San Marino Cultural Policies 2011

COUNTRY PROFILE SAN MARINO Last profile update: April 2011 This profile was prepared and updated by Ms. Chiara CARDOGNA (San Marino). It is based on official and non-official sources addressing current cultural policy issues. The opinions expressed in this profile are those of the author and are not official statements of the government or of the Compendium editors. Additional national cultural policy profiles are available on: http://www.culturalpolicies.net If the entire profile or relevant parts of it are reproduced in print or in electronic form including in a translated version, for whatever purpose, a specific request has to be addressed to the Secretary General of the Council of Europe who may authorise the reproduction in consultation with ERICarts. Such reproduction must be accompanied by the standard reference below, as well as by the name of the author of the profile. Standard Reference : Council of Europe/ERICarts: "Compendium of Cultural Policies and Trends in Europe", 12th edition 2011. Available from World Wide Web: <http:// www.culturalpolicies.net> . SAN MARINO 1 1. HISTORICAL PERSPECTIVE: CULTURAL POLICIES AND INSTRUMENTS........................................................................................................... 2 2. GENERAL OBJECTIVES AND PRINCIPLES OF CULTURAL POLICY ........ 4 2.1 Main features of the current cultural policy model ........................................................ 4 2.2 National definition of culture ......................................................................................... 4 2.3 Cultural policy objectives............................................................................................... 5 3. COMPETENCE, DECISION-MAKING AND ADMINISTRATION.................... 6 3.1 Organisational structure (organigram) ........................................................................... 6 3.2 Overall description of the system................................................................................... 7 3.3 Inter-ministerial or intergovernmental co-operation ...................................................... 9 3.4 International cultural cooperation ................................................................................ 10 4. CURRENT ISSUES IN CULTURAL POLICY DEVELOPMENT AND DEBATE...................................................................................................................... 19 4.1 Main cultural policy issues and priorities..................................................................... 19 4.2 Specific policy issues and recent debates..................................................................... 19 4.3 Other relevant issues and debates................................................................................. 36 5. MAIN LEGAL PROVISIONS IN THE CULTURAL FIELD............................... 38 5.1 General legislation........................................................................................................ 38 5.2 Legislation on culture................................................................................................... 42 5.3 Sector specific legislation............................................................................................. 44 6. FINANCING OF CULTURE.................................................................................... 49 6.1 Short overview ............................................................................................................. 49 6.2 Public cultural expenditure........................................................................................... 49 6.3 Trends and indicators for private cultural financing .................................................... 49 7. PUBLIC INSTITUTIONS IN CULTURAL INFRASTRUCTURE...................... 50 7.1 Cultural infrastructure: tendencies & strategies ........................................................... 50 7.2 Basic data about selected public institutions in the cultural sector .............................. 51 7.3 Status and partnerships of public cultural institutions.................................................. 51 8. PROMOTING CREATIVITY AND PARTICIPATION....................................... 55 8.1 Support to artists and other creative workers ............................................................... 55 8.2 Cultural consumption and participation ....................................................................... 59 8.3 Arts and cultural education........................................................................................... 64 8.4 Amateur arts, cultural associations and civil initiatives ............................................... 68 9. SOURCES AND LINKS ............................................................................................ 71 9.1 Key documents on cultural policy................................................................................ 71 9.2 Key organisations and portals ...................................................................................... 72 1 This profile was written and updated by Chiara Cardogna, Department of Foreign Affairs, San Marino. Last profile update: April 2011 Council of Europe/ERICarts, "Compendium of Cultural Policies and Trends in Europe, 12 th edition", 2011 SM-1 San Marino 1. Historical perspective: cultural policies and instruments San Marino was founded in 301 AD and is – beside the Holy See – the only still existing territorial entity of the various independent states on the Italian territory prior to its unification in the 19th century. The Republic of San Marino is 61 km2, has a population of over 31 000 people and is divided up into nine political / administrative municipalities (called Castles). During the post war years, industrialisation and a revival in tourism were factors which influenced the transformation of San Marino, also from a cultural point of view. The Titano Theatre became a stage for a series of prestigious cultural events as well as traditional civil celebrations. Several contemporary exhibitions organised during the 1950s contributed to the establishment of the Modern and Contemporary Art Gallery; the collection of the gallery was made up with works from key exhibitions held throughout the Republic. In 1950, the first and only edition of the "San Marino Literary Prize" was held in the Republic. This cultural event, organised by the former Government Body for Tourism, saw the participation of the most illustrious intellectuals, poets and writers of that time, whose works were judged by their peers. The prize was unanimously assigned to Eugenio Montale, who participated with a typescript entitled "47 Poems", including a selection of verses composed by him between 1940 and 1950. This typescript became subsequently part of the collection entitled "The storm and other poems". The "San Marino Literary Prize" was the first prize won by Eugenio Montale during his career. On the same occasion, a special prize was assigned also to Leone Traverso for his translations of Eschilo, Gongora, Yeats and George. In 1956 the San Marino prize for figurative arts, the first important painting event, inaugurated a successful series of San Marino Biennials, which attracted more than 100 000 visitors and gathered 515 artists and 1 312 works. San Marino Biennials caught the attention of the international artistic community and encouraged many painters to take part in these exhibitions. The 6th Biennial which took place in 1967 was, however, the last of this series of exhibitions. Subsequent events organised around the awarding of prizes such as the Olnano Castle Painting Prize (which later became the Serravalle Castle Painting Prize) were held until the 1980s and influenced the state purchase of about 80 works of art. In the late 1960s, the State Office for Tourism, Sport and Performing Arts, the Ministry of Culture and the Ministry of Foreign Affairs organised several festivals focused on the distinctive aspects of cultures from various parts of the world by involving intellectuals, artists, journalists, ambassadors and Nobel Prize winners of the targeted country. This initiative ended in 1989. While the 1970s can be characterised as a period of continued focus on the organisation and hosting of several large exhibitions, the 1980s were marked by an important reform of the public administration responsible for culture. Several new cultural institutes were created such as the Office for Social and Cultural Activities. Other state institutions received increased independence such as the state museum, library and archive. The aim of the government's cultural policy was to separate tourism from culture, to grant culture a more official "status" and to promote the image of San Marino; the latter a priority which was carried over into the 1990s. In this context, the main objectives of the government were to promote the active participation of San Marino artists in international fora and to support the cultural development within the country. New centres were opened outside of the city centre (in the Castles of Dogana and Fiorentino) to organise cultural events. Calls were made to open new libraries in the Castles of Serravalle, Domagnano and Faetano. SM-2 Council of Europe/ERICarts, "Compendium of Cultural Policies and Trends in Europe, 12 th edition", 2011 San Marino In 1982, San Marino participated for the first time in the Venice Biennial International Art Exhibition on an equal footing with other countries. In the late 1980s, the role of the Modern and Contemporary

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