Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003

HUNGARY

SECTION I: Introduction

Hungary’s past, present and future political alliances, as well as its geographical determinants, inform cultural policy making to date. Part of the Austro- Hungarian Empire until World War I, the 19th century brought about a national revival in Hungary in which culture played a significant role; a considerable part of Hungary's current cultural institutions and traditions are rooted in that period. With communist rule imposed after World War II, cultural dogmatism did not begin to melt away until the 1960s. Following a gradual depletion of public resources and a withdrawal of political control, the state pulled out of subsidising culture as well, increasingly exposing culture to the effects of market in the 1980s. By 1989, transition from a communist to a democratic state had taken place in Hungary, which is now preparing for accession to the EU.

Hungary’s current transnational cooperation activities in the area of culture are shaped by these developments. One of the main Hungarian priorities in the field of culture has of late been the approaching date of EU accession. A series of cultural seasons have been and will be organised in order to promote Hungary in the current member states, through its cultural values, as a future member. France hosted such a season in 2001, Italy in 2002. Similar grand projects are expected to take place in Great Britain in 2004, and in Russia or Germany in 2005. Also, the 18th Hungarian cultural institute is to be opened soon in Brussels to represent Hungary within Belgium and the EU capital at the same time.

Another main priority for Hungary has been and continues to be the country’s Central European location. The cooperation of the so-called Visegrad Four (Czech Republic, Hungary, Poland and Slovakia) started in the early 1990s. Cultural ministers of V4 meet regularly, and discuss common themes according to a pre-set agenda. Recent meetings took place in September 2002 in Budapest and in February 2003 in Levoca (Slovakia). The four countries maintain a joint fund, from which joint projects are supported. Hungary is also a member of the World Congress of Finno-Ugric Peoples. However, the intensity of the cooperation is rather low. Regional cooperation has found its main expression within the Alps-Adria Regional Cooperation (which also has a cultural component), with the four Hungarian counties on the western border participating. Hungarian minorities, which have lived in the territory of neighbouring states since the dissolution of the Habsburg Empire, are another focal point.

The main dividing line in the Hungarian political arena is now between the nationalist minded and the EU-committed parties. The penultimate (conservative) government, in office between 1998-2002, placed the emphasis in international relations and major projects (Frankfurt Book Fair, Hannover Expo) on demonstrating past and present national values and identity. The Hungarian communities living in the neighbouring countries were also an important factor for cultural cooperation. This cultural leitmotif has changed since the 2002 April

187 Annex I – National reports - Hungary elections, which brought a different party into government; the impact of new principles of cultural policy remains to be seen.

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Annex I – National reports - Hungary

SECTION II: Structures, competences, institutes

1. Public authorities

Some issues of transnational cultural activities and policies belong within the scope of authority of the Ministry of Education (arts education, for instance), or to the Ministry of Foreign Affairs, which is responsible for the cooperation with cultural institutes abroad, as well as for employing cultural attaches. However, Hungary's cultural administration is dominated by the culture ministry, whose official name is the Ministry of National Cultural Heritage. This Ministry draws up and manages bilateral and multilateral relations and sponsors programmes and events taking place within this framework, through its department of international relations. It sponsors transnational cultural activities both at home and abroad, gives out travel grants, funds projects and programmes, and pays particular attention to (and grants particular funds to) activities undertaken in view of the coming EU accession. It is also responsible for the national cultural institutes abroad through a Directorate of Cultural Institutes.

In the national budget for 2002, the chapter dedicated to the ministry (including all programmes and institutions supervised by the ministry, and excluding the Directorate of Cultural Institutes) totalled 250.9 million €. It is very difficult to provide an exact figure as to the transnational related part of the budget. Estimated amounts used for such purposes within the structure of the ministry are as follows:

support to transnational artistic or cultural 163,000 € projects taking place in Hungary or abroad

support for travel expenses related to 40,000 € transnational artistic/cultural projects not taking place in Hungary

support to multilateral cultural projects; most 204,000 € relevant programmes

support to transnational projects as part of 163,000 € bilateral work programmes

support to most relevant transnational projects 122,000 € as part of bilateral work programmes

projects and government tasks in the field of 1.04 million €. culture related to EU accession

The Directorate of Cultural Institutes (including 11.3 million € the 17 cultural institutes abroad)

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2. Quasi-governmental institutions

Two quasi-governmental organisations are active in the execution of the international cultural programme of the ministry: Hungarofest, and the Central European Cultural Institute.

Hungarofest Hungarofest was founded in 2000 as a so called public benefit company (operating like a limited company, with certain tax and other benefits), owned 100% by the ministry. The function of Hungarofest is to organise major cultural programmes in Hungary and abroad. It has a small basic budget and the projects are financed from ad hoc commissions from the ministry, or sometimes from the National Cultural Fund. In 2000 management expenditure went up to 335,000 € and 447,000 € were spent on programme organisation. Hungarofest was in charge of the organisation of the Hungarian cultural seasons in France (with a budget of approx. 3.2 million €) and in Italy (with a budget of approx. 1.6 million €) in 2001 and 2002 respectively; a Theatre Festival in Moscow (2001); an exhibition of Belgian impressionists in Budapest; the International Bartók Seminar and Festival in Szombathely, Hungary. The semi-independent Culture 2000 help-desk, KulturPont, also forms part of Hungarofest.

The Central European Cultural Institute The Central European Cultural Institute has been operating as a private foundation since 1989. It followed a route that is the opposite to what one has been accustomed to in recent decades. Instead of undergoing an increasing ‘désétatisation’, the foundation – its staff and projects – succeeded in becoming ‘étatised’ in 2000. It was established as a unit of the above mentioned Directorate of Cultural Institutes. The Institute has its own premises, gallery and small stage, and runs programmes of literature and visual arts in Hungary and in other countries in Central Europe, involving writers, intellectuals and artists from these places. In 2002, exhibitions of a Czech painter, a Czech sculptor and a Croatian photographer were held and an exhibit introducing the multicultural town Gorizia (Slovenia, Italy). An exhibition of 19th century (mostly Austrian) painters on the Danube was subsequently on show in the cultural institutes in Vienna and Paris. The budget of the Central European Cultural Institute amounted to 0.5 million € in 2002, of which about approximately a quarter was spent on programmes.

3. Cultural Funds

The National Cultural Fund is a semi-autonomous arm’s length agency that distributes grants to projects. There is no sectorial bias, and civil sector public institutions, including the cultural institutes abroad, may also apply. The Fund does not assume a direct role in cultural cooperation, but it represents an important additional resource. In 2002, the fund granted about 20 million € altogether. However, there is no record of the amount that various applicants used for transborder projects.

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Another, smaller arm’s length fund is the Hungarian Book Foundation that runs the Fund for the Promotion of Translation. It distributes about 50,000 € per year to foreign publishers that bring out Hungarian titles.

4. National Cultural Institutes

The Directorate of Cultural Institutes operates a network of 17 Hungarian cultural institutes abroad, which aim to promote Hungarian culture at home and abroad, disseminate information and news on developments in Hungary’s arts sectors, and organise cultural events. The Directorate is funded directly by the Ministry of National Cultural Heritage, with an annual budget of around 11 million €. Cultural institutes are operated in EU member states (Berlin, Helsinki, London, Paris, Rome, Stuttgart, Vienna), in accession countries (Bratislava, Bucharest, Prague, Sofia, Tallinn, Warsaw) and elsewhere (Cairo, New Delhi, New York, Moscow).

SECTION III: Documents, Legislation and Agreements

1. Documents and Legislation

Among the specific features of cultural policy in Hungary one can single out its pragmatism. This is manifested by the absence of basic official documents. There are few cultural laws, and practices are rarely guided by high level ideological statements or theoretical documents of cultural policy. This applies to the field of transnational cultural cooperation too. No established official guidelines prevail. Certainly, the Constitution has a few sentences on rights to culture and the obligations of the state, but they do not go beyond the generalities that most other constitutions or universal declarations contain. With the probable exception of the declaration about the obligation of the Hungarian state also to protect and develop Hungarian culture among those ethnic Hungarians who, when the historic Hungarian Kingdom was dissolved together with the Habsburg Empire, found themselves in regions which now belong to neighbouring sovereign states. By definition, this constitutional obligation affects one aspect of transnational cultural cooperation.

The case of the Hungarian cultural institutes abroad, however, has always required governmental attention and regulation. The latest Government Decree’s (No. 11/2000.) general provisions basically place the institutes in charge of the dissemination of national cultural heritage and the management of diplomatic relations with the host country. The Decree also states that the Minister of Foreign Affairs and that of Education shall also have some influence regarding the applicants to the position of director of institute who, under their term (mandates last generally 4 years), gain diplomatic status. Two types of institute are distinguished: the ones labelled simply Cultural Institute, maintaining relations with the host country’s cultural entities, preparing bilateral cultural

190 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 agreements, and promoting Hungarian culture including that of Hungarians living abroad and of ethnic minorities inside Hungary, amongst other activities. The other type, the Collegium Hungaricum (CH) beyond the above also hosts academic research and researchers, and award scholarships. In the CH, there is an academic director as well, usually the deputy of the chief director. Currently, there are 5 institutes bearing CH status, they are located in Berlin, Moscow, Paris, Rome and Vienna; however, genuine, fully-fledged CH type of work is done in the latter two, both founded in the 1920s.

2. Bi- and Multilateral Agreements

Agreements (both bilateral or multilateral) create only a sort of formal "framework" to the cooperation within which the Hungarian ministries "support" and "encourage" or "intend to strengthen" cultural cooperation. This can be observed in the bilateral agreements between the Czech Republic, Slovenia, and Bulgaria.

In Hungary, these agreements are in most cases followed by working or action plans, in which specific programmes are drawn up (although this does not mean that they will necessarily be carried out). The main decisive factor is the budget; and the cooperation with Estonia may serve as an example here. In the working plan drawn up after the bilateral agreement with Estonia, several programmes are planned in all fields of art (as there is, at least theoretically, no prioritised arts sector), given the distance between the two countries, Estonia is represented virtually exclusively through exhibitions (mainly in applied arts).

On the other hand, it seems that cooperation also works without these agreements, as is the case with the agreement and working plan between the Czech Republic and Hungary, which terminated in 2001. Still, cooperation continues to be active; between institutions, if not at the ministerial level. The same is valid for Estonia. There are no agreements on cultural cooperation. In 1994, a contract was made between the two governments and they "encouraged" cooperation, but nothing has happened since then. This results in the fact that the Estonian Institute has no diplomatic status and has some difficulty in organising events.

As for Latvia and Lithuania: Hungary has practically no cultural connection with Latvia: there are no agreements and no cultural cooperation activities between the two countries, not due so much to non-existent bilateral agreements, but due to the lack of financial resources. With Lithuania, “there is a need” for cultural cooperation, meaning that presently there are only intentions to build official relations with Lithuania. In reality, cultural cooperation is implemented on a transinstitutional level (between universities, exchanging lecturers).

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The cooperation with neighbouring countries is frequently influenced by daily (short run) political goals. For instance, cooperation between the Slovak Republic and Hungary is significant since the working plan is written by the common Cultural Committee of the Slovak and Hungarian Republics that decides and implements the plans drawn up on the basis of the working plan. The cooperation mentioned in the working plan is usually realised to the full. Furthermore, ministerial cooperation has been extremely active in the latest few months owing to a debate on the Tokaj Wine Region and Palinka (both countries sumitted claims for these brand names at the EU Commission), which was about cultural aspects as well, and which was linked by the Slovak Ministry to cultural cooperation. It is enough to mention that the Slovak Cultural Institute in Budapest had the biggest project budget in 2002 among all Slovak Cultural Institutes abroad.

Cooperation with Croatia lists initiatives that have to do with minority issues: maintaining radio stations and houses of culture for minorities. There is also cooperation in the field of restoration of historical buildings. With other neighbours (Romania, Slovenia) lack of money renders most of the working plans just lists of unfulfilled wishes.

Generally speaking, both the intergovernmental agreements and the subsequent working plans contain much higher number of pious encouragement of cooperation than the projects actually realised and supported.

2.1. Bilateral agreements

Austria Cooperation Agreement in the field of Culture and Sciences (1976), Protocol of the 9th session of the Hungarian-Austrian Joint Committee held in December 2001 (expiry date: December 31, 2004)

Belgium Cooperation Agreement in the field of Education and Culture (1965). Since the modification of the Belgian Constitution (1980) Executive Programmes have been signed with the French (2002) and Flemish Community (2001) separately.

Bulgaria Cooperation Agreement in the field of Culture, Education and Sciences (1994), Agreement on the Status and Functioning of the Hungarian Cultural Institute in Sofia and the Bulgarian Cultural Institute in Budapest (2002)

Cyprus Cooperation Agreement in the field of Culture and Sciences (1973)

Czech Republic Cooperation Agreement in the field of Education and Culture (under negotiation), Executive Programme in the field of Culture (under negotiation)

Denmark

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Cooperation Agreement in the field of Culture (1971),

Estonia Executive Programme in the field of Culture for 2001-2003 (2000)

Finland Cooperation Agreement in the field of Culture, Education and Research (1995), Executive Programme in the field of Culture, Education and Sciences for 2000- 2003 (1999), Executive Programme in the field of Education and Culture for 2004-2007 (expected signature in 2003).

France Executive Programme expired in 2001

Germany Cooperation Agreement in the field of Culture (1994)

Great Britain Cooperation Agreement in the field of Culture, Education and Sciences (1987), Cooperation Protocol in the field of Culture, Education and Sciences for 2000- 2003 (2000)

Greece Cooperation Agreement in the field of Culture (1977), Cooperation Programme in the field of Education, Sciences and Culture for 2002-2005 (2002)

Italy Cooperation Agreement in the field of Education and Culture (1965), Executive Programme for 2000-2003 (1999)

Ireland Culture and education related notes have been exchanged since 1993

Italy Cooperation Agreement in the field of Culture (1965), valid work-programme signed for 2000-2003, Film co-production agreement (1982)

Latvia Cooperation Agreement in the field of Culture, Education and Sciences (1997)

Lithuania Cooperation Agreement in the field of Culture, Education and Sciences (1997)

Malta Cooperation Agreement in the field of Culture and Sciences (1978)

Netherlands Cooperation Agreement in the field of Culture (1968), Executive Programme in the field of Education, Science, Culture, Wealth and Sport for 1997-2000 (1997)

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Poland Cooperation Agreement in the field of Education, Sciences and Culture (1992), Executive Programme in the field of Culture for 2002-2004 (under negotiation)

Portugal Executive Programme under preparation

Romania Cooperation Agreement in the field of Culture and Sciences (1961),

Russia Cooperation Agreement in the field of Culture (1992), Cooperation Protocol in the field of Culture for 2002-2004 (2002)

Slovakia Cooperation Agreement in the field of Education, Culture, Youth and Sport (under negotiation)

Slovenia Cooperation Agreement in the field of Education, Culture and Sciences for 2000-2003 (1999)

Spain Cooperation Agreement in the field of Culture, Education and Sciences (1979), Cooperation Programme in the field of Culture and Education for 2000-2002 (2000)

Turkey Cooperation Agreement in the field of Culture and Education (1989), Programme for Educational and Cultural Exchanges for 2000-2003 (2000)

2.2. Multilateral agreements Hungary has also signed a series of Conventions within the framework of Europe, or Multilateral Organisations. These include:

European Convention for the protection of the Audiovisual Heritage, 2001 (not signed yet)

WIPO Copyright Treaty, 1996 (entered into force in 2002)

UNIDROIT Convention on Stolen or Illegally Exported Cultural Objects, 1995 (entered into force in 2001)

European Charter for Regional or Minority Languages, 1992 (entered into force in 1999)

European Convention on the Protection of the Archaeological Heritage, 1992 revised (entered into force in 1995)

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Convention for the Protection of the Architectural Heritage of Europe, 1985 (entered into force in 1990)

Convention Concerning the Protection of the World Cultural and Natural Heritage, 1972 (entered into force in 1985)

The Convention for the Protection of Producers of Phonograms against Unauthorized Duplication of their Phonograms, 1971 (entered into force in 1975)

Rome Convention for the Protection of Performers, Producers of Phonograms and Broadcasting Organizations, 1961 (entered into force in 1995)

Convention for the Protection of Cultural Property in the Event of Armed Conflict., 1954 (entered into force in 1957)

European Cultural Convention, 1954 (entered into force in 1989)

UNESCO Universal Copyright Convention, 1952, revised in 1971 (entered into force in 1970, 1972)

Florence Agreement on the Importation of Educational, Scientific and Cultural Materials, 1950 (entered into force in 1979)

SECTION IV: Activities

1. Principal Activities

1.1. Training and Mobility The National Cultural Fund has supported international cultural exchanges and programmes in the field of architecture, environment, photography, literature, fine arts, applied arts, libraries, amateur arts, national Archives, movie pictures, museums, folk art, theatre, dance and music. The forms of activities supported are usually study grants to Hungarian artists participating in festivals, meetings, workshops etc. abroad, to projects inviting foreign artists to participate in festivals, meetings, workshops etc. held in Hungary, or to exchange programmes.

The training and mobility of youth is also supported by the Ministry of Child, Youth and Sport, and, especially by the Youth Mobility Service (under the Ministry). They support international exchange programmes of Hungarian youth organisations that cooperate with at least 2 different youth organisations in the

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EU. The Ministry of Education, especially the Hungarian Scholarship Committee (Magyar Ösztöndíj Bizottság), in cooperation with the Hungarian Academy of Sciences and with the Liszt Musical University, award graduate and postgraduate scholarships for study abroad, on the basis of international agreements.

Hungarian Cultural Centres abroad, especially the ones with Collegium Hungaricum status, grant residence and scholarships, ranging from a few days to several months. The centres organise courses in Hungarian language, culture and civilization.

1.2. Arts Production Artistic events, especially concerts, shows, and exhibitions (of contemporary and museum stock) dominate the cultural relations led by the government. This is reflected in the volume of bilateral exchanges. The big projects tend to be complex presentations abroad; they consist of a range of art productions, including exhibits of artistic heritage. These undertakings require the concerted efforts of the Ministry of Culture, the Ministry of Foreign Affairs, the cultural institutes abroad, the Embassies and, of course, the partner country. The principles of cooperation tend to follow the scheme of multi-annual exchange; for example, Hungary is invited to visit France for a period of time, and France visits Hungary next year for several months.

Over the past years, there were two so-called cultural seasons, events lasting several weeks or months. The first was called “MAGYart”, and was the Year of Hungarian Culture in France in 2001. In place from June 2001 onwards, it was officially closed on 28 January 2002 with celebrations and an award ceremony first in the building of the Ministry of Foreign Affairs, then the Hungarian Institute in Paris. 3600 Hungarian artists participated in 740 events in 200 French cities over the 6 months. A special focus had been placed on contemporary art forms. 90 young Hungarian artists – including 20 applied artists – participated in the “Marché Foire de l’Odéon” exhibition for contemporary art and furniture. The Paris Pompidou Centre housed a monumental Hungarian literature event, organized by the Paris-Bibliotheques on 12th November, with the presence of translators, publishers and writers, and French readers.

The second event of this kind, called "Ungheria in primo piano" (Hungary in highlight), took place in Italy in 2002 and early 2003. More than 600 events were realised in 54 Italian cities. News about the season was mentioned more than 700 times in Italian daily and monthly publications. Due to this event, Hungarian Culture is increasingly recognised as one of the “mainstream” in Europe; its image acquiring a more colourful, if less exotic dimension. The Ungheria in primo piano programme was opened by the President of the Hungarian Republic in Rome, and acted as a follow up to the previous year’s programme in France. Owing to the assistance of the Hungarofest, the Hungarian artists were the guests of the Italian Government, while their stay was the responsibility of the local organisers. Main programmes were realised in Lombardia, Toscana, Liguria, Emilia-Romagna, Piemonte, Umbria, Lazio, Campania and Sicilia provinces, in the fied of music, temporary exhibitions, theatre productions.

“Europalia - 99” Brussels, Belgium

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The official opening of the “Europalia '99 Hungaria” was held on 7th October, 1999, Brussels, an event organised on the invitation of the Belgian director of the Europalia Foundation. 120 programmes were organised in Brussels and some other Belgian cities up to 9th January, 2000. The most significant programmes centred around an exhibition that introduced visitors to Hungarian history between 1000-1800, including Hungarian historical weapons, coins, paintings of Hungarian early modern (1915-1925), photos, and applied arts. There was also a strong presentation of Hungarian musical life, with performances given by the Budapest Festival Orchestra, the Liszt Ferenc Chamber Orchestra, and folklore and jazz groups. Representatives of Hungarian contemporary theatre (including dance theatre and puppet theatre) were invited as well as folklore dance and ballet groups.

Frankfurt Book Fair The 1999 Frankfurt Book Fair was the first occasion at which a country could use a whole pavilion as the special guest country. Hungary took up this guest status during the fair and hosted an information centre for Hungarian Culture.

1.3. Dissemination There is no established system for distributing and disseminating information on Hungarian culture. The recently established Directorate of Cultural Institutes of the culture ministry may in the future fulfil such a task. Hungarian Cultural Centres abroad disseminate information on cultural projects on the basis of the co-operation between the Ministry of Foreign Affairs and the Ministry of Cultural Heritage. The culture ministry has delegated some tasks of dissemination of information abroad to the Hungarofest, since April 2000. Hungary also joined the Culture 2000 Programme and the culture ministry opened an office (the Cultural Contact Point, in Hungarian "Kultúrpont Iroda") for the purpose of the distribution and dissemination of information on cultural cooperation in the EU.

1.4. Research The organisation of professional seminars, or other means of information exchange are almost non-existent, and the provision of information still rather limited. However, the web sites of the cultural institutes have recently been re- designed and most of them are kept up-dated. More and more institutions (e.g. The Hungarian Heritage House, the László Lajtha Workshop for Preserving Tradition, probably Central Europe's largest folklore documentation centre, and the Folk Art Workshop - all from the same domain), have made great efforts to disseminate information on their activities through internet as well as through publications. However, communication and research in the cultural field are not priorities for the ministry’s cooperation activities.

1.5. Heritage Most bilateral agreements contain contingencies for heritage conservation and restoration, although they have little weight. There are a few notable exceptions. With Turkey, the maintenance of important national monuments and buildings in one another's territory is explicitly covered in the bilateral cooperation agreement. For instance, the homes of the historical Hungarian emigrants Rakoczi and Kossuth remain in Turkey, while several mosques, shrines and tombs have remained in Hungary after the Ottoman rule in the 16-17th centuries. As part of this agreement, Hungary offered a memorial statue to

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Suleyman the Great at the site of his death in Hungary. Erecting statues is a relatively regularl item in cultural cooperation, other examples include the composer Kodály in Brussels, the painter Munkácsy in Luxembourg, and the composer Bartók in New York.

Hungary has 8 sites on the World Heritage List: The Sopianae Early Christian Cemetery at Pécs; the Millenary Benedictine Monastery of Pannonhalma; Budapest, especially the Andrássy Avenue, the banks of the Danube and the Buda Castle Quarter; the traditional settlement Hollókő; Hortobágy National Park; the Caves of the Aggtelek and Slovak Karst; the Tokaj Wine Region Cultural Landscape; and the Fertö/Neusiedler Lake Cultural Landscape. This strong position in the World Heritage movement offers lively multinational cooperation.

Restoration is one of the standard and stable elements of the working plans that have been agreed with the neighbouring countries and Turkey. The Ministry of Culture sends archaeologists to Croatia and Romania with the assistance of the Hungarian Scholarship Committee, and also invites archaeologists. The agreement and the work plan appoint the institutes designated for this purpose. Usually, the country where the archaeological heritage can be found supports the restoration, and visiting archaeologists join the project.

1.6. Translation In the field of literature, the Cultural Institutes abroad support the exchange of programmes of writers by organising authors’ meetings. Furthermore, the Translation Fund has been active for six years as a branch of the Hungarian Book Foundation, a government subsidised private foundation. The Fund supports activities during book fairs, and via the Internet, and has given translation grants to over a hundred foreign publishers of Hungarian authors, mainly fiction. Thirdly, the Ministry of Culture supports translations through the Hungarian Translators House Foundation, which runs the House of Translators in Balatonfüred. Translators can apply to the Foundation with project plans for translating Hungarian literature or works in the field of social sciences. The House provides monthly scholarships. The duration of the scholarship is from 2 to 8 weeks. The Translators House is also open for Hungarian writers and translators (without a scholarship): one of the six rooms is reserved for their use.

2. National Cultural Institutes in Hungary

A total of 13 countries maintain cultural institutes in Hungary, 6 of which are current EU members (Austria, Denmark, France, Germany, Great Britain, Italy), and another 6 are the accession countries Bulgaria, Czech Republic, Estonia, Poland, Romania, and Slovakia. Russia also maintains a cultural institute within Hungary.

The Austrian Cultural Institute (Forum) is a relatively modest annex to the embassy.

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The British Council The British Council has no facilities for arts programmes in its Budapest premises, although the library is very well used. However, the Council excels in supporting cultural events all over the country, and not exclusively for British artists.

The Czech Centre Czech cultural institutes are in fact multi-functional centres, run by the Directorate of Czech Centres of the Ministry of Foreign Affairs of the Czech Republic. The Centre in Hungary is located in the building of the Embassy. In 2000, programmes could be thematically or sectorially divided as follows: visual arts (10%), music (3%), film (31%), and literature (7%); the rest included trade and tourism. The total budget in 2000 amounted to approximately 145,000 €. There is no direct planning connection, but generally expenditure on cultural programmes roughly equals the Centre’s own income as generated by trade shows etc.

The Danish Cultural Institute The cultural centre of Denmark is an odd case, since it is located in the countryside, in the town of Kecskemét, from where they organise their programmes elsewhere, including the capital.

The Estonian Institute After the Estonian Institute was created by the Estonian government, its second foreign outpost was in Budapest in 1998. It runs its programmes from a fourth storey office in a block of flats. The Estonian Institute with its 4 branch offices receives annual operating support amounting to 320 000 € from the Estonian Ministry of Culture.

The French Institute The French Institute was established in 1947 and it belongs to the French Ministry of Foreign Affairs. It is one of the largest cultural institutes in Hungary, in a fivestorey building that was designed and built for this purpose in 1994. The staff complement is more than 50 people and part time teachers of French are in addition.

The Goethe Institut The Goethe Institut has been part of Hungary’s cultural arena since 1988 and it has grown a relevant cultural reference point. Apart from its cultural programme, language courses, seminars and events, it also works on the principle of cooperation with the host country on projects of European relevance. Its offices and showrooms are in one of the most elegant parts of Budapest (Andrássy út). The number of employees is 25. The internet café and reading tea room of the Goethe Institut are always full.

The Italian Institute The Italian Institute started its operation in Hungary as early as 1935, and is located in a large 19th century building which hosted the Parliament of Hungary between 1867-1902.

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The Polish Institute The Polish Institute dates from 1939, on Andrássy út, at one corner from the Goethe Institut.

The Instituto Camoes The Instituto Camoes operates units located at universities whose profile includes Portuguese language courses. 200 Hungarian students have attended Portuguese courses since 1998. Besides Hungary, only Romania is part of the network from future member states of the EU.

Instituto Cervantes Of all cities from the accession countries, only Bucharest and Warsaw host an independent Instituto Cervantes, while Budapest is one of the three to receive the Aula Cervantes at one of their universities (a smaller version of the institute which, out of the two main goals of promoting the study of the Spanish language and disseminating Spanish culture, focuses on the first one).

The Slovakian Institute The Slovakian Institute shares a building with the Central European Cultural Institute, with which they co-operate in running programmes. A legacy of the common Czechoslovak state, the building is very big and requires and effort to fill it.

3. Forthcoming Activities in Hungary, 2003-2006

A great number of events with European relevance will take place in Hungary over the coming years, due to the intensification of cooperation activity in view of upcoming EU accession. The most active cooperation partner is France, but most other Middle European countries, plus the neighbouring Central and Eastern European Countries, participate actively too. A large part of the events consists of the so-called Cultural Seasons, which are mutual presentations of countries over several months. Also, there are many festivals with European relevance scheduled to take place across most arts sectors (with a special emphasis on music), international competitions, seminars (often theme or artist based), and events, which at least indirectly work to promote the cultural industries (the Budapest International Book Festival could be considered as an example here). The following is a representative list. FranciArt The French cultural season entitled FranciArt will take place in Hungary 2003, in response to the Hungarian MagyArt season in France 2001. The eight-month long season is organised by the French Embassy in Budapest; at the opening ceremony will be hosted by a member of the French government. The purpose of FranciArt is to develop the cultural cooperation between the French and Hungarian institutions, and its programme covers a wide range of areas including cultural and scientific issues. The programme also focuses on the current questions of the European Union enlargement and the relationship between Europe and the United States, through a series of lectures. As there is twin town relationship between some French and Hungarian cities, a typical French market will be organised in each town offering traditional French food. In the artistic field, France is the special guest of the Budapest Spring Festival;

200 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 from April French Film Festival will be organised in Budapest, and three other cities. Exhibitions of well known artists from the Fine Arts and Photography are also of special importance as well as the opera and jazz concerts, theatre and puppet performances.

“Magyar Magic” – Hungary in Focus 2004, London Hungarian cultural productions will be presented frequently in London and other big cities in Great Britain for 16 months. The official programme of this Hungarian cultural season will be launched in November 2003, and will include concerts, shows, exhibitions of artistic heritage and contemporary art, theatre, film, and music. Smaller “warming up” projects will be put on stage from May.

Budapest Spring Festival The annual Budapest Spring Festival, between 15 March and early April, involve large numbers of foreign artists, received often in the framework of bilateral agreements. The programmes include theatre and dance performances, chamber and philharmonic orchestras, and exhibitions. In 2003, the Festival offers Symphonic or Chamber Orchestras from Germany, the UK , and Russia, as well as Spanish and French dance events. Cooperation also takes place through joint exhibitions co-produced by museums from Hungary, Austria, and the UK (via the British Council). The theatre field is the most significant example of European cultural cooperation: the European Theatre Union, Teatro de Roma, the Baltic House, the Ponti Festival, and the Budapest Festival Centre participated in the organisation of this programme.

Mediawave International Festival of Visual Arts For today "Fényírók Fesztiválja -Another Connection" International Visual Art Festival, commonly known as MEDIAWAVE, has gradually become one of the most significant East European multicultural festivals. The main objectives of the festival are to present and introduce the best contemporary, creative and non- commercial films of Europe and beyond, as well as theatre, dance, music, literature, and exhibitions. At the outset, ten years ago, Mediawave was launched as a civic initiative in the provincial town of Györ, but has now become not only a professional forum, but also attracts a national and international public. The event has regular guests from all over Europe, as well as from Siberia, Kazahstan, China, Tibet, Iran, USA, Canada, and Australia.

Zemplén Days of Arts This festival, held every August in the north-east of the country has, besides its artistic quality and high number of foreign artists, two important features. First, it is a conscious attempt at involving venues at large number of settlements in one of the least developed region of Hungary (Zemplén county); second, several of the artistic events are held on the other side of the border, in east Slovakia.

38th International Music Competition From the periodically returning cultural programmes organised by the HungaroFest Public Benefit Company, the specialised agency of the culture ministry, music festivals and competitions stand out. In 2003, the 38th International Music Competition’s theme is flute.

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Bartók Seminar and Festival The International Bartók Seminar and Festival in June gives place to a competition in Bartok's works of art and organises a seminar for composers given by guest lecturers from England, Switzerland and Germany

BudaFest Summer Opera and Ballet Festival The State Opera House hosts the BudaFest Summer Opera and Ballet Festival in early August featuring internationally reputed Hungarian and foreign artists, opera and ballet performers.

Budapest International Book Festival This book fair is held at the end of April each year. In 2003, it is the 10th anniversary of the event, located in the Budapest Convention Centre. From its accompanying events, the European First Novel Festival stands out. The guest of honour at the jubilee International Book Festival Budapest is contemporary French literature and book publishing.

Sziget (Island) Festival Sziget (Island) Festival, which celebrated its 10th anniversary in 2002, is organised yearly on the Óbudai Island in the outskirts of the Hungarian capital. One of Europe's biggest cultural events for the young, it offers music, theatre, dance, visual arts, and sports. Last year it attracted 355,000 visitors with 80 international performers and 600 performances at 50 venues. 60% of those purchasing a ticket valid for the whole week were foreigners, the majority coming from Austria and Germany.

French-Hungarian Musical Festival Due to cooperation between a French partner and HungaroFest a new artistic festival will be launched in 2003. The aim of the French-Hungarian Musical Festival is to support and organise the concerts of French and Hungarian young musicians.

European Cultural Avenue, 5 April, 2003 140 programmes in 40 venues represent the diversity of Hungarian Culture on 5 April, 2003, Budapest. Most of the events will take place in cultural public institutions and international venues on the way (Andrássy street) from Buda Castle to the Városliget (Town Park). This programme is strongly connected to the European referendum (12 April). International co-operators are embassies and cultural institutes such as the embassies from Finland, Greece, the Netherlands, Germany, the Czech Republic, and the institutes from the Czech Republic, France, Germany, Poland, Austria, Slovakia and the Central European Cultural Institute.

4. Websites of interest Ministry of National Cultural Heritage: www.nkom.hu Directorate of Cultural Institutes: www.magyarintezet.hu Hungarofest: www.hungarofest.hu Central European Cultural Institute: www.ceci.hu Bartók Seminar and Festival: www.bartokfestival.hu Budapest International Book Festival: www.mkke.hu/fesztival

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Annex I – National reports - Ireland

ICELAND

SECTION I: Introduction

Icelandic culture and policy making is determined primarily by geographical and political considerations, and to a lesser degree by historical ones. Situated between the Greenland Sea and the North Atlantic Ocean, Iceland and its population of just under 280.000 represents the furthest northwest corner of Europe. Its legislative assembly, the Althing, is the world’s oldest (established in 930), although the island was subsequently ruled by Norway and Denmark until the reestablishment of independence in 1944. Literacy, health and social cohesion are also exemplary. Economically, however, the island largely depends on the fishing industry. This fact marks international relations deeply, as the government remains opposed to EU membership primarily due to concerns related to the industry. The cooperation between Nordic countries (especially Denmark, Norway, Finland, Sweden) has been extremely active for the last decades, and cooperation activities with the Baltic states have greatly intensified.

No legislative documents and few agreements officially regulate general cultural policies in Iceland. The main objective for cultural administration and activity is to safeguard the Icelandic language and national culture and promote as far as possible a dynamic artistic and cultural life accessible to everyone in the country. The main state level cultural cooperation is therefore channelled through diplomatic relations and embassies. Sometimes the Foreign Service has taken the initiative; on other occasions, it has made its contribution in collaboration with the Ministry of Education, Science and Culture, public bodies or interested parties in the commercial or tourist sectors. Currently there is a great upswing in tourism connected with cultural events, and Iceland's embassies abroad put a lot of work into promoting the image of the country as the home of a nation with a unique culture and as an interesting place to visit.

Most transnational cultural cooperation activities tend to take place however in the framework of larger networks and their programmes; activities are particularly regular amongst the Nordic countries, with the Baltic states gaining increasingly in importance in the field. Lately, cultural relations with (North- Western) Russia have also improved. Application for membership of the European Union is not on the agenda of the present government, but the importance of maintaining good relations with the Union and its Member States is clear.

SECTION II: Structures, competences, institutes

The cultural administration model of Iceland works on a basis of cooperation and delegation. The Ministries (in the area relevant to this study, mainly the Ministry of Education, Science and Culture, as well as the Ministry of Foreign Affairs) are responsible for framework agreements and diplomatic cultural work,

202 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 while cultural administration and activities are delegated to Funds (mainly non- transnational) and arm’s-length organisations.

1. Public Authorities

1.1. The Ministry of Education, Science and Culture The Ministry of Education, Science and Culture is responsible for cultural affairs in Iceland and implements policy measures in the field, as for example in the case of participation in international cultural cooperation. Allocations to the Ministry under the state budget for 2002 come to ISK 28.3 billion (just over 337 million €) out of the total state budget of ISK 239 billion (2.8 billion €). Of this sum, around 70 million € (c. 21% of the Ministry’s total funding and c. 2.4% of the total state budget) is earmarked for “cultural affairs”. The influence of the Ministry is primarily felt through its financial contribution, which is provided for and itemized in the budget each year. State involvement in the arts and general cultural affairs falls into three main categories: a. Operation of institutions. b. Management of funds to support cultural activities. c. Financial support for activities and projects, either in the form of statutory allocations or special grants made under the state budget.

Although it is difficult to pin down representative data on transnational cooperation, some estimates can be made based on the information gathered from different institutions; they are listed under the respective descriptive item.

1.2. The Ministry of Foreign Affairs The Ministry for Foreign Affairs promotes Icelandic arts and culture abroad through diplomatic relations. The Ministry for Foreign Affairs is jointly responsible for the cultural agreements and bilateral treaties with the Ministry of Education, Culture and Science.

Cultural affairs have received special attention in the work of the Foreign Service. Sometimes the Foreign Service has taken the initiative; on other occasions, it has made its contribution in collaboration with the Ministry of Education, Science and Culture, public bodies or interested parties in the commercial or tourist sectors.

Many of Iceland's embassies regularly present varied programmes of Icelandic culture in their host countries or those in their jurisdiction, in collaboration with interested parties and well-wishers. These activities have included cultural promotions, film festivals, literary presentations, concerts and art exhibitions of various types (budget 71,500 €). The opening of new premises for the Icelandic Embassy in Berlin, which are partly shared with those of the other Nordic

203 Annex I – National reports - Ireland countries, has opened new opportunities for promoting Icelandic culture in Germany.

1.3. Ministries of Industry and Commerce Although their allocations are relatively small, and the activities not always properly speaking cooperation, these ministries set aside around 23,800 € as support for the promotion of Icelandic music in Europe.

1.4. Local Authorities Local Authorities and non-governmental organisations are also supported to a small extent to promote transnational cooperation. In cases of international cultural cooperation, the Ministry of Education, Science and Culture often consults national institutions and organizations within the cultural field.

2. Semi-public Institutions

2.1. The National Theatre Under the Dramatic Arts Act (No. 138/1998), the main role of the National Theatre is to present Icelandic and foreign plays. It is also to be involved in performances of operas, musicals and ballet and modern dance performances. The National Theatre is to strive to establish suitable collaboration with institutions, societies and others involved in drama and other associated arts. Travelling productions, with performances in many parts of the country, are to be mounted each year, and depending on circumstances, trips are to be made overseas to present productions and foreign artists are to be brought to Iceland. The total state budget is 5.4 million €, of which just over 1% is devoted to transnational cooperation.

In 2002, foreign artists and lecturers were brought to Iceland from Holland and the UK for a total cost 59,500€. A special exchange program has been run between the National Theatre in Iceland and the Masimas Theatre in Vilnius in Lithuania, involving the exchange of productions and guest artists. Similar relations have been run with the Teatro della Tossa in Genúa. The National Theatre is a member of I.T.I. (International Theatre Institution), Pearl (European League of Employers Associations in the Performing Art Sector), Theatre and dance in the North, the Nordic Theatre Commission and the European Theatre Commission. The artistic director of the theatre is a member of the Nordic Theatre Council.

2.2. The Iceland Symphony Orchestra The orchestra was founded in 1950, and is now run under the Act No. 36/1982. This states that its work is to be directed towards enriching Icelandic musical culture, arousing interest in and promoting knowledge of quality music and enabling the people of Iceland to enjoy it. Special emphasis is to be placed on the performance and publicising of Icelandic music. In all its work, the orchestra is to strive to maintain the closest collaboration with other parties working towards the same ends. The state pays 56% of the orchestra’s operation costs, the National Broadcasting Service 25%, and the City of Reykjavik 18%. For transnational cooperation in the year 2002, a sum of 377,400 € was spent (1% of the total budget)

204 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003

2.3. The National Museum of Iceland The National Museum is a state institution and the principal museum in Iceland in the field of the preservation, protection and research of national monuments and items of archaeological value. Its role, which it shares with the regional museums under the National Monuments Act, is to exhibit them to the public, both in Iceland and abroad, and to support the study of objects that illustrate the cultural history of Iceland and the publication of academic works about them. The state budget is around 3.2 million €, with an allocation to transnational cooperation of less than 1%. There is no transnational cooperation strategy, but rather occasional specific collaboration projects, mainly to promote Icelandic culture abroad. In a similar manner the Archaeological Agency of Iceland, which monitors local archaeological investigations reports no direct transnational cooperation, but allocates grants for study and preservation projects.

2.4. The National Gallery of Iceland The National Gallery of Iceland operates under the Act No. 58/1988. It is the main art gallery in the country and also a centre for research, collection and preservation of source materials on Icelandic visual art. The gallery is expected to acquire foreign works of recognised artistic value, a certain percentage of the funds allocated to it under the budget being available for this purpose. It conducts transnational cooperation by inviting guests from Europe:; of the total budget, around 10% is allocated to this. The state budget is around 1 million €.

2.5. The Iceland Dance Company The operation of the Icelandic Dance Company is covered by the new regulation No. 14/2002. It aims to present dance performances, encourage new creative initiatives in choreography in Iceland and promote the development of dance. Through this policy the company has been a leading force in bringing some of Europe’s best artists to Iceland to work and create new work. The Iceland Dance Company has been at the forefront of cultural cooperation, national and trans-national for a number of years. The company was the first Icelandic performing arts company to receive a European Kaleidoscope grant in 1997 and has since been involved in several transnational cooperation projects. The company has no cultural cooperation agreements with national institutions in one or more European countries, but has agreements with independent institutions or is involved in projects which are being organized jointly with other organizers. The budget received from the state totals 758,000 €.

Individual projects have been: the EXPO 1998 in Lisbon as part of Iceland’s contribution; the Trans dance Europe 2000 (the ID performed in Prag, Avignon and Bologna and organized a Festival in Reykjavik in November 2000 with performances from Prag, Avignon, Bologna and Bergen); and Baldr, a project organized by Reykjavik Culture Capital 2000 in cooperation with Bergen and Helsinki. For the IETM member’s forum Reykjavik in 2000, the ID took part as a national co-organizer of the network meeting in Reykjavik, organized a meeting of dance professionals and produced a performance. The company also performed in the Holland Dance Festival in 2002; jointly creating a work with the

205 Annex I – National reports - Ireland festival, and presenting Icelandic choreographies. The company has also been a host company for a final year student from the Rotterdamse Dansakademie.

2.6. The Icelandic Opera The state and the Icelandic Opera entered into an agreement in 2001 covering the running of the Icelandic Opera. The agreement is to run until the end of 2005, and under it, the state contributed 775,700 € in 2001, in 2002 the allocation amounts to ISK 1.3 million € and will thereafter be 1.5 million € each year, subject to the approval of the Althing. The Icelandic opera is a member of the Nordic – Baltic Opera organisation. The organisation has annual meetings with the exchange of ideas as the main objective. No other transnational cultural cooperation is listed.

3. Funds

Distribution of funding to cultural activities from the national government takes place mostly through the Ministry and its funds, or through councils which are directly responsible to the administrative executive of the Ministry. Many of the funds (the Museums Fund, the Archaeology Fund, etc.) are important for cultural administration within Iceland, but do not conduct transnational cooperation. The policy in recent years is to donate funds to independent bodies or projects.

3.1. The City of Culture Fund This was established in 2001 with a founding contribution from the European Cities of Culture 2000 project under an agreement between the Minister of Culture and the Mayor of Reykjavík. The role of the fund is to support new ventures in the arts, cultural projects undertaken by municipalities outside the metropolitan area and cultural events for children and young people.

Since its inception, the City of Culture Fund has made several specific allocations to transnational cooperation activities. In 2001, it granted 32,100 € to the visual arts, of which 12,000 € went to the Akureyi Art Museum to hold an exhibition on a contemporary Danish artist, 6,000 € were destined for Icelandic artists participating in a fair in Berlin, and 9,000 € for joint projects with other countries (France, Finland, Greenland). In 2002, 7,100 € were given out each to the visual arts and to theatre, and 6,000 € to literature cooperation activities. For 2003, 28,600 € are planned for specific cooperation in the visual arts; the total allocation of funds to cultural cooperation events solicited in direct applications were: 12,000 € for Literature, 18,000 € for Theatre, and 59,600 € each for Music and for the visual arts.

3.2. The Translation Fund The fund was established under the Act No. 35/1981, and its role is to give publishers credit or grants for the publication of quality works of foreign literature in Icelandic, both of fiction and also recognised works of non-fiction. Publishers are to use the allocations to pay for translations.

3.3. The Icelandic Language Fund The Icelandic Language Committee has established an Icelandic Language Fund that operates under a special set of regulations (No. 297/1995). The main

206 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 aim of the fund is to promote and support activities of all types that are devoted to the enhancement of the position of the Icelandic language and its development.

3.4. Swedish - Icelandic Cultural Cooperation Fund Established in 1995 to support cooperation in the cultural field between the two countries. The Swedish – Icelandic Cooperation Fund is based on a gift from the state of Sweden to the state of Iceland, when Iceland celebrated the 50th anniversary of independence from Denmark in 1994. The gift was: 357,400 €.

3.5. Danish - Icelandic Cultural Cooperation Fund Established in 1995 to support cooperation in the cultural field between the two countries. The Danish - Icelandic Cooperation Fund is based on a gift from the state of Denmark to the state of Iceland, when Iceland celebrated the 50th anniversary of independence from Denmark in 1994.The gift was 47,800 €.

SECTION III: Documents, Legislation, and Agreements

1. Documents and Legislation

There is no specific legislation regulating cultural policy and the administration of cultural affairs. There are some general outlines for cultural institutions in Iceland and legislation defining the work of ministerial departments. None specifically touch on transnational cultural cooperation.

The only existing documents of a legal nature are framework agreements which Iceland has signed with the Nordic Council (1958), and the Nordic Council of Ministers (1971), the EES agreement and membership in the Council of Europe, the European Cultural Convention (1956), EFTA and UNESCO.

2. Agreements

Iceland has made some agreements with other countries on cultural cooperation, but such agreements rarely include funding. Some, especially with Denmark, referred to specific actions undertaken (return of manuscripts, for example). Generally, however, they are broader in nature, and have not always been followed up with actual cooperation activities. France and Italy are the only non-Nordic countries signatory to such agreements. In relation to Nordic cooperation, there is a basic document that regulates all official Nordic cooperation, the Helsinki Agreement from 1962. It is a Treaty of Cooperation between Denmark, Finland, Iceland, Norway and Sweden.

Agreement between Iceland and Denmark on return of the Icelandic Saga manuscripts to Iceland. Signed: 15.10. 1927. (This agreement is no longer valid, as the last manuscripts were handed over in 1994).

Agreement between Iceland and Denmark on establishment of the Arni Magnusson Institute for preservation of old Icelandic manuscripts at the University of

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Iceland. signed 1. 04. 1971. Two institutions have been established, one in Denmark and one in Iceland, both financed individually by each state.

Agreement between Iceland and France on cultural cooperation signed; 16. 11. 1984. Purpose: to strengthen friendly relations, and support artistic activity. Am Icelandic cultural festival is planed in 2004.

Agreement between Iceland and Italy on cooperation in the field of science and culture, signed: 14.1.1999. (there has been no cooperation between the two countries based on this agreement since it was signed)

In relation to the Nordic cooperation, there is a basic document that regulates all official Nordic cooperation. The Nordic Council was established in 1952, and the rules for its work are laid down in the Helsinki Agreement from 1962. The treaty was signed on 23 March 1962 and entered into force on 1 July 1962. It is commonly referred to as the Helsinki Treaty. It is a Treaty of Cooperation between Denmark, Finland, Iceland, Norway and Sweden. A Nordic convention on cooperation signed 11.04. 1962, with later amendments.

By this agreement the parties undertake "to seek to preserve and further develop cooperation between the nations in the legal, cultural, social and financial areas as well as in matters relating to transport and protection of the environment". The original text has been amended by Agreements that were signed on 13 February 1971, 11 March 1974, 15 June 1983, 6 May 1985, 21 August 1991, 18 March 1993, and 29 September 1995.

SECTION IV: Activities

Cooperation in numerous areas remains a basic element of Icelandic Foreign Policy, and is traditionally based on culture. However, one should note that actual cooperation takes place mostly through international cultural networks, and cooperation between institutions, and relies far less on direct single-state funding or bilateral activities. European matters, although of high priority to Iceland, tend to take the more established, ministerial route (EFTA, EEA, Council of Europe). The most active field of cultural cooperation is without doubt the networks and agreements with fellow Nordic countries. The main organs of the Nordic cooperation are: The Norden Societies based on the Nordic Association in each country (Sweden, Norway, Denmark, Iceland, Finland, Faroes, Åland), their umbrella organization (founded in 1965), the Nordic Minister Council (1971), and most importantly the Nordic Council (1952/1956).

The annual budget of the Nordic Council is supplied for by the Nordic states proportionate to their population. The total budget for the year 2002 was 93.7 million €. The budget for cultural cooperation (18,7% of total budget) in 2002 was 1.75 million €, of which 32,5% is spent on projects, 35,4% on grants, 28,9% on institutions, and 3,2% on other cooperation activities.

The Nordic Association of Iceland is a free association with approx. 3000 members. It is financed by The Nordic Council of Ministers, the Ministry of Education, the Science and Culture (budget in 2002 59,600 €) and by annual memberships fee. The Nordic Council and Council of Ministers arrange

208 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 conferences at regular intervals on themes with a direct bearing on Nordic cultural cooperation .

The Nordic Council and the Nordic Council of Ministers provide grants for cultural projects, finance research scholarships and organise exchange programmes, etc. to increase Nordic cooperation . They are distributed through cultural committees, grant programmes, art residencies, or go directly to individual institutions. One of the latter is, for instance, the Nordens hus (“Nordic house”) in Reykjavik 63.82, which aims to stimulate Nordic interest in Iceland and to "export" Icelandic cultural trends. The areas prioritised for activities are child & youth culture, literature and languages. Operating costs are covered via the Nordic Council of Ministers. A large lump sum also goes to the Nordic Cultural Fund 265.55, which seeks to stimulate and support Nordic cultural cooperation . Every year they support a number of projects within art, theatre, music and new media. The activity of the Nordic Cultural fund is based on a specific agreement made between the Nordic countries in 1966, which came into force in 1967, and was last revised in 2002.

In the past few years, relations between the Nordic countries and their neighbouring countries have also increased dramatically. Cooperation within the Council of the Baltic Sea States and the Barents Euro-Arctic Council is taking on a more fixed form, and a historic step was taken on the 19th of September last year when the Nordic countries, along with Russia, Canada and the United States, established a new forum for cooperation , the Arctic Council. The cooperation within the Council of the Baltic Sea States provides the Western states in the Council with an opportunity to promote reforms within the newly independent nations of the region.

1. Principal activities

1.1. Training and Mobility The Ministry of Education, Science and Culture awards annually a number of scholarships to approximately 30 foreign students for an 8-months study of Icelandic language, literature and history at the University of Iceland, Reykjavík, with a budget of 19.5 million (233,000 €).

The Iceland Academy of the Arts has established bilateral agreements within the Erasmus/Socrates programme on student exchanges with 28 art academies and conservatories around Europe. The academy is also a partner of several networks within the Nordplus programme aiming at education and exchange in the arts, and financed by the Nordic Council of Ministers, and of other European Arts and Design networks and associations. A similar case are the Nordic theatre schools, which have a special network that launches co- operative projects between participating institutions. For example, the Nordplus-programme and Teater-Dans i Norden have supported biannual Nordic school festivals as well as exchanges of teachers and students.

The Swedish - Icelandic Cultural Cooperation Fund annually allocates travel grants to individual Icelandic artists travelling to Sweden to engage in projects with relevance to Sweden in all arts disciplines. Its yearly allowance in 2001 was

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5 million ISK (60,000 €). Another Fund, the Letterstedtski Cultural Fund, also gives out travel grants to Nordic artists and writers.

SLEIPNIR, a programme under the Nordic Council of Ministers provides travel grants which can be applied for by professional practitioners of the arts in the Nordic countries under the age of 36, within all fields of the arts. SLEIPNIR travel grants support international travel within the Nordic countries and from the Nordic countries to the adjacent Eastern area: The Baltic states Estonia, Latvia and Lithuania, as well as Northwest Russia (the Barents region, i.e. Kola, Murmansk, Archangelsk; Kaliningrad and the county of Kaliningrad; St. Petersburg and the county of Leningrad; Karelia) 285.000 € .

Statistics give a very incomplete picture of transnational cultural cooperation in regard of Artists salaries but figures show that about 1% of the total budget of the Ministry of Culture is allocated to study and travel grants in Europe.

1.2. Libraries and Translation Nordbok (the Nordic Literature and Library Committee) is a committee under the Nordic Council of Ministers. It was appointed on 1. January 1989 to encourage the propagation of Nordic literature and to strengthen public library cooperation in the Nordic countries. Nordbok funds literary prizes (ISK 9.29 million; 111,000 €), and runs a journal (ISK 9.14; 109,000 €)

The purpose of the Literature Promotion Fund (state budget 77,800 €) is to promote Icelandic literature abroad so as to have Icelandic fiction published abroad in foreign languages, and supervision of Iceland’s participation in foreign cultural events and international cooperation in the field of literature.

The role of the Translation Fund (state budget; 90,900 €) is to give publishers credit or grants for the publication of quality works of foreign literature in Icelandic, both of fiction and also recognised works of non-fiction. Publishers must use the allocations to pay for translations.

1.3. Research The Sigurður Nordal Institute The institution is a financially independent institute at the University of Iceland, devoted to the promotion of Icelandic culture and research into it, both past and present, in all parts of the world, and to build up links between scholars in this field in Iceland and abroad. Total state budget is 113,700 €, of which the sum of 89,800 € is allocated to transnational cultural cooperation in Europe.

1.4.Arts Production The Reykjavík Arts Festival The Reykjavik Arts Festival has been held biannually since 1970, and its programmes offer a variety of selected exhibitions, concerts, theatre, dance and opera performances. Along with its focus on Icelandic culture past and present, the festival has hosted many outstanding international artists and performers. (state budget covers 300,000 €, the same amount is brought up

210 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 from the City budget. Of this sum, 478,300 € are devoted to transnational cooperation). The Reykjavík Arts Festival is a member of EFA (European Festival Association). In 2002, it collaborated with European Festivals and institutions, such as the Barbican Centre, London, Musica 900 (Trent, Italy), Al Bustani (Beirut, Libanon), or Olavsfestdagene (Trondheim, Norway).

2. National Cultural Institutes operating in Iceland

The Activities of national institutions in Iceland are very limited and mainly directed to promote the language and culture of their native countries in Iceland by offering language courses, small film festivals and lectures on literature. There are three national institutions.

The Alliance Francaise mainly offers language courses and lectures.

The Goethe Institut used to be active In Iceland, but now only has a small, semi- active office

The Nordic house (Nordic Cultural Institute) has a library with more than 30,000 Nordic books, an exhibition hall, cafeteria and a banqueting hall. The areas prioritized for activities are child & youth culture, literature and languages. The house’s activities are led by a committee appointed by the Ministers of Culture of the Nordic countries. The operational costs of the house are paid jointly by the Nordic governments through the Nordic Council of Ministers (with a budget of 837,000 €), which also appoints a director for a four-year period.

3. Forthcoming events

Iceland has three main international festivals, which are held on an annual basis. They cover the music and the arts sectors, and have different forms and models of financing and promotion. For further details, see the list below.

The Art Festival of Reykjavik 2004 and 2006 The Reykjavik Arts Festival has been held biannually since 1970. The festival is organised by an Artistic Director, appointed by the Board. The three Board members are appointed, respectively, by the Minister of Culture and Education, the Mayor of Reykjavik and the festival’s Council of Representatives. The festival is financed by the Government and City Council, box office income and private sponsoring, and presided over by the Minister of Culture and the Mayor on a rotating basis. The festival aims to promote Icelandic, Scandinavian and international culture in all fields of art. Festival programmes offer a variety of selected exhibitions, concerts, theatre, dance and opera performances. Along with its focus on Icelandic culture past and present, the festival has hosted many outstanding international artists and performers. The next festival will be on 14-31 May.

Iceland Airways, 15-19 October 2003 An annual Music festival with International guest artists (Supported by Icelandair)

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Reykjavik Iceland Jazz Festival, 5-9 November 2003 An annual international festival supported by the City of Reykjavik.

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Annex I – National reports - Ireland

IRELAND

SECTION I: Introduction

Ireland's island position on the western periphery of Europe has been a determining factor in much of its development, but rapid social and economic change in recent years has made this geographical isolation less significant. Following centuries of Anglo-Irish struggle that ended in independence in 1921 (with six counties in Northern Ireland remaining part of the United Kingdom), much cultural activity was concerned with the issue of national identity. However, the past decade has seen a growing cultural confidence in Ireland as part of Europe and the larger English-speaking world. Membership of the European Community from 1973 was embraced enthusiastically for both economic and cultural reasons, and this has involved an increasing level of international cultural co-operation. Official bilingualism, a strong interest in heritage and vibrant contemporary arts all serve to enrich national cultural life, while the international nature of much economic and social activity has opened up avenues for cultural exchange. Cultural cooperation has been particularly active with Northern Ireland and the UK, and following patterns of emigration, with the United States and Australia. Ireland now attracts immigrants from many countries and this will be an important factor for the future of international cultural relations.

Three issues are central to the shaping of transnational cultural cooperation activities for the future. The first is the legislative position and relates to the new Arts Bill 2002, which is currently going through parliament, and which aims to promote the arts both in and outside the state. This bill provides the framework for the future and may involve a new administrative unit on international cultural relations within the Department of Arts, Sport and Tourism in collaboration with the Department of Foreign Affairs. Secondly, and arising from this, the Minister for Arts, Sport and Tourism is likely to have a more pro-active policy role in this area in the future. However, the relatively strong economic climate of the past five years in Ireland has been substantially altered in recent times. While Ireland continues to have a higher growth rate than most of her European partners, there is evidence of economic slow-down across the board. This has been seen in substantial cut-backs to the budget of the Arts Council this year, which is having an impact throughout the sector. So the third factor is resources, and the ability of the cultural sector to withstand the implied threats in the current situation. These may well have an impact on shaping transnational cultural activities in Ireland in the future.

On a positive note, there is considerable awareness of the value of transnational cooperation activities in the cultural field, not just by government departments but by the national cultural institutions and by arts organisations throughout the country. Much of this has developed out of EU programmes and actions which are outside the brief of this research, and many of which have operated at local level. Initiatives at this level, for example those emerging out of the twinning of towns, have not emerged in the research because the task of locating them is outside the scope of the present study. The picture which

212 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 emerges here is therefore one of broad brushstrokes at central level, rather than at the level of local detail where many interesting initiatives are undoubtedly taking place in the field of international cultural relations.

SECTION II: Structures, competences, institutes

The appointment of a Minister with responsibility for the arts and culture in 1993 brought about a fundamental change in Irish cultural administration and this is reflected in the structures through which transnational cultural cooperation now takes place. The centralisation of a number of cultural functions emerged, and although some changes are now occurring, many of the responsibilities relevant to this research remain with the Ministry. However, the area is a complex one. The arm’s length model applies in Ireland, as it does in the UK, which means that Ireland continues to have a strong centralised Arts Council, a Library Council, and a newer, although well-established Heritage Council. There are also a number of national cultural institutions, for which the Ministry has responsibility, but which operate at arm’s length from government. Those relevant to this research are the National Gallery of Ireland, the National Museum of Ireland, the National Library of Ireland, the National Archives, the National Concert Hall and the Abbey Theatre, as well as the Irish Museum of Modern Art and the Chester Beatty Library. The Irish Literature Exchange, which promotes and provides support for literature in translation, is a body which is relevant to this study, as is the International Section of the Department of Education, from which source, however, information has not been made available. It should also be noted that a number of international initiatives exist outside the Irish support structures and therefore of the remit of this study. An example is Jeunesse Musicale, a non-profit international organisation which aims to promote creative artists, including some in Ireland. The Music Department of RTE, the national broadcaster, with responsibility for national orchestras and choirs has been excluded from the study. It is also worth bearing in mind that many of the initiatives for cultural cooperation come from interested institutions or individuals rather than in a more governmentally directed, or policy-driven way.

1. Department of Foreign Affairs

Responsibility for cultural cooperation between Ireland and European countries can be divided between central government ministries and arm’s length cultural bodies as indicated above. The longest established and most formal structure is through the Department of Foreign Affairs, which since 1949 has had responsibility for cultural relations between Ireland and other countries. An Advisory Committee on Cultural Relations (CRC) was established at that time “to assist suitable projects portraying aspects of our culture which are expected to contribute to the enhancement of the country’s image abroad and to the development of cultural relations with other countries”.1 With members appointed for a three-year period, the CRC enables Irish artists and artistic

1 Quoted in Anne Kelly, Cultural Policy in Ireland (Paris: UNESCO and Irish Museums Trust, 1989).

213 Annex I – National reports - Ireland ventures to travel abroad and, in the early years, it also brought cultural productions from other countries to Ireland. This Committee is now located at the Department of Arts, Sport and Tourism. It has an annual budget of €700,000 and its policy objective continues to be one of enhancing the image of Ireland abroad through assessing the substantial number of proposals for funding presented each year. Its role is now essentially one of supporting Irish-based cultural activities to travel abroad and it has a strategic role in relation to the selection of curators for the Irish entries to the Biennales in Sao Paulo and Venice. An expenditure breakdown for CRC in 2002 can be seen in Table 1 below. The budget for 2003 is €700,000.

The Cultural Division at the Department of Foreign Affairs, also with a budget of €700,000 for the current year, has a broad cultural diplomacy or foreign policy objective relating to showing abroad the best artistic quality the country has to offer. From this source, assistance is provided for the Irish College in Paris (€100,000) and the remainder of the budget is used in a discretionary way in support of Irish embassy initiatives. Recent projects include support for work in Sweden, Austria and Portugal, and in some instances co-funding of projects with host authorities applies. Until recently, the Department also had responsibility for Cultural Agreements with other countries, fourteen of which exist, since the first was signed with Norway in 1964.

2. Department of Arts, Sport and Tourism

Responsibility for Cultural Agreements has now been transferred, with the CRC, from Foreign Affairs to the Department of Arts, Sport and Tourism, which is the key department for cultural affairs in Ireland. This Department was restructured in 2002 and was preceded by the Department of Arts, Heritage, Gaeltacht and the Islands, from which a number of policy documents emerged. This included a National Heritage Plan (2002) which deals with Northern Ireland/Ireland and international heritage protection. It makes a commitment to participation in international endeavours for the protection of heritage and commits to encouraging networks of cooperation between the main collecting institutions in Northern Ireland, the UK and elsewhere. The Plan also indicates that the conservation of heritage will be made a specific objective of Ireland’s official development assistance in developing countries.

3. The Arts Council

Until the appointment of a cabinet position with responsibility for the arts and culture, the Arts Council, established in 1951, had the main policy and funding role. The Arts Council continues to operate at arm’s length from Government and it cooperates with the CRC and with the Department of Foreign Affairs in relation to some international cultural initiatives, such as the Biennales and L’Imaginaire Irlandais. The latter was an important arts festival held in France in 1996 for which the Irish and French Governments provided a substantial financial contribution – in the Irish case, a budget of IR £1.5m (nearly 2m €) was allocated. However, the Arts Council also has a strong independent interest in supporting the arts in an international context. This works in areas such as

214 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 helping Irish artists and arts companies to tour overseas, and supporting visiting artists, but also through encouraging the development of an international perspective within its own client base. The Arts Plan 2002-2006 indicates that the Council “has moved from a position of providing limited support to international activity to one where it consciously promotes the artistic and organisational development benefits of working internationally”, and regards those not able to meet this challenge to be at a “significant disadvantage”. In this document, the Arts Council mainly stresses the market potential which an international role can provide for artists and organisations, particularly in view of the small Irish population base. However, there is also recognition that the cultural exchange dynamic is very important for artists and arts organisations, and an awareness of the enriching role which international network participation can play. The Council now defines its role as being a development agency for the arts and a number of its actions (Commissions Awards and Projects Awards) have been designed to include an international dimension through accommodating partnership development for transnationally co-operative projects.

The total funding allocation for International Arts Development in the Arts Plan 2002-2006 is €512,000 for 2003, rising to €1,100,000 in 2006. However, these figures have not been agreed by Government, and with cutbacks in the allocation to the Council this year, they are unlikely to be achieved. The Arts Council operates a European Cultural Contact Point, including an open door policy to meetings with people hoping to work cooperatively, and/or interested in European Community support for culture.

One area of cultural cooperation has had particular attention. The Arts Council has since the 1960s been cooperating with the Arts Council of Northern Ireland on arts development issues and this process became more structured in the mid-1970s. Understandably, in view of the history of North/South relations, considerable attention has been paid to cross-border cultural co-operation. Current activities include an international arts information strategy to be agreed between the two Councils this year, along with an implementation plan. The two Councils jointly fund a wide range of arts organisations and programmes on the island of Ireland, including grants for a North/South touring scheme. An example of a joint action is the support for the Tyrone Guthrie Centre, an artists’ residence in County Monaghan, the board of which is appointed by both Councils. They jointly provided revenue funding of €267,370 for the Centre in 2001. The Good Friday Agreement, to which the British and Irish Governments are signatories, has provision for a North/South Ministerial Council and while this agreement does not address the arts initially, it may eventually become a positive influence on the arts in the North/South context.

4. Budgets

Accurate information on budgetary allocations for international cultural relations has been difficult to ascertain in relation to many of the cultural bodies referred to in this report. This is because most organisations have no specific budget headings for international cultural cooperation and they have had to extract or estimate the budgets. It may also be that some of the figures provided include an element of funding under EU programmes or actions. Two

215 Annex I – National reports - Ireland of the national institutions in the visual arts, the National Gallery and the Irish Museum of Modern Art (IMMA) have provided budgets for their exhibitions for 2003, not all of which come under the terms of reference of the study. A further complication is that the Arts Council is moving towards a system of funding on a cross-disciplinary basis, and away from an earlier system where the focus was on particular art forms. The following figures must therefore be treated with caution, except in the cases of government departments where more specific budgets for intergovernmental cultural cooperation exist.

Table 1 Budgetary Allocations for international cultural cooperation

Overall Cultural Visual Performing Books and Organisation Music Budget Heritage Arts Arts Reading Abbey Theatre, the National not Theatre available Arts Council € 512,0002 Theatre Department and Dance of Arts, Sport € 503,4033 € 161,964 € 124,928 € 131,630 and Tourism € 63,022 Department of Education (International not Division) available Department of Foreign Affairs € 700,000 4

Archaeolo Heritage gy (2003) Council € 110,816

2 May be reduced 3 2003 budget: €700,000 4 Includes €100,000 to the Irish College, Paris.

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Overall Cultural Visual Performing Books and Organisation Music Budget Heritage Arts Arts Reading Museums (2002) £15,000 Irish Museum of Modern Art € 615,000 5

Irish Translation Literature grants Exchange (2001) € 130,000 €200,000 EU Activate Library project; Council €30,000 EU Cultivate project National € 10,000 Archives (estimate) National Concert Hall € 28,500 € 28,500 National Gallery €750,000 6 €750,000 €26,000 for Thesaurus of Archaeolo gical Terms National 7 Museum € 10,000— € 50,000 on exhibitions to Europe.

SECTION III: Documents, Legislation and Agreements

1. Documents and Legislation

Policies on culture, education, communication, science and technology are characterised by the recent structural changes in departmental competences, and by a lack of strategic documents on state level. Hardly any specific programmes exist for the integration of the areas, nor are there many

5 Total exhibition budget, an element of which will be relevant to this research 6 Total exhibition budget, an element of which will be relevant to this research 7 Grant from Heritage Council

217 Annex I – National reports - Ireland documents dealing with detailed cultural planning or cooperation (“strategy statements” tend to be declarations of good will). However, cultural policy tends to accept more community initiatives, and allows large input from the county and city levels.

Currently a new legislative document, the so-called Arts Act 2002, is going through parliament; it will provide the legal framework for cultural cooperation in the future. It highlights that “The Minister shall promote the arts both inside the State and outside the State” (Section 5.1). It provides that the Minister shall do so if necessary in consultation with the Arts Council, to the nature of which a great part of the Act is devoted, or with other relevant ministers or public bodies on this role (5.2.). It also stipulates that the Minister may give a direction in writing to the Arts Council requiring the Council, in performing its functions, to comply with policy decisions made by the Minister or by the Government (5.3.- 5.4.). This Bill, which supersedes the Arts Acts 1951 and 1973, will provide formal legitimacy for the Minister in matters such as international cultural cooperation, and a more active policy role for the Minister in the future is a likely outcome of the legislation. No specific directives are given regarding the methods of implementing transnational cultural cooperation strategies.

In a Statement of Strategy 1998-2001, the then Department of Arts, Heritage, Gaeltacht and the Islands stressed that “almost every aspect of the Department’s work is informed […] by international considerations”; highlighting however the importance of international cooperation especially for the areas of heritage and broadcasting. Consequently, a National Heritage Plan produced in 2002 included issues of Northern Ireland/Ireland and international heritage protection; it also recognised that heritage is economically important in particular because it underpins the tourist industry. A key element of the Plan is a call for the preparation of Local Heritage Plans at County and City level; references to transnational activities are here rather limited.

2. Bilateral Agreements

12 Bilateral Cultural Agreements have been signed between Ireland and the following European countries: Norway (1964); France (1967); Spain (1980); Belgium (1980); Greece (1980); Germany (1980); Italy (1984); Finland (1985); Portugal (1990); Russia (1990); Slovakia (2001); and Lithuania (2001).

The agenda for these agreements is at least nominally less self-interested than the national image-building one that is the hallmark of cultural diplomacy. A cultural agreement outlines the need “to develop and deepen friendly relations” between countries, and “to increase mutual understanding of their cultures, histories and ways of life”. The agreements are based on encouraging the exchange of cultural and artistic information and establishing contacts and cooperation between institutions and individuals in the fields of art and culture. As indicated above, twelve of these agreements are with European countries and of the three agreements signed in 2001, two were with Slovakia and Lithuania. Cultural Agreements require signatures by the relevant Ministers on a Memorandum of Understanding on Cultural Cooperation. However, while the agreements are formal intergovernmental ones, and are subject to the

218 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 approval of the Department of Foreign Affairs and the Dáil (Irish parliament), there are no formal arrangements on the operation of the agreements, or specific budgetary allocations for them. They frequently arise in the context of trade missions, or in response to the initiative of EU accession countries, and they work on the basis of demand rather than in any strategic or planned sense. An example of an Agreement at work is that signed with Italy in 1984, which provided for joint initiatives in the fields of education, culture and science in the context of an increasing collaboration at European level. Through the Italian Institute it provides for exchanges between experts in both Ireland and Italy with a view, for example, to acquiring up-to-date information on developments and projects in Museums, Archives and Libraries.

As indicated, the Cultural Agreements, although formal intergovernmental documents, operate in an informal way. No specific budget allocation is provided for them and in practice the main activity that comes under them is exchanges of artists/musicians. They are regarded as good cultural diplomacy moves, without any political implications. So actions and implementation of agreements are small-scale. For example, there was an exchange of musicians between Finland and Ireland recently and an application was made at the local level to operate the exchange under the Irish Cultural Agreement with Finland. This was accepted and the Department of Arts paid airfares and some subsistence for one side.

However, an interesting issue has emerged which is outside the terms of reference but is nevertheless instructive. Ireland has recently signed a Cultural Agreement with China and the terms of the Agreement provided specifically for a major cultural festival in China. This is happening next year and will involve significant financial investment by Ireland. While it was pointed out during the development of this study that such events would not occur very frequently because of resource implications, the potential seems to be there to write such ambitions into at least some cultural agreements in the future.

SECTION IV: Activities

1. Foremost activities

1.1. Training and mobility

The Arts Council: The Arts Plan includes a policy objective to support training which is to be targeted at organisations which have the potential to develop internationally. It also provides travel and mobility awards, which in 2001 enabled 1000 artists to visit other countries to attend conferences, undertake research or participate in arts projects or exhibitions. (Arts Council Report 2001).

The Heritage Council: Along with participation in Culture 2000 funded projects, the Archaeology section of the Council funds a number of individual projects

219 Annex I – National reports - Ireland by international researchers and scholars. The Museums and Archives Committee of the Council has formal links with the Northern Ireland Museums Council and jointly funds with them the Museums of the Year Awards. This Committee also envisages that a future component of the Committee’s Training Strategy for the Irish Museums sector will incorporate a component applicable to distance learning in other EU countries.

Irish Museum of Modern Art: IMMA will have four residencies/exchanges at curatorial level in 2003, and eleven European artists will participate in their Artists’ Work Programme which is the Museum’s studio/residency programme. An artist currently participating in this programme has been selected to represent Ireland in the Venice Biennale in June 2003.

National Museum of Ireland: The museum plans to foster closer cooperation between museums in Europe, and in particular to set up bilateral arrangements for training and mobility of staff through exchanges and fellowships.

National Gallery of Ireland: There is an active programme of exchanges and internships at the National Gallery within the Education and Conservation Departments. In the area of conservation these take place with institutes in France, the UK and Finland. In the Education Department exchanges and internships take place annually with graduates from European countries. The National Gallery Library is involved in an exchange programme with over 200 international exchange partners

National Concert Hall: The education programmes of the National Concert Hall include exchange initiatives, for example with the Royal Festival Hall in London. This paired two Dublin schools with two in London in a project for 100 children. A project using Mahler’s 3rd Symphony as the basis of a composition project was held with the Royal Scottish Academy of Music and Drama for fifty-five participants. The Concert Hall has also worked with a Finnish music group for a masterclass and concert.

Chester Beatty Library: The Library has provided internships for one French and three UK students in the past eighteen months and is developing a relationship with the Institute for the History of Writing in Paris.

Irish Literature Exchange: In 2002 ILE offered its first residential translation bursary following an invitation for applications from literary translators from EU accession countries to translate a work of modern Irish literature. The successful candidate is from Romania.

1.2. Arts Production

Irish Museum of Modern Art: Almost all IMMA exhibitions have a European element. In 2003, fourteen exhibitions are planned, either by European artists or with some European element. IMMA exhibitions or individual works also travel to museums in Europe.

National Museum of Ireland: Some of the Museum’s permanent exhibitions contain objects on loan from European Museums, including the Victoria and

220 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003

Albert Museum in London and the Pompidou Centre in Paris. It responds positively to requests for loans of objects from European museums, and has lent in recent years to museums in the UK, Holland, Denmark and Portugal. The Museum has hosted a number of temporary exhibitions from European countries in recent years, e.g. Hunters of the North – Faroe Islands: 2002; The Wild Geese in Austria: 2003; Norwegian Glass: 2002/3. The exhibition The Vikings in Ireland has been on display at the Viking Ship Museum at Roskilde in Denmark since 1999; an educational CD-ROM on Vikings has been co- produced with the National Museums of Scotland and Denmark. The Museum recently participated in an international exhibition on the European Bronze Age, exhibited in Denmark, Germany, Greece and France (Council of Europe). It also cooperated in the Champollion Project which produced a series of CD- ROMs with catalogues of Egyptian collections in European museums.

National Gallery of Ireland: The National Gallery is involved in exchange of works of art with most of the major museums and galleries of Europe for the purpose of exhibitions or displays. The National Gallery collaborates on exhibitions sharing scholarship, works of art and funding arrangements. A recent example was the Jules Breton Exhibition in 2002, which was shared with two French museums. Reciprocal loan exhibitions are also held, for example in 2003 the Ducros Watercolour Exhibition will be on loan from Switzerland. The Gallery also mounts exhibitions which involve European guest curators, for example for the exhibition Love Letters: a theme in 17th century Dutch Genre Painting, 2003/4.

National Concert Hall: The Concert Hall runs a Celebrity Concert Series which showcases the top international chamber music artists. It also runs an International Orchestra Series and is now the first venue on many European orchestral tours. It also works with international promoters from Europe and elsewhere. Other very important cooperation work in the field of music is undertaken at the Wexford Festival of Opera, by the Irish Chamber Orchestra, or the RTE (Radio Telefis Eireann) Symphony Orchestra.

Chester Beatty Library: The Library lends to major museums in Europe, including in the last three years to the Louvre, the Topkapi, the British Museum, the Victoria and Albert Museum and the Royal Academy. It is planning to lend to the Gulbenkian in Lisbon. The nature of the collection means that much of the work of the Library has a focus on Asia but the collection is also very significant for the purpose of this research.

Irish Literature Exchange: ILE will be present at the London and Frankfurt Book Fairs where they will have a stand in 2003, and be part of a collective stand at Book Fairs in Leipzig and Prague.

1.3. Distribution and dissemination

Irish Museum of Modern Art: IMMA circulates catalogues, information packs etc. to a wide cross-section of visual art institutions and art media in Europe on a regular basis.

221 Annex I – National reports - Ireland

The Library Council: The Library Council is the national information node for the network of libraries, archives and museums within CULTIVATE (the European Cultural Heritage Network linking national information nodes across Europe and Israel). It consists of 30 partners based in 26 countries and provides a range of services at European level as well as individual support at national level. Among the services are the CULTIVATE Web Site which supports information dissemination and CULTIVATE Interactive, a web magazine for cultural heritage and cultural content. The Council is also the co-ordinator of ACTIVATE, the EU project which is testing the use of new technology in opening new modes of access to cultural content. Through this project, virtual access is being opened to conservation sites of cultural and historical importance.

1.4. Research

The Arts Council: The Council indicated its commitment to transnational cultural co-operation through the hosting of the IETM network meeting in Galway in 2001. It has participated in LEG (European Leadership group on cultural statistics) and on action-research projects taking place within an international context, e.g. MUS-E.

The Heritage Council: The Council is a member of the European Association of Archaeologists and it has published the British and Irish Archaeological Bibliography. In 2002 the Museums and Archives Department of the Council hosted experts from Finland, The Netherlands and the UK to address particular strategies in preventive conservation.

Irish Museum of Modern Art: A number of trans-European research projects have been undertaken by IMMA’s Education and Community Department.

National Museum of Ireland: Through its Antiquities Division, the Museum is involved in ORION, a network of excellence in the use of 3D in museums, archaeology and cultural heritage. It is also involved in the Forum for National Museum Archaeologists with curators for the National Museums of Scotland, Wales, the Ulster Museum and the British Museum. It is working in cooperation with the Ulster Museum in Belfast on a Thesaurus of Archaeological Terms, and is currently carrying out benchmarking Market Research, including the analysis of marketing policies in comparable European museums.

National Gallery of Ireland: Members of staff are involved in a wide range of European committees, specialist forums and symposia. The Gallery is a member of ICOM, the International Council of Museums. The director is a member of the Recontre des Responsables des Musées et Institutions Organisateurs d'Expositions, and the Gallery will be participating in the association’s meeting in Dublin in 2004.

National Concert Hall: The Concert Hall is a member of the International Artist Managers’ Association and the Director is a member of the British Association of Concert Venue managers. The Education Department is currently researching a project with partner European countries examining the effect of each country’s indigenous music on both the classical music infrastructure and the approach to teaching music within the formal education system.

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National Archives: The Director attends informal meetings of EU National Archivists, generally held twice yearly in the member state holding the EU Presidency. The National Archives also participates actively in the DLM Forum on the Management and Preservation of Electronic Records.

National Library: Participation in the Conference of European National Librarians, and LIBER, the body representing both national and academic libraries.

Chester Beatty Library: The Library is affiliated to ASEMUSE (the museum arm of the Asia-Europe Foundation) and has already attended two ASEF sponsored cultural conferences. Scholarly co-operation tends to be based on informal and personal projects.

The Library Council: The Library Council is in partnership with the Information Services Council in Northern Ireland in COLICO, the formal advisory body on library co-operation. One of its functions is to provide liaison between Irish libraries, North and South, the British Library and other similar bodies.

1.5. Restoration and Heritage Preservation

National Museum: The conservation department of the National Museum works in collaboration with a number of international bodies in the conservation field.

National Gallery: The Gallery exchanges information with a number of conservation laboratories of the major museums in the UK and France.

1.6. Translation and Library Cooperation

National Gallery: The library of the National Gallery is a member of the ARLIS UK and Ireland group, of the European UNICORN Users Group and represents Irish archivists in the Archivist Society (UK).

Irish Literature Exchange: ILE, which is mainly funded by the Arts Council and the CRC, funds the translation of works of Irish literature, from English or Irish, into other languages. Since its foundation in 1994, it has funded the translation of over 500 books into 39 languages in 27 countries. In terms of Library co- operation, ILE makes copies of each work it funds available to the National Library of Ireland and to the Library Council.

2. National Cultural Institutes in Ireland.

The national cultural institutes active in the cultural field in Ireland are the British Council, the Goethe Institut, the Alliance Francaise, the Instituto Cervantes and the Italian Cultural Institute. Where cultural institutes do not exist, embassies sometimes provide funding for cultural projects. Most institutes have been unwilling to provide detailed information on budgets, with the exception of the Goethe Institut which has a budget of €43,500 in 2003 for cultural initiatives in Ireland. Much of the work of the institutes will be at the level of individual arts

223 Annex I – National reports - Ireland organisations, festivals and events and will therefore come outside the terms of reference for this research. Information on the degree to which these institutes are involved with Irish national cultural institutions has been provided as follows:

The Irish Museum of Modern Art: IMMA has regular contact with the Goethe Institut and the British Council, both of whom have provided modest sums towards particular projects.

National Museum: The National Museum has links with most of the cultural institutes and with a number of embassies, for exhibitions, speakers and conferences.

National Gallery: The Gallery has links with most cultural institutes for exhibitions, speakers, and publications throughout Europe. Assistance with funding for exhibitions was received from the Alliance Francaise for the Jules Breton exhibition and from the Swiss Embassy for the Ducros Exhibition. The Instituto Cervantes assisted with sponsorship for the exhibition European Masters of Printmaking: Durer to Goya in 2002. The Gallery is also working with the Goethe Institut in 2003 on a group exhibition.

National Concert Hall: The Concert Hall has regular co-promotions for concerts, for example from the Italian Institute for the Cecilia Bartoli concert (2002); from the British Council for the Philharmonia Orchestra (2000) and from the Danish embassy for the Danish Radio Orchestra (1999). The Hall has also worked with the Goethe Institut, Alliance Francaise, Instituto Cervantes, and the Polish and Austrian embassies etc.

Chester Beatty Library: The Library has had some involvement with the British Council in providing speakers for conferences.

Library Council: The Library Council has received assistance from the Goethe Institut for the provision of books in German for the public library system.

3. Future Events

While no details are yet available, the Irish Presidency of the EU in 2004 will have a cultural programme which will be coordinated by the Department of Arts, Sport and Tourism with the Arts Council. A national representative group meeting is being organised by the Department. The Arts Council sees a major issue to be addressed as the “Mobility of artists and cultural goods”, an issue which is also on the EU agenda, and would like to encourage this as a “framing device” for the cultural programme during the Irish Presidency. This would mean organising or supporting transnationally cooperative events, for example network meetings or symposia, which would create encounter opportunities for artists and arts organisations based in Ireland in a European/international milieu.

Further to these, there are theme or artist related events, such as the Bloomsday Celebrations (Centenary Edition in June 2004), or the European Capital of

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Culture (Cork 2005). Many International festivals, congresses, or sector-specific events take place during this period too.

• Joyce’s Bloomsday Centenary Celebrations in June 2004 will be a major event which will involve cooperation with national and international bodies. (Every year since at least 1954, fans of author James Joyce have celebrated Bloomsday on June 16, the date in 1904 when his Ulysses takes place.)

• The City of Cork has been designated a European Capital of Culture in 2005 and this event will have a considerable potential for international cultural cooperation. Following a Memorandum for Government in May 2000 the Exchequer funding for this event was set at €6.35m maximum, subject to this funding not exceeding 50% of the overall cost of the event.

• A major international youth arts encounter (EDIRED) is being hosted by the National Association of Youth Drama in 2005 and a World Congress of Harpists will hold a week-long programme in July 2005.

• Critical Voices is a biennial program introduced in the Arts Council in 2001 to bring international writers and thinkers about the arts and culture into contact with the Irish public in person, or through print and broadcast media. The Arts Council has retained a Curator for the second round of Critical Voices in 2003, who is editorially independent of the Council.

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ITALY

SECTION I: Introduction

Italy is a comparatively young state founded in the mid 19th century with a very limited colonial experience and a traditionally weak national cultural policy very much oriented to the preservation of artistic and architectural heritage. For decades, in the post war framework, the Italian governments’ policies in the field of transnational cultural cooperation have been conceived as a part of national foreign policy, adopting the so-called cultural diplomacy approach. In the nineties a pattern common to the different governments was a stronger focus on the EU as the privileged environment for cultural cooperation.

Geographical, historical and cultural patterns provide the background for a wide range of international cultural cooperation activities among Italian cities and regions. The Alps have never been an obstacle to commercial and cultural exchanges, for instance between Italian and French border regions as well as between Northern and Eastern regions and Germany and Austria. Transnational cultural cooperation between public authorities as well as private organizations in many areas within northern Italy is therefore a common practice that seems have benefited greatly from the EU programme Interreg in recent years. Cross- border cultural cooperation is carried out through bilateral agreements or at multilateral level by contributing to the actions of international bodies and institutions like UNESCO, the Central Europe Initiative, and the Latin Union, amongst others. The Mediterranean countries are another focal point of cooperation.

The government that came into power two years ago seems to have embarked on a reorientation of Italian cultural policy abroad. It seems that rather than looking for cooperation, attention will be given to the Italian communities abroad but the priority will be to focus on artistic and cultural events supporting Italian commercial trading: the fashion business first. However this intention has to face the increasingly difficult economic situation. In the last few months, several commitments even of flagship cultural institutions abroad (La Scala and Piccolo Teatro di Milano) scheduled for the year 2003 have been cancelled because of the lack of funding.

SECTION II: Structures, competences, institutes

1. The Ministry of Foreign Affairs

In Italy, transnational cultural cooperation is mainly a task of the Ministry of Foreign Affairs: international cultural cooperation is understood as part of the economic and political relationships that Italy maintains with other countries and is closely related to the large community of Italian emigrants. Notwithstanding, the Ministry has created a specific “DG Cultural Promotion and Cooperation” which acts through the 93 Italian Cultural Institutes (Istituti Italiani di Cultura) for

225 Annex I – National reports - Italy

• Promoting and disseminating Italian culture, language and literature • Supporting scientific and technological cooperation • Promoting and supporting international cooperation among universities • Promoting Italian culture within supranational institutions like the EU and UNESCO • Supporting Italian archaeological research abroad

1.1. National Commission for Promotion of Italian Culture Abroad

In the last few years the Ministry of Foreign Affairs has been supported by a consultative organ, the National Commission for the Promotion of Italian Culture Abroad, created by the law 401 (1990). The chairman is the Minister of Foreign Affairs or an under-secretary. It is made up of 26 members, of whom 3 are nominated by the Prime Minister and 14 are chosen by public bodies or institutions like the Accademia Nazionale dei Lincei, the National Council for Research (CNR), or the National Council for Cultural Heritage and Activities. The commission accomplishes both administrative tasks and scientific objectives, represented in particular by the presences in the commission of recognized experts and personalities in contemporary Italian culture.

The Commission has approved and disseminated the “Recommendations of the National Commission for Promotion of the Italian Culture Abroad: general guidelines for the promotion and dissemination of Italian Culture and Language abroad and for the development of international cultural cooperation”. Within the commission there are two working groups named “Language and Publishing” and “Criteria and methodology of cultural promotion”. The Commission’s general tasks are:

• Elaboration of guidelines for the promotion of Italian Culture abroad • Feedback on the programmatic objectives set up by the Administration • Collaboration, through programmatic directions, with the Italian Cultural Institutes to organise periodic conferences • Advising the DG Cultural Promotion and Cooperation on some activities, such as the appointment of directors of the Italian Cultural Institutes or incentives to translation.

2. Ministry of Cultural Heritage and Activities

The Ministry for Cultural Heritage and Activities through the Directorate General for Performing Arts and Directorate General for Cinema also plays a role in promoting international cooperation. Within this framework, the Unique Fund for Performing Arts (Fondo Unico per lo Spettacolo, FUS) includes grants for supporting activities abroad in the fields of Music, Cinema, Theatre and Dance. Italy has been very active in providing the archaeological know-how of its researchers and of its schools to several missions, particularly in the Middle East Area.

3. Arm’s length organizations

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At the operational level international cooperation activities are carried out by some public bodies such as the ETI (Ente Teatrale Italiano) for Theatre and Dance, or the Cinecittà Holding Spa for Cinema (the Ministry for Cultural Heritage and Activities is the sole shareholder of Cinecittà Holding).

Another important arm’s length organisation in the field is the Roma Europa Foundation, an unusual example of international private-public partnership for the promotion of cultural cooperation. The Foundation is involved in setting up international cultural events, and to foster and extend networking. The membership includes the foreign cultural academies based in Rome (such as the Academy of France, for instance), 26 Embassies (Austria, Belgium, Bulgaria, Denmark, Estonia, Finland, France, Germany, Great Britain, Latvia, Italy, Lithuania, Macedonia, Norway, the Netherlands, Poland, Portugal, the Czech Republic, the Slovak Republic, Rumania, Russia, Spain, Slovenia, Sweden, Ukraine, Hungary) and national cultural institutes like the British Council, the Instituto Cervantes, and the Goethe Institut Inter Nationes. The Foundation’s board of directors includes representatives of the Embassies and the Cultural Institutions, the Italian representative of the European Union, and of the Fondazione Cassa di Risparmio di Roma, and of public bodies like the Comune di Roma, the Regione Lazio, the Provincia di Roma, the Ministry for Cultural Heritage and Activities, the Ministry of Foreign Affairs, and the University of Roma III. RmaEuoropa is officially recognized by the Ministry for Cultural Heritage and Activities and has been included by the Ministry of Foreign Affairs in more than 40 bilateral agreements between Italy and other countries.

4. Regional and Local Authorities

In Italy, four levels of government (State, Regions, Provinces and Municipalities) share responsibilities in the cultural field. A wide range of international cultural cooperation activities is taking place among Italian regions and municipalities, for instance between Italian and French border regions, as well as between Northern and Eastern regions, and Germany and Austria. Public authorities as well as private organizations engage in cooperation activities through bilateral or multilateral agreements and working groups, such as the Alps-Adriatic Working Community, the Adriatic-Ionian Initiative, or the Mediterranean Forum. Cross-border cultural cooperation is also carried out by contributing to the actions of international bodies and institutions like UNESCO, the Central Europe Initiative, and the Latin Union, amongst others.

Different local public administrations (e.g. Regione Piemonte, Regione Toscana, Regione Emilia Romagna, Comune di Roma, Università della Calabria, Università di Trento and Provincia Autonoma di Trento, Comune di Venezia) have in 2001-2002 signed Declarations of Intent to underline the relevance that synergies among public administration bodies can bring to favour the promotion of international cooperation and to develop strong links to foreign actors and strengthen their institutional cooperation with the “DG Cultural Promotion and Cooperation” and the Istituti di cultura. In general these declarations affirm the will to exchange information on planned activities and

227 Annex I – National reports - Italy to take into account the potential expressed by the two territories and by specific bodies sited in the regions (e.g. Associazione Museo Nazionale del Cinema di Torino and Museo Egizio di Torino).

Furthermore, the Italian presence in European networks is not massive, but relevant. The Municipality of Bologna held the chair of Eurocities in the years 1994-1997 and different Italian cities are in network boards. Other cities are members of Telecities, where for years Roma has held the presidency. Cities such as Naples and Catania in Southern Italy are increasingly active in joint projects with Mediterranean countries. Twinning between cities has been a common way of increasing cultural cooperation at local level. Among the motivations for establishing links with other cities are:

a) Linking with a strong community of Italian immigrants with common roots b) Establishing long term exchange and cooperation with communities featuring similar folkloric traditions, often based on common ethnic or linguistic roots

Nowadays the role of local authorities (regions and cities) in international cultural cooperation is expressed mainly through the participation and co- funding of projects within EU programme, like Culture 2000 and Interreg or through the support of relevant international cultural events (e.g. the Municipality of Torino and the Biennale dei Giovani Artisti del Mediterraneo, Biennale of Young Artists from Mediterranean).

5. National Cultural Institutes

Currently, there are 93 Italian Cultural Institutes (Istituti Italiani di Cultura), which are subordinated to the Ministry of Foreign affairs and its “DG Cultural Promotion and Cooperation”. Among their main tasks, the IIC's organize cultural events, offer courses of Italian language and civilization, facilitate contacts between Italian and local researchers and scholars and cooperate with local cultural organizations and academic institutions.Italy has national cultural institutes that develop activities of transnational cultural cooperation in the following countries of relevance to this study: Austria, Belgium, Bulgaria, Denmark, Finland, France, Germany, Great Britain, Greece, Ireland, Malta, Norway, the Netherlands, Poland, Portugal, the Czech Republic, the Slovak Republic, Romania, Slovenia, Spain, Sweden, Switzerland, Turkey, and Hungary.

6. Budget

Ministry of Foreign Affairs The DG for Cultural Promotion and Cooperation at the Ministry of Foreign Affairs was allocated 165.206.815 € (9,8% of the total Ministry budget8) amounting to

8 The total budget of the Ministry includes the costs for staff, functioning of the structure, interventions/projects and investments

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1.693.462.689 € in 2001, and 165.684.590 € (9% of the total Ministry budget amounting to 1.839.495.207 €) in 2002.9

TABLE: Breakdown of the spending at the Ministry of Foreign Affairs

DESCRIPTION 2000 2000 2001 2001 2002 2002 in euros (% of euros (% of Billions (% of total total of lire total budget) budget) budget ) Information 111.5 1.527 107.1 6,32 146.2 7,95 agencies, million million € million € million € grants to public € bodies, cultural Total Total promotion, budget budget: Italian 1.693 community 1.839 abroad, million € international million € solidarity

Table: Contribution to public bodies and associations for Italian Language and Culture Courses10

GEOGRAPHICAL AREAS 2001 % in euros Europe 11.327.707 44,1 Americas 10.587.366 41,2 Mediterranean and Middle 5.112.923 0,2 East Sub-Saharan África 191.798 0,7 Asia and Oceania 3.548.317 13,8

TOTAL 25.660.490 100,0

9 Data from The Ministry of Foreign Affairs in Numbers- Year 2002, chapter 2. Published by the Statistics Office of the Ministry, Table 2.3, The following table is extracted from the Total Budget of the Ministry of Foreign Affairs broken down for types of expenditure, Years 2001-2002 (Table 2.4) in: The Ministry of Foreign Affairs in Numbers- Year 2002, chapter 2. Published by the Statistics Office of the Ministry. 10 Table 2.11 from The Ministry of Foreign Affairs in Numbers- Year 2002, chapter 2. Published by the Statistics Office of the Ministry

229 Annex I – National reports - Italy

Ministry for Cultural Heritage and Activities The Ministry for Cultural Heritage and Activities, through its Directorate Generals Performing Arts and Cinema, as well as through the FUS (Unique Fund for Performing Arts), spent 5.029.205 € in 1999 on activities abroad. The sector breakdown is as follows:

Cultural Amount in % euros Sector Music 1.744.436 35% Dance 296.343 6% Theatre 762.497 15% Cinema 2.226.394 44%

In 2000, the funds were

Cultural Amount in euros Sector Music 2.646.532 Dance 208.390 Theatre 627.856 Cinema 1.549.371

Cinecittà Holding The total budget in the year 2000 was 17.614.279 €. The Funds for promotion abroad covered 1.539.041,56 €.

SECTION III: Documents, Legislation, and Agreements

1. Documents and Legislation

Documents An interesting document is the one published by the National Commission for Promotion of Italian Culture Abroad (2000 – 2003) a consultative organ under

230 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 the Ministry of Foreign Affairs. The document is entitled Recommendations of the National Commission for Promotion of the Italian Culture Abroad: general guidelines for the promotion and dissemination of Italian Culture and Language abroad and for the development of international cultural cooperation, and is divided into three parts.

Part 1 (Contents and priorities) includes the following selected points: a) Integration of Italian cultural activities in the political dialogue in those areas where intercultural understanding can help the political process of peace keeping b) Promotion of cultural activities linked to contemporary Italian production in visual arts, theatre, dance, music, literature, cinema as well as craft and local products. c) Fostering cultural initiatives in areas marked by a strong presence of the Italian community, involving entrepreneurs and personalities of the same community d) Fostering scientific and technological culture. e) Strengthening the diffusion of the Italian language abroad f) Dissemination of the knowledge about Italian artistic and archaeological heritage g) Supporting cooperation activities in developing countries.

Part 2 (Role of the “Italia System” in the international framework) includes: a) Organisation of cultural activities abroad, with regional and local authorities, organizations, private foundations and corporations to promote cultural heritage b) Creation of bridges between cultural promotion and promotion of the “Italia System” abroad, by establishing relationships with the Italian entrepreneurial sector in order to foster the expansion of sectors like fashion, publishing, cinema, and design. c) Promotion of the cultural integration process among EU countries, also through the Council of Europe programmes

Part 3 (Initiatives and operative tools) includes: a) Reviewing of the reform law of the Italian Cultural Institutes (L. 401/1990) b) Establishing “thematic years” on which the Italian Culture Institutes and of the Central Administration should be focused. c) Organizing large scale events and multidisciplinary cultural reviews that foster synergies between the public and private sectors in order to strengthen the international cultural cooperation process d) Strengthening the collaborative relationships among the Italian bodies and institutes involved in teaching the Italian language e) Strengthening the information and multimedia network

Legislation The Law 401 of 1990 regulates the National Cultural Institutes (Istituti di Cultura Italiana), and covers the promotion of Italian language, as well as scientific and technological cooperation.

231 Annex I – National reports - Italy

2. Bilateral and multilateral agreements

The Ministry of Foreign Affairs is in charge of signing all scientific and cultural bilateral agreements with countries all over the world. The “DG Cultural Promotion and Cooperation” is in charge of the negotiation of the executive programme with different countries, which are the operative tools behind the cultural cooperation bilateral agreements. Generally, the agreement is a short document that outlines the general framework of the bilateral cooperation, and the operative programme defines the activities to be carried out in a three year framework. Many of these activities are funded by other Ministries other than the Ministry of Foreign Affairs like the Ministry of Cultural Heritage and Activities.

The agreements usually contain the institution of mixed boards, made up of representatives of the signing countries, who meet periodically to edit multi- annual work programmes and to monitor the state of cooperation between countries. At present, 70 cultural programmes are running all over the world, among these, 15 foresee both cultural as well as scientific activities. Besides the traditional privileged relationships, it is difficult to quantify the operative validity, or practical applications of such agreements: usually no public information on the implementation itself is available at central or decentralized level, nor are proper systematic records collected.

The structure of the operative programme of the cultural agreements gives priority to activities of specific sectors, and usually tries to specify which body is in charge of the operative part of the agreement, (e.g. for Music, Theatre and Dance, the Ministry of Cultural Heritage and Activities’s Department of Performing Arts, The Roma Europa Foundation, the Ente Teatrale Italiano (ETI), etc.). Usually, the main tools used to foster cooperation in the different areas are: exchange of information and human resources, identification of common areas of interest, cooperation on common projects and among institutions, short and long scholarships and, fellowships, exchange of books and material, exchange of exhibitions, and others. The areas regulated by the operative programme are the School and Higher Education field, Language Teaching, Cultural Institutions, the Promotion of Joint Cultural Events, activities in the Cultural Heritage field, Measures to prevent Illegal Trafficking of Cultural Property, Archives, libraries, publishing and translation, Initiatives for the Performing Arts, Cinema and Television.

Below is a list of Bilateral Cultural Agreements signed by Italy and other countries relevant to this study:

AUSTRIA (details not available): first cultural agreement signed in 1952. Last executive programme signed in 1998 with deadline 2002

BULGARIA (details not available): first cultural agreement signed in 1970. Last executive programme signed in 1997 with deadline 1999

CZECH REPUBLIC (details not available): first cultural agreement signed in 1971. Last executive programme signed in 1998 with deadline 2001

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CYPRUS (first cultural agreement signed in 2001). Seventh Executive Programme of the Cultural Agreement between the government of the Italian Republic and the government of the Republic of Cyprus for the years 2001-2005, signed on February 26th, 2001 by Umberto Vattani, Secretary General (Ministry for Foreign Affairs) and Michalis Attalides, Permanent Secretary (Ministry of Foreign Affairs).

DENMARK (details not available): first cultural agreement signed in 1956. Last executive programme signed 1993 with deadline 1996

FINLAND. First cultural agreement signed in 2000. Executive Programme of the Cultural and Scientific Agreement between the government of the Italian Republic and the government of Finland, agreed in the eighth mixed cultural and scientific commission between Italy and Finland, signed in Helsinki on April 7, 2000 by Massimo Macchia (Ambassador) and Margaretha Mickwitz General Director (international relations – Ministry of Education).

FRANCE (details not available): first cultural agreement signed in 1949. Last executive programme signed in 1996 with deadline 1999. Recently new agreement signed

GERMANY (First cultural agreement signed in 1956). Cultural Agreement between Italy and Germany - XVI Session of the Mixed Commission, Signed on April 24th, 2002 by Francesco Aloisi de Larderel and Albert Spiegel. In particular, the programme underlines the relevant role played by the Italian German Centre Villa Vigoni that is recognized as an “excellence pole” of exchange for culture, art, science and socio-political research. It also stresses the positive balance of activities of the Centre for Italian Studies at the Freie Universität (Free University) in Berlin. There is an effort to create an Italian- German University now. Some of the active German institutions in Italy are the German Archaeological Institute of Rome, the German Historical Institute in Rome, the Hertziana Library of the Max-Planck-Institut, the Villa Massimo in Rome, the Villa Romana in Florence, the Italian Institute of Germanic Studies, The German School in Rome, etc. On the Italian side, active players are the Accademia Nazionale dei Lincei, National Academy of San Luca, National Research Council, the Giorgio Cini FOundation, and others.

GREAT BRITAIN (details not available): first cultural agreement in 1951. Last executive programme 1992 with deadline 1995

IRELAND (details not available): first cultural agreement in 1984. Last executive programme 1996 with deadline 1999

LUXEMBOURG (details not available): first cultural agreement in 1956. Last executive programme 1999 with deadline 2002

MALTA (details not available): first cultural agreement signed in 1967. Last executive programme signed in 1997 with deadline 2000

NETHERLANDS (details not available): first cultural agreement signed in 1951. Last executive programme signed 1997 with deadline 2000

233 Annex I – National reports - Italy

NORWAY (details not available): first cultural agreement signed in 1955. Last executive programme signed in 1998 with deadline 2003

POLAND. First cultural agreement signed in 1965. 13th Executive programme for cultural cooperation between Italy and Poland for the years 1999-2002. It includes Higher Education, and the focus on tourist-cultural promotion through the organization of a Italian-Polish centre that is in charge of the professional training of operators. Cultural Institutes named are the Accademia Nazionale dei Lincei, the National Research Council, the National Academy of San Luca, the Querini Stampalia Foundation, and others.

PORTUGAL. First agreement signed in 1977. 5th cultural and scientific Collaboration Agreement for the years 2001-2004, signed on November, 30 2001, by Lucio Alberto Savoia Deputy Director DG for Cultural Promotion and Cooperation of the Ministry of Foreign Affairs, and Aristides Vieria Gonçalves, Vice President of the Istituto Camões.

ROMANIA. First agreement in 1964. Cooperation programme for the years 2002- 2005 signed on April 17th 2002 by Anna Blefari Melazzi (Ambassador) and Cristian Diaconescu (State Secretary – Ministry of Foreign Affairs).

REPUBLIC OF SLOVAKIA. First agreement in 1971. II Executive programme of Cultural Agreement for the years 2001-2005

SLOVENIA. First agreement signed in 2000. Cooperation agreement for Culture and Education (no deadline) signed on March 8th, 2000 by Lamberto DINI Minister of Foreign Affairs and Dimitij RUPEL Minister of Foreign Affairs

SPAIN. First agreement signed in 1955. XIX Cultural and Scientific Cooperation programme for the years 2001-2004 signed on December 18th, 2001 by Roberto Spinelli (from the Embassy) and Jesùs Silva Fernandez general Director – Scientific and Cultural Relations – Ministry of Foreign Affairs

TURKEY. First agreement in 1951 XIX. Executive Programme of the Cultural Agreement between the Government of the Italian Republic and the Government of the Republic of Turkey for the years 2000-2003 Signed in Ankara on 7 November 2000, by Facco Bonetti (Director General for Cultural Promotion and Cooperation Ministry of Foreign Affairs) and Sencar Özsoy (Ambassador Deputy; Ministry of Foreign Affairs). The programme includes the participation of folk groups in International Festivals and the possible participation of Turkey in the activities scheduled for 2004 on the occasion of "Genoa as City of Culture" with an important cultural event. It signals that the Valentino Bucchi Foundation is willing to realise joint initiatives. It also mentions the Central Institute of Restoration and the "Opificio delle Pietre Dure" of the Italian Ministry of Cultural Heritage and Activities as willing to cooperate with their respective Turkish counterparts in the field of restoration. The "Art and Restoration Institute Palazzo Spinelli" in Florence has expressed its readiness to cooperate in providing training courses in the field of restoration.

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HUNGARY: First agreement in 1965. XIV Executive programme for the years 2000-2003 signed on December 15th, 1999

Multilateral Agreements

Regarding multilateral cooperation Italy has signed agreements with UNESCO on the preservation and valorisation of tangible and intangible cultural heritage. Particular efforts have been put into the strengthening of legislative international tools, including all the major Conventions. With regards to the World Heritage, 35 Italian sites are today present in the UNESCO list. With regards to intangible heritage, Italy contributes with a selection of oral tradition heritage (Opera dei Pupi Siciliani) and in the writing of an International Agreement that could be proposed to the UNESCO General Assembly in October 2003.

In addition, Italy has made agreements with Latin Union, that includes of European countries, France, Portugal, Romania, the Vatican and Spain, with the aim of promoting the common heritage and the different Latin identities: Italy is the second major supporter, after France and today a Italian representative occupies the position of General Secretary. The regional cooperation in multilateral organisations or working groups, such as the Alps- Adriatic Working Community, the Adriatic-Ionian Initiative, or the Mediterranean Forum. For historical and geographical reasons, cultural, economical and political cooperation with the Mediterranean countries (including Morocco, Libya, Ethiopia, Algeria and Tunisia) has always been very important for Italy, and some agreements date back to the 1940s. Furthermore, a long tradition of twinning exists between Italian cities and foreign cities. The Declaration of Intent of Regione Piemonte and Regione Toscana represents just another example of the efforts towards a common strategy that can be applied at different territorial levels, and that can bring benefits both in cultural and promotional terms.

SECTION IV: Activities

1. Principal Activities

1.1. Dissemination and Distribution The Ministry for Cultural Heritage and Activities promotes the diffusion of information on cultural projects abroad and of European programmes, and regularly organises International seminars and conferences.

1.2. Arts Production The main Italian institutions in charge of arts production in the performing arts sectors are the Department of Performing Arts at the Ministry for Cultural Heritage and Activities, the Roma-Europa Foundation, the Ente Teatrale Italiano (ETI), the National Dance Academy, and the National Committee of Italian Music. To create common initiatives in the field of contemporary music in November 1999, a European Music Network was set up. Italian representatives are Roma-Europa Foundation and the City of Music. Among other institutions,

235 Annex I – National reports - Italy the "Valentino Bucchi" Foundation is active in fostering common initiatives. In particular, the Foundation is ready to involve foreign musicians and experts in the jury of "Premio Internazionale Valentino Bucchi". In 2001, the Unique Fund for Performing Arts (Fondo Unico per lo Spettacolo, FUS) has supported 146 initiatives abroad: 88 in music, 33 in theatre, 17 in dance and 8 in circus. The favourite country is France, followed by Spain, Germany and the United Kingdom.

1.3. Translation and Library Cooperation The DG for Books and Reading of the Ministry for Cultural Heritage and Activities is managing the National Prize for Translations)that is also open to foreign publishers and translators. Moreover, the Department of Information and Publications at the Office of the Prime Minister assigns prizes to translators of Italian books in other languages. With regard to specific events, in 2002 The Ministry of Foreign Affairs organized the second edition of “Week of Italian language in the world”, together with Accademia della Crusca. Other players involved were the Ministry for Italians Living Abroad, the Ministry for Cultural Heritage and Activities, the Ministry of Education, RAI, the Dante Alighieri Society, the Latin Union, the Cassamarca Foundation, the “Corsera” Foundation and the International Association for the Study of Italian Language and Literature (AISLLI). The Italian Cultural Institutes all over the world are also in charge of actively promoting and hosting the events. Exchange of teaching materials and information on curricula, as well as books, publications, school text-books and audiovisuals, to facilitate the mutual knowledge of school systems, programmes and teaching methods, are also part of the activities.

Translation and library cooperation (with incentives for translation, prizes and contributions for the dissemination of books, translated books, subtitles and dubbing of films) is also carried out by the DG for Cultural Promotion and Cooperation of the Ministry for Foreign Affairs.

Exchange programmes between archivists and librarians are realised by various bodies. For archives and libraries the competent body is the Ministry for Cultural Heritage and Activities, the Central Office for Books and Reading (Ufficio Centrale per i Beni Librari), and the Institute for Culture and Publishing (Istituzioni Culturali ed Editoria). In 2003 the Archive directorate has launched an internship initiative on preservation and restoration, to be spent at the Centre for Photographic reproduction, Bookbinding and Restoration at the State Archives (Centro di fotoriproduzione, legatoria e restauro degli Archivi di Stato). The initiative is addressed to archivists and technicians from the Mediterranean basin and Central Eastern Europe. Generally cooperation initiatives also take place within international library institutions such as the International Federation of Library Associations and Institutions (IFLA) and the European Bureau of Library, Information and Documentation Associations (EBLIDA).

1.4. Training and Mobility Fellowships are assigned following bilateral or multilateral agreements. These fellowships aim to promote the Italian and cultural language, and support stays and researches in Italy. The institutions where scholars can study are universities, restoration institutions, academies, conservatories, research centres or laboratories, libraries, archives, museums and other national institutions. The DG

236 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 for Cultural Promotion and Cooperation of the Ministry for Foreign Affairs also supports activities in Training and mobility (e.g. scholarships, exchanges for professors, teachers, archivists, librarians, artists, translators).

1.5. Restoration and Heritage Preservation In April 2003 the Ministry of Foreign Affairs, the Ministry for the Cultural Heritage, the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM) and the Department of Cultural and Environmental Heritage and Education of the Sicilian Region organized the “International conference on the cooperation in the Mediterranean region for the protection of underwater cultural heritage”. It has bought together representatives from the institutions of the countries bordering the Mediterranean and international organisations (such as UNESCO and ICOMOS) and distinguished Italian and foreign academics and scientists. The purpose of the event was to encourage a co-ordinated effort on the part of the authorities in the countries bordering the Mediterranean responsible for researching, enhancing and safeguarding the underwater cultural heritage..

2. National Cultural Institutes from foreign countries

British Council The British Council’s arts programme in Italy promotes a wider knowledge and appreciation of British arts, and aims to show how these are enriched by the contact with other cultures. It does this by providing information on the British arts scene to Italian clients and promoting co-operation between British and Italian arts professionals. The British Council operates in four cities in Italy, Rome, Milan, Bologna and Naples. The arts unit is based in Rome (while the other centres mainly offer language courses), supported by the British Council’s specialist Arts Group in London, and it works on collaborative projects and arts festivals in Italy, certain major exhibitions, film festivals and other events, sometimes providing financial support (for example assistance with travel costs), help with publicity or with making contacts in Britain.

In addition to these, the British Institute in Florence was founded in 1917 with the aim of developing cultural understanding between the UK and Italy (particularly Tuscany) through the teaching of their respective languages and cultures and the maintenance of a library in Florence. It is registered as an educational Charity in England and Wales and was granted a Royal Charter in 1923. In 1953 it was recognized in the Anglo-Italian Cultural Convention as an official representative of British culture in Italy. In 1998 it was recognized by the President of the Regione Toscana as a cultural institute of major importance to the region. It offers courses of English and Italian as foreign languages, history of art, Dante, cooking, wine appreciation, opera and other aspects of Italian culture. It also maintains the recently refurbished Harold Acton library - the biggest library of English books (50,000 volumes) in Italy, used by visiting scholars, students and the general public. The British Institute has another center in Rome.

237 Annex I – National reports - Italy

Goethe Institute There is a network of seven Goethe Institutes in Italy (Milan, Turin, Rome, Genoa, Trieste, Palermo and Naples). The Institute in Rome coordinates the activities of the other six institutes, and is also responsible for Malta. The institutes aim to develop mutual understanding between Italians and Germans, cultural exchanges and stimulation, and a European civic consciousness. The cultural programmes focus not only on the representation of contemporary German culture, but also on encounters between German and Italian artists and intellectuals, as well as the promotion of cultural and intellectual cooperation. The projects usually cover all art forms and media of dissemination (seminars, online-exhibitions, theatre festivals, photographic competitions, concerts, etc.). Language courses and information centres (books, media, and information services) participate in and promote common training and cooperation projects. Some projects are conducted in cooperation with other national institutes (The British Council, Instituto Cervantes, Bureau de Coopération Linguistique et Artistique de l'Ambassade de France, etc.). This year, for instance, they are hosting an International Youth Competition for young people between the ages of 12 and 25, with the theme of dialogue and communication. Also, international symposia will be held on “interculturality” (Naples), collective memory (Turin), and on historical books conservation (Genoa, Turin, Milan; with German and Italian librarians participating). Institut Cervantes The Instituto Cervantes has three centres in Italy, Rome, Naples and Milan. They mainly concentrate on language courses but each of the centres has its own cultural agenda with lectures, exhibitions and visits.

Institut/Centre Culturel Français The Institut Francais in Florence, established in 1907, is the oldest French cultural institute in the world. The mission of the Institute is to contribute in the development of cultural exchange between France and Italy and to assure the diffusion of French language and culture. The Institut Français has as its aim to foster French-Italian relations and to offer a rich cultural programme of music, dance, theatre, literature etc. The Institute has a French library. The French Embassy in Rome runs an office for linguistic and artistic cooperation (Bureau de cooperation linguistique et artistique, BCLA) on different aspects of general policies developed by the Cultural Service of the French Embassy in Italy.

The Genoa Institute was established in 1959 with the objective to foster cultural relations between Italy and France. Every month the Institute organises a series of cultural activities, often in collaboration with local institutions. The Institute also serves as a meeting-point for French-Italian relationships in the fields of culture, linguistics and universities. The Milan Institute mainly organizes language courses and some small-scale cultural events such as lectures, concerts, etc. The Turin Institute organizes language courses and small cultural events. The Center Culturel Français in Palermo was inaugurated in 2001, and the Maison Française in Bologna was established in 1999 as a result of the fusion of the Italian-French-Cultural Association, the Alliance Française and the Centre for Cultural and Linguistic Cooperation Emilia Romagna, Toscana. The Maison Française functions under the French Embassy in Rome with the objective of fostering French culture and language. La Maison collaborates actively with the University of Bologna and several French universities as well as with many

238 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 institutions, entities, theatres and associations. The centre published “Le Journal” on regional cultural activities

The Alliance Française The Alliance Française in Rome exists since 1883 to foster French language and culture, mainly in the form of language courses. As of 2003, there are 54 Alliances Françaises in Italy.

Besides the national institutes there are several other cultural institutions of foreign countries (academies, historic institutes...), mostly based in Rome, which represent the interest evident for centuries in Italian classical culture all over the world. Some examples:

Forum Austriaco di Cultura Based in Roma and in Milan since 1993, with affiliated institutions in Bologna, Trento, Trieste and Udine. The Forum’s objective is to introduce Austrian culture in Italian society in all its fields from scientific to cultural. The Forum organizes different cultural events on different sectors.

Accademia di Danimarca Danish cultural institute under the Ministry of Culture of Denmark, established in 1956. It aims at fostering cultural relationship between Denmark and Italy and organizes activities on research, study and culture. The institute receives public and private funding.

Istituto Storico Olandese Dutch Cultural Centre in the Dutch Embassy.

Swedish Institute in Rome Established in 1925 mainly for archeological studies but also to “underline art and cultural interests”. The Centre gives scholarships from 3 months to 1 year for visits for artists and Scientists, especially in archaeology. There also is a Swedish cultural center in Capri, Villa San Michele together with a little museum that receives some 200.000 visitors every year.

Institutum Romanum Finlandiae A small center mainly for archaeological study.

Some other small countries have small cultural centers, such as Poland (Istituto Polacco), Romania (Accademia di Romania), Hungary (Accademia di Ungheria) and Belgium (Accademia del Belgio).

3. Future Events

For the year 2003, the Istituti Italiani has scheduled more than 1.700 events abroad. For the same year, the DG Cultural Cooperation and Promotion of the Ministry of Foreign Affairs is directly involved in the organization of:

239 Annex I – National reports - Italy

• “Europalia”: art, music, cinema, theatre festival that takes place in Belgium and that this year is entirely dedicated to Italy

• Participation in different initiatives organized for the 300 years of the city of Saint Petersburg

• “Italian month” in Cyprus (ancient art, music, cinema)

• “Sonora”: promoted by CEMAT for the promotion of contemporary Italian music through the participation of Italian artists to the main European festivals of Madrid, Paris, London, Berlin, Strasbourg, Warsaw

• Exhibition and fashion show “50 years of Italian style” (touring in Asia and in Europe)

• Genova Capital of Culture 2004

• Festival del Cinema di Venezia (yearly)

• Biannial of Young Artists of the Mediterranean (annual)

This list of events has been provided by the Ministry of Foreign Affairs (on March 24th, 2003). The list presents the events taking place in the near future, and the ones the Ministry of Foreign Affairs considers a priority.

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LATVIA

SECTION I: Introduction

The five decades of Soviet occupation left Latvia, like Estonia and Lithuania, with a deeply ingrained intellectual and administrative heritage that has been difficult to transform into liberal and democratic models. Some of the main priorities for the re-established independent government (officially in power since 1991) are the reformulation of basic principles in all sectors of policy and decision-making, and the reform of the administrative system. These reforms aim to establish a truly decentralised system of decision-making with arm's length bodies and a clear division of labour between different tiers of government. Socially and culturally, the close relationship to the other Baltic states and the Nordic states, the presence of the Russian cultural minority (30% of the population), and of course the upcoming accession to the EU, strongly influence cultural policy and transnational cooperation.

In the field of cultural policy and public cultural administration the fundamental restructuring of organisational and legislative patterns has to be dealt with; issues relating to legal matters and central administration are therefore still a priority. Nationally, new legislation in the theatre and traditional cultural sectors is being drawn up. Among other things such as the definition of the status of sectorial institutions and their responsibility (a precedent being Opera Law), it will also regulate the transnational cooperation activities of relevant cultural institutions. Another important step is the decentralisation of cultural processes through the formation of arm's length and advisory bodies to co-ordinate specific cultural spheres, and through the delegation of regional policy-making power to local government. Regionalisation is therefore likely to become more significant.

Since independence was regained in 1990, international cultural contacts have been greatly expanded, with Latvia joining the most important intergovernmental and international cultural organisations and associations. Bilateral cultural agreements have been signed with a number of countries, and cooperation with the neighbouring countries, particularly with Nordic countries and those around the Baltic Sea, has been vibrant. Currently, the factor with the most potential to shape transnational cultural cooperation activities for cultural institutions in Latvia is the country’s accession to the European Union. It will affect marketing possibilities, touring facilities and mobility, will widen the geography of education, the co-production of films, shows, art exhibitions and theatrical and musical performances, and will influence restoration work and heritage protection. Furthermore, Latvia has observer status in the Organisation Internationale de la Francophonie, OIF.

SECTION II: Structures, Competences, Institutes

1. Public authorities

239 Annex I – National reports - Latvia

General policy guidelines, legislation and budgets are decided upon by the Saeima (Parliament) and government. The Saeima is the supreme legislative body and has played an important role in the cultural sector. Its Committee for Education, Culture and Science prepares the decisions for the Saeima. The Cabinet of Ministers (Government) is the authority for signing Intergovernmental Agreements for cooperation in culture and other sectors, and also looks at Interstate Agreements before they go to the Saeima for ratification. Government Declarations of Intended Activity, which may include separate aspects of transnational cultural cooperation, are presented by the appointed Prime Minister and looked at by Saeima before it votes on the Cabinet. The Saeima scrutineses the DIA before it votes on the new government.

The government conducts transnational cultural cooperation directly by accepting National Programmes, which are strategic sectorial planning documents. A National Programme "Culture 2000-2010" was adopted in 2001. It defines priority development needs and measures in 10 sectors of culture (heritage, music and dance, theatre, films, traditional culture, visual arts, literature, libraries and cultural education). The Government also approves the suggestions of the Ministry of Culture concerning National-scale and International cultural events (the principal occasions which have been scrutinised by the government ,resulting in a Cabinet Decree have been The European Month of Culture in Riga in 2001, with an earmarked budget of 643.000 €, The Eurovision Song Contest, May 2003, to be held in Riga with a budget of 9 million €, and the XXIII Song Festival to be held this summer, with a budget of 3.2 million €).

There are several legislative acts which authorise public structures for conducting transnational cultural cooperation, that is, laws defining the competences of separate state authorities in cultural administration. These apply, for instance, to the State Heritage Inspection, and the statutes (approved by the Cabinet) of the Ministry of Culture and those Ministries, which have sectorial cultural institutions under their supervision, namely, the Ministry of Defence (Museum of War, Wind Orchestra), the Ministry of Environmental Protection (Museum of Nature, State Administration for Nature Reservation Parks), the Ministry of Transportation and Communications (Automobile Museum, Museum of Road-building History) , the Ministry of Foreign Affairs (Latvian Institute, Embassy Activities),the Ministry of Agriculture (several museums), and the Ministry of Health (Museum of Medicine).

1.1. Ministry of Culture The Latvian authority, which implements the interstate, intergovernmental agreements and other parliamentary and governmental decisions concerning transnational cultural cooperation is the Ministry of Culture. The implementation mechanisms are interministerial cooperation programmes, transnational cooperation projects, financial and legislative instruments and cultural institutions. The Ministry of Culture conducts transnational cultural cooperation on the basis of different relationship models with different countries. With Nordic countries, Sweden, Denmark, Norway and Iceland no ministerial agreements are concluded, because it is traditional for these countries to conduct transnational cultural cooperation on the basis of a partner-to-partner model. Here the Latvian state therefore, through its instruments and institutions

240 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 facilitates exchange and bilateral and multilateral projects in which the whole spectrum of state, municipal and privately owned cultural institutions in all arts and heritage sectors participate.

1.2. Local Authorities Local Governments have the competence to conduct transnational cultural cooperation enshrined in the Law on Local Government. They sign cooperation agreements with their municipal partners in other European countries, and part of these agreements usually concerns culture, and their budgets plus state and private grants on the one hand, and their cultural institutions or amateur groups, on the other hand, are the instruments with the help of which they are implemented.

2. Arm’s length agencies

2.1. The Culture Capital Foundation One of the most effective instruments, which gives a remit to cultural institutions to conduct transnational cultural cooperation, is the Culture Capital Foundation (1997), a state owned shareholding company (virtual shares all owned by the state, and the Foundtation was founded on the basis of a special Law, and it is answerable to the Ministry of Culture). The Minister chairs its Council. Currently the Government is investigating a possible change of its status into a public/state agency in receipt of earmarked taxes. It gives grants in support of secen sectors of culture (heritage, music and dance, literature, theatre, traditional culture, films, visual arts) on a project and competive basis, with the help of expert councils. In addition there is an intersectorial council, for projects with wider coverage. Transnational culture cooperation projects take up a considerable proportion of these grants.

Culture Capital Foundation: Supported European cooperation Projects % of % of in 2002 number sum in number sum in € in sector sector LITERATURE 55 53300 20,6 14,6 MUSIC AND DANCE 67 51800 26,7 11,9 FILMS 17 32500 14 7,89 VISUAL ARTS 85 71300 29,7 16,2 CULTURAL HERITAGE 16 22800 4,53 5,09

2.2. Other arm’s length agencies and institutions The arm’s-length agencies (the Literature Information Centre, the Music Information Centre, the Theatre Information Centre and the Latvian Contemporary Art Centre) are given a remit to conduct independent transnational cultural cooperation and are subsidised by the state and consulted by relevant public sector bodies. So are cultural institutions, whether they have the name "National" in their title or not – that is, whether they are dependent on the state, on local government or on the private sector. This is defined by the Law on Cultural institutions.

241 Annex I – National reports - Latvia

3. National Cultural Institute: The Latvian Institute

Latvia has founded the Latvian Institute which is a non-profit entity under the Ministry of Foreign Affairs. However, it has no presence in other European countries and does not itself produce any transnational cooperation projects. Its main task is the generation of information on Latvia and its dissemination through Latvian embassies abroad. Some embassies, have functioning Culture Centres. There is one in Prague, in the Czech Republic, in other places there is a Cultural Attaché. Embassies are active in promoting cultural exchange and in some cases co-produce cultural projects in their countries of residence, but mainly by in-kind contribution.

4. Budget

The Budget for conducting transnational cultural cooperation in the national museums and other public institutions varies annually, but usually constitutes up to 1% of the total budget of the relevant institution. It is rarely a permanent budget, but rather acquired on a project or co-financing basis. It means that this amount cannot be statistically separated out from the budget for the sector, e.g. transportation or agriculture, etc.

Generally, state expenditure on culture has risen sharply over the past few years. The Ministry of Culture spent 27,9 million € in 1998, and 48 million € in 2002, and the Culture Capital Foundation 1,9 million € in 1998, but 8,2 million € in 2002. This rise has to be calculated in the context of general budget developments; while in 1998, the Ministry and the Foundation together took 1.59% of the State Budget, it took 1.98% in 2002. Other Ministries have slightly decreased their expenditure on culture, dropping from 2,24 million € in 1998 to 2,12 million € in 2002. In total, cultural expenditure has risen slightly from 1.71% of the state budget in1998, to 2.06% in 2002. For sectorial expenditure by the Ministry of Culture, see the following table.

242 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003

Ministry of Culture Expenditure on Cultural Cooperation National Arts Music Cultural Visual Interdisci- Museu Librari Culture Educati Films Theatr and Literatur Heritage Arts plinary ms es Council on es Dance e TOTAL

2001 (€) 114,960 6,825 10,782 71,439 5,050 101,96 3,961 671,701 986,682 4 % from the expenditure of the Ministry of 11.7 0.7 1.1 7.2 0.5 10.3 0.4 68.1 100 Culture for cultural cooperation % from the Budget of the Ministry of 0.30 0.02 0.03 0.18 0.01 0.26 0.01 1.72 2.53 Culture (38,960,618 €, without CCF*)

2002 (€) 75,370 11,113 2,385 98,790 1,521 207,10 9,504 39,266 4,689 9,979 105,529 565,253 7 % from the Expenditure of the Ministry of 13.3 2.0 0.4 17.5 0.3 36.6 1.7 6.9 0.8 1.8 18.7 100 Culture for cultural cooperation

243 Annex I – National reports - Latvia

% from the Budget of the Ministry of 0.16 0.02 0.005 0.21 0.003 0.43 0.02 0.08 0.01 0.02 0.22 1.18 Culture (48,104,543 €, without CCF*) * CCF = Culture Capital Foundation

244 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003

SECTION III: Documents, Legislation and Agreements

1. Documents and Legislation

The basic document defining the main principles, goals and challenges of state cultural policy is "The State Cultural Policy Postulates of Latvia" adopted by the Saeima of the Republic of Latvia in 1996 as a joint public-private sector agreement for guidelines in culture. Among other subjects it deals with and has a section on "International Cultural Activities".

The Ministry of Culture and the Ministry of Foreign Affairs and different public institutions carry out international cultural cooperation thus defined. In this respect they:

- prepare, sign and implement agreements on cultural exchange and cooperation; - assist in the exchange of representatives of culture, science and art; - organise the exchange of events (exhibitions, concerts, performances etc.);

- ensure cooperation of the state, cultural institutions and representatives of creative professions in defence of intellectual property; - co-operate in the field of cultural education and artistic partnership.

Measures for conducting these exchange activities range from direct financial support for cooperation to indirect support via favourable visa, customs and tax conditions through interstate agreements. Other measures are the provision of development grants (e.g. for the cultural industries) and the participation in cultural cooperation among the countries around the Baltic Sea.

The legislative acts authorising public structures to conducttransnational cultural cooperation programmes are laws defining the competences of separate state authorities in cultural administration, e.g. the State Heritage Inspection, and the statutes (approved by the Cabinet) of the Ministries. Several envisage transnational cultural cooperation, have in them a remit for cultural institutions conducting transnational cultural cooperation and provide stipulated measures for promoting it (cf. the list below). The statutes of sectorial ministries issued as Government Regulations, as well as the statutes of cultural institutions, approved by the Minister of Culture, can also be included in this list.

1991 The Law on the Free development of National and Ethnic Groups in Latvia and their Right to Cultural Autonomy 1992 The Law on the National Library 1992 The Law on the Protection of Cultural Monuments 1992 The Law on the Public Organisations and their Associations 1995 The Law on Radio and Television 1997 The Law on Museums

245 Annex I – National reports - Latvia

1997 The Law on the Culture Capital Foundation 1998 The Law on Libraries 1998 The Law on the Cultural Institutions 2000 The Law on Copyright

There are also National Programmes that operationalise these laws and policy principles. The National Programme "Culture" defines and operationalise the policy objectives and priorities for Latvia set out in The State Cultural Policy Postulates of 1996, and includes a specific action plan for the period up to 2005 to achieve these goals and priorities. It also outlines activities for the following period up to 2010. The programme was developed and approved by the Cabinet of Ministers in 2001. Another programme, the new National Programme for the Integration of Latvia into the EU in 2002, was also approved by the Cabinet of Ministers. In this context, the objectives of the Ministry of Culture are:

- to increase the capacity of the audio-visual industry - to provide efficient protection for intellectual and industrial property; - to participate in the Culture 2000 programme of the EU.

2. Bi- and Multilateral Agreements

Upon independence, Latvia soon joined the most widespread cultural conventions, such as the following:

Bern 1886. Convention on the Protection of Literature and Art Objects (Latvia Joined in 1995); Paris 1954. European Culture Convention (Joined in 1992); Paris 1972 Convention on the Protection of the World Cultural and Natural Heritage (joined in 1995).

Apart from these, and corresponding to their principles, many agreements have been signed in the area of culture (some also including the fields of education and sports). The following is a list of agreements signed with countries relevant to this study.

• Agreement on Cooperation in the Fields of Culture, Education and Science between the Government of the Republic of Latvia and the Government of the Republic of Cyprus 08.03.2001

• Agreement between the Government of the Republic of Latvia and the Government of the Republic of Croatia on Cultural Cooperation 22.10.1999

• Agreement between the Government of the Republic of Latvia and the Government of the Czech Republic on Cooperation in the Field of Culture 10.05.1999

246 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003

• Agreement between the Government of the Republic of Latvia and the Government of the Hellenic Republic on Cooperation in the Fields of Culture, Education and Science 17.03.1999

• Memorandum of Cooperation between the Republic if Latvia and the United Nations Educational, Scientific and Cultural Organization (UNESCO) 29.06.1998

• Agreement between the Government of the Republic of Latvia and the Government of the Republic of Slovenia on Cooperation in the Fields of Culture, Education and Science 05.03.1998

• Agreement between the Government of the Republic of Latvia and the Government of the Italian Republic on Cooperation in the Fields of Culture, Science and Technology 23.10.1996

• Agreement on Cultural, Scientific and Educational Cooperation between the Government of the Republic of Latvia and the Government of the Republic of Hungary 06.03.1997

• Agreement between the Government of the Republic of Latvia and the Government of the Socialist Republic of Vietnam on Cultural and Scientific Cooperation 29.10.96

• Agreement between the Government of the Republic of Latvia and the Government of the Italian Republic on Cooperation in the Fields of Culture, Science and Technology 23.10.1996

• Agreement between the Government of the Republic of Latvia and the Government of the Republic of Finland on Cooperation in the Fields of Culture, Education and Science 10.09.1996

• Cultural and Educational Cooperation Agreement between the Government of the Republic of Latvia and the Government of the Government of the People's Republic of China 02.09.1996

• Agreement between the Government of the Republic of Latvia and the Government of Ukraine on Cooperation in the Fields of Education, Science and Culture 21.11.1995

• Cooperation Agreement between Flanders an the Republic of Latvia 05.03.1996

247 Annex I – National reports - Latvia

• Agreement between the Government of the State of Israel and the Government of the Republic of Latvia in the Fields of Education, Culture un Science 04.04.1996

• Agreement between the Government of the Republic of Latvia and the Government of the United Kingdom of Great Britain and Northern Ireland on Cooperation in the Fields of Education, Science and Culture 22.11.1995

• Agreement between the Government of the Republic of Latvia and the Government of Ukraine on Cooperation in the Fields of Education, Science and Culture 21.11.1995

• Memorandum of Understanding on Cooperation between the Government of the Republic of India and the Government of the Republic of Latvia in the Spheres of Culture, Arts, Education, Science, Mass-media and Sports 01.09.1995

• Agreement between the Government of the Republic of Latvia and the Government of the Federal Republic of Germany on Cultural Cooperation 20.04.1993

• Agreement between the Government of the Republic of Latvia and the Government of the Republic of Poland on Cooperation in the Fields of Culture, Education and Science 01.07.1992

• Agreement between Latvia and Overijssel 12.1990

It seems though that regional cooperation, especially the multilateral relations between the Baltic and the Nordic countries have the greatest importance in the country’s cultural sphere. Latvia is an active member of UNESCO, of the Council of Europe programmes and projects, of the Culture Committee of the Baltic Sea states Council and the Culture Committee of the Baltic States Council of Ministers. Latvia has joined the EU programmes "Eurimage" and "Media Plus". Latvian museums and libraries are members of their international professional associations, and there is a Latvian Centre of the ITI (International Theatre Institute). Latvia participates actively in Ars Baltica, the regional cultural cooperation of the countries surrounding the Baltic Sea (Denmark, Estonia, Germany, Finland, Latvia, Norway, Poland, Russia and Sweden). Out of all the regional cooperation schemes, Ars Baltica has so far had the most intensive programme of cultural collaboration. Latvia is also an active partner in the Nordic Baltic 8, the joint cooperation forum of the five Nordic and three Baltic states. Besides foreign policy and security, practical cooperation between the Nordic and Baltic countries involves culture, education, people-to-people contacts, etc. There is little information, however, about specific cultural cooperation projects in the framework of Nordic Baltic 8.

248 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003

SECTION IV: Activities

1. Foremost activities

In order to facilitate the cultural cooperation activities of cultural organisations and other agents, the public authorities in Latvia have introduced several facilities alongside the agreements and follow-up programmes.

1.1. Training and Mobility For training and mobility purposes there is an annual scholarship, residence and mobility grants programme administrated by the Ministry of Culture with an Expert Council, which sits once a year. Its budget is 43,700 €.

There is an earmarked financial package within the Culture Capital Foundation, distributed four times a year, coinciding with its decisions on competing projects in each sectorial council and in the intersectorial council. The Culture Capital Foundation has over 8 million € at its disposal annually. In 2002, 120 scholarships were granted for study opportunities in Europe for a sum of over 100,000 €, which is 5.69% of the total number of projects supported and 3.07% of the sum spent in grants on a project basis. For mobility purposes, 303 projects were supported last year, for a sum of 183,582 €, which is 14.37% of the total number of projects supported and 5.54% of the money spent on a project basis.

1.2. Arts Production As regards the production of international exhibitions and the co-production of works in the performing arts, there is a financial programme "Important International and National Events", financed by the Culture Capital Foundation and administered by the Ministry of Culture with Members of the National Board of Culture (Minister's advisory board) in the role of experts. In the year 2003 the programme has 625,000 € to spend and the following events are planned:

 In the Books and Literature sector, the activities concentrate on jubilee events, poetry events, a translation workshop, and, with roughly € 23 500, participation in the Leipzig Book Fair. A total of approximately 81 000 € is assigned to the sector. In terms of traditional culture, an International Festival called “Baltika 2003” is being planned with a budget of about 97 000 €. The Visual Arts have 76 000 € to spend on exhibitions of highly acclaimed artists, up-and-coming artists, New Media Culture, Period Painting, and other events.

 The Music sector sports two main event types. One is the guest performances and tours of the National Orchestra, Opera, and Theatre, to which around 128 000 € are assigned. The other is the International Festivals of contemporary, classical and jazz music; 72 800 € are set aside for them. For the Film Sector, Festivals and Symposia are the prevalent type of activity, totalling 81 000 € for the coming year. In Theatre, International Festivals take up 66 400 €: the total budget of the sector runs up to 89 100 €.

249 Annex I – National reports - Latvia

1.3. Distribution and Dissemination: Art Monthlies in Latvian with English digests are “arogs" for literature, "Teâtra Vçstnesis" for theatre, "Mûzikas Saule" for music, "Studija" for visual arts, "Mâksla Plus" for visual and performing arts, "Kino Vçstis" for films. They are all subsidised.

In addition to these, there are news bulletins in English: ITI Latvia, Films in Latvia, Homo Novus. The Ministry of Culture also publishes an annual Pamphlet "the Calendar of Culture" with all major planned events.

1.4. Research Exchange of good practice in general, and expert meetings in particular, take place bilaterally during official and working visits, conferences of the sector, and in regional and multilateral cooperation structures like The Baltic States Cultural Committee, and Council of Europe hosted meetings and teams of experts.

1.5. Restoration and Heritage Preservation Co-financing of joint projects in restoration, as well as workshop types of exchange is provided by the Culture Capital Foundation.

1.6. Translation and library exchange Translation is promoted by the Literature Information Centre (Non-profit entity), its policy being defined by experts from the Writers' Union. The finance comes from a subsidy from The Ministry of Culture (35 600 €) and project money from The Culture Capital Foundation (16 200 € approximately). Library exchange is also supported by the regular budgets of libraries and the Culture Capital Foundation.

2. National Cultural Institutes operating in Latvia

The British Council Apart from specifically British events, it is also active on the Latvian cultural scene. It co-produced an internationally toured musical performance based on Ahmatova's poetry with the Latvian Radio Choir in 2001, supported a new museology master's programme and a bachelor's programme of modern dance at the Latvian Academy of Culture, is supportive of capacity building in Latvian cultural institutions and has supported contacts among Latvian and British libraries, museums and archives.

The French Culture centre Apart from the extensive importation of French produced art and music productions and ballet, it has supported the publishing of a French-Latvian Dictionary, and co-produces cultural events at high-schools and higher education establishments, where French is taught.

The Goethe Institut It is active in both directions. Many activities are related to Baltic-German cultural roots and to personalities of Baltic German origin. The project " Sleipnir" grants

250 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 young artists fellowships for residencies in Germany. It also supports new media and mobility, as well as translations of literature in both directions, and scholarships for writers.

All three institutes offer facilities for language learning (especially for civil servants, including the cultural sector).

The Danish Culture Institute It is active in practically all cultural centres, supports the mobility of Latvian artists and musicians, and co-produces a number of exhibitions, concerts, performances and cultural activities in the specialised culture high-schools and academies.

The Nordic Information Centre This centre also works in both directions, supporting translations of modern Nordic Authors into Latvian, art and management student mobility, and co-producing art and music events.

All the centres and institutes have permanent and changing exhibits of modern Latvian and their own art in their premises. The Swedish Institute is not housed in Latvia, but is actively involved in many common bilateral and multilateral projects in arts, music, heritage preservation, research, exchange of good practices and publications.

3. Forthcoming Activities 2003-2006

A great number of international events from all the main cultural sectors discussed above, as well as additional ones (textile, design, new media), will take place in Latvia over the next three years. If one particularly active area were to be singled out, it would have to be the music sector, with events ranging from traditional through classical music to the Eurovision Song Contest, followed by the performing arts. They cover all basic forms of cooperative models, from International Festivals, Guest Performances of Foreign companies, co-productions, exhibitions, etc.

The following cultural events with a European relevance are to be organised in Latvia in 2003 (Recurring cultural events will be marked by (+); the interval in years will be indicated if the event does not take place every year e.g. (+5)):

7.01. Rîga, Exhibition Latvia at Saint-Eetienne International Design Biennial. Post Factum (Latvian Contemporary Art Centre) Tel. 7222235, fax 7229736, E-mail: [email protected]

01.-12. Rîga, Music Tradition Festival of Riga Music (Folk Art Centre) Tel. 9535653, 7228985, fax 7227405, E-mail: [email protected]

251 Annex I – National reports - Latvia

02. Rîga, Conclusion Event of the Contest of Book Art Year Award in Book Edition (Latvian Associatiation of Book-Printers) (+) Tel. 7282392, 9407288, E-mail: [email protected]

7.-23.02 Rîga, Exhibition of Works of Latvian and Estonian Textile Artists (Latvian Contemporary Arts Centre), Tel. 7222235, fax 7229736, E-mail: [email protected]

15.-16.02 Rîga, Review of Amateur Theatre Productions Show of the Year 2002 (New Theatre Institute) (+), Tel. 7228985, fax 7227405, E-mail: [email protected]

18.-23.02 Rîga, Liepâja, International Saxophone Music Festival SAXOPHONIA (Private Management) (+), Talsi, Cçsis, Limbaþi Tel. 9407935, E-mail: [email protected]

21.-23.02 Daugavpils, 4th Daugavpils International Masque Tradition Festival (The City of Daugavpils, State Folk Art Centre) (+) Tel. 7228985, fax 7227405, E-mail: [email protected]

21.-23.02 Rîga, International Review of Latvian Theatre Productions (New Theatre Institute) (+), Tel. 7212622, fax 7212471, E-mail: [email protected]

6.-9.03 Riga, 6th International Printing and Publishing Exhibition, Latvia Book Festival Tel. 7529918, fax 7550493, E-mail: [email protected]

8.03 Rîga, Grand Music Prize Ceremony and Concert (Ministry of Culture) (+) Tel. 7078116, 9249328, fax 7078107, E-mail: [email protected]

11.-16.03 Liepâja,11th International Piano Star Festival Liepaja (+) Tel. 3425538, 9535606, fax 3481478, E-mail: [email protected]

11.-12.03 Rîga, 8th International Kokle Music Festival (State Folk Art Centre) (+)

Tel. 6533209, E-mail: [email protected]

22.-23.03 Rîga, International Sport Dance Competition Riga (Riga School of Dance) (+) Tel. 7205215, fax 7205213, E-mail: [email protected]

24.-30.03 Rîga, International Festival of Music Schools of Baltic Sea Town Union (+) Tel. 7043668, fax 7043671, E-mail: [email protected]

252 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003

28.03-30.04 Rîga International Music Festival BACH (The Latvian Agency for Concerts) Tel. 7205490, 7205485, fax 7213497, E-mail: [email protected]

24. -28.04 Rîga, International Modern Music Festival Concours Moderne Tel. 7228684, fax 7820271, E-mail: [email protected]

24. - 30.04 Rîga, 8th International Baltic Ballet Festival (Private Management) (+) Tel./fax 7 220513, 9288318, E-mail: [email protected]

25.- 27.04 Rîga, 6th Riga Book Fair (Latvian Assoc. Of Book-printers) (+) Tel. 7282392, 9407288, fax 7225843, E-mail: [email protected]

04-05 Rîga, 6th International New Media Culture Festival Art + Communication (Private Management) (+) Tel. 7228478, E-mail: [email protected]

05. Daugavpils, The Slavonic Culture Week (city of Daugavpils) Tel. 5410951

20.-22.05 Sigulda, 13th International Young Musicians Competition Sigulda 2003 (+) Tel. 7972546, fax 7972456, E-mail: [email protected]

24.05 Rîga, Eurovision Song Contest, Finale, (Latvian Television) www.ltv.lv

24.05 May, Rîga and other towns, International Museum Day events (L atv i an Museum Authori ty) (+ )

Tel. 7593870, fax 7228083

1.- 2.06 Liepâja,5th International Children Song Festival Let it Sound (City of Liepaja) (+) Tel. 3404780, E-mail: [email protected]

10.- 20.06 Rîga, Riga Opera Festival (Latvian National Opera) (+) Tel. 7225747, 7073705, fax 7228930, 7212270, E-mail: [email protected]

18.-22.06 Valka, 4th International Theatre Festival Tâlvils (+) Tel. 7228985, E-mail: [email protected]

26. -29.06 Rîga, International Music Festival Riga Rhythms (Latvian Radio) (+) Tel.6532856, tel./fax 7172705, E-mail: [email protected]

29.06-6.07. Rîga, 23rd All-Latvian Song and Dance Festival (Ministry of Culture, Folk Art Centre) (+5)

253 Annex I – National reports - Latvia

Tel. 7228220, E-mail:[email protected], www.dziesmusvetki.lv

1. -7.07 Liepâja, International Painter and Graphic Artist Workshop Town and Sea Tel. 3423503

9. -13.07 Rîga, Sigulda,Latgale, International Folklore Festival Baltica 2003 (Folk Art Centre) (+2) Tel. 7228985, 7043669, fax 7227405, 7043671, E-mail: [email protected],

17.- 20.07 Rîga, Bauska, Rundâle, 9th International Early Music Festival (Latvian Concert Agency) (+) Tel. 7205490, fax 7213497, E-mail: [email protected]

25. -27.08 Sigulda, 11th Opera Music Festival (Private) (+) Tel. 9515607, tel./fax 7277900, E-mail: [email protected]

4. -9.08 Saulkrasti, International Saulkrasti Jazz Festival (+) Tel. 9265151, fax 2954160

21.08-4.09 Riga, 6th Riga Sacral Music Festival (+) Tel./fax 7223839, E-mail: [email protected]

29.08-5.10 Rîga, Exhibition Fluxus (Joseph Beuys, Nam Jun Paik, Jonas Maèunas) Tel. 7325051, fax 7325051, E-mail: [email protected]

12. -14.09 Limbaþi, International Amateur Theatre Festival Joy of Playing (Folk Art Centre),

Tel. 7228985, E-mail: [email protected]

13.-14.09 Rîga, European Cultural Heritage Days Post-War Heritage in Latvia (latvian Culture Heritage Inspection) (+) Tel. 7229400, fax 7228808, E-mail: [email protected]

19.09-5.10 Rîga, International Festival of Contemporary Theatre Homo Novus 2003 (New Theatre Institute) (+) Tel. 7212622, fax 7212471, E-mail: [email protected]

10. -22.10 Rîga, New Music Festival Arena (Private) (+) Tel. 6426611, E-mail: [email protected]

7. -9.11 Rîga, 3rd Contemporary Music Festival Live Music Tel. 7043666, fax 7043671, E-mail: [email protected]

254 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003

8.11 Sabile, Latvia Gipsy Children and Youth Music Ensembles Festival Urdenoro Tel. 9167610

14. -16.11 Rîga, Latvian Drama Review (+) Tel. 9658613, 6446903, 7611136, E-mail: [email protected], [email protected]

11 Rîga, Baltic and Nordic Contemporary Dance Festival Nu Norden Tel. 7212622, 7314418, fax 7212471, E-mail: [email protected]

16. -18.11 Rîga, Celebrations of the 85 Anniversary of the Republic of Latvia (+) Tel. 7043649, fax 7043671, E-mail: [email protected]

12 Rîga, Seminar for the Translators of Latvian Literature Tel. 7555180, fax 77554034, E-mail: [email protected]

20.12. Jelgava, Ice Festival (City of Jelgava)(+)

Tel. 3023461 Source: Ministry of Culture of the Republic of Latvia http//www.km.gov.lv

255 Annex I – National reports - Liechtenstein

LIECHTENSTEIN

SECTION I: Introduction

Liechtenstein consists of 160km² of mountainous territory tucked in between Switzerland and Austria, and has a population of just over 30.000 living in 11 municipalities. Politically, too, it is an exception to the European rule, as its hereditary constitutional monarchy based on a parliament just asked for, and was granted, greater monarchic competences against the government. The Principality of Liechtenstein was established within the Holy Roman Empire in 1719; it became a sovereign state in 1806. Until the end of World War I, it was closely tied to Austria, but the economic devastation caused by that conflict forced Liechtenstein to conclude a customs and monetary union with Switzerland.

Both the Catholic Church and the Historical Association for the Principality of Liechtenstein, founded in 1901 by a group of private persons, have been considered the most important institutions determining culture in Liechtenstein for much of the 20th century. Cultural policy in Liechtenstein was first introduced in the 1960s and 1970s (quite late in comparison to other European countries) and developed out of a reaction to private initiatives. Several important cultural institutions, bodies and laws were established. A new phase of cultural policy development began in the 1990s, with a strong focus on promoting cultural activities and coordinating the cultural scene more effectively.

Given its size, Liechtenstein is not a separate, self-contained cultural area. For centuries, active cultural exchange has taken place with the entire region, including the Lake of Constance area. Due to it having joined various international organisations over the years, cultural cooperation has further developed across the country’s borders. Today, representatives of Liechtenstein work and cooperate in several of these international organisations, sub-organisations and other committees. Many public law or private cultural institutions and associations, as well as private persons, participate in international or regional programs. As an example, one could name the International Archives Council, the Museum and Castle Association of the Lake of Constance Area, the European Music Academy Union, the International Music Association, etc.

An aim of public cultural sponsorship consists of the wish to present Liechtenstein’s artistic and cultural creation on the international stage. This aim is twofold. On one hand, cultural players and artists should be able to present themselves in the international environment and find stimulus for further developments there. On the other hand, the presence of Liechtenstein’s artists in other countries also shapes and contributes to the image of Liechtenstein abroad. Invitations to foreign artists and cultural agents to spend time in Liechtenstein also supports these aims. The

256 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 confrontation with art and culture across the country’s borders also enriches artistic activities, and creates valuable contacts and networks. In order to foster all these general aims, the Liechtenstein Advisory Council of Culture drew up concrete directives in 1999.

SECTION I: Structures, competences, institutions

1. Ministries and arm’s length bodies

National cultural policy making and the promotion of culture is largely the responsibility of the Ministry for Culture and Sports, and of the Ministry of Education, which is responsible for arts education in the Arts Academy and the Music School. Given that Liechtenstein has a Collegiate Government, decisions (including of course cultural and international affairs) are generally taken by the entire Government.

A State Advisory Council for Culture was established in 1964; it consults the Government on the promotion and co-ordination of cultural affairs, including the presentation of information and documentation about cultural activities. The Unit for Cultural Affairs, set up in 1999 as part of the Ministry for Culture and Sports, carries out cultural projects while supporting the Ministry and the State Advisory Council for Culture. It is also responsible for the management and distribution of assets belonging to "Pro Liechtenstein", a non-independent public foundation. The main activity of the Advisory Council is to examine grant applications and make recommendations.

Some tasks in cultural affairs are delegated to government offices (National Archive, Units for Archaeology, Historical Monument Preservation, Cultural Heritage, Postage Stamp Design), and arm’s length bodies. These latter usually take the shape of public law foundations and include the National Library, the National Museum, the Fine Arts Museum Liechtenstein, Adult Education Liechtenstein, the Arts and the Music School.

The competence for transnational cultural cooperation and agreements rests on the one hand on the collegiate government, and the respective departments apply to the collegiate government for funds. On the other hand, cultural cooperation on an international scale is also part of the above mentioned government offices, institutions and foundations. Within the framework of their remits, they can establish cooperation models (e.g., with other cultural institutes, media or event organisers), and become members of international organisations.

There is no specific budgetary data on transnational cultural collaboration available, nor can it be deduced from the annual State Financial Report or the State Finance Laws. The cultural institutions named above receive an annual state subsidy, a part of which can be dedicated to transnational cultural activities. Concrete data on the subdivisions of these accounts is not, however, accessible.

257 Annex I – National reports - Liechtenstein

2. Local authorities

Liechtenstein’s population of just over 30.000 live in 11 municipalities (Gemeinden). After the above mentioned private foundations and associations, these local authorities are collaborative partners with the state in cultural matters. They are responsible for investments, the support and the promotion of local cultural associations, traditional customs, national treasures, historic monuments and various local cultural events.

There is regular contact between the various levels of Government. At the invitation of the Ministry for Culture and Sports and of the State Advisory Council for Culture, the chairpersons of the local culture commissions have met regularly since 1996 to exchange information and experiences. A "Culture Discussion Circle", (est.1996) unites representatives of the cultural institutions throughout the country and is chaired by the Minister for Culture and Sports.

SECTION II: Documents, Legislation, and Agreements

1. Documents and Legislation

The following laws or policy directives concern the promotion of culture, or provide a basis for transnational cooperation in this field.

Promotion of Culture Act, 12.09.1990 - Ordinance to the Promotion of Culture Act, 2.09.1997

Directives of the State Advisory Council: Directive for the award of stipends for one-year practical training abroad, 7.12.1999 Directive for the award of subsidies to performances abroad, or the participation in youth camps of music groups, etc. 7.12. 1999 Directive for “Cultural exchange upon invitation”, 6.7.1999 Directive for “Cultural exchange projects with reciprocal exchange of artists and cultural players”, 7.12.1999

The latter (directive for cultural exchange projects) may serve as an example of the manner in which the directives are meant to function. In the official text, the directive explicitly defines cultural exchange programs as reciprocal and balanced, and thus as serving the double aim of introducing foreign culture into Liechtenstein, and of making Liechtenstein’s culture known in other countries. It also insists on the necessity of implicating local culture and local audiences. As a precondition, the directive stipulates that a given project include partners from at least two countries, preferably form OSCE member states, and allows it to be

258 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 initiated either by the state or by individual cultural institutions or agents. From an organisational point of view, the directive specifies that the institution carrying out the exchange needs to submit an application (including budget) to the Advisory Council of Culture, in order to receive in turn the respective organisational and financial outlines or conditions. Two modes of financing are envisaged: first, that the sender country finances its own artists with a sum or stipend, or second, that the receiver country or the responsible organisation finances the residency. Depending on the contents and evaluation of the project, the costs will be covered or co-financed by the Advisory Council, other State Offices, or by cultural institutes and organisations.

2. Bi- and Multilateral Agreements

Liechtenstein has signed several bilateral and multilateral agreements or accords; they are listed below. Liechtenstein has ratified important international treaties related to culture as part of its increased commitment to foreign policy in recent years, including treaties of the Council of Europe, the European Economic Area (EEA) and the European Union. Priority is accorded to those agreements which refer to the areas of general cultural cooperation in the Council of Europe, the protection of architectural and archaeological heritage, and the protection of cultural goods in case of armed conflict. Liechtenstein is a member of the Culture Committee of the Council of Europe and is participating in the new EU Culture 2000 programme and in the Study Group for Cultural Matters of the EEA. Liechtenstein also participates in the Regional Conferences of Eastern Switzerland and of the Lake of Constance Area, and has annual bilateral contacts with officials responsible for cultural matters in the various Swiss cantons and in the Austrian Bundesland of Vorarlberg.

On a bilateral level, one agreement has been of specific importance. Signed in the year 1996 with the Russian Federation, it pertains to an agreement to foster reciprocal cultural exchange, and has seen its first practical implications in, for example, the Zotow Exhibition in Moscow (1998). Generally it should be noted that projects of transnational cultural cooperation can be and are conducted without the existence of a concrete agreement.

The agreements and accords are as follows:

- European Cultural Convention, 19.12.1954 (LGBl. 1979, Nº 38) - Convention for the Protection of the Architectural Heritage of Europe, 3.10.1985 (LBGl. 1988, Nº 20)

259 Annex I – National reports - Liechtenstein

- European Convention on the Protection of the Archaeological Heritage in Europe (revised), 16.01. 1992 (LGBl. 1997, Nº 10) - Agreement of Haag on the Protection of Cultural Goods in case of armed conflicts, 14.5.1954. (LGBl. 1960, Nº 17) - Joint Declaration between the governments of the Principality of Liechtenstein and the Russian Federation on Cooperation in the areas of Culture, Archives and Youth Exchange, 4.9.1996 (not published).

SECTION IV: Activities

1. Principal Activities

1.1. Training and mobility Two stipends for a one-year practical training abroad are awarded to two artists resident in Liechtenstein per year. The stipends are based on the Promotion of Culture Act (12.09.1990). According to § 7 of this act, individual artists or cultural agents can be funded to carry out a one-year residency abroad. Generally, two such stipends are awarded each year, and the different cultural sectors considered. The one-year residency abroad is meant to grant each artist the opportunity for work, training and the development of his/her creative capabilities over a longer period of time and without financial strains. It is generally directed at young artists at the beginning of their professional career.

Subsidies support the cultural exchange between the Tangente in Eschen (a cultural centre organising contemporary music and art events) and the district Treptow/Köpenick in Berlin. The cultural exchange between Liechtenstein and Berlin was initiated with an exhibition of the Liechtenstein artist Evelyne Bermann in Berlin in 1997. In 1998, Berlin artists returned the visit with exhibitions in Liechtenstein, and joint exhibitions have subsequently taken place in Berlin-Treptow. With the directive RA 98/2139, the Liechtenstein government has welcomed the initiative, and has since supported it financially. The Advisory Council has taken over the patronage.

Subsidies also support the Artists-in-Residence program Atelier 11, run by the Aterrana Foundation in Triesen. The Aterrana Foundation has been organising cultural exchange programs in the studio Atelier 11 for several years now. Some of these projects were financed through the accounts of the Pro Liechtenstein foundation. Artists from Senegal, Israel, France and Yugoslavia exhibited in Liechtenstein, with a return visit of Liechtenstein artists to the respective country in the following year. This year, another program is being developed with the Netherlands.

1.2. Arts production The Fine Arts Museum Liechtenstein in Vaduz organises co-productions (Exhibition Projects carried out with other museums). These include retrospectives such as the

260 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 current one on the Czech artist Frantisek Kupka which, under patronage of the French ambassador in Switzerland and Liechtenstein, unites paintings from collections of the Centre Pompidou and the Musée National d’Art Moderne, Paris. An accompanying catalogue has been edited in co-production with the Centre Pompidou.

There are also cooperation projects by the National Museum of Liechtenstein with other museums (Exhibition Projects), cooperation Projects taking place in the Arts Space, Engländerbau, Vaduz, and others undertaken by the Theater am Kirchplatz, Schaan.

1.3. Distribution and dissemination Dissemination of information takes place through various internet websites, which are coordinated via the portal www.liechtenstein.li. Equally, information on cultural institutions is distributed to selected addresses in the international world (for example the regular publications by the theatre Theater am Kirchplatz and the Fine Arts Museum Liechtenstein); generally, there is a good deal of information exchange between the cultural institutions and foreign institutes.

1.4. Restoration and Heritage Preservation On 22 September 2001, and for the ninth time in Liechtenstein, the annual European Historical Monument Day took place. With the theme “Living in the Monument”, it concentrated on inhabited historical monuments. Competences rested with the respective Offices for Heritage and Archaeology of the Building Authority.

1.5. Translation and Library Cooperation The National Library in Liechtenstein is part of the networks CENL (Conference on European National Libraries), and IFLA (International Federation of Library Associations and Institutes).

1.6. Others International activities carried out by artists resident in Liechtenstein generally receive public financial support. Applications need to be submitted to the Advisory Council. A flat rate allowance is usually made in the fine arts sector; organisations receive subsidies per person/day.

There are no national cultural institutes active in Liechtenstein, nor does the country have a national cultural institute itself.

2. Forthcoming Activities in Liechtenstein, 2003-2006

Given the size of the country, few major cultural events have a decidedly European relevance. Exceptions to this rule are:

261 Annex I – National reports - Liechtenstein

- the Artists’ Seminar of the International Conference of the countries bordering the Lake of Constance (IBK); to be held on 6–10 August 2003 in Vaduz. - Cultural Projects taking place as part of the Opening Ceremony of the Liechtenstein Embassy in Berlin, 2004. - International Master Classes of the Liechtenstein Music School (annual)

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LITHUANIA

SECTION I: Introduction

Located in the centre of Europe, Lithuania is situated at one of the largest crossroads of the continent, and shares borders with Latvia, Belarus, Poland and the Kaliningrad region of the Russian Federation. Traditionally, cooperation within the Baltic sea region has played an important role for the country. After decades of Soviet rule following the German Occupation in the Second World War, independence in 1990/1 ushered in a profound restructuring of the administration and the cultural policy model, and led to the Principles for Lithuanian Cultural Policy, finally adopted in 2001. A document geared to the specification of long- term goals and tasks for Lithuanian cultural policy as well as cultural development guidelines. The debates surrounding its creation focused on issues such as cultural democratisation, national cultural heritage, the diversity of creative activity, and cultural self-governance. Especially over the past half decade, efforts to enlarge transnational cooperation have increased markedly, and have resulted in the creation of specific cooperation bodies, the signing of bilateral agreements and participation in multilateral regional cooperation groups in the EU, Baltic and Nordic areas.

The most evident current trend in transnational cultural cooperation, from a Lithuanian government point of view, is the need to promote the image of the country. It is treated as indispensable step in attracting foreign investment, developing tourism, etc., although promotion is here understood as a mutual cooperation process, not necessarily as a unilateral promotion activity.

Another trend would be EU integration, which has been considered the most important process in Lithuania over few last years. As part of the prevalent tendency throughout the Lithuanian administration to integrate most of the sectors and their activities into an EU stream, the Lithuanian Ministry of Culture has joined two EU programmes — Culture 2000 and Media Plus. These decisions have a pragmatic component, as Lithuania has paid a fee to participate in the programme, and the cost-effectiveness of Lithuania’s participation in EU programmes might be measured by comparing participation fee to the amount of money Lithuanian projects will receive in support from EU programmes. Because of this pragmatic moment it is easier for the projects, getting EU grant, to obtain additional funding from Lithuanian support mechanisms. Only those Lithuanian projects, which contain an explicit transnational cooperation dimension, can take part in the exercise, and will be funded by Lithuanian support mechanisms. And it procedure has been found successful.

EU integration has another impact on cultural cooperation, especially in those fields which are not purely cultural, but where culture is related to socio-economic and regional development, tourism, information technologies, etc. Lithuanian partners welcome different transnational projects, be they conducted on the basis

263 Annex I – National reports - Lithuania of some EU programme or on a bilateral agreement with another EU member state .

SECTION II: Structures, Competences, Institutes

Three main institutions in Lithuania, each with a greater or lesser degree of involvement, are either directly competent or have been officially given the remit by national authorities to conduct transnational cultural cooperation. They are the Ministry of Culture, the Ministry of Foreign Affairs, and the Lithuanian Institute. Several arm’s length organisations, funds, and institutes also play a role in cultural cooperation. The local authorities’ capacity for cultural cooperation, in contrast, is usually limited.

1. The Ministry of Culture

The Ministry of Culture is a central institution for cultural policy planning, co- ordination, monitoring, financing and implementation; it has been transformed several times in the 1990s. In addition, it bears the responsibility for monitoring the activities of the national cultural institutions. The International Relations and European Integration Department of the Lithuanian Ministry of Culture has the biggest official budget allocated for cultural cooperation. In the year 2002 it was 3 066 000 Litas (approx. 900,000 €). The amount also includes the subsistence expenses of 5 cultural attaches in different countries (European Community, France, Poland, Russia and Sweden), covering their social security, medical insurance costs, apartment rent, etc. Membership fees in different international organisations (e.g. UNESCO) and programmes (e.g. Culture 2000, Media Plus) are covered from this budget too. 11,500 € are destined for the Council of Europe’s European Cultural Routes, and 3,000 € are spent on cultural cooperation in the Baltic region (Ars Baltica). Another part of the budget is allocated to funding institutions related to cultural cooperation, such as the Lithuanian Cultural Contact Point (Europos kulturos programu centras) or the Lithuanian Institute. Although a separate budget listing is not available, the budget allocated directly to support transnational cooperation projects is estimated to have amounted to approximately 45,000€ in 2002. Approx. 23,000€ of this sum were assigned to the visual arts sector through funds to support the international activities of the Contemporary Arts Centre.

The Book Publishing and Library Department of the Ministry of Culture also allots part of its yearly budget for international cooperation in the book sector. In the year 2003, approx. 58,000€ have been assigned as a grant for the public institution “Lietuviškos knygos” (“Books from Lithuania”), in order to promote the translation of Lithuanian authors into foreign languages. Another 20,500€ cover the expenses of organising and/or participating in international book fairs. The Heritage Department of the Ministry of Culture has a budget of around 84,000 € for

264 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 international cooperation projects. The Department participates in the programmes of the Council of Europe, and engages in EU related transnational cooperation (Culture 2000, e-Content, PHARE, Interreg III).

2. The Ministry of Foreign Affairs

The Information and Culture Department of Lithuanian Ministry of Foreign Affairs has a budget of approximately 87,000 € for the promotion of Lithuanian culture and other achievements in foreign countries. Around 29,000 € of this sum are allocated to Lithuania’s national cultural institute, the Lithuanian institute. The other 2/3rds of the budget covers the expenses of organising international events and touring Lithuanian artists and their works abroad.

The competences of the Ministry of Culture and those of the Ministry of Foreign Affairs are related in the field of cultural cooperation, yet serve distinct priorities. Whereas the latter would prioritise the presentation of Lithuanian artists and culture abroad, the former would see their role as promoting foreign cultural events in Lithuania. In practice, this division has not always been maintained.

3. The National Cultural Institute: The Lithuanian Institute

The Lithuanian Institute is a public institution founded in 2001 by the Ministry of Foreign Affairs, the Ministry of Culture and the Ministry of Education and Science of Lithuania, with the support of the Swedish Institute. Its web-publicised mission statement reads:

“The Lithuanian Institute is entrusted with disseminating knowledge about the Lithuanian culture and society abroad, and with co-ordinating these processes. Exporting exhibitions, musical concerts, Lithuanian cultural presentations, festivals, making promotional films, books or articles, organising cultural programmes for visits of state officers, promoting Lithuanian language - everything and more could be included. …. The principal task of all the activities is to make Lithuania visible…“

The annual budget of the institute is approximately 87,000 EUR, with 30,500 € destined to presenting Lithuanian culture abroad, another 30,500 € planned for creating a database, a cultural events calendar and producing publications, and 17,400 € allotted for organising international seminars on cultural cooperation issues. The Institute operates in Lithuania only; there are no plans to establish branches in other country.

4. Arm’s length organisations

The Lithuanian Cultural Contact Point (Europos kultūros programų centras) is entrusted with the coordination of Culture 2000. This mandate has been gradually

265 Annex I – National reports - Lithuania developing, and the CCP is now the source of information when seeking EU funding opportunities for a cultural project. Its website provides information on cultural operators seeking partners for European projects – both in Lithuania and abroad, it is also active in promoting opportunities for cultural projects in Structural Funds support scheme.

A number of sectorial bodies which do not exclude cultural cooperation from the scope of their activities are the so called “Creative Unions” (Lithuanian Writers’ Union, Lithuanian Artists’ Union, Lithuanian Architects’ Union, etc.). Some of these try to monitor international cultural activities in their sector, and several of them do this through public institutions, established mostly by the Ministry of Culture or by the Unions themselves. For instance, writers have their “Books from Lithuania”, artists the “Contemporary Arts Information Centre”, and cineastes the “Information Antenna”. However, all those institutions are funded either directly or indirectly by the Ministry of Culture. The activity of most cooperation agents is therefore determined by the Ministry of Culture itself.

If agents are not directly funded from the budget of the Ministry of Culture, they submit proposals to foundations that tend to be administered by the Ministry, such as the Festivals’ Support Fund or the Culture and Sports Foundation. The latter is the most important source for cultural projects, with approximately 1,780,400 € spent on cultural projects in 2002, 580,000 € of which went to projects with an international dimension. However, the Foundation is not a legal entity, and functions rather like a budgetary administrator. It has no right to engage in any sort of independent activities or to conclude transactions. While the resources of the Foundation are made up from revenues received from excise duties on tobacco and alcohol, the Ministry of Culture’s budget was simultaneously decreased by the same amount, thus making the foundation’s spending actually a funding mechanism of the Ministry, rather than an independent body.

The Open Society Fund Lithuania (from the Soros Foundation) has been virtually the only non-governmental source. The cultural programme has been closed this year.

5. Local Authorities

Most Lithuanian local and regional municipalities suffer from a lack of funding for their everyday needs, and therefore have limited ambitions to foster international cultural cooperation. However, the bigger Lithuanian cities do. For example, in 2001 the Vilnius Municipality assigned approximately 17,500 € to international cultural cooperation. In the year 2002, the Klaipeda Municipality spent approximately 54,245 € on international cultural cooperation, which equals 0,1% of the total municipal budget.

SECTION III: Documents, Legislation, and Agreements

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1. Documents and Legislation

The policy document “Programme 2001-2004 by the Government of the Republic of Lithuania” contains a few lines about the need to develop cultural cooperation and to promote Lithuanian cultural achievements abroad, as well as the necessity of supporting the Lithuanian Institute.

“To establish the legislative basis for the protection of artists’ interests by way of defining the cultural promotion strategy and tactics pursued by the state and creating an adequate environment for the activities of artists and their promoters, thereby avoiding resolution of cultural problems by market means alone.” (section: IV Culture)

“To draft a promotion programme for young artists, to create legal and economic conditions for their creative activities.” (Section: IV Culture)

“To develop a fully fledged cultural exchange by encouraging cultural organisations to participate more actively in the European Union cultural programmes and in the activities of international organisations.” (Section: IV Culture)

“To endeavour to make the enlargement of the European Union a stimulus for the development of Lithuania’s relations with its neighbours and other countries of the region as well as the implementation of cross-border cooperation projects.” (Section: Foreign Policy – 14.1. Integration into the European Union)

“To promote the development of the external relations between Lithuanian self- government structures, public and non-governmental organisations, academic institutions, youth organisations and their foreign counterparts.

To actively present Lithuania’s achievements and cultural heritage to foreign countries, primarily those of priority importance to Lithuania. To stimulate and promote the activities of a recently established Institute of Lithuania which is in charge of these matters.

To enable Lithuanians residing abroad and Lithuanian nationals who have left there country lately to develop their ethnic and cultural identity, to maintain contacts with the Motherland, to participate in developing economic and cultural co-operation between Lithuania and foreign states. With this in view, to use the possibilities provided by the activities of the Lithuanian diplomatic missions.” (Section: 14.4. Economic and Cultural Economy)

Another document, the “Strategic action plan 2003-2005 by the Ministry of Culture of the Republic of Lithuania” includes a comprehensive description of the programme to develop international cultural relations and to promote the image of Lithuania abroad.

267 Annex I – National reports - Lithuania

2. Bi- and Multilateral Agreements

Lithuania has signed a total of 26 bilateral agreements, of which 14 are with European countries considered in this report. They are the following:

Agreement between the Government of the Republic of Lithuania and the Government of the Republic of Bulgaria for cooperation in the field of education, science and culture,1996;

Agreement for the cooperation between the Government of the Republic of Lithuania and the Government of the Hellenic Republic in the fields of culture, education and science , 1997;

Agreement on cultural, educational and scientific cooperation between the Republic of Lithuania and the Kingdom of Spain, 1995;

Agreement between the Government of the Republic of Lithuania and the Government of Italy on cooperation in the fields of culture, education, science and technology, 1996;

Agreement between the Government of the Republic of Lithuania and the Government of the United Kingdom of Great Britain and Northern Ireland on co-operation in the fields of education, science and culture, 1996;

Agreement between the Government of the Republic of Lithuania and the Government of the Republic of Poland on the cooperation and interchange of youth, 1997;

Agreement between the Government of the Republic of Lithuania and the Government of Poland on cooperation in the fields of culture, education and science, 1998;

Agreement between the Government of the Republic of Lithuania and the Government of Romania on the cultural cooperation, 1995;

Agreement between the Government of the Republic of Lithuania and the Government of the Republic of Slovenia on cooperation in the fields of culture, education and science, 1997;

Agreement between the Government of the Republic of Lithuania and the Government of the Republic of Finland on Co-operation in the Fields of Culture, Education, and Science, 1998;

Agreement on the cooperation in the field of education, science, culture and sport between the Government of the Republic of Lithuania and the Government of the Republic of Turkey, 1994;

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Agreement on cultural, scientific and educational cooperation between the Government of the Republic of Lithuania and the Government of the Republic of Hungary, 1997;

Agreement between the Government of the Republic of Lithuania and the Government of the Federal Republic of Germany concerning the care of the graves of the German soldiers' in the Republic of Lithuania, 1996; Agreement between the Government of the Republic of Lithuania and the Government of the Federal Republic of Germany on the cooperation in the field of culture, 1993.

17 bilateral agreements with implications for cultural cooperation are currently in preparation, 6 of these with European countries. These are agreements between the Republic of Lithuania and France, Portugal, Luxembourg, the Czech Republic, Hungary, and Turkey. The agreement with France has been already signed – in the beginning of April, 2003.

The number of agreements and their geographical coverage indicate the formal nature of these documents, rather than their effectiveness as tools of transnational cultural cooperation. Hardly any direct or significant activities have come out of such documents. One of the most successful for cultural cooperation has in fact been a Cooperation treaty between the Government of the Republic of Lithuania and the Government of Flanders, 1996. Without the word “culture” being mentioned in the title of the treaty, it nonetheless initiated and fostered the relationship between Lithuanian and Flemish librarians, and workers in regional cultural centres.

While the quantity of countries Lithuania has signed or is about to sign cultural cooperation agreements with is increasing, the actual quality of the cooperation generated by these agreements is a different matter. Normally, cooperation agreements should be followed by an action programme, in which the specific activities are laid out. In fact, however, there is not a single action programme finalized to date; all of them are in the process of coordination between the countries. This might be due to the fact that these programmes should have to be agreed via diplomatic channels, which takes a long time, or because most of agreements cover cooperation in both the cultural and the education field, and the education side has its specific problems — mutual recognition of diplomas, provision of equal conditions for the students on both sides, etc., — which prevent the smooth operation of already lengthy processes . Or, finally, the programme is out of date before being agreed upon — the events foreseen in it either have take place already, or are forgotten. Another major problem, impeding these agreements from being a valuable tool of cooperation, is the fact that the Lithuanian side signs them without anticipating a budget to fulfil them.

Other transnational agreements, namely the transinstitutional ones which are signed by Lithuanian Ministry of Culture with its counterparts in other countries, fare better. Lithuania has such agreements with Ireland, China, Belarus, Ukraine, Russia,

269 Annex I – National reports - Lithuania and Poland, and has a trilateral agreement with Estonia and Latvia. These agreements are followed by action plans, which anticipate very specific activities.

The protocol of cooperation between Lithuanian Ministry of Culture and Polish Ministry of culture (2002-2003) may serve as an example here. It details the events to be organised in 2003, lists the participation of Lithuanian cultural representatives in a number of international theatre festivals, the projects to be supported, the operas to be staged, and the co-productions to be carried out.

It should be noted that all countries (with the exception of Ireland), with which Lithuania has transinstitutional agreements, belong to the former soviet/socialist area, and most of them are neighbours of Lithuania. This makes it difficult to judge whether transinstitutional agreements are more efficient because they continue within an old soviet neighbourhood tradition, or for some other reason.

SECTION IV: Activities

1. Principal Activities

1.1. Training and Mobility In 2002, 19 Lithuanian artists benefited from the Governmental Education Grant, a scheme financed by the Lithuanian Ministry of Culture in order to allow artists to participate in international symposia, and other training and mobility schemes. They shared 62,087 €. In 2002, the Culture and Sports Foundation gave out 4,348 € for exchanging artists’ residences with China

1.2. Arts Production The International Relations and European Integration Department of the Ministry of Culture allocates approx. 23,000 € for international exhibitions to be organised in the Contemporary Arts Center, approx. 19,000 € for the Cremerata Baltica, the youth chamber orchestra of the Baltic countries, and 72,500 € for participation in the Venice Biennale. Approx. 104,500 € will be spent on yet unspecified events in the countries with which Lithuania has signed or is about to sign cultural cooperation agreements. They mainly cover the visual arts (such as funds to participate in the Documenta 11 and in the Danish project Lux Europa, or to support projects of the Contemporary Arts Centre), the museum field (e.g. an archaeological exhibition with Warsaw) and the performing arts (participation in international dance fairs, concerts abroad, music and theatre festivals). For the latter at least, networks have become increasingly important. The most prevalent of these is organised through the Ars Baltica network, which also focuses on applied arts, cinema, and competitions.

In 2002, the Culture and Sports Foundation gave out grants to various co- productions and cooperation activities across the arts sector. Approx. 103,333 € went to support 58 visual arts projects, of which 43,043 € were destined for 19 projects for international exhibitions, and the participation of Lithuanian visual

270 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 artists in such actions organized abroad, 22,754 € for 10 international conferences and symposia on visual arts). Approx. 138,405 € went to support 30 musical projects (festivals, the presentation of Lithuanian music abroad, etc.), while a total of 14 dance and theatre festivals and tours received around 25,000 €. Cinema projects were funded with approx. 38,260 €. Theatre, cinema, dance, music, poetry, and other cultural festivals organised in Lithuania have also benefited from the governmental Support Scheme for Professional Art Competitions and Festivals held in Lithuania; 20 of those were international ones. Approx. 215,362 € were distributed for these purposes.

1.3. Research As for cooperation in research activities, not much has been done so far at governmental level. One expert and adviser to the former minister of Culture, however, who was active in this field while in his ministerial official capacity, has recently been promoting this field as a private expert (e.g. he has written the Lithuanian report for the Compendium on Cultural policies in Europe edited by ERICarts).

1.4. Restoration and Heritage Preservation The Heritage Department of the Ministry of Culture is the main body responsible for transnational cooperation in the field. It disposed of a total budget of 84,000 € for the year 2002. Several activities had a transnational dimension, such as the Days of European Heritage in Lithuania (devoted to wood architecture), a competition of children’s photos on the same subject, and the International Conference “Route of parks and Orchards: experience and European projects”: The Department also took part in a number of international conferences and working groups organized by the UN and the Council of Europe, and is active in the Baltic area co-organising Phare and Interreg projects that concern heritage protection.

1.5. Translation and Library Cooperation The Culture and Sports Foundation granted 146,200 € for 27 projects in the books and reading sector. Concretely, the Foundation gave 42,318 € to publish 15 translations, 8,115 € to organise 3 poetry festivals, 92,753 € for 7 projects promoting Lithuanian literature abroad, and 3,063 € to allow the participation of Lithuanian libraries in IFLA activities. Equally, the Libraries and Publishing Department of the Ministry of Culture is active financing cooperation activities, Poetry festivals can apply to the Support Scheme for Professional Art Competitions and Festivals held in Lithuania, and other projects may be financed via the Institution “Books from Lithuania”, which gets a direct grant from the Ministry of Culture. Lastly, the direct line from the Government Reserve Fund (otherwise intended to mitigate the results of floods and droughts) was granted to organise Lithuania’s guest presentation in the Frankfurt Book Fair.

2. National Cultural Institutes in Lithuania

271 Annex I – National reports - Lithuania

The British Council A quarter of the British Council’s budget is devoted to culture; and virtually all cultural initiatives are realized in collaboration with local partners. Among the most important cultural events to be organised by the British Council in Lithuania in 2002 were bringing 2 British films to the traditional Vilnius Film festival Film Spring; participating in the New Baltic Dance Festival; organising exhibitions at the Contemporary Art Center, and bringing artists (musicians, poets, DJs) to various festivals in Lithuania. The British Council has also been the main co-organiser for the traditional Vilnius New Drama Action, which in 2002 bore the name “British Challenge – Lithuanian Response”. The British Council has a reputation for promoting the UK as a country of young and modern art, concentrating on “cutting edge” rather than commercial projects. They are also open to meet the requests of Lithuanian artists while making their action plans.

The Goethe Institute Around 22% of the Goethe Institute’s annual budget is allocated to culture, and almost 100% is realised in collaboration with local partners. In 2002, the budget for cultural projects consisted of 43,500 €. As this year Lithuania was the guest of honour at the Frankfort Book Fair, most of the projects of the Goethe Institute were directly or indirectly connected with this event. It organised several international symposia (23,500 €), published an Anthology of Lithuanian and German poets, co- organised the Days of Lithuanian Culture in Munich and Frankfort, and ran an essay competition for young people learning German. It also brought several films and Werner Herzog himself to the Vilnius Film Spring (1,500 €), supported a theatre co-production (5,000 €) toured a Lithuanian production in Germany, and organised an interactive exhibition (29,000 EUR). Together with other National Institutes operating in Lithuania, the Euro-Pass event (1,000 €) was dedicated to the European day of Languages.

The French Cultural Centre One quarter of the French Cultural Centre’s budget is spent on cultural projects, all of which take place in collaboration with local organisations. It regularly brings French movies to the Cinema Club, hosted on its premises, and has a freely accessible media library in the French language. The Centre also brings French lecturers and professors to Lithuanian academic institutions; several conferences on the history of religion and philosophy were organized last year.

The events organised by the French Cultural Centre cover virtually all art forms. In 2002, it brought a French theatre company to the Children’s Theatre Festival; organised a festival of Lithuanian school theatres performing in French; and supported the staging of a Ionesco play. It also participated in international music festivals held in Lithuania by bringing French artists to those events, supported the Vilnius string quartet project, and facilitated the cooperation between Lithuanian and French Music Academies. Together with the British Council and Goethe institute, it co-organised a lyrics competition in the framework of the European year of Languages. As regards the visual arts, the Centre organises exhibitions of Lithuanian artists on their premises in Vilnius, and brings in exhibitions from France.

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In the field of heritage, the Centre cooperated with the Lithuanian Heritage Department in the seminar “Route of Parks and Orchards: European experience and projects” (with the participation of the Italian Cultural Institute) and took part in the European Heritage Days. In the books and reading sector, it promoted schemes to translate French authors into Lithuanian, and offered some grants for translators’ residencies in France. Every year, it takes an active part in the Vilnius International book fair. In the audiovisual field, the Centre also takes part in Film Spring (this festival itself was basically born from the initiative of the cultural institutes), and brought 3 representatives of ARTE TV to Vilnius to lead a seminar on cultural TV. They have also organized training for a Lithuanian cultural TV journalist at FRANCE 3.

In general, the French Cultural Centre is closely connected to the French Embassy and to the plans made in Paris. It is quite active in the traditionally “francophonic” regions of Lithuania, the small cities of Alytus, Panevezys, but it is rather complicated for a Lithuanian artist or institution to approach the centre with a local initiative, as its budget is very inflexible. The activities also always depend to some degree on the preferences of the respective director; at times, the centre supported mainly the “pure” arts (performing and visual arts), whereas it currently follows the “government to government” position.

The Polish Cultural Institute 85% of its total budget is allocated to culture, and nearly 90% of it is spent in collaboration with local partners. The Polish-Lithuanian relationship is historically very close and the activities of the Institute are quite visible. The biggest event of the last year was the project in collaboration Krakow meets Vilnius. The Institute takes part in the Film Spring and organises a Polish cinema week every year, as well as many smaller projects in the visual and performing arts, music and literature.

The Danish Cultural Institute Unlikely the institutions described above, the Danish Cultural Institutes receives funds from its home country only to cover administration costs; it thus has to raise the funds for its activity budget itself. In 2002, these activities included touring exhibitions of Danish artists through towns, libraries and conservatoires, coinciding with music festivals, while it presented an exhibition of Lithuanian Art in Denmark. Artists have been presented to a Lithuanian audience. It facilitated the participation of 2 Lithuanian artists in the Danish project Lux Europae (winner of the Culture 2000). In the music sector, it organised various music and dance co- productions or guest performances in both countries (amongst others to mark the Danish EU presidency),and contributed to festivals in Lithuania. It participates in joint performing arts ventures, especially in the form of theatre festivals and children’s theatre. Like the other institutes, it participates in the Vilnius Film Spring, and presented Dogma films in a project co-produced with most of the other National institutes “Academic screenings on European cinema history”. For the European Year of Languages, it organised an essay contest.

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The Danish Cultural Institute also organised conferences, seminars, and courses for the Thomas Mann Culture Centre Curatorial Meetings; facilitated the Lithuanian part of the Denmark Radio project producing radio programmes on the EU accession countries; held the final conference of a 4-year management course for cultural managers and administrators; and held International Master Classes for Wind Instruments lead by a Danish oboist. A great number of events, mainly musical, literary and culinary, marked Denmark’s EU presidency in Lithuania. In general, during 2002 the Danish Cultural Institute in Lithuania was the (co- )organiser of 8 exhibitions shown in 22 venues; 10 concerts at 14 concert halls; 5 theatre performances, 5 literature meetings; 2 film presentations; 3 seminars; and 5 study tours.

Italian Cultural Institute The cultural activities of the Italian Cultural Institute are financed from from the Institute itself, and from the Italian Embassy, a sum amounting to 78,000 € in 2002. It toured Italian groups through Lithuania (in co-operation with the Lithuanian Philharmonic society), took part in a series of festivals, and organised the presentation of soundtracks of the most famous Italian movies together with video projection. It also facilitated the participation of a Lithuanian artist in an Organ festival in Aquila. In the visual arts, it concentrates on co-producing exhibitions and bringing Italian artists to Lithuanian festivals. It too participated in the Film Spring, in dance festivals, theatrical and opera co-productions, and held master classes on autochthonous art forms.

3. Forthcoming Activities, 2003-2006

The main cultural activities produced with a transnational cooperative dimension in Lithuania over the coming years are, as they have been for some time now, annual events. They tend to take the shape of fairs (books, archaeology and crafts), festivals (music, dance, cinema, theatre and playwriting, literature), or are theme based (European Heritage Days). There are also a few tri- and quadrennial competitions, festivals and exhibitions, and one-off events (anniversary or specially sponsored festivals and seminars). The following list is a representative selection.

Baltic Book Fair (annual, February)

Kaziukas Fair of Folk Arts and Crafts (annual, March)

New Baltic Dance Festival (annual, April)

Kaunas Jazz Festival (annual, April)

International Festival “Cinema Spring” (annual, April)

International New Music Festival “Jauna muzika” (annual, April)

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International Folk Festival “Skamba skamba kankliai” (annual, May)

International Theatre and Playwriting Festival “New Drama Action” (annual, May - June)

International Pazaislis Music Festival (annual, June – August)

Vilnius International Classic Music Festival (annual, June- July)

Kernave Open Air Archaeology and Craft Days (annual, June)

International Thomas Mann Festival in Nida (annual, July)

European Heritage Days (September, annual)

Vilnius’ Capital Days and Franciskan Fair of folk masters and old crafts (September, annual)

International Festival Vilnius Jazz (September, annual)

International Short Films Festival “Tinklai” (September – October, annual)

Druskininkai Poetic Fall, literature festival (annual, October)

International Contemporary Music Festival Gaida (annual, October)

International M.K Ciurlionis Competition for Piano and Organ players (every four years, next in 2003)

Baltic Triennial of International Arts (every three years, next in 2005)

Song Festival of the Lithuanians of the World (July 2003, every four years)

International Theatre for Children and Youth Festival under patronage of ASSITEJ (May 2003)

Events of the 750th Anniversary of Mindaugas’ Crowning (July 2003)

4. Websites of Interest

International Relations and European Integration

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Department of the Lithuanian Ministry of Culture. www.muza.lt

Heritage department of the the Ministry of Culture: www.heritage.lt

Lithuanian Institute http://www.lithuanianinstitute.lt

Lithuanian Cultural Contact Point: www.durys.org

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LUXEMBOURG

SECTION I: Introduction

With a population of a little less than half a million, The Grand Duchy of Luxembourg is the country in Europe with the biggest number of foreign nationals, almost a quarter of the total population. Its rich cultural and linguistic diversity and small size has made Luxembourg particularly concerned with international cultural cooperation. The particular context of being situated at the cross-roads of two important cultural entities; France and Germany has given the cultural realities of Luxembourg with a special flavour. The co-existence of three cultures is reflected most clearly in the language but has given a context of cultural openness and multiculturality. Luxembourg is an active contributor to the European policies and an advocate of the strong participation of smaller European countries in the creation of the new European setting and development of European institutions. Despite its neutrality, Luxembourg was occupied twice by German troops during the two World Wars. In 1948, the country gave up its neutrality, to join the various economic, political, and military organisations of Europe. Already forming a close economic union with Belgium since 1921, the Grand Duchy is a founder member of the European Union, and was host to the first European institutions in 1953. Currently Luxembourg hosts the offices of the Commission of the European Community, including the Statistical Office (EUROSTAT) and the Publications Office, the Court of Justice of the European Communities, the general Secretariat of the European Parliament, the European Investment Bank, the European Court of Auditors, the Official Publications Office, the Nuclear Safety Administration, and the Directorate-General of 'Credits and Investments'. In addition, various other European Organisations (among which EFTA) also have offices in Luxembourg. Moreover, the sessions of the Council of Ministers take place in Luxembourg three months in the year (April, June and October). German and French culture meet in Luxembourg. Franco-German bilinguism, without any language differences, is a typical aspect of the country's social structure. If both German and French are used in the press, in political and in religious life, French is nevertheless the official language of the administration, jurisdiction, parliament, education, and of some literary circles.

Luxembourg fosters close and friendly relations with the neighbouring states through regional cooperation (Saar-Lor-Lux-Trier/Westphalia/Wallonia), for which a legal framework was established with the four-party Karlsruhe Agreement of 23 January 1996 between Germany, France, Switzerland and Luxembourg.

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SECTION II: Structures, competences, institutes

The Ministry of Foreign Affairs is the decisive authority for international cultural relations but it collaborates actively with the Ministry of Culture in matters regarding cultural and artistic cooperation. In general, Luxembourg focuses its international cooperation on the three neighbouring countries of France, Belgium and Germany and within the framework of these relations, supports bilateral agreements and relations, student and experts exchanges, awards scholarships, and makes grants for exhibitions and cultural projects with partner states.

Other bodies involved in cultural cooperation are the Ministry of Education and the Luxembourg Scientific Research Institute.

1. Ministry of Culture, Higher Education and Research

The Government of Luxembourg, through its Ministry of Culture, Higher Education and Research aims at collaborating closely with all the public and private cultural sectors in order to optimise resources and infrastructures. In order to promote cultural action, the Government (through the Ministry) has set different objectives, for example to reinforce the actions to promote artists from Luxembourg and to, in collaboration with the Ministry of Foreign Affairs, negotiate, sign and execute co- operation programmes based on bilateral agreements. The Ministry is studying the possibilities of adapting existing agreements to the new European setting and foresees signing agreements with new countries.

The Ministry is divided into various departments that deal with cultural heritage, audio-visual sector, literature, theatre, music, dance and visual arts. Its main duties are to promote the art and culture of Luxembourg and coordinate the activities of national cultural institutions. It finances different cultural events and projects, and also participates in the financing of the International Competition of Musical Improvement organised by the Luxembourg Conservator. It also finances the organisation of the International Forum for Flute, Violin and Piano organised in Diekirch.

The total budget of the Ministry is 148,5 € million of which 65.000 € are devoted to the cooperation with Karlsruhe Agreement countries, 155.000 € to the student and experts accommodations mentioned in bilateral agreements, 400.000 € to cultural cooperation activities with partner countries of Grand-Duchy Institute’s bilateral agreements. Furthermore, € 295.631 are devoted to study and other activities of the Institute with mentioned partner countries. In addition to these, 102.125 € are devoted to the harmonization of the cultural statistics within the framework of the European Union, 12.395 € to the cultural activity expenses of embassies and consulates of Luxembourg in other countries, 99.500 € to the participation of

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Luxembourg to the European Cities of Culture 2007 and 36.000 € in the organization of European Music Festival (June 24), organized simultaneously in different countries.

2. Arms-length institutes and advisory bodies

2.1. National Cultural Fund According the Article 2 of the Law on the establishment of the National Cultural Fund in 1982 as a public institution, the Fund has as its duty to receive, administer and use the grants and donations on behalf of public and private beneficiary institutions with an objective to a) promote the arts and sciences b) conserve, restore and assure the relevant affectation of the historic national cultural heritage, including both mobile and immobile heritage c) the Fund is situated under the tutelage of the Ministry of Culture concerning the administration of cultural affairs

The Fund received its resources from the national lottery (716.121, 40 € in 2002 ) and from different donations and sponsors ( 550.931,26 € in 2002). The National Cultural Fund is responsible for the promotion of arts and sciences in Luxembourg and abroad, and the preservation and restoration of the cultural and historical heritage. The Fund also subsidies associations or individual artists in various disciplines.

2.2. National Cultural Council Established in 1980 as an advisory body in designing the cultural policies of Luxembourg. The members of the National Cultural Council represent different ministries, cultural institutions and association involved in national and international cultural affairs.

2.3. National Centre for Literature The National Centre for Literature (NCL), housed in the former Servais house in Mersch, is a State cultural institution, dependant upon the Ministry of Culture, Higher Education and Research. The NCL is a centre for documentation and research into Luxembourg literature from 1815 until the present day, as well as a centre for socio-cultural events around the theme of books and reading. The Centre also promotes the literature of Luxembourg in various international events.

2.4. Grand-Ducal Institute Private independent institute partly financed by the state. It consist of six sections, among these are linguistics, folklore, the study of place names, as well as the arts and literature.

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SECTION III: Documents, Legislation and Agreements

Although there is no special legislation on international cultural cooperation, the government declaration of 1989 expounds the importance of cultural identity, cultural heritage, and of contemporary art and culture, as well as the significance of both regionalisation and decentralisation, and that of international co- operation at the regional and local levels.

Bilateral agreements Luxembourg has signed bilateral cultural co-operation agreements with several European countries not only to foster mutual knowledge, economy and commerce but the artistic creation and contemporary cultures. Through the bilateral cultural programmes, Luxembourg intends to strengthen the links between artists and different cultures and therefore participate in the creation of a new European setting, starting from bilateral relations.

In the recent years, Luxembourg has signed cultural co-operation programmes with Slovenia, Greece, Romania, and the Czech republic. Programmes with Bulgaria and Turkey are in preparation.

Austria Cultural Agreements were signed in October 1970 and in November 1985. These agreements include themes such as co-operation and exchange of experts in the field of preservation, co-operation and exchange of information between libraries, visits of artists in the field of visual arts, staging exhibitions in the field of visual arts, activities in the field of music, exchange of musicians and composers, exchange of authors for lectures and readings co-operation between theatres, co-operation between organisations related to cultural and documentary films, exchange of experts in the field of applied and visual arts, literature, music and film.

Belgium (Cultural Agreement 1967) Belgium and Luxembourg renew their cultural agreements every four years in so- called mixed commissions (including members from the central administration

280 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 and the communities). There are also individual agreements with the different Communities of Belgium, such as a Co-operation Agreement signed with the Flemish Community in December 2000, a Co-operation Agreement with the German Community, signed in August 2002 that focuses on education issues. Later on, a more general agreement was signed in November, 2002.

The Czech Republic Cultural agreement between the government of the Czechoslovak Socialist Republic and the government of the Grand Duchy of Luxembourg was signed in June 1976. In 2002, the two countries have signed an exchange programme in the areas of science, education, sports, youths and culture between the government for the years 2002 – 2005.

Finland Agreement on cooperation in the fields of culture, education and science, signed in Luxembourg in January 1994. Representatives of the two Parties met in Helsinki on 9-10 June 1999 and agreed on the cultural cooperation programme including mutual cultural promotion and exchange in the fields of exhibitions, music, literature, theatre, dace, film, museums and archives.

France Cultural Agreement signed in 1954.

Germany A Cultural Agreement between Luxembourg and Germany was signed on 28 October 1980 and entered into force on 1 March 1982. In one important provision, it guarantees access to German universities for Luxembourg students.

Greece Cultural relations between Greece and Luxembourg are based on the Cultural Agreement of September 1990 (ratified in 1992), which is implemented by means of three-year Cultural Programs, the current one being one for 2001 – 2004.

Italy First cultural agreement in 1956. Last executive programme in 1999 with deadline 2002.

Lithuania A cultural co-operation programme is under preparation.

Portugal Cultural Agreement and cultural cooperation programme for years 1996 - 2005.

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Romania Agreement on the co-operation in the fields of culture, education, science and sport, signed in Bucharest in April 1994.

Slovakia Cultural Agreement signed in June 1976 (succession). Cooperation programme signed in Luxembourg in May 2002.

Slovenia Agreement on cooperation in the field of education, culture and science, signed in Luxembourg in April 1997 (ratified in February 1998, still in force). Programme of exchange in the field of science, education, culture and youth exchange for the period of 2001-2004, signed in 2001

Spain Cultural Agreement signed in 1979

United Kingdom A Treaty of Economic, Social and Cultural Collaboration and Collective Self- Defence between Belgium, France, Luxemburg, The Netherlands and the United Kingdom of Great Britain and Northern Ireland was signed in Brussels on 17 March 1948.

SECTION IV: Activities

1. Foremost activities

1.1. Training and mobility As Luxembourg focuses its international cultural cooperation on the three neighbouring countries of france, Belgium and Germany, these countries tend to be the partners on student and expert exchanges.

As Luxembourg does not have an institute for higher education in fine arts, the art students are forced to study abroad, many of them through Ministry of Culture grants

The European Institute of Choir Music is common institute between Luxembourg, the French Community of Belgium and Lorraine in France, formed with the intention of developing a joint structure for training and promotion.

1.2. Arts production The Luxembourg National Theatre Association, established in 1999, aims at encouraging co-productions with foreign companies. In 2002, the Association

282 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 listed several co-productions in Luxembourg with companies mainly from Germany and France. There have also been numerous visits to international theatre festivals.

The Ministry of Culture supports artists and musicians from Luxembourg producing abroad, mostly in Germany, Austria and Greece coming from European countries.

In 2002, three artist from Luxembourg, Patricia Lippert, Jean-Marie Biwer and Claude Schmitz were invited to hold exhibitions in different Dutch galleries. In addition, the Casino Luxembourg-Forum (Forum for Contemporary Art) organized an exhibition in Linz, Austria in collaboration with the Ministry of Culture in Luxembourg and local authorities in Austria.

Within the framework of the “Market of Poetry” 2002, the Embassy of Luxembourg in Paris organised together with the Ministry of Culture a night for national and foreign editors and poets.

1.3. Distribution and dissemination The subvention of the Ministry of Culture to the Luxembourg Theatre Association has enabled a creation of a Theatre Journal in order to give to the theatre in Luxembourg more national and international visibility and to facilitate international co-productions.

In 2002, the French Minister of Culture visited Luxembourg in order to foster cultural cooperation between France and Luxembourg in various artistic fields.

The Ministry of Culture is also constantly developing the relationships with the Forum of Foreign Cultural Institutes in Paris (FICEP).

The Luxembourg Agency for ‘Cultural Initiative’, ALC (Agence luxembourgeois d’action culturelle), created in 1996 has a center for documentation and information on cultural activities abroad and on participation in tours, co- productions, training sessions and festivals. They also have as one of their objectives to facilitate relationships between foreign and national cultural agents, associations and cultural centers.

1.4. Translation and library cooperation The National Book Council, CNLi (Conseil National du Livre) is an consultative formed by all the members in institutions in Luxembourg related to literature, books and reading. The CNLi has elaborated a specific programme for the International Day of the Book (financed by the Ministry of Culture) in order to promote literature from Luxembourg and from elsewhere. The CNLi collaborates with foreign institutes in this matter.

2. National cultural institutes in Luxembourg

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The Foreign Cultural Institutes in Luxembourg are results of cultural agreements, as is the case of the Centre Cultural Français, inaugurated in 1967 as a result of a cultural agreement in 1954. The cultural institutes collaborate activity with national institutes, schools, associations and cultural centres in Luxembourg. The Cultural Centres active in Luxembourg are: Centre Culturel Français, the Goethe Institut, the Italian Cultural Institute and the Camoes Institute (Portuguese languages courses).

Centre Cultural Français The cultural co-operation carried out is above all related to the organisation of common activities with different partners the majority of which are cultural institutions in Luxembourg (museums, art centres, philharmonic orchestras, conservatories, national libraries, associations..) and with some foreign institutes. At the moment, the Centre is preparing a joint action with the City of Prague. However, the main objective of the co-operation is the promotion of French language and the interaction with the Francophone world.

The Luxembourg Centre Cultural Français was established twenty years ago and at the moment has a staff of ten full-time employees. The annual budget of the Centre is very small as the Victor Hugo Association (public association) is mainly in charge of the actions. However, the Centre estimates that half of its budget is devoted to cultural co-operation.

Currently there is plan to create a French-Luxembourg-German cultural centre where the Centre Cultural Français would be one of the partners. This Centre will be inaugurated in October 2003 and will be named after Pierre Verner, the Minister of Culture who passed away last year.

Goethe Institut The Goethe Institut will form part of the new French-Luxembourg-German cultural centre. The inauguration of the centre will strengthen even more the co-operation between the Goethe Institut and its French partner.

More than promotion of the German culture, The Luxembourg Goethe Institute has as one of its aims the encouragement of cultural exchange between Luxembourg and Germany. In practical terms, this cultural co-operation is carried out trough the organisation of concerts, conferences and lectures, always in collaboration with local partners. Most of the activities take place in the premises of the local partners rather than in the Institute itself. This is one of the reasons why most of the activities concentrate on the local level.

The Institut was inaugurated in 1972 as a response to a need of the German residents in Luxembourg. Currently there are three full-time staff members. The part of the budget devoted to cultural co-operation depends on the activities organised, as it cannot be predicted beforehand. Last year some 50% of the resources were devoted to international cultural co-operation.

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Instituto Italiano di Cultura The Italian Cultural Institute was inaugurated in 1991 under the surveillance of the Italian Ministry of Foreign Affairs. The Institute carries out common cultural activities with other foreign institutes but in all its functions gives priority to the Italian culture. The Institute collaborates frequently with artists from Luxembourg but always with an Italian counterpart. The Institute is financed by the Italian Ministry of Foreign Affairs and 20% of its budget is devoted to cultural co-operation. The Institute employs four full-time staff at the moment.

The British Council The British Council in Brussels is in charge of the Council’s cultural and educational activities in Belgium and in Luxembourg.

3. Coming events

International Festival of Echternach, 8 – 17 May 2003, annual The main concern of the International Festival of Echternach is to offer a large range of musical forms. Following the long music history of the town the year 1975, gave the beginning to the now world-wide acknowledged festival. Every year since then, during the months of May and June, the small town becomes the Mecca of music and hosts well known artists as well as promising talents. Many monuments retrace the prestigious history of the city spreading over two millenniums and offer a rare symbiosis of architecture, landscape and music.

Wiltz Music & Theatre Festival, 27 June – 3 August 2003, annual The Festival “Wiltz” brings together much of the best in worlds arts of every kind: music, theatre and dance, indoor and outdoor in one of the loveliest places of Luxembourg. Thanks to its continued dedication to the promotion of music and the performing arts for the last four decades, the Festival of Wiltz has developed into an open air festival with international reputation for high artistic level due to the professional excellence of the greatest artists in the world.

European Open Air Theatre and Music Festival, Wiltz, July 2003 Famous groups have played there since the early 1950s, performing plays from world literature, and even world premieres in the French, German or Luxembourgish languages. The exceptional setting of the courtyard of the Chateau in Wiltz certainly contributes to the success of this open-air festival.

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MALTA

SECTION I: Introduction

A 300km² Mediterranean archipelago just south of Sicily, Malta has nonetheless had a long and often violent history caught between the interests of different cultures. Throughout the centuries, the county was occupied by a succession of foreign powers (French, Italian, British), one of the results being a struggle for the diffusion of culture and traditions, including a battle over the question of the Maltese language. Cultural activity in Malta has thus been shaped by political and ecclesiastical, as well as educational or family influences. Malta's proclamation of political independence from Britain in 1964 heralded new concepts for the democratisation of culture, mirroring developments in other countries. In 1965, Malta became a member of the Council of Europe at the same time as the country started to transform its economy to a service and market-oriented model.

Currently, the accession to the European Union is and continues to be a crucial priority for Malta, despite the divisive national position on the matter, which has been creating uncertainties in all sectors, not least in the cultural field. Cultural policy trends in Malta have over the past few years paid a good deal of attention to the policies employed in either the EU current states, or the countries accessing to the Union in 2004. Malta has been trying to harmonise its own cultural policy with concepts prevailing in Europe at large, and has set the scene for the sustainable development and flourishing of culture . The measures for achieving this have developed steadily out of connections with EU bodies and programmes, which have afforded new perspectives to Maltese individuals and groups.

The trend towards asustainable cultural activity has brought the need to market Maltese products professionally and consistently into focus. The Ministry of Education, which is also responsible for Culture, has therefore launched the first programme geared towards an understanding between culture and its management, towards blending the cultural product with the environment, and managing human resources, product prices, distribution and communication in the correct proportions. Over the coming years, special attention will be paid to existing structures, strategic marketing and management of the arts. The venture has already found fertile ground at the Centre for Creativity and the University of Malta as part of the curriculum within the Department of Management and Accounts, and it is now being submitted for further accreditation to the Malta Council for Culture and the Arts.

Another emerging issue is related to the need to breathe new life into and rehabilitate Malta’s old, historic towns. This will become a national priority over the next few years as urban development is now spreading over 20% of the Maltese Islands, a particularly grave concern given Malta’s miniscule land surface. According to the results of a Census conducted in 1995, some 40% of all dwellings

286 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 in the old historic Grand Harbour sites are permanently vacant and a quarter are in a dilapidated condition. Pressure has been mounting from heritage NGOs, who argue that enhancing Malta’s historic inner cities could relieve urbanization pressures from rural and coastal environments.

In February 2003, the Maltese Government and the European Commission signed an agreement for Malta to participate fully in Culture 2000, completely financed by the Union once Malta joins the EU. The programme would offer an important opportunity for Malta to mobilise its artists and cultural agents and to participate in intercultural dialogue, social integration initiatives and socio-economic development.

SECTION II: Structures, Competences, Institutions

A series of measures undertaken by the Government of Malta between 1998-2003 in the cultural sector have instigated a radical review in the field. The Maltese Government decided to create new structures to activate a holistic and inclusive approach to culture. Encouraged by the positive way in which the cultural and media sector received a two-week national convention on the need to revise cultural policy (1999), the Government drew up plans for a policy of devolution and decentralisation. A national Centre for Creativity was opened in Valletta in 2000, with a remit to democratise cultural events and provide opportunities for bi- and multilateral projects. In 2001, the newly established Policy Unit at the Ministry of Education published Malta’s first national cultural policy. The establishment of new arm’s length organs to put the policy into effect, the most important being the Malta Council for Culture and the Arts, followed this development.

1. The Ministry of Education

The Ministry of Education has recently been reorganised to delegate functions and implement the arm’s length principle. The Department of Culture has in this context been replaced by the Malta Council for Culture and the Arts, an arm’s length body now conducting cultural affairs in Malta. A number of Advisory Boards have also been constituted by the Ministry to generate interest and to stimulate events related to specific areas e.g. theatre, language and literature, folk manifestations and national festivities. The Ministry also funds key national institutions, such as the Manoel Theatre, the National Orchestra, the St. James Centre for Creativity, and the Malta Centre for Restoration often employs the services of foreign artists like opera singers, musicians, animators and skilled technicians. Such engagements are often undertaken in collaboration with foreign organisations present in Malta, e.g. the Italian Cultural Institute, the British Council, the Alliance Francaise or the Russian Centre for Culture and Science. Other key institutions, including the Division of Education, and the Department of Youth and Sport, operate from within the Ministry and conduct transnational cooperation activities.

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International Students Department (ISD) The International Students Department (ISD) within the Education Division conducts its own bilateral programmes based either on school-to-school initiatives or on initiatives that channel national groups through European NGOs, such as Francas in Paris, the Vaclav & Dagmar Foundation in the Czech Republic or the Treugolink Arts Centre in Moscow. In 2002, the ISD sent 29 teachers and 250 students to Europe as part of its school-to-school scheme, allocating 70% of its annual recurrent budget of 34,500 €. The ISD also runs, with another 72,000 € from the Ministry of Finance, a bilateral programme with Farensina (Italy), allowing 100 Italian students to visit Malta every year for English language courses and adjacent cultural touring.

Department of Youth and Sport Protocols of cooperation between Malta and European countries are also undertaken (and officially given an official remit) by the Department of Youth and Sport (DYS), a section of the Parliamentary Secretariat for Youth. Between 2002- 2003 such protocols were signed with the Youth Board of Cyprus, the Russian Federation (the protocol here covers the period 2003-2005) and a number of cultural service agencies in Italy, ranging from Calabria in the south of the peninsula to Valle d’Aosta in the north. Financial constraints inhibit the DYS from entering into similar agreements with other countries. In 2002, the DYS budget stood at 216,000 € and funding for transnational commitments represented 20% of this amount. The annual budget for the DYS has remained unchanged for the past ten years and things were not made any easier when the Ministry of Finance announced a 10% economy measure early in 2003.

Department of Further Studies and Adult Education Another competent structure that generates transnational commitments is the Department of Further Studies and Adult Education (DFSAE), a body providing for lifelong learning, including the management of the schools of Art, Drama and Music in Malta and Gozo, as well as the organization, management and development of Education Channel 22, a station that is available via cable- internet. In 2002 Channel 22 participated in the BBC Showcase that was held in Brighton and gave a creditable rendition of its resources at the MEDEA Film Convention, hosted in Malta by the Malta Film Commission. Channel 22 is now looking at opportunities for co-production with European and Mediterranean countries.

2. The Ministry of Foreign Affairs

The Ministry of Foreign Affairs is the most formal structure with a direct remit for structuring cultural relations between Malta and other European countries. Efforts to organize and establish a Ministry of Foreign Affairs in Malta started very soon after Independence in 1964. Since then the Ministry has recruited hundreds of young men and women “with the requisite intellectual capacity” to pilot Malta’s objectives in the evolution of bilateral, regional and international relations. The

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Ministry is committed to “political activity” that takes into account “the social and cultural enhancement of the Maltese nation”.

The Ministry of Foreign Affairs also funds a radio station, The Voice of the Mediterranean (VOM), to the annual amount of 432,000 €. This is a Maltese-Libyan joint venture that provides high standard cultural programmes, transmitted on the short-wave band in English, Italian, German, French, Arabic, Japanese and Maltese. The station professes the aim of transmitting “the national aspirations of the Republic of Malta in relation to the evolving scenario of the Euro- Mediterranean region” and to serve as a bridge between the countries bordering the Mediterranean Sea. Contributors include Maltese, European and Arabic academics, intellectuals, artists, cultural commentators and scholars in various disciplines. Current plans are designed to improve the range of broadcasting via Internet to catch a world market. That same year, VOM launched its own, much visited website. With a view to expanding its Euro-Mediterranean community of listeners, the station is forging links with the Institute of Mediterranean Theatre in Marseille marketing the Odyssey Project, which consists of a Mediterranean sea journey by artists, dancers, musicians and actors from the region.

3. Arm’s length organisations

Malta Council for Culture and the Arts (MCCA) The mandate of this body, set up in April 2002, replaced the activities of the former Department of Culture within the Ministry of Education. It is the main body conducting cultural matters in Malta, including international cooperation activities. Besides increasing accessibility to the arts, motivating local councils’ cultural agendas and dealing with non-government organizations, MCCA has an obligation to create transnational educational schemes and to devise and implement strategies for promoting Maltese identity overseas. For 2003, MCCA received 1.5 million € for its operations, including funds marked for the promotion of bilateral artistic enterprise.

The Malta Council for Culture and the Arts is still formulating its strategic policy, but it has set at least one major objective for 2004: the establishment of an Academy of Music, which is to cooperate with the University of Bologna in Italy and Trinity College London. It remains to be seen whether MCCA will move towards a method of cross-disciplinary funding or a system favouring specific art forms. It also remains to be seen how far it can extend its limited resources to conduct significant transnational cultural projects. Restrictions applied by the Ministry of Finance have already forced the MCCA to suspend funds to small cultural NGOs as well as individual artists, thus limiting private enterprise involving transnational mobility. Meanwhile, the MCCA will continue to apportion funds to cover those cultural events that were regular features on the calendar of what used to be the Department of Culture. Such events include an international jazz festival, carnival celebrations (where the participation of European bands has now become a regular fixture) and a song festival that elects the title that will represent Malta at the annual Eurovision contest.

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Heritage Malta In November 2001, a new Act of Parliament established Heritage Malta, a national agency meant not only to provide protection for the many Maltese archaeological and historical sites, but also to re-invent ways through which Malta’s heritage could be enhanced by transnational initiatives in research methods and by programmes encouraging cultural tourism.

Others Between 2000-2002, the Government created a string of autonomous entities to generate new interest related to events such as carnival, folk manifestations and national celebrations. Such activities are stable features in Malta’s cultural calendar that attract tourism. Malta’s tourist industry, it should be noted, not only provides employment for some 41,000 people and accounts for 25% of the island’s GNP, but is also a key component which offsets Malta’s relative isolation from the European mainland. The Malta Tourist Authority has been taking stock of the country’s tourism industry, insisting that the core product must be upgraded to include environmental considerations and, above all, the cultural heritage.

4. Budget

The following data indicates the level of state funding received by Malta’s key cultural institutions through the Ministry of Education:

Government Entity receiving Amount Contribution Malta Council for Culture Euros 1,557600 and the Arts Heritage Malta Euros 3,220,800 Maltese Heritage Euros 72,000 Foundation Manoel Theatre Euros 312,000 Malta Centre for Restoration Euros 1,200,000 National Orchestra Euros 600,000 St. James Centre for Euros 360,000 Creativity

Source: Budget Office, Malta, 2003 ------

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No figures are available as to the actual proportion that these governmental cultural entities allocate to transnational artistic activity but it should be stated that stakeholders like the Manoel Theatre, the National Orchestra, and St. James Centre for Creativity, etc., often employ the services of foreign artists like opera singers, musicians, animators and skilled technicians. It should also be pointed out that government entities are expected to supplement the contributions they receive from the State budget by way of securing cultural partners and/or sponsors.

The Ministry of Education allocates other funds annually. The Literary Awards Scheme, where the best works of poetry, novel-writing, dramatic texts, research material, translations into Maltese and children’s literature are selected for merit, absorbs 24,000 € per year. The Ministry also administers an additional annual subsidy of 96,000 € directly to assist ad hoc initiatives in the cultural sector. Another 24,000 € are allocated annually for the Drama Writing Contest, where awards are given for the best three works written in the native language, with additional funds earmarked for the actual production of the winning entry.

SECTION II: Documents, Legislation, and Agreements

1. Documents and Legislation

The Cultural Policy document of 2001 stresses the need for Malta to take into consideration the transnational bearings required by the new realities of the twenty-first century. It also takes into account the need to establish Maltese identity “within a Euro-Mediterranean context”. The policy also recognizes, among other things, the need for the devolution of power and the assignment of initiatives to persons, groups and local councils, entities that have been given the legal basis to establish their own transnational connections, mainly in the form of interactive twinning with European counterparts. By the beginning of 2003, almost 40% of Malta’s 92 local councils had established transnational agreements with their foreign counterparts.

The Ministry responsible for local government also established a formal association with the Republic of Cyprus to promote a collaboration scheme through joint initiatives in the identification of programmes and projects related to local government policy. The Department of Local Councils, on the other hand, participates regularly in the Steering Committee of Local and Regional Democracies of the Council of Europe in Strasbourg, with a special interest in transfrontier co-operation.

Official mission statements and other documentation also highlight Malta’s need to develop its cultural policy according to transnational criteria. Malta’s Centre for Creativity, for instance, is given the mandate “to establish itself as a centre for

291 Annex I – National reports - Malta cultural exchange with other countries, thus cultivating a sense of cultural identity based on local dimensions and international diversity, especially in the light of Malta’s commitment to cultural tourism” (Cultural Policy in Malta, p.149, 5.ii., 2001).

The consequences of the general tendency to present works from a colonial heritage, or in the English language, rather than the local idiom, affect the capacity of both the National Theatre, and of Maltese literature and drama, to cross geographical and linguistic borders. For this reason, the National Book Council, the Akkademja tal-Malti as well as a board of linguists appointed by the Government to report on those strategies required to safeguard the interests of the native tongue in a global context have all made the case in favour of means which would “explore both local and foreign means through which Maltese literature can reach out into the international market through translation programmes” (Cultural Policy in Malta, cit., p.153/h).

As for cultural tourism strategies, a board of European experts reporting on Malta’s national cultural policy after they visited the Island in 2002 concluded that they are “not persuaded that sufficient research has been conducted into the size of the cultural market” (CDCULT Document on Malta, Council of Europe, p.18, 3.17) and that there should be more initiatives for the “further development of international exchange” related to Malta’s traditional popular celebrations (op.cit., B5, 5.13).

In their report, the group of experts suggest that Malta should be enhancing public rituals by initiatives involving transnational exchange, including the export of traditional music in the form of folk ballads and band playing and the involvement of professional people from Europe to conduct master classes that would go a long way towards securing technical excellence (ibid). The experts’ report also recommends that the Ministry of Education should require the newly-established Malta Council for Culture and the Arts (MCCA) to develop a system of grants to artists and performers, as well as a programme that would facilitate transnational artists-in-residence schemes (op.cit., 14B, 6.10).

As far as further cultural external relations are concerned, it appears that much will depend on the strategies adopted by the MCCA. Besides considering the development of a robust strategic plan and a process to integrate the activities of arts and culture in Malta, the Council needs to develop an active process of transnational communication and interaction. Such a commitment would compensate for gaps in achievement and skills and also provide for an organizational structure that would re-align the sporadic attempts at transnational collaboration, and re-define them into proper cultural development schemes involving foreign counterparts.

Because of clear limitations (largely financial) related to Malta’s external cultural programmes, it is important, although outside the specific remit of this report, to draw attention to the impressive contribution that the European Union Programmes Unit (EUPU) has made since its establishment in October, 2001.

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In terms of mobility, between 2001-2002 a total of 1050 individual persons and 135 organisations availed themselves of EU programmes, including specific programmes for adult learning, using artistic techniques to empower social workers involved with vulnerable social groups. In particular, in view of Malta’s declared policy in favour of inclusive culture, one should single out a successful project, undertaken in 2003 with regional bodies in Italy and Romania and based on legislative theatre. This method, initiated by Brasilian theatre pedagogue Augusto Boal, is meant not only to empower people socially but also to motivate them in designing “laws” that would be passed to their parliamentary representatives for implementation.

2. Bilateral Agreements

At present, Malta has cultural agreements with the following European countries:

STATE SIGNED ENTRY INTO FORCE Albania 04.02.1992 10.09.1992 Bulgaria 11.08.1980 30.01.1981 Cyprus 26.02.1991 06.11. 1991 Czech Rep. 10.09.1979 Not available France 14.02.1968 26.04.1968 Germany 27.02.1974 26.04.1974 Greece 08.04.1976 01.07.1979 Hungary 06.11.1978 20.02.1980 Italy 28.07.1967 22.12.1967 Poland 11.12.1990 23.12.1992 Portugal 09.10.1994 Awaiting Ratification Romania 05.11.1978 19.01.1979 Russia 18.03.1982 18.03.1982

Renegotiated 30.12.1994 03.10.1995 Slovakia 10.09.1979 Not available Slovenia 20.03.1996 12.11.2002 Spain 11.06.1976 11.06.1976 Turkey 13.02.1998 Awaiting ratification Yugoslavia 16.10.1980 22.03.1982

Source: Ministry of Foreign Affairs, Valletta. Note: Malta has other Cultural Agreements with Angola, China, DPR Korea, Egypt, India, Israel, Kuwait, Libya, Morocco, Senegal and Tunisia. ------The role of the Ministry of Foreign Affairs in effecting a bilateral cultural agreement normally follows an expression of interest by Malta or the other country in negotiating such an accord. This interest is communicated through the Ministry of Foreign Affairs to the Ministry responsible for cultural affairs in the other country. The

293 Annex I – National reports - Malta ministries responsible for culture negotiate the agreement that is usually signed by the Ministers of Culture themselves in one of the capitals of the countries concerned. The Ministry of Foreign Affairs however, is always responsible for keeping official copies of the agreements. In Malta’s case, most bilateral cultural proposals are processed on the express advice of the Ministry of Education and for this reason, at least one official is in charge of international relations at the Ministry.

It is common practice for Malta and the foreign country to create a Mixed Commission to make possible, by reciprocal and periodic consultations, the attainment of the general objects of a Cultural Agreement, and to plan specific work programmes as well as to supervise the execution of the accord. There are no specific financial quotas for cultural agreements with other countries nor formal measures for the implementation of the protocols. Normally, cultural bilateral agreements cover areas like professional and academic cooperation, the exchange of teachers and students, exchange of artists and/or artistic events and collaboration in scientific and technical areas, including heritage expertise.

The more active agreements are those with Italy, France, Germany and Spain. In the case of Italy, this is mainly due to historical and geographical factors and also to the proactive behaviour of the Italian Cultural Institute. Both France and Germany also feature prominently through the Alliance Francaise and the German-Maltese Circle respectively, while Spain’s cultural interests are safeguarded by the Hispanic Institute. Until 1979, Malta had a Technical Cooperation Agreement with Britain. This was a liberal accord and the term “technical” covered cultural and artistic collaboration. It was on the basis of this Technical Agreement, for instance, that Britain helped Malta to establish a Drama School and a Theatre-in-Education Unit in 1977-78.

Italy has been in constant collaboration with Malta, providing very tangible assistance in the form of four financial protocols covering the period between 1980-2000, running into direct grants of € 428.5 million. Recognising Malta’s cultural heritage as a vital aspect of the Island’s development, the Italian protocols have provided funds for restoration programmes, conservation schemes, and the creation of the Malta Centre for Restoration in 2002. The Centre works in close association with the Istituto Centrale per il Restauro and the Istituto Centrale per la Patologija del Libro, both in Rome.

General cultural cooperation based on bilateral agreements essentially includes teacher/student exchanges, scholarships, conservation and historical research, folk studies, environmental studies, Mediterranean studies, archaeology, art and geography. Both parties agree to facilitate the mutual participation of Maltese and the other country’s experts in meetings on the subjects of cultural animation and related subjects. To quote some examples related to specific motivations and implementation:

The Scientific, Cultural and Technical Agreement between Malta and Spain (1999) expressed the Maltese side’s interest in hosting performances of Spanish ballet,

294 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 concerts of flamenco and Spanish guitar and recitals of excerpts from Zarzuela, while Spain expressed interest in promoting Maltese Baroque heritage.

Likewise, the Cultural Accord with Italy for the years 1997-2000 favoured theatrical performances, mostly in the form of importing Italian lyrical opera to Malta and the provision for Maltese theatre students to perform at the universities of Padova and Bologna.

In the case of cooperation with France, the Mixed Commission decided to provide premises in Malta for the establishment of a Franco-Maltese Centre to cater for the needs of advanced students of French and their teachers. For its part, the French party, according to the protocol, provided up-to-date audio-visual material as well as training bursaries in simultaneous interpretation and translation.

Besides agreements with Germany on training related to computer science and vocational training, cultural cooperation with Germany resulted in the foundation of the German-Maltese Association in Bonn, with its objective of organizing and promoting cultural activities, visual art exhibitions and youth exchanges.

Apart from implementation in cases where direct foreign assistance for a specific project is forthcoming, action and implementation seem to have a low priority and this might indicate that most cultural agreements signed by Malta are not proactive enough. It is clear that financial investment by Malta in this field needs to be increased. Fortunately, entities other than central cultural institutions keep showing enough initiative to keep bilateral cooperation going to a certain degree.

SECTION IV: Activities

1. Principal Activities

1.1. Training and Mobility Mobility is regarded as essential in Malta. To secure a better understanding between cultural workers and partners/sponsors from the business sector, the Government has been organising a series of public debates to promote culture as a potentially strong catalyst, even/especially? in an economic sense. In 2003, the Ministry of Education introduced intensive training in cultural management to meet the challenge of institutions that lack personnel with adequate skills. The first 60- hour course was organised by the Policy Unit at the Ministry, in association with the Centre for Creativity, the Adult Learning Section at the Division of Education and the Communications Institute of Perugia, Italy.

According to the National Report on Cultural Policy (2001) Malta’s Government believes that cultural production and expression should not only enhance Malta’s aesthetic values but also create new opportunities in the employment field, in terms of the cultural industries. For this reason, the Government has been making

295 Annex I – National reports - Malta efforts to mobilize as many young people as possible towards new opportunities related to cultural engagement. The Ministry of Foreign Affairs, the Scholarship Section at the Ministry of Education, the Department of Youth and Sport, the Students’ Services and International Relations Directorate, the University of Malta and the National Youth Council offer scholarship and bursary opportunities in Europe. Other opportunities are provided by several European cultural institutions operating on Malta’s territory.

Artistic and cultural residencies are gaining currency in Malta, and the Centre for Creativity at St. James Cavalier in Valletta has signalled the start of joint-ventures in the fields of visual art, theatre, drama in education and music. In 2003 the Centre for Creativity entered into partnerships with Sicily, Cornwall (UK), Northern Ireland and Cyprus for a variety project. With Sicily, the Centre organised a festival connecting the cultures of the two islands, encompassing film screenings, jazz performances, traditional folk music and dance and gastronomy. The project with Northern Ireland will include artistic installations, incorporating theatre, music, literature and public art.

The School of Drama and the Drama Unit, under the auspices of the Division of Education, are often involved in collaborative projects with European counterparts, mainly from the United Kingdom. The Drama Unit, responsible for the diffusion of socially-related dramatic material for children and youth has been involved, for the past fifteen years, with projects destined for European meetings in Austria, Belgium, Denmark, Finland, Germany, Greece, and the United Kingdom. Young people’s dramatic activity has been accelerated in the past ten years after a number of private initiatives led to the formation of autonomous drama schools offering residency programmes with foreign animators, mostly from Britain.

1.2.. Arts Production The Museum of Fine Arts has been concentrating mostly on its ongoing programme of local art exhibitions, but it is clear that this institution needs to sharpen its profile and become more versatile. Initiatives to engage foreign animators have faded away, but it does offer input for Maltese pavilions built overseas for international events like Expo 2000 in Hanover. The Museum has also provided facilities for Italian researchers on Caltagirone Ceramics held on its premises, a project leading to the eventual compilation of a database, a CD-ROM and an exhibition in Sicily. A list of foreign art exhibitions organized by the Museum of Fine Arts at the turn of the new century includes artists from Macedonia, Germany, Italy, Canada and Australia.

In the sphere of visual arts, Malta’s Centre for Creativity has been much more versatile: International exhibitions at the Centre have included artists from France, Spain, Germany, Britain, Italy, Serbia-Macedonia, the Czech Republic, the Middle- East, Australia and the United States. Performers in residence have included animators from Germany, the United Kingdom and the Virginia Centre for Creative Arts. Through the assistance of the British Council, the Centre for Creativity also invited leading playwright Edward Bond of Britain, who conducted theatre workshops at the Centre, the Drama Unit and the University of Malta. The Centre

296 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 also organized literary workshops directed by Welsh Booker Prize nominee, Trezza Azzopardi. The Centre has also been featuring in the co-production of works in the performing arts, including a theatre project with the Brewhouse Arts Centre of Burton-on-Trent (UK) and a festival for disabled persons with the participation of the Crown School For People with Special Needs in Stretton, Britain.

The Manoel Theatre has been concentrating on a repertory that includes the staging of lyrical opera, an event sponsored annually by a local bank, with lead singers invited mainly from Italy or eastern European countries. Amongst its less conventional features in recent years one should select Trampolene, a dance programme involving top contemporary dance companies from the United Kingdom, with master-classes as offered as additions.

Since 1993 the national airline has been organizing the Air Malta International Travel Exhibition (AMITEX). Apart from providing a unique forum where local operators meet their foreign counterparts, AMITEX has become an annual event for transnational folklore, culture and traditions. For the 2003 event, Malta hosted ensembles from Cyprus, Greece, Turkey and the Czech Republic. The spectacle is organized under the auspices of the International Organisation of Folk Art (IOV), a non-governmental organization with close operational relations with UNESCO.

1.3. Distribution and Dissemination Distribution and dissemination of cultural material from Malta is undertaken by several entities, including the Ministry of Education, the Malta Tourist Authority, Air Malta, the National Library, the University of Malta and the Ministry of Foreign Affairs. The Division of Education, through its Youth Service Organisation and especially the Department of Students’ International Services are other key promoters of Maltese cultural interest overseas.

The Ministry of Education provides national information on cultural affairs across Europe and the rest of the world via its own website, and Web magazines detailing artistic activity and other related features in Malta have mushroomed. On the other hand, the Archives Section at the National Library of Malta receives regular research requests from all over the world.

1.4. Research Malta has been participating in international cultural conventions since 1957, when it sent a representative to Kiel to attend the First International Congress for Folk-Narrative Research. It is now represented in most expert meetings and virtually all symposia organized by the Council of Europe and UNESCO. For instance, the Museums Department is a member of ICOM and ICCROM; the Ethnography Department subscribes to the Network of Ethnography and Social History Museums (NET), and the Maritime Museum is a member of the International Congress of Maritime Museums (ICMM) and the Society for Nautical Research (SNR). Malta is also a member of the European federation of Cities organizing Carnival (FECC).

In the sphere of cultural heritage, Malta follows a strategy of collaboration with other leading institutions, including The Courtauld Institute of Art at the University of

297 Annex I – National reports - Malta

London; the Opificio delle Pietre Dure of Florence; The ABEGG Foundation in Switzerland, the IFROA of Paris, the Institute of Conservation in the Netherlands, the Institut Royal du patromonie Artistique in Belgium and The Royal Armouries, Leeds. The quest for international collaboration and research has led to other links with heritage centres in many countries, including Cyprus, Greece, Poland, and the UK.

With the gradual recognition of the economics of culture in sustainable development, the National Statistics Office (NSO) has been prompted by the Policy Unit at the Ministry of Education to create a relevant database. The first survey in this respect was published in 2001 and it is expected that the NSO would undertake joint work on comparative cultural statistics, on the lines developed by Eurobarometer’s activity in the socio-cultural domain.

1.5. Restoration and Heritage Preservation The Heritage Act of 2001 split the state-run Museums Department into two structures dealing with regulation on the one hand (under the title of Superintendence) and operations (Heritage Malta Agency) on the other. The functions of these structures are guided by what has been titled the Committee of Guarantee. A Restoration Centre to train restoration craftsmen and conservationists was opened in 2001. In its role as the national agency on all issues related to conservation and restoration, the Malta Centre for Restoration is entrusted with the overall responsibility of advising the Maltese Government on policies in this field. The Centre also comprises an Institute for Conservation and Restoration Studies. The ultimate objectives have to do with developing and promoting the Malta Centre for Restoration as a centre of excellence, with a distinctly Euro-Mediterranean dimension and as a hub in the field of research activity at the heart of the Mediterranean region.

1.6. Translation and Library Cooperation A strategic plan submitted to the Ministry of Education in 2001 by a specially appointed Board of Linguists to safeguard the Maltese Language includes a proposal for the creation of a Committee for Terminology and Translation. It would include the development of new terminology in Maltese and a technical glossary that would incorporate all neologisms emanating from various technical, scientific and cultural fields. The plan also envisages the construction of a special website, easily accessible to all operators using the native tongue for their respective professions.

The Committee would also be responsible for the organisation of technical courses in translation, a proposal that has now become even more relevant, given that the Maltese language has been given official recognition by the European Commission once Malta becomes a member of the European Union in May 2004. It is expected that this measure will open avenues for new employment for Maltese authors, translators, and editors engaged with EU programmes and organizations.

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2. National Cultural Institutes in Malta

The main national cultural institutes active in the cultural field in Malta are The British Council, the Istituto Italiano di Cultura, the Alliance Francaise, the Deutsch- Maltesischer Zirkel and the Russian Centre for Culture and Science.

The British Council The British Council in Malta operates an Educational Information Centre through CD-ROM technology and through the Internet World Wide Web. In addition, the Council provides a programme of arts and cultural events in collaboration with local art organisations. The Council has particularly close links with the St. James Cavalier Centre for Creativity in Valletta and the Policy Unit at the Ministry of Education. The Council also works closely with cultural entities like the National Commission for Science and Technology, local councils and venues like the Bay Street Entertainment Complex in the up-beat town of St. Julians. Collaboration by the British Council in Malta has involved animation and creativity programmes directed at illiterate persons, people living in culturally deprived areas, female victims of domestic violence, children and young people in care homes and persons with special needs. A key feature of the British Council programme in Malta involves bursaries and invitations to local professionals to visit the United Kingdom for research assignments and international conferences on a wide variety of issues.

The Italian Cultural Institute The Istituto Italiano di Cultura was founded in Malta in 1971 and is also the Cultural Office of the Italian Embassy and the official agent appointed by the Italian Government for the realization of bilateral exchanges in the cultural and technical fields. The Institute encourages studies and research by Maltese citizens in Italy and advises all interested parties on cultural events, education in Italy, access to Italian Universities as well as to Art and Music Academies. The Institute promotes Italian culture in its various aspects and its activities in Malta include films, lectures, art exhibitions, concerts, theatrical performances and vocal recitals. It has forged solid links with the Manoel Theatre, the Ministry of Education and the University of Malta. The Institute is also appointed by the Italian Government to implement Cultural Agreements between Italy and Malta. In 2002 the Italian Cultural Institute in Malta spent 18,100 € on conferences, concerts and art exhibitions. It also spends annually an average 2,500 € on the acquisition of books and video films and also receives considerable amounts of books from the Ministry of Foreign Affairs in Rome and from Italian publishing houses.

The French Cultural Institute The Alliance Francaise (de Malte) was founded in 1959 and was originally established as a local Committee. It is directly linked to the Alliance Francaise in Paris and to the French Government which subsidises it partly on behalf of the French Embassy in Malta. Its vocation is to promote both the French language and culture and to encourage better understanding between France and Malta. A library, a video library, and audio-visual material are made readily available to members and specialised reading matter for students and researchers can be

299 Annex I – National reports - Malta purchased at the Alliance at special rates. A spectrum of activities is organized on a regular basis at the Alliance, ranging from art-house cinema screenings, to conferences, video-festivals, musical evenings as well as a variety of performances. Other events for the Maltese public are held in appropriate venues. A translation service is also at the disposal of the general public.

The German-Maltese Circle The Deutsch-Maltesischer Zirkel was founded in 1962 with the aim of promoting closer understanding between Germany and Malta in all appropriate fields of activity and relationships, “excluding political activities”. The Circle has grown into a leading national adult educational and cultural centre with over 900 members. The German-Maltese Circle offers intensive German language audio-lingual courses at all levels, with facilities including a library, a videotheque and weekly conversation meetings. The Circle is an independent, non-profit organization that is administered by dedicated persons who committed to promoting the Circle’s cultural ideals. To this end, the Circle organizes on a regular basis such activities as film screenings, lectures, exhibitions, seminars, choral performances, chanson evenings and social events, including travel to Germany. The German-Maltese Circle receives 40,000 € annually from the German Foreign Office in Berlin.

3. Forthcoming Activities

The main priorities for the coming years are related to the newly established Malta Council for Culture and the Arts (MCCA) and the setting in motion of the operations of the Superintendence for Cultural Heritage and Heritage Malta as implementing bodies. The MCCA’s strategic planning will greatly affect arts development in Malta as well as cultural development related to other European entities. Market and programme development, liaison with cultural entities overseas as well as the exchange of cultural enterprise will depend on the policies of the MCCA, whose central committee has promised benchmarks for excellence.

The structural changes in the heritage sector are also expected to be a priority in the coming years. The Government has well over 100 major sites (several of them World Heritage Sites) and at least another 100 minor sites that require maintenance, restoration, refurbishment and rehabilitation. Museum Department sources have estimated that Malta’s list of heritage properties will require at least 360 million € by way of capital investment over the next twenty years. This is a sum that Malta cannot sustain unless stakeholders come together to pool their corporate resources, and tactical planning should involve bodies like the Malta Tourism Authority.

Two important projects have been planned by the current government. Firstly, the Academy of Performing Arts, to be established through the collaboration with Trinity College London and the University of Bologna, in Italy, is expected begin

300 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 operating in 2004, with a time-frame of five years to complete the project. The Academy’s mission will be to train performers, teachers and composers. It will aim to address wider cultural, social and commercial implications and it is clear that music needs to be attracting investment and support from the business community. Secondly, the second phase of the Arts Centre (to enhance and develop the cultural activities of the Centre for Creativity in Valletta) will ensure that Malta can provide high-calibre performances destined for the local and European market, presented at a place that would contribute effectively to the economic growth of the Island.

On a different level, mention should be made of the project embarked upon by Malta, Cyprus and Cornwall (UK) in the field of community theatre. The initiative, planned for 2004, involves concrete interaction between the three stakeholders, operating within the framework of the Culture 2000 programme of the European Union. The project is an extension of a previous partnership between Malta and Cornwall’s Kneehigh Theatre Group, focusing on “landscape theatre”, a genre that invites the community to take an alternative view of itself and of its history.

301 Annex I – National reports – Netherlands

NETHERLANDS

SECTION I: Introduction

The Netherlands has participated in the international exchange of arts and culture for a long time. Dutch artists stay abroad very often: The Netherlands is a small country and export is an essential activity in the national economy. In that sense, cultural life mirrors economic life. As small entrepreneurs, and artists and cultural officials are constantly taking initiatives with an international scope. Even now, when almost nothing of any importance in arts and culture can be realised without public money in various amounts, 85% of entrepreneurs frequently find their way to the other side of the border without government help. In most cases, the question of financial support is raised after cultural managers have been successful in making contacts abroad. That's why the cultural institutions are able to claim a substantial share in realising Dutch international cultural policy.

The increasing amounts of money invested in international cultural exchanges made the emergence of policy and regulations unavoidable. Almost everything that can be seen as international cultural cooperation has been identified now and related more or less closely to the official international cultural policy of the Netherlands. International cultural policy also became brought together terms like international or transnational cultural cooperation, cultural diplomacy, international cultural or artistic exchange, international cultural relations or affairs, etc. A specific focus on European cultural cooperation, apart from membership of European organisations like the Council of Europe, seems not to exist in the Netherlands. Where a commitment to European culture is visible, it is strongly interrelated either with travel patterns common in the artistic and cultural field, or with the political and economic dimension of Dutch foreign politics, in which of course the concept of Europe is both practically and ideologically present.

Since the late nineties, international cultural policy has been based on two premises; firstly, to achieve a higher degree of recognition for the Netherlands in world society, and secondly, to intensify international cultural cooperation between the Nether- lands and other countries. This latter point is to be realised with three policy instruments, namely by selecting a limited number of so called priority countries (13 out of 37 bilateral relationships), by allocating a limited number of priority (diploma- tic) posts, and by way of a new exchange programme, started in 1997, which brings Dutch civil servants from the ministries responsible for Culture and Foreign Affairs, as well as cultural attachés with a special training or career in arts and culture, to priority posts in western European countries, Hungary and the Czech Republic.

Within the EU, some countries or regions are given an extra priority status (although this extra priority status seems gradually to be losing its significance). These are the neighbouring regions (Flanders and the German Land Nordrhein Westfalen), and the neighbour states (the UK, Germany, and France), the Czech republic, Hungary, the Baltic States, and the pre-accession countries. Turkey is a special case is, as it is the

302 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 country of origin for many Turkish people living in the Netherlands. In May 2002 the Secretary of State for Culture sent a letter to Parliament introducing a cultural policy stimulating strong ties between migrant artists in the Netherlands and the creative communities in the countries these migrants originally came from. Given the recent and relatively long period of political instability and cabinet formations, no really important issues related to Dutch international cultural policy are presently under discussion.

SECTION 2: Structures, competences, institutes

1. National level

In 1997, the governmental organisation of international cultural policy was changed. The leading players in international cultural policy (the Ministry of Foreign Affairs and the Ministry of Education, Culture and Science), used to do their jobs quite separately. In 1992, a policy letter was published, declaring that from that year on, the two ministries involved (at that time Culture was still located at the Ministry of Welfare, Public Health and Culture) were supposed to share their responsibilities with regard to international cultural cooperation. But it took five more years, until 1997, before the two ministries decided to work together more closely. From 1961 to 1997, most things in international cultural affairs were taken care of in a rather non- committal way, in the `commission international cultural relations'. This commission operated without clear, politically checked and balanced policy instructions. From 1997 on however, the joint performance of the two ministries was based on the set of above mentioned new policy instruments in combination with both an enlarged amount of financial means and a number of policy objectives, published in 1995 in a policy paper, proposing a complete redesign of Dutch foreign policy.

An essential element in the redesign is the formation of an interactive “triangle of actors”, linked to each other by a combination of interlocking competences. The triangle is built up as follows. The two cooperating ministries are situated in juxtaposition at the top. Below and to the left the diplomatic posts/embassies are located; below and to the right several sector institutions and arm’s length art funding bodies. Several of these public and quasi-public funds exist, which have traditionally supported the creative arts. They are defined by the Specific Cultural Policy Act as a "legal entity under private law with full legal powers whose purpose is to encourage the creation and preparation of works of creative art by furnishing the necessary financial backing". The national government's responsibility goes no further than furnishing monies and determining the specific conditions under which the fund in question must operate. The authority to allocate subsidies from the annual budget is delegated to the funds' boards. Some examples are the Literature Fund, the Mondriaan Foundation and the Fund for Visual Arts, Design and Architecture. The Culture Council evaluates the funds every four years.

Outside this triangle there are other ministries involved in international cultural cooperation. The Ministry of Economic Affairs gives information to Dutch entrepre

303 Annex I – National reports – Netherlands neurs wanting to do business abroad. This includes information on art and culture in situ. Issues like the fixed book price also belong to Economic Affairs. The Ministry of Justice is involved in problems related to international art robbery and criminal acts in the art trade committed in wartime (cf. Unidroit Treaty, still not ratified by the Dutch). The Ministry of Social Affairs and Labour Supply is responsible for the permits someti- mes needed by travelling artists from outside non-Schengen countries.

Lastly, due to the original principle of the Dutch government remaining neutral in judgements about the arts and focussing solely on policy issues, the government leaves decision making about the arts mainly to various committees of independent experts. The most influential of these, the Culture Council (formerly the Arts Council, until 1995), is an arms length body which cooperates with the government on formulating policies, including advice on transnational cooperation. Attention: as it comes to the four years system of subsidizing of institutions and funds, government is, according to the law, absolutely obliged to consult the Council. And: exactly in international matters, the Council has not been very influential the last decades (this might change in the future). While the government is no longer obliged to consult the Council (only since 1997), there remains a healthy amount of cooperation between the government and the Council.

2. Cultural institutes

The Netherlands has only one national cultural institute in Europe, the Institut Néerlandais in Paris. It receives 1.09 million € yearly from the Ministry of Foreign Affairs. Apart from this cultural institute, there exist a number of more scientifically oriented institutes. All of these operate on an academic exchange basis, but with special ties to universities. They are the Istituto Olandese in Rome (managed the University of Groningen), the Netherlands Institute in Athens (University of Amsterdam), and the Netherlands Interuniversity Art Historian Institute in Florence (University of Utrecht).

Another institute, the Netherlands Cultural and Scientific Institute, is located in St. Petersburg (University of Amsterdam).

3. Budget

There are at least nine financial sources which support international cooperation. Unfortunately, the budgets are not broken down into all the related countries. For the moment it remains unclear how much money goes from the Netherlands to the other countries of this research project. In addition, the subsidies given by the diplomatic posts are divided over hundreds of activities, mostly small scale and without follow up.

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1. The first financial source is the normal budgets of Dutch cultural organisations, subsidised on the basis of the Specific Cultural Policy Act. As far as the fine arts institutes are concerned, the total amount of subsidy reaches 258 million € per year. As to libraries and literature, the amount is 44 million €. It is generally assumed that about 7% of this money (or 21 million €) is used for international cultural cooperation. To round up the overview of the first financial source, cultural heritage receives 264 million €, but the percentage of this amount to be spent on international affairs is expected to be substantially lower than 7%.

2. As a second source of finance funds or subsidy, programmes organized and carried out by the government itself may be indicated. The most important fund is the Netherland Culture Fund (formerly known as HGIS-fund, HGIS meaning: Homogeneous Group International Cooperation) can be indicated. This fund, stimu- lating international cultural cooperation, will spend 11,3 million € in 2003. The budget is divided between the applicants by a group of people from ministries. Programmes are designed very broadly. In order to be eligible, theme-based projects should refer to “the Netherlands” as a cultural free port or to the common cultural heritage; and/or projects should be located in countries given priority within international cultu- ral policy; and/or projects should be presented as large-scale cultural events. A more elaborate description of the conditions can be obtained in printed form at the Dutch Ministry of foreign affairs (code: BZDR5181/E). The Fund is also open to applications stemming from the “regular” Dutch arts funds. Gradually, the Dutch Council for Culture is being given an advisory role in evaluating the spending patterns of the Fund.

The number of projects financed by the Netherlands Culture Fund between 1997 and 2000 was 67, 25 of them took place in Europe. About 50% of the NCF-grants were divided via the Dutch arts production funds, to support activities and events abroad, or additionally to finance the international dimension of Dutch based projects and activities.

The Dutch MATRA-programme, meant to stimulate social transformation processes in CEE countries by giving grants to NGO’s and organisations with a local scope in these countries, is also to be mentioned. Although this programme focuses on social development in a broad sense, arts and culture are also explicitly mentioned.

3. A third source of money is to be found at the public funding bodies (funds). These major funds support several international grants schemes for organisations and individual artists.

4. The fourth “source” (mostly long term subsidies) are umbrella organisations and service institutes. Institutes like the Theatre Institute NL and the National Pop Institute have, alongside their domestic work, an international support function. Some of these institutes are involved in promoting international programmes of Dutch arts organisations. In some cases they receive extra means to perform internationally. Some (like the National Pop Institute) have a small budget for touring grants.

305 Annex I – National reports – Netherlands

This is also the place to mention the Dutch Service Centre for International Cultural Activities (SICA) in Amsterdam, which is the EU Cultural Contact Point. It produces overviews of cultural activities abroad and facilitates artists’ international travels. The budget for the SICA is 310.000 € per year.

5. The spending budgets of diplomatic postings can be considered as the fifth source. Since 1998, the Financial Programme for Cultural Embassy Projects provides extra money on top of the modest embassy spending budgets, but this programme is limited to the priority postings. The budgets in 2000 were:

City Thousands of € Berlin 114 Madrid 57 London 80 Paris 46 Rome 57 Budapest 73 Prague 91

Total 7 posts 518

This 518.000 € equals 54% of the total budget of 13 posts, being 960.000 €. The money is spent on a variety of themes and disciplines. In Paris for instance, a relatively large amount of money is spent on design exhibitions, because there is much interest in this art form in France. Therefore, it is not possible to create a two-dimensional (arts forms, countries) classification.

6. A sixth ‘source’ is the subsidy for the Dutch Language Union (Taalunie). In 1980, a common language treaty was reached between the Kingdom of the Netherlands and the Kingdom of Belgium, acting on behalf of the Flemish community. The treaty helps to defend the interests of the common language within Europe. Activities include joint presentations in the most important book fairs, exchange of theatre plays, programmes exchanging art students. A Committee of the Ministers of Culture from both countries governs the Language Union.

7. A seventh source of money supports books and magazines. A ‘multilateral' fund supports book projects in Central and Eastern Europe with 45.000 € per year. ‘Bilateral' aid is given to magazines promoting Dutch and Flemish (language related) culture outside the Dutch spealing territory: Ons Erfdeel/The Low Countries and Septentrion, granted together with 181.000 €.

8. The eighth source of money, coming from the Ministry of Education, Culture and Science helps network organisations, most of them having Europe as field of operation. They are (all on an annual basis):

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European League of Institutes of the Arts 53.000 € (ELIA) Informal European Theatre Meeting (IETM) 20.000 € EU.Net.Art, EU-network for youth and art 65.000 €

CIRCLE, European think-tank on cultural 34.000 € policy and network of researchers and documentalists OISTAT: International organisation of 23.000 € scenographers, theatre architects and technicians 195.000 € Total network support

9. A foreign visitor’s programme is sponsored by the Netherlands Culture Fund.

SECTION III: Documents and legislation

1. Documents and Legislation

The most important laws covering international cultural cooperation are:

- Annual laws on state budgets (Ministry of Foreign Affairs and Education, Culture and Science). - The Specific Cultural Policy Act (Wet op het Specifiek Cultuurbeleid), enabling administrative agreements between the Ministry and subsidized institutions and funds. Every four years, a Policy Document on Culture (Cultuurnota) is produced to outline concrete priorities for this period. - The Netherlands Culture Fund has no legal basis, but comes into operation within the legal frameworks of the General Administrative Law Act, and the Ministry of Foreign Affairs Grant Regulations.

2. Bilateral and Multilateral Agreements

307 Annex I – National reports – Netherlands

Currently, the Netherlands maintains bilateral cultural ties with 37 countries. Before World War II the first cultural treaties were made with the directly neighbouring countries. In the forties and fifties of the last century treaties were made with the majority of Western European countries. In the second half of the sixties treaties were made with a number of CEE-countries. In the seventies and eighties they were considered as less important especially in the European context. Outside Europe, they were very rarely made during these decades.

Nowadays, most of the cultural treaties only exist on paper. According to the opinion of the Dutch government, there are better ways to stimulate international cultural exchange in Europe. Cultural treaties, or more specifically cultural protocols or Memorandums of Understanding, lasting only for 2 or 3 years, and are used by Dutch government representatives if other countries explicitly ask for them, for instance if they need them to facilitate grant giving. This is mostly the case when a grant programme for higher education students is agreed bilaterally. Protocols can be part of bilateral treaties. They are used if they facilitate the cross border exchange of cultural goods (paintings etc.).

In harmony with the redesigned international cultural policy, the Netherlands are more and more focussing on goods made to measure, ready to fit into the specific situation in different countries, and to meet the specific needs of different art forms.

There is one cultural treaty however, that plays a crucial role in Dutch international cultural policy: the cultural treaty between Flanders and The Netherlands, signed in 1995. The treaty has gained importance through the EU-article 151, providing a legal basis to cross-border international cultural cooperation and guaranteeing an autonomous policy to preserve and stimulate a common culture to be presented across state boundaries. The Flanders - Netherlands cultural treaty encompasses language and literacy, visual arts, performing arts, education and science, cultural education and social welfare, cultural heritage, tourism, leisure activities, and broadcasting services for Dutch and Flemish speaking people abroad. The Commission does not subsidize activities, but only acts as a council body on behalf of both governments.

Another treaty worth mentioning is the BENELUX-treaty, operating for more than half a century now. In 1991 it was officially agreed to intensify the economic ties between Luxemburg, Belgium and the Netherlands by permitting public institutions situated in border areas to initiate cross border activities. This also had an effect on the audience policy of the public libraries and music schools in the border region.

Lastly, multilateral regional cooperation is also becoming increasingly important, for instance through the Euregio Maas-Rhein, which includes regions in three countries (Netherlands, Germany and Belgium), and is a foundation in Dutch law.

SECTION IV: Activities

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1. Principal Activities

1.1. General Overview In general, exchange programmes and activities are carried out as part of running annual activity programmes by institutions and funds. Only a few institutions have an explicit mission to operate exclusively on an international basis. Most institutions do not make a distinction between the national and international scope of their activities. Moreover, much of the international activity is not being distinguished as specifically European, as distinct from international cooperation more generally. As far as we could see, no central registration of all activities is available, except for the registration done by the Dutch Service Centre for International Cultural Activities (SICA) in Amsterdam. This Centre registered the total number of Dutch related cultural cooperation activities in 30 European countries in 2002 (1.323), which came to 65,6% of all 2020 activities carried out in 84 countries world wide.

The greatest number of events took place in Germany (364), followed by Belgium (218), France (150), the UK (102), and Italy (100). No activities took place in Cyprus and Iceland. The overview leads to the following conclusions:

71% of all European cultural activities are located in five frequently visited countries (i.e. more than 100 activities in 2002): Belgium, France, Germany, Italy and the U.K. 15% of all European cultural activities are located in four regularly visited countries (i.e. between 26 and 100 activities in 2002): Austria, Czech Republic, Hungary, Spain; 10% of all European cultural activities are located in eight occasionally visited countries (i.e. between 10 and 25 activities in 2002): Poland, Portugal, Slovenia, Turkey and four Scandinavian countries: Denmark, Finland, Norway and Sweden. 4% of all European cultural activities are located in thirteen scarcely or not visited countries (i.e. less than 10 activities in 2002): Bulgaria, Cyprus, Estonia, Greece, Iceland, Ireland, Latvia, Liechtenstein, Lithuania, Luxemburg, Malta, Romania, and Slovakia.

As regards the cultural disciplines in which these European cultural visits took place, also according SICA, the following percentages could be deducted:

Non language bound art forms Language bound art forms

Music: 37 literature 2 dance 5 theatre 10 visual arts 23 photography 3 rest 16 architecture 2 design 2

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1.2. Translation and Library Cooperation The Royal Library participates in a Flemish-Dutch network set up to document bibliographies and literary magazines in the two countries. The Royal Library also takes part in the European Internet project DESIRE and is part of NEDLIB, a collaborative project of European national libraries. It aims to construct the basic infrastructure upon which a networked European deposit library can be built.

The Foundation for the production and translation of Dutch literature has a number of budgets to be spent on international activities in 2002; 439.000 € were spent to subsidise translations of Dutch books (fiction and non-fiction) into `European’ languages;

1.3. Training and Mobility The Foundation of Dutch Literature gives grants to writers to enable them to travel or to stay abroad for some time. Special accommodation is available for them in Berlin and Paris where the Institut Néerlandais has writer-in-residence facilities. Muziekgroep Nederland (Dutch Music Company) and Gaudeamus together run a composer in residence and a travelling programme. Temporary support for the dance sector is meant to develop dance companies for a market-oriented situation.

MAPA, the Moving Academy for Performing Arts offers postgraduate trading programme for young, innovative performing artists, with a special focus on Eastern European countries. Gulliver’s Connect is an exchange programme for artists, especially from Eastern Europe.

The Centre for contemporary art de Appel in Amsterdam organizes international postgraduate curator training to bridge the gap between the day to day practice of making exhibitions and the theoretical knowledge acquired during academic education.Transartists/Res Artis (also the Dutch representative of Pepinières) receives a yearly grant of approx. 100.000 Euros to help individual Dutch visual artists with residencies abroad.

As a result of a conference in 2001 organised by the Boekman Foundation Amsterdam, Cultural Network, the Dutch expertise centre on cultural education Utrecht, and the Erasmus University Rotterdam, a EU-wide Network for civil servants working in the field of national cultural education policy was set up. The objective of this network, initiated by the Dutch Ministry for Education, Culture and Science, is to enable civil servants working in the field of national cultural education policy to find out what is happening within the member states of the EU (exchange of information) and to share insights and experiences with each other (debate on content). For more information look at www.culture-school.net.

Within the context of the GENT 5 treaty concerning educational collaboration within Dutch speaking regions (The Netherlands and Flanders, Belgium) a working group 'Arts- and Cultural Education' has been formed. This working group will compare the systems of Part-time Arts- and Cultural Education in the Netherlands

303 Annex I – National reports – Netherlands and Flanders. They will also initiate collaboration projects between the Netherlands and Flanders.

1.4. Arts Production The Fund for Amateur and Performing Arts has a couple of grant schemes for international cooperation. In 2003, a budget of 197.000 € is to be spent on Dutch amateur art abroad; a budget of 296.000 € is to be spent on single presentations of Dutch professional performing art abroad; a budget of 1.248.750 €, coming from the Netherland Culture Fund , is to be spent on combined presentations, cooperation projects and free port projects; a budget of 509.000 € (again coming from the Netherland Culture Fund) is to be spent on international festivals on Dutch territory.

The European Ceramic Work centre in Den Bosch is another example of cooperation. A team of European artists work on the exploration of artistic and technical possibilities of ceramics as a medium.

1.5. Dissemination and Distribution The `Lighthouse project', originally set up in Flanders, is now also implemented in Germany by the Dutch Embassy in Berlin. In cooperation with Dutch theatre companies and the Dutch Theatre Institute, Dutch theatre plays are promoted in Flanders and Germany;

The Muziekgroep Nederland (Dutch Music Company) and `Gaudeamus’ together spend 300.000 € every year on a variety of activities to promote Dutch compositions (scores, cd’s) abroad.

The Mondrian Foundation has a grant programme for Dutch galleries to support their promotion of Dutch artists in art fairs organised in Madrid, Brussels, Berlin, Turin, Cologne or Paris. The Mondrian Foundation also has a scheme for international Museum exchange.

1.6. Research Alongside the emergence of European networks, there is also a tendency to exchange information and knowledge, collected by expertise centres in the various fields of culture. The `Nationaal Contact Monumenten’ (Dutch Association for Monuments) makes its resources of knowledge and experience available for the European community of cultural heritage specialists. In return, it takes advantage of specialists’ experiences in neighbour countries.

Codart, an international network of museum curators of Dutch and Flemish art, is based in the Netherlands and receives 147.000 Euros from the Ministry of Education, Culture and Science every year.

RECAP: a Network of cultural policy documentation centres in Germany, Austria, Italy, France, Croatia and the U.K, trying to build up a virtual collection of European cultural policy documents. The Dutch government and the Boekman Foundation, which is also the coordinator of the network, support this network.

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2. National Cultural Institutes in Netherlands

British Council The British Council in Amsterdam is committed to the promotion of the work of contemporary British artists, writers and musicians. They work in partnership with Dutch festivals, promoters and venues, and with the British Council's Arts Group in London, to support a wide range of British arts activity. Recurring themes in the Netherlands are: new writing, particularly for the stage, the arts and art education in a multicultural society and British design. No budget information available.

Goethe Institute Cultural programme of concerts, exhibitions, lectures and some concerts. Mainly German language courses and examinations. No budget information available.

Institut français Under the aegis of the French Embassy to the Netherlands and the Ministry of Foreign Affaires, the Institut Français aims at promoting cultural exchange between the Netherlands and France. Installed in three different cities ; Amsterdam, the Hague and Groningen. Mainly French courses but also some cultural events (festivals, spectacles, conferences, exhibitions). Amsterdam and Groningen have mediatheques. No budget information available.

Instituto Italiano di Cultura Mainly language courses. Some cultural events such as lectures and exhibitions. No budget information available.

3. Forthcoming Activities

The Netherlands will be president of the EU in the second half of 2004. This will generate a number of cultural activities.

In 2003, the really big events will take place mainly outside the collection of 31 countries: the celebration of 300 years of Russian-Dutch relations in St. Petersburg

305 Annex I – National reports – Netherlands

(15-30 September); the celebration of 350 years Korean-Dutch relations in Kangnun (10-18 April). Worth mentioning is also the Salon du Livre: Flemish and Dutch authors in Paris (21-26 March);

Other events:

17 – 27 April 2003 Spring Dance, Utrecht, annual

5 –9 June, 2003 The Holland Festival, annual Covering theatre, music, drama, dance, opera, film, pop, the Holland Festival has received a structural grant from the government since its foundation in 1947. Formerly the City of The Hague and the City of Amsterdam provided incidental support. At present the City of Amsterdam provides a structural grant alongside the Ministry of Education, Culture and Sciences.The Holland Festival also receives financial support from a variety of funds and business.

14 – 20 June, 2003 Poetry International, Rotterdam, annual The central focus of this year’s festival is Mediterranean poetry; poets coming from nearly all of the countries surrounding the Mediterranean Sea will be present. During the festival, there will be a discussion about Mediterranean culture as the greatest common denominator of a divided area. The Poetry International Festival is a major gathering of poets from every corner of the globe. It is the only festival dedicated to international poetry in the Netherlands, and the largest one in Europe.

11-13 July, 2003 North Sea Jazz Festival, the Hague, annual Since 1976. Two years ago the North Sea Jazz Festival in The Hague was listed in Time Magazine's Top Ten Events. In February 2002 the festival was declared the 'Best Jazz Festival of Europe' by JazzTimes.

August 2003 The Limburg Festival, annual The Limburg Festival was founded in 1983. Over the years, the festival has grown into an international theatre-event of ten days showing performances in over 40 cities in Dutch Limburg and some places in the German and Belgian border region. Among the sponsors of the festival are the Province of Limburg and the Ministry of Education, Culture and Science.

November 2003 Crossing Border Festival, The Hague, annual The Crossing Border Festival is the largest spoken/word festival in combination with music, literature and film in Europe.

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For further information, look at www.netherlands-embassy.org.uk/pczcult_eng.htm.

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NORWAY

SECTION I: Introduction

Norway may be regarded as on the periphery of Europe with regard to geography and culture, a fact that may be considered as a drawback. After four centuries of union with Denmark, and another of forced union with Sweden, Norway remained neutral in the conflicts of the 20th century (which did not save it from being occupied by Germany from 1940 to 1945), and twice rejected joining the European Union (1972 and 1994). From time to time, however, this distance is a great advantage because it gives the country and its art and cultural expressions an interesting character. Some of the basic elements of Norwegian cultural policy are an emphasis on egalitarian ideals, a high level of public subsidy and a relatively high level of decentralisation. Specially targeted states for cooperation were, apart from the USA and Japan, Great Britain (1999/2000) and the Baltic States 1999/2001. Norway also cooperates within the framework of the Nordic Council.

Norway differs somewhat from several other European countries in the way governmental cultural cooperation is organized: It has a relatively strong ”cultural diplomacy” profile, with the Ministry of Foreign Affairs and the embassies around the world as the principal organisational structure. Researchers claim that there is a disproportion between the Norwegian centralised ”cultural diplomacy” and some profound changes in the relations in international cooperation and patterns of culture. It has also been claimed that Norwegian organization will be challenged in the future, and replaced by less institutionalised forms of cooperation, based on flexible networks. This trend is already easy to perceive, e.g. several single artists or artists’ groups/ensembles are building their own international networks, and experience success without any (or little) financial support or guidance from governmental or sub- governmental institutions.

The Government is preparing a new white book about cultural policy, of which international cooperation in the field of culture will be an important part. However, representatives of the government have in recent years pointed out several important challenges in this field in the years to come: 1) Norwegian art and culture institutions lack experience when it comes to international cooperation. The competence is linked to persons, not to institutions. Therefore the transfer of knowledge and continuity of competence is rather vulnerable. 2) Norwegian art and culture institutions will have to give a higher priority to cooperation with foreign countries. 3) The professional support system that is supposed to assist Norwegian artists abroad will have to be developed. Some fields, e.g. performing arts, neither have a responsible institution nor a specific budget in this field. 4) over the last twenty years a lot of different festivals have appeared, which represent an important part of cultural cooperation and

307 Annex I – National reports – Norway exchange with foreign countries. The professional support system will have to be adjusted to this landscape of small and flexible agents. 5) It is important to establish new arenas for cultural cooperation. 6) It will be necessary to coordinate better governmental, regional and local authorities’ efforts in this field, and this will have to be done in conjunction with cultural life all over the country. 7) It is crucial to establish and coordinate advanced databases and web sites about the running and preparation of cultural projects and events. 8) Norwegian research on cultural policy and cultural cooperation has traditionally been focused on local, regional and national contexts. European and international contexts are more rarely focused upon. This trend has to be broken.

SECTION II: Structures, competences, institutes

Norway’s cultural cooperation and cultural contacts with other countries have grown considerably during the last decade; a good deal of it takes place without official intervention of any kind or with only modest official support. Professional institutions, free groups and amateurs have established their own channels of access to foreign cultural environments. The governmental responsibility for transnational cultural cooperation in Europe (although it should be noted that a great deal of cultural cooperation aims to be of international relevance, and is not necessarily limited to Europe) is divided between the Ministry of Culture and Church Affairs and The Ministry of Foreign Affairs:

1. The Ministry of Culture and Church Affairs

The Ministry of Culture and Church Affairs is responsible for multilateral cultural cooperation and for the import of foreign art and culture to Norway. The Ministry of Culture and Church Affairs collaborates closely with the Nordic Council of Ministers, and multilateral cooperation proceeds through membership in different organizations and networks. It is hard to estimate the Ministry’s total budget for European cooperation.

2. The Ministry of Foreign Affairs

The Ministry of Foreign Affairs has the main responsibility for the export of Norwegian art and culture to foreign countries. In the Ministry of Foreign Affairs, the work is directed by a division for the presentation of Norwegian culture (”Seksjon for kultur- og Norges-presentasjon”) located in Oslo, but many activities are also carried out by Norwegian embassies around the world. Some of the embassies have ”cultural attachés” to take care of cultural affairs. The Ministry’s division in Oslo has also established its own specialist panels of culturally competent advisors recruited from several institutions and organizations in Norwegian cultural life; the ”Council for Culture Collaboration” (Rådet for kultursamarbeid) and the five ”Advisory Panels” (Rådgivende utvalg) in the fields of visual arts, architecture/design, performing arts, music and crafts. In recent

308 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 years, the Ministry of Foreign Affairs has supported many broad multicultural manifestations in several European countries, like France, Germany, Spain, Great Britain and the Baltic countries. It also supports certain special events in several countries, e.g. the celebrations of the composers Grieg and Sæverud. In 2003 the Ministry has a budget of NOK 15.500.000 (nearly 2 million €) for supporting cultural projects in European countries. In addition there is a budget of NOK 7.600.000 (980,000 €) for other culture related initiatives (e.g. promotion/profiling of Norwegian culture), of which NOK 4.500.000 (580,000 €) is transmitted to the embassies. These are approximate amounts.

An exception is cooperation in the field of cultural heritage, which is mainly taken care of by the Ministry of the Environment. The Ministry’s Department for Cultural Heritage Management (Kulturminneavdelingen) is the secretariat for the Cultural Heritage Panel (Kulturminneutvalget). The Cultural Heritage Panel has the encouragement of international cooperation as one of its many tasks.

3. The Council of Cultural Affairs

Several subordinated governmental institutions have been established, which focus their work on the different art forms. The Council of Cultural Affairs (Norsk Kulturråd) is the major arm’s length body in Norway, i.e. the Arts Council. The Council is under the authority of the Ministry of Culture and Church Affairs, and is the main governmental advisory institution in (national) general art and culture issues. International cultural cooperation is not defined as one of the council’s main tasks, but in recent years some work with international relevance has nevertheless been carried out. There are Europe-related activities in many fields. In the field of literature, it supports organisations and institutions inviting foreign authors, translators or reviewers to Norway. In the Music sector, it gives support for ensembles, for musical works commissioned from foreign composers, for festivals, for local concerts with foreign musicians and for single projects with an international profile, as well as for touring. It offers financial support for different international projects/exhibitions in Norway, for guest performances and for Norwegian ensembles and free groups with international activities. The Council is moreover the Norwegian CCP (Culture Contact Point) in the EU programme Culture 2000.

4. Cultural Institutions

The Office for Contemporary Art (OCA)11 has been given responsibility for the management of the grants in the field of visual arts. The main aim of this office is to develop collaborations in contemporary art between Norway and the international art scene. OCA was established by the Ministry of Foreign Affairs and the Ministry of Culture and Church Affairs in 2001, and had a total turnover

11 OCA administers support shemes in the field of visual/contemporary arts. In 2003 the budget is NOK 700.000.

309 Annex I – National reports – Norway of NOK 6.450.000 in 2002 (832,000 €). OCA participates in international exhibitions and fairs and supports Norwegian and foreign artists and curators in connection with projects all over the world, including most European countries. OCA runs a new International Studio Program in Oslo and is responsible for the Norwegian participation in the International Studio Programme Künstlerhaus Bethanien Berlin.

In addition there are several major visual arts institutions that cooperate with European institutions or single artists. The National Touring Exhibitions Norway (Riksutstillinger) is a public institution with the aim of contributing to the interest and understanding of visual arts, crafts, design and architecture. The institution imports art from foreign countries to Norway, by creating exhibitions which include art made by European and non-European artists. Other cultural institutions cooperating in the visual arts sector are The National Museum of Contemporary Art (Museet for samtidskunst), The National Gallery (Nasjonalgalleriet), The Astrup Fearnley Museum of Modern Art (Astrup Fearnley Museet for moderne kunst), and the Henie Onstad Kunstsenter.

The Music Information Centre Norway (MIC), the Norwegian section of the International Association of Music Information Centres (IAMIC), receives its funding from the Ministry of Culture and Church Affairs, and had a budget of NOK 10.299.000 (1.33 million €) in 2002, of which NOK 7.469.000 (963,000 €) were state support. MIC promotes Norwegian music in Norway and in foreign countries, provides information on professional Norwegian musical life, and distributes materials. It also coordinates Norwegian participation at international music fairs, and manages the Ministry of Foreign Affairs’ travelling grants. It manages the project ”World Music in the Nordic countries” (2003-2004) on behalf of the Nordic Council of Ministers and the Council’s expert committee Nordisk Musikkomite (NOMUS).

The Norwegian Concert Institute (Rikskonsertene) is mainly focused on music promotion inside Norway, but has built a comprehensive international network. Their Europe-related work is mainly focused on minorities, primarily linked to the Oslo World Music Festival. They are also running a project on the touring of young chamber music ensembles, in cooperation with the Baltic countries and Sweden. The Institute is, moreover, the Norwegian secretariat for NOMUS and represents Norway in the International Music Council (IMC) and the European Music Council (EMC). The Institute is also affiliated to other international institutions and networks: the European Forum of World Wide Music (EFWMF), the International Society For Music Education (ISME), the Nordic network for school concerts (NNS), amongst others.

Music Export Norway (MEN A/S) was established in 2000 by the Norwegian music industry, including the Music Information Centre Norway (MIC). The organisation provides access to information on Norwegian artists and companies, and assists the Norwegian music industry by organising international trade show participation and presentations designed to increase the awareness of Norwegian music. MEN A/S is the official organiser of national stands at the music

310 Study on Cultural Cooperation in Europe – Interarts and EFAH – June 2003 tradeshows Midem in Cannes and Popkomm in Cologne. MEN A/S does not receive state support for operating costs, but for special projects. State support 2002: NOK 2.423.000 (312,500 €), mainly from the Ministry of Trade and Industry.

Norwegian Literature Abroad (NORLA) has been the promoter of Norwegian fictional literature and Norwegian authors of fiction to foreign countries, while the Marketing Unit for Norwegian International Non-fiction (MUNIN) has been the promoter of non-fiction literature. NORLA is the oldest and largest of these two organisations. From 2003 these two organisations have joined forces by establishing a new Centre for Norwegian fictional and non-fictional Literature Abroad (NORLA). The new NORLA has a budget of NOK 6.670.000 (860,000 €), of which NOK 2.000.000 (256,000 €) can be considered as a special grant due to the unification process. NORLA is funded by the Ministry of Culture and Church Affairs, and acts as an intermediary between Norwegian authors/publishers and translators, publishers, universities and others interested in Norwegian literature abroad. NORLA is supporting the translation of Norwegian literature in several European countries; cooperative relations are especially well established with Germany, Russia, France, Spain, Italy, the Netherlands and Great Britain. It provides translation subsidies to publishers of Norwegian fiction abroad, organizes seminars for translators and publishers, initiates promotional programs abroad, and participates in international book fairs.

The National Archive, Library and Museum Authority (ABM-utvikling) is a public institution, which conducts some cultural cooperation with foreign institutions as one important task. The institution participates in several organisations, like IFLA, ICOM, La Fédération d’Information et de Documentation (FID), National Authorities for Public Libraries in Europe (NAPLE), NORDINFO (Nordic cooperation on scientific information), etc. The institution is also engaged in European and international projects, e.g. CULTIVATE and SEPIA (with funding from Culture 2000). In addition there is cooperation with the State Museum Authority in Latvia on the exchange of experience and future plans for the field of museums in Latvia and Norway.

SECTION III: Documents and legislation

1. Documents and legislation

The Report no. 61 to the Storting on cultural policy 1991-1992 (Stortingsmelding nr. 61 Kultur i Tiden), a “white paper”, includes a chapter about international cultural cooperation.

Report no. 22 to the Storting on archives, libraries and museums in a time of information technology (“white paper”), 1999-2000.

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The Ministry of Foreign Affairs initiated a plan of action about foreign cultural policy affairs, Kulturkontakt i en åpen verden (”Cultural contact in an open world), 2001-2005.

The Cultural Heritage Act of 1978 includes a chapter prohibiting the export of protected monuments and sites.

The two white papers from the government to the Parliament indicate the direction of policy in this field, but are not directly binding for any public authority. The status of the “action plan” of the Ministry of Foreign Affairs seems to be rather unclear. The Minister himself has publicly questioned its status in a newspaper interview.

Lending, Mette Rønneberg 2000: Oppbrudd og fornyelse : norsk utenrikskulturell politikk 2001-2005, Ministry of Foreign Affairs. (Norwegian Foreign Cultural Policy 2001-2005). This report recommended the preparation of the action plan ”Kulturkontakt i en åpen verden” mentioned above.

2. Bilateral agreements

Bilateral agreements in the field of culture are administrated by the Research Council of Norway (Norges Forskningsråd) on behalf of the Ministry of Foreign Affairs. Originally the bilateral cultural agreements were part of the allied countries’ plans for the rebuilding of Europe after World War II, to encourage cooperation in the fields of culture, research and education. Norway has signed agreements with several European countries, first with Western Europe, then with Eastern Europe as well. Between 1948-1980, 25 culture agreements were signed. No further agreements have been signed since 1980. Norway has signed culture agreements with the following countries relevant to this study:

Belgium (1948), Bulgaria (1980), France (1953), Greece (1976), Ireland (1964), Italy (1955), the Netherlands (1955), Poland (1958), Portugal (1977), Romania (1976), the Slovak Republic

(the agreement with Czechoslovakia from 1937 is maintained), Spain (1959), Great Britain (1948), the Czech Republic (the agreement with Czechoslovakia from 1937 is maintained), Turkey (1958), Germany (1956), Hungary (1975) and Austria (1972).

These agreements are of no great importance today. Strategic programs or cooperation action plans were regularly signed as parts of the different agreements, but not any more. The agreements and the existing programs/plans are ”out of date” and the contents are in most cases of no current interest. Earlier, the agreements included mutual commitments to cultural events and exchanges of people. Today it is mainly the exchanges that are left. There are three types of scholarships:

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The government scholarships are designed to promote contact and mobility between Norwegian and foreign students and researchers and institutions of higher learning and research. The scholarships are normally limited to a maximum of one academic year. The scholarships are mutual, and financed by the hosting country. The specialist exchange scholarships are short-term scholarships. The third type refers to summer scholarships.

A new scholarship program in music was launched in 2000 by the Research Council of Norway, the Stiftverband für die Deutsche Wissenschaft and the German petroleum company RWE-Dea. The programme focuses on classical music and talented Norwegian students of music and younger musicians planning a stay in Germany. The scholarships are given for studies in performing music (instrument, song and conduct) and composition. The program is funded by RWEs music foundation in Norway.

3. Multilateral agreements:

Multilateral cultural cooperation takes place in different arenas. The official Nordic cultural cooperation emphasizes artistic activity, children- and youth culture, media issues, cooperation related to areas near the Nordic countries, and common Nordic culture projects in foreign countries. It is based on the Nordic cooperation agreements signed in Helsinki in 1962 (revised 1972), as well as the separate Nordic culture agreement signed in 1971. The multilateral Nordic cooperation takes place on a) a parliamentary level, through the Nordic Council of Ministers, b) at governmental level, through the Nordic Council of Ministers and c) a kind of in-between level, through the Nordic Cultural Fund.

The Ministry of Culture and Church Affairs is involved in cooperation with countries in the Barents Sea Region and in the Baltic Sea Region. This cooperation goes further than the ordinary Nordic cooperation. It also participates in Ars Baltica. The cooperation in the Baltic Sea Region was in fact a Norwegian initiative in 1993, aiming to fuse the countries in the region, through cooperation in all kinds of issues, culture included. Cooperation activity is mainly taking place on a regional level across the northern areas of Norway, Sweden, Finland and Russia. For all the above, see the ANNEX on Mulitlateral (Regional) Organisations.

Multilateral cultural cooperation is also implemented through membership and participation in other organizations and networks: the Council of Europe, EU and EEA (includes participation in the EU programs MEDIA II and Culture 2000), OSSE, UNESCO, and the International Network on Cultural Policy. SECTION IV: Activities

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1. Principal Activities

1.1. Training and mobility The most important institutions are: The Research Council of Norway, The Office for Contemporary Art (OCA), Norwegian Literature Abroad – Fiction & Non- Fiction (NORLA), Music Information Centre Norway (MIC) and Danse og Teatersentrum (DTS12) (see below).13

The Music Information Centre Norway manages the Ministry of Foreign Affairs’ travelling support for professional musicians abroad. In addition, the National Archive, Library and Museum Authority cooperates with the State Museum Authority in Latvia on the exchange of experience and future plans for the field of museums in Latvia and Norway. A new scholarship program in music was launched in 2000 by the Research Council of Norway, the Stiftverband für die Deutsche Wissenschaft and the German petroleum company RWE-Dea.

1.2. Arts production In recent years, the Ministry of Foreign Affairs has supported many broad multicultural manifestations in several European countries: France (1991), Germany (1993 and 1997), Spain (1995), Great Britain (1992 and 1999/2000) and the Baltic countries (2000/2001). In addition there have been certain special events in several countries, e.g. the celebrations of the composers Grieg (1993) and Sæverud (1997).

The Council for Cultural Affairs offers financial support for ensembles, for musical works ordered from foreign composers, for festivals, for local concerts with foreign musicians and for single projects with an international profile (e.g. support for Norwegian profiling at MIDEM 2002 in Cannes, in cooperation with Music Export Norway, MAGMA 2002 in Berlin, Popkomm in Germany in 2002, Womex in Germany 2002 etc.). In addition, through the ”TFF-arrangement” approximately NOK 4.000.000 (515,000 €) is granted for touring abroad.

In the visual arts, the Council offers financial support for different international projects/exhibitions in Norway. This is also the remit of the Office for Contemporary Art (OCA). The office is cooperating or is preparing cooperation with the following countries: Sweden (the Nordic pavilion in Venice, and possibly collaborating on the publication of the periodical Nordic Art Review), Finland (the Nordic pavilion in Venice), Italy (La Biennale di Venezia), Germany (Nordic exhibition in Berlin 2004), Spain (possible Norwegian participation at the art fair ARCO 2005/08) and France (possible Norwegian participation at the photo fair Paris Photo 2003/04). The National Touring Exhibitions Norway (Riksutstillinger)..

12 Danse- og teatersentrum administers a support scheme for professional performing arts projects abroad. This year the budget is NOK 600.000. 13 Also, the Council of Cultural Affairs has some importance. It’s an institution mainly with national relevance, and has not been given any official responsibility for operation abroad or for cooperation with institutions in foreign countries. Some work with international relevance has been carried out anyway, but in a small scale. However, as the Norwegian Council of Cultural Affairs, it has some European relevance.

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In the Performing arts, the Council for Cultural Affairs offers financial support for guest performances and for Norwegian ensembles and free groups with international activities. In addition, the Council cooperates with the Nordic countries and with England in several interdisciplinary projects. Advisory work is carried out in collaboration with the Norwegian Archive, the Library and Museum Authority (ABM-utvikling), the Norwegian Literature Abroad (NORLA)14 and the Directorate for Cultural Heritage (Riksantikvaren).

1.3. Distribution and dissemination The Music Information Centre Norway provides information on the qualities of professional Norwegian musical life (composers, performers and other participants), produces scores and parts for Norwegian music, and distributes these materials to performing bodies throughout the world. It has a portal to the Norwegian music scene with news and information on composers, events, and musicians. Music Export Norway (MEN A/S) was established in 2000 by the Norwegian music industry, including the Music Information Centre Norway (MIC15). The organisation provides access to information on Norwegian artists and companies

Norwegian Literature Abroad (NORLA) has been the promoter of Norwegian fictional literature and Norwegian authors of fiction to foreign countries, and the Office for Contemporary Art (OCA), the National Touring Exhibitions Norway, fulfil this role for the visual arts sector, the National Library of Norway and the National Archive, Library and Museum Authority for the library and publication sector.

1.4. Research The Directorate for Cultural Heritage (Riksantikvaren), the Council of Cultural Affairs, the National Archive, Library and Museum Authority, and the Research Council of Norway all conduct foreign cooperation on research and best practice transfer.

1.5. Restoration and Heritage Preservation: The governmental responsibility for cultural heritage is divided between the Ministry of Cultural and Church Affairs and the Ministry of the Environment. Most issues related to cultural heritage are sorted under the Ministry of the Environment, while collections, museums and archives are sorted under the Ministry of Cultural and Church Affairs.

The major institution on cultural heritage collaboration is the Directorate for Cultural Heritage (Riksantikvaren), which is under the authority of the Ministry of the Environment. The Directorate collaborates with foreign countries through different arenas. The Directorate represents Norway in ”the Cultural Heritage

14 Norwegian Literature Abroad – Fiction & Non-Fiction administers support schemes in the field of literature. 15 Music Information Centre Norway administers a support scheme for professional music projects abroad. In 2003 the budget is NOK 800.000.

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Committee” (CD-PAT) in the Council of Europe. The Ministry of the Environment’s own Department for Cultural Heritage Management also takes part in this work, but the Directorate is the operative unit. The Directorate and the corresponding directorates in the Nordic countries have an institutional collaboration, and there are cooperative relations between the Directorate and the Baltic countries as well. The Directorate’s budget for European culture cooperation changes every year. The exact budget is not available, but it is quite a modest amount.

Cultural heritage is also a subject in other major cooperation arenas where Norway does participate: UNESCO, especially through the Nordic World Heritage Centre located at the Directorate in Norway. ICOMOS is another important international arena. The wood preservation committee was under Norwegian leadership for five years. Cultural Heritage issues with relevance for archives, libraries or museums is taken care of by the Norwegian Archive, the Library and Museum Authority (ABM-utvikling), under The Ministry of Cultural and Church Affairs.

1.6. Support to translation and library cooperation The Council of Cultural Affairs has measures for financial support for organizations and institutions which invite foreign authors, translators or reviewers to Norway, and book exchanges with foreign countries (Finland, the Baltic countries, Russia).

Norwegian Literature Abroad (NORLA) supports the translation of Norwegian literature in several European countries: Germany, Austria, Switzerland, Great Britain, Ireland, France, Lithuania, the Netherlands, Latvia, Poland, Estonia, Italy, Spain, Slovakia, Romania, Croatia, Greece, Portugal, and Hungary. NORLA provides translation subsidies to publishers of Norwegian fiction abroad, organizes seminars in Norway and abroad for translators and publishers, and initiates promotional programs abroad. Norwegian Archive, Library and Museum Authority also carries out activities of international cooperation.

2. National cultural institutes from foreign countries

British Council Norway The Council aims to be a link between the best of contemporary British arts and the Norwegian arts scene, promoting cultural exchange between the two countries. It is engaged in all kinds of art forms, exhibitions, seminars and festivals.

Goethe-Institut Inter Nationes Oslo The Institute organises and contributes to a wide range of activities, e.g. seminars and conferences, exhibitions and concerts. The existing budget is not available, but 10% of the working budget is funds for projects. The grants are decreasing. Approximately 1% of the budget is set aside for cooperation projects with European cultural institutes in Oslo.

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Det franske kultursenteret i Norge (Centre Culturel Francais): The Centre has one division in Oslo and one in Stavanger. The Centre organises and contributes to a wide range of cultural events and activities. Some of the events are initiated and accomplished by the Centre, others are carried out in collaboration with Norwegian partners. The Centre supports several important cultural events in Norway. Budget not available.

Italian Cultural Institute – Oslo The Institute contributes to cultural initiatives and arrangements, e.g. exhibitions and concerts, and the exchange of students and researchers between Norway and Italy. The Institute is administers scholarships and initiates courses in Italian language and culture, and cooperates with Cinemateket in Oslo.

Finsk-Norsk Kulturinstitutt (”Finnish-Norwegian Culture Institute”), Oslo: This institute is an information and contact centre with a varied programme which includes exhibitions, seminars, concerts, literature and theatre nights. The Institute administers scholarships from the Norwegian-Finnish Culture Fund. Persons and organisations may apply. Cultural exchange in the fields of architecture, visual arts/arts industry, film and photo, music, theatre, dance and literature, is regularly funded.

The British, German and French institutes are the most active and the most important regarding Norwegian cultural life. The Finnish institute is still quite young, established in 1997. The Council for Cultural Affairs organises seminars in cooperation with the Goethe-Institut Inter Nationes Oslo, the Centre Culturel Francais and the British Council Norway.

3. Future Events

3.1. Books and reading

September 2004 World Congress of International P.E.N. (Poets, Essayists and Novelists), Tromsø.

2006 Celebration of the Norwegian author Henrik Ibsen.

August 2003 European Conference on Research and Advanced Technology for Digital Libraries, Trondheim.

Oslo 2005 International Federation of Library Associations and Institutions (IFLA) Conference.

3.2. Visual arts

Autumn 2003 Institutional Aesthetics, Bergen.

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Autumn 2003 Oslo Open, Oslo.

May-August 2004 Momentum – Nordic Festival for Contemporary Art, Moss.

2004 Kunst i Nordland (”Art in the county of Nordland”).

3.3. Performing arts

13 June – 21 July Porsgrunn International Theatre Festival, summer, Porsgrunn. 2003

Summer Opera Week, Stjørdal.

February 2003 Opera Festival, Winter, Kristiansund.

Autumn Ibsen Festival, National Theatre

The National Theatre and its sister institutions in Sweden and Denmark will be cooperating on one major project every year.

3.4. Music

October Ultima, Oslo Contemporary Music Festival, Oslo.

15-22 May 2003 Music Factory, Bergen.

14 June 2003 by:Larm. Scandinavian Music business conference and festival.

14 June 2003 Norwegian Wood, Oslo.

July 2003 (annual) Kongsberg Jazz Festival, Kongsberg.

14 – 19 July 2003 Moldejazz, Molde. (annual)

May (annual) Nattjazz, Bergen.

August (annual) Oslo Jazz Festival, Oslo.

May (annual) Maijazz – Stavanger International Jazz Festival, Stavanger.

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August (annual) Sildajazz – Haugesund International Jazz Festival, Haugesund.

August (annual) Notodden Blues Festival, Notodden.

July (annual) Førde Folk Music Festival, Førde.

August (annual) Telemarkfestivalen (folk music), Bø in Telemark.

November (annual)Oslo World Music Festival, Winter, Oslo.

August (annual) International Chamber Music Festival, Stavanger.

June (annual) Risør Festival of Chamber Music, Risør.

September–October Trondheim Chamber Music Festival, Trondheim. And: Trondheim 2003 International Chamber Music Competition, every second year.

May (annual) Bergen International Festival (Festspillene i Bergen), Bergen.

June (annual) The Festival of North Norway (Festspillene i Nord- Norge), Harstad.

3.5. Cultural Heritage

July – August St.Olav Festival (Olavsfestdagene) in Trondheim and the historical (annual) St.Olav play in Stiklestad. The festival includes pilgrimages and seminars, and chamber music and jazz concerts. Summer, Trondheim and Stiklestad.

3.6. Others:

2005 is the centenary of the dissolution of the Swedish–Norwegian Union. The event is a historical jubilee, but will also be celebrated by various projects in the fields of music, staged performances, film and literature. The event will be put into an international context. The Centennial Celebration – Norway 2005 Ltd. (Hundreårsmarkeringen Norge 2005 as) is coordinating the celebration.

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POLAND

SECTION I: Introduction

A country with a long and rich cultural tradition yet politically fragile, Poland was occupied by Russia, Prussia and Austria in the 18th, and Germany and the Soviet Union in the 20th century. These of course marked cultural production, as well as international relations deeply. Two periods characterise the development of Polish cultural policy in the last 50 years. Distinguishing features of the first period (real socialism) include limited sovereignty, a one-party system and a planned economy. Cultural activities were characterised by a high level of centralisation, institutionalisation and a monopoly of State property. The second period (liberal democracy and market economy) recovered Polish independence, introduced parliamentary democracy and principles for a market economy. 1989, the year of the first democratic parliamentary election, was the watershed year between these two periods. The new principles for organising and financing cultural activities were formulated in 1993 and included decentralisation, public financial support for selected cultural institutions, as well as mechanisms to supplement the public funding of culture

The direct aim of Polish international cultural policy is presenting the cultural potential of the country abroad, stimulating interest and facilitating access to Polish culture. Polish international cultural policy within Europe concentrates on three different groups of countries. Firstly, cultural relations and cooperation activities undertaken with current EU countries focus on strengthening relations, improving the image of Poland and, especially in some countries, overcoming negative stereotypes about Poland. Due to the upcoming EU accession of Poland, these are prioritised relations. Secondly, the neighbouring Central and East European countries are of great importance, given the joint accession status, and comparable structural changes having affected the countries over the past decades. In these countries the actions undertaken focus mainly on strengthening relations and joint action in favour of the extension of the EU. Thirdly, other neighbouring countries have been a focus of Polish transnational cultural cooperation in order to strengthen and maintain good contacts; these countries are not however relevant to this study.

A lot of attention is also paid to matters concerning Polish people living abroad. The main aim of the actions undertaken is enabling Polish people living abroad to have contact with Polish culture and developing their knowledge about the country.

The degree of intensity of Polish cooperation based upon bilateral agreements with other countries differs and often depends on the other party. At the moment, based on interviews carried out in the Ministry of Culture, it is possible to say that, especially for the neighbouring countries of Central and Eastern Europe,

319 Annex I – National reports – Poland such agreements as a form of cooperation are of great importance. In the general opinion of the experts in future the importance of bilateral governmental agreements will decrease in favour of direct cooperation between networks, national institutions, etc.

SECTION II: Structures, competences, institutes

1. Ministries of Culture and Foreign Affairs

International cultural cooperation and the promotion of Polish culture abroad are mostly a joint responsibility of the Ministry of Culture and the Ministry of Foreign Affairs, also to a smaller extent of the Ministry of Education and the National Committee of Research.

The Ministry of Culture and the Ministry of Foreign Affairs are responsible for working out the priorities of foreign state cultural policy. The Ministry of Foreign Affairs ratifies the cultural agreements on the government level; the Ministry of Culture supervises the application of those agreements and the implementation of cultural cooperation programmes. In the Ministry of Culture, matters concerning international cultural cooperation are realised on many levels. The International Relations and European Integration Department is responsible for coordinating all the actions undertaken. The Ministry of Foreign Affairs realises its tasks in the field of international cultural cooperation mainly through Polish Institutes working beyond the borders of the country.

2. National Cultural Institutes

The programmes related to the promotion of Polish culture abroad and international cultural cooperation are generally implemented by two national (governmental) institutions: The Centre of International Cultural Cooperation (the Adam Mickiewicz Institute) in Warsaw, and the International Cultural Centre in Cracow.

The Adam Mickiewicz Institute (IAM) for International Cultural Cooperation, established in 2000 by the Ministry of Culture and the Ministry of Foreign Affairs, is responsible for the coordination of most of the actions related to Polish cultural promotion abroad. The main aim of the IAM is the popularisation of Polish culture in the world and cooperation in the field of culture with other countries. The Institute is also responsible for the realisation of the projects that are the result of bilateral agreements. The institute does not subsidise single (individual) cultural projects, instead, based on agreements with its partners, it undertakes its own promotion projects within its statutory actions. The IAM also undertakes the tasks appointed by the Ministry of Culture and commissioned by the Ministry of Foreign

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Affairs. In consequence the IAM organizes large scale cultural events abroad such as large exhibitions, concerts, musical and theatrical events, movie reviews, literature presentations and scientific conferences. IAM is also responsible for the following activities:

1. The Polish Translator Fund (Translator Programme © POLAND). The aim of this programme is to support the publishing of Polish authors’ works abroad translated into foreign languages. In 2001 over 602,000 PLN (150,000 €) were assigned for this purpose from the budget of the Ministry of Culture. This allowed the publishing of 66 titles in 25 languages. 2. The programme “Closer to Poland” aims to assure access for foreign institutions to current general information about Poland, the Polish press, literature, music, film and the popularisation of knowledge about Poland. At present about 1000 people and institutions are taking part in this programme. 3. Organising the national stands on the International Book Fairs and preparing the literary programme. 4. Creating the integrated information system about Polish culture and the diffusion of this information on the website www.culture.pl.

The activities of the International Cultural Centre (ICC) concentrate on scientific research, and educational and cultural programmes in the field of European cultural heritage, principally in Central Europe. The ICC’s main goal is to seek means for the efficient promotion and protection of Central Europe's cultural area. The ICC accomplishes its mission through diverse forms: from research to education, from promotion of the arts to providing general information (including organising a wide-range of conferences and publications). Special attention should be drawn to the exhibitions’ programmes (a series of exhibitions presenting European art from the turn of the century, including Klimt, Kokoschka, Dix, Grosz, and other historical paintings), made possible thanks to co-operation between centres in the East and West of Europe. The ICC acts as a link in the European network of cultural establishments.

The implementation of bilateral agreements is largely in the competence of national cultural institutions such as the National Library and university libraries, the National Museum, the National Theatre, the Old Theatre, the National Philharmonic, the Zachęta Gallery and the Ujazdowski Castle. As an example, the National Library in the year 2000 organised 88 foreign trips for its employees, the Old Theatre staged 37 performances abroad, the Ujazdowski Castle arranged 5 foreign exhibitions and the Zachęta Gallery organised two.

Polish Institutes are appointed on the basis of bilateral agreements signed between the Polish government and the governments of different countries. Financing the institutes is in the competence of the Ministry of Foreign Affairs. In the year 2000, the Ministry of Foreign Affairs assigned over 6 million PLN (€1.5 million) for their activity. The institutes act in the following countries relevant to this study: Germany (Berlin, Düsseldorf, Lipsk), Slovakia (Bratislava), Hungary (Budapest), Rumania (Bucharest), the United Kingdom (London), France (Paris),

321 Annex I – National reports – Poland the Czech Republic (Prague), Italy (Rome), Bulgaria (Sofia), Sweden (Stockholm), Austria (Vienna), and Lithuania (Vilnius)16. Institutes are also planned for Spain (Madrid), Belgium (Brussels) and another one in Germany (Munich). Cooperation is also undertaken through Polish embassies and attachés (cultural and scientific attachés) and the departments of the Polish Academy of Science in Berlin, Paris, Rome and Vienna. The central focus of all the above institutions is the promotion of Poland abroad. This is mainly achieved by presenting Polish culture and information about Poland. Institutes act according to their own conceptions, meaning that the managers taking into consideration the principles of cultural policy, decide on the shape and range of their activity.

4. Budget

It is not possible to determine unambiguously the total amount spent by the Ministry of Culture and the Ministry of Foreign Affairs on international cultural cooperation. The Ministry of Culture does not have information about total expenditures on international cultural cooperation paid for from the ministerial budget. Thereby, the calculations mentioned below are prepared for the purpose of this study.

In the year 2000, 837,000 PLN (209,000 €) were transferred from the budget of the Ministry of Culture to the budgetary section European Union Integration. These funds were transferred for international cooperation and the promotion of Polish culture abroad through exhibitions, taking part in international festivals, conferences, expert exchange, travelling allowances, training, etc. Additionally, 526,000 PLN (131,500 €) were spent on membership fees for international organizations (UNESCO, WIPO, ICCROM, etc.), travelling allowances for persons taking part in international film festivals, film contests, film conferences and training in the field of EU law.

About 8,831,000 PLN (2,208,000 €) were assigned for the promotion of Polish books abroad in the year 2000. The sum consists of the following expenses: 6,638,000 PLN (1,659,500 €) for organising Polish national stands at International Book Fairs, 1,593,000 PLN (398,000 €) for organising literary programmes within the preparations for Frankfurt 2000, 500,000 PLN (125,000 €) for the Polish Translator Fund and 100,000 PLN (25,000 €) for the service of Polish literary translators.

Significant funds were given to governmental institutions handling the promotion of Polish culture abroad and realising large projects abroad. The Adam

16 Polish Institutes in other countries: Israel (Tel Aviw), Russia (Moscow, Sank Petersburg), Ukraine (Kiev), United States of America (New York)

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Mickiewicz Institute received 697,000 PLN (174,000 €) - (established in 2000), and additionally 1,500,000 PLN (375,000 €) for the organisation of Europalia 2001. The International Cultural Centre received 1,222,000 PLN (305,000 €).

In the budgetary section covering other expenditures connected with culture and arts, The Ministry of Culture devoted 2,686,000 PLN (671,000€) to international cooperation. Through this section foreign trips, delegations, training, seminars, performances of Polish artists abroad, etc were financed. For the preservation of cultural heritage abroad the sum of 651,000 PLN (163,000 €) was assigned. Direct expenditure on the promotion of Polish film abroad came to a total of 1,297,000 PLN (324,000 €).

Summing up the expenses of the Ministry of Culture on international cooperation, a total sum of 18,349,000 PLN (4,624,000 €) was spent in 2000, which constituted 1,7% of the budget of the Ministry of Culture that year. It is to be remembered that this is an (under-) estimate. The subsidies granted for this purpose very often come from different departments that do not collect separate statistics concerning international cultural cooperation. It should be also emphasized that high share of expenditures for book promotion in the total budget for international cultural cooperation in 2000 was mostly caused by the presence of Poland as guest of honour on International Book Fair in Frankfurt.

Tab. 1 The main expenditures from the budget of The Ministry of Culture for international cooperation in the year 2000

Category In thousand PLN in thousand € European Integration 1,363 341 Book promotion 8,831 2,208 Activity of IAM and ICC 3,419 855 Film 1,327 332 Other 3,337 834 Total 18,349 4,624 Own calculation, based on: Annual Report of Ministry of Culture, Warsaw, 2001

It’s worth mentioning that funds for international cultural cooperation also come from the budgets of national cultural institutions (such as the Zachęta Gallery, the Ujazdowski Castle, the National Theatre, the National Library, universities, etc).

In the year 2000 the Ministry of Foreign Affairs assigned over 6 million PLN (1.5 million €) for the activities of Polish Institutes abroad.

SECTION III: Documents, Legislation, and Agreements

323 Annex I – National reports – Poland

1. Documents and Legislation

The most important document concerning international cultural cooperation is a document prepared by the Ministry of Foreign Affairs and the Ministry of Culture, entitled Polish Foreign Cultural Policy – priorities for the period 2001-2003. This document is planned to be prepared every three years. Important implications for foreign cultural policy are also indicated in the year 2000 programme adopted by the Cabinet: the Government Frame Programme of Foreign Promotion of Polish Accession to the EU. In the year 2002, the Cabinet also accepted the “Governmental programme of cooperation with Polish people living abroad” coordinated by The Ministry of Foreign Affairs.

2. Bilateral and multilateral agreements

The negotiations on the content of intergovernmental agreements and the cooperation programme in the field of culture and science are under the responsibility of the Ministry of Foreign Affairs, with the participation of other ministries, mainly the Ministry of Culture. Poland signed bilateral agreements concerning cultural cooperation with all the countries that are the subject of this research excluding Ireland, Liechtenstein and Sweden17. With Iceland, Poland exchanged only diplomatic notes related to cultural cooperation in the year 1970.

Cultural agreements are bilateral treaties for which the Ministry of Foreign Affairs and the Ministry of Culture are jointly responsible. The agreements cover all the fields of competence of the Ministry of Culture: arts, cultural heritage, libraries, archives and cultural institutes. The first agreement was concluded with Norway, and most date from the 1990s. Three bilateral agreements with the Czech Republic, Italy and France are currently being negotiated or prepared and will replace the ones signed earlier.

Tab. 2 Bilateral agreements in the field of culture signed by the Polish Government with other European governments

Period Number of signed agreements 2000-1990 14 1989-1980 0 1979-1970 9 1969-1960 4

17 Polish –Swedish cultural cooperation is based on the cultural cooperation programme. The next one, for the period 2003-2006 is being prepared.

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1959-1950 1

The agreements differ in the range of legal settlements, the degree of circumstantialities of decisions and law solutions. At times the range of settlements goes beyond the field of cultural cooperation and also embraces actions from the field of science and education. In all the agreements there are general references to cooperation in training and mobility, arts production, distribution and dissemination, activities in the field of restoration and heritage preservation, support for translation and library cooperation, and cultural promotion. The agreements are implemented by means of 2-3 year cultural cooperation programmes in which the means of realisation of the agreements are defined in detail.

The bilateral agreements which Poland signed with other countries do not in general give too much detailed information about the means of cultural cooperation. Rather they encourage cooperation and the undertaking of common actions in the field of culture, as stated by a few Polish experts "they create a friendly and kind atmosphere for cooperation". These agreements are:

1. The basis for future initiatives which are specified in 2-3 year long cultural cooperation programmes (executive programmes). In the Polish case it is difficult to prepare detailed executive programmes because of the one- year budgetary cycle. 2. The basis for implementing other mechanisms of cultural cooperation (for example translation funds which are not directly mentioned in bilateral agreements or executive programmes). 3. The basis for signing bilateral agreements between national institutions. For instance, the Polish National Library signed bilateral agreements with 19 libraries, the exchange of publications involves more than 140, but all of this activity is a direct result of bilateral governmental agreement or executive programmes.

Different countries attach different importance to these agreements, in the case of Poland such documents are much more important for Eastern and Central European countries than for Western Europeans. The opinions of the experts on the importance of governmental, bilateral agreements in the future vary. Some of them think that they've lost their significance due to other forms of cooperation (e.g. networks, institutions), of course others have totally different opinions.

Bilateral agreements in the fields of culture signed by Polish Government with other European governments:

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1. Bilateral agreement between The Government of the Republic of Poland and The Government of the Republic of Slovakia about cultural, educational and scientific cooperation, signed in Bratislava in 23rd of March 2000 2. Bilateral agreement between The Government of the Republic of Poland and The Government of the Republic of Lithuania about cultural, educational and scientific cooperation, signed in Vilnius 17th of December 1998 3. Bilateral agreement between The Government of the Republic of Poland and The Government of the Federal Republic of Germany about cultural cooperation, signed in Bonn 14th of July 1997 4. Bilateral agreement between The Government of the Republic of Poland and The Government of the Republic of Romania about cultural, educational and scientific cooperation, signed in Warsaw 23rd of June, 1994 5. Bilateral agreement between The Government of the Republic of Poland and The Government of the Republic of Slovenia about cultural, educational and scientific cooperation, signed in Warsaw 14th of February, 1994 6. Bilateral agreement between The Government of the Republic of Poland and The Government of the Republic of Bulgaria about cultural, educational and scientific cooperation, signed in Warsaw 25th of February 1993 7. Bilateral agreement between The Government of the Republic of Poland and The Government of the Republic of Estonia about cultural and scientific cooperation, signed in Tallinn 2nd of July 1992 8. Bilateral agreement between The Government of the Republic of Poland and The Government of the Republic of Hungary about cultural and scientific cooperation, signed in Budapest 13th of October 1992 9. Bilateral agreement between The Government of the Republic of Poland and The Government of the Republic of Latvia about cultural, educational and scientific cooperation, signed in Riga 1st of July 1992 10. Bilateral agreement between The Government of the Republic of Poland and The Government of the Czech and Slovak Republics about cultural and scientific cooperation, signed in Prague 16th of September 1991. 11. Bilateral agreement between The Government of the Republic of Poland and The Government of the Duchy of Luxemburg about cultural and scientific cooperation, signed in Luxemburg 19th of March 1990 12. Bilateral agreement between The Government of the Republic of Poland and The Government of the Republic of Turkey about cultural, educational and scientific cooperation, signed in Ankara 24th of October 1990 r.

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13. Bilateral agreement between The Government of the Republic of Poland and The Government of Malta about cultural and scientific cooperation, signed in Valetta 11th of December 1990 r. 14. Convention between The Government of The Polish Peoples’ Republic and The Government of the United Kingdom and North Ireland in the field of cultural, educational and scientific cooperation, signed in London 7th of November 1978 15. Bilateral agreement between The Government of Polish Peoples’ Republic and The Government of Spain about cultural, educational and scientific cooperation, signed in Warsaw, 27th of May 1977. 16. Bilateral agreement between The Government of the Polish Peoples’ Republic and The Government of the Republic of Greece about cultural and scientific cooperation, signed in Athens 31st of March 1976 17. Bilateral agreement between The Government of the Polish Peoples’ Republic and The Government of Republic of Portugal about cultural and scientific cooperation, signed Warsaw 30th of September 1975 18. Bilateral agreement between The Government of the Polish Peoples’ Republic and The Government of the Kingdom of Belgium about cultural and scientific cooperation, signed in Warsaw 18th of October 1974 19. Bilateral agreement between The Government of the Polish Peoples’ Republic and The Government of the Republic of Finland about cultural and scientific cooperation, signed in Warsaw 8th of March 1973 20. Bilateral agreement between The Government of the Polish Peoples’ Republic and The Government of the Republic of Cyprus about cooperation in the field of culture, education and science signed in Nicosia 1st of February, 1973 21. Bilateral agreement between The Government of the Polish Peoples’ Republic and The Government of the Republic of Austria about cultural and scientific cooperation, signed in Vienna 14th of June 1972 22. Agreement between The Government of the Polish Peoples’ Republic and The Government of the Republic of Iceland about cultural cooperation, Warsaw, 23rd of May, 1970 23. Cultural agreement between The Government of the Polish Peoples’ Republic and The Government of the Kingdom of The Netherlands, signed in Warsaw, 22nd of August, 1967 24. Cultural agreement between The Government of the Polish Peoples’ Republic and The Government of the French Republic, signed in Warsaw, 20th of May, 1966 25. Cultural agreement between The Government of the Polish Peoples’ Republic and The Government of the Republic of Italy signed in Warsaw 25th of March 1965

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26. Cultural agreement between The Government of the Polish Peoples’ Republic and The Government of the Kingdom of Denmark, signed in Copenhagen 8th of June 1960 27. Cultural agreement between The Government of the Polish Peoples’ Republic and The Government of the Kingdom of Norway, signed in Warsaw 17th of December 1958

Bilateral agreements in the field of culture in negotiation process

1. Bilateral agreements in the field of culture between The Government of the Polish Republic and The Government of the Czech Republic (as a replacement of an agreement from 1991) 2. Bilateral agreements in the field of culture between The Government of the Polish Republic and The Government of the Republic of France (as a replacement of an agreement from 1966)

Bilateral agreements in the field of culture in the process of preparation 1. Bilateral agreements in the field of culture between e the Polish Republic The Government and The Government of the Republic of Italy (as a replacement of an agreement from 1965)

SECTION IV: Activities

1. Principal Activities

Polish public authorities support transnational cultural cooperation in many ways, especially by: C Preparing the documents / programmes supporting international cultural cooperation, and providing administrative and financial support for the execution of the bilateral agreements/cultural cooperation programmes C Widening the network of Polish Institutes and cultural attachés abroad, C Taking part in international organisations or initiatives (for instance, Polish National Television signed an agreement associating it with European Cultural Television ARTE presenting the most important cultural events in Belgium, France, Germany, Switzerland, Austria, Finland, Spain) C Establishing the national institutions responsible for the promotion of Polish culture abroad and international cultural cooperation (IAM, ICC). Among the large scale multidisciplinary projects coordinated by the IAM, the following deserve special attention: the Polish Year and Festival Europalia in Belgium and the Benelux countries in 2001, the Polish Year in Spain in

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2002, the Polish Year in Austria 2002-2003 and the Polish Year in Sweden in 2003, the Polish cultural season in France 2004. C Funding for particular projects implemented by Polish associations and foundations. In the year 2000 the biggest funds were assigned to the W. Wieniawski Association for organising the International Violin Contest in Poznań (970,000 PLN or 243,000 €), and the Association of Polish Composers for organising the International Contemporary Music Festival “Warsaw Autumn” (750,000 PLN or 188,000 €).

Tab. 3 The biggest international cultural events in Poland supported from the budget of the Ministry of Culture (MC) in 2000

Field of culture MC expenditures Music In thousand PLN In thousand € International Violin Contest W. Wieniawski, 970 242,5 Poznań International Contemporary Music Festival 750 187,5 Warsaw Autumn, Warsaw International Festival Wratislava Cantas 450 112,5 International Contest of Young Violin Players, 180 45 Lublin International Festival of Sacral Music Gaude 180 45 Mater, Czestochowa International Chopin Festival, Duszniki 150 37,5 International Festival of Musical Individualists, 110 27,5 Lodz International Festival of Orthodox Music, 80 20 Hajnówka Theatre International Theatre Festival, Kontakt, Toruń 480 120 International Theatre Festival Malta, Poznań 200 50 International Theatre Festival Confrontation, 150 37,5 Lublin International Festival of Theatre Schools, Lodz 100 25 Visual Art International Graphic Art Triennale, Krakow 166 41,5 Film International Film Festival Lubuskie Film 150 37,5 Summer International Festival of Film Art Camerimage, 200 50 Lodz International Short Subject Film Festival, 400 100 Cracow International Festival of Childrens Film 100 25 Other

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International Festival of Puppet Art, Bielsko- 240 60 Biała Jewish Culture Festival, Cracow 260 65 International Festival of Folklore, Pila 80 20 Based on the Annual Report of the Ministry of Culture, Warsaw, 2001

1.1. Training and mobility C The Polish–Hungarian cultural cooperation programme 1998-2000 allowed for the exchange of 70 experts for 330 days (60 days reserved for translators and literature critics ) C The Polish–Spanish cultural cooperation programme 2000-2002 provided for the exchange of experts for 14 weeks. C The Polish–Belgian cultural cooperation programme 2003-2005 exchanged one expert from the field of art, cultural heritage and architecture for a period no longer than 80 days. C The Polish–Austrian cultural cooperation programme 1997-1999 allowed for the exchange of experts from the librarian field for 20 days.

The exchange visits, training and bursaries apply to all the cultural fields mentioned below.

1.2. Arts production The Polish Institutes and other foreign diplomatic agencies cooperated on arts production across all sectors. In France, and on the occasion of the J.Malczewski exhibition of paintings in the Musee d’Orsay, an exhibition of the painter’s drawings was held in the Polish Institute in Paris. The Polish embassy in The Hague organised a small Polish festival in Amsterdam and a Polish Week in Maastricht; and in Italy, the festival of Bruno Schulz was organised with the help of the Polish Institute in Rome. In Sweden, the “Sopot Days” with a broad cultural programme were organised with the help of the Polish Institute in Stockholm. Other cooperation in the arts sectors include: a. Theatre C Polish-Italian cultural cooperation between the Drama Art Academy of Palmi and the National Theatre Academy of Warsaw. b. Music C The Polish-Austrian cultural cooperation programme 1997-99 produced the participation of Austrian musicians in the International Music Festival Warsaw Autumn, International Festival of Oratorian and Cantas Music Vratislava Cantas in Wroclaw, and the participation of Polish musicians in

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the International Wiener Music Festival, Bregenzer Festpiele, and Chopin Festival, C The Polish–Romanian cultural cooperation programme 1997-2000 allowed the participation of Romanian artists in the International Festival of Contemporary Music “Warsaw Autumn” and the International Vocal Content Moniuszki, as well as the participation of Polish artists in the International Music Content D. Lipatti and the International Music Festival G. Enescu. C In the cultural cooperation programmes with Spain, Italy and France, the promotion of F. Chopin’s music is strongly emphasised c. Exhibitions (contemporary art.) . C During the Polish–Spanish cultural cooperation programme 2000-2002, the Spanish party organised an exhibition of “Gaudi, Picasso, Miro, Dali and Tapies: the Catalan Masters of the XX century” in the Zachęta Gallery in Warsaw and in The National Museum in Cracow. The Polish party organised an exhibition “ Art from Poland” in Spain. C During the Polish–Italian cultural cooperation programme 1999-2002, the sculpture exhibition of M. Abakanowicz and K.Kobro was organised in Rome; and the Polish–Italian cultural event “De composition - culture and art at the beginning of the year 2000” was organised in Rome and Warsaw. C On the basis of a bilateral agreement between Poland and Portugal, cooperation was instigated between the Gulbenkian Foundation in Lisbon and the Zachęta Gallery in Warsaw. The main aim of the cooperation is the exchange of exhibitions. Cooperation between the Centre of Polish Sculpture in Orońsk and the Centre of Sculpture in Pero Pinheiro was also initiated.

1.3. Restoration and Heritage Preservation C Within the Polish-Spanish cooperation, the Independence Museum in Warsaw undertook the patronage of the House of Memory of Puerto de Somosierra. C Within the Polish–Italian cultural cooperation programme 1999-2002 an exchange of Italian masterpieces of art took place. The Lady with an Ermine, by Leonardo da Vinci, was presented in Italy, and Lady with a Veil and Venus from Urbino, by Rafael, were presented in Poland. The cooperation also includes the training of conservators. The cooperation between the International University Centre and the Academy of Fine Arts in Cracow can serve as an example. Their cooperation is conducted within the Tempus programme.

1.4. Translations and Library Cooperation

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C During the Polish–Italian cultural cooperation programme 1999-2002, an archival exhibition dedicated to Queen Bona was prepared by the State Archives in Cracow and State Archives in Bari. C Cooperation was coordinated by the National Library to document the so-called displaced Polish collections that have not been repatriated and collections that belong to the cultural heritage of neighbouring states, but currently are held by Polish libraries. C During the Polish–Spanish cultural cooperation programme 2000-2002, an exchange of Polish and Spanish language teachers was organised The same kinds of exchange programmes are organised, among others, with Italy, Hungary and the United Kingdom. C There are cultural cooperation programmes with most of the countries in the field of book promotion by organising national stands during International Book Fairs C University libraries cooperate, especially in the field of exchange of experiences, librarians, exhibitions and books.

2. Foreign Cultural Institutes

Cultural institutes of several countries are active in Poland. They are the Austrian Cultural Forum, the Bulgarian Cultural Institute, the Czech Centre, the French Institute, the Cervantes Institute, the Goethe Institute, the Slovakian Institute, the Hungarian Cultural Institute, the Italian Cultural Institute and the British Council. The main aim of these institutes is to promote the culture and science of their own country in its various aspects, by maintaining libraries, organising exhibitions, theatre shows, concerts, promoting cinematographic production, lectures and language courses. They also provide financial support for cultural exchanges involving artists active in all fields of culture.

Examples of activities undertaken by institutes: C The British Council supports university language centres, coordinates libraries, language courses, and congresses (for example every 1-2 years the symposium “British Culture” in cooperation with the Lodz University) , as well as different cultural programmes (for example every year the British Council invites British poets to the Poetry Festival in Legnica). It also supports exchanges between Poland and United Kingdom. C The Austrian Cultural Forum cooperates with publishing houses, galleries, and theatres. C The Goethe Institute organises the “Inter Nationes Library” in Cracow, an information centre, which provides information about German social, economic and cultural life.

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C The Danish Institute organises exchange visits between experts and individuals.

3. Future Events

Most events with a European relevance to take place in the coming years are annual events, some of which have been held for many years now. They are listed under sectorial headings rather than chronological ones.

3.1. Books and Reading May International Book Fair, Warsaw

3.2. Visual Arts July- August International Print Triennial, Cracow, International Poster Biennale, Warsaw

3.3. Performing Arts June International Theatre Festival Malta, Poznan. September International Street Theatres Festival, Cracow. March International Alternative Theatres Festival, Cracow April- May Cracovian Ballet Spring, ,Cracow June-July 2003 International Contemporary Dance Festival, Warsaw (every two years)

3.4. Music August International Music Festival in old Cracow, Cracow September International Music Festival “Warsaw’s Autumn, Warsaw April International Music Festival, L.van Beethoven Easter Festival, Cracow International Sacral Music Festival, Czestochowa May International Festival, The Old and the Young or Jazz in Krakow, Cracow June International Festival of J.S.Bach, Świdnica, June Warsaw Summer Jazz, Warsaw International Violin Contest of W. Wieniawski, Poznań May International Orthodox Music Festival, Hajnówka

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June-August International Organ Music Festival, Gdańsk-Oliwa June Mozart Festival, Warsaw May-September Chopin Concerts, Warsaw (every Sunday) September International Music Festival "Wratislavia Cantans", Wroclaw International Pianist Contest of F.Chopin, Poznań

3.5. Other July Jewish Culture Festival, Cracow July International Media Art Festival, Poznań May Wro – Media Art Biennale, Wroclaw

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