional or local plans then we need to incorporate cultural industry into this planning. The cultural industry worldwide is a big industry and for Fiji it could be one of the main industries, which in particular is central and supports tourism.
Mr. Joseph Daurewa, Legal Advisor, Film Fiji
Film Fiji was formally known as the Fiji Audio Visual Commission, but as part of the government branding initiative is now established as Film Fiji. The main aim of Film Fiji is to develop and promote the audiovisual industry in Fiji. The other function, which is provided for in the Audiovisual Act, is to facilitate foreign and local productions.
Film Fiji manages the film tax incentives under the income tax act. This is an incentive for local and international producers to be engaged in productions in Fiji or to initiate business in the audiovisual industry. Film Fiji assists with the initial applications for international productions to come and film in Fiji. Film Fiji assists with immigration and providing support with other government authorities.
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Film Fiji ensures that international producers that access the Fiji government film incentives are not culturally derogatory. Film Fiji accesses applications to ensure that they are not culturally derogative and have certain criteria and tests in place to ensure films are culturally sound. However there are no particular restrictions on cultural expressions. One of the key criteria is that the film must show substantial Fiji content, and this must equate to a minimum of 51% Fiji content, which includes our culture.
The annual Kula Film awards which is at the end of July, is an annual film competition where school students in high school are encouraged students to product short films.
One of the categories for the competition, which is sponsored by the ‘Buy Fiji campaign’ awards films that show Fiji products. There are also a handful of schools that focus on culturally related issues. This is a way Film Fiji assists in the promotion of cultural expressions. The Dance competition is also run consecutively to the Film festival and this year Film Fiji has initiated a new category for children with disability. Film Fiji believes that as a minority group their talents should be highlighted and they should be given a platform to participate.
The key challenges for Film Fiji is access the necessary funds to facilitate and promote local productions, for the basic administration of Film Fiji. Film Fiji is also still working to establish a sustainable market for the industry.
Ms. Tangaua Teairo, Representative Rabi Council
Ms. Teairo gave an overview of the history of Rabi. Rabi is the administrative authority on Rabi Island, which comes under the office of the Prime Minister. The implementation of the council is the responsibility of Executive Directors and is led by a semi government type of administration.
The Rabi Council Leaders was set up to look after the general affairs of the Banaban people. The Rabi Council has 7 departments, which include administration, essential services, women and culture. The challenges of the Rabi Council are: o Accessibility o Infrastructure o Lack of essential facilities such as hospital, schools, etc. o Lack of sustainable projects to provide livelihoods for the island
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The Women’s Interest Department of the Council and the Banaban Women’s Organisation is responsible for the handicraft industry on Rabi. It began in 1998 with a group of interested women from Tabwena Islands who established a club called Taimanuokai. They are partners with Soqosoqo Vakamarama and the Fiji Womens' Crisis Centre. There are currently about 300 women in the group and through the organisation the products are moved from the island to the outlet in the Suva market. The key challenges for these women are the high freight fees and improper packaging that has forced women to lose concentration on the production of their craft products and focus on the production of Virgin Coconut oil.
Recently there have been several developments, which have provided much needed solutions such as the opening of new jetty on Rabi, which has provided better access to the island. Freights costs are more reasonable and reliable and there is less damage to products.
In order to further develop the industry, the community needs technical assistance to teach the women effective ways to package products so as to minimize damage.
Ms. Winifred Gauna, Programme Officer, Pacific Island Private Sector Organisation (PIPSO): Supporting Cultural Diversity
The Pacific Island Forum Secretariat established the Pacific Islands Private Sector Organisation (PIPSO) in 2005. This is the peak regional body for the 14 Forum countries. PIPSO represents the interest of the region through the national private sector and advocates to governments, regional and international agencies for its Pacific Island private sector membership.
The private sector is the engine of growth in any economy and PIPSO’s key aim is to facilitate private sector development. PIPSO advocates and assists in regional policy making to ensure it is an enabling body and that its work provide for capacity building in the sector. PIPSO advocates for private sector interest at the regional forum to ensure that there is consultation between government and the private sector.
In order to assist private sector development, PIPSO facilitates a cost sharing grant to businesses which is available through two specific funding areas:
Business Development Fund (BDF)which focuses on: o Strengthening business capacity
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o Encouraging product innovation - Promote innovation – products that are unique only to the Pacific such as the clam and trying to promote these particular areas work with other institutions to promote these areas. o Increasing business competiveness and visibility o Capturing and building markets
The BDF grants are offered on a cost sharing bases under the various categories o Market research o Exploration visits o Exhibition/ conference participation o Product development o Product quality assurance – enables business to meet standards for export or local domestic market. Some businesses don’t meet this because they don’t have the technical knowledge to undertake this. o Business development and capacity building for employees – this is available for use in the e country. Businesses such as Elefa in the Marshall Islands and Mena in Samoa. Have sought this assistance.
There is also a business-mentoring program with NZ Business mentors and the Pacific business mentors. This program can support business and can include basic financial literary training such as bookkeeping.
PIPSO was involved in various consultations last year where groups that they worked with were clustered together and workshops were done on quality assurance and marketing tool kits. Other key initiatives such as the Pacific Trade Show focuses on trade facilitation, market access and linking buyers to the appropriate producers and distributors.
PIPSO has also undertaken a program for Women in Business, which focuses on networking, information sharing and the empowerment of women. In the Pacific, there is a big informal sector, which is largely occupied by women, and therefore there are many constraints for women to access finance and business support. The aim of this initiative is to strengthen networks and link businesses with mentors. Many of these small businesses have sought support from the Business Development Fund to be part of the Women in Business program, and this had enabled women to be brought in from around the region. Networks were established such as the Gift Hut and women who have just started business and now working together providing support and trade links to each other. Out of this many other small initiatives were created such as the Women in Disability support fund and other smaller networks.
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Ms. Selai Eremasi, Lecturer, Fiji Conservatorium of Music (COM)
COM is a very young institution and recently celebrated their 5 th anniversary. The main vision of COM is to develop a community of musicians that are committed to the transformational power of the arts. Students must have passed form 6 and have a passion for music and many who come to COM alreadyhad instrumental and vocal talents. COM focuses on providing students with the necessary skills, qualifications and knowledge to become teachers or performers and to instill in them an aspiration not just to entertain and to make money but to perform in order to satisfy customers. It is hoped that with this practical training that when they leave COM and educated their children.
COM sets out provisions to ensure an accessible performing art programs to students from all walks of life so that families are able to realise the importance of music in a child’s education. Annually there are recitals for students and parents and friends are invited to see their children. The recitals at the end of the year also provide inspiration and motivation for the parents to better support their children and many are surprised at the level of their children’s talent. The biggest challenge for COM is assisting those students who parents can’t support them and so there are times when students haven’t been able to attend school because they don’t have bus fares.
One of the areas that have been noted at COM is that our traditional music and dance are no longer being taught in school or at home and so many of the young people that come to COM have had no experience with traditional compositions. Part of the academic program is to merge these traditional compositions into the curriculum to ensure there is a balance of learning western and traditional music.
With a focus on quality and authenticity, COM has seen their students participate in international productions and tours. Recently 6 students were selected as the core dancers for the Masi Production by Nina Nawalowalo, which toured New Zealand and Australia.
COM offers various levels of accreditations which include a 1 year certificate of music, a 1 year Diploma of Music and a 2 year Advanced diploma. As part of this program they also learn composition to enable them to write their own work.
COM continues to diversify and has future initiatives developing such as the preparation of instructional DVD, which will enable them to work with Fijian
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communities overseas and to further develop more cultural programs for children and schools. Presentation 3: Ms. Helene George, UNESCO 2005 Convention Technical Expert Ms. George congratulated the DNHCA for steering this important workshop for Fiji. She stated that not many countries had put forward their consultation in such a thoughtful way and that through the consultation it was evident that the Ministry and DNHCA had really considered the Convention. The two-day consultation was very productive and the brought through the issues that were relevant and specific to Fiji.
Ms. George gave an overview of her background in the cultural industries particular as the Director of her company Creative Economy. Ms. George added that she was a practitioner herself and from three generations of dancers and had an undergraduate Degree in Dance and a Postgraduate Degree in Management from Harvard. These skills and qualifications set up her career in the Cultural industries as she undertook the role of General Manger of a contemporary dance company that travelled the world. With her practitioner foundation and her entrepreneurial skills she was able to turn the company around to become profitable and sustainable.
Throughout her career she had always tried to avoid focusing on grant but rather looked to business models to enable the projects that she worked on to be self- sustaining. One of these success stories was the management of a visual arts facility, which had 30 art studios, a gallery and printmaking studio. Ms. George focused on taking this government-funded project into a completely self-sustaining organisation that eventually bought the building off government. This organisation also became a model for government.
Ms. George stated that the focus of her work had been building models of economic development based on Culture and a methodology of balancing social, cultural and economic outcomes in all their work. She reiterated that if you have activities that only have an economic outcome then there is a cost to someone and sustainability is reduced. Often the communities feel the cost and the effects.
If initiatives are developed and focus only on social and cultural outcomes without economic benefits then these pure cultural activities are usually dependent on the whims of the financial provider. Again sustainability becomes an issue. It is important in all development to understand culture and diversity and a connection 27 | P a g e
to people and place. There needs to be consideration of the social aspect of all projects as it involves people. It is important to understand what matters to people so that they are engaged in purposeful action. W also needs to have an entrepreneurial approach and to work within an entrepreneurial framework in order to be outcome focused. An understanding of people within an entrepreneurial framework equals sustainability. This is relevant whether you are arts organisation, bank, artist, or a regional organisation.
Ms. George’s company Creative economy has been involved for over 20 years in Cultural and creative industries development, focusing on individual business cases, infrastructure development, indigenous economic development and sustainable development, and corporate social development work.
Economic development based on culture in the south is very different from working in the rest of the world. What is needed to make projects successful and viable is to do things that are appropriate to your own country. Our own indigenous knowledge must balance with technology and it is finding balance that is appropriate. Sustainable development must be embedded in culture.
In terms of the UNESCO 2005 Convention for Cultural Diversity, there are 30 experts that are part of the technical assistance program. Ms. George is the only representative from the Pacific.
The Convention works in an international context and has a sustainable development agenda. The Millennium Development Goals finishes in 2015 and over the past decade this has guided development. We are now at a point where the developed nations are looking beyond 2015.
Recently in a meeting in Rio, the theme of the conference was ‘The Future we want’. The focus of this conference was renewing the commitment to sustainable development and focusing on an environmental sound future. The three pillars of this were economic, social and environment. Culture is missing. In the 53-page resolution, culture is not mentioned at all. Cultural diversity is mentioned once. This was the purpose of another meeting convened in Hangzhou in China and that was to put culture in Sustainable development agenda and working with China to push this agenda internationally. Reaffirming culture as a vector for development was the main statement for Hangzhou.
China has a central government model and culture is part of the central government plan, which is then pushed down to all agencies. Culture has been part of central policies for decades and China is at the forefront of cultural protection, preservation and promotion. They have 33 listed world cultural heritage sites. They are listed as 28 | P a g e
number 1 in terms of safeguarding culture. They have spent a lot of energy and resources on major arts venues and facilities and their next phase is about cultural expressions, talent of citizens and increasing the quality of life. Their philosophy is Harmony and Diversity. For much of the Western world this is a conflicting perspective but for China in order to achieve harmony you must accept Diversity.
Over the coming years, China’s focus will be cultural cooperation, cultural exchange, and the role of cultural economies in developing countries. This provides a real opportunity for Fiji.
There are 3 sustainable development goals being added to 8 MDG goals. It is hoped that through the Hangzhou statement that Culture becomes the 4 th goal of sustainable development.
UNESCO has two objectives, which are the Promotion of Heritage and Fostering creativity and cultural expressions. This aligns with the 2014 EU 7 year plan. The key policy for the EU is a ‘Creative Europe’, which has earmarked 7 billion for cultural diversity, freedom of expression, peace and security.
Ms. George added that in relation to Mr. Vallerand’s presentation in Day One, and the established of the Convention as part of the anti globalization campaign it was important to understand why the film industry was at the centre of this campaign. Film makers, producers, technicians, etc. and their associations drove the campaign and formed civil society which became a strong impetus against globalization. It came from the audiovisual sector because this sector worldwide has a high consumption, and a distribution channels that penetrates everyone’s house. Big businesses dominate the industry; there is a huge focus on commercialization, which is capitalized by big players. The audiovisual sector has high employment, and involves inputs from every other sector of the cultural industries such as dance, music, theatre, designers, artists, craftspeople, etc. This civil society became a gig force in terms of organizing the campaign and created the framework needed to challenge the dominants of Hollywood. The focus was a balance between culture and economics, protection and promotion.
The UNESCO Convention has four key areas with the secretariat and the intergovernmental committees at the forefront setting its priorities. It has supporting committees that produce reports and manages programs for periodical reporting. It is a new and very young convention that has made a lot of traction, however the challenges of implementation for each of the ratified countries are very real. Although there are over 100 countries ratified only 50 reports have been received. Africa, which is a very active region with 70% of its nations, ratified, have
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only 2 countries, which have delivered reports. There is a lot of work being done in understanding the convention and ensuring its implementation.
The Convention Fund has 6 million over 3 funding cycles. After the recent fund cycle 63 projects were approved from over 2000 applications. Projects that are approved receive 10,000 – 200,000 per project. Each country that is ratified can get up to 4 years of capacity development and assistance. The Fund is currently Processing its 4th call for applications.
The 3 rd area of focus for the Convention is the development of a knowledge platform, which facilitates information sharing and put forward examples of projects and initiatives in different countries. There is also a platform for resources such s the Cultural indicators development suite and the Creative Economy report by UNCTAD.
The Convention also facilitates a technical assistance program that focused on moving the articles of the Convention into action. The technical assistance program develops an international community of practice around the Convention and ensures that the sharing knowledge leads to building capacity.
Ms. George shared with participant’s examples of the implementation of the Convention in 4 countries.
Mexico - Policy development
Initiatives were led by the National Council of the arts and addressed the countries needs with a particular focus on heritage, cultural expression, arts education, public participation and engaging government. Some of the key strategies that were developed targeted government agencies together with programs for promotion and access for the enjoyment of cultural expressions. The National policy addressed the provision of spaces for cultural production and on the quality of these spaces. Programs included targeting the mainstream and creating public incentives for sponsorship, training, cultural tourism, and the development of creative industries as an industry. The policy was development through broad consultation process that included government, private and public sector.
Mongolia - International cooperation
Mongolia sits as part of our regions group and is also considered a developing nation. The focus of their implementation of the Convention was to work on International cooperation. This was achieved through internal cooperation and linking culture to foreign policy. Government worked to refine its institutional
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framework and to develop new foreign policy guidelines that took into account that states policy on culture. They understood that in order to develop and sustain their local market that it was crucial to have access to international markets which would in turn increase the capabilities of Mongolian cultural markets. Mongolia signed agreements with 20 countries to facilitate cultural exchanges, exhibitions, training, development of facilities, joint studies, publications and resources, international festivals, competitions, and access to equipment.
Sweden - Preferential treatment for foreign countries
Sweden developed a North/ South policy and developed with its chosen partner countries a 3-year cooperation fund with an objective to strengthen cooperation and to contribute to poverty reduction, equity and sustainable development. The developing countries that were selected were also countries that had ratified the Convention so there was an established framework in place to nurture the cooperation. And cultural partnership for development. This initiative built on the Swedish/ South African partnership from which 25 Swedish and 25 South African institutions had build relationships that continue to be sustained and that have benefitted and worked with both civil society and practitioners.
It is a successful model in terms of aid and development, but one that ensure a partnership where the developing countries are autonomous and able to meet their own needs. The model promotes components of the Convention in terms of the developed countries implementing the Convention and their obligation to implement preferential treatment.
Ms. George closed her presentation by identifying some of the benefits and areas of need that she gauged from the meeting, as well as some of the issues that she had perceived Fiji would encounter through the ratification of the Convention. However she reiterated that the decision was Fiji and that her role as the Technical Expert was to explain the context of the Convention, and how it is being implemented in other countries.
• The Convention provides a framework to help strengthen national identity – culture is about identifying with our heritage and with our place. • The value in tourism is culture. Ms. George noted that she was pleased that Ravi Chand from NCSMED had made this connection and reinforced that there needs to be a realisation that authentic, genuine cultural goods and experiences are valuable. Fake, cheap and imported products do not have the same value and cultural experience. You can’t compete
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on cheap but you can compete on value. Identity and distinction is important. • Diversity and focusing on enhancing difference as a positive component of Fiji • Cultural industry development is necessary and focusing activity on the development of each component of the cultural sector. • Utilise the Convention as an enabling instrument and that it should not be about meeting global expectation. It is about what is relevant and implementing what is effective for our own country. • The Convention allows for local specification and while countries benefit being under an international frameworks is important to be able to ensure its relevance. • Action is a priority rather than implementing universal standard. • The Convention provides a framework for cultural policy and in most developed nations they already have a policy for the arts, so when they ratify this convention, it has been very difficult for them to shift from an ‘arts model’ to a cultural model. Arts are only one component of cultural expressions and so developed countries are struggling to make that adjustment. • Fiji has an advantage in that ratification will provide for a framework for the integration of culture into National policy but for many organisations and agencies culture is still at the forefront in Fiji rather than just the arts. • The Convention enables countries to become part of an international authority • The Convention provides a framework for inter agency integration and not about cultural agencies working on its own but embedding its work across government agencies and sectors. • The Convention can guide the development of activity and growth in organisations and show meaningful outcomes of coordination and cooperation • The Convention enables nations and organisation to make policy and ensure its relevance to practitioners, civil society, producers and those organisations that are in contact with consumers, distributors. • Cultural statistics and the lack of it is not a barrier to ratification but can be part of the outcomes focus after ratification. • Fiji’s timing for possible ratification is excellent as the world moves from a focus on economic development to one of sustainable development. If Fiji were to be the first country to ratify after Hangzhou this would be a significant event.
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• The Convention is developed specifically to assist developing countries while also providing a framework for the involvement and cooperation with developed nations.
Ms. George also identified that some of the key outcomes of ratification to counter issues brought up during the consultation were:
• Protection of markets:
The protection of markets while also expanding and opening up markets and promoting investment and co-productions, which builds capacity
• Traditional knowledge policy:
Traditional knowledge has been mentioned a lot throughout this consultation and therefore through ratification it will be important to consider adopting work on traditional knowledge policy. Some of the areas that this policy needs to address are identifying the true custodians of knowledge and the commercialisation of traditional knowledge. While we do need to protect our knowledge and skills we also need to be aware of how our communities will benefit from that reproduction.
There needs to be protocols for custodians to share their knowledge, and having process and protocol to deal with the situations when opportunities for commercialization arise. We need to deal and operate within this understanding and the convention provides a framework to work out how are we going to deal with these issues.
• Enforcement and Protection:
The Convention includes being more transparent and address important governance issues such as the enforcement of copyright laws. FIPO has Acts but there are no means for enforcement. You are not protecting if you don’t enforce legislation.
• Connecting to markets:
Connecting to markets and working in an international arena. Many of our producers focus and spend all their time trying to produce, but we also need to consider our connections to the market, which includes understanding how to build networks and associations.
An understanding of markets and the changes in trends nationally and internationally will also leads to better strategies for market access. 33 | P a g e
• Quarantine and preferential treatment:
Most of our Pacific producers focus on natural products and with increased regulations on quarantine; many find obstacles to the export and trade of natural products. Many importers favor highly processed products because they ship and cross borders without hindrance. Through the Convention there maybe an opportunity to develop preferential treatments which will make it easier to export products. Highly processed products are costly to produce and are not about cultural identity or experience.
Lastly, in Fiji’s consideration of the Convention the key questions that we must ask ourselves is what is culture to Fiji, how does Fiji protect and promote her own heritage? What is the mechanism for cultural policy and programs? How is it coordinated? How is it meaningful? How does it benefit? By answering these questions it will help Fiji to understand the Convention and to make an informed decision. Presentation 4: Dr. Akatsuki Takahashi
International Fund for Cultural Diversity: Investing Creativity, Transforming Societies
The Fund exists from the Voluntary contributions made by countries as well as from other agencies, regional/ international organisations and private individuals. The focus area for the fund is Capacity building and providing an enabling environment. Countries can utilize the fund to develop policies that focus on strengthening a nations Cultural production chain. Policies can be developed to support different aspects of the cultural chain. For example, the Fijian made campaign is a branding campaign that aims to distinguish Fiji products. While trade missions focus on the distribution component. The aim of this government policy and initiative is to make a shift in people’s attitude, and from a reliance on imported product to consuming local products. This is an example of how policy can address and stimulate cultural production.
The key objectives and priorities of the Fund are: • To achieve concrete and sustainable results as well as structural impacts • Support to project • Emergence of new cultural industries
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Preparatory assistance to prepare projects
• Research, interviews, consultation, human resources • Assist in preparation of projects
Ineligible activities:
• Offset a deficit, pay a debt • Production of cultural expressions – must be link to cultural policy development • Construction of buildings/ restoration Who can apply? • All developing countries • NGO and Civil Society from ratified countries • For NGOs there is a criteria and NGOs must have interests and activities in one or more field covered by convention, and the NGO must be representative of the respective field of activities. Copy of by laws. List of members. List of board members. Brief description of brief activities. • International NGO example ECOMOS, IFACCA • Representatives of vulnerable groups from developing countries
Many of the issues that have been identified through the National Consultation can be addressed through Convention framework. Culture is more about human development and communities and regionally there is recognition of this. For SPC has put Culture under the Human development program. Culture remains an important pillar.
Q&A:
Mr. Peni Cavuilagi, Director DNHCA mentioned that the ratification is one part, but the implementation and sustaining the convention will be the most important component. One of the key areas that will need focus is building organisations and building existing capacity. There are organisations that are working with cultural departments such as Fiji arts Council and the urgent needs are in the area of technical assistance and capacity building. Mr. Cavuilagi raised the question of how would DNHCA could work together with UNESCO through the Convention?
Ms. Helene George, responded by stating that technical assistance program is currently not funded but they were working to establish this. Ms. George added that assistance is country specific. Ms. George also suggested that it would be ideal to identify the organisations that need support, build on their strength and provide technical support to alleviate their weaknesses. It is also important to identify what 35 | P a g e
is the purpose of each organisation and this will help to identity the strengths and weaknesses. The next stage of development will be making decisions about what is the appropriate structure for the organisation, doing a diagnostic of the organisation and developing strategies and plans to counter and look at the issues. A key component of development and technical support is ensuring transference of knowledge.
Adi Mere Ratunabuabua, Manager Pacific Heritage Hub highlighted a component of Mr. Charles Vallerand’s presentation on the status of artists. Ms. Ratunabuabua stated that this was an important area to consider and that we need to source funding to develop this policy. For example in Fiji we don’t have a pension scheme for artists and there needs to be focus also on the long term protection and support for artists.
Dr. Akatsuki Takahashi, UNESCO Pacific Culture Expert responded that the status of artist was a very important issue. UNESCO has recommendations for this particular area and has frameworks on developing policy and programs for example pension schemes, social status, etc. It is an area that can be looked at within the framework of the convention.
Break out session 2 Update: Applications for International Fund for Cultural Diversity (IFCD)
Session 2 was a practical mock exercise for groups to familiarize themselves with IFCD application(s) forms. There were three groups making applications on behalf of three entities, which were State Application from government, NGOs application and Joint application, which were NGO and Fiji as a state.
(Group discussion of IFCD application)
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Application form by State: Ms. Makelesi Lewaravu of Investment Fiji presented on behalf of groups that applied on behalf of the State.
Project Title: Developing Cultural Policy Amount requested: USD$10,000. Applicant: Department of National Heritage, Culture and the Arts. from the Republic Contact point: Director of the DNHCA Mr. Peni Cavuilagi. Mission: to develop a strategic development plan to improve national coordination of the heritage sector. Project Team: Principal officers, the planning officer for the DNHCA and their main Aim of Team: To oversee the main project, writing project proposal and delivering main reports. Staff responsibility and skills: developing staff to do bigger projects, management and planning, HR, writing and research skills
The Contractor’s Letila Mitchell, policy and incorporation into national law
Unpaid partners :
• Statutory bodies of government, Fiji intellectual properties • Intergovernmental agencies: consultations • Government agencies and departments: consultation on how policy will be implemented and the effect of policy • SPC: Regional organisation for data sharing information and technical expertise for policy making.
Length of project: June to December
Brief of program:
• Developing cultural policy
Identify needs, priorities and challenges:
Challenges:
• Will be finding the technical resource people to meet the specific expertise needs of the sector • Getting the support of Ministers • Finishing work within the allocated time frame needed to draft a policy
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• Political stability and Elections, and whether these will affect the project
Policy and measures:
• Education act – Education for all
Objectives:
• Policy advise and service in order to implement policy • Undertaking short term objectives in order to write a national policy • The promotion of gender equality • Encourage participation of women, youth and sports
Sustainability:
In order for the policy to move forward there is a need to drive greater awareness and for DNCHA to monitor and develop the projects related to the policy.
Beneficiaries of the project:
It will be important to establish a channel of communication that involves informing producers and agencies of the status of the policy through progress reports.
Application by Non Governmental Organisation
Adi Mere Ratunabuabua, Pacific Heritage Hub presented on behalf of the NGO group.
Project Title : Promoting the involvement of indigenous youth in the cultural industries.
Amount requested: $100,000USD
Application: National Youth Council
Contact point: Mere Ratunabuabua
Timeframe: August 2012
Partners: Council, Provincial Youth, other youth groups and associations and the National Youth Assembly. We have spent a long time trying to work out the best structures to head the organisation as it can’t be a statutory and can’t be
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government. This was a key challenge that we identified, as many youth groups are clubs and not registered NGOs.
Mission: is to provide advice and support to government on youth issues and concerns, and make recommendations of way of the way forward for youth, as well as serve as a coordinating body for youth organisations.
Key Activities: To facilitate workshops in four division for writers
• Training youth to write in their own language, in order to produce publications and write for film and theatre; • Advocating for youth development; • Communications.
Project team: Project manager, who is efficient in Fijian language, has project management skills, good communication, administration, finance and logistical skills.
Workshop facilitator: Metusela Mua; Ravesi Johnston, and others who have produced books in the vernacular; Vilsoni Hereniko, only Rotuman who has produced a movie.
Key stakeholders: iTaukei trust fund, iTaukei Affairs board, DCH, Ministry of Education, Curriculum Development Unit.
Length of project: July to December
Summary of project: to expose and develop youth’s skills for writing for publications, film, etc.
Priorities: young people to be trained to write for film and books in the vernacular
Key to Sustainability: Tapping into existing policies and activities such as the National youth policy and creating an awareness of the cultural industries.
Long term a priority is to produce indigenous films and books and to ensure there is ongoing monitoring, evaluation and follow up.
The key is to engage youth.
Dr. Akatuki Takahashi: The project does fall in the scope of the fund and focuses on the importance of traditional knowledge and its positive contribution to youth development.
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Ministry of Youth: Most of our youth clubs are registered as clubs not as NGOs. Does this mean they can’t access funds? Their mandate is not to be NGOs but to be a vehicle of grassroots development. How they can they benefit?
Dr. Akatuki Takahasi suggested channeling the funding through overarching Youth Council. This agency can be the applicant and the administrator while the implementation is done through the Youth Clubs. This would also help to build a budget for the Youth Council to provide more support to the Youth clubs.
Application by the State and NGO
Ms. Elizabeth Niumataiwalu presented on behalf of the groups that worked on applications by the State and NGOs.
Project Title: Levuka Cultural Information Resource Centre
Amount requested: $50,000
Applicant: National Trust of Fiji
Timeframe: 30 th May
Contact point, Director, Elizabeth Erasito
Mission: Education and public awareness
Activity: To establish a resource centre, develop training material in multiple formats and in various forms.
Key staff members: Director, project officer on site and engaging other staff on site.
Paid contractors: IT people to set up equipment
Partners: Department of Culture, Library services, Fiji Museum, Fiji Arts Council, USP and other partners.
Volunteers to assist in the work, students to do manual cataloguing
Project Brief: To establish a resource centre for students and women’s groups
Main activities and expected results :
• Levuka has been listed as a World heritage site and the Resource Centre would provide additional contributions to tourism in Levuka.
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• The Centre would also be the resource tank of the Levuka Heritage site, which would help to education the community, tourists and the general public. • Serve as an Information centre Continuation of Industry Presentations:
Mr. Barry Jione , Fiji Rotuman Association (FRA) Chairman
In his presentation Mr. Jione confirmed that there are 7 District Associations that make up the Fiji Rotuma Association.
Each district has 2 representatives, a representative for women and men. The management of FRA is facilitated through the Chair, Vice Chair, Secretariat, and Treasurer.
FRA was registered as an NPO in 1987 and their key objectives were Rotuman unity, communal relations, consultative body, investments and growth. FRA is an optimistic civil society and non-profit voluntary group.
In terms of governance, FRA comes under the umbrella of the Council of Rotuma and is administered by Prime Ministers office. Every year a district is selected to look after the management of the district. This year it is Pepjei and from July it is handed over to Itumuta.
In terms of the development of the cultural industries in Fiji, FRA does its best to bring back all our ancestral cultures and traditions and works with youth and students and advocate to them to learn the culture of Rotuman people.
Some of the key activities of FRA are developing dance groups such as the Juju youth dance group, Farmers agriculture show, other traditional games like basket weaving, husking and scrapping of coconuts and lighting the fire with sticks.
The key challenges are internally, that there is no strategic direction or framework, and no infrastructure such as an office to centralize work. One of the key solutions that have been identified is to set up a permanent secretariat.
FRA has also noted that they currently have no external partnerships with relevant stakeholders and in order to be a dynamic organisation that is recognized this needs to be solved.
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Ms. Lanieta Veibataki, Ministry of Education, Curriculum Advisory services/ Technical Vocation
The main focus for this unit, which falls under the Ministry of Education, is the development and evaluation of the school curriculum from kindergarten to high school. The Unit focuses on Curriculum design, and monitoring of the effectiveness of the curriculum in schools.
The Unit conducts training for self-employment, employment and skills that will lead to further education. TVET is currently going through a mainstreaming program and we are hoping that all schools will go through this same program where students will have the choice of two streams: technical and the arts.
Culture and education are linked and integrated through several subject in school. From social science year 1 – 5 there are topics on cultural identity. Students undertake activities to learn about themselves, their family, their community, their village and their country.
Vernacular studies, namely Vosa vakaviti, Hindi, Urdu, and Rotuman language are taught as well as cultural strands that teach ceremony, music, songs, arts and crafts are also integrated into most schools.
Year 1 to Form 6 have a strand on culture. Industrial arts is also part of the design process where they do basic technology, home economics and science has aspects of traditional knowledge.
The Unit has identified that they can further contribute towards development of the Cultural Industries by:
• Collaborating with DCH • Monitoring schools activities, for example there is a current survey going out to school to find out the current cultural activities being undertaken in schools. • Working towards having a national cultural week in schools • Compulsory language in schools • Allocation of time for culture in primary schools • Internal assessment and designing class based assessments that include arts and culture.
The key challenges will be:
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• Coordinating programs at school level and understanding how many schools can carry this out effectively. • Sustainability and effectiveness of the activities in school. • The monitoring and implementation of cultural activities in school.
However working more closely with DCNHA and designing programs as well as effective implementation and monitoring systems could find the probable solution to these challenges. There is a proposed Cultural Education Program, which could also provide support and a framework.
There is awareness that cultural education is one of the best vehicles to promote and sustain culture and that schools are an important platform for transmitting information and knowledge, cultural expressions to young people.
Ms. Lice Movono, Fiji Fashion Week
Fiji Fashion Week, the company was formed in 2008 on the belief that Fiji is the hub and home to most pacific communities in the region, and that Fiji has a well-established clothing manufacturing industry. Fiji Fashion week works to organize world-class events that showcase our artists and crafts people.
There is a year long calendar of events and there is often a program every month, which looks at different components of the industry. These events contribute towards designers’ development for the main Fashion week. Designers apply, those selected are then developed through various workshops, then there is a judging process and the best put on the runway. Last year Fiji Fashion Week welcomed international designers from India, New York, Paris, New Zealand, Australia, Tonga, Wallis and Futuna.
Fiji Fashion Week works also as advocates to government through DNHCA in order to push fashion to the fore, encouraging crafts people, and helping designers to set up business, and focusing on supporting their promotion to the world. FFW works with women at the grassroots and so have also formed a relationship with the Ministry of Women. FFW works to develop national and international platforms for women to market themselves and to build on the vision of Fiji a flourishing industry. Many have worked hard to push Fiji as an alternative to China in terms of manufacturing. China produce by mass but the key is to focus Fiji on quality and on the niche international design houses that might look at Fiji. High fashion may look at Fiji as they are niche and may look to Fiji for its quality and accessibility as
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opposed to China. Fiji has affordable labor and a wealth of cultural talents and wide pool of artists.
In FFW’s work to promote fashion there are two organisations, Fashion Designers Alliance (FDAF), and the Fiji Fashion Council who both work to support the industry and promote fashion as an industry.
The challenges that keeps Fiji from being a successful industry is that there is a
Lack of access to fashion education. FFW continues to focus on gaining recognition, political will and the budgetary allocation to move this process.
FFW also continue to work with government to change mindset that fashion is only for the selected few. International communities in Fiji have begun to provide more support by bringing in designers internationally, which help to boost motivation, and technical support to local designers.
Some of the key achievements for FFW have been to develop their brand in a ‘household name’, developing a partnership with Fiji TV, Fiji Times and Oceanic Communications. These companies believe in the vision and the lucrative revenues that creative businesses can generate.
The success of FFW’s name and our brand has led to requests from other countries for support, and FFW have helped PNG and Tonga to set up their own fashion events. They are looking to Fiji for creative leadership like they do for other areas.
In FFW 2012 they were honored with the presence of President and this indicates that although there is not strong support fro government that there is recognition of their importance. FFW is growing as last year saw 8 international designers as well as a fashion photographer from Paris. This international exposure has led to some of FFW’s models hitting the world stage. Recently a young model Phillipa has been picked up by Donald Trump modeling in New York and begins her contract at the end of this year which a starting salary of US$75,000.
Like any venture, building a fashion industry has brought new difficulties, the main ones are financing and access to education. Early this year FFW Director made a public plea of the need to raise funds to facilitate FFW 2013. Since this statement in the Fiji Times, FFW has raised $200,000. The Head of Kookai, Australian fashion house immediately pledged 50,000AUD. He has been a key part of FFW for several years and has not only realised the business potential of this industry but has heritage links to Fiji as his mother is from Bua. After coming to Fiji every year for Fiji fashion week he has also made a long term commitment to Fiji and has brought
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over a huge part of his design line to be produced and manufactured in Fiji. In addition here offers an apprenticeship for FFWs most promising designers who are mentored in his design house each year.
There are lots of people who believe in what we do and Article 8 of the convention which focuses on creating an enabling environment through initiatives such as tax incentives are key to enable creative industries. Government.
Education is the key to establishing the garment industry, in order to nurture the wealth of talent and the tap into the large pacific community that is here in Fiji. With more ethnic communities than any other country and with many cultures, there are many opportunities for exchange, which can then be translated into art product. The potential is huge, but we don’t have the technical expertise, we don’t have the expert pattern makers, we have a cut, make and trim industry and there are very few high-end fashion sewers. Mark One Apparel has however taken on this as a key program and now has 20 women who are trained specifically in fashion production.
Political will and money, commitment from universities and other institution to set fashion education is a key and FFW is starting to see success. AusAid has approached recently begun to develop a scholarship for fashion and design. APTC has always been partners with their hair and make up students doing their practical at Fiji fashion week. Due to this successful partnership they have also begun talking about a formal program of study.
FFW continues to see designers struggle to sustain their production. Many only produce for shows, sell garments at markets, and many fall down and go back to what they were doing before they enrolled into FFW. Each year some manage to continue on such as Moira of 8 Mountains who generatedFJD$40,00 in 2011 and employs 2 to 3 people.
FFW is essentially an events company and have set out to produce an international standard event.
Mr. Eremasi Tamanisau, Manager, Fiji Performing Right Association Limited (FPRA)
Music is an integral part of any culture and the FPRA key objective is to create an awareness of musicians’ rights.
Mr. Tamanisau gave an overview of the copyright Act of 1999, which exists to protect works of literary, dramatic, and music.
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There was also an amendment to this Act in the decree of 2009. The duration of a writers copyright in literary, dramatic, musical is the artists’ life plus 50 years.
FPRA is a collective management agency that operates like a union. FPRA has 563 members and works to license all persons wishing to use music. FPRA issues the rights of performance in public areas and manages the reproduction rights in musical works.
As with all other organisations the challenge is funding and supporting the administration and human resources of FPRA.
In the past FPRA has led activities such as the Young Muso’s, which had strong influence on the music industry and this has eventuated in productions such as the MIC show. In the early stages of the MIC show the focus was on singing to backing tracks but now they are actually playing their own instruments and this has made a big impact.
FPRA also held its own music awards annually and the aim is to again stage the FPRA Music Awards later in 2013.
The important thing to note about FPRA is that is protection not for the performers but for the composers and writers who are the ones protected by copyright.
Mr. Edward Soro, Vou
Vou was established in 2007 as a contemporary Fijian dance group. Vou makes work by carefully researching and ensuring integrity and authenticity. Vou is also a music and dance school and currently educate over 200 students with ages ranging from 3 to 65. Vou has toured internationally through Australia, New Zealand, and Indonesia and represented Fiji in contemporary dance in the 2012 Festival of Pacific Arts.
Vou has produced its first album Dua na Ka Vou and is working on its second album.
In their school they have about 250 students and learn various dance forms such as ballet, contemporary, Fijian traditional and contemporary, and fusion dance forms. There are also students of music who learn keyboard and guitar and are also required to learn music theory.
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with the right education and that they will have the skills to enter tertiary education anywhere in the world. Vou also facilitates expert choreographers and technical trainers who come internationally to up skill their dancers every year.
Vou aims to keep fees as low as possible to allow a wide range of the community including students from public schools who can also come and work with Vou.
The physical and mental training gives confidence such as through the public showing of Vou’s work and this type of training also enables young people to become creative and learn to have questioning minds. There is a strong focus on multiculturalism and all the different races are a part of Vou.
Vou provides employment with 11 full time staff, 7 part time and several freelance artists. Staff are well paid and in order to sustain their careers it is important that they are remunerated well. Staff are involved in training, performing, choreographing, teaching, marketing, stage-managing, and costume making.
Vou is an export ready product with a wide range of repertoire for local events and function, which include Bollywood, Fijian, fusion dance, and Pacific dance. Vou is booked for shows on an average of 3 times a week and this generates their income and promoting beautiful and diverse culture to the international community.
Vou also has a research arm and is a strong advocate of the preservation of traditional knowledge. The aim is to discover, rediscover and represent. A part of this program is helping staff and students to return back to their village. They recently took one of their key employees back to Bua and this was the first time he had ever been to his village. That experience has helped him create his own dance from this journey.
Vou’s policy is that if they know their past they can work to inspire their present and future. Authenticity to their work is important and it gives value to the work. This way they gain permission to learn iTaukei knowledge. We must treasure our knowledge keepers. Vou also aims to make their research open to Fijian communities to help young Fijians learn their own culture. These programs inspire our youth to learn their own ancestral lineages. It promotes a cultural reawakening and resurgence. The challenge though is the costs involved in research, and accessibility is always an issue.
Some of the key challenges faced by Vou are:
• Funding vs. entrepreneurship – funding is always an issue for developing countries. More funding would enable more research, however due to
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the lack of access to funding, Vou decided to combat this by being entrepreneurs. • Developing professionalism and finding ways to instill professionalism in our dancers so that they understand that it is a job. The challenge has been instilling work ethics, punctuality, and ensuring long-term commitment to Vou. • Difficulty in marketing internationally has meant that Vou has not yet been able to access international festivals. • Access to arts managers would make a big difference in Vou’s development.
However there have been many success stories such as with one of their dancers Rusi who only a few years ago was in Dilkusha and then on the streets in Suva. He is 18, now has a full time job in Vou and is able to support and pay for his 3 siblings to go to school. His income also helps him to pay for his mothers well being. Another young girl was severely abused by her stepfather and through the support and positive role models she found in Vou, through dance she was able to recover. She is now developing into a confident young person who feels comfortable in her own economically self-sufficient.
There are plans to expand the school and to continue to work on research and sustainable long-term investment. It is exciting times in Fiji’s history for music and dance.
The Way Forward
Mr. Sekonaia Colati, Ministry of Education representative stated that the way forward was to ratify the convention.
Ms. Francis Koya, University of the South Pacific stated that she supported the proposal that was being made as she felt that Fiji was ready. She also commented that everything we have heard here in the last two days has been important but we also need to hear from other communities. For example it is a common mistake that we all make, we lump all Indians in one box. You will find Muslims are not Indians, their systems are different and we need to know about their structures. We need all those groups represented. Ms. Koya stated that although she had been involved in the arts sector in Fiji for several years, there was very little knowledge and visibility of many other ethnic groups.
Ms. Koya suggested that perhaps after we ratify, that there would be other opportunities to dialogue and widen the scope. The second reason for supporting 48 | P a g e
this convention is for protection. Yesterday we heard from FIPO, however they didn’t take question and no one was surprised. We can’t progress without adequate protection. If protection and enforcement don’t go hand in hand we open ourselves up to exploitation. It is not only external exploitation but internally from one artist to the next. For example I shouldn’t be able to set up a fashion business using designs from a place that I am not from. The power is with the people and people must stand up for that. There is a need to protect that database of knowledge. If we want dynamic and sustainable development, at the heart of this is Intellectual Property and Copyright. It is about protection to avoid exploitation. Honesty is not political. We are talking about the economy and about people. Protection and promoting are two core issues.
Closing of National Consultation, Peni Cavuilagi, Director, DCHCA
Director, DNCHA closed the two-day national consultation with a call for a vote from the participants for the ratification of the Convention. There was a unanimous vote from the floor. Director, DNHCA thanked all the participants for their contribution to this important consultation and advised the participants that are their comments, issues, concerns and endorsements would be taken forward to the Minster. The outcome of the National consultation would be drafted for presentation to Cabinet and for the purpose of governments support for ratification. (UNESCO 2005 Convention National Consultation Outcomes Documents appended as Appendix 6)
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Photo Gallery
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