Country Report – Poland

Mapping exercise: How could creative industries foster innovation in tourism in the Northern Dimension area?

December 2016 Team: Terry Sandell, Lila Skarveli

This project is funded A project implemented by by The European Union the PROMAN Consortium 1 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? Country Report – Poland

DISCLAIMERS

This report has been prepared with the financial assistance of the European Commission. The contents of this publication are the sole responsibility of PROMAN and can in no way be taken to reflect the views of the European Union.

This report has been discussed with the international expert concerned in relation to the input work plan agreed with the Client, the expert’s terms of reference and to ensure it contains relevant issues and recommendations, which have been discussed in a debriefing session with the Client.

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Framework Contract Beneficiaries 2013 - EuropeAid/132633/C/SER/MULTI Lot 9: Culture, Education, Employment and Social.

RfS 2015/369412/1

2 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? Countr eport – oland

CONTENTS

DISCLAIMERS ...... 2

LIST OF ABBREVIATIONS ...... 4

1. INTRODUCTION AND KEY COUNTRY POINTS ...... 5

2. BASIC COUNTRY INFORMATION ...... 12

3. CULTURAL AND CREATIVE SECTORS/CCIS IN POLAND ...... 15

C C

C CCC

4. TOURISM SECTOR IN POLAND ...... 19

5. CCI AND TOURISM SECTOR COOPERATION IN POLAND ...... 20

6. POLAND’S BILATERAL AND MULTILATERAL CCS/CCI AND TOURISM COOPERATION WITH OTHER ND COUNTRIES ...... 22

7. COUNTRY CASE STUDIES ...... 25

C C CC CC

C C

8. COUNTRY CONCLUSIONS AND OBSERVATIONS...... 29

C CC

C C

3 –

LIST O ABBREIATIONS

4 –

INTRODTION AND E ONTR POINTS

‘Mapping area?’,



 European level has not been taken or is it because we are in a ‘postdefinitional’ era with certain



 Is the tourism industry’s use of culture and heritage because of real engag



5 ountry eport – oland

 o the bridges that need to be built between Is and the tourism sector include new intermediaries who can identify, interpret, broker and manage tourismIItourism synergies?

In the last couple of years there has been increasing interest in looking at the eisting and potential linkage of the cultural and creative industries to tourism development It however throws up considerable practical and methodological challenges and problems for various reasons and eplains why relatively little progress seems to have been made he maor first hurdle is that the definition of cultural and creative industries is constantly evolving and, moreover, it differs from country to country his has been particularly evident in the case of the eleven orthern imension countries, even in the case of those countries which work very closely together, for eample in the case of enmark, orway and weden here can also be conceptually uite different national approaches or eample in one country cultural and creative industries may be seen as a distinct sector and be supported on that basis In another country they may not even be seen as a sector but as part of something wider or crosscutting such as one part of the creative economy, or as a part of national innovation, entrepreneurship or ME policies he third issue flows from the other two ecause of an evolving and differing understanding in country terms of what the Is constitute, there is no common statistical base which allows clear comparisons or benchmarking, something which is urgently needed and is beginning to start being eplored at European level

If one turns to the tourism sector, there are similar parallel problems he collection of statistics eg number of nights’ accommodation may be firmly in place but those statistics are partial and beginning to look increasingly inadeuate as they are often not taking account of revolutionary changes affecting the tourism and travel industries he continuing, growing importance of s and an emerging peerto peer and sharing economy affecting such areas as traditional tourism accommodation are often not being captured by the traditional industry information systems

ourism categorisation is also constantly evolving with the eistence of an increasing number of sub sectors Even cultural tourism, a subsector itself, can be broken down into possibly a doen or more sub sectors such as heritage tourism, arts tourism, creative tourism, urban cultural tourism, rural cultural tourism, indigenous cultural tourism, eperiential and gastronomic tourism, ‘dark’ tourism, often with overlaps with other forms of tourism eg adventure tourism, health and wellbeing tourism and so on gain there are definitional differences from one country to another and certain types of tourism may be more developed or be more of a national tourism priority in one country compared to another

he complications of identifying at a general level the eisting and potential linkage of Is to the tourism sector is eacerbated by certain tourism subsectors being in their own right part of the cultural sector itself, for eample in the case of heritage tourism oth the Is and the tourism sector are not in reality clearly demarcated both are imprecise, fluidlydefined, fastchanging and dynamic areas of comple and important economic and social activity In the case of Is there are other complications or eample the

ommittee on Industry, esearch and Energy and ommittee on ulture and Education of the European arliament raft eport une ‘On a coherent E policy for cultural and creative industries’ II ‘Alongside a clear definition that takes into account all sectors related to Is, the corapporteurs believe it eually necessary to have comparable and reliable statistical data Each Member tate has, in fact, its own classification of Is It is therefore essential to adopt at E level an updated framework for the sector and to map changes over time he obective should be to identify specific indicators to measure the results of policies for the promotion of the sector.’ nline travel agencies such as Epedia, ookingcom etc ourism in which visits are made to sites, attractions or ehibitions connected with suffering, death, disaster and negative or macabre events Melanie mith in her ‘Issues in ultural ourism Studies’ outledge, pp lists thirteen categories of cultural tourism which she reduces to nine and later seven broad subsectors ee ppendi of the egional eport for a detailed ‘Typology of ultural Tourism’.

6 ountry eport – oland arts ‘lobbying industry’ has or many years uiuitously used the terms cultural industries and creatie industries interchangealy in order to protect or olster puliclyunded culture udgets. Although things hae moed on and in many countries the importance o the arts or eample is recognised and understood as a part o the creatie industries alue chain there is still oten a lot o lurring and deinitional conusion.

erhaps naiely e had the intention at the outset o our ork o trying to ring some clear and oerarching deinitional discipline to our suect. This rae intention as eliminated as a result o almost the irst day o the irst country isit here it as clear that there ere ery local and legitimate interests deates and speciicities and that it ould e artiicial to impose on countries deinitions and categories that might ork or some ut not or others. Imposing deinitions ould in some cases hae een positiely distorting to an understanding o the local I situation. It should also e mentioned as ill e seen rom the to ootnote reerences aoe to a ery recent uropean arliament report that een at leel here the cultural and creatie industries hae soared to a position o highest importance in terms o policy terminology is oten loose or eample ith oth the terms ultural and reatie Sectors S and ultural and reatie Industries I eing used.

In the contet o our ork e thereore elt there as no alternatie ut to assess the cultural and creatie industries and the tourism sector in the indiidual countries in their on terms and then ith the regionalcrosscountry report to try to ring them together.

Although it is right to look at ays o increasing the synergies eteen the tourism industry and Is it is important to recognise that there is already a sustantial leel o engagement. or eample een a supericial listing o the main Is illustrates ho they are already contriuting to the tourism sector

 Sotare and digitalisation this has had a reolutionary impact on many aspects o the tourism industry not least in the role that OTAs play e.g. TripAdisor ooking.com pedia Airn etc.

 esign especially graphic design ut also right the ay through all aspects o design including son et lumire spectacles light estials and eents etc.

 usic or place randing amience openair concerts etc.

 Adertising and roadcasting the importance o these areas to the tourism industry are sel eident

 ilm and cinema promos traelogues ilm location tourism

 Theatre use o actors as animators or or audio guides staged eents etc

 estials a maor element in eent tourism and place randing

 rats and antiues as part o shopping and souenirs

 Architecture tourism industrys use o heritage and usecommissioning o signiicant uildings including as hotels

ommittee on Industry esearch and nergy and ommittee on ulture and ducation o the uropean arliament rat eport une ‘On a coherent policy or cultural and creatie industries’ II The uropean arliament ’Calls on the ommission to design its uture policies ased on the olloing deinition o Is ‘cultural and creatie industries are those industries that are ased on cultural alues indiidual creatiity skills and talent ith the potential to create ealth and os through generating alue rom intellectual property. They include the olloing sectors relying on cultural and creatie inputs architecture archies and liraries artistic crats audio isual including ilm teleision ideo games and multimedia cultural heritage design creatiitydrien highend industries and ashion estials music perorming arts ooks and pulishing radio and isual arts’. Online trael agencies 7 Country eort – oland

 ublising trael and guide boos are still ery oular

 asion lace iage and branding ol costues etc

 aing augented reality and eras still at an early stage but already being used een by big traditional touris oerators suc as oas Coo

 ood and local natural roducts ood estials branding (‘appellation’) and gastrotouris in bot urban and rural contets

o te uestion is really could and sould tere be ore interaction s tere eiter aret ailure or underutilised otentialresources Out o ic lo oter uestions or eale is eisting CC ouris interaction because o eectie ertical olicies or in site o te

oes a oriontal coon language eist it regular dialogue and te deeloent o sared interests beteen te CC and ouris sectors re tere articular touris subsectors and CC subsectors ore suited or innoatie interaction and ore able to roduce ne cooeration odels and aradigs tere is aret ailure or underutilised otentialresources at ind o interention or incentiisation is reuired to ae te CC sector and touris industry interact ore eectiely

s illustrated aboe a lot is going on beteen te arious CC subsectors and te touris industry so tere is not classic aret ailure but rater o ‘underutilisation’ ic arrants interention. ouris and te CCs sare any caracteristics. ey are ragented dynaic nuerically doinated by s and icrobusinesses reoccuied it teseles and oten caotic. ey eac ae teir on agendas. ere is lac o a coon language beteen te robably attributable in art sily to lac o tie. n general tere does also see to be a lac o saoir aire in ters o teir engaging it eac oter innoatiely or oterise. or CC deeloing clustering aears to be ery elul but CCs and touris actors ae so ar not naturally clustered. ost iortantly tere ae been e ractical easures altoug tere are soe good ecetions to bring touris roessionals and CC actors togeter ic reuires actie olicyaer interest interreters soe unding and articiatie coitent.

ery iortant uestion is to at etent any synergies currently taing lace beteen te cultural and creatie sectors and te trael and touris industry are because o or in site o current ‘vertical’ olicies. ile ention o CCs contributing to oter sectors is reuent including soeties in olicy docuents it tends not to be targeted in any ractical ay. ere is robably ore tan one reason or tis but te act tat te concet o te CCs is still relatiely ne een i one traces it bac to te s is ossibly art o te elanation. One susects tat altoug te role o te CCs in ters o teir econoic and social beneits is increasingly being recognised by uroean goernents tere is robably still airly idesread an issue o real understanding o te CC enoenon and te nature o teir otential. is is ten greatly eacerbated by te roble o oorly oinedu goernentadinistration ic articularly aects areas ic need to be olitically and econoically anaged in a crosscutting ay. urter issue in soe countries is tat goernents oten are not iaginatie at oring it and or te riate sector esecially in relation to s icro businesses and sole traders. ere is also an issue o onersi. ic inistry or adinistration is resonsible or CC deeloent Culture conoy ndustry nnoation Business?…Shared? Or are te CCs teseles resonsible or teir on deeloent

n te case o te oter side o te euation touris o is resonsible or deeloing touris serices roducts and eents esecially in relation to an area lie cultural touris n ost cases it is not goernent but s indeendent coercial and noncoercial entrereneurs and cultural institutions acting entrereneurially or iaginatiely not in act te inistries o ouris. raditionally olicyaers ocus on at tey directly control and anage unless lobbied to do oterise. eadersi and reresentation in te CC subsectors in any countries is not ery elldeeloed so lobbying is ea. e CCs ae not been noticeably lobbying or ore engageent it te touris industry and te

8 ountr eport – oland touris industr althouh uch etter oranised in ters o sector and susector representation has not een noticeal developin an aenda or reater oint dialoue and eploration ith the sector

ain one needs to as a uestion this tie h such an aenda has not een developed in the past? t ould see that it a sipl e to do ith the copleit and chaotic nature o the to sectors or eaple ho an susectors does the touris industr have? one taes ust one o those nuerous susectors or eaple cultural touris ho an sususectors does it in turn have? s or the s ho an are the? t depends on the countr ut in ost cases aout a doen? But aain i one loos at one o the such as desin one can see that in one countr it has aout deined susectors

n looin at ho the creative industries could oster innovation in touris in the orthern iension area one needs to tae into account all the actors entioned aove t has seeed ver clear ro our or that to et the to chaotic and raented sectors to ein to or etter toether and eed o each other it ill e ipossile to identi a sinle uniied interace or ind a ’magic bullet’. proress is to e achieved there is a need to e selective realisticall ocussed and tae a seental approach i trin to develop eective odels and paradis or ouris cooperation and interaction

ur or suests that in ein selective and in relation to the orthern iension reion the ost productive touris taret areas are proal oin to e heritae touris creative touris (includin routes and trails astrono and rural touris) and events touris eritae touris is in an o the countries ell developed here are plent o sites an useu ut ho an apps? reative touris hich e deine ore clearl elo is a natural round or all tpes o involveent ultural routes and trails open up innovative opportunities as visitors are there or the eperience and need to ove learn eat sleep and interact ultural routes can o course also e crossorder and ulticountr proects ural touriss special challenes inoration counication and access are also ields o opportunit or s vents touris a priorit in an o the countries is still not a saturated area and ne estivals o all tpes are ushrooin in the reion and are natural eetin rounds or the s and touris developent n the case o estivals the s could e encouraed to provide the linae and continuit to estivals and events that are oten oneo narrolocussed soeties selasored and usuall o short duration h not classical usic estivals (ith their din audiences) lined to co located outhoriented ashion popups? s as linae or continuit is alread happenin in soe places

cceptin that the creative industries alread contriute a lot to the travel and touris industr ut that there could e a ore developed relationship especiall i tareted at a e ver speciic touris su sectors hat ind o intervention is needed? t a polic level the irst steps ould see to e increased aareness understandin and interest in act the classic ‘Hawthorne Effect’. olic encouraeent o ottoup initiatives and horiontal enaeent coined ith topled iainative and sensitive strateic place randin and eective destination anaeent aretin are also needed areness o the potential o the touris relationship needs to e activel prooted in particular encourain it to e put on touris industr aendas and eature as a discussion topic at industr airs conerences events and throuh industr inoration channels arenessraisin is also needed in the opposite direction ain s ore aare o the iportance and potential o the touris sector as a partner and aret or creative industries’ oods and services his needs to e done throuh ain it a practical aenda ite at events and atherins and throuh ‘word o mouth’. here is also a need sipl to rin touris and proessionals toether to create soe ne and practical rides s entioned earlier there is little evidence o a coon lanuae and proal a need or an interediar cadre o industr ‘producerinterpreters’ ro oth sectors

particularl interestin proect uova ata is currentl tain place in inland hich is addressin this issue

9 ountr eport – oland

hile in man of the orthern imension countries past problems are beginning to be addressed related to finance and inestment for s gien their nontraditional industr attributes this is usuall manifesting itself in facilitating their access to eisting innoation or E funding schemes which are er general in nature. f real progress is going to be made in drawing the and tourism sectors closer together then there is probabl going to be a need for there to be specific and narrowl targeted encouragement and support opportunities and schemes. n practice this probabl means that there is a need for specialised agencies e.g. nnoation orwa wedish genc for Economic and egional rowth Enterprise Estonia inlands ees etc to focus on this. he s and the tourism sector are often traelling in the same direction but on parallel rails and not on the same trac with shared but perhaps different winwin goals something which the specialised agencies could address. he fact is as alread mentioned the and tourism sectors are dnamic chaotic sectors and so fragmented that een within each indiidual sector there are awareness problems nowledge deficits and communication gaps.

s suggested aboe a focus should be on heritage tourism creatie tourism including routes and trails gastronom and rural tourism and eents tourism as these areas seem to be the most fruitful for snergistic and innoatie engagement with the sector. Heritage and eents tourism are selfeidentl understandable but the important and still emerging area of ‘creative tourism’ which we beliee perhaps has the most releance and potential for man of the s needs some eplanation.

t is important to elaborate a little on what creatie tourism is or rather what it is becoming. he concept of creatie tourism emerged about fifteen ears ago but in the narrow contet of people traelling to destinations to follow a course or learn something in a structured setting e.g. to do a cooer course or to learn a language. n recent times influenced b the dnamism of the sector creatie tourism deelopment has taen on a much wider meaning and includes an tourism eperience which inoles not onl formal but also nonformal or informal learning. reatie tourism is a ‘workinprogress’ in that it is seen b some as also haing an important cocreation dimension to it i.e. where the tourism proider and the tourism consumer cocreate the tourism eperience. t is also often seen as embracing all eperiences and learning related to a specific place een those that hae not been traditionall perceied as ‘tourism’ eperiences. he local dimension and actie participation b ‘locals’ is also often considered another essential ingredient. nlie traditional culturalheritage tourism creatie tourism embraces not onl historical culture but also er much contemporar culture. inall creatie tourism can be seen as a reaction to traditional cultural tourism that has sometimes turned into ‘serial reproduction’ or ‘Gettyisation’. here is a demand for distinctiel indiidualised and actie eperience not passie consumption of for eample a franchised ett museum. ecognition of the importance of this new form of tourism came in with E commissioning the first serious nonacademic stud of it.

his alread important discernible moement to a new form of indiidualised cocreated tourism opens up real and innoatie opportunities for the cultural and creatie sectors to eplore and establish new and actie relationships with the tourism sector. s is made clear in the regionalcrosscountr report it will reuire practical interention and certain tpes of support as for all their similarities in terms of being uintessential postindustrial economic sectors the s and the tourism industr do not spea the same language. ocussing on how bridges can be built between s on the one hand and creatie tourism and traditional cultural tourism on the other is probabl the best wa to start to get the wider tourism industr and the cultural and creatie sectors traelling more often and more productiel on the same trac and with mutuallbeneficial and genuinel shared agendas rather than on separate parallel paths as seems so often the case.

reg ichards and ulie ilson eeloping reatiit in tourist eperiences solution to the reproduction of culture in ourism anagement pp . phenomenon sometimes referred to as ‘Macdonaldsisation’ E ourism and the reatie Econom E ublishing aris. httpd.doi.org.en

10 ountry eport – oland

n te country reports we try to take stock o te current state o te s o te tourism sector te general climate o interaction etween tem and te general degree o te country’s interaction wit oter ortern imension countries plus some country case studies n te regionalcrosscountry report we ring tings togeter present an analysis draw some conclusions and make recommendations wic we ope may elp to take tings orward

ey points or oland include

 n oicial deinition o culture in te epulic o oland is constantly in deate noicially culture is eing deined as ot an area o social lie wic elps to create values and as a ield in wic artistic creation as a maor role  e olis cultural policy model is caracteried y a ig level o decentraliation wic empasies te important position and role o local governments  n oland cultural industries are an important component o te cultural sector wat eects in a ricer and more diverse cultural oer to wic an access is acilitated y te developed network o te cultural institutions modern tecnologies and media  oland oers an interesting panel o innovative proects andor casestudies linking tourism to cultural institutions cities arts and eritage sites

11 ountry ort – on

BASI ONTR INORATION12

n cn nty to sc ros tt crctr t ont o os cutur ocy n t st yrs stnusn turs o t rst ro – r socs – ncu t sornty on rty syst n nn conoy scon ro – r ocrcy n rt conoy – rcor os nnnc ntrouc rntry ocrcy n rncs or rt conoy

s t trs yr tt r t st tn ts to ros n t yr n t rst ocrtc rntry cton s n ostcounst on

or cutur ctts r orn unr syst crctr y o cntrton nsttutonton n onooy o stt rorty csons on t ont o cutur ctts r strony otc n t crt rts r unr otc cnsors rncs o cutur ocy r crt y ot t nstry o utur n rts n t utur son o t ntr ott o t os ounst rty t t s t t rot rt o uc cutur ntur s r tn t rot rt o t c t stt tcy to ct n ts

un o ont or utur s sts n s ns to scur ts oston tn n ntur on cutur tn t or stt ut ros ro to s rty o uc unn or cutur n r ccss to cutur oos n srcs n n tt rosson stton or rtsts orn contons s n c

tr on unrnt rocss o otc n conoc trnsorton n t stt r sts ts n rsonsts t soc crctr os rsonsts r orut n t ntroucton to t onsttuton o t uc o on rtc rcty rrs to t o cutur n stts tt ryon s rnt t rt o ro o crton to conuct scntc rsrc n nnounc tr rsuts ro o ucton n us o cutur ssts

n rncs or ornn n nncn cutur ctts r orut n n rsnt n t ornnt ocunt ntt rncs o tt utur ocy ccorn to ts ocunt t os ornnt sou

 ncour t rot o ocrcy n t strntnn o c socty  t sr or rtsts n nsttutons to conrt to t rt conoy  rotct t ost rcous cutur ssts n  ntrouc n ncour soutons c ctt t ont o n ors o cutur ctty

utur ocy sou tror c t oon os

 cntrton – st cotncs ro t cntr nstrton to t ronc n ro t roncs to t or s o nstrton strcts uncts n couns  ro uc nnc suort or sct cutur nsttutons n cruc cutur nts  ro suort or t ont o nonuc cutur nsttutons n unn cnss c cou sunt t uc unn o cutur

s os r n suort o t rncs orut n

cnont to t o onu ttcuturocsntcountrs 12 –

The years 2001 and 2002 can be considered a turning point when the Minister of Culture’s programme of

     The National Strategy for the Development of Culture (NSRK)

National Development Programme for 2007-2013 National Culture Development Strategy 2004-2013 National Development Strategy Supplement for 2004-2020

National Strategy for the Development of Culture

Definitions

–

13 Country eport – oland

other hand it generates fears of a traditional understanding of culture and raises uestions about support for contemporary cultural issues and actiities

new attitude towards culture can also be noticed ne eample is the effort being made to stress the economic alue of culture The latter is howeer creating a separation between subsidied culture which is a central obectie of state cultural policy and its industries More and more obections are being oiced regarding this separation This new way of defining culture is reflected in the 200 goernment document The Strategy for Development of Culture 2004-2007 n this document culture is defined as one of the elementary factors of deelopment the basis of intellectual capital while it also encourages eual opportunities in access to culture and promotes economic growth through rising inestment attractieness of particular territorial units and oland as a whole culture is also the basic determinant in defining the metropolitan functions of cities in a spatial economic and social contet

14 –

LTRAL AND REATIE SETORSIS IN POLAND

The Polish cultural policy model

– –

decentralization transferring the majority of cultural institutions privatization abolishing censorship ceasing detailed co-ordination and control general changes

Act on Local Government Administration

15 –

Cultural and creative industries

16 –

Creative industries and socio-economic development of the regions

17 –

–

there (Smoleń, 2003).

  All of Poland Reads to Kids. ABCXXI – All of Poland Reads to Kids Foundation.  Agreement on Cultural Education in Public Schools  ulture in the network for children

18 –

TORIS SETOR IN POLAND16

Poland’s tourism industry enjoyed growth in 2012, in part on the effects of the UEFA European

–

Today’s market trends show a large i

19 ountry eport – Poland

I AND TORIS SETOR OOPERATION IN POLAND

There is no specific programme linking s to tourism so far in Poland The country ases its touristic campaigns and policies on attractions linked to its rich cultural heritage which it defines as “historic, religious, industrial and architectural monuments and relics”1 ost of these sites, well presered within the major uran centres of rakow, dansk, Ponan, roclaw or andomier constitute – along with useums – major attractions to the arious regions

n its polandtrael wesite Poland descries its cultural tourism as follows

P There are more than 200 arious sanctuaries in Poland Although mainly arian, some are dedicated to esus hrist or other saints Each has a miraculous painting, some are also close to a spring which is said to hae healing properties like the ones in , and

The oldest Polish sanctuary can e found in where, in 10, our lady is said to hae appeared efore a shepherd The most immense is the asilica in which can accommodate up to 0,000 people The uniue oly tairs are in the sanctuary in and the smallest crowned statuette of the irgin ary stands in t is only cm tall ut is thought to e ery powerful

R omanatholic sanctuaries are Polands landmarks The majority of pilgrims f lock to the Pauline

enerated oth in Poland and aroad The followers of other faiths hae their sanctuaries in many places Monastery on Jasna Góra in Częstochowa. Here you will find the blessed icon of the Black Madonna, aro iesyn, and the uslims at ohoniki und the country: the Eastern Orthodox Church at Grabarka, the Protestants at Karpacz, Wisła and B Traces of military actiities, which were once hidden from the sight of outsiders, are today made aailale for the pulic to isit or conerted into museums, housing estates oreen night clus like the aclawickie Forts in arsaw, the remnants of the tsarist system of fortifications which also included the capitals citadel

A efore the first Palaeolithic hunters appeared on the lands that are now Poland around 100,000 years ago, our country was a marshy green plain on which dinosaurs graed The most famous of these, , meaning ilesian liard from pole, one of the oldest known reptile species in the world, lied more than 20 million years ago in The most significant archaeological finds end up in museums A gold crown with little eagles, part of the so called , which was stored in the archies of the ational useum in roclaw, can e seen ehiited in

P er the last seeral years Polish castles and palaces hae egan to regain their former glory The former residences of the powerful families are eing conerted in original period hotels The chialry culture flourishes in Polish castles as tournaments and alls are organied in the original costumes of the era and some of the sites also try to recreate cultural eents of the region A hopin Festial is regularly organised at the hunting palace of the adiwill family in Antonin and a gallery that promotes young contemporary

1 httpwwwpolandtraelen 20

20 ountr eort – oland artists has een oened in the ormer conserator o the alace in Staniszow, the one time residence o the euss rinces

emains o the arsa hetto are e, namel the restored o nagogue, and the eish emeter articular interest are the ehiits at the eish istorical nstitute that ocus on the histor o the material and siritual culture o olish es rom their eginnings to the resent da arsa is also home to the onl uroean theatre erorming in iddish, the tate eish heatre ther sites ma e isited in rao, uin and od

I ntil recentl, these sites ere eing treated as a light element on the landscae oda, the ones that hae een restored attract large crods ld actories, reeries and mines are ecoming oular tourist attractions ore than ostindustrial sites hae alread een added to a list o aailale attractions

ther categories, such as classiied monuments and sites, architectural gems or outes ith a theme are also used as tourist attractions

o, since ring , there are lans or a esite dedicated to hoin tourism, and the tourist oard is also working on a mobile application that will allow users to take “selfies with Chopin” at five locations across arsa, ith a icture o the comoser suerimosed on to the image

ourism oicials sa a concerted eort is under a to cash in on the comoser, as the countr sees to uild on the million isitors ho come to arsa each ear

those, , alread isit to museums dedicated to the irtuoso ianist – a aroue alace in central Warsaw’s unlovely, grey, communist hour est o the cit era blocks, and his birthplace in bucolic Żelazowa Wola, an However this is a plan linked to the composer’s birthplace and not to music as a creatie cultural industr as such

normation collected in situ – eerence httestialniclen

21 Country eport – oland

POLAND’S BILATERAL AND LTILATERAL SI AND TORIS OOPERATION IT OTER ND ONTRIES

he overall character of olish international cultural cooperation is determined by either specific geographical location or economic and political interest he main groups that benefit from olish cultural diplomacy tend to be part of influential and opinionmaking circles throughout the world, mainly in the ember tates of the n the other hand, olish cultural diplomacy supports cooperation with countries on its astern border kraine, ussia and elarus, the latter via nongovernmental bodies oland is also engaged in multilateral cooperation with regional organisations eg isegrad roup and rs altica

nother very visible focus of cultural cooperation is the , which is tied up with economic lobbying Cultural links with srael are also important due to the historical background of the ewish iaspora

he most distinct change in foreign cultural policy has been fuelled by olands accession to the uropean nion and is aimed at strengthening relations with structures and West uropean countries imultaneously, there has been a visible setback in former astast relations ver the past years, the significance of state bilateral cooperation has been decreasing and is being replaced by activities initiated by uropean organisations and initiatives undertaken by networks, institutions and individual artists who have pursued their own direct forms of cooperation

oland is a member of isegrad roup , which reflects the efforts of the countries of the Central uropean region to work together in a number of fields of common interest relating to uropean integration he Cech epublic, Hungary, oland and lovakia have historically been part of one civilisation sharing cultural and intellectual values and common roots of religious traditions which they wish to preserve and further strengthen

ll the countries aspired to become members of the uropean nion, perceiving their integration in the as another step forward in the process of overcoming artificial dividing lines in urope through mutual support hey reached this aim on ay when they all became members of

ll of the activities of the isegrad roup are aimed at strengthening stability in the Central uropean region he participating countries perceive their cooperation as a challenge and its success as the best proof of their ability to integrate into structures such as the uropean nion n order to support multilateral cooperation the isegrad und was established in he mission of the und is to promote the development of closer cooperation between the Cech epublic, Hungary, oland and lovakia and strengthening of ties between these states he fund supports the development of common cultural, scientific research, and educational proects, echanges between young people, promotion of tourism and crossborder cooperation he budget of the und is created by eual annual contributions of the four ember tates

he current activity of the roup in the field of culture is focused on matters connected with participation in bodies as well as on current issues like the protection of cultural heritage or the role and functioning of libraries resently, the roup is seeking a platform of cooperation with partners from the kraine and elarus

oland is also a member of rs altica – created in as a forum for multilateral cultural cooperation with an emphasis on common proects within the altic ea egion t gives priority to art, culture and

httpwwwvisegradgroupeu httpvisegradfundorg 22 –

         S

 (inscribed in 1979 as “The Auschwitz Concentration Camp” and renamed at the 31st session    Centennial Hall in Wrocław (2006)  Churches of Peace in Jawor and Świdnica (2001)     Medieval Town of Toruń (1997)  Old City of Zamość (1992)    Muskauer Park / Park Mużakowsk



TBelovezhskaya L Pushcha / Białowieża Forest (1979), transboundary with Belarus   

23 Countr eport – oand

 The unaec ier ore in the ienin ountains (  Tarnowsie or eadier ine and its nderround ater anaement stem (13 I L no eements

R 1 inscriptions

 icoaus Copernicus masterpiece e reoutionibus ibri se (1999  arsaw hetto Archies (manue inebum Archies (1999  The asterpieces o rder Chopin (1999  The Conederation o arsaw o th o anuar 173 eiious toerance uaranteed (3  Twentne emands das Auust 19 The birth o the AT trades union a massie socia moement (3  Code uprasiensis – – enoo arch oint with the ussian ederation and oenia (7 Mineiačetia, Mart (The Supraśl Codex  ationa ducation Commission Archies (7  Archies o the iterar nstitute in aris (19 (9  ithuania the ussian ederation and raine (9 Radzwills’ Archives and Niasvizh (Nieśwież) Library Collection, jointly with Belarus, Finland,  Archie o arsaw econstruction ice (11  eace treaties (ahdnames concuded rom the mid1th centur to ate1th centur between the indom (or epubic o oand and the ttoman mpire (13  Coections o the 19th centur o the oish istorica and iterar ociet oish ibrar in aris Adam iciewicz useum (13  ies and ibrar o the nit o the rethren (1  The oo o enrw (1

 raw a C Creatie Cit o iterature (13 L 3 ratiied and 17 nonratiied

 econd rotoco to the aue Conention o 19 or the rotection o Cutura ropert in the ent o Armed Conict accession (3 anuar 1  Conention or the aeuardin o the ntanibe Cutura eritae ratiied (1 a 11  Conention on the rotection and romotion o the iersit o Cutura pressions accession (17 Auust 7  nternationa Conention aainst opin in port accession (17 anuar 7

24 –

TR ASE STIES

7.1. Mobility and Sustainable Cultural Tourism (Case Study: Cracow and Warsaw Old Towns Accessibility)22

–

the authors’ visits, observations and field research, as well as publi

– destinations in Poland, and identifies a number of the ‘best practice’

whether entirely ‘mobile tourism’ is achievable in a historic city, on how high costs and how big

7.2. Heritage Interpretation Centre23

25 ountry eport – Poland

called Podwalna n the mbanment, due to its location near the fortifications oud be surprised, however, seeing at the entrance an incomplete fragment of an old building and epecting a neglected or archaic interior. Warsaw’s Old Town Heritage Interpretation Centre is a uniue museum fully utiliing modern technologies ts main and permanent ehibition he destruction and reconstruction of the ld own is chronologically organied

fter hearing the history of arsaw and reading a calendar of ld own, visitors can realie what happened to the ld own and its inhabitants during orld ar

oards, large format photographs, plans and drawings, as well as multimedia presentations and themed animations fill the space with a total area of m hey eplain to visitors not only the history of the ld own or the enormity of the destruction during the war, but also the times of reconstruction t started in , and the ceremonial handover of the almost entirely reconstructed ld own too place ust five years later t is this effort, enthusiasm of architects and builders that was appreciated by nesco, which after nearly thirty years entered the entire historic ld own comple on its orld eritage ist he reconstruction was a uniue proect throughout urope owever, the eritage nterpretation entre is not only a permanent ehibition t hosts a variety of meetings, worshops, thematic cycles and, finally, boo promotions related to the overall history of arsaw

7.3. Museums in cultural tourism in Poland24

niver epartment of rban eography and ourism

he studysity ofcase Łódź concerns the museums, their potential and their significance for cultural tourism in Poland. Its aims are achieved through a presentation of registered national museums, ‘monuments of history’, museum buildings and the cultural activities undertaken by these institutions.

Museums occupy a special place in Poland’s cultural tourism. The strong relation between museums and cultural heritage is confirmed by the national documents which regulate their functioning – useum ct , ultural ctivity ct and the istorical onument Preservation and Protection ct

long with art galleries, theatres, cinemas and libraries, museums are institutions under the responsibility of the inistry of ulture and ational eritage rom all these, for Polish authorities, museums are certainly the most closely related to tourism, especially cultural tourism y definition, museums which present the culture of an area a country, region or city and the heritage of a community an ethnographic, ethnic or national group, are significant institutions in cultural tourism and worth attention specific study was commissioned aiming to demonstrate the importance of Polish useums in ultural ourism and to classify them according to a geographic and thematic breadown

ccording to reports from the ational nstitute of useology and istorical onument Protection, there are museums in Poland main museums and branches, which function on the basis of a statute or set of rules approved by the inister of ulture and ational eritage Polish museums are found in all voivodeships, as well as in tourist and historical regions onsidering the way in which they were established, they may be divided into state, district voivodeship, powiatcounty, gmina commune and private institutions, foundations, private he long list includes institutions of varied levels and importance on national, regional or local scales

he list of registered museums currently includes buildings wwwmidngovpl, which maes up about of all the museums in Poland catalogued by the ational nstitute of useology and istorical onument Protection hey differ as regards collections art, historical, martyrdom, etc, scale city,

eata raowia tour

26 Country eport – Poland regional, national and distribution found in every voivodeship. The museums can be seen as representing the whole country.

7.4. SWOT analysis in the formulation of culture strategies based on destination 25

anking aculty of conomics in Opole Opole niversity of Technology Institute of Tourism and eisure. Wrocław School of The study identifies the role of WOT analysis in the formulation of tourism development strategies for destinations. WOT analysis helps to establish a reliable diagnosis of the internal potential shown by a tourism destination and its environment. In the Polish economic situation, WOT analysis is freuently used in a fragmentary manner which should be considered as a serious methodological oversight and may eopardie the value of the entire process related to the strategic management of the tourism destination.

The application of WOT analysis enables the entities which are responsible for management of local or regional tourism policies in destinations, to position tourism in the overall and general strategic planning in a methodical and orderly way. ccording to the study, the local government units are obliged, by law, to pursue a tourism policy where planning is an important function. The identification of obectives and methods to be employed in the development of tourism, i.e. functional planning, should always be preceded by WOT strategic positioning as an integrated tool which can be used to carry out such activities as planning, coordination, monitoring, control and promotion.

7.5. Activation of the Polish coastal tourism based on PPP 26

PublicPrivate Partnership PPP is a form of cooperation between the public sector and the private in order to carry out proects or services traditionally supplied by the public sector. This mode of investment is most commonly applied to the creation of technological infrastructure proects. ccording to the study PPP will allow coastal tourist communes to speed up the implementation of the communication infrastructure, and the sport and recreational infrastructure which are presently maor barriers to the development of the tourist economy.

7.6. Holiday experience industry and product development 27

Institute of rban and Tourism eography.

UniversityThe turn of of the Łódź th and st centuries was marked by the development of eperience economy, in which eperiences. Tourism has always been a particular the basic commodities are not specific products, but the customers’ emotions, impressions and however, the importance of the conscious creation of emotional tourism products has become even “holiday experience industry”. In recent years, greater we may observe continuous efforts to multiply and intensify tourism eperience. The key activities to achieve this goal include transforming tourism infrastructure into uniue tourism attractions, enlarging traditional servicesservice packages by elements providing additional emotions and satisfaction, using modern technologies in order to add virtual entities to real tourism space augmented reality, as well as to conveniently record tourism eperience and share it with the public.

OI .v Information collected in situ – data epected Bolesław Goranczewski Wrocław School of Banking OI .tour

University of Łódź Institute of Urban and Tourism Geography: 27 –

participant. For the ‘new tourists’, it is essential that they can interactively influence the course of the create their own and their companions’ experience. Using IT terminology, this phenomenon is defined as ‘tourism 2.0’. ‘In such tourism, the borders well as between tourists and the inhabitants of tourism destinations are becoming blurred’. In this way,

onsumer’s growing expectations is the assurance of an appropriate supply by the

   reality), evoke a feeling of satisfaction in tourists’ minds, as well as to conveniently record

7.7. Marine Wreck Tourism

from the scratch. In this case, “professional” means not only safe and attractive but also guaranteeing good

sports. The activities that have commenced as part of the “Marine Wreck Tourism” project create bases for fishermen to stay “at sea” after being re

28 ountry eport – oland

TR LSIS A BSERATIS

8.1. General conclusion

The views and data collected during this exercise highlight how the understanding of Is in the countries is a continuous negotiation between three key dimensions

 the definition of Is itself  the way Is are seen in the economy in relation to public, private and not for profit sectors  the complex intersection of uropean, national but also regional and urban policy frameworks oth the To of our assignment and the approved Inception eport underlined a challenge which is also an essential finding of the study “11 Dimensions Trends and hallenges in ultural and reative Industry Policy Development within the Northern Dimension Area”, commissioned by the NDPC and published in May 20 which states that

sector are varied”. This finding has been greatly confirmed by the field missions and the deskwork done during the study phase. The interrelated dynamic environment of policy making for the specific field concerned by our mission underlines the necessity for constant transnational exchange of information and knowledge in the field of cultural research. This aspect will be more concretely illustrated by the crosscountry report and respective recommendations.

8.2. Country conclusions - Poland

. n official definition of culture in the epublic of oland is constantly in debate. Unofficially, culture is being defined as both an area of social life which helps to create values and as a field in which artistic creation has a major role. 2. In reality, the problem is not the definition of culture, but the scope of state responsibilities for culture and the interests of the Ministry of ulture. The emphasis being placed on national heritage, for example, is on the one hand easy to understand in the light of globaliation and uropean integration processes. n the other hand it generates fears of a traditional understanding of culture and raises uestions about support for contemporary cultural issues and activities. The olish cultural policy model is characteried by a high level of decentraliation, which emphasies the important position and role of local governments. The country has adopted a model of cultural management which aims at encouraging the growth of democracy and the strengthening of civil society at facilitating the conversion of artists and institutions to the market economy, at protecting the most precious cultural assets and at introducing a legal framework which facilitates the development of new forms of cultural activity. . pecific efforts were deployed since 200 to prepare oland for gaining access to U funds, especially tructural Funds. In this context, emphasis has been placed on developing regional approaches to the development of culture.

29 Country eport – Poland

n Poland, cultural industries are an important component of the cultural sector what effects in a richer and more diverse cultural offer, to which an access is facilitated by the developed networ of the cultural institutions, modern technologies and media Poland separates cultural from COUNTRY PROFILE - Poland creative ndustries on the basis of economic turnover and their role in growth Poland’s tourism industry enjoys continues and a rising visitor count since 2013 and beyond, Creative Industries Trade Performance, 2003 and 2012 although changes in tourist demographics raise some uestion mars as whether volume growth Poland 2003 2012 will be matched by value growth Today’s market trends show a large increase in the cultural tourism, mainly music festivals, concerts and open air events Value ( in Million US$) Value ( in Million US$) here is no specific programme er se lining CCs to tourism so far in Poland he country bases Exports Imports Balance Exports Imports Balance its touristic campaigns and policies on attractions lined to its rich cultural heritage which it All Creative Industries 2,687.71 2,227.37 460.33 5,401.63 4,369.86 1031.76 defines as “historic, religious, industrial and architectural monuments and relics” Poland offers nowadays an interesting panel of innovative proects andor casestudies lining All Creative Goods 2,275.27 1,267.77 1007.51 5,011.38 3,342.29 1669.10 tourism to cultural institutions, cities, arts and heritage sites owever, these remain isolated All Creatives Services 412.44 959.61 547.17 390.24 1,027.58 637.34 cases and do not constitute yet a structured policy with that regards he overall character of Polish international cultural cooperation is determined by either specific Poland: Creative Industry Trade Performance, 2003-2012. geographical location or economic and political interest he main groups that benefit from Polish 10,000 cultural diplomacy tend to be part of influential and opinionmaing circles throughout the world, mainly in the ember tates of the n the other hand, Polish cultural diplomacy supports co operation with countries on its astern border raine, ussia and elarus, the latter via non 7,500 governmental bodies Poland is also engaged in multilateral cooperation with regional organisations, such as the isegrad roup Cech epublic, ungary, Poland and lovaia and Ars altica 5,000

Total Creative Industries Exports In millions USD 2,500 Total Creative Industries Imports

0 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012

Creative goods, imports by product Creative goods, exports by product In millions USD groups, 2003 & 2012. In millions USD groups, 2003 & 2012. 2,000 4,000 2003 2003 1,500 3,000 2012 2012 1,000 2,000

500 1,000

- 0 - 0 ts ts ts ts isuals isuals t Crafts t Crafts Design ming Ar isual Ar Design ming Ar isual Ar Ar for Ar for New Media Publishing V New Media Publishing V Audio V Audio V Per Per

than imports resulting in a positive trade balance of $1,031 million in 2012. Design, publishing, art crafts and new media are the creative goods products with a better performance in 2012. Culture is emphasised at city

development of creative industries.

30 ountry eort – Poland

endi ey acts and igures

COUNTRY PROFILE - Poland

Creative Industries Trade Performance, 2003 and 2012

Poland 2003 2012

Value ( in Million US$) Value ( in Million US$)

Exports Imports Balance Exports Imports Balance

All Creative Industries 2,687.71 2,227.37 460.33 5,401.63 4,369.86 1031.76

All Creative Goods 2,275.27 1,267.77 1007.51 5,011.38 3,342.29 1669.10

All Creatives Services 412.44 959.61 547.17 390.24 1,027.58 637.34

Poland: Creative Industry Trade Performance, 2003-2012. 10,000

7,500

5,000

Total Creative Industries Exports In millions USD 2,500 Total Creative Industries Imports

0 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012

Creative goods, imports by product Creative goods, exports by product In millions USD groups, 2003 & 2012. In millions USD groups, 2003 & 2012. 2,000 4,000 2003 2003 1,500 3,000 2012 2012

1,000 2,000

500 1,000

- 0 - 0 ts ts ts ts isuals isuals t Crafts t Crafts Design ming Ar isual Ar Design ming Ar isual Ar Ar for Ar for New Media Publishing V New Media Publishing V Audio V Audio V Per Per

development of creative industries.

31 –

Creative goods exports by Creative goods exports by geographical region, 2003. geographical region, 2012.

9% 1% 2% 6% 5%

89% 88%

Africa Europe America Africa Europe America Asia Oceania Asia Oceania

TOP 10 EXPORT PARTNERS FOR CREATIVE GOODS, 2003 AND 2012

2003 2012

Values in Million US $ Values in Million US $

Rank Country Exports Imports Balance Country Exports Imports Balance

1 Germany 731.00 222.636 508.37 Germany 1405.87 455.72 950.15

2 United Kingdom 196.64 57.764 138.88 United Kingdom 441.14 148.38 292.75

3 United States 158.52 26.215 132.30 Russian Federation 329.91 13.56 316.34

4 France 120.90 65.092 55.81 France 294.50 54.25 240.25

5 Netherlands 95.30 41.539 53.77 Czech Republic 250.78 110.19 140.60

orce6 Czech ttctad.oreicatiosirareditctedde.d Republic 88.93 51.096 37.84 United States 229.40 56.24 173.16

7 Sweden 75.17 21.713 53.46 Netherlands 205.25 175.51 29.75

8 Hungary 71.13 8.654 62.48 Sweden 178.41 80.40 98.01

9 Belgium 71.05 46.58 24.47 Italy 135.60 177.51 41.91

10 Switzerland 65.83 15.799 50.03 Belgium 128.91 66.65 62.26

Russian Federation, France and Czech Republic.

32 –

Creative goods exports by Creative goods exports by R geographical region, 2003. geographical region, 2012. 9% 1%

2% 6% 5% Mr Bolesław Goranczewski

Mr Stanisław Liszewski S

89% 88%

Africa Europe America Africa Europe America Asia Oceania Asia Oceania TOP 10 EXPORT PARTNERS FOR CREATIVE GOODS, 2003 AND 2012 2003 2012

Values in Million US $ Values in Million US $ Rank Country Exports Imports Balance Country Exports Imports Balance 1 Germany 731.00 222.636 508.37 Germany 1405.87 455.72 950.15

2 United Kingdom 196.64 57.764 138.88 United Kingdom 441.14 148.38 292.75 3 United States 158.52 26.215 132.30 Russian Federation 329.91 13.56 316.34 4 France 120.90 65.092 55.81 France 294.50 54.25 240.25 5 Netherlands 95.30 41.539 53.77 Czech Republic 250.78 110.19 140.60 6 Czech Republic 88.93 51.096 37.84 United States 229.40 56.24 173.16 7 Sweden 75.17 21.713 53.46 Netherlands 205.25 175.51 29.75

8 Hungary 71.13 8.654 62.48 Sweden 178.41 80.40 98.01

9 Belgium 71.05 46.58 24.47 Italy 135.60 177.51 41.91 10 Switzerland 65.83 15.799 50.03 Belgium 128.91 66.65 62.26

Russian Federation, France and Czech Republic.

33 –

oad oci o roearts oedi o tra oicies ad reds i roe t editio

34 –

tre ad trctra ds i oad

ooia tr cooics o tre

e atioa trate or te eveoet o tre i

ace or tre.

oarative asis o atioa eveoet a ad atioa

tre eveoet trate

tra itiesi. tra oic ad ivi ociet i roe.

Polityka kulturalna w społeczeństie oatesi. tra oic i civic societ

iasoaie i oraiaca trń osodarce roe.

iaci ad ctre oraisatio i reearet sste

oita traa aństa

roet.tateńs ctra oic roect

traKultura osa Współczesna, deadie reia. nr 2 ois ctre i caes decade ń

e ricies o te tra oic.

35 –

scae atroae. tra oic o te

tate i te ears

e irectios o tra oic o te

tate overet.

Wokół zarządaia trą edacą ediai. tań soro odoiedi

mało. (Around culture, education, media menagement. Lots of questions, not many

asers

36 NOTES

37 NOTES

38 39 The content of this publication is the sole responsibility of PROMAN and the Implementing Partners for this Contract of the PROMAN Consortium and can in no way be taken to reflect the views of the European Union.