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The Protection and Promotion of Musical Diversity

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The Protection and Promotion of Musical Diversity THE PROTECTION AND PROMOTION OF MUSICAL DIVERSITY A study carried out for UNESCO ∗ by the International Music Council Richard Letts, Principal Investigator June 2006 ∗ This study is made available to the public with the prior agreement of UNESCO. CONTENTS Preface 6 Introduction 8 The countries from which information was received 13 Executive summary 15 ADDRESSING THE TERMS OF REFERENCE 28 1. Musical diversity and human rights 29 1.1 International human and cultural rights conventions 29 1.2 From the consultants’ reports 33 1.3 Freemuse: a watchful ear 42 2. Musical diversity and sustainable development 44 2.1 Music in development, development of music 44 2.1.1 The developed and developing worlds 45 2.1.2 Cultural development vs. industry assistance 46 2.1.3 Musical diversity and development 47 2.2 Music in development 47 2.2.1 Music as a source of funds for non-music 48 development projects 2.2.2 Music as a tool of advocacy for development 48 2.2.3 Music as a lure to involve people in development 48 programs 2.2.4 Music as an element in non-music development 49 2.3 Development of a music industry 51 2.3.1 Some research studies and theoretical papers 51 2.3.2 Development projects 55 2.3.2.1 The forms of development 55 2.3.2.2 Targets for support 58 2.4 The use of music to alleviate poverty or the conditions 66 contributing to poverty 3. Musical diversity and peace 72 4. The standards regulating musical diversity 79 4.1 Possible forms of regulation impacting on musical diversity 80 4.2 Examples of the current application of regulations to 82 affect musical diversity 4.2.1 Broadcast 83 2 4.2.2 New media and e-commerce 91 4.2.3 Education 93 4.2.4 Subsidies 98 4.2.5 Copyright 102 5. Musical diversity and the imposition of a monoculture 109 5.1 Evidence from the consultants’ reports 109 5.2 The UNESCO Convention for the Protection and Promotion 111 of the Diversity of Cultural Expressions 6. Musical diversity, the musicians, and identity 114 6.1 Actors for musical diversity per se 114 6.2 An aversion to musical diversity 119 6.3 Local musics 119 6.4 Transplanted traditions: the Jews, Roma, and migrants 129 6.5 Hybridity 130 6.6 Music and identity 135 6.7 Research 137 7. Musical diversity: challenges and responses 139 7.1 Private sector and civil society 7.1.1 The challenge of the loss, potential or completed, 140 of traditional musics 7.1.1.1 The challenge to collect, catalogue and 140 make easily accessible the traditional musics that are endangered. 7.1.1.2 The challenge to find a way to restore 141 traditional musics to the daily life of at least some of the people. 7.1.2 The challenge more broadly to local musics and 145 musical diversity 7.1.3 The challenge of the loss of local musics to the 150 forces of globalisation 7.1.4 The challenge of building financially successful 150 local music sectors 7.1.5 The challenge of reasserting the primary value of 154 culture over commerce 7.1.6 The challenge of transmitting the musical cultures 154 through programs outside of the formal education system 7.1.7 The challenge of creating in the private sector 156 the broadest possible access to musical diversity 7.2 Government sector 3 7.2.1 The challenge of government ignorance or 158 indifference: where the development of music and musical diversity is not even on the agenda 7.2.2 The challenge to governments to formulate 158 and enact legislation and policies that protect and promote musical diversity 7.2.3 The challenge of formulating, enacting and enforcing 159 the copyright legislation and regulations that will be most beneficial to music and musical diversity in a given country 7.2.4 The challenge of the lack of provision of an 160 effective, long-term, sequential, diverse music education 7.2.5 The challenge of providing the broadest possible 162 public access to musical diversity, including access to local musics 7.2.6 The challenge of evaluation of the effectiveness 164 of measures taken by governments in support of music and musical diversity 7.2.7 The challenge of mounting adequate research 164 into the factual situation concerning musical diversity 7.3 International sphere 7.3.1 The challenge of sustaining local musics in the 165 face of the incursions of international free trade agreements 7.3.1.1 The possible responses to the threats 169 to musical diversity from international trade agreements. 7.3.2 The challenge of the use of the UNESCO Convention 171 for the Protection and Promotion of the Diversity of Cultural Expressions to repress rather than protect and promote musical diversity. 7.3.3 The challenge to encourage the free cross-border 172 flow of musics from other countries and cultures 7.3.4 A brief proposal for a global agency for musical 174 diversity APPENDICES 176 Appendix 1 Terms of Reference 117 Appendix 2 Elaboration of the terms of reference 178 Appendix 3 Human cultural rights and freedoms 183 Appendix 4 Music in development, music development: a literature 191 survey 4 PERSONNEL Appendix 5 Biographies of the Consultants 201 CONSULTANTS’ REPORTS 207 Appendix 6 Arab world: Algeria (Athmane Tadjenant-Trottet) 208 Appendix 7 Arab world: Morocco (Hassan Mégri) 221 Appendix 8 Asia: China (Zhang Xian) 231 Appendix 9 Asia: Indonesia (Santosa Soewarlan) 239 Appendix 10 Asia: Singapore (Joyce Teo) 253 Appendix 11 Asia: Vietnam (To Ngoc Thanh) 261 Appendix 12 Australasia: Australia (Richard Letts) 275 Appendix 13 Australasia: New Zealand (Ingrid Kamstra) 293 Appendix 14 Europe (Polina Proutskova, Mirjam Gericke, Maurice 308 Mengel, Deniza Popova) Appendix 15 Latin America (Graciela Agudelo, Leticia Montaño, 412 Gabriela Soto) Appendix 16 Sub-Saharan Africa: Cameroon (Luc Yatchokeu) 438 Appendix 17 Sub-Saharan Africa: Congo (Brazzaville) (Gervais 442 Hugues Ondaye) Appendix 18 Sub-Saharan Africa: South Africa (Caroline Van 452 Niekerk) 5 PREFACE This study was instigated by Katérina Stenou of UNESCO and undertaken by the International Music Council. It addresses an issue of great concern to many in the music world and provides a most fortunate opportunity to explore the many challenges and opportunities for musical diversity. To assist in achieving a global perspective on a global issue, the IMC engaged consultants from what we hope are sufficiently representative regions on the five continents. Most of our consultants are associated with the IMC and bring a strong knowledge of the situation in their respective music sectors. Relative to the scope of the subject, time and resources were limited. Some procedures that might otherwise have been pursued were not possible – for instance there was not time or ability to cross-check sources to ensure factuality. More discussion between Principal Investigator and consultants would have been useful. But in any study there is the possibility for improvement. This study has its limitations but I believe that it stands nevertheless as a very useful document. I wish to extend thanks to Katérina Stenou for her initiative in proposing the study and to the Executive Officer of the International Music Council, Silja Fischer, for her support and assistance. In particular, I state my great appreciation to our consultants and informants, who in some cases produced wonderfully detailed and comprehensive reports despite the time and resource constraints. They are: Arab world Algeria Athmane Tadjenant-Trottet Morocco Hassan Mégri Asia China Zhang Xian Indonesia Santosa Soewarlan Singapore Joyce Teo VietNam To Ngoc Thanh Australasia Australia Richard Letts New Zealand NZ Ministry for Culture and Heritage Europe 1 Polina Proutskova (coordinator), Mirjam Gericke, Maurice Mengel, Deniza Popova; with contributions from Ardian Ahmenaja, Ethnomusicologist, (Albania), Gergana Baeva, Political scientist, Bulgaria; Marin Maria-Bălaşa, Bucharest; François Bensignor, IRMA, France; Christoph Borkowsky Akbar, WOMEX, German 1 With detailed information on Albania, Austria, the Balkans, Belarus, Belgium, Bulgaria, Croatia, Czech Republic, EU, Finland, France, Germany, Greece, Ireland, Italy, Lithuania, Netherlands, Norway, Slovakia, Slovenia, Spain, Sweden, Turkey, Ukraine, United Kingdom 6 Sounds; Luc Charles-Dominique, France ; Edi Clijsters, Belgium; Adrian Farrell, Ireland; Aris Fioretos, Sweden; Morag J. Grant, Schottland; Gösta Grassman, Sweden; Martin Greve, Turkey; Hilde Holbæk-Hanssen, Norway; Roger Hotermans, Belgium; Daniel Koglin, Greece; Drago Kunej, Slovenia; Grozdana Marosevic, Croatia; Prof. Dr. Franz Niermann, European Association for Music in Schools; Jens G. Papenburg, Germany; Ole Reitov, Dänemark; Johannes Theurer, Radio MultiKulti Berlin; Sergej Starostin, Russia; Raimund Vogels, Germany. For more information about contributors, see appendix. With the assistance of the European Music Council Latin America 2 Graciela Aguedelo, Gabriela Soto, Leticia Montaño, with assístance from Beatriz Bermúdez, Anthropologist, Venezuela and a number of National Music Councils. With the assistance of the Music Council of the Three Americas, Sub-Saharan Africa Cameroon Luc Yatchokeu Congo (Brazzaville) Gervais Hugues Ondaye South Africa Caroline van Niekerk In addition, we have a number of informants for East Africa Emily Akuno, Kenya Benon Kigozi, Uganda Wanyama Mellitus, Kenya Michael Mubiru, Uganda Kezia Nakirya Uganda Sylvia Nannyonga-Tamusuza, Uganda Hellen Atieno Odwar, Kenya Chrispo Caleb Okumu, Kenya Biographical details for the consultants can be found in Appendix 5. Richard Letts, Principal Investigator May 31, 2006 2 The consultants were based in Mexico 7 INTRODUCTION Defining musical diversity It is customary for studies such as this to define their terms. Among our consultants, it was the Europeans that made the attempt, with a ‘triple definition’ of musical diversity: 1. Musical diversity exists if there is freedom of musical expression. Although freedom of musical expression includes the freedom to refrain from expressing diversity, this understanding of the term is helpful since it is relatively easy to decide what interferes with the freedom of musical expression.
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