Performing Arts P 29 4.5

_CRISIS _UNCERTAINTIES _SYNERGIES THE STATE OF CULTURE AND THE ARTS 01_2013

National Council for Culture and Arts _Contents

01. Culture/strategic axis p 3 1.1. Plurality/cohesion p 5 1.2. Territories/interconnection p 6 1.3. Catalonia/cluster p 7 02. Economy/culture p 9 2.1. Sustainable model/creativity p 9 2.2. Patronage/sponsorship p 12 03. The digital paradigm: a culture reset p 13 3.1. Challenges p 15 04. The situation in the sectors p 16 4.1. Book p 17 4.2. Cinema and audiovisual p 21 4.3. Music p 26 4.4. Performing arts p 29 4.5. Visual arts p 33 4.6. Popular culture p 37 4.7. Heritage p 40 05. Some priorities of the cultural system p 43 5.1. Artistic education p 43 5.2. Institutions: from efficiency to need p 46 5.3. The social value of culture p 47 06. Redefining the model p 49 6.1. Economic model p 50 6.2. From receivers to leaders p 52 6.3. Internationalisation p 54 6.4. Excellence and merit p 55 07. CoNCA’s commitments p 57 Annex: diagnosis p 60

2 01 _Culture _strategic axis

The notion of culture is crucial to understanding its The classic notions view culture as a set of knowledge creator and bearer, man, to the extent that it is often - also in a very broad sense, which includes the arts - said that the human animal’s most distinctive feature is which humanity learns and teaches. It is a notion that that it is a cultural animal. And it is precisely the pivotal underlines phenomena such as science, literature, importance of this notion that makes the term culture thought, etc., and generates terms as such input, enrich- so versatile, so all-encompassing and so diffuse, permit- ment and communication. The classic notion of culture ting many different and divergent definitions. is more restrictive than the anthropological one, and perhaps more substantial, because it points straight to the Most definitions can be grouped into two main blocks, heart of the imagination and creative thinking. Accor- anthropological matrix and those that follow the classic ding to the anthropological vision of the phenomenon, model. The former, when they talk about culture, refer both the Stock Exchange and the University of Barcelona very broadly to the set of ideas, habits and skills a given would be cultural objects; for the classic view, it would society has at a given time. Everything that allows a be only the University, and it would distinguish between group of people to tackle the environment and create its the latter’s different functions: teaching, publishing, re- own more or less autonomous world within this framework search, etc. (and indeed transform the framework) is its culture. It is an utterly all-encompassing notion. Everything that is The classic notion of culture is very dynamic and tends to not genetic is culture. But it also permits endless speci- be hierarchical. You can have more or less culture, it fications, as many as the definitions of human groups can increase, it can deteriorate. It is also universal. that we can think up. Everyone, be it a person or society, participates in a de-

01. Culture / Strategic axis 3 termined, and perhaps specifiable, way in culture; but, that we have got our priorities seriously wrong. The fact strictly speaking, they do not have a specific culture, that the managers of society - and a large part of society because at least ideally the body of knowledge that hu- itself - may regard something which is decisive as su- manity has come to acquire is compatible for everyone. perfluous and dispensable, is a telling symptom of the state of confusion surrounding the socially prevailing Every society, in every era, educates its members in a notions of what culture actually is. And the consequen- more or less given way and instils certain knowledge ces are by necessity catastrophic. If academic educa- and customs, and not others, or not as much, in them. tion, artistic creation, scientific research and debating It has a particular cultural heritage because of and to ideas are all regarded as superfluous, then it is not diffi- the extent to which it collectivises it. Social groups are cult to conclude that a very sombre future awaits us all. characterised precisely by the cultural habits shared by their members. Thus, the classic view eventually agrees Turning culture into a strategic axis is essential for - with certain nuances - with the classic one. This is the sector’s survival, but it is above all a pressing re- why, when all is said and done, it is not paradoxical that quirement if we want Catalonia to be recognised for within culture, understood as the body of knowledge its linguistic and cultural uniqueness. The collective that humanity has, there can also be as many forms vocation, linked to aspirations pursuing the recogni- that could be approximately delimited as social sub- tion of Catalonia as a nation, must be reflected in the sets that we can distinguish within the human group. Government’s priorities and therefore also in the finan- We can distinguish between a universal notion, culture, cial support to strategies developed. and specific embodiments, parts.Regardless of whether we call it culture in Catalonia or Catalan culture, we can The cultural sector is now a growing worldwide indus- approach it from both the anthropological and the classic try. Markets are increasingly more global, and despi- point of view. Both of them remind us that culture is te the challenge of the digitisation process, content crucial. It is the main determining factor in any idea creation is an activity of the future and the opening that we may have of human beings, their history and up of markets is an opportunity in itself. The global their future. framework is where Catalan cultural enterprises can bring their growth opportunities to fruition and achie- In modern society, there seems to be an impression that ve their sustainability threshold. culture, or at least high culture, which would be the quintessence - is conceived, as a luxury, and therefore, The cultural sector must be able to harness all the in- and ultimately, as a superfluous and perhaps dispen- direct wealth generated by the sector, which is by no sable ornament in times of austerity. And in periods means small. Areas such as heritage, for example, clo- of economic crisis, cultural budgets are the first to be sely linked to tourism, should be capable of generating slashed by all the governments affected. Perhaps most business projects, of making culture an economic en- people will find it understandable that spending on hos- gine that taps into the wealth generated around it. The pitals should take precedence over the funding of the structural consolidation of the sector therefore requires Liceu - we can survive without music, but health is no a clear commitment to a model of economic and social laughing matter -, but when the cutbacks affect medi- progress that places culture at the core of its strategy. cal research, student scholarships - for medicine and the rest - and, so to speak, the very cores that generate and transmit knowledge that could improve and perhaps even save our lives, or also, and why not, extricate us from the crisis that now overwhelms us, then we have the conviction that we are making a big mistake,

01. Culture / Strategic axis 4 in a highly effective and similar fashion for millions of years. They never change. Human societies are not like 1. 1. that. And if this is so, then it is thanks to culture, always dynamic and always contentious. This is a good reason to _Plurality bear culture very closely and continually in mind. _Cohesion The population of Catalonia has grown by 1.3 million over the last twelve years. Most of this growth - more specifically 88% - came from immigration: 30% from In Catalonia, the constellation of organisations that pro- European Union countries, 27% from Africa, 26% from mote the generation, declaration, discussion and trans- South America, 11% from Asia and 5% from America. mission of knowledge, ideas and imaginative insights in Despite the economic crisis, which has led this trend the various areas of a complex society is small, and has to become stagnated, the population of Catalonia is now obvious constraints, and the current circumstances, at least for the moment, would not ap- Catalonia is a small country, representing 1.5% of the population of the European Union, and its territory covers pear to be conducive to any less than 1% of Europe as a whole. kind of expansion. However, a rethinking of the decisive im- The European Union consists of 27 countries, with 23 official languagesand 150 live linguistic communities. portance of culture, not only as a form of social cohesion or a Catalonia is not essentially different, and the problems it faces are similar to those of the European Union as a pole of identity recognition, - whole, particularly the European countries with a minority language and culture. which it evidently is - but also, and above all, as an absolutely essential instrument for change and social progress, and ultimately as a major factor comprised of 16% foreign-born inhabitants, with up to that humanises man - the only creature whose awareness 180 different languages spoken, including Arabic, Ro- drives it towards perpetual transformation, i.e. it never lets manian, French and Galician. We can therefore say that up, will help us to undo dangerously suicidal confusions contemporary and cosmopolitan diversity is the main and establish more sensible priorities. sign of identity of our society.

We are talking about people with the talent to generate This diversity adds a certain complexity, in that Cata- ideas, but also, and above all, resources and instru- lan - our own language - has to coexist with Spanish, a ments. We are talking about universities, laboratories, language which 47% of Catalans regard as their own. publishers, libraries, archives, museums, concert halls Managing this multiple reality, expression of culture and and reading rooms, film archives, theatres, a general knowledge, is one of our challenges, it defines our com- and specialised press that permits the free discussion plexity, but it also defined our wealth, ambition and of ideas and projects, real and virtual networks, points strength, in an increasingly more homogenised global of connection and points of transmission. We need all setting. This is one of the major reasons why we are this. And the first thing we need is to realise and to forced to redouble our efforts to protect and develop our make others realise that we need it, greatly. language and culture.

Beehives and anthills are complex and highly-organised Respect for diversity is a point of departure, not a mi- societies that have reproduced and governed themselves lestone on the basis of which we should build society.

01. Culture / Strategic axis 5 Diversity in Catalonia is currently expressed in many ways, origins, ages, interests, paths, etc., and all of 1. 2. them are a source of wealth. Culture is one of the best vehicles for expressing this diversity and for the latter _Territories to participate in an intercultural dialogue. When times are difficult, spaces for dialogue, for individual and/or _Interconnection collective construction, must be provided.

Culture is a core activity in people’s lives, in the way they The design of cultural policies promoted by the diffe- understand and cope with vital challenges, which at rent administrations should take this into account and times like the present, are multiplied, and it has a pi- also must balance this unequal distribution of resources votal importance that must be taken into consideration and encourage the creation of poles of attraction and the in promoting social cohesion policies. Culture gives us concentration of services beyond the main urban cen- the answers to many current social cohesion challenges. tres: dissemination circuits distributed throughout the Culture has enabled us to reaffirm our identity, show what country, aggregating services and projects in areas with we are as a country and contribute, through creative scant critical, economic or population mass, and finally, production and thinking, to building a more open and the creation of technology and mobility infrastructures to innovative society. facilitate connectivity and access to culture. However, in the more isolated and difficult-to-access areas - the Aran Valley-Pyrenees and some of the counties of the Terres de l’Ebre, to cite but two examples - the intensity of support policies should be redoubled, and assistance and/or mobility systems proposed to increase opportunities for cultural consumption by these populations.

Catalonia is characterised by having a very well-educated population, since 15.7% of Catalans have third-level education and 66.8% have completed higher education, plus a highly urbanised territorial distribution, with a population density twice that of Poland and Denmark, almost four times that of Scotland or Ireland, and fifteen times that of Norway or Finland.

On the other hand, the Catalan population is heavily concentrated in a metropolitan area that houses 63% of the country’s population, which has tended to lead to a centralisation of cultural services and available resources in this area, although this is not the case with the cultural fabric and activities, since the association movement straddles the whole country and is one of its identity traits.

On the basis of the current territorial reality, with new access parameters provided by the new communication channels - where space and time cease to have the value and the role they had enjoyed hitherto -, and the im- mediacy and universalisation facilitated by the information technologies, the cultural action and distribution map will need to be replotted. Indicators of accessibility

01. Culture / Strategic axis 6 thresholds are needed, and have to be informed by a desire for territorial cooperation and incorporate posi- 1. 3. tive compensation criteria in the more neglected areas while, at the same time, economic efficiency and social _Catalonia performance parameters should be established to ensure sustainable resource management. This means driving _Cluster towards an aggregation of services beyond municipal limits in order to endow the whole country with a more Ever since the restoration of democracy, and with a view consistent and competitive cultural offer. And finally, to achieving cultural normalisation, coinciding with de- interconnected poles of attraction distributed evenly cades of a positive economic environment, we have built over the territory must be promoted to constitute a veri- up a country which generally speaking is culturally well table and sustainable cultural network for the country. equipped. Catalonia has good public and private cultural infrastructures: over 1,000 multi-purpose spaces, more than 800 libraries, over 500 museums and collections, around 300 archives, over 800 cinemas, 150 stages for performances, over 250 art spaces, etc. An important array of spaces dedicated to culture which, despite some exceptions of territorial imbalance, provides good foundations and a good starting point for access to culture.

Number of cultural facilities in Catalonia. By type

Multipurpose spaces ,

Libraries

Bookshops

Collections

Archives

Art venues

Cinemas

Art Galleries

Museums

Theatres Source: Cultural Facilities Plan of Catalonia (PECCat 2010-2020)

01. Culture / Strategic axis 7 Ideas and facts, culture, society, economics and po- litics are much more densely interrelated, without predetermined hierarchies. Ideas have the capacity to change the world and should be used constructively. Whoever says that we are now living the dreams of thinkers and creators who disappeared centuries ago as realities would not be exaggerating. And the people of the future will live the realities - in a way that we cannot even begin to imagine - of our dreams, if indeed we have them. We must thoroughly rethink the importance of culture - also in the classic sense - in human life. Knowledge, ideas, imaginative intuitions, expressed, discussed and passed on, shape and transform the human world. Catalonia is and must be able to be a cultural power, a cluster of creation and talent, built with decades of effort. But now, the economic crisis and the management of public policies are en- dangering this reality.

At this moment in time, the Catalan cultural industry is still a powerful economic sector: there are 20,132 cultural enterprises employing 95,000 workers, which is 3.3% of total employment in Catalonia. However, the economic crisis is affecting this sector very directly. Since 2007, employment has fallen steadily, involving a loss of 29% of workers, with Catalan employment falling from 3.9% to the current figure of 3.3%.

All of the cultural sectors are immersed in specific resizing processes. In 2010, turnover in the book industry was 10% down on 2009, and this negative trend has since been maintained and has even heightened. Audiovisual producers are also cutting back on their activity: in 2011 there were 17% fewer feature films than the previous year and dwindling numbers of spectators are compromising the viability of many cinemas, where, moreover, the share of Catalan productions has fallen from 8.4% to 7.1%. Catalan theatre, dance and circus companies are also suffering from government cutbacks in contracts as well from as the risk-reduction policies implemented by private programmers. The art gallery sector has also published data that talk of a 60% reduction in activity and the closure of 20% of its galleries, which further aggravates the fact that many of the art centres that had been opened in recent years have been put on hold.

01. Culture / Strategic axis 8 02 _Economy _CULTURE

work, which moreover has prioritized social projects over 2. 1. cultural ones.

_Sustainable model In general, the action of the local governments is essential in guaranteeing the sustainability of the cultural _Creativity system, and town and city councils make the biggest contribution to the Catalan cultural sector: 54.3% of total public expenditure, with 11% provided by county and The economic and financial environment is threatening district councils. The Government of Catalonia accounts the sustainability and the durability of the cultural system. for 29.1% of total public funding to culture in Catalonia. The budget reductions implemented by the administrations, In the last five years, the budget of the Department of Culture has been cut by 23%, while its subsidies’ budget especially the Government of fell by 18.3%. This fall was as high as 37.2% in aid to investments and 12.8% in aid to activities. Catalonia and the Spanish Sta- te, together with the financial The year 2012 witnessed a greater reduction in aids to activities for third parties of up to 9.1%. This reduction crisis in the town and city cou- is even more pronounced if we take transfers made to the main cultural facilities of Catalonia into account. For ncils and increased VAT levied these centres, the cumulative reduction in the five periods analysed was over 30%, with year-on-year reductions on cultural consumption and of between 8% and 15%. products is negatively affecting families which are already Note: The facilities considered for these calculations are: The Library of Catalonia, Gran Teatre del Liceu, Au- hard hit by the country’s global ditorium and Orchestra Consortium, Mercat de les Flors, Museum of Contemporary Art of Barcelona (MACBA), economic crisis. Then there National Art Museum of Catalonia (MNAC), National Museum of Science and Technology (mNACTEC), Museum of is the crisis in some savings Archaeology, Teatre Nacional de Catalunya (TNC) and the Teatre Lliure Foundation. banks, which has had a serious impact on their social welfare

02. Economy / Culture 9 Culture in Catalonia generates more than 6,600 million Euros in gross added value (GAV), representing 3.6% of total Catalan GAV in 2008, and even if the analysis is reduced to more traditional sectors - artistic shows and activities; libraries, archives and museums and cultural industries - the cultural GAV is well above other sectors such as the primary sector (1.05%), activities related to social services (0.88%) or the relevant food, beverages and tobacco industry (2.76%).

Comparison of cultural GAV to other economic sectors. 2008 (as a percentage)

5.15%

3.95% 3.60%

2.76%

1.05% 0.88%

Financial Education Cultural Food, drink Agriculture, Social services and insuraces sectors and tobacco livestock activities activities industries forestry and ﬁsheries

Source: Prepared in-house based on data from Idescat and the Strategic Culture Plan of Catalonia 2021

Within the sector, audiovisuals, books and newspapers are the industries with the largest contribution to GAV, while performing arts, art galleries and music make a smaller contribution to the generation of GAV.

For every Euro contributed to culture by the Government is also, and above all, about economic value, the spirit of Catalonia, the Spanish state provides 0.2 and local or- of innovation and a key instrument in the transforma- ganisations 2.2; tourists contribute 1, savings banks 0.3, tion towards an economy based on knowledge genera- while citizens contribute 5.9. These data demonstrate tion and transfer. that culture is a highly self-sufficient sector, and the The lack of determination in cultural commitment has preconception that it is more of a liability than an asset traditionally been mirrored in the budgets of the Go- in our economic system overall is unwarranted. vernment of Catalonia. In 2012, the Government of Catalonia is suffering from a considerable cultural defi- Catalonia’s budget for culture was 301 million Euros. Of cit as opposed to the European reality and thresholds, this figure, 54% (163 million) was for aid to third parties and reducing the budget for culture therefore affects in the form of support to activities, investments or im- a sector that is still well below the level it should have provements of facilities - data from the approved budget. reached. It is absolutely necessary to overcome the unreasona- Culture is our historical legacy, a creative expression, a bly widespread belief that culture is largely a subsidi- critical perspective and the capacity to be. But culture sed activity. Most cultural funding is provided by the

02. Economy / Culture 10 at the time this report was The culture budget of administrations with powers for culture in Catalonia is broken down as follows: 52% written, the State Govern- goes to cultural promotion and activities; libraries and archives have 18%, and museums 14%; archaeology ment had just announced and heritage receive 5%, and 3% is allocated to linguistic normalisation. the renewal of the PIVE Plan The economic effort made by the local authorities in cultural funding is reflected in the overall amount for the value of 150 million allocated to this item, but above all in the percentage which cultural spending accounts for in their overall Euros, which almost equals budgets: 7% in the case of municipalities and 12% for the county councils. In the case of the Government the aid provided by the De- of Catalonia, culture’s share in the overall budget is about 1.3%. This reflects the low centrality and often partment of Culture to the insufficient attention paid to culture within the political priorities of the successive governments of the culture sector in 2012. We Government of Catalonia. can say without hesitation that Catalan culture has been A brief comparative look at the rest of Europe shows that the ratio of expenditure on culture per citizen historically mistreated, as well in Catalonia, considering the sum of contributions by the administrations, is too far behind countries as under-appreciated. But with a similar population who share our need to defend and maintain minority languages and cultures. the situation is now com- In 2011, spending on culture/citizen in Catalonia was €149/inhab., well below the €168 of Finland, the pelling. The crisis does not €171 of the Netherlands, the €220 of Switzerland, the €364 of Denmark and Norway’s €380 (data from only affect cutbacks in pu- European countries in 2005). blic funds, but also citizens’ capacity to invest in what ought to be a fundamental citizens themselves. Household spending on culture right. The increase in VAT and the stagnation of the and leisure is the largest source of funding for the new Patronage Bill compound the difficulties faced cultural sector. 54% of financial resources for culture by the sector in maintaining its sustainability. come from this area, which, if we include resources tourists spend on culture, accounts for 63.5% of total resources for culture. In contrast, public spending on culture, considering the administrations overall, was 1,297 million Euros in 2010, Expenditure on culture by different agents. which represents 31.6% of 2010 (million Euros) total resources used to fund 2,218 cultural activity.

The economic data banish the social stereotypes that have stigmatised culture as an expensive and highly- subsidised activity. And this 709 is even truer if we consider 389 378 the cost of some infrastruc- 126 128 tures or compare the cultural 67 72 subsidies granted as compa- 11 8 1 Domestic Tourists Savings Patronage Sponsorship Municipa- County District Govern- Govern- European red to those received by other expenditure Banks lities Councils Councils ment of ment of Union Catalonia Spain sectors, such as agriculture Source: Prepared in-house based on different sources or the automotive sectors -

02. Economy / Culture 11 completely: in 2010, overall contributions by savings 2. 2. banks to social welfare was 558 million Euros, while only 22.5% of this amount, more than 125 million Eu- _Patronage ros, was spent on cultural, recreational and historical and artistic heritage programmes.

_Sponsorship The future of savings banks’ social welfare work is un- certain, as there have been mergers and takeovers, including takeovers by banks that are under no legal There are no consistent data on the current economic obligation to maintain social welfare work. This trans- dimensions of patronage in Catalonia. In Spain overall, formation in the social welfare work scenario by the Treasury data show that in 2008 some 146,000 people savings banks calls for an effort by public institutions made donations to the value of 44 million Euros, but and all cultural agents. they do not specify what part of these contributions corresponds to projects in Catalonia or whether they are related to cultural matters. The lack of data in this regard makes it difficultto foresee its current impact and hypothesise as to what the much-awaited Patronage Act may signify for culture in the future.

It is evident that the current legal situation and the tax advantages of patronage in our country differ significantly from those of our neighbouring countries. Whi- le tax deductions for patronage in Spain are 25% for natural individuals and 35% for corporate persons, in France the legal amendment of 2003 increased these deductions to between 60% and 65%. Therefore, it is not difficult to imagine that any improvement in this regard would have a favourable impact on culture.

As for sponsorship, estimates made for Spain overall calculate that such activities move some 1,000 million Euros a year. Most of this amount is earmarked for sports and social activities. Culture activates, according to these sources, a sponsorship figure of between 60 and 100 million, and the estimate of Catalonia’s share in the overall Spanish volume is 30%.

Hitherto, another important source of funding for culture came from savings banks, which for many years had been firmly committed to supporting culture, although this contribution has dwindled in recent years, and particularly to the benefit of activities targeting social pur- poses. The financial crisis has changed this scenario

02. Economy / Culture 12 03 _The digital paradigm: a culture reset

The far-reaching changes in cultural production and raged. The new reality is an opportunity. An opportunity consumption patterns mirror changing times in our so- for talent, inventiveness and innovation, and a platform ciety. They are major changes: nothing is, nor ever will for Catalan culture to have greater and better presence be, as it used to be. The speed of implementation and beyond our borders. evolution of the new technological culture has outstripped the response and adaptation capacity of administrations, The Internet network can be a valuable ally for creators, the cultural industry, traditionally innovative, the world of and offers new opportunities for them to present their education and even creators themselves. Digitisation de- work and generate new capabilities for their creative fines new business models; it opens up new funding potential. It can connect - without substantial costs or channels, increases opportunities for dissemination intermediaries - with an unlimited number of followers, and changes the consumption habits of a young and who in turn become potential prescribers and dissemi- emerging audience. nators. The Internet can generate systems of viral communication that cultural projects in our country have For a culture like Catalonia’s, which has great talent but never been able to create. This new paradigm involves a limited territory, the digital paradigm can be an open a change in the established parameters, expectations window onto the world where all potential must be leve- and business models. In the light of this, new innovation

03. The digital paradigm: a culture reset 13 concepts must be devised. The time has come to explore set, but rather accessibility to contents. Provision should new forms of interaction between users and creation. be made, therefore, for the possibility that some creators will choose to distribute their productions without The cultural industry must adapt, with initiative and lu- charging a royalty, and seek other more long-term com- cidly, to digital transformation, pre-empting new trends pensation for their work. and taking the lead in a scenario of global contents, where strength is accentuated by the ability to spot ta- Current technology permits all kinds of openness and lent, to be a prescriber of quality and offer services, control, where the only limits are the creator’s own. surpass the limits of traditional territorial management For this purpose, suitable distribution platforms are re- - international law, multilingual translation, etc. - and quired, agreements must be proposed with technology rechannel projects to guarantee their continuity and consolidation. The situation of Catalan language on the Internet is good, as its presence greatly outweighs the demographic limits of its approximately ten million speakers. The following data confirm this: It is now therefore essential to define new business _Catalan holds eighth place in terms of Internet penetration rate - the number of Internet users divided by the models which must involve country’s total population, ahead of French, German, Italian and Spanish. a reduction in the number _The .cat domain was the second-fastest growing one in 2012 and has more than 61,000 registered domains. of intermediaries, a diver- _The Wikipedia in Catalan, with more than 391,000 items, is the fifteenth most-used language of the 285 lan- sification of activities and guages included in this virtual encyclopaedia. more careful product perso- _Catalan is the nineteenth most-used language on Twitter. Almost 80,000 users have updated their Twitter nalisation. With no need for to Catalan. major structures, new business opportunities open up for digital contents as technological innovation evolves. platforms, which are obviously essential, and sanctio- For this reason, Catalan cultural entrepreneurs must be ning mechanisms must be implemented to guarantee encouraged to take up strategic positions in the new compliance. digital markets and be receptive to ongoing change. Tackling this transformation successfully is essential to Hitherto, the debate on the transformation brought on our culture’s survival. Catalan artists and their proposals by the digital space has focused primarily on the ma- must be present on the Internet, and so too must our in- nagement and protection of copyright, and more spe- dustries, hitherto the bringers of change and transforma- cifically on the fight against piracy, the scourge of the tion, lead this new era, both in terms of communication cultural industry and its creators. Catalonia, as a poli- and in creative formats. tical and cultural community committed to creativity and excellence, needs to take up a position in this de- The digital space is radically transforming the relationship bate and lead proposals. Creators and the industry must between citizens and culture. The new paradigm permits be able to safeguard their rights, and the Government greater content segmentation, horizontal dissemination, a must help to create the legal and control framework for more active role of the consumer in selection and evalua- this to be possible. tion, for example. Users decide what, how and when they want to consume culture. They are involved in produc- But at the same time, we cannot overlook the concep- tion - planning, suggesting, etc. - they become players in tual shift in the way things are consumed in the digital dissemination - by forwarding, recommending, etc. - and space; the object is no longer ownership of the good or as- often become prescribers for larger communities.

03. The digital paradigm: a culture reset 14 _Audience studies, audience expansion strategies, po- 3. 1. licies for communicating with audiences are still fai- ling to take the fact that diversification and amplification Challenges occurred after the advent of cultural consumption in the network fully into account. The consumption model has been transformed, and the relationships established We must tackle these changing times through open- between those who deliver culture and those who con- mindedness, free of straitjackets. And the institutions, sume it are not what they used to be. above all, must lead this process and lay the foundations to accompany enterprises, institutions and deve- There is an audience that is not fully satisfied with sim- lopers to make the changes they will inevitably face in ply consuming, but rather wants to play an active role, the wake of the following challenges: modulate supply and act as prescribers in their digital environment. _Cultural industries need to adapt rapidly to the new digital reality. The different cultural sectors, with the _The new generations of consumers are immersed in the aid of the authorities, must commit to strengthening digital paradigm. This reality opens up a new window of business strategies - new products, new formats, new opportunities for the cultural sector. distribution platforms - and adapt to the changing needs of the digital space. _Despite not having direct powers, Catalonia could be exemplary in the development of a proposal for a re- _Public cultural agents must develop, increasingly lationship, deployment and control of the rights of crea- more, the digital version of services, activities and con- tors on the Internet, proposing lines of agreements with tents to leverage the new forms of cultural extension the technological operators and copyright management and the new access models. companies to make this possible, while also establishing controls and penalties to guarantee compliance. The programme-contracts between the large institutions and the Department of Culture should embrace _The new digital paradigm offers new options to ac- the digital dimension as a priority objective to disse- cess culture, but it also brings a new risk of exclusion. minate and democratise culture. Similarly, the major Hence, all existing mechanisms should be bolstered to cultural contents producers should take responsibility minimise this risk and to ensure that the rights of the for digitising their funds to guarantee their survival and citizens in the Twenty-First Century, including cultural accessibility. rights, taking the digital dimension into account.

_New digital concepts must be included in policies that support the creation, production and dissemination of culture. This should be reflected in the rules governing subsidies, calls for stays by artists and specific programs to build a cutting-edge Catalan culture in the context of the digital paradigm.

_Exchange and joint-work platforms between the technology and culture sectors are needed. Digitisation also should also herald a virtual networked culture for the public institutions.

03. The digital paradigm: a culture reset 15 04 _SECTORS

The cultural sectors, despite their singularities, share More public resources must be urgently dedicated to common challenges and solutions. Consolidating the culture and budget cutbacks must end. A stable fra- organisational structure, creating synergies, pooling mework must be guaranteed for the cultural sector and services and extending dissemination, not just to reach governments need to be facilitators and mediators of more people, but also to fulfil their social function, is a initiatives and projects that have the courage to emerge need shared by all sectors. Adapting to the new digital at such complex times. paradigms is an urgent task for the cultural industries, but it is also an opportunity for creative proposals, sin- Even the harsh economic circumstances of the moment ce the Internet is the ideal medium for experimenting have not diminished the quality of proposals in the sec- with new forms of expression, expanding funding possi- tor thanks to the commitment and militancy of artists, bilities and improving dissemination opportunities. groups and cultural project management teams to their work. Even so, we must realise that in order to main- In the legislative framework, the sector overall has certain the current level of activity, structures that promote tain issues which have been unresolved for a long time: collaboration and definenew frameworks of action bet- the adaptation of the Patronage Act to current funding ween public and private agents are called for. We have needs for the sector, and the adaptation of copyright to to share responsibilities, focus efforts and push towards curb the harmful effects spawned by the new techno- a committed policy that identifies and prioritises ac- logical formats in digital broadcasting spaces, which tions with a national vision. have already affected major sectors such as music and audiovisuals, and have generated an evident risk in the This chapter deals with the problems and challenges printed book industry. Work is also required to provide in the main sectors. This analysis does not purport to a boost for the highly anticipated Status of the Artist, define a policy for each sector, but rather focus on the which must develop an appropriate framework in the changes and transformations the world of culture is tax and labour sector. going through right now.

The economic cutbacks, measures such as the increase in VAT and the financial difficulties suffered by both the Government and most local authorities in the country, are pushing a large number of projects, groups and institutions to the brink of collapse, and are compromising their continued activity and future sustainability.

04. Sectors 16 Book

4. 1. Book

04. Sectors 17 Book

The Catalan book sector has a publishing output which _In recent years, the sector has evinced a steady decli- quantitatively surpasses its dimensions in terms of con- ne in production, turnover and employment generated. sumption and creation, since large publishing groups The sector is therefore being resized, and in the face based in Catalonia compete in the international market. of waning sales, is clearly committed to renewal and Among Catalan publishers, which in recent years have economic diversification. Large companies have the fi- been involved in merger movements in large groups and nancial muscle to be able to tackle ambitious projects, in business diversification, there are brands that lead the but the smaller publishers are also proving that they Latin American market and which are among the leading have adaptation capacity, with approaches based on in- European groups. But the sector is also comprised of novation and specialisation. another reality: along with these large groups, a large and growing network of small independent publishers - about 70% of all publishers _In 2011, Catalan publishers overall in Spain invoiced 1,332 million Euros (7.1% less than in 2010 and 17.9% could be regarded as micro- less than in 2008). companies - has evolved. _By genres, the highest turnover corresponds to literature, with 31.4% of total revenue (2.5 percent less than in 2010), followed by children’s and young people’s books, which have 15.4% of the turnover (3.3 percentage points _Of all the cultural sectors, more than in 2010) and, thirdly, by non-university textbooks, which have 13.3% of the turnover. the publishing industry is _In 2011, Catalan publishers released 33,970 titles (1.3% less than in 2010) and 136 million copies (11.8% the best-consolidated. In less than in 2010). this regard, only publishing in Catalan receives public funding support. Even so, this support is small compa- _The changing economic climate and a certain satu- red to the sector’s turnover, since state aid only accou- ration of the book market are possibly the factors that nts for 1.8% of total turnover. At this moment in time, explain this reality, because the advent of the digital and in the current economic climate, aid has been sig- book, which involves a change of habits, has not yet nificantly reduced. The financial capacity of publishers brought about a major transformation in the sector: in must be ensured through the maintenance of repayable 2010, turnover from the sales of digital books in Spain credits, and aid provided to the industry in its digital was 2.4% of the total. Even so, the digital market is on transformation, maintaining the lines that make risk the rise, as shown by the fact that in 2011 Catalan pu- publishing viable, the addition of new authors, the re- blishers made 6083 ISBN electronic publishing appli- covery of the literary heritage and library collections, cations, which means a growth of almost 85% versus and a greater presence of books in the school setting. 2010.

_The publishing indus- _Turnover from book sales in Catalan increased from 239 million Euros in 2010 to 242 million Euros in 2011. The try has been plunged into percentage of public subsidies to Catalan books, excluding textbooks, represents 3.2% of the sector’s turnover. uncertainty in the face of _Subsidies to the book world until 2011 by the Catalan Institute for the Cultural Companies (ICEC) fell by 32.4% the change in the general between 2010 and 2012, and publishing and digitisation promotional lines disappeared. On the contrary, a new economic context and the budget item has been allocated to repayable aid. importance of the new di- _Aid to the library acquisition system fell by 35% in the same period. gital paradigm. In the case _Moreover, aid to the Institution of Catalan Letters, economically smaller but highly vital to certain cultural of Catalonia, the existence activities, fell by 48.7%. of a dual market in Catalan _Aid from the Ministry of Culture to book production in Catalan has been cut by 41%. and Spanish also comes into play.

04. Sectors 18 Book

_One major debate in the Books in Catalan accounted for 18.2% of total publishing turnover in Catalonia. While total average circulation industry is the possible was 4,003 copies per title in Spanish (10.6% less than in 2010), production in Catalan was 2,365 copies (8.4% impact of piracy. Although less than in 2010). Although people still read more in Spanish (69%) than in Catalan (26.7%), books read in there are still no certainties Catalan increased by 15% between 2008 and 2011, while those read in Spanish fell by 4% . that make it possible to balance of the impact of this practice with the situation in other areas of culture, located outside the major urban areas is fundamental there is evidence that the sector is encountering diffi- in the cultural life of many medium-sized cities in the culties in finding fairly effective organised responses country. to the challenges posed by the digitisation of the book world. In this sense, the application of 21% VAT to the _Therefore, from the supply standpoint, in both produc- digital book may be a factor leading to contraction in tion and distribution, the upheavals that have shaken this emerging market. the sector in recent years have brought certain historical inefficiencies to light and rendered it necessary to _The book distribution system in Catalonia has been rethink the traditional model. characterized by the segmentation of distributors and publishers’ dependence, unlike other European set- _In terms of consumption in 2011, every Catalan read tings, on large logistics platforms that concentrate this an average of four books a year. Therefore, the overall activity. This dependence causes imbalances in the number of books read was over 26 million, and surpas- book market, and the dual role of qualified prescription sed the figure for 2008 by 4 million. This increase may and logistics service in the distribution of books has not be caused by the increase of so-called high-consump- yet been properly resolved. tion-readers - more than five books a year -, who increased by 7.3% in the period between 2008 and 2011. _Furthermore, the advent of new Internet-based sales In this regard, mention must be made of the important distributors is yet another factor that leads to a sectorial role of public libraries as a cultural space of proximity imbalance. The multinationals’ on-line selling capacity and a specialised facility for promoting reading. The is testing the sector’s response capacity even further, successful deployment of public libraries in our coun- and Catalonia is no exception. The arrival of these plat- try, with very high numbers of users, is an example of forms may compound the ongoing debilitation of the a regional network of proximity cultural facilities, and large Catalan bookshop network. Besides the closure particularly of cooperation between different institutio- of historical bookshops in the country, serious news nal areas. In fact, libraries are often very active and in itself, the traditional bookshops have also fallen on dynamic cores for cultural irradiation and participation, hard times. Dwindling book sales are aggravated by the with a function that goes beyond the one they had tradi- difficulties encountered by small and medium enterpri- tionally taken on. Furthermore, the library system per- ses in adapting their businesses to the constant chan- forms an important educational function in the territory ges in the industry and the competition for the concen- and must be connected to the country’s school system. tration of sales in the large international chains. Even so, and since book reading figures have not fallen, in _The industrial dimension of Catalan publishers has the coming years bookshops may be expected to evolve helped publishing in Catalan, since for years it has towards more specialised and professionalised formats. been possible to leverage economies of scale and take This does not mean that measures to protect the busi- risks in publishing in Catalan, which in other conditions nesses or shops that configure a unique urban fabric, would definitely have been impossible. Now, in this linked to the city model to be developed, do not need to changing reality, and within the framework of the res- be devised. And it is true that the role of the bookshops tructuring of the sector, books in Catalan, with a more

04. Sectors 19 Book

limited potential market, have to make an extra effort to utterly necessary if we are to avoid the risk of trivia- innovate and adapt to avoid falling away. In this regard, lisation, which might prompt an unwarranted public the untiring work of many independent publishers who perception of our literature as a production of minor are clearly commitment to books in Catalan must be importance in comparison with other types of literature highlighted, as this also guarantees their quality and also available in bookshops in our country due to the diversity. increasing importance which - thankfully - are enjoyed by translations. _The creative capacity of Catalan literature, coupled with the strength of our publishers, is like an insurance _The market has changed, and while some trends may policy against the movements afoot in the sector. Lite- be sensed, future horizons are not yet clear. The book rature plays a pivotal role in representing society as a industry will never be the same as it was but a decade cultural construct. It reflects the emotions, concerns, ago, and there is only one way to respond to the many thoughts and circumstances that define human expe- uncertainties: agility, adaptability and pre-emption of rience, individually and collectively. This explains the events. crucial importance of literature in underpinning a social reality. In Catalonia, literature enjoys a remarkable _The system of state aid to the sector has changed little reputation, despite the difficulties caused by historic since it was created in 1981. A model geared towards circumstances in guaranteeing awareness of our lite- encouraging output in Catalan language must evol- rary tradition, which ranges from the medieval classics ve towards a system that is oriented towards creating through to the more contemporary authors. In order to markets and embrace promotion and financing systems consolidate an own literary system, which is obliged that afford the publishing sector greater capacity, par- to coexist with the literary output translated into other ticularly the smaller concerns. The sector must forget languages, up-and-coming talent must be supported by competition based on output volume. This model is not involving the universities and the media to configure matched by demand. Thus, innovation is called for: new a model based on excellence and which is given the digital formats, platforms and lending systems such as exposure it needs to facilitate recognition and the es- print on demand, new distribution channels, etc. Pu- sential dialogue between author and readership, and blic support lines have to push for this reconversion. to commit steadfastly to the international projection of our literature as one of the best ways in the world of _Finally, it is urgently necessary, as has already been conveying our view of reality to the world. commented, to rethink the traditional distribution system, dominated by the same publishers, and find more _The new digital paradigm has a profound impact on li- efficient systems, like the ones operating in other Eu- terature, both from the perspective of creation but even ropean countries, based on major logistics platforms. more so in terms of communication and dissemination. Also, the book trade must be modernised to conserve The impact of the social networks on literary life is far- and bolster the importance of the figure of the book- reaching, because they deliver extremely powerful and seller. effective channels that can generate new forms of access to literary texts and increase the consumption of literature.

_In this context of proliferation of literary texts, actions which, by involving the recognition or acknowledgement by the media or in education, serve to underscore the works and track records characterized by quality, rigour, demandingness, ambition and originality, are

04. Sectors 20 Cinema and audiovisual

4. 2. Cinema and audiovisual

04. Sectors 21 Cinema and audiovisual

_Catalan cinema is going through a very creative period. _This increase in film production cannot be attributed The commitment of certain institutions, such as the to demand, as the audience share of Catalan produc- ICEC and TV3, which are increasing their production tions rarely surpasses 10%. For this reason, the expla- capacity, and the improvement of the training system nation must be sought in political decisions, the confi- in the sector, which now includes masters in some uni- guration of the sector and technological aspects. versities, and particularly the work carried out by the Cinema and Audiovisual School of Catalonia (ESCAC), _Institutional support has plummeted in the last two have helped to heighten the potential of this sector and years; at state level, the Institute of Cinematography increase its prestige.

_In Catalonia, in 2011, 41 Evolution of the production of feature ﬁlms produced in Spain and 39 films were produced with or without the participation of Catalan producers. 2007-2011 and co-produced, respectively. These figures represent 201 199 186 a ratio of 10.6 films per 175 173 56 41 million inhabitants, a very 20 37 49 high figure compared to the 39 54 37 40 figure for Spain - 4.2 films 29 per million inhabitants and year, which is even further 112 119 ahead of the same figures 97 99 105 for France and Germany - 2.8 and 2.3 films, respecti- 2007 2008 2009 2010 2011 vely, per million inhabitants 100% Catalan productions and year. The number of Spanish production with Catalan participation annual productions is no Spanish production without Catalan participation longer a reliable indicator Source: Technical Ofﬁce of the Department of Culture and the General Secretariat of Culture, Ministry of Education, Culture and Sports of the sector’s health. Pro- Evolution of spectators and cinema takings in Catalonia. ductions that are capable of 2006-2011 generating a sufficient economic return should have 40.0 148.1 150.0 35.0 144.6 access to financial mecha- 143.3 145.0 141.3 nisms, public and private, 30.0 140.3 140.0 adjusted to the sector’s 25.0 136.8 25.5 23.9 specific requirements, and 22.5 20.0 22.6 135.0 moreover, if an economic 20.4 20.1 15.0 return is not guaranteed and 130.0 public support has to inter- 10.0 125.0 vene to ensure a rich and 5.0 plural audiovisual sector 120.0 only if aspects of qualitative 2006 2007 2008 2009 2010 2011 and cultural interest render Spectators (million) Takings (million Euros) this advisable.

Source: Technical Of ce of the Department of Culture and the General Secretariat of Culture, Ministry of Education, Culture and Sports

04. Sectors 22 Cinema and audiovisual

and Audiovisual Arts (ICAA) has made major cuts in and improved. Further work is also needed to enhance its aid to amortisation - from 56 million in 2010 to 35 marketing and advertising, since it is very difficult to million for 2012 - while the ICEC in Catalonia, with a compete with the high-profile campaigns of the Ame- much smaller budget, has cut its support to the pro- rican majors. duction and exploitation of films by 50%. This situation is compounded by the lack of financial muscle in the _TV3 has played an important role in the acknowledge- sector, further exacerbated by the widespread crisis, ment and growth of Catalan films. The current situation which makes it difficult to secure funding for the more requires the Catalan public television to regain its lea- commercial projects. For a long time now the film in- dership as a driving force for our film production and dustry has been calling upon the State Government to dissemination. implement a new legal framework that would facilitate the creation of a new financial model for the industry, _Distribution in Catalonia, as well as in Spain, is do- but the collapse of public aid has not been offset by minated by distributors linked to the American majors. major legislative changes that would facilitate the use This makes domestic production more difficult, which of private funding to finance culture. Moreover, the in- in many cases is obliged to resort to independent local crease in VAT levied on cultural products, now 21%, distributors, and in turn it receives less exposure. These has had a negative impact in the form of poor box office distributors also distribute independent European and takings, and has given a boost to piracy in a country American films. One demand from the industry is that which already has one of the highest percentages of the Catalan government acts as an intermediary bet- illegal downloads among the Western countries. Disse- ween the industry and public and private broadcasters mination through unregulated systems is causing the for the latter to make room for independent produc- sector huge damage; because creators, producers and tions. TV3 should treat independent distributors pro- distributors do not see the economic return they need perly and study the possibility of establishing a quota to remain committed. for this type of film. Today, independent film distributors are the sole guarantee that our cinemas or other _In this situation of scant resources, projects based on broadcasting platforms will offer films with minimal quality with an internationalisation potential must be diversity. In the face of the trend towards the standardi- prioritised. An equal distribution of resources involves a zation of supply by the American majors, the wealth of risk of perpetual dispersion, ultimately killing the possi- the cinema in Catalonia is also related to this important bilities of the whole sector. Public subsidies should be part of the value chain. Business innovation in distri- reformulated according to the new exploitation window bution systems should be one of the priorities of public panorama - at this point they are intended primarily support to the audiovisual industry. for exploitation in cinemas -, to avoid delays in the payment of state aid, which leads to very high interest _From the distribution standpoint, cinema audiences rates that make products even more expensive, and have diminished steadily in recent years. The 24 mi- the introduction of a system similar to the one used in llion viewers that visited Catalan cinemas in 2007 had France, which diverts part of box office takings to film fallen to just over 20 million by 2011. The DVD for- production, should be studied. Moreover, in order to mat has been even harder hit. This clearly shows that reduce the risk that is curbing investment in cultural consumption practices in this sector have changed products, preproduction work in film projects should dramatically, and that audiovisual products, including be redoubled. In this sense, the public support model for this work led by the Audio- Overall, the distribution market is concentrated in 15 companies, which distributed 40% of films and visual Development Centre accounted for 90% of takings. (ADC) should be recovered

04. Sectors 23 Cinema and audiovisual

films - are consumed through other channels, such as digital Film screening has adapted accordingly, since the number of cinemas fell by 21.1% between 2000 and platforms, legal and illegal. 2010, while the number of screens increased by the same percentage (22.1%). The number of films screened has fallen by 18.2%, as has the number of viewers, namely by 31%. On the contrary, takings have _Digitisation reduces produc- increased by 9.3%. tion costs, but it also opens up new marketing windows, ther exploration. However, on the other hand some stu- with an as-yet somewhat untapped potential, on which dies suggest that it is a sector whose growth is limited some Catalan companies are already working; neverthe- on account of the effects of piracy and the economic less, efforts and resources will have to be redoubled in crisis; more particularly the Spanish Association of Dis- this area to find a way out for existing production. In tributors and Software Entertainment Publishers (aDe- this sense, making marketing deadlines in the different Se) has reported that a 15% reduction in the economic formats more flexible may help to optimise resources volume of consumption was detected in the gaming in- and improve the dissemination of film productions. Pro- dustry in 2011 with regard to 2010. gress in this regard need not involve loss of control by the distributors, although they should attempt to adapt _In Catalonia, one of the strategic commitments to better to the new trends in demand. The Public Ad- growing as a reference point in the sector was the arri- ministration must commit all the necessary resources val in Barcelona of the International Video Game and to regulate Internet-based consumption as a valid tool Interactive Entertainment Fair, Gamelab, the result of to fight piracy. The design of cultural policies should an agreement between the event’s organisers, the Go- take on-line distribution into account, as well as its re- vernment of Catalonia, the City Council of Barcelona presentatives, who have traditionally been neglected by and Fira Barcelona, with a commitment to stay in the the country’s cultural strata. city until 2015. It is the reference event for gaming professionals and companies in Spain and is one of the _The Filmoteca de Catalun- ya has a core role to play in the recovery of the country’s Catalan video game companies mainly develop casual games for mobile platforms, following the global trend in film heritage. In this re- the sector. Some 130 titles are produced annually, 40% for mobiles and 30% for on-line platforms. gard, its new headquarters expand its possibilities of increasing and improving Economic details on the video game industry in Catalonia. society’s film culture. 2009-2011

_The video game industry has been regarded as an emerging sector with great 2009 2011 growth potential in Cata- lonia in recent years. It is Companies 42 69 true that this leisure option Workers 374 581 has grown exponentially worldwide thanks to the Turnover 10.9 million Euros 53.2 million Euros technological development of the different platforms, and that it is therefore a Source: Get a Partner and ICEC market that requires fur-

04. Sectors 24 Cinema and audiovisual

most important trade fairs in Europe in the sector. In its eighth year, in 2012, the first event held in Barcelona, it attracted some 160 companies, with 1,100 meetings between professionals, and it was attended by almost 20,000 gamers.

04. Sectors 25 Music

4. 3. Music

04. Sectors 26 Music

_The music industry is a plural and complex one. To _The amateur sector is a large one, with a high level begin with, a distinction has to be made between re- of involvement, traditional music and music bands en- corded and live music, and these categories also have joy enviable vitality, and the field of choral singing has different genres and typologies that have little to do witnessed a rejuvenation of directors, and the number with each other, and which, in very simplistic terms, of participants has remained steady. may be reduced to two genres: classical music and popular music.

_91.9% of the Catalan population state that they listen to music regularly and 55% say they do on a daily basis. _The recorded music in- _This broad acceptance among the population is because music is present in every aspect of our lives: 50.3% of dustry was the first one to music is listened to on the radio; on the contrary, only 12.5% of it is bought in stores, and 21.3% of it is listened be hit by the digital crisis. to via the Internet. Record companies have _31.1% of Catalans have attended at least one concert in the last year, and 60% of them went to a paying still not hit upon a new concert. business model, and these companies have been de- cimated in no time at all. Despite the prevailing confusion in the recording in- _Musical literacy in the overall population is a prerequi- dustry, which does not just affect Catalan companies, site for expanding the social recognition and prestige of new platforms have leveraged digitisation to define music and for achieving basic levels of consumption, new virtual business models, usually linked to the in- enjoyment and practice of music that will also improve termediation of new groups, thanks to cost-cutting in subsequent consumption. A suitable relationship must access to markets and mergers. be established between general education and music schools, both municipal and private, to ensure that mu- _Since 2008, live music concert audiences have sic is properly represented in compulsory education. grown, but last year, 2012, attendance at free concerts _The Catalan recording industry began to recover in 2010 thanks to increased turnover, which reached 16.3 increased significantly - million Euros in 2011, an increase of 5.1%. A new record was also set in Catalan language productions, with 21% - to the detriment of 605 references of all styles. This positive behaviour is not matched by the 10.8% decline in sales of the Spanish paying events, which fell music industry overall. by 12%.

_In the course of 2011, 16,533 traditional music and 1,865 classical music concerts were scheduled in Cata- _The high level of creativity lonia. Nearly 4.5 million people attended a traditional music concert and 680,000 a classical music event. Both and performance quality in genres together raked in more than 37.5 million Euros, slightly down on the previous year’s turnover (7.3% less), the Catalan music industry which was even more pronounced in the case of popular music. are due to its educational system, quite unique in the Spanish State, which includes public and private schools, intermediate con- Only by increasing knowledge and awareness among servatories all over the nation and higher schools - The the population will we be able to standardise a broad Higher School of Music of Catalonia (ESMUC) the Li- contemporary repertoire, ranging from the vanguards of ceu Conservatory and the Taller de Músics. The major the first three decades of the Twentieth century until the unresolved issue is the promotion of music practice present - which enjoys scant presence in the country’s in schools as a tool for developing students’ full po- regular programming. A stable channel of dialogue is tential. called for to promote literacy projects in schools and to

04. Sectors 27 Music

promote the standardisation of the regulation of music schools which would avoid discretionary municipal policies, and a pedagogical guideline or model for musical training based on the official school system is needed.

_One core problem is that music is looked upon as entertainment, and not as culture, although some go even further, regarding it as a noisy or even dangerous activity that residents complain about to the authorities. Perhaps this is why the regulations and myriad administrative formalities need to be standardised countrywide, the safety of citizens guaranteed and, in turn, the quality of the music. The Department of Culture must participate in the drafting of safety standards in the sector, driven by the Department of the Interior, to defend the uniqueness of musical activity and to improve the conditions in which live music is performed.

04. Sectors 28 Performing arts

4. 4. Performing arts

La Veronal. Fira Tàrrega Archive © Jesús Vilamajó, 2011

04. Sectors 29 Performing arts

_The performing arts sector is also going through hard To some extent, it might be said that diversity in pro- times: an industry with more than two hundred programming had grown thanks mainly to different public fessional theatrical, dance and circus companies, and initiatives. But the situation has changed drastically, nearly 150 venues with regular programming, of which which is why efforts must be based on the quality and only a quarter are private companies, with acknowled- configuration of a performing system in the country, not ged festivals and numerous initiatives throughout the on replication in each municipality, but on more flexible country; a deeply-rooted sector with a long-standing circuits with their own artistic discourse. tradition in Catalonia, which is suffering from a crisis that threatens its development and sustainability. _The need to keep performing arts circuits active, to commit to creation though multi-year subsidies, to de- _In recent years it has been said that performing arts in velop a Status of the Artist and improve the employabi- Catalonia have enjoyed a very good spell. The building lity of students from the Theatre Institute are oft-repea- of new facilities, the commitment to cultural program- ted demands for which no suitable solutions have been ming in many municipalities, the resistance to dwind- provided. These demands come from a long way back, ling audiences during the early years of the crisis, the but they are now pressing: the economic crisis and cut- success of some productions, the international recog- backs in public spending have worsened the situation nition of the talent of our designers, etc., configured a for a large part of the creative performing arts sector. sector which, albeit with some shortcomings, was headed toward growth and constant improvement. But the _Creativity is not in crisis. Catalonia still has very good current context has led some of the risks that had al- playwrights, choreographers and creators in the diffe- ready been detected in the last two years to materialise. rent performing arts languages. At a time of cutbacks in resources and the programming of performances and _Over the last decade, the activity of companies has in public support, the emerging and more minority per- been quite stable, with a slight growth trend, peaking forming languages and expressions, such as dancing at 18,597 performances in 2010. However, although and the circus, are bearing the brunt of the situation. current data are not available, everything points to a The expressive wealth of Catalan performing arts must significant reduction in the industry’s activity, mainly be preserved and we have to commit to a diversity of related to the drop in contracts by public theatres in languages and formats. In this sense, the role of inde- the country. Private venues are the main guarantors of pendent venues must be emphasised and must also be a continued provision of performances, although des- maintained. At this moment in time, late payment by pite their efforts, this offer is diminishing with every administrations and the increase in VAT are exhausting passing month, thus casting doubts on the viability of survival capacity. companies. _All this creativity requires performing outlets, and cir- _This tapering-off in contracts affects companies in cuits in Catalonia are much too frail. The approval of general, but above all it jeopardises the diversity and the Integrated Circus Plan PIC, just before the end of richness of what is being offered in the country. Emerging languages and Outstanding actions in 2012: expressions such as dan- _A new performance venue, El Canal, linked to the Performing Arts Centre of Salt/Girona, was opened. cing or the circus, with a _El Graner is a new landmark in the creation of contemporary dance. smaller market share than _First full year of activity of the Central Circus in its definitive site in the Forum in Barcelona. spoken theatre, are being _The facilities of the Ateneu Popular Nou Barris have been revamped. hit hard by this situation.

04. Sectors 30 Performing arts

2012, was received by the sector as a measure of recog- _The main performing arts facilities find themselves nition and a tool for structuring an internal performance in extremely serious situations in terms of financing, circuit. The sector’s artistic projection lies mainly out- hampering their role as a leader and driving force in the side Catalonia at the moment. In the case of dance, sector in the country. The Teatre Nacional de Catalunya audience consolidation is a major challenge; here, the (TNC) had a budget of 11.7 million Euros in 2012, Mercat de les Flors has played an important role, which representing 32% less than what it was in 2007, and would be consolidated with greater educational work to news of venues shutting down have already appeared, guarantee literacy in the language of dance. as well as reduced activity and the possibility of mass lay-offs. The Teatre Lliure had to cancel two shows _This sector has managed to withstand the effects scheduled in 2012 and announced redundancies for of the economic crisis in recent years and has even 2013. In the Mercat de les Flors, the 2012 budget was notched up increasing audiences. But this resilience cut by 20% compared to 2011. In these conditions, it is difficult to continue to demand the same excellence of these institutions The opening of new performing venues in recent years has increased the offer of theatrical productions in the in their social and structu- city of Barcelona. The latest data show that in the 2011/2012 season the number of plays staged grew by 8% ring function in the sector. with regard to the previous year; viewers and takings have also grown by 8%, while occupation has fallen by The time is nigh when a 1.3% and now stands at 53.77%. comprehensive restructuring of the system will be Evolution of spectators and theatre occupation in Barcelona. called for if funding thres- 2007/2008 – 2011/2012 seasons holds are not recovered. The cuts were applied first 2,950 61.0% to programming, adjusting 2,900 59.1% 59.0% and reducing international 2,891 2,850 hiring costs. The second 57.0% 2,800 measure is the partial clo- 54.8% 54.8% 55.0% 2,750 54.5% 54.8% sure of infrastructures, 2,700 53.0% while negotiations to re-

2,650 2,676 2,676 duce workforces and ad- 2,652 51.0% 2,600 2,630 dress working conditions 49.0% 2,550 have been initiated. But 47.0% 2,500 at this moment in time,

2,450 45.0% the equilibrium between 2007/2008 2008/2009 2009/2010 2010/2011 2011/2012 partially closed structures, with maintenance costs Spectators (thousands) Occupation surpassing 50%, content Source: ADETCA containment and the can- cellation of international petered out in the last few months of 2012. The latest exchange commitments and territorial circuits, will ul- information provided by the sector points to a rapid fall timately affect the sustainability of the system and all of 30% in the number of spectators and box office ta- institutions. kings. The effect of the VAT increase is testing its resilience, which is being dangerously eroded. _These are difficult times for the performing arts sector. Some historic deficits are compounded by the difficul-

04. Sectors 31 Performing arts

ties derived from political decisions, such as the VAT increase or the reduction in budgets for performances. Theatrical tradition and the talent of Catalan creators are a basic corners- Evolution of public contributions to the Teatre Nacional de Catalunya, tone for responding to this Teatre Lliure and Mercat de les Flors. 2009-2012 (million Euros) situation, but new and imaginative formulas and 10.9 firm commitments are ne- Reduction 9% eded for these responses 9.2 9.3 8.3 to have teeth. In this sen- Reduction 10% se, it is urgent to promote 7.1 6.6 6.5 institutional coordination 5.9 Reduction 24% to reinforce existing pro- 4.4 4.3 jects, consolidate them 3.8 and provide them with 3.3 suitable resources.

2009 2010 2011 2012

Teatre Nacional de Catalunya Teatre Lliure Mercat de les Flors

Source: Teatre Nacional de Catalunya, Teatre Lliure and Mercat de les Flors

In the field of performing arts festivals, the 2012 edition of the Temporada Alta Festival maintained a high occu- pancy rate, up to 90%. Since the Escena Catalana Transfronterera (Catalan Cross-Border Stage) project ended, the budget has been slashed by 30%, leading ticket sales to fall by 30% as well. Even so, its consolidation as a professional market with activities such as the Programmers’ Week, at which 72 professionals from outside Catalonia participated, is noteworthy.

The professional aspect has also been important for the Fira Tàrrega, which featured 58 exhibitors at the Llotja, although visitor numbers have also fallen.

This trend also affects other fairs, such as Igualada and Manresa. Beyond what they stand for as a showcase, the value of these fairs lies in their role as international connection platforms.

04. Sectors 32 Visual arts

4. 5. Visual arts

04. Sectors 33 Visual arts

_In Catalonia, a visual arts system that could plan and _The continued failure to apply the so-called cultural balance the relationships between museums, art cen- 1% to contemporary artistic creation and the lack of tres, artists, galleries and critics has never been struc- orders for public art, despite the existing regulations tured. We need a public policy with clear priorities and has prevented it from being a complementary space for a commitment to continuity, with a clear view of the the sector’s growth and consolidation. sector, capable of defining a framework of relationship between the public and private sectors and of mana- _Practically 30% of the resources allocated to national ging meagre resources. centres and centres of national interest have been reduced, such as the National Museum of Art of Catalonia _Over recent decades, public efforts have focused on the (MNAC) and the Museum of Contemporary Art of Bar- creation and construction of large reference facilities, celona (MACBA). The MNAC, once the refurbishment the function of territorial and sectorial structuring has of the National Palace had been completed in 2006, been neglected in view of the lack of definition of poli- had embarked upon the task of restructuring internal cies in this area. This lack of coordination has also occu- management, opening up lines of collaboration and rred in policies to support production and dissemination, structuring networks of territorial museums and centres since public support to the production of artistic works in order to create a shared heritage space and multiply has failed to consider the guidelines of institutional and dissemination opportunities. Despite recent efforts by private programmers, as is the case of galleries, or have its management, this effort, aimed at structuring and been implemented without addressing the possibility of multiplication, is being held back. In the MACBA, the co-production or of having dissemination circuits. expansion possibilities of a contemporary art museum that had successfully found a place in the international _Neither is there any agreement on a heritage policy spheres have been curtailed, although the task of sup- that would promote collecting in the public or private porting and promoting the initiatives of the different spheres. There is a clear lack of an acquisition policy centres and art spaces that have been created in diffe- to create a single public art collection that would plan, rent cities in the country was still outstanding. conserve, share and disseminate the public heritage spread across different institutions. In most countries, _The crisis has also hit independent spaces and non- the building of a public art collection is a policy that profit private initiatives governed by associations or delivers direct support to the galleries and to the artistic foundations operating in medium-sized and small fabric, while it is also the main instrument for creating a towns throughout Catalonia. These spaces and art heritage collection. In our case, neither the Government centres, which depend mostly on local town and city nor the museum and public art institutions have a pre- councils and on public support to the visual arts, have determined budget for this purpose. watched the support given to them by the Government of Catalonia gradually dwindle in recent years. This is _Art galleries, regardless of the difficulties they encou- compounded by the financial difficulties of most town nter in effectively supporting or structuring themselves, and city councils, and in some cases changing political are one of the victims of the absence of a Catalan art priorities have reduced the presence of contemporary system. They are also jeopardised by the scant recog- art. This aggregation of factors has reduced the survival nition of their role as cultural agents and the lack of a capacities of these centres, created under institutional strong collecting tradition. This all makes it difficult for arrangements, virtually killing off initiatives that had them to develop as a vehicle for the promotion of Catalan not even had time to take root or consolidate themsel- artists at home and abroad. The role to be played by the ves. The late payment of aid by the Government of Ca- galleries as one of the cornerstones in the consolidation talonia and the financially-choked town and city coun- of visual arts policies must be revisited. cils are an albatross for any centres which are still alive.

04. Sectors 34 Visual arts

renewal of contracts. The Vi- Evolution of public contributions to the MNAC and MACBA. sual Arts Centre of Amposta, 2009-2012 (million Euros) “Lo pati”, following the official opening of the building, was unable to continue 15 Reduction 24% operating; the Arts Centre 14 12.8 of Tarragona, conceived in 11.6 Reduction 25% 11.4 a precarious situation, was 10.4 affected by the problems of 9.5 8.7 this management model; the Vic Contemporary Arts Cen- tre (ACVic) also withdrew the public call to appoint the management; the Bòlit in Girona is currently being 2009 2010 2011 2012 redefined, with a change of management, without MACBA MNAC Source: MNAC and MACBA any public call, despite the award of the new building project, and Can Xalant in _In a very short time, private venues have disappeared, Mataró closed its doors as a creation and production such as the Fundación Espais de Girona and its Papers centre after six years’ operation. Finally, the project to d’Art journal - one of the few resources devoted to the convert the Dog Track into the Barcelona Arts Centre criticism and theory of contemporary art, and the Es- was nipped in the bud by a political decision on the eve pai Zero1 in Olot, the latter due to a municipal policy of the final phase of the economic investment made to reform the building. We will have to wait until the propo- In 2012, the Department of Culture allocated 1,080,000 Euros to the eight schools of the Visual Arts Network sal to transfer the functions of Catalonia. These amounts were and are still subject to the same delays in payments as the other subsidies of this art centre to the old awarded by the Department of Culture in 2012. Moreover, in some cases, payments from previous years are still Fabra i Coats factory is con- overdue: two of the centres had not yet received aid corresponding to 2010 from the Department of Culture for a solidated, although it has combined amount of 106,000 Euros, and five centres have still to receive a total amount of 650,000 Euros in aid already started without a from 2011 (data from the end of December 2012). plan or management and a lack of definition which, we trust, will be transient. decision. The crisis has also hit the art centres in the Visual Arts Network of Catalonia, for the aforementio- _A reasonable tax policy stimulating collecting is ne- ned reasons, but basically due to the paralysed local eded. Tax incentives for patronage are very low, and budgets, added to the sine die delay in payments of aid our country does not have a long-standing tradition of by the Government of Catalonia and a political change art collecting, with some exceptions. Moreover, the in- in cultural priorities in some municipalities. In these crease in VAT has also jeopardised this activity, making circumstances, the management model of some cen- any work in our country today more expensive than in tres, based on calls for tenders and artistic direction, neighbouring countries. This may even jeopardise the is the one most affected due to the termination or non- economic activity of trade fairs with consolidated track

04. Sectors 35 Visual arts

records, such as Loop, dedicated to video, Swab, Evolution of exhibitions and visits to the MNAC and MACBA. to up-and-coming artists, 2009-2012 and Ars Libris, to artists’ books. A good fiscal policy 1,041 1,100 would be conducive to the 1,000 continuity and consolida- 20 938 829 806 900 tion of festivals such as 800 687 Scan, dedicated to emer- 15 742 700 ging photography, held in 15 723 691 600 Tarragona as an alterna- 10 500 tive to the Photographic 11 10 400 Spring, although it has not 9 300 achieved the popularity 5 6 200 and participation attained 5 5 4 100 by the latter. 0 2009 2010 2011 2012

_Literacy programs in Exhibitions MNAC Exhibitions MACBA schools must be promoted MNAC visits (thousands) MACBA visits (thousands) to help train audiences. Source: MNAC and MACBA Furthermore, it is essential to connect the different actors involved in the visual arts - critics, gallery ow- _The crisis has wreaked havoc in many professional ners, academics, researchers, curators, media, artists, sectors, such as architects, hitherto a very independent etc. - to interconnect the existing critical mass in the and liberal a profession which is now suffering from a sector, increase the level of knowledge and improve un- lack of investment in the public and private sectors, as derstanding of contemporary art in the different strata well as globalisation, legislative fever and adaptation to of society. Platforms that can be used to exchange con- a new energy-based approach to building. It is a profes- tents and promote contacts between art professionals sion that will have to reinvent its future, create a grea- from everywhere, and which already exist in performing ter social, environmental and economic commitment, arts, are needed. Similarly, the art system cannot be adapting to the future of the new generations in order complete without art magazines acting as platforms to be more competitive. Similarly, creation in the field or specific art publications by publishers. In Catalonia of design has enjoyed great importance in Catalonia but there are no collections of books devoted to the study has failed to take root in the business sector, further of art, since most of the publishers that nurture artis- aggravated by the crisis in an area where greater inves- tic discourse in the universities are sited in Madrid. tment is needed in R&D. The crisis in museums and art centres has led to a reduction in the publication of catalogues; in the press, journalists have replaced the better-informed opinions of the critics, and on television the visual arts are all but absent, beyond the occasional inauguration. The presence of artists and the voice of critics in the public media must be consolidated, and above all work is required in schools to educate the public and improve the poor visibility of contemporary art in society.

04. Sectors 36 Popular culture

4. 6. Popular culture

04. Sectors 37 Popular culture

_The recovery and preservation of cultural tradition _Promoting cultural associations means promoting a through the transmission of experience has always highly-fertile cultural education space that generates been one of the greatest strengths of our identity as users with cultural proposals offerings that ultimately a country. Association-forming has been the main dri- guarantee the existence of an audience capable of en- ving force and a key tool in making this possible. In gaging in cultural consumption with proper criteria. In today’s globalised world, where digitisation is prevailing addition, popular and traditional culture impacts all in all sectors, association-forming must be promoted areas of art and music, from research and the dynami- and encouraged to guarantee the cultural solidity of the sation of heritage in the broadest sense to creation and immediate context while maintaining a clear vision of performing arts. opening out to the world. Glocalisation is now also a challenge for the associa- Here are some examples of the impact of the extensive cultural activity of traditional and popular culture asso- tion world to counteract the ciations on the population: uniformity that is usually _In Catalonia, there are 3,500 gegants (giant figures), 15,000 nans (big-headed figures) and 1,000 bestiary caused when local identity figures, and 950 organisations that dance with these festive elements. becomes blurred in a global _In 2010, the UNESCO declared the castells [human towers] Intangible Cultural Heritage of Humanity. The 66 world. colles castelleres [groups that erect the towers] are one of the most dynamic areas, and in 2012 they erected over 9,300 castells in one thousand performances. _One of the distinguishing _In the course of 2012, the 280 member groups of the Federation of Amateur Theatre Groups of Catalonia gave traits of popular and tradi- more than 2,240 performances, a figure which does not include performances of Els pastorets [The Shepherds tional culture is that people of Bethlehem] and the The Passion, with an audience of 239,680 spectators. who design and implement _In the three summer months of 2012, more than 3,000 groups (geganters, castellers, choirs, bastoners projects are mostly ama- [stick dancers], fire demons and animals, music bands, cobles, etc.) managed to mobilize and engage more teurs, and only 20% may be than 3 million people in festive activities. regarded as professionals. _For the Federació Sardanista de Catalunya, 2012 was one of the most active since it involved more than 325,200 people in more than 2,802 activities. _Despite the lack of pro- _Music groups, most of them located in the Terres de l’Ebre, gave over 240 concerts in the summer of 2012 alone, fessionalism in this sec- with 40 groups comprised of 1,600 musicians, all of them amateurs ranging from 10 to 70 years old. tor, for several reasons the _The choral movement, with a thousand choirs spread all over the country, is another one of our popular and evolution in the number of traditional culture assets, and includes activities such as the festivals of Cantonigròs, Puig-Reig and Castellbell people registered on the i el Vilar, and the International Choral Congresses of Barcelona. Social Security has been _Last summer, the network of local and regional studios and the network of antennas of the Ethnological Heritage significant in recent years. Observatory held 403 activities and presented 35 publications - 21 journals, 11 monographs and 3 miscella- One of the associations that neous. manage the hiring of musicians of coblas, habaneras, grallers [like bagpipes] and other festive activities not- _Popular and traditional culture is fundamental to so- ched up an increase in hiring volume of 41% between cial cohesion, to say nothing of the work it does to fa- 2009 and 2011, which rose from 1,788 to 2,525, res- cilitate the integration of newcomers, and is one of the pectively. most valuable instruments for transmitting intergene- rational values, for social In Catalonia, there are over 9,000 popular culture associations, 3,000 of them federated, distributed throughout the coexistence and creating country, with over 400,000 direct members involved in their development. and bolstering our identity traits.

04. Sectors 38 Popular culture

_The economic impact, oft-stated but hardly ever quan- tified, was made evident by two studies measuring the economic impact of two festive events such as the Aque- larre of Cervera and les Falles of Isil (Alt Àneu). By way of example, in the 2012 edition, the direct economic impact of the Aquelarre of Cervera in its area of influence was 761,338 Euros, and the induced impact - not directly attributable to the activity - was 228,934 Euros (the costs involved in organising the festival amount to 70,978 Euros). These amounts are almost six-fold the contributions made by the public institutions, and account for 0.13% of the region’s annual GDP. In the case of the Falles of Isil, organisational costs ascended to 14,150 Euros, while the total impact on the area of influence is 367,535 Euros. This activity generates an economic impact of 0.6% of the annual GDP of the Àneu Valleys in a single night.

_The international dimension of the sector is also important. Some events with a consolidated projection outside our country are the Mediterranean Fair of Man- resa, where 10.2% of the nearly 1,000 participants came from other countries and 11.5% from Spain overall. In addition, there are numerous contacts and ex- changes between Catalan associations and from around the world, mainly European, and the participation of foreign groups here and conversely, of our groups that participate in activities abroad, is becoming greater every year. By way of example, the website of the Me- diterranean Fair received 19,083 visitors from 72 countries.

04. Sectors 39 Heritage

4. 7. Heritage

04. Sectors 40 Heritage

_Catalan cultural heritage is one of our country’s main policy. Albeit maintaining some of the elements of that assets, because it allows us to learn about our history Plan, in 2012 the Department of Culture presented the and the traditions and creations of the people who came foundations of the new Museums Plan of Catalonia. The before us. It is therefore one of our main sources of Plan classifies all museums into four major areas: his- identity, a contribution made by Catalonia to global tory of art, contemporary, science and the history of so- cultural diversity, and also an opportunity to generate ciety, structured around four leading museums (MNAC, economic wealth. The movable, documentary, architec- MACBA, Natural History Museum and a fourth block tural, archaeological and ethnological heritage brings comprised of the History Museum of Catalonia, the Mu- us closer to our past and helps us to understand the seum of Archaeology, the Museum of Ethnology and the present. It is therefore a part of public policy, with the Science and Technology Museum). necessary private aid, and for which we are all responsible towards future generations. _National museums are still the backbone, and are national and international benchmarks. This is why they _Heritage is a source of knowledge, a permanent space should act as leaders of the museum system in Cata- for research and education, but it is also a source of lonia and, understanding that heritage is an element of territorial and economic revitalisation. The wealth of a the country’s identity, they should also deploy a strategy country’s heritage is inexhaustible, and in the case of for opening up and internationalising their contents. Catalonia, the institutional heritage area is one of the best-endowed economically, and it is also the one with _With national museums coordinating the process, plus greatest private involvement and which captures most the necessary involvement of the future Heritage Agen- patronage resources. cy, we have to work on the networking concept with two distinct lines of action: encouraging the development _Heritage management is complex, since besides the of joint services to make the work of museums more high number of heritage assets, we have to consider efficient, and distributing competences that strengthen the diversity of situations that affect ownership, which the work of each individual museum and help to make all makes it difficult for the Government of Catalonia them visible. to prioritize actions according to historical and artistic relevance and to establish a clear framework for colla- _Regarding documentary heritage, in recent years there boration, both with regard to the necessary public and has been a significant improvement in archival facili- private contributions and the future commitment to ties in Catalonia. The County Archive Network Infras- guarantee the proper maintenance and conservation of Between 2007 and 2011, the number of museums and collections in Catalonia increased by 18.20%, while the assets. number of attendees remained stable.

_In the field of movable herita- Data from 2011: ge, by approving the Museum _Catalonia had 167 museums and 385 collections containing an ensemble of movable and immovable cultu- Plan in 2007, the Department ral assets. These institutions are committed to operating permanently, are non-profit and open to the general of Culture decided to create a public. new museum structure within _They had more than 23 million visits, most of them concentrated in the museums in the Barcelona region the scope of Law 17/1990, on (74%). Museums, driven by networ- _They organised 2,637 activities which attracted 1,401,179 visitors. Compared to activities carried out in king, the application of new 2007, this heralded an increase of 11%, whereas conversely the number of visits fell by 33.5%. technologies and the implementation of a new subsidies

04. Sectors 41 Heritage

tructure Plan has evolved at a good pace, and within ronment where global tourism is growing all the time, the space of a few years infrastructure has clearly im- culture is a key element because it creates a distinc- proved. However, in addition to developing outstanding tion between destinations. Catalonia has a good cultu- projects, a greater effort is called for in content digiti- ral tourism offer, although the Catalan tourist-related sation and dissemination. The function of archives is cultural offer still has a long way to go: its heritage storage, although their capacity to disseminate what spaces and environments must be adapted for visiting they store is increasing all the time thanks to new in- and promotion and dissemination improved. frastructures and the new technologies. _It is clear that dialogue and joint work between tou- _Moreover, the development of a comprehensive ar- rism and culture has to be developed further. The rela- chaeological policy has been encumbered by the diver- tionship between heritage and tourism is essential, and sity of agents and a lack of coordination mechanisms. the potential of culture as one of Catalonia’s main at- Catalonia’s archaeological wealth is important, and the- tractions must be developed, respecting the fundamen- re is great potential for the development of a discourse tal role of heritage and culture in explaining society and on this kind of heritage. However, the system must be in the Identification of a reality. The Catalan Agency of made more flexible, and new ways of working together Tourism and the Department of Culture should develop and of sharing projects between agents must be found. joint strategies involving the tourist and heritage sector, In this sense, the Archaeological Museum of Catalonia both public and private, to exploit its full potential. In should take on a more pivotal role and work towards this area, the funds collected by the tourist tax should integration with other important archaeological centres be invested in the cultural aspects of our tourist offer. in the country.

_The Integrated Plan for Archaeo- logy in Catalonia - PIACAT (2009) In 2010, nearly 14 million foreign tourists reached Catalonia, plus 4.5 million tourists from the rest of is already working to achieve Spain, making it the fourth most-visited destination in the entire European Union. greater coordination. This article _18.8% of tourists to Catalonia state that cultural tourism is their main reason for choosing this desti- also brought to light the excessi- nation. ve bureaucratisation of processes, _41% of tourists coming to Catalonia say that culture is the aspect they rate most highly. which prevents rapid action to _62.8% of foreign tourists engaged in cultural activities during their stay, a higher percentage than tou- facilitate control and guarantee rists from Spain, with 53.8%. administrative efficiency, dispro- portion between the major investments for prevention in archaeology or contributions to _Our heritage explains what we are, to ourselves and archaeological research and social outreach to guaran- to the rest of the world. Therefore, society in general tee acknowledgement by the scientific community and should become aware of its importance and give it the the general population. Another problem identified in value it deserves. However, to ask this of society, the this Plan was the difficulty of document management public institutions should bolster the conservation, re- and in the storage of movable archaeological material covery and dissemination of heritage and present it in which is scattered all over Catalonia, as well as the lack an interesting and educational way. of engagement by local or regional museums in overall heritage management.

_Catalan heritage is one of our main attractions as a tourist destination, it sets us apart and delivers a clear added value in the world tourism market. In an envi-

04. Sectors 42 05 _Some priorities of the CULTURAL system

llenges of excellence and train professionals who will be 5. 1. acknowledged the world over. Artistic education Artistic education in our country should pursue greater prestige and integration in the education system, which is a major quantum leap. Even today, artistic training syllabuses do not enjoy the official recognition that It is a specific contribution of culture in Catalonia - guild other scientific, social and humanistic courses do. A traditions, Renaixença, Modernism – a continuity in the major qualitative leap is called for. innovative maturity of the institutions and excellence in artistic education. In recent years, an effort has been In the last decade, we have witnessed an escalation in made to give a fresh boost to the professionalism of the local and regional commitment to provide spaces these institutions. The creation of the ESCAC and the for artistic training, with local music schools playing a ESMUC are an example of this, although we must go prominent role. In recent years, this commitment has one step further: modernise programs and management been undermined by the cutbacks in the budgets of to create educational projects that can rise to the cha- the Government of Catalonia and of the town and city

05. Some priorities of the cultural system 43 councils assigned to these types of services, which has cation, to define a coordinated policy and probe further jeopardised everything that has already been achieved. into the dynamics necessary to bring education and culture closer together. We must make the most of this The lack of consistency and continuity in the presence opportunity and commit to the following instruments: of artistic education in primary and secondary education in Catalonia is an added difficulty. Therefore, the _Higher Institute of Arts syllabuses of this teaching must be profoundly revisited This new instrument, which was designed to secure to avoid the underestimation of artistic education in the greater coordination in higher artistic education, rema- different stages and its disappearance as a compulsory ins a necessity. Besides being a tool that should help subject as of the fourth year of CSE, while pursuing a to improve economic efficiency, by facilitating leverage continuity that is lacking today. of economies of scale, a fresh boost ought to be given to higher education in the arts. However, parallel It is urgent to ensure that things that work in other to the creation of this institution, an effort is required countries, the successful linking of artistic - museum to equate the titles awarded by higher art schools with centres, creators, etc. - and educational practices, is university degrees in order to guarantee access, among incorporated into our teaching, rediscovering the Ca- other improvements, to third-cycle education. talan tradition of pedagogical renovation, guaranteeing the all-pervading presence of art. The idea would the- _Presence of the arts in primary education refore be to review the presence and consideration en- Artistic education in the classroom should be regarded joyed by art in our school curriculum completely for it as a relevant subject and teachers should receive spe- to become a tool that facilitates the training of citizens cialised training in order to teach it. Therefore, we pro- who understand and properly appreciate the different pose the creation of a master in didactics and pedagogy cultural forms. The Draft Law for the Improvement of in artistic education to train specialists to teach arts in Educational Quality (LOMCE) - besides other worrying the classroom and structure possible career opportuni- considerations, such as the impact on the alteration of ties for artists. the language bath model - underestimates the value of artistic education. Alternatives must be proposed and _Municipal music schools addressed, and a change of direction called for. The ongoing dismantling of these centres must be hal- ted. The work of these schools is essential in promo- Things are no different in higher education, and the ting the development of creative and artistic sensibility government must take strong regulatory measures. The and in developing social cohesion policies related to so-called omnibus laws paralysed the deployment of the expressiveness. In this sense, an agreement should be regional regulations established by the constitution of reached between the Government of Catalonia and the the Higher Institute of Arts, which is supposed to afford town and city councils to maintain the sustainability uniformity to all education in the arts and to create of the system, improve funding and guarantee access, economies of scale and collaboration spaces between regardless of families’ economic status. the different schools. _Interdepartmental coordination The lack of a comprehensive artistic education policy In a setting like the present, a far-reaching change is is also made patent by the division of organic respon- called for in planning policies and in regulations go- sibilities between the different departments of the Go- verning arts education so that the Departments of vernment of Catalonia. The Departments of Education Education and Culture and the Ministry of Universities and Culture and the Secretariat of Universities and Re- and Research can work together in a more coordina- search have the opportunity, in the field of artistic edu- ted fashion and share core strategies. The existence

04. Sectors 44 of independent power spheres, with different organic hierarchies, can hinder collaborative work, but regardless of the respective areas, ambitious arts education policies that will bring Catalonia up to speed with other European countries, based on an unequivocal desire for collaboration, must be developed.

_Educational and cultural initiatives in the association fabric It would be positive to increase support to the territory’s cultural fabric, often amateur in nature, where important grass roots work is carried out, as it brings the arts closer to the people. These centres are an indispensable tool for spreading comprehensive artistic education, and are currently one of the few areas that complement the insufficient formal artistic training delivered by our educational system. It would also be convenient to redouble the cooperation between higher education and the amateur space with new proposals and innovative ideas that will seek to overcome the action limitations derived from the current budget constraints.

_Indicators of excellence for artistic education Mechanisms for monitoring the results of arts education in Catalonia, besides the purely academic ones, are urgently called for. To this end, we must reinforce the idea that this type of training is a good way forward for society in general and for individuals in particular. Two of the indicators to be considered are employability and the recognition of student qualifications.

_International exchange for the educational community Artistic education, for both students and teachers, should be internationally permeable. Fear of the bra- in drain need not limit this intent. A balance must be struck between internal stability, guaranteed to retain a large number of trained professionals and trainers, and receptiveness to exchange and dialogue with other realities, methods and references that can have a positive impact on our cultural and artistic education system.

05. Some priorities of the cultural system 45 law requires of them, and seek coordination mecha- 5. 2. nisms to improve the use of resources in order to multiply the effects on cultural policies. There are numerous Institutions: examples of successful institutional coordination, the most remarkable of which are the consortia of the lar- from efficiency ge cultural institutions. The path taken, once positive results have been obtained, should be held up as an to need example to be followed.

The budget constraints imposed by the public admi- Catalonia is a region with dimensions that allows it nistrations have brought to light an endemic problem to build a solid, diverse and well-connected cultural in our country: administrative complexity, which gene- system. We have qualified people from the cultural rates inefficient jurisdictional overlaps. Culture should sector who can provide talent, innovation and struc- not be held hostage by this complexity, and the diffe- ture. The Public Administration must concentrate its rent administrative levels should find effective and sim- efforts and prioritise and establish common strategies pler forms of management that avoid such overlaps. at all administrative levels to nurture the sector and take culture to the entire population. Now, more than In a scenario where doubts are being cast upon the ever, it is important to share projects and horizons, efficiency of the institutional public service system, ex- and to do so flexibly: posure should be given to the public policies carried out rather than to the institutions that implement them. _Simplification of administrative circuits This is why it is important to establish collaboration We must improve the dialogue mechanisms between mechanisms to measure the impact and social return of cultural players and administrations, which should be proposals and to propose transparent mechanisms that presented in a simple and transparent way, with uni- render it possible to assess the efficiency of cultural form criteria, avoiding the duplication of circuits; for action in its entirety. example, the regulations that are applied to live music venues differ according to the municipality, and this In the current setting, there is a patent and pressing situation must be remedied. need to simplify administrative structures that will facilitate both transparency and accountability to citizens. _Fulfilment of medium- and long-term commitments But this simplification should be accompanied by the Countrywide cultural projects should be seen as ele- assumption of common challenges, establishing insti- ments that are part of a complex system of multiple tutional collaboration spaces that guarantee the sus- relationships. The isolation of some projects must be tainability of types of programs in which the different overcome so that they can be developed in the context administrations share objectives. of broader collaboration and engagement in their cultural setting. This is why it would be advisable to curb the replication of projects throughout the territory, and commit to uni- As for shared projects, continuity should be guaranteed queness, seeing the country as a single cultural system, in a defined calendar. Many cultural projects need sta- with different realities, and with the need to generate bility over the course of their evolution so that they can flows of collaboration between the various initiatives. be properly evaluated with regard to planning and not have to depend on circumstantial situations of lack of With this approach, we need to acknowledge the efforts understanding between administrations. of the local institutions, sometimes beyond what the

04. Sectors 46 _Consolidation of networked structures and must support it as best they can, establishing Networking between facilities, programmers, associa- mechanisms of collaboration and assistance that tions, groups and/or cultural training spaces is the for- have multiplicative effects. mula that is needed to improve management. The increase in shared work structures and the consolidation It should not be forgotten that social cohesion is related of new networked communities are objectives for the mainly to equal opportunities for citizens to access cul- coming years to ensure greater efficiency in the mana- tural facilities and performances distributed throughout gement of the resources allocated to culture by cultural the territory. In a nutshell, a cohesive society is one that agents and administrations. knows how to recognise, interpret and take its differences on board in order to reduce inequalities. _ Extension of functions Facilities and institutions must open up to embrace The public value of culture is not merely a matter of an increasingly broader range of social and cultural guaranteeing cultural rights, it is also embodied in functions with a view to fully leveraging available re- culture’s capacity to promote social innovation proces- sources. In this regard, a system should be found so ses: new organisational models, the defence of what that public facilities which have been shut down due to is common to all of us, new financing and exchange a lack of financial resources can be made available to models and a strong presence in the social economy, social groups that can make proper use of them. to name but some. This innovation capacity is one of the values that culture currently provides and which, in 5. 3. times of change, we must recognize and promote. _Access to culture The social It is urgent to bolster the Apropa Culture [Bring Culture Closer] programme and create similar ones. It is also value of culture vital to ensure a culture of proximity and foster cultural association-forming, giving priority to programmes that enhance social cohesion. Catalonia is a rich, diverse and complex society which has always looked upon culture as the cornerstone of _Programmes that promote social cohesion a collective and dynamic identity. The current situa- The pivotal role played by cultural associations in tion calls for this tradition to be duly recognised and terms of social cohesion in our municipalities should for public policies to promote the public sphere and be acknowledged and supported. Support mechanisms the association-forming fabric as tools for ensuring the should be reviewed to achieve greater collaboration and country’s social cohesion. involvement that will help to maintain a high degree of cultural activity, particularly in municipalities without The Catalan association-forming cultural tradition large public cultural facilities, and where the efforts - in the form of foundations, associations, groups, made by these organisations is more than outstanding. etc. -, has historically enjoyed a prominent role in It is clear that citizen participation is of the essence, the country’s cultural dynamism. At a time of budget not only in the implementation of cultural policies, but frailty, and when the action capacity of many admi- also in their design and planning. nistrations has diminished, the tertiary sector is managing to maintain a high level of activity and take Associative structures must modernise their manage- on burdens and commitments to society which are of ment and contact with the rest of society, as well as its paramount importance. Institutions need to be sensi- content offer, and the Administration should prioritise tive to this work of cohesion and respect for diversity support to these objectives.

05. Some priorities of the cultural system 47 _Culture as the backbone of social cohesion policies _The school as a generator of culture Cultural policy-makers should enjoy greater presence A space for dialogue between the cultural sector and in all areas of public administrations whose aim is to the educational sector must be created, facilitating a develop social cohesion policies - for example in im- new way to integrate culture in the classroom, brea- migration, seniors, social integration, etc. king away from traditional concepts, and developing specific programs that are stable over time so that _Culture as a driver of social innovation they can be assessed, improved and extended. Any associative action is a good example of the practice of social values, transformation of the social economy, dynamism, adaptation and participation that can be extrapolated to many other areas of society - the economy, business, work organization, knowledge transfer, etc.

The public value of culture is not just a question of guaranteeing cultural rights, it is also based on culture’s capacity to promote social innovation processes: new associative models, defence of what is common to us, new financing and exchange models and a strong presence in the social economy, among others. This innovation capacity is one of the values currently provided by culture and which, in times of change, must be fostered.

These are potentials that cater to economic, social and cultural needs, and may open up new channels of cooperation between employment policies.

_Commitment to society The social commitment of the cultural industry must be promoted, and the cultural industries must be an example of socially responsible companies. This means including mechanisms that foster and encourage joint social responsibility in businesses.

_Evaluation of the social dimension of culture Mechanisms must be put in place to evaluate the social return provided by cultural projects so they can be sized and analysed. Systems must be designed and developed to evaluate the social dimension in subsidy and support lines, in the Administration’s programme contracts with major cultural institutions across the country and in all activities implemented by the Pu- blic Administration.

04. Sectors 48 06 _Redefining THE MODEL

The world of culture needs sectorial muscle and so- condemns itself to stagnation, the blind reproduction lid structures with better conditions that can rise to of stereotypes which are less and less effective in res- challenges. We have creators, and we have remarkable ponding to the increasingly newer challenges it has to talent, but we lack the capacity to convert creation and face, and therefore, and ultimately, to regression. When good ideas into solid and enduring business projects. we say that Catalan culture - or culture in Catalonia -, This difficulty must be overcome, a larger cultural bu- is the core of our collective identity and the driving for- siness fabric must be promoted, with more resources to ce of our evolution, and therefore the guarantee of our be able to take risks, to innovate and, above all, with future - we are simply stating the truth, and it is proba- the capacity to be present in foreign markets. The dy- bly much truer than we believe. Since any conceivable namics of isolation between the different subsectors possibility of change and progress in this society - and and the constant debates on the limits of the cultural in any other - is by necessity linked to our capacity to sector must be done away with. activate our tradition - and others -, to reflect our present and confront it, to imagine other possible futures, Every culture lives in perpetual crisis. In fact, crises to generate new ideas and discuss them in a fruitful stimulate culture, which thrives on them. Our current dialogue, and, last but not least, to convey what we situation clearly proves that the social devaluation of have learned from all this to those who come after us. culture is a real phenomenon and that precisely the most significant cultural events - i.e. by dint of their originality or complexity - are the ones that are finding it most difficult to survive here and now. The impression that the cultural horizon is tending towards downsizing, standardisation and trivialisation, is hard to resist. If culture is the main - and ultimately the only - instrument that allows we humans to transform ourselves, this impression is very alarming. A society that beg- ins to ignore the defining valuesof culture is one that

06. Redefining the model 49 6. 1. The current legislative framework, until a new patrona- Economic model ge law is passed, is clearly delaying a change of model, which is absolutely necessary. This situation is com- Cultural projects are in the throes of economic sustai- pounded by the difficulties encountered by a significant nability difficulties. The historical lack of an ambitious part of the Catalan companies and financial institutions patronage law to facilitate suitable private support to that could play a key role. However, these limitations cultural initiatives is compounded by public budget should not curb the change of culture that must be cutbacks, which have never matched the levels of other ushered into cultural management. reference countries in public investment in culture. This situation means that there is now an urgent need It is not a question of shunning public accountabili- to redefine the cultural funding model. ty, quite the contrary, it is a question of opening up the range of collaboration possibilities and of explo- In the country-level strategy, the commitment to culture ring all the channels for the participation of socially should be firm and clear and take the form of support to responsible citizens, businesses and institutions for industry, creation, regional equilibrium and internatio- them to contribute to the development of cultural nalisation, prioritizing strategic lines of action, defining projects. the desired path and, in order to try to make it viable, securing the joint responsibility of cultural agents and The culture funding model in Catalonia faces signifi- citizens alike. cant challenges and possible answers:

In cases where the cultural project fulfils a function of _The weight of the social and economic value of culture cohesion, education, creativity, heritage recovery and should be reflected in government budgets innovation, public support is indispensable, and if it For Catalonia, culture should become a strategic sec- does not exist or is insufficient then thesocial aspect tor in helping to find a way out of the crisis, and not of culture, its very essence and raison d’être, will be one punished by lack of funding. On the one hand, the endangered. In these projects, leadership by the public allocation of resources should be a strategic priority, institutions is and should continue to be indispensable. making official credit lines to culture more flexible. On the other, private funding should be more involved in Culture, which enjoyed scant public support before the large public cultural institutions, with changes in the restoration of democracy, has undergone a subs- management. tantial change in the funding model since the early eighties. At this moment in time, a considerable part –Innovate in the sources of funding for cultural associa- of the funding in certain areas of culture falls to pu- tions, facilities and events blic budgets, which may have led to a tendency for it Tickets to shows are an important source of funding, to be dependent on the latter, and to a certain relaxa- but it would be convenient to study what options in tion that curtailed the search for new private funding products, services and complementary strategies can formulas. New mixed formulas that permit better and be offered to each type of event to increase the inco- greater citizen participation, and more initiatives and me of cultural activity promoters. We cannot ignore commitment by the private sector should be develo- the potential of merchandising, selling cultural pro- ped as soon as possible, in an indispensable public- ducts, catering and entertainment allowances, and private alliance to maintain and enhance the econo- implement innovative approaches to open up new mic resources assigned to culture. possibilities.

06. Redefining the model 50 _New Patronage Law Evolution of chapters IV and VII of the budget of the Although this is a state competence, the new law Department of Culture. 2008-2012 (million Euros) should afford Catalonia an influence that is at least 199.4 186.4 188.5 proportional to the impor- 179.3 tance of the Catalan cul- 163.0 tural sector in the State overall. The world of cultu- 154.7 re and the Catalan public 152.7 154.0 146.6 administrations must call 134.9 for a boost to a new law that would make it possible to reduce the current 44.7 restrictions and facilitate 33.7 34.4 32.7 28.1 the development of the 2008 2009 2010 2011 2012 patronage culture.

Chap. VII –Subs. by investments Chap. IV – Subs. by activities

_New funding systems Note: The data from 2012 correspond to approved budgets. Symptoms such as ven- The rest refer to the executed budget ture capital companies Source: Reports of the Department of Culture and budgets of the Government of Catalonia need to be developed. The cultural sector’s agenda should include promoting venture capital companies The sector, administrations and all culture agents should for cultural projects in which are not just public-owned. be mindful of these types of innovations, and facilitate Similarly, the figure of thebusiness angels must be pro- their implementation and development. moted. There are different networks of business angels, but there is no specific one for culture, so the creation of _Economic activation policy one should be encouraged. Aid should be given in structuring medium- and large- sized cultural companies with an investment capacity to From the standpoint of public funding sources, the cultural generate new products and projects with financial mus- sector should give greater consideration to the possibilities cle to endure the hardship of the current situation. In- offered by the European Union and leverage the resources vestment in the training and professional development of of the Creative Europe programme. The Department of the employees of these companies is required to further Culture should develop an information space about Euro- their development. This human capital is built up thanks pean programmes that provide aid to cultural activity. to the increased professionalization of cultural management. We need cultural managers to provide greater There are platforms in Catalonia which are an outstanding business insight to cultural projects, we need a better- reference point in crowdfunding, which has achieved re- trained public administration, one that is committed to markable success and proved its usefulness in making new the development of the cultural sector, and finally, we cultural projects viable. This system establishes a new re- also need structures in the sector that are representa- lationship between creators and citizens, which makes it tive and legitimate intermediaries for defining the new possible to create small-format cultural productions. This priorities and to lead the changes required by the sector. type of crowdfunding has revitalised grass-roots culture.

06. Redefining the model 51 the accomplishment of outstanding challenges: to 6. 2. achieve greater audience diversification, strengthen the social and educational function, commit to exce- From receivers llence and creativity and make social cohesion culture’s to leaders the main public responsibility. It is not a question of slashing culture prices. Quite the contrary: we must attach proper value to culture and The Catalan cultural public has demonstrated its capa- make people understand the real cost of what we offer city to withstand the difficulties spawned by the econo- and everything that it represents. On the other hand, mic crisis. Indicators of attendance at cultural events the administrations should review the amount of gover- have remained stable since the beginning of the crisis, nment aid policies and increase strategies to stimulate despite the reduction in public budgets, adjustments to spending rather than ones that foster production. At private initiatives and the economic hardship faced by the same time, price reduction strategies benefiting the citizens. The cultural public has remained faithful, citizens and disadvantaged groups for social, cultural with moderate falls in the worst case. This trend was or territorial reasons should also be consolidated, par- maintained until 2012. In 2012, the increase in VAT ticularly in projects that receive public aid, in order to levied on cultural products approved by the Central facilitate access to culture. Government, constant wage adjustments and increasing unemployment in our country pushed levels of In any case, the growing consolidation of a cultural resistance to the limit, thus affecting the consumption public should be positively rated. Policies to support capacity of the consolidated public. This situation has teaching, and the profusion and growth of digital propo- been exacerbated in the more rural areas, where cuts sals - despite the debate arising in some regards -, have in the budget culture have significantly reduced the ca- been essential in facilitating greater access to knowled- pacity of many municipalities to stage cultural events ge and culture. At this point in time, cultural consump- and effectively curtailed existing proposals for stable tion is available to a large part of the population. distribution circuits. But culture is sometimes embodied through parallel The public policies in most facilities are almost exclusi- circuits that have not been properly connected to each vely geared towards ensuring their own sustainability. In other. In fact, relevant content transfers have not been some cases, there is a tendency to reduce the level of ar- created and neither has access capabilities been explo- tistic proposals with more popular and commercial offers. red and expanded to permit the further connection and In other cases, particularly in the field of associations and fusion of publics. small-format proposals, the feasibility of projects is maintained thanks to the cultural, social and territorial com- Attention should be drawn, however, to the existence mitment of the consolidated members. Finally, national of a culture-consuming audience outside the official centres are fighting to maintain their financial equilibrium, circuits, be they in the alternative spaces or the digital and although in these cases audiences have not declined network. It is important to promote strategies that bring seriously as yet, the bolder proposals have tapered off, us closer to these audiences, which call, above all, for a as have the lines for the creation of new audiences and pedagogical effort at communicating, and which create agreements to distribute productions in local circuits. bridges between culture creators and users.

The current situation, geared towards making an effort Finally, the schools and the media can play an impor- to maintain current levels, has hampered progress in tant role in the training of an informed and demanding

06. Redefining the model 52 public. Regarding the presence of culture in the media, organised facilities and events should be particularly it should be noted that we are still too far away from the sensitive to those who are working as a gateway to new desired level. In this regard, we regret the disappearan- cultural audiences. ce of iCat fm from among the national broadcasters and the reduction in Canal 33’s broadcasting hours. These _Consumer stimulation policies measures are bad tidings for Catalan culture, because Particularly in public facilities, policies should be this limits its dissemination spaces. promoted to reach all the population strata. Coordi- nated cultural offering plans aimed at a non-regular _New collaboration strategies for capturing and retai- group, and cultural consumption stimulation policies ning audiences - family passes, reductions for disadvantaged groups, There is a lack of collaboration mechanisms between etc. - and civic electronic marketing strategies should different institutions that make it possible to share the be promoted. information on cultural audiences and coordinate joint communication policies. The Public Administration can _Role of the mass media support the development of these plans, the establish- It is important to encourage a greater involvement of ment of a shared cultural agenda and the promotion the public and private media in Catalan culture. Now of campaigns that deliver greater visibility to cultural would be the time to review the mechanisms of public projects. support and the award of licenses to the private media, establishing new criteria related to their contribution to The cultural audience is not a consumer in the strictest cultural dissemination. sense of the term. Citizens are financing agents who, with their selective options, contribute, in an exercise of _Link between education and culture interdependence, to maintaining cultural projects and A greater commitment by schools in the training of au- to produce them. Creating loyalty and engaging citizens diences and in the dissemination of cultural projects is in the design and development of cultural projects is called for to create a stable space for dialogue between a symbolic and operational need. Leveraging the pos- the cultural and educational sectors that would repre- sibilities of crowdfunding opens up new channels for sent a new way of bringing culture into the classroom, interaction between publics and cultural products. doing away with traditional concepts and developing specific and ongoing programmes. _Transparency and traceability of cultural spaces We need to open up cultural centres and make them more accessible, achieving a more intensive occupation that permits different levels of traceability of cultural activity in order to facilitate progressive circuits in access to culture. Collaborative arrangements with other more popular offers or alternatives should also be encouraged to merge contents and share audiences who hitherto were not regular consumers of the more institutional culture.

Networking and exchange between cultural facilities and programmers does not have to be limited to those working in the same field, and possible audience intersections should also be sought. Hence, centrally-

06. Redefining the model 53 to production should maintain the line of incorporating 6. 3. criteria that consider export opportunities in project Internationalisation evaluation. _Strategic events At this moment in time, budget reductions are gene- The major cultural events distributed throughout the rating new difficulties for enhancing theinternational territory, such as the Temporada Alta, the Grec, the presence of our culture. On the one hand, they jeo- Fira Tàrrega, the Manresa Mediterranean fair, the Sit- pardise the ability to compete in quality and that pro- ges Film Festival, the Vic Live Music Market, festivals ductions have the resources they need to keep up with such as Sonar and Primavera Sound, and fairs such international standards. On the other hand, in order to as Gamelab, among others, configure a large network deliver exchange capacity, two-way collaboration flows which can be leveraged to boost Catalonia’s capacity to must be created and international programmes regu- generate international contracting markets. larly scheduled, a practice which has also been greatly impacted by the economic adjustments. The attraction generated by these great events should not only be addressed from the standpoint of hiring and It is essential to encourage a deliberate intentional business with regard to the productions they present, cultural internationalisation strategy, with cooperation they should also be leveraged as platforms to attract and consensus between the public sector, delivering public and international mass media. platforms, and the creative sector, delivering talent and business structure. Our creators and our products _Local allies and exchange must be present at festivals and fairs, and international It is important to identify markets with the possibility programmers must be attracted to Catalonia through of collaboration and cooperation with Catalan creators events that offer hiring opportunities. and to establish exchange strategies with the cultural agents of the countries in question. The major cultural _Institutional coordination for internationalisation institutions - with the support of the administrations’ The public institutions responsible for the internatio- internationalisation policy-makers - should definestra - nalisation of our culture must develop joint strategies tegic alliances and continuity commitments in Europe that multiply the impact and international awareness of and the rest of Spain, Latin America and the emerging Catalan creations, generating greater interest and ope- countries which will open up new cultural exchange ning up new markets. At this moment in time it would possibilities. be convenient to generate a common strategic action, guarantee greater programme efficiency, coordinating _Training creators the design of policies and defining shared horizons and Our creators should be trained to look abroad, and it is milestones. The main objective is to further the presen- important that training initiatives underline this foreign ce of our cultural creation abroad. link by developing strategies that seek agreements with international training institutions. National centres play _Internationalisation of companies a crucial role in shaping both the training of the public Catalan cultural enterprises need a greater boost to and the professionals of the future, and should therefo- increase their presence abroad. To do so, besides the re be able to maintain the role played by international fact that the sector should further develop its cultural artistic proposals in Catalonia as a shop window and export business, public administrations must provide develop spaces for interaction and exchange with ope- training, platforms and financial support to undertake rators from other countries. new projects with an international vocation. Thus, aids

06. Redefining the model 54 The call to award training grants proposed by CoNCA should help to intensify and strengthen this objective. 6. 4. _New generations and internationalisation spaces Excellence Given the difficulties of competing in other markets, internationally consolidated and acknowledged Catalan and merit creators should help to pave the way for the new creative generations. It would be advisable to encourage the implementation of programs sponsoring the internatio- Quality culture is a priority of and for the country. The nalisation of emerging artists, leveraging the prestige of goal is to emphasise the training and development of the consolidated creators. key creative players. They are responsible for ensuring that the artistic proposals that we generate achieve or do not achieve presence in the international arena and that the cultural heritage generated by our cultural reality over the years will be recognised as a universal value.

Our cultural system has been capable of deploying a profusion of artistic works and creations, many of which have received public aid for production. On the other hand, we have a cultural system that has difficulty in identifying and reaching agreements on prescribers. This lack has generated a difficulty in recognising, prio- ritising and structuring an aid and dissemination policy.

But at this moment in time, excellence cannot be mea- sured by internal and inbred culture-driven criteria. The desire to be present abroad demands a high level. Therefore, we have to introduce initiatives that help to evaluate our cultural system on an ongoing basis. Ta- king measures that will allow us to incorporate and concentrate talent and aggregate capabilities with rigour and demandingness is a challenge we cannot shirk.

Being demanding in terms of professionalism and excellence is a responsibility towards the sustainability of the cultural system and the expression of commitment to the citizens, who help to maintain the cultural system through their taxes or by buying a cultural ticket or product.

We must demand a policy aimed at increasing the country’s level of cultural quality and excellence, particularly in projects or institutions that receive a high level of public funding, based on:

06. Redefining the model 55 _ Selection based on merit and personal skill criteria _ Ongoing assessment We must ensure that only the best professionals access Demandingness, impartiality and rigour are criteria that the management of cultural organisations, institutions must prevail, not only in the selection of people or pro- and programmes. While this is important in all cases, jects, but also as a model of action that must inform it is mandatory in projects or activities with a high level all cultural policies. For this reason, institutions and of public participation and/or impact. These centres set systems that provide support to culture should apply up selection systems based on public competition, and a methodology that will permit an evaluation that gua- should be open to international participation, with qua- rantees that these standards and the excellence of the lity criteria tailored exclusively to cultural needs and cultural projects will be maintained. challenges. _Attracting new talent _ Independence and professionalism It is absolutely essential that international talent join The panels that are set up to participate in the selec- the Catalan cultural system, both in terms of creation tion of jobs or positions - contests -, people - awards - or and training, with the mission of driving the system and proposals - grants, scholarships, etc. - in which profes- its dynamics towards excellence. In this sense, it is ad- sional excellence is a requirement, must be comprised visable to open up lines of work to attract people from of acknowledged experts and international members, as abroad who have made outstanding contributions in the appropriate. They must be governed by the criteria of areas of criticism, artistic education and research, to discretion, confidentiality and professional rigour. The the Catalan system. experience and results obtained in other areas, such as science, are an example to be followed.

_ Retaining talent Steps must be taken to ensure that emerging talent in Catalonia stays here. With this objective in mind, we must remain abreast of the country’s creative proposals that obtain acknowledgement at spaces - festivals, fairs, museums and art centres - regarded as reference centres on the international scene. Also, priority should be given to consolidating the artistic proposals that ear- ned these awards and recognition and lines of aid and incentives be adapted to ensure that they can follow their course.

_Knowledge transfer It is essential to define lines of research within the ensemble of cultural institutions that allow us to create knowledge for the development of strategies and quality cultural products, as the best investment to foster the consolidation and projection of the Catalan cultural system.

06. Redefining the model 56 07 _CoNCA’S COMMITMENTS

The National Council for Culture and Arts (CoNCA) was The preparation of an annual report is still one of the set up on 13 March, 2009, pursuant to Law 6/2008 of major milestones of the new CoNCA and the main tool, 13 May. The creation of this agency comes in answer to after analysing the state of the art, to transmit its main a claim made by the cultural sector of the Government commitments to society and the cultural system. This of Catalonia over several legislatures to renew its cultural year these commitments are: policies. The main functions assigned to the new organisation were to advise the Government on cultural policies and to develop the policy to foster and promote creation.

In December 2011, through Law 11/2011 on the res- _Innovative tructuring of the public sector to expedite administrative procedures, this organisation embarked upon a new stage, financing in which the emphasis was placed on the activities of ad- vising the Government on its cultural policies overall and _Sponsorship the analysis and evaluation of support to artistic creation. In this sense, the new organisation must oversee the deve- _Budget increase lopment of cultural activities, collaborate in the planning of cultural policy in terms of artistic creation, intervene in the policy to support artistic and cultural creation and _To promote the creation of an advisory and research promotion of the latter and organise a cultural auditing space of innovative funding sources in order to help system of public facilities and subsidies to take the pro- cultural creators and groups, associations and organi- motion of culture and its social return into account. On zations to improve their economic leverage. 13 June, 2012, Parliament approved the proposal by the president of the Government of Catalonia to appoint new _To study, in conjunction with the departments invol- members to the Plenary of the CoNCA, which, as of that ved, the possibility of CoNCA promoting the creation of moment, took charge of promoting these tasks. the Patronage Council to encourage interdependence

07. CoNCA’s commitments 57 between the public and private sector to improve fun- _ The CoNCA aims to be a space that encourages re- ding for cultural projects. flection and mainstreaming between humanist culture and technical and scientific culture. In the perspective _To defend the increase in the percentage of the budget of an increasingly more polycentric culture, the digital assigned to the Department of Culture in the Govern- paradigm has generated new intellectual horizons, and ment of Catalonia’s overall budget to take it to 2%. culture should be a substantial content.

_Culture _Excellence _Transparency _Grants

_To work to maintain greater transparency in the pro- _ Develop grants and scholarships that pursue excellence cesses of granting aid of the Department of Culture and by promoting agreements with the main international arts in general. To participate and cooperate, in the terms and culture training centres. The possibility of opening provided for by Law, in aid to creation in order to obtain new scholarships to facilitate the presence of internatio- the highest possible budget level and optimise resour- nal talent in Catalonia must be studied. ces, evaluating and monitoring the beneficiaries. _Artist _Audits _Status _Good practices Promote the drafting of a Status of the Artist that will help to regulate: the right to freedom of creation, the To afford visibility and transparency to CoNCA’s audits, protection of heritage, image and moral rights derived which will highlight the best practices in the areas of so- from their work, the legal, social and labour aspects that cial cohesion, innovation, creativity, the opening up of guarantee full recognition of their professional status new funding and access to new audiences, for example. and the measures required to facilitate their mobility. This means that the most important projects will be dis- seminated and will receive aid as initiatives of excellence. _Culture _Mainstreaming _Education _Humanism _ Design a roadmap with proposals on the key area of _Science relationship between culture and education. Promote

07. CoNCA’s commitments 58 the creation of the Council for Culture and Education, with the participation of pedagogues, artists, program- _Changing Models mers, teachers, associations and the educational management of the cultural centres, with the aim of sti- _Cultural Observatory mulating cultural projects targeting the education and presence of representatives from the artistic and cultural world in the classrooms. One complementary objec- _ Have the CoNCA promote the dynamic constitution of tive is to maintain constant mediation and permanent the Cultural Observatory, targeting the collection and dialogue with the different cultural sectors and agents. systematisation of useful and meaningful data about Interdependence and pluralism will be core concepts. the country’s cultural reality, according to models of change. It is an initiative to be carried out in collaboration with other important institutions: the Technical Office of the Department of Cultural, the Centre for Cultural Studies and Resources of the Barcelona Cou- nty Council (CERC), the universities, research centres _Education distributed throughout the territory and grouped within the Ramon Muntaner Institute, and private foundations _Higher Institute in the area of cultural policies. of Arts

_ Contribute to the process of starting up the Higher _Dissemination Institute of Arts provided for in the Education Act of Catalonia. This Institute should be based on colla- _Cultural agenda boration between the Department of Culture and the Department of Education, with CoNCA intervening according to the functions entrusted to it in this area by _ Foster, in conjunction with the relevant organisa- Parliament. tions of the Department of Culture, a revamped and enhanced Cultural Agenda for it to become a digital dissemination instrument which, according to the 2.0 communication model, will convey the overall cultural _Digital culture offer, where - among others - discounts are advertised and interviews are published with the creators and pro- _Advice grammers, and reviews commissioned to experts, inte- llectuals, writers and artists. At the same time, there would be an advisory service to the cultural sector in _ Together with the Catalan Institute for the Cultu- research and extension of publics, favouring, with the ral Companies(ICEC), drive forward in the creation of help of the media world, the implementation of infor- a platform for advice and training in digital culture, mation and communication strategies to further the with the aim of helping the less industrialised sector presence of culture. to break into the digital market, both from the technological standpoint and the new business models, new forms of creation, new formats or audience expansion.

07. CoNCA’s commitments 59 _ANNEX: DIAGNOSIS

Annex: diagnosis 60 _Population data

integration of foreign citizens, has been important _Evolution and particularly relevant in the cases in which migration is driven by economic reasons. In fact, most of of the population them were groups whose priorities were far removed from those of the host society.

_Between 2000 and 2012, the population of Catalo- _The management of these policies has evolved in nia grew by 20% in absolute terms, mainly due to the relation to the increase in the foreign population, arrival of foreign citizens attracted to our country by which rose from 3% in 2000 to 16% in 2011, and the economic boom during a large part of this period. schooling has been one of the most effective factors in integrating families into Catalan society, while the _Until 2008, this increase was powered mainly by effect of immigration in the Catalan community has migration: 76% of new residents came from outside laid the foundations to open up new expectations in Catalonia, while the increase in the natural population social awareness and has developed resources to sti- was only 24%. This trend was significantly reversed as mulate intercultural coexistence. of 2008 with the advent of the economic crisis. _Catalonia is an intercultural territory, as demons- _At the beginning of the 21st Century, foreigners trated by the 180 languages spoken, the most com- residing in Catalonia were mainly from Africa, more mon ones being, after Catalan and Spanish, Arabic specifically from the Maghreb, and as the years have and Romanian. progressed the arrival of people from Latin Ameri- ca, mainly Ecuador, Colombia and Peru, increased significantly. As of 2005, the fall in the numbers of Africans living in Spain heightened, the number of immigrants from Latin America also began to dwindle and, for the first time ever, so did that of citizens from Europe, particularly the Eastern European countries, which had been one of the largest immigrant groups living in Catalonia.

_The challenge taken up by the country’s cultural and linguistic policies, referred to above, to influence the

Annex: diagnosis 61 Evolution of the population of Catalonia. 2000-2012

7,571 7,512 7,539 7,475 7,364 7,211 7,135 6,995 6,813 6,704

6,506 6,361 6,262 3.04%

2.67% 2.28% 2.12% 2.00% 1.58% 1.63% 1.51%

1.07% 0.85% 0.49% 0.36% 0.42%

2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012

Growth (as a percentage) Population evolution (thousands) Source: Statistics Institute of Catalonia (Idescat)

Evolution of the immigrant population residing in Catalonia by country of origin. 2000-2011

45% 42%

40% Europe

35% 31% Africa 30% 29% 26%

25% Latin America 28%

20% 21% Asia and Oceania 15% 12% 10% 11%

2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011

Source: Ministry of Employment and Social Security, Permanent Immigration Observatory and Idescat

Annex: diagnosis 62 _Population density

_The population density in Catalonia is nearly 236 inhab./km2, albeit with a different territorial distribution. The greatest population concentration is in the coastal area, particularly in the Barcelonès region, with a density of over 15,000 inhab./km2. It is followed, in terms of density, by Baix Llobregat and Vallès Occidental, with more than 1,500 inhab./km2 each. At the other extreme are the counties of Alta Ribagorça and Pallars Sobirà, which do not reach 10 inhab./km2.

_One consequence of the uneven population distribution is the logical need to invest more in culture where there are more people, while the remoteness and inaccessibi- lity of cultural proposals in less populated areas require a greater effort to provide equal opportunities to all citizens, regardless of where they live.

Population density of the Catalan counties by number of inhabitants. 2012

Population density of the Catalan counties Absolute population ﬁgures – Year 2012

1,000 to 20,000 inhab.

20,000 to 50,000 inhab.

50,000 to 100,000 inhab.

100,000 to 500,000 inhab.

More than 500,000 inhab.

Source: Prepared in-house based on Idescat data

Annex: diagnosis 63 _Population structure by ages

_Almost 70% of Catalans are in the age range that could be considered as pertaining to the working population (aged 16 to 65 years), while the remaining 30% would be part of so-called passive classes, i.e. under-16s and over-65s.

Evolution of Catalonia's population structure by age groups. 2007-2011

33%

17% 17% 16% 15%

Under 15 years 15 to 29 years 30 to 49 years 50 to 64 years 65 years and above

2007 2008 2009 2010 2011

Source: Idescat

Annex: diagnosis 64 _Educational Levels

_In six years, the percentage of citizens who do not have any kind of academic qualification has decreased significantly. Only 8.8% of the population above the age of 10 years do not have a primary education qualification. Attention should be drawn to the significant increase in people with vocational training qualifications (almost 20%) and the reduction in students who have completed higher secondary education qualifications as opposed to those who have completed university studies.

Evolution of the education level of the population of Catalonia. 2001-2007

12.8% 15.7% Third-cycle studies 11.0% 6.2% CSE and Pre-Uni. 10.7% 19.3% Vocational training

25.6% Complete Primary 25.6%

Primary Studies

26.2% Less than ﬁve years at school 24.3%

Cannot read or write 11.5% 7.3% 2.3% 1.5%

2001 2007

Source: Idescat

Annex: diagnosis 65 _The economic importance of culture

_In the analysis, commissioned annually by the Tech- _Economic volume nical Office of the Department of Culture to BCF Con- sultors, on changes in GAV from six areas of cultu- of the cultural re - audiovisual sectors, performing arts, books, the press, sound recordings and art galleries -, it is esti- sectors mated that in 2009 culture generated about 1,400 million Euros in GAV, which accounted for 0.76% of Catalan GAV for that year. This result is the lowest _In 2008, Catalan culture generated 6.673 million since 2002, when the cultural sector generated Euros of GAV (Gross Added Value), which represents 1,435 million Euros in GAV, constituting 1.09% of 3.60% of total Catalan GAV. This places cultural GAV total Catalan GAV. well above other sectors, such as the social services _In absolute terms, the GAV of the cultural sectors has (0.88%), the primary sector (1.05%) or the relevant grown significantly in absolute terms since 2001, pea- food, beverages and tobacco industry (2.76%). Edu- king in 2005. As of that moment, it fell progressively cational services, health activities and financial and until it lost 12.4% of its absolute value in the last five insurance activities, among others, are above the years analysed. cultural GAV.

_39% of the GAV is obtained by the activities traditionally regarded as being within the cultural sector - cultural industries, libraries, archives, museums, artistic activities and shows - 29% corresponds to various creative activities including advertising, specialised design and technical architectural services, and finally, 32% refers to technology- and information- based services.

Annex: diagnosis 66 Comparison of cultural GAV with other economic sectors. 2008

5.15%

4.54%

3.95%

3.60% Technology and information-based services 1.14% 2.76% Artistic activities and shows 0.21%

Other creative activities 1.06%

Libraries, archives 1.05% and museums 0.08% 0.88% Cultural industries 1.11%

Financial Health Education Cultural Food, drink Agriculture, Social services and insuraces activities sectors and tobacco livestock activities activities industries forestry and ﬁsheries Source: Prepared in-house based on data from the Technical Ofﬁce of the Department of Culture and Idescat

_In percentage terms, cultural GAV relative to the to- _Regarding the evolution of the value of some cultural tal GAV of the Catalan economy has fallen year after sectors, it should be mentioned that in 2002 the au- year. This can only be accounted for by the fact that diovisual sector outperformed the book sector in terms overall economic growth surpassed the economic of volume of GAV, and since then it has led the cultural drive evinced by the cultural sector. The truth is that sectors in economic volume. To understand this data the stagnation in the cultural sector began in 2006, properly it must be remembered that 25% of the GAV and therefore pre-dates the general crisis that began in this sector comes from the public sector - public in 2008. Two important aspects may have played a television and radio. role in this early deceleration: the crisis in the business model that hit most of the cultural industries, linked to digital content, basically in sound, films and books; and in another sense, the difficulties encountered by many players in the sector (creators, organisations or small businesses) to achieve and/ or consolidate a more professional management of their activities.

Annex: diagnosis 67 Evolution of the GAV of the cultural sectors. 2001-2011

1,650 1.40

1,600 1.15 1.15 1.12 1.07 1.06 1.20 1,550 0.98 1.00 1,500 0.89 0.81 0.78 1,450 0.76 0.80

1,400 0.60 Million Euros As a percentage 1,350

0.40 1,300

1,250 0.20 1,347 1,435 1,485 1,524 1,615 1,610 1,581 1,496 1,415 1,382 1,414 1,200 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010(*) 2011(*)

Cultural GAV % Cultural GAV (basic prices) (*) Estimated values

Source: Prepared in-house based on data from the Technical Of ce of the Department of Culture and Idescat

Evolution of the GAV of the different cultural sectors. 2000-2009 (million Euros)

600 Audiovisual

520.8 Book 500 468.5 Press

400 Performing arts 312.0

300 Music

200 Art Galleries

83.2 100 17.0 13.5 0

2000 2001 2002 2003 2004 2005 2006 2007 2008 2009

Source: Technical Ofﬁce of the Department of Culture

Annex: diagnosis 68 _In funding by consumption or by publics, expenditure _The funding by Catalan homes is worthy of mention, as it accounts for 85% of the 2.606 million Euros raised by this of culture model, while 15% comes from cultural spending by tourists in Catalonia.

_There are three main culture funding models, one _Another source of private resources is patronage and based on public budgets, one based on patronage or sponsorship. It is difficult to cite data on sponsors- sponsorship, and finally one based on consumption hip, because this information is lost in advertising or on the public, or audience. Cultural projects do items in companies’ balance sheets; however, it may not usually use just one model, and resources come be estimated, based on published data pertaining to from different ones, but the distribution of the avai- expenditure on sponsorship, patronage, social mar- lable resources among these models is as follows: keting and corporate social responsibility (CSR), that 63.4% of the economic resources available in the spending on this concept for culture represents 32% cultural sector come from citizens’ expenditure on of total spending in this model. As for patronage data, culture and leisure, 5% from sponsorship and patro- the only information available is related to personal nage and 31.6% from the public funds provided by income tax (PIT), with a contribution of 5.4% by the the government. model overall - this amount would very probably vary substantially if corporation tax data wee considered.

Distribution of the source of cultural sector resources by funding model. 2010

Sponsorship and patronage 5.0%

Consumption or publics 63.4%

Public administrations 31.6%

Source: Prepared in-house based on data from the Technical Ofﬁce of the Department of Culture, CECA and InfoAdex

Annex: diagnosis 69 On the other hand, the contributions made by the savings banks to the culture sector are available, and account for 62% of contributions in this model.

_Finally, public contributions are led by local governments - municipalities, county councils and district councils - which provide 65% of the public resources assigned to culture. The Government of Catalonia accounts for 29.2% of total public expenditure, while resources from the State total 5.6% and the Euro- pean Union a mere 0.1%.

Spending on Culture in Catalonia by type of agents. 2010 (million Euros)

2,218

709

389 378

126 128 67 72 11 8 1

Domestic Tourists Savings Patronage Sponsorship Municipalities County District Government State European expenditure (*) banks (**) (***) Councils Councils of Administration Union Catalonia

(*) Data from 2009 (**) Estimate based on InfoAdex data (***) Estimate based on income tax data from 2008. This does not include corporate sponsorship. Source: Prepared in-house based on data from the CECA, the Congress of Deputies, the Department of Culture and InfoAdex

Annex: diagnosis 70 _The town and city councils contribute most money to _Public expenditure the Catalan cultural sector - Catalan town and city councils account for 54% of total public expenditure in in culture this area-; the Government of Catalonia, nearly 30%, the country and district councils assign 11%, and the contributions by the Central Government do not exce- _Between 2005 and 2009, public spending on cul- ed 6%. These proportions have not changed substan- ture increased significantly in Catalonia. The 836 tially in the five years analysed. million Euros that all the public administrations in _Apart from the overall volume of expenditure incu- Catalonia with cultural powers allocated to the cul- rred, the percentage of the total budget that each tural sector in 2005 increased to 1.257 million in level of administration allocates to culture is a good 2009, a 50% growth in spending in four years. This indicator of its contribution to culture. The county trend stabilised in 2010, and began to decline as councils are public bodies that allocate a higher per- of 2011, when government spending fell by 12% centage of their budgets to cultural spending, more versus the previous year. This trend will definitely be than 12%, followed by the town and city councils, even more accentuated when the definitive data for which assign almost 7%. The percentage put up by 2012 are available. the Government of Catalonia is well behind, barely surpassing 1.3% of the total budget.

Evolution in public spending on culture in Catalonia. 2005-2011 (million Euros)

, ,

Source: Technical Ofﬁce of the Department of Culture

Annex: diagnosis 71 _The major administrative and territorial organisational _Municipal spending differences between continental European countries make it difficult to compare the participation of the on culture in Catalonia different administrations in terms of their contribution to culture. Despite this difficulty, it is easy to see _The municipalities are an important support for the that state involvement in culture in the Scandinavian culture of our country. Spending on culture by these model countries is higher than in southern Europe, local organisations is different depending on dimen- where municipalities enjoy greater importance. sion, and in this regard, it is noteworthy that the smaller municipalities - those with fewer than 50,000 _The distribution of economic financial responsibili- inhabitants - spent most per inhabitant on culture, ties for culture at the different levels of government namely 114 Euros/inhab. in 2010. To interpret these in Catalonia and Spain is very similar: a major con- figures properly, it should be noted that the popula- tribution by local Government, followed by the re- tion increase between 2005 and 2010 was greater in gional administrations - most of which have powers municipalities with fewer than 50,000 inhabitants, in cultural policies - with the contribution by the namely 11.7%, while the population of municipali- central State coming in last. ties with more than 50,000 was only 4%.

Distribution of public expenditure per level of administration. 2011

State Administration 6%

Government of Catalonia 29% Town/City Councils 54%

County and district councils 11%

Source: Technical Ofﬁce of the Department of Culture

Annex: diagnosis 72 Percentage of the budget allocated to culture by the Catalan administrations. 2010

100%

90%

80%

70%

60%

50%

40%

30%

20% . . 10% . . 1.496 Town/City Councils District County Government Councils Councils of Catalonia

Source: Prepared in-house

Comparison of expenditure in culture by level of government in different European countries. 2005

76%

62% 62%

57% 56%

47% 43% 43%

34% 32% 28% 24%

15% 10% 6% 4%

Denmark Finland Sweden Portugal Spain Catalonia

Central government Regions Municipalities

Source: Technical Ofﬁce of the Department of Culture

Annex: diagnosis 73 _Expenditure by programmes _Public expenditure on culture by inhabitant _Most of the public money assigned to culture is dedicated to cultural promotion and action (50% of total expenditure on culture), followed by libraries and ar- _In 2011, the Catalan administrations overall allo- chives (18%) and museums (14%). Fewer resources cated 149 Euros/inhab. to culture, a considerable are allocated to archaeology and heritage (5%) or to increase compared to the 119 Euros of 2005. linguistic standardisation (3%). _If you compare this indicator in Catalonia to that _By type of administration, it should be noted that the of other European countries, it transpires that the Government of Catalonia and local town and city cou- administrations in Catalonia spend more on culture ncils dedicate a higher percentage of their cultural per inhabitant than other Mediterranean countries, budget to cultural promotion and action programmes, such as Italy and Portugal, although the figure is while the country and provincial councils are respon- very similar to Spain. In the case of the Central Eu- sible for spending on libraries and archives. All ad- ropean countries, such as the Netherlands, expen- ministrations allocate a similar amount of resources diture is greater, with the curious exception of Ger- to museums, but the county councils spend the hig- many, which spends less money per inhabitant on hest percentage on archaeology and heritage. Only culture than some southern European countries. The the Government of Catalonia has a significant budget Scandinavian countries, headed by Norway, spend for language standardisation. Regarding the cost of more per inhabitant, and are well ahead of other general services, the country councils allocate the European countries. lowest percentage to this type of expenditure.

Per inhabitant expenditure on culture of the Catalan municipalities according to their size. 2005-2010 €114

€78 €70

€58

Municipalities > 50,000 inhabitants Municipalities < 50,000 inhabitants

2005 2010

Source: Prepared in-house based on data from the Department of Culture and Idescat

Annex: diagnosis 74 Distribution of public spending on culture in Catalonia by programmes. 2010

Linguistic standardisation General services 3% 8%

Archaeology and heritage 5%

Libraries Promotion and and archives cultural actions 18% 52%

Museums 14%

Source: Prepared in-house based on data from the Technical Ofﬁce of the Department of Culture

_Aid to third parties (subsidies) by to 2010, reached 15%. This reduction led the specific weight of the transfers received by these facilities the Department of Culture relative to the overall economic volume that the De- partment of Culture has provisions of Chapters IV and _In the course of 2012, the Department of Culture VII, to fall from 38% in 2008 to 32% in 2012. scheduled 163 million Euros in aid to third parties, _Comparing the behaviour of the different departments 83% to supporting cultural activities (135 million of the Government of Catalonia in the use of aid to Euros in current transfers or chapter IV) and the re- third parties as a political tool, we can see that the De- maining 17% to facilities (28 million Euros in capital partment of Agriculture, Livestock, Fisheries, Food and transfers or chapter VII). the Environment allocates a similar amount of aid to _In the last five budget years, the subsidies budget of third parties to that which is allocated by Department of the Department of Culture has fallen by 18.3%. This Culture, but in the case of Agriculture, capital transfers fall reached 37.2% in aid to investment, while aid per are more substantial, with 76% of total aid as opposed activity was 12.8%. If the budget for 2012 is confir- to aid by activity. Other departments which oversee di- med, it will be the year with the greatest reduction in rect services to citizens, such as Education and Social this item versus the previous year, to 9.1%. Welfare and the Family, have much higher budgets for Chapter IV. _This reduction is even greater if we take transfers to the main cultural facilities of Catalonia into account. In this case, the cumulative reduction in the five periods analysed was more than 30%, with interannual cuts that exceeded 8% in 2011, and which, compared

Annex: diagnosis 75 Distribution of public expenditure in culture by programme and administration. 2010

0.5% 9.2% 0.7%

35.2% Linguistic standardisation 54.6% Promotion and cultural actions 53.7%

13.5% Museums

Libraries and archives

14.4% 12.7% 39.0% Archaeology and heritage

15.6% General services 13.2% 5.4% 3.4% 9.0% 7.8% 2.8% 9.3%

Government of Catalonia County and district Town/City Councils councils

Source: Prepared in-house based on data from the Technical Ofﬁce of the Department of Culture

Comparison of expenditure in culture per inhabitant between different European countries.

€433

€294

€183 €177 €157 €149 €117 €117 €85

€43

Norway Denmark Netherlands Finland Spain Catalonia Germany Italy Portugal Ireland (2009) (2010) (2006) (2009) (2008) (2011) (2010) (2009) (2010) (2011)

Source: Prepared in-house based on data of the Technical Ofﬁce of the Department of Culture and the Compendium Cultural Polices and Trends in Europe

Annex: diagnosis 76 Evolution of chapters IV and VII of the budget of the Department of Culture. 2008-2012 (million Euros)

199.4 186.4 188.5 179.3 163.0

154.7 154.0 152.7 146.6 134.9

44.7 33.7 34.4 32.7 28.1

2008 2009 2010 2011 2012

Chap. VII – Grants for investments Chap. IV –Grants for activities

Note: The data from 2012 correspond to approved budgets. The rest refer to the executed budget Source: Reports of the Department of Culture and budgets of the Government of Catalonia

Interannual variations of chapters IV and VII of the budget of the Department of Culture. 2008-2012

5.0%

1.1%

0% 2008-2009 2009-2010 2010-2011 2011-2012

-4.9% -5.5% -5.0% -6.5%

-9.1% -10.1% -10.0%

-15.0% -18.3%

-20.0%

Variation versus previous year Accumulated variation

Source: Prepared in-house based on data from the report by the Department of Culture and the budgets of the Government of Catalonia

Annex: diagnosis 77 Interannual variations in current transfers by activity of the Department of Culture in the main cultural facilities in Catalonia. 2008-2012

2008-2009 2009-2010 2010-2011 2011-2012 0%

-5.0% -3.9% -8.0% -8.8% -10.0% -14.5%

-15.0% -11.6%

-20.0%

-25.0% -24.4%

-30.0% -31.0% -35.0%

Variation versus previous year Accumulated variation

Note: The Library of Catalonia, Gran Teatre del Liceu, the Auditorium and the Barcelona Symphony and Catalonia National Orchestra, the Mercat de les Flors, MACBA, MNAC, the Mnactec, the Archaeological Museum, the TNC and Fundació Teatre Lliure were included. Source: Prepared in-house based on data from the report by the Department of Culture and the budgets of the Government of Catalonia

te persons in Spain, in France, the legal amendment _Private funding of 2003 increased these deductions to between 60% and 70%. This legislative amendment led donations of culture in the neighbouring country to increase from 1,000 million Euros in 2005 to 2,500 million Euros in 2008.

_As for sponsorship, according to InfoAdex, these acti- _The role of patronage and sponsorship vities move some 1,000 million Euros a year in Spain. Half of this amount is allocated to sports, while social and cultural sponsorship takes the other half, and the _There are no data for Catalonia as a whole in terms of cultural sector enjoys sponsorship to the value of bet- money provided by sponsorship to cultural aspects. ween 60 and 100 million Euros. The same study esti- In Spain, income tax data indicate that in 2004 mates that Catalonia accounts for between 25% and about 345,000 people made donations for a value of 30% of total volume in Spain. 134 million Euros, which fell to 44 million Euros in 2008, contributed by 146,000 people.

_The current legal situation, and the tax advantages of patronage in our country, differ significantly from those of our neighbours. While tax deductions for patronage are 25% for natural individuals and 35% for corpora-

Annex: diagnosis 78 Volume of aid to third parties in different departments of the Government of Catalonia. 2012 (million Euros)

21.5

26.7

1,780

1,134 109.2 28.1

134.9 34.8

Culture Agriculture, Livestock, Education Social Welfare Fisheries, Food and the and family Environement

Current Transfers (chap. IV) Capital Transfers (chap. VII)

Source: Budgets of the Government of Catalonia.

_Contributions of savings banks’ cated a higher percentage of the total budget of their social welfare work to cultural programmes, between social welfare activities 70% and 80% of their total expenditure on social welfare work. CatalunyaCaixa and Unnim are on a second level, and allocated, more or less, half of their social _In 2010, Catalan savings banks spent almost 558 welfare spending to culture. Finally, la Caixa only allo- million Euros on social welfare activities. 22.5% of cated 17% to culture, although in absolute terms this this amount, more than 125 million Euros, was allo- financial institution’s expenditure on culture doubled cated to cultural programmes, leisure and historical the total value of the other four saving banks together. and artistic heritage. _Despite the reduction in the number of organisations, _The change in the country’s financial map has led to the overall amount assigned to social welfare work by a very significant reduction in the number of organi- the Catalan savings banks did not change between sations. Of ten savings banks head-quartered in Cata- 2007 and 2010, surpassing, in both years, the fi- lonia in 2007, three years later there were only five. gure of 550 million. On the contrary, the amounts Ongoing merger and integration processes will leave assigned to cultural activities fell significantly, by only two within a year, one of which will be taken over 28%, and from 174 million in 2007 to 125 million by the state. in 2010, while the social and health care programme _The organisation which assigned the greatest amount increased most, namely 19% in three years. of money overall to cultural programs during 2010 was la Caixa, but Caixa Laietana and Caixa Penedès allo-

Annex: diagnosis 79 Savings banks' social welfare expenditure by activities. 2010 (million Euros and as a percentage)

Education and research 41.8 7% Historic and artistic heritage 13.8 2%

Environment and nature 43.6 Social and 8% health care 347 63% Culture 73.4 13%

Leisure 38.4 7%

Source: Spanish Confederation of Savings Banks (CECA)

Expenditure on culture, leisure and heritage by Catalan Savings Banks. 2010 (million Euros)

90.0 84.1 90% 77% 80.0 80% 69% 70.0 70%

60.0 60% 51% 48% 50.0 50%

40.0 40%

30.0 25.4 30%

20.0 17% 20%

7.9 10.0 3.7 4.4 10%

0% Caixa Caixa Catalunya la Caixa Unnim Laietana Penedès Caixa (BBVA) (Bankia) (BMN)

Absolut expenditure % of total expenditure in social work

Source: CECA

Annex: diagnosis 80 _Moreover, the number of cultural centres that depend on the savings banks fell by 31% during this period, from 176 to 122, and the number of cultural activities promoted fell by 5%, from 22,867 to 21,805 activities.

_We do not know what the future holds for these amounts allocated to social welfare work, as Unnim and the Caixa Penedès have been taken over by banks, which are under no legal obligation to maintain social welfare work, CatalunyaCaixa has been taken over by the State, and Caixa Laietana is now part of a financial group, also now state-controlled as a result of the merger of several savings banks from other places in the State. This scenario creates a situation of uncertainty, and it is likely that only la Caixa will continue to invest in cultural programs through its Social Welfare Work.

_Crowdfunding

_Crowdfunding is a practice that has increased consi- derably in recent years. Reduced grants and funding in general has led many projects to try this field and apply for financial aid through virtual platforms such as Verkami or Goteo. They are mainly low-budget and/ or grass-roots culture projects that are given exposure thanks to the sum of small contributions made by individual donors. The sense of community induced by the use of the Internet which underpins the system is promoting a hitherto non-existent participation-based social network, which is consolidating a new and alternative funding model.

_In its two years of existence, Verkami has published 900 projects, with a success rate of 70%, since 624 projects secured funding.

Annex: diagnosis 81 _Market

_Listening to music and reading books are two of the most common forms of cultural consumption among _The data from Catalans: 92% of the population say that they listen to music regularly, while 61% say that they have read at least one book in the last twelve months. the main sectors

_The other cultural activities are less prominent, although more than 30% of Catalans say that they go to films, concerts and exhibitions. Less than 30% of _Book the population go to shows or play video games. _Catalan publishers overall, 748 according to the Ge- _Between 2008 and 2011, cultural consumption neral Secretariat of the Ministry of Culture based on among Catalans increased in all areas, except for the ISBN applications, had a turnover of 1,332 million cinema, where there was a very slight reduction in the Euros in the domestic market in 2011 (7.1% less than number of cinema-goers. The use of video games is in 2010 and 17.9% less than in 2008). It should be remarkable, almost 12% in four years, although quite remembered that 18.2% of this turnover corresponds possibly the percentage would increase if the popu- to titles in Catalan. lation under 14 years were included in the statistics. The increase in consumption in other areas is between _As for production, in 2011 Catalan publishers published 4% and 6.5%. 33,970 titles (1.3% less than in 2010) and 135.99 million copies (11.8% less than in 2010). Total ave- _Catalans have a greater tendency to consume culture rage circulation was 4,003 copies per title in Spanish individually than collectively: 95% of them listen to (10.6% less than in 2010), whereas output in Catalan music, read books and play video games, while 63% was 2,365 copies (8.4% less than in 2010). attend activities organised in public spaces, such as the cinema, shows, concerts and exhibitions. _By topics or subjects, literature had the highest turnover, with 31.4% of the total (2.5% less than in 2010), _The number of Catalans that do not consume culture fell followed by children and young people’s literature, by 66,000 people compared to 2010 (20.9% less), and with 15.4% (3.3% more up on 2010), with 13.3% totalled 250,000 people in 2011. corresponding to non-university textbooks.

Annex: diagnosis 82 Percentage of the Catalan population according to cultural consumption. 2011

92%

61%

35% 32% 31% 27% 23%

Listen Read books Cinema Visit Go to Go to Play to music exhibitions concerts shows videogames

Note: It covers the population over the age of 14 years. Source: Communication and Culture Audience Foundation (FUNDACC)

_The printed format accounted for almost 91%, with the _While people still read more in Spanish (69%) than digital format garnering a timid 2.4% in 2010. Even so, in Catalan (26.7%), books read in Catalan increa- the digital market is on the rise, as is shown by the fact sed by 15% between 2008 and 2011, while books that in 2011 Catalan publishers made 6,083 electronic read in Spanish fell by 4%. publishing ISBN applications, which represents a growth of almost 85% versus 2010 (3,293 applications). _Cinema and audiovisual _In 2011, each Catalan read an average of four books a year, hence the overall number of unread books surpassed 26 million, 4 million more than the total of _In 2011, Catalan film production companies produ- 2008. This increase was due to an increase of 7.3% in ced 80 feature films for screening in the cinema, the number of high-consumption readers (more than 16% down on the number of titles for the previous five books a year) in the 2008-2011 period. year. Half of these films were co-produced.

_41% of the books read by Catalans are purchased, _Also in 2011, the 915 films screened in the 813 while 20% are gifts. Catalans buy their books mostly active screens in Catalonia attracted over 20 mi- in bookshops (33.6%), followed by bookshop chains llion viewers, with takings of around 137 million Eu- ros. These data confirm the ongoing loss of viewers by (19.2%) and hypermarkets (11%). Reading books on the cinema since 2008, with an accumulated loss of loan from public libraries became stagnated last year almost 11% and a slight decrease of 2.5% in takings at 8.3%. versus the same year. The screening share of Catalan

Annex: diagnosis 83 productions has also fallen in Catalonia, to 8.9% in ditional music concert and 680,000 a classical music 2010 and 7.4% in 2011. concert. Both genres together brought in more than 37.5 million Euros, a figure slightly down on the pre- _In 2011, the difference between the increase in vious year’s takings (7.3% less), which was more pro- viewers who seldom go to the cinema (13.6% sin- nounced in the case of traditional music. ce 2008) and the drop in those who go frequently (17.6% less since 2008) was heightened. In terms of _In 2010, the Catalan music industry began to make preferences, the most-watched film genres were co- a much-needed comeback thanks to the new Catalan medy in 2011 (22%), followed by action (21%) and pop music, which initiated a sales resurgence, with drama (14%) films. a turnover of 16.3 million Euros in 2011, a 5.1% increase. A new record was also set in Catalan lan- _As for language, Spanish was chosen by 87% of guage productions, with 605 references of all styles. viewers in Catalonia. In any case, Catalan has gained This positive behaviour contrasts with what has been popularity in recent times, rising from 4.3% in 2008 going on in the music industry state-wide, where the to 8% in 2011. 148.6 million in sales were 10.8% down on the previous year’s figures. _In video gaming, 23% of the Catalan population has played video games more or less regularly. Only 4.7% _Digital sales continued to increase, obtaining 31% of of Catalans play daily, although it is noteworthy that total record company sales in Catalonia (7.9% more than 2010). this figure has increased by 50% in the last four years. As was to be expected, the higher the age, the lower _Since 2008, the percentage of population that at- the percentage of gamers among the population. tends concerts more often has increased, as 11% at- _In-store shopping is still the most significant form of tend three or four concerts and 29% five or more con- purchase, at 40%, but the Internet is gaining ground certs. Attendance at free concerts has also increased, rapidly and accounted for 35% of total sales in 2011. by 21%, to the detriment of paying concerts, where the figure has fallen by 12%. _Football and action games are the most popular ones, although the former have fallen away in terms of sales _The pre-eminence of English in pop music is mirro- percentage since 2008 (down by 2.9%). On-line ga- red in the volume of people who go to concerts where ming has increased continuously and forcefully (5.9% none of the official languagesof Catalonia are spoken, between 2008 and 2011), whereas adventure games up to 38% of the total. However, 30% of the general have fallen dramatically (9.1% in 2011). public chooses concerts in Catalan, a figure which has increased by 56.5% over the past four years. _Catalan is virtually non-existent in this world, since only 1% of players say that the last game they played was _As has already been mentioned, music is still by in Catalan. far the favourite cultural activity of Catalan people. This practice has remained at 91.9% (5.3% more between 2008 and 2011). Half of the people that _Music listen to music do so on the radio and two in ten do so via the Internet, a medium which has gained in prominence in recent years, with a growth of 17% _In the course of 2011, 16,533 traditional music and between 2010 and 2011. In terms of language, the 1,865 classical music concerts were programmed in consumption of music in Catalan rose from 9% in Catalonia. Nearly 4.5 million people attended one tra- 2010 to 11% in 2011.

Annex: diagnosis 84 _Performing arts The rest is obtained from the sum of 2.7 million (6.3% more than in 2010) people who visited the 536 scheduled temporary exhibitions (8.3% less than in 2010) _The 208 performing arts companies - theatre, dancing and the 830,000 visitors who made joint visits. and circus - operating in Catalonia in 2010 gave 944 _32% of all Catalans visited an exhibition in 2011. Of performances, 30% of them premières. The 18,597 them, 54% visited museums, while 26% visited ex- scheduled performances generated box office reve- hibition rooms and 15% art galleries. Visits to exhibi- nues of 41 million Euros. tions were still mostly paying, i.e. 54%. Since 2008, _Of all the performances by Catalan companies, 81%, visits to paying exhibitions have fallen by 10%, while 7% and 12% were created by theatre, dance and cir- visits to free exhibitions have risen by almost 13%. cus companies, respectively. The most common genre _Catalan is still the predominant language in the con- among Catalan performing arts companies is the thea- sumption of exhibitions, reaching 70.1% in 2011, tre, which accounts for 40% of performances; pup- compared to 37.2% for Spanish and 13.7% for pets, shadow puppets and object theatre accounted other languages. for 18%; circus, clowns and jugglers 12% and dance companies 7%.

_Only 27.3% of Catalans regularly attend stage shows, a figure that has increased by 10% over the past four years. It should be noted that the most significant growth, 37% since 2008, has occurred in the group of people who have attended five or more shows, who are regarded as the most regular show consumers.

_Attendance of free shows has increased by 16.6% since 2008, while paying shows have fallen by 3.6%.

_As for language, attendance at shows in Catalan has increased since 2008, while attendance at scheduled shows in Spanish has fallen by 16%.

_Visual arts

_In 2009 in Catalonia, there were 185 art galleries located mainly in the metropolitan area and in the counties in Girona, particularly in the coastal towns. 44.7% of these galleries stage between six and ten exhibitions a year on average, exhibiting paintings, sculptures, drawings and graphic work.

_Moreover, Catalonia has 167 museums and 385 collections which, in 2011, were visited by 11.4 million people (6% more than in 2010). Of them, 7.8 million visited permanent exhibitions, 45.6% up on 2010.

Annex: diagnosis 85 _This pattern is repeated identically in the profiles of _Cross-referenced people who go to the cinema, concerts, exhibitions and shows. People who regularly attend shows five or consumption data more times a year have a low interest in video games. _Looking at it from another point of view, namely that of video game consumers, the pattern breaks, and _It is important to note that culture consumers do not those who play video games intensively evince a low only use one type of product. Thus, most consumers interest in other cultural activities, to the extent that engage in almost all the cultural activities analysed: people who play video games daily are well below reading books, listening to music, playing video games average in terms of attendance of shows and exhi- and going to films, concerts, shows and exhibitions. bitions. By contrast, moderate use of video games _It is curious to see how the habit of indulging in a does not seem to detract from the interest in the cultural activity promotes the consumption of others, consumption of other cultural activities. hence people who read books are also above-average _As for people that listen to music- 92% of the po- consumers of other cultural activities, while those who pulation - only those who listen to music daily are do not read are below-average consumers of the rest. above the average consumption figures for other Moreover, people who read five or more books a year cultural activities. easily surpass the consumption of those who only read between one and four.

Consumption of other cultural activities by book consumers in Catalonia. 2011 95.6% 94.4% 91.9% 87.2%

Total population

54% 48.3% No book 44.9% 41% 42.7% 1 a 4 books 35.2% 35.3% 35.7% 31.1% 30.7% 32% 27.4% 5 or more books 21.9% 18.8% 14.9% 15.1%

Go to cinema Go to concerts Go to shows Go to exhibitions Listen to music

Note: It covers the population over the age of 14 years. Source: FUNDACC

Annex: diagnosis 86 _Structure of the sector

_Cultural facilities

_Catalonia has a good number of cultural facilities whe- _Museums and collections, public or private, are re citizens can participate in and enjoy different acti- another very common type of facility in our territory. vities. The most common type of facilities are multi- Law 17/1990, on Museums, clearly establishes what purpose infrastructures, often called cultural centres -; characteristics a facility must have to be regarded as 1084 venues scattered across the territory which are a museum, and if they do not have them they will be sometimes difficult to classify in a single category, sin- classified as a collection. Of the 534 facilities dedica- ce they offer social and educational, civic, recreatio- ted to various areas and contents, 30% are regarded as nal services, etc. Libraries come in second, with 811 museums, while the rest, 70%, belong to the collection facilities, which engage in promoting reading through category. Archives also have an established regulatory loans or other related services. Bookshops, which are framework, Law 10/2001, on Archives and Documents, private establishments, also enjoy a strong presence which identifies a number of obligatory aspects that de- throughout Catalonia. termine archive typologies. There are more than 300 facilities of this kind throughout Catalonia.

Annex: diagnosis 87 Number of cultural facilities in Catalonia by type. Several years 1,084

811

642

385 318 263

184 185 167 146

Museums Collections Archives Libraries Bookshops Cinemas Theatres Cultural Art Art Centres Galleries spaces

Note: The data for bookshops are for 2008, cultural centres, art galleries and art spaces are for 2009 and archives, libraries and theatres for 2010. The rest are data for 2010. Source: Technical Ofﬁce of the Department of Culture

_Film screening in cinemas is a totally private activi- _The main deficits identified in terms of the distribution ty. There are increasingly fewer cinemas in the small of facilities in Catalonia are as follows:

Catalan towns, whereas most of them are concentra- · The High Pyrenees and Aran, the least populated ted in the larger cities and county capitals. There territory of Catalonia, with 1.3% of the population, are a total of 184 cinemas in Catalonia, and about is lacking only in theatres and art galleries (in both 813 screens available to citizens. cases they only have one of each type of facility). The problem of this territory may be caused by the _Performing arts have 146 performing venues throug- difficulty of access by citizens to the facilities due hout the country. These facilities do not include the to the lack of good communications. almost 300 campuses identified by the PECCat in Catalonia where performing and musical activities · The counties of Central Catalonia lack museums, are staged (the PECCat list does not include venues bookshops and theatres compared to the Catalan located in the city of Barcelona). mean. On the other hand, they have a good level of art venues and cultural centres. _Finally, the visual arts world has 263 dedicated ve- · Ponent, with 6.2% of the Catalan population, has a nues. This figure is complemented by 185 active art good number of facilities, always above the Catalan galleries throughout Catalonia. mean, with the exception of museums, which are below the average.

Annex: diagnosis 88 Number of facilities per 100,000 inhabitants by territorial demarcation

Average Regions of for Catalonia Barcelona (excluding (excluding the city of Ponent High Pyrenees Girona the city of Central Camp de Terres de Barcelona) and Aran Barcelona) Catalonia Tarragona l’Ebre

Museums 2.34 1.37 11.74 4.60 1.71 1.76 3.08 2.09

Libraries 10.14 19.51 27.39 12.05 7.59 12.30 9.56 19.31

Bookshops 8.00 9.07 15.65 9.21 8.06 7.03 5.67 7.31

Cinemas 2.73 5.77 10.44 3.12 1.77 2.15 3.57 8.35

Theatres 1.81 2.75 1.30 2.30 1.62 1.95 1.78 1.57

Cultural centres 18.38 30.23 31.31 26.27 12.24 29.10 22.05 28.71

Art galleries 1.31 1.37 1.30 4.06 0.79 1.37 0.97 0.52

Art venues 4.46 6.60 19.57 7.45 2.00 8.79 6.32 8.87

Note: Values below the Catalan average are given in red. To perform this comparison, the number of facilities per 100,000 inhabitants of each demarcation was calculated and compared to the overall mean for Catalonia. These calculations do not include the data for the city of Barcelona due to the speciﬁc weight and volume of the facilities it has for demographic reasons and for its being a capital. Source: Own data compiled by the Technical Ofﬁce of the Department of Culture and the PECCat

· The Camp de Tarragona and Terres de l’Ebre, with _Another interesting analysis pertains to the volume of 10.5% and 3.2% of the population, are the regions existing facilities according to the population bands. most lacking in resources, particularly in bookshops Municipalities of over 50,000 inhabitants have archi- and art galleries. On the other hand, they are well ves, library and performing venues, and 95% of them represented in terms of art venues and cultural cen- also have a museum. Only 80% of them have a space tres. In Terres de l’Ebre, the number of libraries avai- where activities related to the visual arts can be held, lable is noteworthy. and just over half of them have cultural centres.

· In the Barcelona counties, were most of the popula- _As municipalities reduce their population size, so tion is concentrated, there are also evident deficien- too does the number of available cultural facilities cies in all types of facilities, except in bookshops. diminish, with the exception of the multi-purpose This situation is relatively normal, and is due to the cultural centres, which are most common in small population density which permits a more intensive municipalities. use of these facilities. Proximity to Barcelona and the attraction of the big-city facilities is another factor in this situation.

· Finally, the Girona counties have no significant defi- ciencies in any of the types of facilities analysed.

Annex: diagnosis 89 _State-wide, the business volume of culture in Cata- _The cultural lonia makes it the region with the greatest business activity, second only to the Region of Madrid, which sector companies totals 23,017 companies. In percentages, while Ca- talan companies accounted for 19% of the state total in 2011, 1% down on the previous year, Madrid _In 2011, there were 20,132 cultural companies in Cata- had 22%, and both communities are significantly lonia distributed across the various sectors of economic activity. The cultural economic activity with most com- ahead of the other regions, since the next region, in panies incorporated in Catalonia is design and artistic terms of number of companies, is Andalusia, with creation and shows, which includes 32% of the total. It 13,519, i.e. 13% of the total. is followed by business and rental activities, including _Unfortunately, official data at state level do not pro- all retail and distribution initiatives, and graphic arts vide information on the turnover of cultural enter- and reproduction on recorded media account for 18% of cultural enterprises. A smaller number of companies, prises by regions, but it should be assumed that in only 10%, correspond to the book and newspaper pu- this regard the Region of Madrid would be the most blishing sector and all types of publications. Compa- outstanding, and in this sense would still be ahead nies linked to the cinema, video, radio, television and of other regions, including Catalonia, since its terri- music publishing only represent 9% of the total, while tory is home to the main cultural companies of the the photography world has an 8% share. Companies State and the headquarters of the sector’s majors. that handle librarianship tasks, archives, museums and other similar cultural activities do not surpass 5%.

Percentage of Catalan municipalities with facilities according to population density and type of facility. 2009

100%

90%

80%

70%

60%

50%

40%

30%

20%

10%

0% , , , , , , , , inhabitants inhabitants inhabitants inhabitants inhabitants

Archives Libraries Museums Performing and Art Venues Cultural Centres Music venues

Source: Compiled from data PECCat

Annex: diagnosis 90 _With regard to the other regions, Catalonia has a larger number of companies linked to the world of libraries, museums and archives. This number out- performs the Madrid region and accounts for 27% of specialised companies throughout the State. The number of companies related to photography is also representative, since they account for 18% of the state total.

Number of cultural enterprises in Catalonia by economic activity. 2011

5,869

3,928 3,539

1,959 1,881 1,848

1,034

Libraries, Education Cinema, Design, Photography Graphic arts Commercial Others (*) archives, video, radio, artistic creation and reproduction and rental museums and television and and shows of recorded activities other cultural music publishing formats activities

(*) Includes the activities of news agencies and consumer electronics and musical instrument manufacturing. Source: General Secretariat of Culture, Ministry of Education, Culture and Sports

Annex: diagnosis 91 Distribution of the number of cultural enterprises by Autonomous Region. 2011

Other AR Region of 25,441 Madrid 26% 23,017 22%

Galicia 5,545 5% Catalonia 20,132 Basque Country 19% 5,864 6%

Region of Andalusia Valencia 13,519 9,802 13% 9%

Source: General Secretariat of Culture, Ministry of Education, Culture and Sports

the other hand, during the same period, the Region of _Employment Madrid has made a recovery and now accounts for 28% of total employment in the cultural sector throughout the State. The other regions fall short of this percenta- _The Catalan cultural sector has provided employment ge, since none of them account for more than 10% of for an average of 120,000 workers over the past twel- overall employment. ve years. This represents a significant percentage of _It must be remembered that overall employment fi- total employment in Catalonia, which varies, depen- gures in Catalonia remained steady, with increases ding on the year, from 3.3% to 4.5%. The evolution of between 2% and 5% per year until 2008, when of cultural employment has remained fairly stable it fell by 1%. However, employment in the cultural over the period studied, but in the last two years it sector has been more irregular, with losses of up to has fallen significantly, as far as 95,200 workers in 13% in 2011. 2012, which means a loss of 26% in employment compared to 2010, one of the best years, when close _Europe has comparative statistics that include part to 130,000 workers were employed. of the cultural sectors. According to these data, in Spain 1.3% of employment corresponds to the cultu- _In relation to the rest of the State, the fall in employ- ral sector, zero point four percent below the European ment in Catalonia has been more significant, since total average, which stands at 1.7%. reduction in employment in the regions, including Ca- talonia, only fell by 11% between 2010 and 2012. On

Annex: diagnosis 92 Weight of the different economic activities in cultural enterprises overall. Comparison between Catalonia and the other autonomous regions. 2011

27%

23% 22% 22%

19% 18%

16% 14%

3% 5% 8% 10% 9% 9% 26% 29% 10% 9% 15% 18% 26% 20% 0.4% 0.4% Libraries, Publishing Cinema, Design, Photography Graphic arts Commercial Others (*) archives, video, radio, artistic and reproduction and rental museums television creation of recorded activities and other and music and shows formats cultural activities publishing

Other Aut. Regions Catalonia Catalonia / Total Spain

(*) Includes the activities of news agencies and consumer electronics and musical instrument manufacturing. Source: General Secretariat of Culture, Ministry of Education, Culture and Sports

Evolution of cultural employment in Catalonia. 2001-2012

160,000 5 . 4.5 140,000 ...... 4 . . 120,000 . 35

100,000 3

80,000 2.5

2 60,000 Number of workers

1.5 40,000

1 As a percentage of total employment

20,000 0.5 95,200 127,300 115,600 107,200 121,000 128,300 134,600 134,700 130,800 119,000 129,800 113,000 0 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012

Source: General Secretariat of Culture, Ministry of Education, Culture and Sports

Annex: diagnosis 93 Number of cultural enterprises by Autonomous Region. 2012

Rest AR Catalonia 100,600 95,200 22% 21%

Basque Country 28,900 6%

Galicia 21,400 Region of 5% Madrid 126,100 Region of 28% Valencia 39,100 Andalusia 9% 41,400 9%

Source: General Secretariat of Culture, Ministry of Education, Culture and Sports

Comparison of the interannual variation of total and cultural employment in Catalonia. 2001-2011 (as a percentage)

15%

10%

0% 2001-02 2002-03 2003-04 2004-05 2005-06 2006-07 2007-08 2008-09 2009-10 2010-11

-5%

-10%

-15% Variaton cultural employment Variation total employment

Source: Idescat and the General Secretariat of Culture, Ministry of Education, Culture and Sports

Annex: diagnosis 94 Comparison of Spanish cultural employment with that of other European countries. 2009 (in thousands)

Cultural workers Workers by cultural sectors Film, video, TV Libraries, archives, Percentage production, sound Design and museums of total recording and Programming and production and other Total Edition workers music publishing radio-broadcasting of shows cultural activities

Germany 847.2 2.2% 412.9 78.1 55.6 223.5 77.1

United Kingdom 597.0 2.1% 186.9 79.7 63.5 154.0 112.9

The Netherlands 175.6 2.0% 56.5 26.1 – 64.2 28.8

Mean EU27 3,638.5 1.7% 1,251.7 402.3 348.6 1,045.6 590.3

France 437.2 1.7% 145.4 57.7 33.4 148.6 52.1

Spain 243.4 1.3% 71.2 36.1 44.1 59.0 33.0

Belgium 63.5 1.4% 18.4 8.7 4.8 17.9 13.7

Italy 246.7 1.1% 89.4 27.9 12.3 79.2 37.9

Source: Eurostat

Annex: diagnosis 95 _Participation in cultural life

_By areas of action, musical associations are the most _Association-forming common, since they account for almost 40% of federated associations, followed by dance and popular dances, with 15.3%. There is also an important num- _Catalonia has a long-standing association-forming tra- ber of amateur theatre, animal and fire associations. dition, as endorsed by the fact that 2,208,500 Cata- lans belong to an association, which is equivalent to 36.8% of the population. Of them, one million are part of some kind of culture association, therefore 47% of _Associates Catalans who belong to an association are cultural.

_In Catalonia, a federated cultural entity has an average of 55 members. The most numerous associations are _Territorial distribution comprised of less than 50 members (50% of the total), while those with more than 100 members accou- and areas of action nt for 35%. Only 6.6% of the federated cultural associations in Catalonia have more than 500 members.

_The Barcelona area has the highest concentration of cultural associations. The remaining areas have much lower percentages and in no case do they surpass 12% of the total. But when compared to the population percentage, the volume of associations from all the areas is superior to that of the population, to the detriment of the counties around Barcelona.

Annex: diagnosis 96 Number of organizations, members, workers and volunteers of the third cultural sector by type of organisation. 2008

Organizations Members Workers Volunteers

Foundations 295 2,000

Federations 28

Federated Associations 2,479 406,618 2,900 21,600

Non-federated associations 6,543 597,228 6,603 62,339

Local and county educational centres 277 45,047 251 1,944

TOTAL 9,622 1,048,893 11,754 85,883

Source: Prepared in-house based on data from the Technical Ofﬁce of the Department of Culture

_Gender distribution is fairly equal, since 52.5% of members are men while 47.5% are women. By age ranges, adults over 45 years have the biggest repre- sentation in Catalan cultural associations, almost 52% of all members. It can therefore be seen that there is a certain ageing in Catalan associations, since the over-45 brackets have the greatest percentage of members compared to the total population, whereas in the lower brackets, particularly between 30 and 45 years, the percentage of part- ners is much lower.

Annex: diagnosis 97 Distribution of the number of associations by territorial demarcations. 2008

High Pyrenees Terres de l’Ebre and Aran 5.5% 1.4% Terres de Ponent 7.1%

Girona Counties 10.5%

Barcelona (includes metropolitan area) 53.1% Camp de Tarragona 10.9%

Central Counties 11.4%

Source: Technical Ofﬁce of the Department of Culture

Distribution of the number of associations by areas of action. 2008

Craftsmen and crafts Human towers 2.1% 2.8% Giants 4.2% Audiovisual 4.2%

Different traditions 6.3% Music 38.9% Projection of culture abroad 8.3%

Animals and ﬁre 8.6%

Theatre 9.3% Dancing and processions 15.3%

Source: Technical Ofﬁce of the Department of Culture

Annex: diagnosis 98 _Activity _Human resources and budgets

_The level of activity of federated cultural associations _One of the distinguishing traits of the association is very high. Every year, they organise about 70,000 sector is the area of human resources, where most activities, with more than 7 million participants people are volunteers or participate on a part-time (members and non-members). Most of these activi- or sporadic basis. Of the information provided by ties, almost 55%, which were attended by over 7.5 the organisations on the nature of their workforce, million people, were made possible thanks to the ac- it transpires that the vast majority of the personnel tive participation of 280,000 members. engaged are voluntary (88%). Regarding the sector overall, it is estimated that this group is comprised of _The types of activities with the highest participation about 21,600 people, plus a minority of paid staff, of members and public or users in general are un- estimated at around 2,900 people, who make up the doubtedly concerts, exhibitions and meetings and remaining 12%. conferences, which bring together 68.5% of member participants and 72.7% of the number of people _Only 17.4% of the cultural associations admit to ha- who attend the different activities organised by these ving hired paid staff. Three quarters of them do not associations. Performing events, exhibitions and tra- have more than five workers on the payroll. Further- ining activities are very popular with the followers of more, each association has an average of eight volun- this type of associations. teers, and nearly 10% of associations have over 20 regularly active volunteers.

Distribution of the number of associations by number of members. 2008

More than 500 members 6.6% Between 251 and 500 members 9.1%

Between 101 and 250 members 18%

50 and fewer members 50.8%

Between 51 and 100 members 15.5%

Source: Technical Ofﬁce of the Department of Culture

Annex: diagnosis 99 Comparison of the total Catalan population and Catalan population which are members of a cultural association by age brackets. 2008

33%

26% 25%

19% 18% 17% 16% 16% 15%

11%

Under 15 years Between 19 and 29 Between 30 and 44 Between 45 and 64 65 years and above

Population Catalonia Members federated associations

Source: Prepared in-house based on data from the Technical Ofﬁce of the Department of Culture and the National Statistics Institute (INE)

_Regarding the annual budget, 38.1% of Catalan cultural associations subsist with an income below 5,000 _Amateur practice Euros a year, and only 12.2% have more than 50,000 Euros a year to fund their activities. Of this revenue, _Few Catalans engage in any cultural activity as ama- the largest item is public grants, representing 34.5% teurs. Only painting, drawing or handicraft evinces a of the total budget, followed by membership fees, significant percentage among the adult population, which account for almost 25%. The rest, 25.7%, co- and 35% and 26% of people state that they engage mes from income generated by their activities and the in these types of activity. Up to 66% of Catalans over sale of goods and services. The sponsorships and do- the age of 14 years say that they do photography and nations item is very low, only 6.9% of total income, video. Below these values, 20% say they write conti- which is, in all probability, one of the funding routes nuously and 12% play an instrument. Other practices to be developed in the future by these organisations. are well behind, such as singing, the theatre and dan- _In terms of expenditure, 62.9% is allocated to running cing, with 3-4%. costs: structure maintenance and holding activities. Only 10.6% is put towards personnel costs, a percentage that is consistent with the level of recruitment indicated above.

Annex: diagnosis 100 _The values increase spectacularly when young people _Comparison with the rest of Spain and children in the age bracket of between 6 and 14 years are polled. In this case, drawing and painting are the most popular activities, almost 82% of the _Compared to the rest of Spain, the level of participa- child population do them, followed by handicrafts, tion of the population in a cultural activity is greater with 73%. 52% say that they play an instrument and in Catalonia, regardless of discipline. The main outs- the same percentage writes regularly. Singing, the tanding areas are photography and video, handicra- theatre and dancing arouse less interest, although fts, drawing and painting and writing. In most cases, in this case the percentage of children and young the percentage of Catalans that engage in them tri- people who pay some attention to them is between ples the figures for the Spanish state. In the case of 27% and 32%. The only activity which adults and playing a musical instrument, the number of Catalans young people engage in equally are related to photo- who say they have engaged in such activities conti- graphy and video. nuously over the last twelve months is twice that of the rest of Spain. _By genders, the cultural practices of Catalans only vary significantly in terms of dancing and handicrafts, where women account for more than two thirds of the whole. Women also predominate in the arts, drawing and painting or singing. The majority of people who play a musical instrument are men.

Comparison of cultural activities by the Catalan population by type of activity and age bracket. 2006

82%

73%

66%67%

52% 52%

35% 32% 32% 27% 26% 20%

12%

3% 3% 4%

Writing Playing an Singing Acting Dancing Drawing Handicrafts Photography instrument or panting and video

Population over 14 years Children and young people aged 6 to 14 years

Source: Technical Ofﬁce of the Department of Culture

Annex: diagnosis 101 Cultural activities practiced by Catalans by gender. 2006

71% 71%

58% 55% 55% 52% 51% 48% 49% 45% 45% 42%

29% 29%

Writing Playing an Singing Acting Dancing Drawing Handicrafts instrument or panting

Men Women

Note: It covers the population over the age of 14 years. Source: Technical Ofﬁce of the Department of Culture

Cultural activities by population. Catalonia-Spain comparison. 2006

66%

35% 22% 26% 20%

12% 9% 8% 6% 4% 4% 5% 3% 3% 3% 2%

Writing Playing an Singing Acting Dancing Drawing Handicrafts Photography instrument or panting and video

Catalonia Spain

Source: Technical Ofﬁce of the Department of Culture and the General Secretariat of the Ministry of Education, Culture and Sports

Annex: diagnosis 102 _Reference documents and reports

NOTE: All web links were consulted for the last time on 6 February, 2013.

ASOCIACIÓN ESPAÑOLA DE DISTRIBUIDORES Y EDITORES DE SOFTWARE DE ENTRETENIMIENTO (2012). Anuario de la industria del videojuego 2011. Madrid: Asociación Española de Distribuidores y Editores de Soft- ware de Entretenimiento, Adese. [Available on line at: http://www.adese.es/docs/documentacion/el-anuario-del-videojuego]

BARÓ, E. (2010). Estimació de l’impacte total de la despesa turística corrent a Catalunya en el conjunt de l’economia i en els seus principals sectors d’activitat. Aplicació d’una metodologia input-output. Barcelona: University of Barcelona. [Available on line at: http://www.gencat.cat/diue/doc/doc_15443892_1.pdf]

BARÓ, E.; CUBELES, X. (2012). Estimació de la dimensió econòmica dels sectors culturals de Catalunya. Anys 2008-2009. Technical Office of the Department of Culture of the Government of Catalonia. [Executive summaries available online at: http://www20.gencat.cat/portal/site/CulturaDepartament/menuite- m.01121f9326561a075a2a63a7b0c0e1a0/?vgnextoid=393be3948242a110VgnVCM1000008d0c1e0aRCRD &vgnextchannel=393be3948242a110VgnVCM1000008d0c1e0aRCRD&vgnextfmt=default]

Bases del nou Pla de Museus de Catalunya (2012). Barcelona: Department of Culture of the Government of Catalonia. [Available on line at: http://www20.gencat.cat/docs/CulturaDepartament/DGPC/Documents/bases_pla_museus.pdf]

BITÒ PRODUCCIONS (2012). Closing Results. Temporada Alta 2012. Autumn Festival of Catalonia Girona/Salt. Girona: Bitò Produccions. [Available on line at: http://www.temporada-alta.net/downloads/ta12-dossier-tancament-def.pdf]

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Reference documents and reports 103 CONFEDERACIÓN ESPAÑOLA DE CAJAS DE AHORROS [Spanish Confederation of Savings Banks (2010)]. Memoria de RSC de las Cajas 2009. Madrid: Confederación Española de Cajas de Ahorros, CECA. [Available on line at: http://www.cajasdeahorros.es/memorias.html]

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DEPARTAMENT DE CULTURA (2011). Valoració del posicionament de la cultura catalana. Visió i marc general del diagnòstic per sectors culturals. Pla estratègic Cultura Catalunya 2021. Barcelona: Department of Culture of the Government of Catalonia. [Available on line at: http://www20.gencat.cat/docs/CulturaDepartament/SID/Articles_diversos_2012/documents/ Presentacio_Pla_estrategic_SECTORS_unificada_final.pdf]

FINA, X.; SPÀ, C. (2011, març). << Situación, políticas y estrategia de las industrias culturales en Cataluña >>. HYPERLINK “http://dialnet.unirioja.es/servlet/revista?codigo=2048”. Ekonomiaz:Revista vasca de economía, issue 78, p. 186-217. [Available on line at: http://www1.euskadi.net/ekonomiaz/taula4_c.apl?REG=1176]

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GAPS, TÈCNICA I CONEIXEMENT (2012). Estadística del tercer sector cultural de Catalunya. Associacions culturals no federades 2009. Barcelona: Department of Culture of the Government of Catalonia. [Available on line at: http://www20.gencat.cat/portal/site/CulturaDepartament/menuitem.01121f9326561a075a 2a63a7b0c0e1a0/?vgnextoid=bb29e3948242a110VgnVCM1000008d0c1e0aRCRD&vgnextchannel=bb29e39 48242a110VgnVCM1000008d0c1e0aRCRD&vgnextfmt=default]

GET A PARTNER (2010). Anàlisi dels sectors emergents de la cultura i la comunicació: el sector dels videojocs a Catalunya. Barcelona: Department of Culture of the Government of Catalonia. [Available on line at: http://www20.gencat.cat/docs/CulturaDepartament/SSCC/GT/Arxius%20GT/EC_25.pdf]

MARTÍNEZ, S. (2010). PECCat. Pla d’Equipaments Culturals de Catalunya 2010-2020. Barcelona: Department of Culture of the Government of Catalonia. [Available on line at: http://www20.gencat.cat/docs/CulturaDepartament/SGEC/Documents/Arxiu/Pec_26%20 01%2011.pdf]

NOVELL, J.; RIERA, F. (coord.) (2012). Anuari 2012 de la música. (L’Espectacle, issue 58). Barcelona: Grup Enderrock and ARC.

Reference documents and reports 104 Pla d’Infraestructures: 2005-2011. Xarxa d’Arxius Comarcals de Catalunya (2005). Barcelona: Department of Culture of the Government of Catalonia. [Available on line at: http://www20.gencat.cat/docs/CulturaDepartament/DGPC/Temes/Arxius_nou/05_Plans%20 d’actuaci%C3%B3/static_file/Pla%20Infrastructures%202007-2011_%20presentacio.pdf]

Pla de Museus de Catalunya (2007). Barcelona: Department of Culture of the Government of Catalonia. [Available on line at: http://www20.gencat.cat/docs/CulturaDepartament/DGPC/Plademuseustext.pdf]

Pla Integral per a l’Arqueologia a Catalunya, PIACAT, 2009-2013 (2009). Barcelona: Department of Culture of the Government of Catalonia. [Available on line at: http://www20.gencat.cat/docs/CulturaDepartament/SID/Documents/Documents%20VJ/ Arxiu%202009/piacat.pdf]

SÁNCHEZ REVILLA, M. A. (2012). Estudio InfoAdex de la inversión publicitaria en España 2012. Madrid: INFOADEX. [Summary available on line at: http://www.infoadex.es/Resumen_Estudio_Inversiones_InfoAdex_2012.pdf]

TC-TREBALL DE CAMP (2010). Estadística del tercer sector cultural de Catalunya 2007-2008. Associacions culturals federades. Barcelona: Department of Culture of the Government of Catalonia. [Available on line at: http://www20.gencat.cat/docs/CulturaDepartament/SSCC/GT/Arxius%20GT/ESTADIS_%20 030_TercerSectorCAT%202007_2008_AFederades_COMPLET.pdf]

VAQUER, J. (2007). Política cultural i models de l’estat del benestar a la Unió Europea. Barcelona: Department of Culture of the Government of Catalonia. [Available on line at: http://www20.gencat.cat/docs/CulturaDepartament/Cultura/Documents/Arxiu/Arxius%20GT/ Politiques_culturals_EB_UE.pdf]

VILLARROYA, A. (2012). Cultural Policy in Catalonia 2011. Barcelona: Department of Culture of the Govern- ment of Catalonia. [Available on line at: http://www20.gencat.cat/docs/msi-cultura/Relacions%20Internacionals/Noticies/Docu- ments/Arxiu/_2011_cat_02-02.pdf]

VILLARROYA, A.; ESCARDÍBUL, J. (2012). Anàlisi de la despesa de les llars catalanes en cultura i comunicació (2006-2010). Barcelona: University of Barcelona. [Available on line at: http://www20.gencat.cat/docs/CulturaDepartament/SSCC/GT/Arxius%20GT/Final_Despe- sa%20cultural%20llars%20catalanes-2012.pdf]

Reference documents and reports 105 _Statistical references

NOTE: All web links were consulted for the last time on 6 February, 2013.

Anuario de estadísticas culturales. Madrid: Ministry of Education, Culture and Sport. [Available on line at: http://www.mcu.es/estadisticas/MC/NAEC/index.html]

Anuari estadístic de Catalunya. National Institute of Statistics, Idescat, of the Government of Catalonia. [Available on line at: http://www.idescat.cat/pub/?id=aec]

Baròmetre de l’ús del català a Internet. Wiccac, Webmàsters Independents en Català, de Cultura i d’Àmbits Cívics. [Available on line at: http://wiccac.cat/resum.html]

Comercio Interior del Libro en España. Madrid: Federación de Gremios de Editores de España, FGEE. [Available on line at: http://www.federacioneditores.org/SectorEdit/Documentos.asp]

Compendium of Cultural Policies and Trends in Europe. Council of Europe/ERICarts. [Available on line at: http://www.culturalpolicies.net/web/statistics.php]

Comptes econòmics anuals de Catalunya. National Institute of Statistics, Idescat, of the Government of Catalonia. [Available on line at: http://www.idescat.cat/pub/?id=ceac Data de consulta: 6 de febrer de 2013]

Consum i pràctiques culturals. National Institute of Statistics, Idescat, of the Government of Catalonia. [Available on line at: http://www.idescat.cat/cat/societat/practiquesculturals/]

Cultural statistics. Belgium: Eurostat/European Commission. [Available on line at: http://epp.eurostat.ec.europa.eu/portal/page/portal/culture/introduction]

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Encuesta de hábitos y prácticas culturales en España. Madrid: Ministeri d’Educació, Cultura i Esport. [Available on line at: http://www.mcu.es/estadisticas/MC/EHC/2010/Presentacion.html]

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Enquesta de població activa. National Institute of Statistics, Idescat, of the Government of Catalonia. [Available on line at: http://www.idescat.cat/cat/economia/ecotreball.html]

Statistical references 106 Estadísticas del Libro, Lectura y Letras. Madrid: Ministry of Education, Culture and Sport. [Available on line at: http://www.mcu.es/libro/IN/estadisticas/index.html]

Cultural Statistics of Catalonia. Barcelona: Department of Culture of the Government of Catalonia. [Available on line at: http://www20.gencat.cat/portal/site/CulturaDepartament/menuitem.01121f9326561a075a2 a63a7b0c0e1a0/?vgnextoid=11ff1ce38d77f210VgnVCM2000009b0c1e0aRCRD&vgnextchannel=11ff1ce38d77 f210VgnVCM2000009b0c1e0aRCRD&vgnextfmt=default]

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Pressupostos de la Generalitat de Catalunya. Department of Economy and Knowledge of the Government of Catalonia. [Available on line at: http://www20.gencat.cat/portal/site/CulturaDepartament/menuitem.4f810f50a62de38a5a2a 63a7b0c0e1a0/?vgnextoid=fe120ede6042a110VgnVCM1000008d0c1e0aRCRD&vgnextchannel=fe120ede6042 a110VgnVCM1000008d0c1e0aRCRD&vgnextfmt=default]

Statistical references 107 _Credits

The document “CRISIS / UNCERTAINTIES / SYNERGIES. The state of culture and the arts - 1” was prepared by the National Council for Culture and Arts (CoNCA), in compliance with article 4) of Law 6/2008 of 13 May, which regulates the organisation, and which states that the agency’s function is the annual preparation of the report on the state of culture and the arts in Catalonia. Document approved by the CoNCA’s Plenary on 1 March, 2013

Plenary Members: Carles Duarte i Montserrat, chairman Gemma Sendra i Planas, senior vice-president David Albet i Sunyer, deputy vice-president Mercè Gisbert i Cervera, secretary Pilar Parcerisas i Colomer, advisor Isona Passola i Vidal, advisor Valentí Puig, advisor

Director: Norbert Tomàs Bilbeny

Coordination of the Report: Ramon Castells Ros Gemma Carbonell

CoNCA team: Jordi Auladell, Lídia Benito, Jesús Fernández, Cèlia Garcia, Cristina Huguet, Lluïsa Sala, Eva Sancho y Joan Torrent

We particularly appreciate the work by: Enric Sòria, Xavier Fina and Carles Spà, of ICC Consultors, and the entire team of the Technical Office of the General Secretariat of the Department of Culture

Credits 108 People consulted in the preparation of the report: Sergi Aguilar, Xavier Albertí, Caterina Allard, Victòria Almuni Balada, Marta Alós, Nacho Amadoz, Carme Arenas, Mónica Arús, Jaume Ayats i Abeyà, Núria Ballester, Jaume Bertranpetit, Daniel Bonaventura, Segimon Borràs, Fèlix Buget, Joan Cal Sánchez, Mònica Campos, David Camps, Amadeu Carbó i Martorell, Oriol Carbonell, Antoni Carné i Parramon, Francesc Casadesús, Salvador Casals i Romagosa, Toni Casares, Ada Castells, Joan Cavallé, Anna Rosa Cisquella, Carles Coll, Josep M. Cortés i Artigas, Raul Cosano, Mariona Costa, Miquel Curanta, Quim Curbet, Carlos Duran, Josep Maria Dutren, José Escolà, Eulàlia Espinàs, Antoni Estrany, Elena Fabra, Àlex Farnós, Montse Faura, Carlos Fernández Rodríguez, Jordi Ferré, Martí Ferrer i Bosch, Xavier Filella, Jordi Font, Edgar Garcia, Josep Miquel Garcia, Arturo Gaya, Jordi Giramé Busquets, Àlex Gorina, Guillem-Jordi Graells, Francesc Xavier Grau Vidal, Jordi Grau, Tomàs Grau, Marta Gustà, Davinia Hernández-Leo, Maria Carme Jiménez Fernández, Antoni Jové, Agnès Juez, Jordi Llavina, Marisol López, Josep Manyà i Oller, Josep Margarit, Bartomeu Marí, Oriol Martí, Pep Enric Martí i Arbés, Ramon Martí, Daniel Martínez, Ruth Martinez i Ribot, Blai Mesa Rosés, Alba Molas, Xavier Monteys, Frederic Montornés, Bienve Moya i Domènech, Joan Negrié, Conxita Oliver Cabestany, Antoni Ortiz i Sancho, Carme Ortiz, Lluís Pagés, Miquel de Palol, Maria del Mar Panisello, Lluís Pascual, Quique Pedret, Ricard Planas, Daniel Puig, Lluís Puig, Narcís Puig, Albert Pujol, Ester Pujol, Marcel Prunera, Josep Rafecas i Jané, Mar Redondo, Ferran Rella, Mike Ribalta, Rosa Ricomà, Oriol Roca, Clara Rodríguez, Miquel Roig, Ramon Rosich, Joan Sala, Cristina Salvador, Enric Sánchez i Moral, Lluís San Martín, Joan Serra i Vallmitjana, Pepe Serra, Josep Maria Solé i Sabaté, Ignasi Soler, Carlos José Solsona, Joan Subirats, Pepa Subirats, Judit Sunyer, Salvador Sunyer, Àlex Susanna, Francesc Tarrats, Guillem Terribas, Semolinika Tomic, David Tormo, Dani de Torres, Juan Carlos Tous de la Prada, Margarida Troguet, Anna Veiga, Josep Lluís Villa, Anna Zaera and Carmen Zapata.

Our thanks to the following persons and organisations for authorising the use of images: Manel Sala “Ulls” Catalan Photography Federation Ferran Sendra Filmoteca de Catalunya Fira de Tàrrega Institute of Culture of Barcelona, Icub Museum of Contemporary Art of Barcelona Archaeology Museum of Catalonia

With the exception of the images, the contents of this publication are subject to Creative Commons 3.0 non- commercial license. It may be copied, distributed and publicly communicated for non-commercial use, provided that the source is cited.

Credits 109 Image ©: Manel Sala “Ulls” / Institute of Culture of Barcelona, Icub Filmoteca de Catalunya Ferran Sendra Jesús Vilamajó / Fira de Tàrrega David Campos / MACBA Miquel Alba i Martí / Catalan Photography Federation Josep Casanova / Archaeology Museum of Catalonia

National Council for Culture and Arts Carrer de la Portaferrissa, 1 08002 Barcelona Telephone.: +34 933 162 786

Crisis/uncertainties/synergies. The state of culture and arts 01-2013 Annual report on the state of Culture and the Arts in Catalonia 2012 Barcelona, March 2013.

The electronic version of this report can be downloaded at http://www.conca.cat

Proofreading of the Catalan version and translation into Spanish and English: Linguacom SL Design and dummying: Escola Elisava. Arts Plàstiques i Disseny de la Institució Cultural del CIC. Alba Fernández, Daniel Valls and Bàrbara Martínez. Legal Deposit: B.10724-2013

Credits 110