National Report Part 2 - FONDAZIONE FITZCARRALDO · from the National Cultural Fund. In 2000 management expenditure went up to 335,000 € and 447,000 € were spent on programme

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

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HUNGARY

SECTION I: Introduction

Hungary’s past, present and future political alliances, as well as its geographicaldeterminants, inform cultural policy making to date. Part of the Austro-Hungarian Empire until World War I, the 19th century brought about a nationalrevival in Hungary in which culture played a significant role; a considerable partof Hungary's current cultural institutions and traditions are rooted in that period.With communist rule imposed after World War II, cultural dogmatism did notbegin to melt away until the 1960s. Following a gradual depletion of publicresources and a withdrawal of political control, the state pulled out ofsubsidising culture as well, increasingly exposing culture to the effects of marketin the 1980s. By 1989, transition from a communist to a democratic state hadtaken place in Hungary, which is now preparing for accession to the EU.

Hungary’s current transnational cooperation activities in the area of culture areshaped by these developments. One of the main Hungarian priorities in thefield of culture has of late been the approaching date of EU accession. A seriesof cultural seasons have been and will be organised in order to promoteHungary in the current member states, through its cultural values, as a futuremember. France hosted such a season in 2001, Italy in 2002. Similar grandprojects are expected to take place in Great Britain in 2004, and in Russia orGermany in 2005. Also, the 18th Hungarian cultural institute is to be opened soonin Brussels to represent Hungary within Belgium and the EU capital at the sametime.

Another main priority for Hungary has been and continues to be the country’sCentral European location. The cooperation of the so-called Visegrad Four(Czech Republic, Hungary, Poland and Slovakia) started in the early 1990s.Cultural ministers of V4 meet regularly, and discuss common themes accordingto a pre-set agenda. Recent meetings took place in September 2002 inBudapest and in February 2003 in Levoca (Slovakia). The four countries maintaina joint fund, from which joint projects are supported. Hungary is also a memberof the World Congress of Finno-Ugric Peoples. However, the intensity of thecooperation is rather low. Regional cooperation has found its main expressionwithin the Alps-Adria Regional Cooperation (which also has a culturalcomponent), with the four Hungarian counties on the western borderparticipating. Hungarian minorities, which have lived in the territory ofneighbouring states since the dissolution of the Habsburg Empire, are anotherfocal point.

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

Annex I – National reports - Hungary

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elections, which brought a different party into government; the impact of newprinciples of cultural policy remains to be seen.


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SECTION II: Structures, competences, institutes

1. Public authorities

Some issues of transnational cultural activities and policies belong within thescope of authority of the Ministry of Education (arts education, for instance), orto the Ministry of Foreign Affairs, which is responsible for the cooperation withcultural institutes abroad, as well as for employing cultural attaches. However,Hungary's cultural administration is dominated by the culture ministry, whoseofficial name is the Ministry of National Cultural Heritage. This Ministry draws upand manages bilateral and multilateral relations and sponsors programmes andevents taking place within this framework, through its department ofinternational relations. It sponsors transnational cultural activities both at homeand abroad, gives out travel grants, funds projects and programmes, and paysparticular attention to (and grants particular funds to) activities undertaken inview of the coming EU accession. It is also responsible for the national culturalinstitutes abroad through a Directorate of Cultural Institutes.

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

support to transnational artistic or culturalprojects taking place in Hungary or abroad

163,000 €

support for travel expenses related totransnational artistic/cultural projects nottaking place in Hungary

40,000 €

support to multilateral cultural projects; mostrelevant programmes

204,000 €

support to transnational projects as part ofbilateral work programmes

163,000 €

support to most relevant transnational projectsas part of bilateral work programmes

122,000 €

projects and government tasks in the field ofculture related to EU accession

1.04 million €.

The Directorate of Cultural Institutes (includingthe 17 cultural institutes abroad)

11.3 million €


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2. Quasi-governmental institutions

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

HungarofestHungarofest was founded in 2000 as a so called public benefit company(operating like a limited company, with certain tax and other benefits), owned100% by the ministry. The function of Hungarofest is to organise major culturalprogrammes in Hungary and abroad. It has a small basic budget and theprojects are financed from ad hoc commissions from the ministry, or sometimesfrom the National Cultural Fund. In 2000 management expenditure went up to335,000 € and 447,000 € were spent on programme organisation. Hungarofestwas in charge of the organisation of the Hungarian cultural seasons in France(with a budget of approx. 3.2 million €) and in Italy (with a budget of approx.1.6 million €) in 2001 and 2002 respectively; a Theatre Festival in Moscow (2001);an exhibition of Belgian impressionists in Budapest; the International BartókSeminar and Festival in Szombathely, Hungary. The semi-independent Culture2000 help-desk, KulturPont, also forms part of Hungarofest.

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

3. Cultural Funds

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


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

4. National Cultural Institutes

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

SECTION III: Documents, Legislation and Agreements

1. Documents and Legislation

Among the specific features of cultural policy in Hungary one can single out itspragmatism. This is manifested by the absence of basic official documents.There are few cultural laws, and practices are rarely guided by high levelideological statements or theoretical documents of cultural policy. This appliesto the field of transnational cultural cooperation too. No established officialguidelines prevail. Certainly, the Constitution has a few sentences on rights toculture and the obligations of the state, but they do not go beyond thegeneralities that most other constitutions or universal declarations contain. Withthe probable exception of the declaration about the obligation of theHungarian state also to protect and develop Hungarian culture among thoseethnic Hungarians who, when the historic Hungarian Kingdom was dissolvedtogether with the Habsburg Empire, found themselves in regions which nowbelong to neighbouring sovereign states. By definition, this constitutionalobligation affects one aspect of transnational cultural cooperation. The case of the Hungarian cultural institutes abroad, however, has alwaysrequired governmental attention and regulation. The latest GovernmentDecree’s (No. 11/2000.) general provisions basically place the institutes incharge of the dissemination of national cultural heritage and the managementof diplomatic relations with the host country. The Decree also states that theMinister of Foreign Affairs and that of Education shall also have some influenceregarding the applicants to the position of director of institute who, under theirterm (mandates last generally 4 years), gain diplomatic status. Two types ofinstitute are distinguished: the ones labelled simply Cultural Institute, maintainingrelations with the host country’s cultural entities, preparing bilateral cultural


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agreements, and promoting Hungarian culture including that of Hungariansliving abroad and of ethnic minorities inside Hungary, amongst other activities.The other type, the Collegium Hungaricum (CH) beyond the above also hostsacademic research and researchers, and award scholarships. In the CH, thereis an academic director as well, usually the deputy of the chief director.Currently, there are 5 institutes bearing CH status, they are located in Berlin,Moscow, Paris, Rome and Vienna; however, genuine, fully-fledged CH type ofwork is done in the latter two, both founded in the 1920s.

2. Bi- and Multilateral Agreements

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

In Hungary, these agreements are in most cases followed by working or actionplans, in which specific programmes are drawn up (although this does notmean that they will necessarily be carried out). The main decisive factor is thebudget; and the cooperation with Estonia may serve as an example here. Inthe working plan drawn up after the bilateral agreement with Estonia, severalprogrammes are planned in all fields of art (as there is, at least theoretically, noprioritised arts sector), given the distance between the two countries, Estonia isrepresented virtually exclusively through exhibitions (mainly in applied arts).

On the other hand, it seems that cooperation also works without theseagreements, as is the case with the agreement and working plan between theCzech Republic and Hungary, which terminated in 2001. Still, cooperationcontinues to be active; between institutions, if not at the ministerial level. Thesame is valid for Estonia. There are no agreements on cultural cooperation. In1994, a contract was made between the two governments and they"encouraged" cooperation, but nothing has happened since then. This results inthe fact that the Estonian Institute has no diplomatic status and has somedifficulty in organising events.

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


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

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

Generally speaking, both the intergovernmental agreements and thesubsequent working plans contain much higher number of piousencouragement of cooperation than the projects actually realised andsupported.

2.1. Bilateral agreements

Austria Cooperation Agreement in the field of Culture and Sciences (1976), Protocol ofthe 9th session of the Hungarian-Austrian Joint Committee held in December2001 (expiry date: December 31, 2004)

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

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

CyprusCooperation Agreement in the field of Culture and Sciences (1973)

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

Denmark


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Cooperation Agreement in the field of Culture (1971),

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

Finland Cooperation Agreement in the field of Culture, Education and Research (1995),Executive Programme in the field of Culture, Education and Sciences for 2000-2003 (1999), Executive Programme in the field of Education and Culture for2004-2007 (expected signature in 2003).

FranceExecutive Programme expired in 2001

Germany Cooperation Agreement in the field of Culture (1994)

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

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

ItalyCooperation Agreement in the field of Education and Culture (1965), ExecutiveProgramme for 2000-2003 (1999)

IrelandCulture and education related notes have been exchanged since 1993

ItalyCooperation Agreement in the field of Culture (1965), valid work-programmesigned for 2000-2003, Film co-production agreement (1982)

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

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

MaltaCooperation Agreement in the field of Culture and Sciences (1978)

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


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

PortugalExecutive Programme under preparation

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

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

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

SloveniaCooperation Agreement in the field of Education, Culture and Sciences for2000-2003 (1999)

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

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

2.2. Multilateral agreementsHungary has also signed a series of Conventions within the framework ofEurope, or Multilateral Organisations. These include:

European Convention for the protection of the Audiovisual Heritage, 2001 (notsigned yet)

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

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

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

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


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

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

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

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

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

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

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

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

SECTION IV: Activities

1. Principal Activities

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

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


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

Hungarian Cultural Centres abroad, especially the ones with CollegiumHungaricum status, grant residence and scholarships, ranging from a few daysto several months. The centres organise courses in Hungarian language, cultureand civilization.

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

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

The second event of this kind, called "Ungheria in primo piano" (Hungary inhighlight), took place in Italy in 2002 and early 2003. More than 600 events wererealised in 54 Italian cities. News about the season was mentioned more than700 times in Italian daily and monthly publications. Due to this event, HungarianCulture is increasingly recognised as one of the “mainstream” in Europe; itsimage acquiring a more colourful, if less exotic dimension. The Ungheria inprimo piano programme was opened by the President of the HungarianRepublic in Rome, and acted as a follow up to the previous year’s programmein France. Owing to the assistance of the Hungarofest, the Hungarian artistswere the guests of the Italian Government, while their stay was the responsibilityof the local organisers. Main programmes were realised in Lombardia, Toscana,Liguria, Emilia-Romagna, Piemonte, Umbria, Lazio, Campania and Siciliaprovinces, in the fied of music, temporary exhibitions, theatre productions.

“Europalia - 99” Brussels, Belgium


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

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

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

1.4. ResearchThe organisation of professional seminars, or other means of informationexchange are almost non-existent, and the provision of information still ratherlimited. However, the web sites of the cultural institutes have recently been re-designed and most of them are kept up-dated. More and more institutions (e.g.The Hungarian Heritage House, the László Lajtha Workshop for PreservingTradition, probably Central Europe's largest folklore documentation centre, andthe Folk Art Workshop - all from the same domain), have made great efforts todisseminate information on their activities through internet as well as throughpublications. However, communication and research in the cultural field arenot priorities for the ministry’s cooperation activities.

1.5. HeritageMost bilateral agreements contain contingencies for heritage conservation andrestoration, although they have little weight. There are a few notableexceptions. With Turkey, the maintenance of important national monumentsand buildings in one another's territory is explicitly covered in the bilateralcooperation agreement. For instance, the homes of the historical Hungarianemigrants Rakoczi and Kossuth remain in Turkey, while several mosques, shrinesand tombs have remained in Hungary after the Ottoman rule in the 16-17thcenturies. As part of this agreement, Hungary offered a memorial statue to


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

Hungary has 8 sites on the World Heritage List: The Sopianae Early ChristianCemetery at Pécs; the Millenary Benedictine Monastery of Pannonhalma;Budapest, especially the Andrássy Avenue, the banks of the Danube and theBuda Castle Quarter; the traditional settlement Hollókő; Hortobágy NationalPark; the Caves of the Aggtelek and Slovak Karst; the Tokaj Wine RegionCultural Landscape; and the Fertö/Neusiedler Lake Cultural Landscape. Thisstrong position in the World Heritage movement offers lively multinationalcooperation.

Restoration is one of the standard and stable elements of the working plansthat have been agreed with the neighbouring countries and Turkey. The Ministryof Culture sends archaeologists to Croatia and Romania with the assistance ofthe Hungarian Scholarship Committee, and also invites archaeologists. Theagreement and the work plan appoint the institutes designated for thispurpose. Usually, the country where the archaeological heritage can be foundsupports the restoration, and visiting archaeologists join the project.

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

2. National Cultural Institutes in Hungary A total of 13 countries maintain cultural institutes in Hungary, 6 of which arecurrent EU members (Austria, Denmark, France, Germany, Great Britain, Italy),and another 6 are the accession countries Bulgaria, Czech Republic, Estonia,Poland, Romania, and Slovakia. Russia also maintains a cultural institute withinHungary. The Austrian Cultural Institute (Forum) is a relatively modest annex to theembassy.


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

The Czech CentreCzech cultural institutes are in fact multi-functional centres, run by theDirectorate of Czech Centres of the Ministry of Foreign Affairs of the CzechRepublic. The Centre in Hungary is located in the building of the Embassy. In2000, programmes could be thematically or sectorially divided as follows: visualarts (10%), music (3%), film (31%), and literature (7%); the rest included tradeand tourism. The total budget in 2000 amounted to approximately 145,000 €.There is no direct planning connection, but generally expenditure on culturalprogrammes roughly equals the Centre’s own income as generated by tradeshows etc.

The Danish Cultural InstituteThe cultural centre of Denmark is an odd case, since it is located in thecountryside, in the town of Kecskemét, from where they organise theirprogrammes elsewhere, including the capital.

The Estonian InstituteAfter the Estonian Institute was created by the Estonian government, its secondforeign outpost was in Budapest in 1998. It runs its programmes from a fourthstorey office in a block of flats. The Estonian Institute with its 4 branch officesreceives annual operating support amounting to 320 000 € from the EstonianMinistry of Culture.

The French InstituteThe French Institute was established in 1947 and it belongs to the French Ministryof Foreign Affairs. It is one of the largest cultural institutes in Hungary, in afivestorey building that was designed and built for this purpose in 1994. The staffcomplement is more than 50 people and part time teachers of French are inaddition.

The Goethe InstitutThe Goethe Institut has been part of Hungary’s cultural arena since 1988 and ithas grown a relevant cultural reference point. Apart from its culturalprogramme, language courses, seminars and events, it also works on theprinciple of cooperation with the host country on projects of Europeanrelevance. Its offices and showrooms are in one of the most elegant parts ofBudapest (Andrássy út). The number of employees is 25. The internet café andreading tea room of the Goethe Institut are always full. The Italian InstituteThe Italian Institute started its operation in Hungary as early as 1935, and islocated in a large 19th century building which hosted the Parliament of Hungarybetween 1867-1902.


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The Polish InstituteThe Polish Institute dates from 1939, on Andrássy út, at one corner from theGoethe Institut.

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

Instituto CervantesOf all cities from the accession countries, only Bucharest and Warsaw host anindependent Instituto Cervantes, while Budapest is one of the three to receivethe Aula Cervantes at one of their universities (a smaller version of the institutewhich, out of the two main goals of promoting the study of the Spanishlanguage and disseminating Spanish culture, focuses on the first one).

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

3. Forthcoming Activities in Hungary, 2003-2006

A great number of events with European relevance will take place in Hungaryover the coming years, due to the intensification of cooperation activity inview of upcoming EU accession. The most active cooperation partner is France,but most other Middle European countries, plus the neighbouring Central andEastern European Countries, participate actively too. A large part of the eventsconsists of the so-called Cultural Seasons, which are mutual presentations ofcountries over several months. Also, there are many festivals with Europeanrelevance scheduled to take place across most arts sectors (with a specialemphasis on music), international competitions, seminars (often theme or artistbased), and events, which at least indirectly work to promote the culturalindustries (the Budapest International Book Festival could be considered as anexample here). The following is a representative list.

FranciArtThe French cultural season entitled FranciArt will take place in Hungary 2003, inresponse to the Hungarian MagyArt season in France 2001. The eight-monthlong season is organised by the French Embassy in Budapest; at the openingceremony will be hosted by a member of the French government. The purposeof FranciArt is to develop the cultural cooperation between the French andHungarian institutions, and its programme covers a wide range of areasincluding cultural and scientific issues. The programme also focuses on thecurrent questions of the European Union enlargement and the relationshipbetween Europe and the United States, through a series of lectures. As there istwin town relationship between some French and Hungarian cities, a typicalFrench market will be organised in each town offering traditional French food.In the artistic field, France is the special guest of the Budapest Spring Festival;


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from April French Film Festival will be organised in Budapest, and three othercities. Exhibitions of well known artists from the Fine Arts and Photography arealso of special importance as well as the opera and jazz concerts, theatre andpuppet performances.

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

Budapest Spring FestivalThe annual Budapest Spring Festival, between 15 March and early April, involvelarge numbers of foreign artists, received often in the framework of bilateralagreements. The programmes include theatre and dance performances,chamber and philharmonic orchestras, and exhibitions. In 2003, the Festivaloffers Symphonic or Chamber Orchestras from Germany, the UK , and Russia, aswell as Spanish and French dance events. Cooperation also takes placethrough joint exhibitions co-produced by museums from Hungary, Austria, andthe UK (via the British Council). The theatre field is the most significant exampleof European cultural cooperation: the European Theatre Union, Teatro deRoma, the Baltic House, the Ponti Festival, and the Budapest Festival Centreparticipated in the organisation of this programme.

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

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

38th International Music CompetitionFrom the periodically returning cultural programmes organised by theHungaroFest Public Benefit Company, the specialised agency of the cultureministry, music festivals and competitions stand out. In 2003, the 38th

International Music Competition’s theme is flute.


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

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

Budapest International Book FestivalThis book fair is held at the end of April each year. In 2003, it is the 10th

anniversary of the event, located in the Budapest Convention Centre. From itsaccompanying events, the European First Novel Festival stands out. The guestof honour at the jubilee International Book Festival Budapest is contemporaryFrench literature and book publishing. Sziget (Island) FestivalSziget (Island) Festival, which celebrated its 10th anniversary in 2002, isorganised yearly on the Óbudai Island in the outskirts of the Hungarian capital.One of Europe's biggest cultural events for the young, it offers music, theatre,dance, visual arts, and sports. Last year it attracted 355,000 visitors with 80international performers and 600 performances at 50 venues. 60% of thosepurchasing a ticket valid for the whole week were foreigners, the majoritycoming from Austria and Germany.

French-Hungarian Musical FestivalDue to cooperation between a French partner and HungaroFest a new artisticfestival will be launched in 2003. The aim of the French-Hungarian MusicalFestival is to support and organise the concerts of French and Hungarian youngmusicians.

European Cultural Avenue, 5 April, 2003140 programmes in 40 venues represent the diversity of Hungarian Culture on 5April, 2003, Budapest. Most of the events will take place in cultural publicinstitutions and international venues on the way (Andrássy street) from BudaCastle to the Városliget (Town Park). This programme is strongly connected tothe European referendum (12 April). International co-operators are embassiesand cultural institutes such as the embassies from Finland, Greece, theNetherlands, Germany, the Czech Republic, and the institutes from the CzechRepublic, France, Germany, Poland, Austria, Slovakia and the CentralEuropean Cultural Institute.

4. Websites of interestMinistry of National Cultural Heritage: www.nkom.huDirectorate of Cultural Institutes: www.magyarintezet.huHungarofest: www.hungarofest.huCentral European Cultural Institute: www.ceci.huBartók Seminar and Festival: www.bartokfestival.huBudapest International Book Festival: www.mkke.hu/fesztival

http://www.nkom.hu/

http://www.magyarintezet.hu/

http://www.hungarofest.hu/

http://www.ceci.hu/

http://www.bartokfestival.hu/

http://www.mkke.hu/fesztival

Annex I – National reports - Ireland

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ICELAND


Icelandic culture and policy making is determined primarily by geographicaland political considerations, and to a lesser degree by historical ones. Situatedbetween the Greenland Sea and the North Atlantic Ocean, Iceland and itspopulation of just under 280.000 represents the furthest northwest corner ofEurope. Its legislative assembly, the Althing, is the world’s oldest (established in930), although the island was subsequently ruled by Norway and Denmark untilthe reestablishment of independence in 1944. Literacy, health and socialcohesion are also exemplary. Economically, however, the island largelydepends on the fishing industry. This fact marks international relations deeply, asthe government remains opposed to EU membership primarily due to concernsrelated to the industry. The cooperation between Nordic countries (especiallyDenmark, Norway, Finland, Sweden) has been extremely active for the lastdecades, and cooperation activities with the Baltic states have greatlyintensified.

No legislative documents and few agreements officially regulate generalcultural policies in Iceland. The main objective for cultural administration andactivity is to safeguard the Icelandic language and national culture andpromote as far as possible a dynamic artistic and cultural life accessible toeveryone in the country. The main state level cultural cooperation is thereforechannelled through diplomatic relations and embassies. Sometimes the ForeignService has taken the initiative; on other occasions, it has made its contributionin collaboration with the Ministry of Education, Science and Culture, publicbodies or interested parties in the commercial or tourist sectors. Currently thereis a great upswing in tourism connected with cultural events, and Iceland'sembassies abroad put a lot of work into promoting the image of the country asthe home of a nation with a unique culture and as an interesting place to visit.

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


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


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while cultural administration and activities are delegated to Funds (mainly non-transnational) and arm’s-length organisations.

1. Public Authorities

1.1. The Ministry of Education, Science and Culture The Ministry of Education, Science and Culture is responsible for cultural affairsin Iceland and implements policy measures in the field, as for example in thecase of participation in international cultural cooperation. Allocations to theMinistry under the state budget for 2002 come to ISK 28.3 billion (just over 337million €) out of the total state budget of ISK 239 billion (2.8 billion €). Of this sum,around 70 million € (c. 21% of the Ministry’s total funding and c. 2.4% of the totalstate budget) is earmarked for “cultural affairs”. The influence of the Ministry isprimarily felt through its financial contribution, which is provided for anditemized in the budget each year. State involvement in the arts and generalcultural affairs falls into three main categories:

a. Operation of institutions.

b. Management of funds to support cultural activities.

c. Financial support for activities and projects, either in the form of statutoryallocations or special grants made under the state budget.

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

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

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

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


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countries, has opened new opportunities for promoting Icelandic culture inGermany.

1.3. Ministries of Industry and CommerceAlthough their allocations are relatively small, and the activities not alwaysproperly speaking cooperation, these ministries set aside around 23,800 € assupport for the promotion of Icelandic music in Europe.

1.4. Local AuthoritiesLocal Authorities and non-governmental organisations are also supported to asmall extent to promote transnational cooperation. In cases of internationalcultural cooperation, the Ministry of Education, Science and Culture oftenconsults national institutions and organizations within the cultural field.

2. Semi-public Institutions

2.1. The National TheatreUnder the Dramatic Arts Act (No. 138/1998), the main role of the NationalTheatre is to present Icelandic and foreign plays. It is also to be involved inperformances of operas, musicals and ballet and modern danceperformances. The National Theatre is to strive to establish suitablecollaboration with institutions, societies and others involved in drama and otherassociated arts. Travelling productions, with performances in many parts of thecountry, are to be mounted each year, and depending on circumstances, tripsare to be made overseas to present productions and foreign artists are to bebrought to Iceland. The total state budget is 5.4 million €, of which just over 1% isdevoted to transnational cooperation.

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

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


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2.3. The National Museum of IcelandThe National Museum is a state institution and the principal museum in Icelandin the field of the preservation, protection and research of national monumentsand items of archaeological value. Its role, which it shares with the regionalmuseums under the National Monuments Act, is to exhibit them to the public,both in Iceland and abroad, and to support the study of objects that illustratethe cultural history of Iceland and the publication of academic works aboutthem. The state budget is around 3.2 million €, with an allocation totransnational cooperation of less than 1%. There is no transnational cooperationstrategy, but rather occasional specific collaboration projects, mainly topromote Icelandic culture abroad. In a similar manner the ArchaeologicalAgency of Iceland, which monitors local archaeological investigations reportsno direct transnational cooperation, but allocates grants for study andpreservation projects.

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

2.5. The Iceland Dance CompanyThe operation of the Icelandic Dance Company is covered by the newregulation No. 14/2002. It aims to present dance performances, encouragenew creative initiatives in choreography in Iceland and promote thedevelopment of dance. Through this policy the company has been a leadingforce in bringing some of Europe’s best artists to Iceland to work and createnew work. The Iceland Dance Company has been at the forefront of culturalcooperation, national and trans-national for a number of years. The companywas the first Icelandic performing arts company to receive a EuropeanKaleidoscope grant in 1997 and has since been involved in severaltransnational cooperation projects. The company has no cultural cooperationagreements with national institutions in one or more European countries, buthas agreements with independent institutions or is involved in projects whichare being organized jointly with other organizers. The budget received from thestate totals 758,000 €.

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


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festival, and presenting Icelandic choreographies. The company has also beena host company for a final year student from the Rotterdamse Dansakademie.

2.6. The Icelandic OperaThe state and the Icelandic Opera entered into an agreement in 2001 coveringthe running of the Icelandic Opera. The agreement is to run until the end of2005, and under it, the state contributed 775,700 € in 2001, in 2002 theallocation amounts to ISK 1.3 million € and will thereafter be 1.5 million € eachyear, subject to the approval of the Althing. The Icelandic opera is a memberof the Nordic – Baltic Opera organisation. The organisation has annual meetingswith the exchange of ideas as the main objective. No other transnationalcultural cooperation is listed.

3. Funds

Distribution of funding to cultural activities from the national government takesplace mostly through the Ministry and its funds, or through councils which aredirectly responsible to the administrative executive of the Ministry. Many of thefunds (the Museums Fund, the Archaeology Fund, etc.) are important forcultural administration within Iceland, but do not conduct transnationalcooperation. The policy in recent years is to donate funds to independentbodies or projects. 3.1. The City of Culture FundThis was established in 2001 with a founding contribution from the EuropeanCities of Culture 2000 project under an agreement between the Minister ofCulture and the Mayor of Reykjavík. The role of the fund is to support newventures in the arts, cultural projects undertaken by municipalities outside themetropolitan area and cultural events for children and young people.

Since its inception, the City of Culture Fund has made several specificallocations to transnational cooperation activities. In 2001, it granted 32,100 € tothe visual arts, of which 12,000 € went to the Akureyi Art Museum to hold anexhibition on a contemporary Danish artist, 6,000 € were destined for Icelandicartists participating in a fair in Berlin, and 9,000 € for joint projects with othercountries (France, Finland, Greenland). In 2002, 7,100 € were given out each tothe visual arts and to theatre, and 6,000 € to literature cooperation activities. For2003, 28,600 € are planned for specific cooperation in the visual arts; the totalallocation of funds to cultural cooperation events solicited in direct applicationswere: 12,000 € for Literature, 18,000 € for Theatre, and 59,600 € each for Musicand for the visual arts.

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

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


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aim of the fund is to promote and support activities of all types that aredevoted to the enhancement of the position of the Icelandic language and itsdevelopment.

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

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

SECTION III: Documents, Legislation, and Agreements


There is no specific legislation regulating cultural policy and the administrationof cultural affairs. There are some general outlines for cultural institutions inIceland and legislation defining the work of ministerial departments. Nonespecifically touch on transnational cultural cooperation.

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

2. Agreements

Iceland has made some agreements with other countries on culturalcooperation, but such agreements rarely include funding. Some, especiallywith Denmark, referred to specific actions undertaken (return of manuscripts,for example). Generally, however, they are broader in nature, and have notalways been followed up with actual cooperation activities. France and Italyare the only non-Nordic countries signatory to such agreements. In relation toNordic cooperation, there is a basic document that regulates all official Nordiccooperation, the Helsinki Agreement from 1962. It is a Treaty of Cooperationbetween Denmark, Finland, Iceland, Norway and Sweden.

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

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


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

Agreement between Iceland and France on cultural cooperation signed; 16.11. 1984. Purpose: to strengthen friendly relations, and support artistic activity.Am Icelandic cultural festival is planed in 2004.

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

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

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


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

The annual budget of the Nordic Council is supplied for by the Nordic statesproportionate to their population. The total budget for the year 2002 was 93.7million €. The budget for cultural cooperation (18,7% of total budget) in 2002was 1.75 million €, of which 32,5% is spent on projects, 35,4% on grants, 28,9% oninstitutions, and 3,2% on other cooperation activities. The Nordic Association of Iceland is a free association with approx. 3000members. It is financed by The Nordic Council of Ministers, the Ministry ofEducation, the Science and Culture (budget in 2002 59,600 €) and by annualmemberships fee. The Nordic Council and Council of Ministers arrange


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conferences at regular intervals on themes with a direct bearing on Nordiccultural cooperation .

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

In the past few years, relations between the Nordic countries and theirneighbouring countries have also increased dramatically. Cooperation withinthe Council of the Baltic Sea States and the Barents Euro-Arctic Council is takingon a more fixed form, and a historic step was taken on the 19th of Septemberlast year when the Nordic countries, along with Russia, Canada and the UnitedStates, established a new forum for cooperation , the Arctic Council. Thecooperation within the Council of the Baltic Sea States provides the Westernstates in the Council with an opportunity to promote reforms within the newlyindependent nations of the region.

1. Principal activities

1.1. Training and MobilityThe Ministry of Education, Science and Culture awards annually a number ofscholarships to approximately 30 foreign students for an 8-months study ofIcelandic language, literature and history at the University of Iceland, Reykjavík,with a budget of 19.5 million (233,000 €). The Iceland Academy of the Arts has established bilateral agreements withinthe Erasmus/Socrates programme on student exchanges with 28 art academiesand conservatories around Europe. The academy is also a partner of severalnetworks within the Nordplus programme aiming at education and exchangein the arts, and financed by the Nordic Council of Ministers, and of otherEuropean Arts and Design networks and associations. A similar case are theNordic theatre schools, which have a special network that launches co-operative projects between participating institutions. For example, theNordplus-programme and Teater-Dans i Norden have supported biannualNordic school festivals as well as exchanges of teachers and students.

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


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

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

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

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

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

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

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

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


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from the City budget. Of this sum, 478,300 € are devoted to transnationalcooperation). The Reykjavík Arts Festival is a member of EFA (European FestivalAssociation). In 2002, it collaborated with European Festivals and institutions,such as the Barbican Centre, London, Musica 900 (Trent, Italy), Al Bustani(Beirut, Libanon), or Olavsfestdagene (Trondheim, Norway).

2. National Cultural Institutes operating in Iceland

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

The Alliance Francaise mainly offers language courses and lectures.

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

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

3. Forthcoming events

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

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

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


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


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IRELAND


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

Three issues are central to the shaping of transnational cultural cooperationactivities for the future. The first is the legislative position and relates to the newArts Bill 2002, which is currently going through parliament, and which aims topromote the arts both in and outside the state. This bill provides the frameworkfor the future and may involve a new administrative unit on internationalcultural relations within the Department of Arts, Sport and Tourism incollaboration with the Department of Foreign Affairs. Secondly, and arising fromthis, the Minister for Arts, Sport and Tourism is likely to have a more pro-activepolicy role in this area in the future. However, the relatively strong economicclimate of the past five years in Ireland has been substantially altered in recenttimes. While Ireland continues to have a higher growth rate than most of herEuropean partners, there is evidence of economic slow-down across the board.This has been seen in substantial cut-backs to the budget of the Arts Councilthis year, which is having an impact throughout the sector. So the third factor isresources, and the ability of the cultural sector to withstand the implied threatsin the current situation. These may well have an impact on shapingtransnational cultural activities in Ireland in the future.

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


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emerges here is therefore one of broad brushstrokes at central level, rather thanat the level of local detail where many interesting initiatives are undoubtedlytaking place in the field of international cultural relations.


The appointment of a Minister with responsibility for the arts and culture in 1993brought about a fundamental change in Irish cultural administration and this isreflected in the structures through which transnational cultural cooperationnow takes place. The centralisation of a number of cultural functions emerged,and although some changes are now occurring, many of the responsibilitiesrelevant to this research remain with the Ministry. However, the area is acomplex one. The arm’s length model applies in Ireland, as it does in the UK,which means that Ireland continues to have a strong centralised Arts Council, aLibrary Council, and a newer, although well-established Heritage Council. Thereare also a number of national cultural institutions, for which the Ministry hasresponsibility, but which operate at arm’s length from government. Thoserelevant to this research are the National Gallery of Ireland, the NationalMuseum of Ireland, the National Library of Ireland, the National Archives, theNational Concert Hall and the Abbey Theatre, as well as the Irish Museum ofModern Art and the Chester Beatty Library. The Irish Literature Exchange, whichpromotes and provides support for literature in translation, is a body which isrelevant to this study, as is the International Section of the Department ofEducation, from which source, however, information has not been madeavailable. It should also be noted that a number of international initiatives existoutside the Irish support structures and therefore of the remit of this study. Anexample is Jeunesse Musicale, a non-profit international organisation whichaims to promote creative artists, including some in Ireland. The MusicDepartment of RTE, the national broadcaster, with responsibility for nationalorchestras and choirs has been excluded from the study. It is also worth bearingin mind that many of the initiatives for cultural cooperation come frominterested institutions or individuals rather than in a more governmentallydirected, or policy-driven way.

1. Department of Foreign Affairs

Responsibility for cultural cooperation between Ireland and European countriescan be divided between central government ministries and arm’s lengthcultural bodies as indicated above. The longest established and most formalstructure is through the Department of Foreign Affairs, which since 1949 has hadresponsibility for cultural relations between Ireland and other countries. AnAdvisory Committee on Cultural Relations (CRC) was established at that time“to assist suitable projects portraying aspects of our culture which are expectedto contribute to the enhancement of the country’s image abroad and to thedevelopment of cultural relations with other countries”.1 With membersappointed for a three-year period, the CRC enables Irish artists and artistic 1 Quoted in Anne Kelly, Cultural Policy in Ireland (Paris: UNESCO and Irish Museums Trust, 1989).


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ventures to travel abroad and, in the early years, it also brought culturalproductions from other countries to Ireland. This Committee is now located atthe Department of Arts, Sport and Tourism. It has an annual budget of €700,000and its policy objective continues to be one of enhancing the image of Irelandabroad through assessing the substantial number of proposals for fundingpresented each year. Its role is now essentially one of supporting Irish-basedcultural activities to travel abroad and it has a strategic role in relation to theselection of curators for the Irish entries to the Biennales in Sao Paulo andVenice. An expenditure breakdown for CRC in 2002 can be seen in Table 1below. The budget for 2003 is €700,000.

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

2. Department of Arts, Sport and Tourism

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

3. The Arts Council

Until the appointment of a cabinet position with responsibility for the arts andculture, the Arts Council, established in 1951, had the main policy and fundingrole. The Arts Council continues to operate at arm’s length from Governmentand it cooperates with the CRC and with the Department of Foreign Affairs inrelation to some international cultural initiatives, such as the Biennales andL’Imaginaire Irlandais. The latter was an important arts festival held in France in1996 for which the Irish and French Governments provided a substantialfinancial contribution – in the Irish case, a budget of IR £1.5m (nearly 2m €) wasallocated. However, the Arts Council also has a strong independent interest insupporting the arts in an international context. This works in areas such as


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helping Irish artists and arts companies to tour overseas, and supporting visitingartists, but also through encouraging the development of an internationalperspective within its own client base. The Arts Plan 2002-2006 indicates that theCouncil “has moved from a position of providing limited support to internationalactivity to one where it consciously promotes the artistic and organisationaldevelopment benefits of working internationally”, and regards those not able tomeet this challenge to be at a “significant disadvantage”. In this document,the Arts Council mainly stresses the market potential which an international rolecan provide for artists and organisations, particularly in view of the small Irishpopulation base. However, there is also recognition that the cultural exchangedynamic is very important for artists and arts organisations, and an awarenessof the enriching role which international network participation can play. TheCouncil now defines its role as being a development agency for the arts and anumber of its actions (Commissions Awards and Projects Awards) have beendesigned to include an international dimension through accommodatingpartnership development for transnationally co-operative projects.

The total funding allocation for International Arts Development in the Arts Plan2002-2006 is €512,000 for 2003, rising to €1,100,000 in 2006. However, these figureshave not been agreed by Government, and with cutbacks in the allocation tothe Council this year, they are unlikely to be achieved. The Arts Counciloperates a European Cultural Contact Point, including an open door policy tomeetings with people hoping to work cooperatively, and/or interested inEuropean Community support for culture.

One area of cultural cooperation has had particular attention. The Arts Councilhas since the 1960s been cooperating with the Arts Council of Northern Irelandon arts development issues and this process became more structured in themid-1970s. Understandably, in view of the history of North/South relations,considerable attention has been paid to cross-border cultural co-operation.Current activities include an international arts information strategy to be agreedbetween the two Councils this year, along with an implementation plan. Thetwo Councils jointly fund a wide range of arts organisations and programmeson the island of Ireland, including grants for a North/South touring scheme. Anexample of a joint action is the support for the Tyrone Guthrie Centre, an artists’residence in County Monaghan, the board of which is appointed by bothCouncils. They jointly provided revenue funding of €267,370 for the Centre in2001. The Good Friday Agreement, to which the British and Irish Governmentsare signatories, has provision for a North/South Ministerial Council and while thisagreement does not address the arts initially, it may eventually become apositive influence on the arts in the North/South context.

4. Budgets

Accurate information on budgetary allocations for international culturalrelations has been difficult to ascertain in relation to many of the cultural bodiesreferred to in this report. This is because most organisations have no specificbudget headings for international cultural cooperation and they have had toextract or estimate the budgets. It may also be that some of the figuresprovided include an element of funding under EU programmes or actions. Two


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of the national institutions in the visual arts, the National Gallery and the IrishMuseum of Modern Art (IMMA) have provided budgets for their exhibitions for2003, not all of which come under the terms of reference of the study. A furthercomplication is that the Arts Council is moving towards a system of funding on across-disciplinary basis, and away from an earlier system where the focus wason particular art forms. The following figures must therefore be treated withcaution, except in the cases of government departments where more specificbudgets for intergovernmental cultural cooperation exist.

Table 1

Budgetary Allocations for international cultural cooperation

Organisation OverallBudget

CulturalHeritage

Visual Arts

PerformingArts Music Books and

ReadingAbbeyTheatre, theNationalTheatre

notavailable

Arts Council € 512,0002

Departmentof Arts, Sportand Tourism

€ 503,4033 € 161,964

Theatreand Dance

€ 63,022

€ 124,928 € 131,630

Departmentof Education(InternationalDivision)

notavailable

Departmentof ForeignAffairs € 700,000 4

HeritageCouncil

Archaeology (2003) € 110,816

2 May be reduced3 2003 budget: €700,0004 Includes €100,000 to the Irish College, Paris.


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Organisation OverallBudget

CulturalHeritage

Visual Arts

PerformingArts Music Books and

ReadingMuseums

(2002) £15,000

Irish Museumof ModernArt € 615,000 5

IrishLiteratureExchange

Translationgrants(2001)€ 130,000

LibraryCouncil

€200,000 EUActivateproject;€30,000 EUCultivateproject

NationalArchives

€ 10,000(estimate)

NationalConcert Hall € 28,500 € 28,500NationalGallery €750,000 6 €750,000

NationalMuseum

€26,000 forThesaurusofArchaeological Terms7

€ 10,000—€ 50,000 onexhibitionsto Europe.



Policies on culture, education, communication, science and technology arecharacterised by the recent structural changes in departmental competences,and by a lack of strategic documents on state level. Hardly any specificprogrammes exist for the integration of the areas, nor are there many 5 Total exhibition budget, an element of which will be relevant to this research6 Total exhibition budget, an element of which will be relevant to this research7 Grant from Heritage Council


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documents dealing with detailed cultural planning or cooperation (“strategystatements” tend to be declarations of good will). However, cultural policytends to accept more community initiatives, and allows large input from thecounty and city levels.

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

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

2. Bilateral Agreements

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

The agenda for these agreements is at least nominally less self-interested thanthe national image-building one that is the hallmark of cultural diplomacy. Acultural agreement outlines the need “to develop and deepen friendlyrelations” between countries, and “to increase mutual understanding of theircultures, histories and ways of life”. The agreements are based on encouragingthe exchange of cultural and artistic information and establishing contacts andcooperation between institutions and individuals in the fields of art and culture.As indicated above, twelve of these agreements are with European countriesand of the three agreements signed in 2001, two were with Slovakia andLithuania. Cultural Agreements require signatures by the relevant Ministers on aMemorandum of Understanding on Cultural Cooperation. However, while theagreements are formal intergovernmental ones, and are subject to the


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approval of the Department of Foreign Affairs and the Dáil (Irish parliament),there are no formal arrangements on the operation of the agreements, orspecific budgetary allocations for them. They frequently arise in the context oftrade missions, or in response to the initiative of EU accession countries, andthey work on the basis of demand rather than in any strategic or plannedsense. An example of an Agreement at work is that signed with Italy in 1984,which provided for joint initiatives in the fields of education, culture and sciencein the context of an increasing collaboration at European level. Through theItalian Institute it provides for exchanges between experts in both Ireland andItaly with a view, for example, to acquiring up-to-date information ondevelopments and projects in Museums, Archives and Libraries.

As indicated, the Cultural Agreements, although formal intergovernmentaldocuments, operate in an informal way. No specific budget allocation isprovided for them and in practice the main activity that comes under them isexchanges of artists/musicians. They are regarded as good cultural diplomacymoves, without any political implications. So actions and implementation ofagreements are small-scale. For example, there was an exchange of musiciansbetween Finland and Ireland recently and an application was made at thelocal level to operate the exchange under the Irish Cultural Agreement withFinland. This was accepted and the Department of Arts paid airfares and somesubsistence for one side.

However, an interesting issue has emerged which is outside the terms ofreference but is nevertheless instructive. Ireland has recently signed a CulturalAgreement with China and the terms of the Agreement provided specificallyfor a major cultural festival in China. This is happening next year and will involvesignificant financial investment by Ireland. While it was pointed out during thedevelopment of this study that such events would not occur very frequentlybecause of resource implications, the potential seems to be there to write suchambitions into at least some cultural agreements in the future.


1. Foremost activities

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

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


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by international researchers and scholars. The Museums and ArchivesCommittee of the Council has formal links with the Northern Ireland MuseumsCouncil and jointly funds with them the Museums of the Year Awards. ThisCommittee also envisages that a future component of the Committee’sTraining Strategy for the Irish Museums sector will incorporate a componentapplicable to distance learning in other EU countries.

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

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

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

National Concert Hall: The education programmes of the National Concert Hallinclude exchange initiatives, for example with the Royal Festival Hall in London.This paired two Dublin schools with two in London in a project for 100 children. Aproject using Mahler’s 3rd Symphony as the basis of a composition project washeld with the Royal Scottish Academy of Music and Drama for fifty-fiveparticipants. The Concert Hall has also worked with a Finnish music group for amasterclass and concert. Chester Beatty Library: The Library has provided internships for one French andthree UK students in the past eighteen months and is developing a relationshipwith the Institute for the History of Writing in Paris.

Irish Literature Exchange: In 2002 ILE offered its first residential translation bursaryfollowing an invitation for applications from literary translators from EU accessioncountries to translate a work of modern Irish literature. The successful candidateis from Romania.

1.2. Arts Production

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

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


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

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

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

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

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

1.3. Distribution and dissemination

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


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

1.4. Research

The Arts Council: The Council indicated its commitment to transnational culturalco-operation through the hosting of the IETM network meeting in Galway in2001. It has participated in LEG (European Leadership group on culturalstatistics) and on action-research projects taking place within an internationalcontext, e.g. MUS-E.

The Heritage Council: The Council is a member of the European Association ofArchaeologists and it has published the British and Irish ArchaeologicalBibliography. In 2002 the Museums and Archives Department of the Councilhosted experts from Finland, The Netherlands and the UK to address particularstrategies in preventive conservation.

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

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

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

National Concert Hall: The Concert Hall is a member of the International ArtistManagers’ Association and the Director is a member of the British Association ofConcert Venue managers. The Education Department is currently researchinga project with partner European countries examining the effect of eachcountry’s indigenous music on both the classical music infrastructure and theapproach to teaching music within the formal education system.


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

National Library: Participation in the Conference of European NationalLibrarians, and LIBER, the body representing both national and academiclibraries.

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

The Library Council: The Library Council is in partnership with the InformationServices Council in Northern Ireland in COLICO, the formal advisory body onlibrary co-operation. One of its functions is to provide liaison between Irishlibraries, North and South, the British Library and other similar bodies.

1.5. Restoration and Heritage Preservation

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

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

1.6. Translation and Library Cooperation

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

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

2. National Cultural Institutes in Ireland.

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


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organisations, festivals and events and will therefore come outside the terms ofreference for this research. Information on the degree to which these institutesare involved with Irish national cultural institutions has been provided as follows:

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

National Museum: The National Museum has links with most of the culturalinstitutes and with a number of embassies, for exhibitions, speakers andconferences.

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

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

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

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

3. Future Events

While no details are yet available, the Irish Presidency of the EU in 2004 will havea cultural programme which will be coordinated by the Department of Arts,Sport and Tourism with the Arts Council. A national representative groupmeeting is being organised by the Department. The Arts Council sees a majorissue to be addressed as the “Mobility of artists and cultural goods”, an issuewhich is also on the EU agenda, and would like to encourage this as a “framingdevice” for the cultural programme during the Irish Presidency. This would meanorganising or supporting transnationally cooperative events, for examplenetwork meetings or symposia, which would create encounter opportunities forartists and arts organisations based in Ireland in a European/international milieu.

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


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

• Joyce’s Bloomsday Centenary Celebrations in June 2004 will be a majorevent which will involve cooperation with national and internationalbodies. (Every year since at least 1954, fans of author James Joyce havecelebrated Bloomsday on June 16, the date in 1904 when his Ulyssestakes place.)

• The City of Cork has been designated a European Capital of Culture in2005 and this event will have a considerable potential for internationalcultural cooperation. Following a Memorandum for Government in May2000 the Exchequer funding for this event was set at €6.35m maximum,subject to this funding not exceeding 50% of the overall cost of theevent.

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

• Critical Voices is a biennial program introduced in the Arts Council in2001 to bring international writers and thinkers about the arts and cultureinto contact with the Irish public in person, or through print andbroadcast media. The Arts Council has retained a Curator for thesecond round of Critical Voices in 2003, who is editorially independent ofthe Council.


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ITALY


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

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

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


1. The Ministry of Foreign Affairs

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

Annex I – National reports - Italy

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

UNESCO• Supporting Italian archaeological research abroad

1.1. National Commission for Promotion of Italian Culture Abroad

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

The Commission has approved and disseminated the “Recommendations ofthe National Commission for Promotion of the Italian Culture Abroad: generalguidelines for the promotion and dissemination of Italian Culture and Languageabroad and for the development of international cultural cooperation”. Withinthe commission there are two working groups named “Language andPublishing” and “Criteria and methodology of cultural promotion”. TheCommission’s general tasks are:

• Elaboration of guidelines for the promotion of Italian Culture abroad• Feedback on the programmatic objectives set up by the Administration• Collaboration, through programmatic directions, with the Italian Cultural

Institutes to organise periodic conferences• Advising the DG Cultural Promotion and Cooperation on some activities,

such as the appointment of directors of the Italian Cultural Institutes orincentives to translation.

2. Ministry of Cultural Heritage and Activities

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

3. Arm’s length organizations


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

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

4. Regional and Local Authorities

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

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


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to take into account the potential expressed by the two territories and byspecific bodies sited in the regions (e.g. Associazione Museo Nazionale delCinema di Torino and Museo Egizio di Torino).

Furthermore, the Italian presence in European networks is not massive, butrelevant. The Municipality of Bologna held the chair of Eurocities in the years1994-1997 and different Italian cities are in network boards. Other cities aremembers of Telecities, where for years Roma has held the presidency. Citiessuch as Naples and Catania in Southern Italy are increasingly active in jointprojects with Mediterranean countries. Twinning between cities has been acommon way of increasing cultural cooperation at local level. Among themotivations for establishing links with other cities are:

a) Linking with a strong community of Italian immigrants with common roots b) Establishing long term exchange and cooperation with communities

featuring similar folkloric traditions, often based on common ethnic orlinguistic roots

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


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

6. Budget

Ministry of Foreign Affairs

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

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


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

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

DESCRIPTION 2000

in euros

2000

(% oftotalbudget)

2001

euros

2001

(% oftotalbudget)

2002

Billionsof lire

2002

(% oftotalbudget)

Informationagencies,grants to publicbodies, culturalpromotion,Italiancommunityabroad,internationalsolidarity

111.5

million €

1.527

million €

107.1

million €

6,32

Totalbudget

1.693

million €

146.2million€

7,95

Totalbudget:

1.839

million €

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

GEOGRAPHICAL AREAS 2001

in euros

%

Europe 11.327.707 44,1

Americas 10.587.366 41,2

Mediterranean and MiddleEast

5.112.923 0,2

Sub-Saharan África 191.798 0,7

Asia and Oceania 3.548.317 13,8

TOTAL 25.660.490 100,0

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


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Ministry for Cultural Heritage and Activities

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

Cultural

Sector

Amount ineuros

%

Music 1.744.436 35%

Dance 296.343 6%

Theatre 762.497 15%

Cinema 2.226.394 44%

In 2000, the funds were

Cultural

Sector

Amount ineuros

Music 2.646.532

Dance 208.390

Theatre 627.856

Cinema 1.549.371

Cinecittà Holding

The total budget in the year 2000 was 17.614.279 €. The Funds for promotionabroad covered 1.539.041,56 €.



DocumentsAn interesting document is the one published by the National Commission forPromotion of Italian Culture Abroad (2000 – 2003) a consultative organ under


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the Ministry of Foreign Affairs. The document is entitled Recommendations ofthe National Commission for Promotion of the Italian Culture Abroad: generalguidelines for the promotion and dissemination of Italian Culture and Languageabroad and for the development of international cultural cooperation, and isdivided into three parts.

Part 1 (Contents and priorities) includes the following selected points:a) Integration of Italian cultural activities in the political dialogue in those

areas where intercultural understanding can help the political process ofpeace keeping

b) Promotion of cultural activities linked to contemporary Italian productionin visual arts, theatre, dance, music, literature, cinema as well as craftand local products.

c) Fostering cultural initiatives in areas marked by a strong presence of theItalian community, involving entrepreneurs and personalities of the samecommunity

d) Fostering scientific and technological culture.e) Strengthening the diffusion of the Italian language abroadf) Dissemination of the knowledge about Italian artistic and archaeological

heritageg) Supporting cooperation activities in developing countries.

Part 2 (Role of the “Italia System” in the international framework) includes:a) Organisation of cultural activities abroad, with regional and local

authorities, organizations, private foundations and corporations topromote cultural heritage

b) Creation of bridges between cultural promotion and promotion of the“Italia System” abroad, by establishing relationships with the Italianentrepreneurial sector in order to foster the expansion of sectors likefashion, publishing, cinema, and design.

c) Promotion of the cultural integration process among EU countries, alsothrough the Council of Europe programmes

Part 3 (Initiatives and operative tools) includes:a) Reviewing of the reform law of the Italian Cultural Institutes (L. 401/1990) b) Establishing “thematic years” on which the Italian Culture Institutes and

of the Central Administration should be focused.c) Organizing large scale events and multidisciplinary cultural reviews that

foster synergies between the public and private sectors in order tostrengthen the international cultural cooperation process

d) Strengthening the collaborative relationships among the Italian bodiesand institutes involved in teaching the Italian language

e) Strengthening the information and multimedia network

Legislation

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


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2. Bilateral and multilateral agreements

The Ministry of Foreign Affairs is in charge of signing all scientific and culturalbilateral agreements with countries all over the world. The “DG CulturalPromotion and Cooperation” is in charge of the negotiation of the executiveprogramme with different countries, which are the operative tools behind thecultural cooperation bilateral agreements. Generally, the agreement is a shortdocument that outlines the general framework of the bilateral cooperation,and the operative programme defines the activities to be carried out in a threeyear framework. Many of these activities are funded by other Ministries otherthan the Ministry of Foreign Affairs like the Ministry of Cultural Heritage andActivities.

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

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

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

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

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

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


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

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

FINLAND. First cultural agreement signed in 2000. Executive Programme of theCultural and Scientific Agreement between the government of the ItalianRepublic and the government of Finland, agreed in the eighth mixed culturaland scientific commission between Italy and Finland, signed in Helsinki on April7, 2000 by Massimo Macchia (Ambassador) and Margaretha Mickwitz GeneralDirector (international relations – Ministry of Education).

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

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

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

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

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

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

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


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

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

PORTUGAL. First agreement signed in 1977. 5th cultural and scientificCollaboration Agreement for the years 2001-2004, signed on November, 302001, by Lucio Alberto Savoia Deputy Director DG for Cultural Promotion andCooperation of the Ministry of Foreign Affairs, and Aristides Vieria Gonçalves,Vice President of the Istituto Camões.

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

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

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

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

TURKEY. First agreement in 1951 XIX. Executive Programme of the CulturalAgreement between the Government of the Italian Republic and theGovernment of the Republic of Turkey for the years 2000-2003 Signed in Ankaraon 7 November 2000, by Facco Bonetti (Director General for Cultural Promotionand Cooperation Ministry of Foreign Affairs) and Sencar Özsoy (AmbassadorDeputy; Ministry of Foreign Affairs). The programme includes the participation offolk groups in International Festivals and the possible participation of Turkey inthe activities scheduled for 2004 on the occasion of "Genoa as City of Culture"with an important cultural event. It signals that the Valentino Bucchi Foundationis willing to realise joint initiatives. It also mentions the Central Institute ofRestoration and the "Opificio delle Pietre Dure" of the Italian Ministry of CulturalHeritage and Activities as willing to cooperate with their respective Turkishcounterparts in the field of restoration. The "Art and Restoration Institute PalazzoSpinelli" in Florence has expressed its readiness to cooperate in providingtraining courses in the field of restoration.


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HUNGARY: First agreement in 1965. XIV Executive programme for the years2000-2003 signed on December 15th, 1999

Multilateral Agreements

Regarding multilateral cooperation Italy has signed agreements with UNESCOon the preservation and valorisation of tangible and intangible culturalheritage. Particular efforts have been put into the strengthening of legislativeinternational tools, including all the major Conventions. With regards to theWorld Heritage, 35 Italian sites are today present in the UNESCO list. Withregards to intangible heritage, Italy contributes with a selection of oral traditionheritage (Opera dei Pupi Siciliani) and in the writing of an InternationalAgreement that could be proposed to the UNESCO General Assembly inOctober 2003.

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



1.1. Dissemination and DistributionThe Ministry for Cultural Heritage and Activities promotes the diffusion ofinformation on cultural projects abroad and of European programmes, andregularly organises International seminars and conferences.

1.2. Arts ProductionThe main Italian institutions in charge of arts production in the performing artssectors are the Department of Performing Arts at the Ministry for CulturalHeritage and Activities, the Roma-Europa Foundation, the Ente TeatraleItaliano (ETI), the National Dance Academy, and the National Committee ofItalian Music. To create common initiatives in the field of contemporary music inNovember 1999, a European Music Network was set up. Italian representativesare Roma-Europa Foundation and the City of Music. Among other institutions,


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the "Valentino Bucchi" Foundation is active in fostering common initiatives. Inparticular, the Foundation is ready to involve foreign musicians and experts inthe jury of "Premio Internazionale Valentino Bucchi". In 2001, the Unique Fund forPerforming Arts (Fondo Unico per lo Spettacolo, FUS) has supported 146initiatives abroad: 88 in music, 33 in theatre, 17 in dance and 8 in circus. Thefavourite country is France, followed by Spain, Germany and the UnitedKingdom.

1.3. Translation and Library CooperationThe DG for Books and Reading of the Ministry for Cultural Heritage and Activitiesis managing the National Prize for Translations)that is also open to foreignpublishers and translators. Moreover, the Department of Information andPublications at the Office of the Prime Minister assigns prizes to translators ofItalian books in other languages. With regard to specific events, in 2002 TheMinistry of Foreign Affairs organized the second edition of “Week of Italianlanguage in the world”, together with Accademia della Crusca. Other playersinvolved were the Ministry for Italians Living Abroad, the Ministry for CulturalHeritage and Activities, the Ministry of Education, RAI, the Dante AlighieriSociety, the Latin Union, the Cassamarca Foundation, the “Corsera”Foundation and the International Association for the Study of Italian Languageand Literature (AISLLI). The Italian Cultural Institutes all over the world are also incharge of actively promoting and hosting the events. Exchange of teachingmaterials and information on curricula, as well as books, publications, schooltext-books and audiovisuals, to facilitate the mutual knowledge of schoolsystems, programmes and teaching methods, are also part of the activities.

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

Exchange programmes between archivists and librarians are realised by variousbodies. For archives and libraries the competent body is the Ministry for CulturalHeritage and Activities, the Central Office for Books and Reading (UfficioCentrale per i Beni Librari), and the Institute for Culture and Publishing (IstituzioniCulturali ed Editoria). In 2003 the Archive directorate has launched an internshipinitiative on preservation and restoration, to be spent at the Centre forPhotographic reproduction, Bookbinding and Restoration at the State Archives(Centro di fotoriproduzione, legatoria e restauro degli Archivi di Stato). Theinitiative is addressed to archivists and technicians from the Mediterranean basinand Central Eastern Europe. Generally cooperation initiatives also take placewithin international library institutions such as the International Federation ofLibrary Associations and Institutions (IFLA) and the European Bureau of Library,Information and Documentation Associations (EBLIDA).

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


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for Cultural Promotion and Cooperation of the Ministry for Foreign Affairs alsosupports activities in Training and mobility (e.g. scholarships, exchanges forprofessors, teachers, archivists, librarians, artists, translators).

1.5. Restoration and Heritage PreservationIn April 2003 the Ministry of Foreign Affairs, the Ministry for the Cultural Heritage,the International Centre for the Study of the Preservation and Restoration ofCultural Property (ICCROM) and the Department of Cultural and EnvironmentalHeritage and Education of the Sicilian Region organized the “Internationalconference on the cooperation in the Mediterranean region for the protectionof underwater cultural heritage”. It has bought together representatives fromthe institutions of the countries bordering the Mediterranean and internationalorganisations (such as UNESCO and ICOMOS) and distinguished Italian andforeign academics and scientists. The purpose of the event was to encouragea co-ordinated effort on the part of the authorities in the countries borderingthe Mediterranean responsible for researching, enhancing and safeguardingthe underwater cultural heritage..

2. National Cultural Institutes from foreign countries

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

In addition to these, the British Institute in Florence was founded in 1917 with theaim of developing cultural understanding between the UK and Italy(particularly Tuscany) through the teaching of their respective languages andcultures and the maintenance of a library in Florence. It is registered as aneducational Charity in England and Wales and was granted a Royal Charter in1923. In 1953 it was recognized in the Anglo-Italian Cultural Convention as anofficial representative of British culture in Italy. In 1998 it was recognized by thePresident of the Regione Toscana as a cultural institute of major importance tothe region. It offers courses of English and Italian as foreign languages, history ofart, Dante, cooking, wine appreciation, opera and other aspects of Italianculture. It also maintains the recently refurbished Harold Acton library - thebiggest library of English books (50,000 volumes) in Italy, used by visiting scholars,students and the general public. The British Institute has another center in Rome.


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

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

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


239

institutions, entities, theatres and associations. The centre published “Le Journal”on regional cultural activities

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

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

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

Accademia di DanimarcaDanish cultural institute under the Ministry of Culture of Denmark, established in1956. It aims at fostering cultural relationship between Denmark and Italy andorganizes activities on research, study and culture. The institute receives publicand private funding.

Istituto Storico OlandeseDutch Cultural Centre in the Dutch Embassy.

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

Institutum Romanum FinlandiaeA small center mainly for archaeological study.

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

3. Future Events

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


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

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

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

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

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

• Genova Capital of Culture 2004

• Festival del Cinema di Venezia (yearly)

• Biannial of Young Artists of the Mediterranean (annual)

This list of events has been provided by the Ministry of Foreign Affairs (on March24th, 2003). The list presents the events taking place in the near future, and theones the Ministry of Foreign Affairs considers a priority.


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LATVIA


The five decades of Soviet occupation left Latvia, like Estonia and Lithuania,with a deeply ingrained intellectual and administrative heritage that has beendifficult to transform into liberal and democratic models. Some of the mainpriorities for the re-established independent government (officially in powersince 1991) are the reformulation of basic principles in all sectors of policy anddecision-making, and the reform of the administrative system. These reformsaim to establish a truly decentralised system of decision-making with arm'slength bodies and a clear division of labour between different tiers ofgovernment. Socially and culturally, the close relationship to the other Balticstates and the Nordic states, the presence of the Russian cultural minority (30%of the population), and of course the upcoming accession to the EU, stronglyinfluence cultural policy and transnational cooperation.

In the field of cultural policy and public cultural administration the fundamentalrestructuring of organisational and legislative patterns has to be dealt with;issues relating to legal matters and central administration are therefore still apriority. Nationally, new legislation in the theatre and traditional cultural sectorsis being drawn up. Among other things such as the definition of the status ofsectorial institutions and their responsibility (a precedent being Opera Law), itwill also regulate the transnational cooperation activities of relevant culturalinstitutions. Another important step is the decentralisation of cultural processesthrough the formation of arm's length and advisory bodies to co-ordinatespecific cultural spheres, and through the delegation of regional policy-makingpower to local government. Regionalisation is therefore likely to become moresignificant.

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

SECTION II: Structures, Competences, Institutes

1. Public authorities

Annex I – National reports - Latvia

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General policy guidelines, legislation and budgets are decided upon by theSaeima (Parliament) and government. The Saeima is the supreme legislativebody and has played an important role in the cultural sector. Its Committee forEducation, Culture and Science prepares the decisions for the Saeima. TheCabinet of Ministers (Government) is the authority for signing IntergovernmentalAgreements for cooperation in culture and other sectors, and also looks atInterstate Agreements before they go to the Saeima for ratification.Government Declarations of Intended Activity, which may include separateaspects of transnational cultural cooperation, are presented by the appointedPrime Minister and looked at by Saeima before it votes on the Cabinet. TheSaeima scrutineses the DIA before it votes on the new government.

The government conducts transnational cultural cooperation directly byaccepting National Programmes, which are strategic sectorial planningdocuments. A National Programme "Culture 2000-2010" was adopted in 2001. Itdefines priority development needs and measures in 10 sectors of culture(heritage, music and dance, theatre, films, traditional culture, visual arts,literature, libraries and cultural education). The Government also approves thesuggestions of the Ministry of Culture concerning National-scale andInternational cultural events (the principal occasions which have beenscrutinised by the government ,resulting in a Cabinet Decree have been TheEuropean Month of Culture in Riga in 2001, with an earmarked budget of643.000 €, The Eurovision Song Contest, May 2003, to be held in Riga with abudget of 9 million €, and the XXIII Song Festival to be held this summer, with abudget of 3.2 million €).

There are several legislative acts which authorise public structures forconducting transnational cultural cooperation, that is, laws defining thecompetences of separate state authorities in cultural administration. Theseapply, for instance, to the State Heritage Inspection, and the statutes(approved by the Cabinet) of the Ministry of Culture and those Ministries, whichhave sectorial cultural institutions under their supervision, namely, the Ministry ofDefence (Museum of War, Wind Orchestra), the Ministry of EnvironmentalProtection (Museum of Nature, State Administration for Nature ReservationParks), the Ministry of Transportation and Communications (AutomobileMuseum, Museum of Road-building History) , the Ministry of Foreign Affairs(Latvian Institute, Embassy Activities),the Ministry of Agriculture (severalmuseums), and the Ministry of Health (Museum of Medicine).

1.1. Ministry of Culture The Latvian authority, which implements the interstate, intergovernmentalagreements and other parliamentary and governmental decisions concerningtransnational cultural cooperation is the Ministry of Culture. The implementationmechanisms are interministerial cooperation programmes, transnationalcooperation projects, financial and legislative instruments and culturalinstitutions. The Ministry of Culture conducts transnational cultural cooperationon the basis of different relationship models with different countries. With Nordiccountries, Sweden, Denmark, Norway and Iceland no ministerial agreementsare concluded, because it is traditional for these countries to conducttransnational cultural cooperation on the basis of a partner-to-partner model.Here the Latvian state therefore, through its instruments and institutions


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facilitates exchange and bilateral and multilateral projects in which the wholespectrum of state, municipal and privately owned cultural institutions in all artsand heritage sectors participate.

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

2. Arm’s length agencies

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

Culture Capital Foundation: Supported European cooperationProjects in 2002

number sum in €

% ofnumberin sector

% ofsum insector

LITERATURE 55 53300 20,6 14,6MUSIC AND DANCE 67 51800 26,7 11,9FILMS 17 32500 14 7,89VISUAL ARTS 85 71300 29,7 16,2CULTURAL HERITAGE 16 22800 4,53 5,09

2.2. Other arm’s length agencies and institutionsThe arm’s-length agencies (the Literature Information Centre, the MusicInformation Centre, the Theatre Information Centre and the LatvianContemporary Art Centre) are given a remit to conduct independenttransnational cultural cooperation and are subsidised by the state andconsulted by relevant public sector bodies. So are cultural institutions, whetherthey have the name "National" in their title or not – that is, whether they aredependent on the state, on local government or on the private sector. This isdefined by the Law on Cultural institutions.


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3. National Cultural Institute: The Latvian Institute

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

4. Budget

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

Generally, state expenditure on culture has risen sharply over the past fewyears. The Ministry of Culture spent 27,9 million € in 1998, and 48 million € in 2002,and the Culture Capital Foundation 1,9 million € in 1998, but 8,2 million € in 2002.This rise has to be calculated in the context of general budget developments;while in 1998, the Ministry and the Foundation together took 1.59% of the StateBudget, it took 1.98% in 2002. Other Ministries have slightly decreased theirexpenditure on culture, dropping from 2,24 million € in 1998 to 2,12 million € in2002. In total, cultural expenditure has risen slightly from 1.71% of the statebudget in1998, to 2.06% in 2002. For sectorial expenditure by the Ministry ofCulture, see the following table.


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Ministry of Culture Expenditure on Cultural Cooperation

CulturalHeritage Museu

msLibrari

es

NationalCultureCouncil

ArtsEducati

onFilms Theatr

es

Musicand

Dance

VisualArts Literatur

e

Interdisci-plinary TOTAL

2001 (€) 114,960 6,825 10,782 71,439 5,050 101,964

3,961 671,701 986,682

% from theexpenditure ofthe Ministry ofCulture forculturalcooperation

11.7 0.7 1.1 7.2 0.5 10.3 0.4 68.1 100

% from theBudget of theMinistry ofCulture(38,960,618 €,without CCF*)

0.30 0.02 0.03 0.18 0.01 0.26 0.01 1.72 2.53

2002 (€) 75,370 11,113 2,385 98,790 1,521 207,107

9,504 39,266 4,689 9,979 105,529 565,253

% from theExpenditure ofthe Ministry ofCulture forculturalcooperation

13.3 2.0 0.4 17.5 0.3 36.6 1.7 6.9 0.8 1.8 18.7 100


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% from theBudget of theMinistry ofCulture(48,104,543 €,without CCF*)

0.16 0.02 0.005 0.21 0.003 0.43 0.02 0.08 0.01 0.02 0.22 1.18

* CCF = Culture Capital Foundation


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

The Ministry of Culture and the Ministry of Foreign Affairs and different publicinstitutions carry out international cultural cooperation thus defined. In this respectthey:

- prepare, sign and implement agreements on cultural exchange andcooperation;

- assist in the exchange of representatives of culture, science and art; - organise the exchange of events (exhibitions, concerts, performances etc.);

- ensure cooperation of the state, cultural institutions and representatives ofcreative professions in defence of intellectual property;

- co-operate in the field of cultural education and artistic partnership.

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

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

1991 The Law on the Free development of National and Ethnic Groups in Latviaand

their Right to Cultural Autonomy 1992 The Law on the National Library 1992 The Law on the Protection of Cultural Monuments 1992 The Law on the Public Organisations and their Associations1995 The Law on Radio and Television 1997 The Law on Museums


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

There are also National Programmes that operationalise these laws and policyprinciples. The National Programme "Culture" defines and operationalise the policyobjectives and priorities for Latvia set out in The State Cultural Policy Postulates of1996, and includes a specific action plan for the period up to 2005 to achievethese goals and priorities. It also outlines activities for the following period up to2010. The programme was developed and approved by the Cabinet of Ministers in2001. Another programme, the new National Programme for the Integration ofLatvia into the EU in 2002, was also approved by the Cabinet of Ministers. In thiscontext, the objectives of the Ministry of Culture are:

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


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

Bern 1886. Convention on the Protection of Literature and Art Objects (Latvia Joined in 1995);

Paris 1954. European Culture Convention (Joined in 1992);Paris 1972 Convention on the Protection of the World Cultural and Natural

Heritage (joined in 1995).

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

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

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

• Agreement between the Government of the Republic of Latvia and theGovernment of the Czech Republic on Cooperation in the Field of Culture10.05.1999


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• Agreement between the Government of the Republic of Latvia and theGovernment of the Hellenic Republic on Cooperation in the Fields ofCulture, Education and Science17.03.1999

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

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

• Agreement between the Government of the Republic of Latvia and theGovernment of the Italian Republic on Cooperation in the Fields of Culture,Science and Technology23.10.1996

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

• Agreement between the Government of the Republic of Latvia and theGovernment of the Socialist Republic of Vietnam on Cultural and ScientificCooperation 29.10.96

• Agreement between the Government of the Republic of Latvia and theGovernment of the Italian Republic on Cooperation in the Fields of Culture,Science and Technology23.10.1996

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

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

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

• Cooperation Agreement between Flanders an the Republic of Latvia05.03.1996


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

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

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

• Memorandum of Understanding on Cooperation between the Governmentof the Republic of India and the Government of the Republic of Latvia inthe Spheres of Culture, Arts, Education, Science, Mass-media and Sports01.09.1995

• Agreement between the Government of the Republic of Latvia and theGovernment of the Federal Republic of Germany on Cultural Cooperation20.04.1993

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

• Agreement between Latvia and Overijssel 12.1990

It seems though that regional cooperation, especially the multilateral relationsbetween the Baltic and the Nordic countries have the greatest importance in thecountry’s cultural sphere. Latvia is an active member of UNESCO, of the Council ofEurope programmes and projects, of the Culture Committee of the Baltic Seastates Council and the Culture Committee of the Baltic States Council of Ministers.Latvia has joined the EU programmes "Eurimage" and "Media Plus". Latvianmuseums and libraries are members of their international professional associations,and there is a Latvian Centre of the ITI (International Theatre Institute). Latviaparticipates actively in Ars Baltica, the regional cultural cooperation of thecountries surrounding the Baltic Sea (Denmark, Estonia, Germany, Finland, Latvia,Norway, Poland, Russia and Sweden). Out of all the regional cooperationschemes, Ars Baltica has so far had the most intensive programme of culturalcollaboration. Latvia is also an active partner in the Nordic Baltic 8, the jointcooperation forum of the five Nordic and three Baltic states. Besides foreign policyand security, practical cooperation between the Nordic and Baltic countriesinvolves culture, education, people-to-people contacts, etc. There is littleinformation, however, about specific cultural cooperation projects in theframework of Nordic Baltic 8.


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

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

There is an earmarked financial package within the Culture Capital Foundation,distributed four times a year, coinciding with its decisions on competing projects ineach sectorial council and in the intersectorial council. The Culture CapitalFoundation has over 8 million € at its disposal annually. In 2002, 120 scholarshipswere granted for study opportunities in Europe for a sum of over 100,000 €, which is5.69% of the total number of projects supported and 3.07% of the sum spent ingrants on a project basis. For mobility purposes, 303 projects were supported lastyear, for a sum of 183,582 €, which is 14.37% of the total number of projectssupported and 5.54% of the money spent on a project basis.

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

� In the Books and Literature sector, the activities concentrate on jubileeevents, poetry events, a translation workshop, and, with roughly € 23 500,participation in the Leipzig Book Fair. A total of approximately 81 000 € isassigned to the sector. In terms of traditional culture, an InternationalFestival called “Baltika 2003” is being planned with a budget of about 97000 €. The Visual Arts have 76 000 € to spend on exhibitions of highlyacclaimed artists, up-and-coming artists, New Media Culture, PeriodPainting, and other events.

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


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

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

1.4. ResearchExchange of good practice in general, and expert meetings in particular, takeplace bilaterally during official and working visits, conferences of the sector, and inregional and multilateral cooperation structures like The Baltic States CulturalCommittee, and Council of Europe hosted meetings and teams of experts.

1.5. Restoration and Heritage PreservationCo-financing of joint projects in restoration, as well as workshop types of exchangeis provided by the Culture Capital Foundation.

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

2. National Cultural Institutes operating in Latvia

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

The French Culture centreApart from the extensive importation of French produced art and musicproductions and ballet, it has supported the publishing of a French-LatvianDictionary, and co-produces cultural events at high-schools and higher educationestablishments, where French is taught.

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


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young artists fellowships for residencies in Germany. It also supports new mediaand mobility, as well as translations of literature in both directions, and scholarshipsfor writers.

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

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

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

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

3. Forthcoming Activities 2003-2006

A great number of international events from all the main cultural sectors discussedabove, as well as additional ones (textile, design, new media), will take place inLatvia over the next three years. If one particularly active area were to be singledout, it would have to be the music sector, with events ranging from traditionalthrough classical music to the Eurovision Song Contest, followed by the performingarts. They cover all basic forms of cooperative models, from International Festivals,Guest Performances of Foreign companies, co-productions, exhibitions, etc. The following cultural events with a European relevance are to be organised inLatvia in 2003 (Recurring cultural events will be marked by (+); the interval in yearswill be indicated if the event does not take place every year e.g. (+5)):

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

01.-12. Rîga, Music Tradition Festival of Riga Music (Folk Art Centre)

Tel. 9535653, 7228985, fax 7227405, E-mail: [email protected]


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

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

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

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

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

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

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

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

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

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

Tel. 6533209, E-mail: [email protected] 22.-23.03 Rîga, International Sport Dance Competition Riga (Riga School of

Dance) (+)Tel. 7205215, fax 7205213, E-mail: [email protected]

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


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

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

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

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

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

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

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

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

24.05 May, Rîga and other towns, International Museum Day events(Latvian Museum Authority) (+)

Tel. 7593870, fax 7228083

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

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

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

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

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


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

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

9. -13.07 Rîga, Sigulda,Latgale, International Folklore Festival Baltica 2003 (FolkArt Centre) (+2)Tel. 7228985, 7043669, fax 7227405, 7043671, E-mail:

[email protected],

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

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

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

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

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

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

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

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

19.09-5.10 Rîga, International Festival of Contemporary Theatre Homo Novus2003 (New Theatre Institute) (+)Tel. 7212622, fax 7212471, E-mail: [email protected]

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

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


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8.11 Sabile, Latvia Gipsy Children and Youth Music Ensembles FestivalUrdenoroTel. 9167610

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

[email protected]

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

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

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

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

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

Annex I – National reports - Liechtenstein

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LIECHTENSTEIN


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

Both the Catholic Church and the Historical Association for the Principality ofLiechtenstein, founded in 1901 by a group of private persons, have beenconsidered the most important institutions determining culture in Liechtenstein formuch of the 20th century. Cultural policy in Liechtenstein was first introduced in the1960s and 1970s (quite late in comparison to other European countries) anddeveloped out of a reaction to private initiatives. Several important culturalinstitutions, bodies and laws were established. A new phase of cultural policydevelopment began in the 1990s, with a strong focus on promoting culturalactivities and coordinating the cultural scene more effectively.

Given its size, Liechtenstein is not a separate, self-contained cultural area. Forcenturies, active cultural exchange has taken place with the entire region,including the Lake of Constance area. Due to it having joined various internationalorganisations over the years, cultural cooperation has further developed acrossthe country’s borders. Today, representatives of Liechtenstein work and cooperatein several of these international organisations, sub-organisations and othercommittees. Many public law or private cultural institutions and associations, aswell as private persons, participate in international or regional programs. As anexample, one could name the International Archives Council, the Museum andCastle Association of the Lake of Constance Area, the European Music AcademyUnion, the International Music Association, etc.

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


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confrontation with art and culture across the country’s borders also enriches artisticactivities, and creates valuable contacts and networks. In order to foster all thesegeneral aims, the Liechtenstein Advisory Council of Culture drew up concretedirectives in 1999.

SECTION I: Structures, competences, institutions

1. Ministries and arm’s length bodies

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

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

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

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

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


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2. Local authorities

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

There is regular contact between the various levels of Government. At theinvitation of the Ministry for Culture and Sports and of the State Advisory Council forCulture, the chairpersons of the local culture commissions have met regularly since1996 to exchange information and experiences. A "Culture Discussion Circle",(est.1996) unites representatives of the cultural institutions throughout the countryand is chaired by the Minister for Culture and Sports.

SECTION II: Documents, Legislation, and Agreements


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

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

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

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


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initiated either by the state or by individual cultural institutions or agents. From anorganisational point of view, the directive specifies that the institution carrying outthe exchange needs to submit an application (including budget) to the AdvisoryCouncil of Culture, in order to receive in turn the respective organisational andfinancial outlines or conditions. Two modes of financing are envisaged: first, thatthe sender country finances its own artists with a sum or stipend, or second, thatthe receiver country or the responsible organisation finances the residency.Depending on the contents and evaluation of the project, the costs will becovered or co-financed by the Advisory Council, other State Offices, or by culturalinstitutes and organisations.


Liechtenstein has signed several bilateral and multilateral agreements or accords;they are listed below. Liechtenstein has ratified important international treatiesrelated to culture as part of its increased commitment to foreign policy in recentyears, including treaties of the Council of Europe, the European Economic Area(EEA) and the European Union. Priority is accorded to those agreements whichrefer to the areas of general cultural cooperation in the Council of Europe, theprotection of architectural and archaeological heritage, and the protection ofcultural goods in case of armed conflict. Liechtenstein is a member of the CultureCommittee of the Council of Europe and is participating in the new EU Culture2000 programme and in the Study Group for Cultural Matters of the EEA.Liechtenstein also participates in the Regional Conferences of Eastern Switzerlandand of the Lake of Constance Area, and has annual bilateral contacts withofficials responsible for cultural matters in the various Swiss cantons and in theAustrian Bundesland of Vorarlberg.

On a bilateral level, one agreement has been of specific importance. Signed inthe year 1996 with the Russian Federation, it pertains to an agreement to fosterreciprocal cultural exchange, and has seen its first practical implications in, forexample, the Zotow Exhibition in Moscow (1998). Generally it should be noted thatprojects of transnational cultural cooperation can be and are conducted withoutthe existence of a concrete agreement.

The agreements and accords are as follows:

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

(LBGl. 1988, Nº 20)


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- European Convention on the Protection of the Archaeological Heritage inEurope (revised), 16.01. 1992 (LGBl. 1997, Nº 10)

- Agreement of Haag on the Protection of Cultural Goods in case of armedconflicts, 14.5.1954. (LGBl. 1960, Nº 17)

- Joint Declaration between the governments of the Principality of Liechtensteinand the Russian Federation on Cooperation in the areas of Culture, Archivesand Youth Exchange, 4.9.1996 (not published).



1.1. Training and mobilityTwo stipends for a one-year practical training abroad are awarded to two artistsresident in Liechtenstein per year. The stipends are based on the Promotion ofCulture Act (12.09.1990). According to § 7 of this act, individual artists or culturalagents can be funded to carry out a one-year residency abroad. Generally, twosuch stipends are awarded each year, and the different cultural sectorsconsidered. The one-year residency abroad is meant to grant each artist theopportunity for work, training and the development of his/her creative capabilitiesover a longer period of time and without financial strains. It is generally directed atyoung artists at the beginning of their professional career.

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

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

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


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current one on the Czech artist Frantisek Kupka which, under patronage of theFrench ambassador in Switzerland and Liechtenstein, unites paintings fromcollections of the Centre Pompidou and the Musée National d’Art Moderne, Paris.An accompanying catalogue has been edited in co-production with the CentrePompidou.

There are also cooperation projects by the National Museum of Liechtenstein withother museums (Exhibition Projects), cooperation Projects taking place in the ArtsSpace, Engländerbau, Vaduz, and others undertaken by the Theater amKirchplatz, Schaan.

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

1.4. Restoration and Heritage PreservationOn 22 September 2001, and for the ninth time in Liechtenstein, the annualEuropean Historical Monument Day took place. With the theme “Living in theMonument”, it concentrated on inhabited historical monuments. Competencesrested with the respective Offices for Heritage and Archaeology of the BuildingAuthority.

1.5. Translation and Library CooperationThe National Library in Liechtenstein is part of the networks CENL (Conference onEuropean National Libraries), and IFLA (International Federation of LibraryAssociations and Institutes).

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

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

2. Forthcoming Activities in Liechtenstein, 2003-2006

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

http://www.liechtenstein.li/


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- the Artists’ Seminar of the International Conference of the countries borderingthe Lake of Constance (IBK); to be held on 6–10 August 2003 in Vaduz.

- Cultural Projects taking place as part of the Opening Ceremony of theLiechtenstein Embassy in Berlin, 2004.

- International Master Classes of the Liechtenstein Music School (annual)


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LITHUANIA


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

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

Another trend would be EU integration, which has been considered the mostimportant process in Lithuania over few last years. As part of the prevalenttendency throughout the Lithuanian administration to integrate most of the sectorsand their activities into an EU stream, the Lithuanian Ministry of Culture has joinedtwo EU programmes — Culture 2000 and Media Plus. These decisions have apragmatic component, as Lithuania has paid a fee to participate in theprogramme, and the cost-effectiveness of Lithuania’s participation in EUprogrammes might be measured by comparing participation fee to the amount ofmoney Lithuanian projects will receive in support from EU programmes. Because ofthis pragmatic moment it is easier for the projects, getting EU grant, to obtainadditional funding from Lithuanian support mechanisms. Only those Lithuanianprojects, which contain an explicit transnational cooperation dimension, can takepart in the exercise, and will be funded by Lithuanian support mechanisms. And itprocedure has been found successful.

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

Annex I – National reports - Lithuania

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of some EU programme or on a bilateral agreement with another EU memberstate .

SECTION II: Structures, Competences, Institutes

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

1. The Ministry of Culture

The Ministry of Culture is a central institution for cultural policy planning, co-ordination, monitoring, financing and implementation; it has been transformedseveral times in the 1990s. In addition, it bears the responsibility for monitoring theactivities of the national cultural institutions. The International Relations andEuropean Integration Department of the Lithuanian Ministry of Culture has thebiggest official budget allocated for cultural cooperation. In the year 2002 it was 3066 000 Litas (approx. 900,000 €). The amount also includes the subsistenceexpenses of 5 cultural attaches in different countries (European Community,France, Poland, Russia and Sweden), covering their social security, medicalinsurance costs, apartment rent, etc. Membership fees in different internationalorganisations (e.g. UNESCO) and programmes (e.g. Culture 2000, Media Plus) arecovered from this budget too. 11,500 € are destined for the Council of Europe’sEuropean Cultural Routes, and 3,000 € are spent on cultural cooperation in theBaltic region (Ars Baltica). Another part of the budget is allocated to fundinginstitutions related to cultural cooperation, such as the Lithuanian Cultural ContactPoint (Europos kulturos programu centras) or the Lithuanian Institute. Although aseparate budget listing is not available, the budget allocated directly to supporttransnational cooperation projects is estimated to have amounted toapproximately 45,000€ in 2002. Approx. 23,000€ of this sum were assigned to thevisual arts sector through funds to support the international activities of theContemporary Arts Centre.

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


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international cooperation projects. The Department participates in theprogrammes of the Council of Europe, and engages in EU related transnationalcooperation (Culture 2000, e-Content, PHARE, Interreg III).


The Information and Culture Department of Lithuanian Ministry of Foreign Affairshas a budget of approximately 87,000 € for the promotion of Lithuanian cultureand other achievements in foreign countries. Around 29,000 € of this sum areallocated to Lithuania’s national cultural institute, the Lithuanian institute. The other2/3rds of the budget covers the expenses of organising international events andtouring Lithuanian artists and their works abroad.

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

3. The National Cultural Institute: The Lithuanian Institute

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

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

The annual budget of the institute is approximately 87,000 EUR, with 30,500 €destined to presenting Lithuanian culture abroad, another 30,500 € planned forcreating a database, a cultural events calendar and producing publications, and17,400 € allotted for organising international seminars on cultural cooperationissues. The Institute operates in Lithuania only; there are no plans to establishbranches in other country.

4. Arm’s length organisations

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


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developing, and the CCP is now the source of information when seeking EUfunding opportunities for a cultural project. Its website provides information oncultural operators seeking partners for European projects – both in Lithuania andabroad, it is also active in promoting opportunities for cultural projects in StructuralFunds support scheme.

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

If agents are not directly funded from the budget of the Ministry of Culture, theysubmit proposals to foundations that tend to be administered by the Ministry, suchas the Festivals’ Support Fund or the Culture and Sports Foundation. The latter is themost important source for cultural projects, with approximately 1,780,400 € spenton cultural projects in 2002, 580,000 € of which went to projects with aninternational dimension. However, the Foundation is not a legal entity, andfunctions rather like a budgetary administrator. It has no right to engage in any sortof independent activities or to conclude transactions. While the resources of theFoundation are made up from revenues received from excise duties on tobaccoand alcohol, the Ministry of Culture’s budget was simultaneously decreased by thesame amount, thus making the foundation’s spending actually a fundingmechanism of the Ministry, rather than an independent body.

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

5. Local Authorities

Most Lithuanian local and regional municipalities suffer from a lack of funding fortheir everyday needs, and therefore have limited ambitions to foster internationalcultural cooperation. However, the bigger Lithuanian cities do. For example, in2001 the Vilnius Municipality assigned approximately 17,500 € to internationalcultural cooperation. In the year 2002, the Klaipeda Municipality spentapproximately 54,245 € on international cultural cooperation, which equals 0,1% ofthe total municipal budget.



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

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

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

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

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

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

To actively present Lithuania’s achievements and cultural heritage to foreigncountries, primarily those of priority importance to Lithuania. To stimulate andpromote the activities of a recently established Institute of Lithuania which is incharge of these matters.

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

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


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

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

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

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

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

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

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

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

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

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

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

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


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

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

17 bilateral agreements with implications for cultural cooperation are currently inpreparation, 6 of these with European countries. These are agreements betweenthe Republic of Lithuania and France, Portugal, Luxembourg, the Czech Republic,Hungary, and Turkey. The agreement with France has been already signed – in thebeginning of April, 2003. The number of agreements and their geographical coverage indicate the formalnature of these documents, rather than their effectiveness as tools of transnationalcultural cooperation. Hardly any direct or significant activities have come out ofsuch documents. One of the most successful for cultural cooperation has in factbeen a Cooperation treaty between the Government of the Republic of Lithuaniaand the Government of Flanders, 1996. Without the word “culture” beingmentioned in the title of the treaty, it nonetheless initiated and fostered therelationship between Lithuanian and Flemish librarians, and workers in regionalcultural centres.

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

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


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and Poland, and has a trilateral agreement with Estonia and Latvia. Theseagreements are followed by action plans, which anticipate very specific activities.

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

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



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

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

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


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artists in such actions organized abroad, 22,754 € for 10 international conferencesand symposia on visual arts). Approx. 138,405 € went to support 30 musical projects(festivals, the presentation of Lithuanian music abroad, etc.), while a total of 14dance and theatre festivals and tours received around 25,000 €. Cinema projectswere funded with approx. 38,260 €. Theatre, cinema, dance, music, poetry, andother cultural festivals organised in Lithuania have also benefited from thegovernmental Support Scheme for Professional Art Competitions and Festivals heldin Lithuania; 20 of those were international ones. Approx. 215,362 € were distributedfor these purposes.

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

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

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

2. National Cultural Institutes in Lithuania


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

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

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

The events organised by the French Cultural Centre cover virtually all art forms. In2002, it brought a French theatre company to the Children’s Theatre Festival;organised a festival of Lithuanian school theatres performing in French; andsupported the staging of a Ionesco play. It also participated in international musicfestivals held in Lithuania by bringing French artists to those events, supported theVilnius string quartet project, and facilitated the cooperation between Lithuanianand French Music Academies. Together with the British Council and Goetheinstitute, it co-organised a lyrics competition in the framework of the Europeanyear of Languages. As regards the visual arts, the Centre organises exhibitions ofLithuanian artists on their premises in Vilnius, and brings in exhibitions from France.


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In the field of heritage, the Centre cooperated with the Lithuanian HeritageDepartment in the seminar “Route of Parks and Orchards: European experienceand projects” (with the participation of the Italian Cultural Institute) and took partin the European Heritage Days. In the books and reading sector, it promotedschemes to translate French authors into Lithuanian, and offered some grants fortranslators’ residencies in France. Every year, it takes an active part in the VilniusInternational book fair. In the audiovisual field, the Centre also takes part in FilmSpring (this festival itself was basically born from the initiative of the culturalinstitutes), and brought 3 representatives of ARTE TV to Vilnius to lead a seminar oncultural TV. They have also organized training for a Lithuanian cultural TV journalistat FRANCE 3.

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

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

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


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

Italian Cultural InstituteThe cultural activities of the Italian Cultural Institute are financed from from theInstitute itself, and from the Italian Embassy, a sum amounting to 78,000 € in 2002. Ittoured Italian groups through Lithuania (in co-operation with the LithuanianPhilharmonic society), took part in a series of festivals, and organised thepresentation of soundtracks of the most famous Italian movies together with videoprojection. It also facilitated the participation of a Lithuanian artist in an Organfestival in Aquila. In the visual arts, it concentrates on co-producing exhibitions andbringing Italian artists to Lithuanian festivals. It too participated in the Film Spring, indance festivals, theatrical and opera co-productions, and held master classes onautochthonous art forms.

3. Forthcoming Activities, 2003-2006

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

Baltic Book Fair (annual, February)

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

New Baltic Dance Festival (annual, April)

Kaunas Jazz Festival (annual, April)

International Festival “Cinema Spring” (annual, April)

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


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

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

International Pazaislis Music Festival (annual, June – August)

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

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

International Thomas Mann Festival in Nida (annual, July)

European Heritage Days (September, annual)

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

International Festival Vilnius Jazz (September, annual)

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

Druskininkai Poetic Fall, literature festival (annual, October)

International Contemporary Music Festival Gaida (annual, October)

International M.K Ciurlionis Competition for Pianoand Organ players (every four years, next in2003)

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

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

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

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

4. Websites of Interest

International Relations and European Integration


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

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

Lithuanian Institute http://www.lithuanianinstitute.lt

Lithuanian Cultural Contact Point: www.durys.org

http://www.muza.lt/

http://www.heritage.lt/

http://www.lithuanianinstitute.lt/

http://www.durys.org/


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LUXEMBOURG


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

Luxembourg fosters close and friendly relations with the neighbouring statesthrough regional cooperation (Saar-Lor-Lux-Trier/Westphalia/Wallonia), for which alegal framework was established with the four-party Karlsruhe Agreement of23 January 1996 between Germany, France, Switzerland and Luxembourg.

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

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

1. Ministry of Culture, Higher Education and Research

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

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

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


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

2. Arms-length institutes and advisory bodies

2.1. National Cultural FundAccording the Article 2 of the Law on the establishment of the National CulturalFund in 1982 as a public institution, the Fund has as its duty to receive, administerand use the grants and donations on behalf of public and private beneficiaryinstitutions with an objective to

a) promote the arts and sciencesb) conserve, restore and assure the relevant affectation of the historic national

cultural heritage, including both mobile and immobile heritagec) the Fund is situated under the tutelage of the Ministry of Culture concerning

the administration of cultural affairs

The Fund received its resources from the national lottery (716.121, 40 € in 2002 ) andfrom different donations and sponsors ( 550.931,26 € in 2002). The National CulturalFund is responsible for the promotion of arts and sciences in Luxembourg andabroad, and the preservation and restoration of the cultural and historicalheritage. The Fund also subsidies associations or individual artists in variousdisciplines.

2.2. National Cultural Council Established in 1980 as an advisory body in designing the cultural policies ofLuxembourg. The members of the National Cultural Council represent differentministries, cultural institutions and association involved in national and internationalcultural affairs.

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

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


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

Bilateral agreementsLuxembourg has signed bilateral cultural co-operation agreements with severalEuropean countries not only to foster mutual knowledge, economy andcommerce but the artistic creation and contemporary cultures. Through thebilateral cultural programmes, Luxembourg intends to strengthen the links betweenartists and different cultures and therefore participate in the creation of a newEuropean setting, starting from bilateral relations.

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

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

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


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and the communities). There are also individual agreements with the differentCommunities of Belgium, such as a Co-operation Agreement signed with theFlemish Community in December 2000, a Co-operation Agreement with theGerman Community, signed in August 2002 that focuses on education issues. Lateron, a more general agreement was signed in November, 2002.

The Czech RepublicCultural agreement between the government of the Czechoslovak SocialistRepublic and the government of the Grand Duchy of Luxembourg was signed inJune 1976. In 2002, the two countries have signed an exchange programme in theareas of science, education, sports, youths and culture between the governmentfor the years 2002 – 2005.

FinlandAgreement on cooperation in the fields of culture, education and science, signedin Luxembourg in January 1994. Representatives of the two Parties met in Helsinkion 9-10 June 1999 and agreed on the cultural cooperation programme includingmutual cultural promotion and exchange in the fields of exhibitions, music,literature, theatre, dace, film, museums and archives.

FranceCultural Agreement signed in 1954.

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

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

ItalyFirst cultural agreement in 1956. Last executive programme in 1999 with deadline2002.

LithuaniaA cultural co-operation programme is under preparation.

PortugalCultural Agreement and cultural cooperation programme for years 1996 -2005.


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RomaniaAgreement on the co-operation in the fields of culture, education, science andsport, signed in Bucharest in April 1994.

SlovakiaCultural Agreement signed in June 1976 (succession). Cooperation programmesigned in Luxembourg in May 2002.

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

Spain Cultural Agreement signed in 1979

United KingdomA Treaty of Economic, Social and Cultural Collaboration and Collective Self-Defence between Belgium, France, Luxemburg, The Netherlands and the UnitedKingdom of Great Britain and Northern Ireland was signed in Brussels on 17 March1948.



1.1. Training and mobilityAs Luxembourg focuses its international cultural cooperation on the threeneighbouring countries of france, Belgium and Germany, these countries tend tobe the partners on student and expert exchanges.

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

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

1.2. Arts productionThe Luxembourg National Theatre Association, established in 1999, aims atencouraging co-productions with foreign companies. In 2002, the Association


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listed several co-productions in Luxembourg with companies mainly from Germanyand France. There have also been numerous visits to international theatre festivals.

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

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

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

1.3. Distribution and disseminationThe subvention of the Ministry of Culture to the Luxembourg Theatre Associationhas enabled a creation of a Theatre Journal in order to give to the theatre inLuxembourg more national and international visibility and to facilitate internationalco-productions.

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

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

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

1.4. Translation and library cooperationThe National Book Council, CNLi (Conseil National du Livre) is an consultativeformed by all the members in institutions in Luxembourg related to literature, booksand reading. The CNLi has elaborated a specific programme for the InternationalDay of the Book (financed by the Ministry of Culture) in order to promote literaturefrom Luxembourg and from elsewhere. The CNLi collaborates with foreign institutesin this matter.

2. National cultural institutes in Luxembourg


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

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

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

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

Goethe InstitutThe Goethe Institut will form part of the new French-Luxembourg-German culturalcentre. The inauguration of the centre will strengthen even more the co-operationbetween the Goethe Institut and its French partner.

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

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


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

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

3. Coming events

International Festival of Echternach, 8 – 17 May 2003, annualThe main concern of the International Festival of Echternach is to offer a largerange of musical forms. Following the long music history of the town the year 1975,gave the beginning to the now world-wide acknowledged festival. Every yearsince then, during the months of May and June, the small town becomes theMecca of music and hosts well known artists as well as promising talents. Manymonuments retrace the prestigious history of the city spreading over twomillenniums and offer a rare symbiosis of architecture, landscape and music.

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

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

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MALTA


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

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

The trend towards asustainable cultural activity has brought the need to marketMaltese products professionally and consistently into focus. The Ministry ofEducation, which is also responsible for Culture, has therefore launched the firstprogramme geared towards an understanding between culture and itsmanagement, towards blending the cultural product with the environment, andmanaging human resources, product prices, distribution and communication inthe correct proportions. Over the coming years, special attention will be paid toexisting structures, strategic marketing and management of the arts. The venturehas already found fertile ground at the Centre for Creativity and the University ofMalta as part of the curriculum within the Department of Management andAccounts, and it is now being submitted for further accreditation to the MaltaCouncil for Culture and the Arts.

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


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in the old historic Grand Harbour sites are permanently vacant and a quarter arein a dilapidated condition. Pressure has been mounting from heritage NGOs, whoargue that enhancing Malta’s historic inner cities could relieve urbanizationpressures from rural and coastal environments.

In February 2003, the Maltese Government and the European Commission signedan agreement for Malta to participate fully in Culture 2000, completely financedby the Union once Malta joins the EU. The programme would offer an importantopportunity for Malta to mobilise its artists and cultural agents and to participate inintercultural dialogue, social integration initiatives and socio-economicdevelopment.

SECTION II: Structures, Competences, Institutions

A series of measures undertaken by the Government of Malta between 1998-2003in the cultural sector have instigated a radical review in the field. The MalteseGovernment decided to create new structures to activate a holistic and inclusiveapproach to culture. Encouraged by the positive way in which the cultural andmedia sector received a two-week national convention on the need to revisecultural policy (1999), the Government drew up plans for a policy of devolutionand decentralisation. A national Centre for Creativity was opened in Valletta in2000, with a remit to democratise cultural events and provide opportunities for bi-and multilateral projects. In 2001, the newly established Policy Unit at the Ministry ofEducation published Malta’s first national cultural policy. The establishment of newarm’s length organs to put the policy into effect, the most important being theMalta Council for Culture and the Arts, followed this development.

1. The Ministry of Education

The Ministry of Education has recently been reorganised to delegate functions andimplement the arm’s length principle. The Department of Culture has in thiscontext been replaced by the Malta Council for Culture and the Arts, an arm’slength body now conducting cultural affairs in Malta. A number of Advisory Boardshave also been constituted by the Ministry to generate interest and to stimulateevents related to specific areas e.g. theatre, language and literature, folkmanifestations and national festivities. The Ministry also funds key nationalinstitutions, such as the Manoel Theatre, the National Orchestra, the St. JamesCentre for Creativity, and the Malta Centre for Restoration often employs theservices of foreign artists like opera singers, musicians, animators and skilledtechnicians. Such engagements are often undertaken in collaboration with foreignorganisations present in Malta, e.g. the Italian Cultural Institute, the British Council,the Alliance Francaise or the Russian Centre for Culture and Science. Other keyinstitutions, including the Division of Education, and the Department of Youth andSport, operate from within the Ministry and conduct transnational cooperationactivities.


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

Department of Youth and SportProtocols of cooperation between Malta and European countries are alsoundertaken (and officially given an official remit) by the Department of Youth andSport (DYS), a section of the Parliamentary Secretariat for Youth. Between 2002-2003 such protocols were signed with the Youth Board of Cyprus, the RussianFederation (the protocol here covers the period 2003-2005) and a number ofcultural service agencies in Italy, ranging from Calabria in the south of thepeninsula to Valle d’Aosta in the north. Financial constraints inhibit the DYS fromentering into similar agreements with other countries. In 2002, the DYS budgetstood at 216,000 € and funding for transnational commitments represented 20% ofthis amount. The annual budget for the DYS has remained unchanged for the pastten years and things were not made any easier when the Ministry of Financeannounced a 10% economy measure early in 2003.

Department of Further Studies and Adult EducationAnother competent structure that generates transnational commitments is theDepartment of Further Studies and Adult Education (DFSAE), a body providing forlifelong learning, including the management of the schools of Art, Drama andMusic in Malta and Gozo, as well as the organization, management anddevelopment of Education Channel 22, a station that is available via cable-internet. In 2002 Channel 22 participated in the BBC Showcase that was held inBrighton and gave a creditable rendition of its resources at the MEDEA FilmConvention, hosted in Malta by the Malta Film Commission. Channel 22 is nowlooking at opportunities for co-production with European and Mediterraneancountries.


The Ministry of Foreign Affairs is the most formal structure with a direct remit forstructuring cultural relations between Malta and other European countries. Effortsto organize and establish a Ministry of Foreign Affairs in Malta started very soonafter Independence in 1964. Since then the Ministry has recruited hundreds ofyoung men and women “with the requisite intellectual capacity” to pilot Malta’sobjectives in the evolution of bilateral, regional and international relations. The


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

The Ministry of Foreign Affairs also funds a radio station, The Voice of theMediterranean (VOM), to the annual amount of 432,000 €. This is a Maltese-Libyanjoint venture that provides high standard cultural programmes, transmitted on theshort-wave band in English, Italian, German, French, Arabic, Japanese andMaltese. The station professes the aim of transmitting “the national aspirations ofthe Republic of Malta in relation to the evolving scenario of the Euro-Mediterranean region” and to serve as a bridge between the countries borderingthe Mediterranean Sea. Contributors include Maltese, European and Arabicacademics, intellectuals, artists, cultural commentators and scholars in variousdisciplines. Current plans are designed to improve the range of broadcasting viaInternet to catch a world market. That same year, VOM launched its own, muchvisited website. With a view to expanding its Euro-Mediterranean community oflisteners, the station is forging links with the Institute of Mediterranean Theatre inMarseille marketing the Odyssey Project, which consists of a Mediterranean seajourney by artists, dancers, musicians and actors from the region.

3. Arm’s length organisations

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

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


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Heritage MaltaIn November 2001, a new Act of Parliament established Heritage Malta, a nationalagency meant not only to provide protection for the many Maltesearchaeological and historical sites, but also to re-invent ways through whichMalta’s heritage could be enhanced by transnational initiatives in researchmethods and by programmes encouraging cultural tourism.

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

4. Budget

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

Government Entity receivingContribution

Amount

Malta Council for Cultureand the Arts

Euros 1,557600

Heritage Malta Euros 3,220,800Maltese HeritageFoundation

Euros 72,000

Manoel Theatre Euros 312,000 Malta Centre for Restoration Euros 1,200,000National Orchestra Euros 600,000St. James Centre forCreativity

Euros 360,000

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


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No figures are available as to the actual proportion that these governmentalcultural entities allocate to transnational artistic activity but it should be stated thatstakeholders like the Manoel Theatre, the National Orchestra, and St. JamesCentre for Creativity, etc., often employ the services of foreign artists like operasingers, musicians, animators and skilled technicians. It should also be pointed outthat government entities are expected to supplement the contributions theyreceive from the State budget by way of securing cultural partners and/orsponsors.

The Ministry of Education allocates other funds annually. The Literary AwardsScheme, where the best works of poetry, novel-writing, dramatic texts, researchmaterial, translations into Maltese and children’s literature are selected for merit,absorbs 24,000 € per year. The Ministry also administers an additional annualsubsidy of 96,000 € directly to assist ad hoc initiatives in the cultural sector. Another24,000 € are allocated annually for the Drama Writing Contest, where awards aregiven for the best three works written in the native language, with additional fundsearmarked for the actual production of the winning entry.

SECTION II: Documents, Legislation, and Agreements


The Cultural Policy document of 2001 stresses the need for Malta to take intoconsideration the transnational bearings required by the new realities of thetwenty-first century. It also takes into account the need to establish Malteseidentity “within a Euro-Mediterranean context”. The policy also recognizes, amongother things, the need for the devolution of power and the assignment of initiativesto persons, groups and local councils, entities that have been given the legal basisto establish their own transnational connections, mainly in the form of interactivetwinning with European counterparts. By the beginning of 2003, almost 40% ofMalta’s 92 local councils had established transnational agreements with theirforeign counterparts.

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

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


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cultural exchange with other countries, thus cultivating a sense of cultural identitybased on local dimensions and international diversity, especially in the light ofMalta’s commitment to cultural tourism” (Cultural Policy in Malta, p.149, 5.ii., 2001).

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

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

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

As far as further cultural external relations are concerned, it appears that much willdepend on the strategies adopted by the MCCA. Besides considering thedevelopment of a robust strategic plan and a process to integrate the activities ofarts and culture in Malta, the Council needs to develop an active process oftransnational communication and interaction. Such a commitment wouldcompensate for gaps in achievement and skills and also provide for anorganizational structure that would re-align the sporadic attempts at transnationalcollaboration, and re-define them into proper cultural development schemesinvolving foreign counterparts. Because of clear limitations (largely financial) related to Malta’s external culturalprogrammes, it is important, although outside the specific remit of this report, todraw attention to the impressive contribution that the European UnionProgrammes Unit (EUPU) has made since its establishment in October, 2001.


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

2. Bilateral Agreements

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

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

Renegotiated

18.03.1982

30.12.1994

18.03.1982

03.10.1995Slovakia 10.09.1979 Not availableSlovenia 20.03.1996 12.11.2002Spain 11.06.1976 11.06.1976Turkey 13.02.1998 Awaiting ratificationYugoslavia 16.10.1980 22.03.1982

Source: Ministry of Foreign Affairs, Valletta. Note: Malta has other Cultural Agreements with Angola, China, DPR Korea, Egypt, India, Israel,

Kuwait, Libya, Morocco, Senegal and Tunisia. -----------------------------------------------------------------The role of the Ministry of Foreign Affairs in effecting a bilateral cultural agreementnormally follows an expression of interest by Malta or the other country innegotiating such an accord. This interest is communicated through the Ministry ofForeign Affairs to the Ministry responsible for cultural affairs in the other country. The


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ministries responsible for culture negotiate the agreement that is usually signed bythe Ministers of Culture themselves in one of the capitals of the countriesconcerned. The Ministry of Foreign Affairs however, is always responsible forkeeping official copies of the agreements. In Malta’s case, most bilateral culturalproposals are processed on the express advice of the Ministry of Education and forthis reason, at least one official is in charge of international relations at the Ministry.

It is common practice for Malta and the foreign country to create a MixedCommission to make possible, by reciprocal and periodic consultations, theattainment of the general objects of a Cultural Agreement, and to plan specificwork programmes as well as to supervise the execution of the accord. There areno specific financial quotas for cultural agreements with other countries nor formalmeasures for the implementation of the protocols. Normally, cultural bilateralagreements cover areas like professional and academic cooperation, theexchange of teachers and students, exchange of artists and/or artistic events andcollaboration in scientific and technical areas, including heritage expertise.

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

Italy has been in constant collaboration with Malta, providing very tangibleassistance in the form of four financial protocols covering the period between1980-2000, running into direct grants of € 428.5 million. Recognising Malta’scultural heritage as a vital aspect of the Island’s development, the Italianprotocols have provided funds for restoration programmes, conservation schemes,and the creation of the Malta Centre for Restoration in 2002. The Centre works inclose association with the Istituto Centrale per il Restauro and the Istituto Centraleper la Patologija del Libro, both in Rome.

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

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


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concerts of flamenco and Spanish guitar and recitals of excerpts from Zarzuela,while Spain expressed interest in promoting Maltese Baroque heritage.

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

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

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

Apart from implementation in cases where direct foreign assistance for a specificproject is forthcoming, action and implementation seem to have a low priorityand this might indicate that most cultural agreements signed by Malta are notproactive enough. It is clear that financial investment by Malta in this field needsto be increased. Fortunately, entities other than central cultural institutions keepshowing enough initiative to keep bilateral cooperation going to a certain degree.



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

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


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efforts to mobilize as many young people as possible towards new opportunitiesrelated to cultural engagement. The Ministry of Foreign Affairs, the ScholarshipSection at the Ministry of Education, the Department of Youth and Sport, theStudents’ Services and International Relations Directorate, the University of Maltaand the National Youth Council offer scholarship and bursary opportunities inEurope. Other opportunities are provided by several European cultural institutionsoperating on Malta’s territory.

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

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

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

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


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also organized literary workshops directed by Welsh Booker Prize nominee, TrezzaAzzopardi. The Centre has also been featuring in the co-production of works in theperforming arts, including a theatre project with the Brewhouse Arts Centre ofBurton-on-Trent (UK) and a festival for disabled persons with the participation of theCrown School For People with Special Needs in Stretton, Britain. The Manoel Theatre has been concentrating on a repertory that includes thestaging of lyrical opera, an event sponsored annually by a local bank, with leadsingers invited mainly from Italy or eastern European countries. Amongst its lessconventional features in recent years one should select Trampolene, a danceprogramme involving top contemporary dance companies from the UnitedKingdom, with master-classes as offered as additions.

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

1.3. Distribution and Dissemination Distribution and dissemination of cultural material from Malta is undertaken byseveral entities, including the Ministry of Education, the Malta Tourist Authority, AirMalta, the National Library, the University of Malta and the Ministry of ForeignAffairs. The Division of Education, through its Youth Service Organisation andespecially the Department of Students’ International Services are other keypromoters of Maltese cultural interest overseas.

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

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

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


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

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

1.5. Restoration and Heritage Preservation The Heritage Act of 2001 split the state-run Museums Department into twostructures dealing with regulation on the one hand (under the title ofSuperintendence) and operations (Heritage Malta Agency) on the other. Thefunctions of these structures are guided by what has been titled the Committee ofGuarantee. A Restoration Centre to train restoration craftsmen andconservationists was opened in 2001. In its role as the national agency on all issuesrelated to conservation and restoration, the Malta Centre for Restoration isentrusted with the overall responsibility of advising the Maltese Government onpolicies in this field. The Centre also comprises an Institute for Conservation andRestoration Studies. The ultimate objectives have to do with developing andpromoting the Malta Centre for Restoration as a centre of excellence, with adistinctly Euro-Mediterranean dimension and as a hub in the field of researchactivity at the heart of the Mediterranean region.

1.6. Translation and Library CooperationA strategic plan submitted to the Ministry of Education in 2001 by a speciallyappointed Board of Linguists to safeguard the Maltese Language includes aproposal for the creation of a Committee for Terminology and Translation. It wouldinclude the development of new terminology in Maltese and a technical glossarythat would incorporate all neologisms emanating from various technical, scientificand cultural fields. The plan also envisages the construction of a special website,easily accessible to all operators using the native tongue for their respectiveprofessions.

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


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2. National Cultural Institutes in Malta

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

The British CouncilThe British Council in Malta operates an Educational Information Centre throughCD-ROM technology and through the Internet World Wide Web. In addition, theCouncil provides a programme of arts and cultural events in collaboration withlocal art organisations. The Council has particularly close links with the St. JamesCavalier Centre for Creativity in Valletta and the Policy Unit at the Ministry ofEducation. The Council also works closely with cultural entities like the NationalCommission for Science and Technology, local councils and venues like the BayStreet Entertainment Complex in the up-beat town of St. Julians. Collaboration bythe British Council in Malta has involved animation and creativity programmesdirected at illiterate persons, people living in culturally deprived areas, femalevictims of domestic violence, children and young people in care homes andpersons with special needs. A key feature of the British Council programme inMalta involves bursaries and invitations to local professionals to visit the UnitedKingdom for research assignments and international conferences on a widevariety of issues.

The Italian Cultural InstituteThe Istituto Italiano di Cultura was founded in Malta in 1971 and is also the CulturalOffice of the Italian Embassy and the official agent appointed by the ItalianGovernment for the realization of bilateral exchanges in the cultural and technicalfields. The Institute encourages studies and research by Maltese citizens in Italy andadvises all interested parties on cultural events, education in Italy, access to ItalianUniversities as well as to Art and Music Academies. The Institute promotes Italianculture in its various aspects and its activities in Malta include films, lectures, artexhibitions, concerts, theatrical performances and vocal recitals. It has forged solidlinks with the Manoel Theatre, the Ministry of Education and the University of Malta.The Institute is also appointed by the Italian Government to implement CulturalAgreements between Italy and Malta. In 2002 the Italian Cultural Institute in Maltaspent 18,100 € on conferences, concerts and art exhibitions. It also spendsannually an average 2,500 € on the acquisition of books and video films and alsoreceives considerable amounts of books from the Ministry of Foreign Affairs inRome and from Italian publishing houses.

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


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purchased at the Alliance at special rates. A spectrum of activities is organized ona regular basis at the Alliance, ranging from art-house cinema screenings, toconferences, video-festivals, musical evenings as well as a variety ofperformances. Other events for the Maltese public are held in appropriate venues.A translation service is also at the disposal of the general public.

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

3. Forthcoming Activities

The main priorities for the coming years are related to the newly established MaltaCouncil for Culture and the Arts (MCCA) and the setting in motion of theoperations of the Superintendence for Cultural Heritage and Heritage Malta asimplementing bodies. The MCCA’s strategic planning will greatly affect artsdevelopment in Malta as well as cultural development related to other Europeanentities. Market and programme development, liaison with cultural entitiesoverseas as well as the exchange of cultural enterprise will depend on the policiesof the MCCA, whose central committee has promised benchmarks for excellence.

The structural changes in the heritage sector are also expected to be a priority inthe coming years. The Government has well over 100 major sites (several of themWorld Heritage Sites) and at least another 100 minor sites that requiremaintenance, restoration, refurbishment and rehabilitation. Museum Departmentsources have estimated that Malta’s list of heritage properties will require at least360 million € by way of capital investment over the next twenty years. This is a sumthat Malta cannot sustain unless stakeholders come together to pool theircorporate resources, and tactical planning should involve bodies like the MaltaTourism Authority.

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


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operating in 2004, with a time-frame of five years to complete the project. TheAcademy’s mission will be to train performers, teachers and composers. It will aimto address wider cultural, social and commercial implications and it is clear thatmusic needs to be attracting investment and support from the businesscommunity. Secondly, the second phase of the Arts Centre (to enhance anddevelop the cultural activities of the Centre for Creativity in Valletta) will ensurethat Malta can provide high-calibre performances destined for the local andEuropean market, presented at a place that would contribute effectively to theeconomic growth of the Island.

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

Annex I – National reports – Netherlands

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NETHERLANDS


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

The increasing amounts of money invested in international cultural exchanges madethe emergence of policy and regulations unavoidable. Almost everything that canbe seen as international cultural cooperation has been identified now and relatedmore or less closely to the official international cultural policy of the Netherlands.International cultural policy also became brought together terms like international ortransnational cultural cooperation, cultural diplomacy, international cultural or artisticexchange, international cultural relations or affairs, etc. A specific focus on Europeancultural cooperation, apart from membership of European organisations like theCouncil of Europe, seems not to exist in the Netherlands. Where a commitment toEuropean culture is visible, it is strongly interrelated either with travel patternscommon in the artistic and cultural field, or with the political and economicdimension of Dutch foreign politics, in which of course the concept of Europe is bothpractically and ideologically present.

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

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


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country of origin for many Turkish people living in the Netherlands. In May 2002 theSecretary of State for Culture sent a letter to Parliament introducing a cultural policystimulating strong ties between migrant artists in the Netherlands and the creativecommunities in the countries these migrants originally came from. Given the recentand relatively long period of political instability and cabinet formations, no reallyimportant issues related to Dutch international cultural policy are presently underdiscussion.

SECTION 2: Structures, competences, institutes

1. National level

In 1997, the governmental organisation of international cultural policy was changed.The leading players in international cultural policy (the Ministry of Foreign Affairs andthe Ministry of Education, Culture and Science), used to do their jobs quiteseparately. In 1992, a policy letter was published, declaring that from that year on,the two ministries involved (at that time Culture was still located at the Ministry ofWelfare, Public Health and Culture) were supposed to share their responsibilities withregard to international cultural cooperation. But it took five more years, until 1997,before the two ministries decided to work together more closely. From 1961 to 1997,most things in international cultural affairs were taken care of in a rather non-committal way, in the `commission international cultural relations'. This commissionoperated without clear, politically checked and balanced policy instructions. From1997 on however, the joint performance of the two ministries was based on the set ofabove mentioned new policy instruments in combination with both an enlargedamount of financial means and a number of policy objectives, published in 1995 in apolicy paper, proposing a complete redesign of Dutch foreign policy.

An essential element in the redesign is the formation of an interactive “triangle ofactors”, linked to each other by a combination of interlocking competences. Thetriangle is built up as follows. The two cooperating ministries are situated injuxtaposition at the top. Below and to the left the diplomatic posts/embassies arelocated; below and to the right several sector institutions and arm’s length artfunding bodies. Several of these public and quasi-public funds exist, which havetraditionally supported the creative arts. They are defined by the Specific CulturalPolicy Act as a "legal entity under private law with full legal powers whose purposeis to encourage the creation and preparation of works of creative art by furnishingthe necessary financial backing". The national government's responsibility goes nofurther than furnishing monies and determining the specific conditions under whichthe fund in question must operate. The authority to allocate subsidies from theannual budget is delegated to the funds' boards. Some examples are theLiterature Fund, the Mondriaan Foundation and the Fund for Visual Arts, Designand Architecture. The Culture Council evaluates the funds every four years.

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


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

Lastly, due to the original principle of the Dutch government remaining neutral injudgements about the arts and focussing solely on policy issues, the governmentleaves decision making about the arts mainly to various committees ofindependent experts. The most influential of these, the Culture Council (formerlythe Arts Council, until 1995), is an arms length body which cooperates with thegovernment on formulating policies, including advice on transnationalcooperation. Attention: as it comes to the four years system of subsidizing ofinstitutions and funds, government is, according to the law, absolutely obliged toconsult the Council. And: exactly in international matters, the Council has notbeen very influential the last decades (this might change in the future). While thegovernment is no longer obliged to consult the Council (only since 1997), thereremains a healthy amount of cooperation between the government and theCouncil.

2. Cultural institutes

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

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

3. Budget

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


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

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

The number of projects financed by the Netherlands Culture Fund between 1997 and2000 was 67, 25 of them took place in Europe. About 50% of the NCF-grants weredivided via the Dutch arts production funds, to support activities and events abroad,or additionally to finance the international dimension of Dutch based projects andactivities.

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

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

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


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

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

City Thousands of€

Berlin 114Madrid 57London 80Paris 46Rome 57Budapest 73Prague 91

Total 7 posts 518

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

6. A sixth ‘source’ is the subsidy for the Dutch Language Union (Taalunie). In 1980, acommon language treaty was reached between the Kingdom of the Netherlandsand the Kingdom of Belgium, acting on behalf of the Flemish community. The treatyhelps to defend the interests of the common language within Europe. Activitiesinclude joint presentations in the most important book fairs, exchange of theatreplays, programmes exchanging art students. A Committee of the Ministers of Culturefrom both countries governs the Language Union.

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

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


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European League of Institutes of the Arts(ELIA)

53.000 €

Informal European Theatre Meeting (IETM) 20.000 €EU.Net.Art, EU-network for youth and art 65.000 €

CIRCLE, European think-tank on culturalpolicy and network of researchers anddocumentalists

34.000 €

OISTAT: International organisation ofscenographers, theatre architects andtechnicians

23.000 €

Total network support 195.000 €

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

SECTION III: Documents and legislation


The most important laws covering international cultural cooperation are:

- Annual laws on state budgets (Ministry of Foreign Affairs and Education,Culture and Science).

- The Specific Cultural Policy Act (Wet op het Specifiek Cultuurbeleid),enabling administrative agreements between the Ministry and subsidizedinstitutions and funds. Every four years, a Policy Document on Culture(Cultuurnota) is produced to outline concrete priorities for this period.

- The Netherlands Culture Fund has no legal basis, but comes into operationwithin the legal frameworks of the General Administrative Law Act, and theMinistry of Foreign Affairs Grant Regulations.

2. Bilateral and Multilateral Agreements


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

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

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

There is one cultural treaty however, that plays a crucial role in Dutch internationalcultural policy: the cultural treaty between Flanders and The Netherlands, signed in1995. The treaty has gained importance through the EU-article 151, providing a legalbasis to cross-border international cultural cooperation and guaranteeing anautonomous policy to preserve and stimulate a common culture to be presentedacross state boundaries. The Flanders - Netherlands cultural treaty encompasseslanguage and literacy, visual arts, performing arts, education and science, culturaleducation and social welfare, cultural heritage, tourism, leisure activities, andbroadcasting services for Dutch and Flemish speaking people abroad. TheCommission does not subsidize activities, but only acts as a council body on behalf ofboth governments. Another treaty worth mentioning is the BENELUX-treaty, operating for more than halfa century now. In 1991 it was officially agreed to intensify the economic ties betweenLuxemburg, Belgium and the Netherlands by permitting public institutions situated inborder areas to initiate cross border activities. This also had an effect on theaudience policy of the public libraries and music schools in the border region.

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



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1.1. General OverviewIn general, exchange programmes and activities are carried out as part of runningannual activity programmes by institutions and funds. Only a few institutions have anexplicit mission to operate exclusively on an international basis. Most institutions donot make a distinction between the national and international scope of theiractivities. Moreover, much of the international activity is not being distinguished asspecifically European, as distinct from international cooperation more generally. Asfar as we could see, no central registration of all activities is available, except for theregistration done by the Dutch Service Centre for International Cultural Activities(SICA) in Amsterdam. This Centre registered the total number of Dutch relatedcultural cooperation activities in 30 European countries in 2002 (1.323), which cameto 65,6% of all 2020 activities carried out in 84 countries world wide.

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

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

Non language bound art forms

Music: 37dance 5visual arts 23photography3

Language bound art forms

literature 2theatre 10

rest 16

architecture 2design 2


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1.2. Translation and Library CooperationThe Royal Library participates in a Flemish-Dutch network set up to documentbibliographies and literary magazines in the two countries. The Royal Library alsotakes part in the European Internet project DESIRE and is part of NEDLIB, acollaborative project of European national libraries. It aims to construct the basicinfrastructure upon which a networked European deposit library can be built.

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

1.3. Training and MobilityThe Foundation of Dutch Literature gives grants to writers to enable them to travelor to stay abroad for some time. Special accommodation is available for them inBerlin and Paris where the Institut Néerlandais has writer-in-residence facilities.Muziekgroep Nederland (Dutch Music Company) and Gaudeamus together run acomposer in residence and a travelling programme. Temporary support for thedance sector is meant to develop dance companies for a market-orientedsituation.

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

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

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

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

http://www.culture-school.net/


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and Flanders. They will also initiate collaboration projects between theNetherlands and Flanders.

1.4. Arts ProductionThe Fund for Amateur and Performing Arts has a couple of grant schemes forinternational cooperation. In 2003, a budget of 197.000 € is to be spent on Dutchamateur art abroad; a budget of 296.000 € is to be spent on single presentations ofDutch professional performing art abroad; a budget of 1.248.750 €, coming fromthe Netherland Culture Fund , is to be spent on combined presentations,cooperation projects and free port projects; a budget of 509.000 € (again comingfrom the Netherland Culture Fund) is to be spent on international festivals on Dutchterritory.

The European Ceramic Work centre in Den Bosch is another example ofcooperation. A team of European artists work on the exploration of artistic andtechnical possibilities of ceramics as a medium. 1.5. Dissemination and DistributionThe `Lighthouse project', originally set up in Flanders, is now also implemented inGermany by the Dutch Embassy in Berlin. In cooperation with Dutch theatrecompanies and the Dutch Theatre Institute, Dutch theatre plays are promoted inFlanders and Germany;

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

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

1.6. ResearchAlongside the emergence of European networks, there is also a tendency toexchange information and knowledge, collected by expertise centres in thevarious fields of culture. The `Nationaal Contact Monumenten’ (Dutch Associationfor Monuments) makes its resources of knowledge and experience available forthe European community of cultural heritage specialists. In return, it takesadvantage of specialists’ experiences in neighbour countries.

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

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


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2. National Cultural Institutes in Netherlands

British CouncilThe British Council in Amsterdam is committed to the promotion of the work ofcontemporary British artists, writers and musicians. They work in partnership withDutch festivals, promoters and venues, and with the British Council's Arts Group inLondon, to support a wide range of British arts activity. Recurring themes in theNetherlands are: new writing, particularly for the stage, the arts and arteducation in a multicultural society and British design. No budget informationavailable.

Goethe InstituteCultural programme of concerts, exhibitions, lectures and some concerts. MainlyGerman language courses and examinations. No budget information available.

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

Instituto Italiano di CulturaMainly language courses. Some cultural events such as lectures and exhibitions. Nobudget information available.

3. Forthcoming Activities

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

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


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

Other events:

17 – 27 April 2003 Spring Dance, Utrecht, annual

5 –9 June, 2003 The Holland Festival, annualCovering theatre, music, drama, dance, opera, film, pop,the Holland Festival has received a structural grant from thegovernment since its foundation in 1947. Formerly the City ofThe Hague and the City of Amsterdam provided incidentalsupport. At present the City of Amsterdam provides astructural grant alongside the Ministry of Education, Cultureand Sciences.The Holland Festival also receives financialsupport from a variety of funds and business.

14 – 20 June, 2003 Poetry International, Rotterdam, annual The central focus of this year’s festival is Mediterraneanpoetry; poets coming from nearly all of the countriessurrounding the Mediterranean Sea will be present. Duringthe festival, there will be a discussion about Mediterraneanculture as the greatest common denominator of a dividedarea. The Poetry International Festival is a major gathering ofpoets from every corner of the globe. It is the only festivaldedicated to international poetry in the Netherlands, andthe largest one in Europe.

11-13 July, 2003 North Sea Jazz Festival, the Hague, annualSince 1976. Two years ago the North Sea Jazz Festival in TheHague was listed in Time Magazine's Top Ten Events. InFebruary 2002 the festival was declared the 'Best Jazz Festivalof Europe' by JazzTimes.

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

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


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


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NORWAY


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

Norway differs somewhat from several other European countries in the waygovernmental cultural cooperation is organized: It has a relatively strong”cultural diplomacy” profile, with the Ministry of Foreign Affairs and the embassiesaround the world as the principal organisational structure. Researchers claimthat there is a disproportion between the Norwegian centralised ”culturaldiplomacy” and some profound changes in the relations in internationalcooperation and patterns of culture. It has also been claimed that Norwegianorganization will be challenged in the future, and replaced by lessinstitutionalised forms of cooperation, based on flexible networks. This trend isalready easy to perceive, e.g. several single artists or artists’ groups/ensemblesare building their own international networks, and experience success withoutany (or little) financial support or guidance from governmental or sub-governmental institutions. The Government is preparing a new white book about cultural policy, of whichinternational cooperation in the field of culture will be an important part.However, representatives of the government have in recent years pointed outseveral important challenges in this field in the years to come: 1) Norwegian artand culture institutions lack experience when it comes to internationalcooperation. The competence is linked to persons, not to institutions. Thereforethe transfer of knowledge and continuity of competence is rather vulnerable. 2)Norwegian art and culture institutions will have to give a higher priority tocooperation with foreign countries. 3) The professional support system that issupposed to assist Norwegian artists abroad will have to be developed. Somefields, e.g. performing arts, neither have a responsible institution nor a specificbudget in this field. 4) over the last twenty years a lot of different festivals haveappeared, which represent an important part of cultural cooperation and

Annex I – National reports – Norway

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exchange with foreign countries. The professional support system will have to beadjusted to this landscape of small and flexible agents. 5) It is important toestablish new arenas for cultural cooperation. 6) It will be necessary tocoordinate better governmental, regional and local authorities’ efforts in thisfield, and this will have to be done in conjunction with cultural life all over thecountry. 7) It is crucial to establish and coordinate advanced databases andweb sites about the running and preparation of cultural projects and events. 8)Norwegian research on cultural policy and cultural cooperation has traditionallybeen focused on local, regional and national contexts. European andinternational contexts are more rarely focused upon. This trend has to be broken.


Norway’s cultural cooperation and cultural contacts with other countries havegrown considerably during the last decade; a good deal of it takes placewithout official intervention of any kind or with only modest official support.Professional institutions, free groups and amateurs have established their ownchannels of access to foreign cultural environments. The governmentalresponsibility for transnational cultural cooperation in Europe (although it shouldbe noted that a great deal of cultural cooperation aims to be of internationalrelevance, and is not necessarily limited to Europe) is divided between theMinistry of Culture and Church Affairs and The Ministry of Foreign Affairs:

1. The Ministry of Culture and Church Affairs

The Ministry of Culture and Church Affairs is responsible for multilateral culturalcooperation and for the import of foreign art and culture to Norway. The Ministryof Culture and Church Affairs collaborates closely with the Nordic Council ofMinisters, and multilateral cooperation proceeds through membership in differentorganizations and networks. It is hard to estimate the Ministry’s total budget forEuropean cooperation.


The Ministry of Foreign Affairs has the main responsibility for the export ofNorwegian art and culture to foreign countries. In the Ministry of Foreign Affairs,the work is directed by a division for the presentation of Norwegian culture(”Seksjon for kultur- og Norges-presentasjon”) located in Oslo, but many activitiesare also carried out by Norwegian embassies around the world. Some of theembassies have ”cultural attachés” to take care of cultural affairs. The Ministry’sdivision in Oslo has also established its own specialist panels of culturallycompetent advisors recruited from several institutions and organizations inNorwegian cultural life; the ”Council for Culture Collaboration” (Rådet forkultursamarbeid) and the five ”Advisory Panels” (Rådgivende utvalg) in the fieldsof visual arts, architecture/design, performing arts, music and crafts. In recent


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years, the Ministry of Foreign Affairs has supported many broad multiculturalmanifestations in several European countries, like France, Germany, Spain, GreatBritain and the Baltic countries. It also supports certain special events in severalcountries, e.g. the celebrations of the composers Grieg and Sæverud. In 2003the Ministry has a budget of NOK 15.500.000 (nearly 2 million €) for supportingcultural projects in European countries. In addition there is a budget of NOK7.600.000 (980,000 €) for other culture related initiatives (e.g. promotion/profilingof Norwegian culture), of which NOK 4.500.000 (580,000 €) is transmitted to theembassies. These are approximate amounts.

An exception is cooperation in the field of cultural heritage, which is mainlytaken care of by the Ministry of the Environment. The Ministry’s Department forCultural Heritage Management (Kulturminneavdelingen) is the secretariat for theCultural Heritage Panel (Kulturminneutvalget). The Cultural Heritage Panel hasthe encouragement of international cooperation as one of its many tasks.

3. The Council of Cultural Affairs

Several subordinated governmental institutions have been established, whichfocus their work on the different art forms. The Council of Cultural Affairs (NorskKulturråd) is the major arm’s length body in Norway, i.e. the Arts Council. TheCouncil is under the authority of the Ministry of Culture and Church Affairs, and isthe main governmental advisory institution in (national) general art and cultureissues. International cultural cooperation is not defined as one of the council’smain tasks, but in recent years some work with international relevance hasnevertheless been carried out. There are Europe-related activities in many fields.In the field of literature, it supports organisations and institutions inviting foreignauthors, translators or reviewers to Norway. In the Music sector, it gives support forensembles, for musical works commissioned from foreign composers, for festivals,for local concerts with foreign musicians and for single projects with aninternational profile, as well as for touring. It offers financial support for differentinternational projects/exhibitions in Norway, for guest performances and forNorwegian ensembles and free groups with international activities. The Council ismoreover the Norwegian CCP (Culture Contact Point) in the EU programmeCulture 2000.

4. Cultural Institutions

The Office for Contemporary Art (OCA)11 has been given responsibility for themanagement of the grants in the field of visual arts. The main aim of this office isto develop collaborations in contemporary art between Norway and theinternational art scene. OCA was established by the Ministry of Foreign Affairsand the Ministry of Culture and Church Affairs in 2001, and had a total turnover

11 OCA administers support shemes in the field of visual/contemporary arts. In 2003 the budget isNOK 700.000.


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of NOK 6.450.000 in 2002 (832,000 €). OCA participates in international exhibitionsand fairs and supports Norwegian and foreign artists and curators in connectionwith projects all over the world, including most European countries. OCA runs anew International Studio Program in Oslo and is responsible for the Norwegianparticipation in the International Studio Programme Künstlerhaus BethanienBerlin.

In addition there are several major visual arts institutions that cooperate withEuropean institutions or single artists. The National Touring Exhibitions Norway(Riksutstillinger) is a public institution with the aim of contributing to the interestand understanding of visual arts, crafts, design and architecture. The institutionimports art from foreign countries to Norway, by creating exhibitions whichinclude art made by European and non-European artists. Other culturalinstitutions cooperating in the visual arts sector are The National Museum ofContemporary Art (Museet for samtidskunst), The National Gallery(Nasjonalgalleriet), The Astrup Fearnley Museum of Modern Art (Astrup FearnleyMuseet for moderne kunst), and the Henie Onstad Kunstsenter.

The Music Information Centre Norway (MIC), the Norwegian section of theInternational Association of Music Information Centres (IAMIC), receives itsfunding from the Ministry of Culture and Church Affairs, and had a budget ofNOK 10.299.000 (1.33 million €) in 2002, of which NOK 7.469.000 (963,000 €) werestate support. MIC promotes Norwegian music in Norway and in foreigncountries, provides information on professional Norwegian musical life, anddistributes materials. It also coordinates Norwegian participation at internationalmusic fairs, and manages the Ministry of Foreign Affairs’ travelling grants. Itmanages the project ”World Music in the Nordic countries” (2003-2004) on behalfof the Nordic Council of Ministers and the Council’s expert committee NordiskMusikkomite (NOMUS).

The Norwegian Concert Institute (Rikskonsertene) is mainly focused on musicpromotion inside Norway, but has built a comprehensive international network.Their Europe-related work is mainly focused on minorities, primarily linked to theOslo World Music Festival. They are also running a project on the touring of youngchamber music ensembles, in cooperation with the Baltic countries and Sweden.The Institute is, moreover, the Norwegian secretariat for NOMUS and representsNorway in the International Music Council (IMC) and the European MusicCouncil (EMC). The Institute is also affiliated to other international institutions andnetworks: the European Forum of World Wide Music (EFWMF), the InternationalSociety For Music Education (ISME), the Nordic network for school concerts(NNS), amongst others.

Music Export Norway (MEN A/S) was established in 2000 by the Norwegian musicindustry, including the Music Information Centre Norway (MIC). The organisationprovides access to information on Norwegian artists and companies, and assiststhe Norwegian music industry by organising international trade showparticipation and presentations designed to increase the awareness ofNorwegian music. MEN A/S is the official organiser of national stands at the music


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tradeshows Midem in Cannes and Popkomm in Cologne. MEN A/S does notreceive state support for operating costs, but for special projects. State support2002: NOK 2.423.000 (312,500 €), mainly from the Ministry of Trade and Industry.

Norwegian Literature Abroad (NORLA) has been the promoter of Norwegianfictional literature and Norwegian authors of fiction to foreign countries, while theMarketing Unit for Norwegian International Non-fiction (MUNIN) has been thepromoter of non-fiction literature. NORLA is the oldest and largest of these twoorganisations. From 2003 these two organisations have joined forces byestablishing a new Centre for Norwegian fictional and non-fictional LiteratureAbroad (NORLA). The new NORLA has a budget of NOK 6.670.000 (860,000 €), ofwhich NOK 2.000.000 (256,000 €) can be considered as a special grant due tothe unification process. NORLA is funded by the Ministry of Culture and ChurchAffairs, and acts as an intermediary between Norwegian authors/publishers andtranslators, publishers, universities and others interested in Norwegian literatureabroad. NORLA is supporting the translation of Norwegian literature in severalEuropean countries; cooperative relations are especially well established withGermany, Russia, France, Spain, Italy, the Netherlands and Great Britain. Itprovides translation subsidies to publishers of Norwegian fiction abroad,organizes seminars for translators and publishers, initiates promotional programsabroad, and participates in international book fairs.

The National Archive, Library and Museum Authority (ABM-utvikling) is a publicinstitution, which conducts some cultural cooperation with foreign institutions asone important task. The institution participates in several organisations, like IFLA,ICOM, La Fédération d’Information et de Documentation (FID), NationalAuthorities for Public Libraries in Europe (NAPLE), NORDINFO (Nordic cooperationon scientific information), etc. The institution is also engaged in European andinternational projects, e.g. CULTIVATE and SEPIA (with funding from Culture 2000).In addition there is cooperation with the State Museum Authority in Latvia on theexchange of experience and future plans for the field of museums in Latvia andNorway.

SECTION III: Documents and legislation

1. Documents and legislation

The Report no. 61 to the Storting on cultural policy 1991-1992 (Stortingsmelding nr.61 Kultur i Tiden), a “white paper”, includes a chapter about internationalcultural cooperation.

Report no. 22 to the Storting on archives, libraries and museums in a time ofinformation technology (“white paper”), 1999-2000.


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The Ministry of Foreign Affairs initiated a plan of action about foreign culturalpolicy affairs, Kulturkontakt i en åpen verden (”Cultural contact in an openworld), 2001-2005.

The Cultural Heritage Act of 1978 includes a chapter prohibiting the export ofprotected monuments and sites.

The two white papers from the government to the Parliament indicate thedirection of policy in this field, but are not directly binding for any publicauthority. The status of the “action plan” of the Ministry of Foreign Affairs seems tobe rather unclear. The Minister himself has publicly questioned its status in anewspaper interview.

Lending, Mette Rønneberg 2000: Oppbrudd og fornyelse : norsk utenrikskulturellpolitikk 2001-2005, Ministry of Foreign Affairs. (Norwegian Foreign Cultural Policy2001-2005). This report recommended the preparation of the action plan”Kulturkontakt i en åpen verden” mentioned above.

2. Bilateral agreements

Bilateral agreements in the field of culture are administrated by the ResearchCouncil of Norway (Norges Forskningsråd) on behalf of the Ministry of ForeignAffairs. Originally the bilateral cultural agreements were part of the alliedcountries’ plans for the rebuilding of Europe after World War II, to encouragecooperation in the fields of culture, research and education. Norway has signedagreements with several European countries, first with Western Europe, then withEastern Europe as well. Between 1948-1980, 25 culture agreements were signed.No further agreements have been signed since 1980. Norway has signed cultureagreements with the following countries relevant to this study:

Belgium (1948), Bulgaria (1980), France (1953), Greece (1976), Ireland (1964), Italy(1955), the Netherlands (1955), Poland (1958), Portugal (1977), Romania (1976),the Slovak Republic

(the agreement with Czechoslovakia from 1937 is maintained), Spain (1959),Great Britain (1948), the Czech Republic (the agreement with Czechoslovakiafrom 1937 is maintained), Turkey (1958), Germany (1956), Hungary (1975) andAustria (1972).

These agreements are of no great importance today. Strategic programs orcooperation action plans were regularly signed as parts of the differentagreements, but not any more. The agreements and the existing programs/plansare ”out of date” and the contents are in most cases of no current interest.Earlier, the agreements included mutual commitments to cultural events andexchanges of people. Today it is mainly the exchanges that are left. There arethree types of scholarships:


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The government scholarships are designed to promote contact and mobilitybetween Norwegian and foreign students and researchers and institutions ofhigher learning and research. The scholarships are normally limited to amaximum of one academic year. The scholarships are mutual, and financed bythe hosting country. The specialist exchange scholarships are short-termscholarships. The third type refers to summer scholarships.

A new scholarship program in music was launched in 2000 by the ResearchCouncil of Norway, the Stiftverband für die Deutsche Wissenschaft and theGerman petroleum company RWE-Dea. The programme focuses on classicalmusic and talented Norwegian students of music and younger musiciansplanning a stay in Germany. The scholarships are given for studies in performingmusic (instrument, song and conduct) and composition. The program is fundedby RWEs music foundation in Norway.

3. Multilateral agreements:

Multilateral cultural cooperation takes place in different arenas. The officialNordic cultural cooperation emphasizes artistic activity, children- and youthculture, media issues, cooperation related to areas near the Nordic countries,and common Nordic culture projects in foreign countries. It is based on theNordic cooperation agreements signed in Helsinki in 1962 (revised 1972), as wellas the separate Nordic culture agreement signed in 1971. The multilateral Nordiccooperation takes place on a) a parliamentary level, through the Nordic Councilof Ministers, b) at governmental level, through the Nordic Council of Ministersand c) a kind of in-between level, through the Nordic Cultural Fund.

The Ministry of Culture and Church Affairs is involved in cooperation withcountries in the Barents Sea Region and in the Baltic Sea Region. Thiscooperation goes further than the ordinary Nordic cooperation. It alsoparticipates in Ars Baltica. The cooperation in the Baltic Sea Region was in fact aNorwegian initiative in 1993, aiming to fuse the countries in the region, throughcooperation in all kinds of issues, culture included. Cooperation activity is mainlytaking place on a regional level across the northern areas of Norway, Sweden,Finland and Russia. For all the above, see the ANNEX on Mulitlateral (Regional)Organisations.

Multilateral cultural cooperation is also implemented through membership andparticipation in other organizations and networks: the Council of Europe, EU andEEA (includes participation in the EU programs MEDIA II and Culture 2000), OSSE,UNESCO, and the International Network on Cultural Policy.



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1.1. Training and mobilityThe most important institutions are: The Research Council of Norway, The Officefor Contemporary Art (OCA), Norwegian Literature Abroad – Fiction & Non-Fiction (NORLA), Music Information Centre Norway (MIC) and Danse ogTeatersentrum (DTS12) (see below).13

The Music Information Centre Norway manages the Ministry of Foreign Affairs’travelling support for professional musicians abroad. In addition, the NationalArchive, Library and Museum Authority cooperates with the State MuseumAuthority in Latvia on the exchange of experience and future plans for the fieldof museums in Latvia and Norway. A new scholarship program in music waslaunched in 2000 by the Research Council of Norway, the Stiftverband für dieDeutsche Wissenschaft and the German petroleum company RWE-Dea.

1.2. Arts productionIn recent years, the Ministry of Foreign Affairs has supported many broadmulticultural manifestations in several European countries: France (1991),Germany (1993 and 1997), Spain (1995), Great Britain (1992 and 1999/2000) andthe Baltic countries (2000/2001). In addition there have been certain specialevents in several countries, e.g. the celebrations of the composers Grieg (1993)and Sæverud (1997).

The Council for Cultural Affairs offers financial support for ensembles, for musicalworks ordered from foreign composers, for festivals, for local concerts withforeign musicians and for single projects with an international profile (e.g. supportfor Norwegian profiling at MIDEM 2002 in Cannes, in cooperation with MusicExport Norway, MAGMA 2002 in Berlin, Popkomm in Germany in 2002, Womex inGermany 2002 etc.). In addition, through the ”TFF-arrangement” approximatelyNOK 4.000.000 (515,000 €) is granted for touring abroad.

In the visual arts, the Council offers financial support for different internationalprojects/exhibitions in Norway. This is also the remit of the Office forContemporary Art (OCA). The office is cooperating or is preparing cooperationwith the following countries: Sweden (the Nordic pavilion in Venice, and possiblycollaborating on the publication of the periodical Nordic Art Review), Finland(the Nordic pavilion in Venice), Italy (La Biennale di Venezia), Germany (Nordicexhibition in Berlin 2004), Spain (possible Norwegian participation at the art fairARCO 2005/08) and France (possible Norwegian participation at the photo fairParis Photo 2003/04). The National Touring Exhibitions Norway (Riksutstillinger).. 12 Danse- og teatersentrum administers a support scheme for professional performing arts projectsabroad. This year the budget is NOK 600.000. 13 Also, the Council of Cultural Affairs has some importance. It’s an institution mainly with nationalrelevance, and has not been given any official responsibility for operation abroad or forcooperation with institutions in foreign countries. Some work with international relevance has beencarried out anyway, but in a small scale. However, as the Norwegian Council of Cultural Affairs, ithas some European relevance.


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In the Performing arts, the Council for Cultural Affairs offers financial support forguest performances and for Norwegian ensembles and free groups withinternational activities. In addition, the Council cooperates with the Nordiccountries and with England in several interdisciplinary projects. Advisory work iscarried out in collaboration with the Norwegian Archive, the Library andMuseum Authority (ABM-utvikling), the Norwegian Literature Abroad (NORLA)14

and the Directorate for Cultural Heritage (Riksantikvaren).

1.3. Distribution and dissemination The Music Information Centre Norway provides information on the qualities ofprofessional Norwegian musical life (composers, performers and otherparticipants), produces scores and parts for Norwegian music, and distributesthese materials to performing bodies throughout the world. It has a portal to theNorwegian music scene with news and information on composers, events, andmusicians. Music Export Norway (MEN A/S) was established in 2000 by theNorwegian music industry, including the Music Information Centre Norway(MIC15). The organisation provides access to information on Norwegian artistsand companies

Norwegian Literature Abroad (NORLA) has been the promoter of Norwegianfictional literature and Norwegian authors of fiction to foreign countries, and theOffice for Contemporary Art (OCA), the National Touring Exhibitions Norway, fulfilthis role for the visual arts sector, the National Library of Norway and the NationalArchive, Library and Museum Authority for the library and publication sector.

1.4. Research The Directorate for Cultural Heritage (Riksantikvaren), the Council of CulturalAffairs, the National Archive, Library and Museum Authority, and the ResearchCouncil of Norway all conduct foreign cooperation on research and bestpractice transfer.

1.5. Restoration and Heritage Preservation:The governmental responsibility for cultural heritage is divided between theMinistry of Cultural and Church Affairs and the Ministry of the Environment. Mostissues related to cultural heritage are sorted under the Ministry of theEnvironment, while collections, museums and archives are sorted under theMinistry of Cultural and Church Affairs.

The major institution on cultural heritage collaboration is the Directorate forCultural Heritage (Riksantikvaren), which is under the authority of the Ministry ofthe Environment. The Directorate collaborates with foreign countries throughdifferent arenas. The Directorate represents Norway in ”the Cultural Heritage

14 Norwegian Literature Abroad – Fiction & Non-Fiction administers support schemes in the field ofliterature. 15 Music Information Centre Norway administers a support scheme for professional music projectsabroad. In 2003 the budget is NOK 800.000.


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Committee” (CD-PAT) in the Council of Europe. The Ministry of the Environment’sown Department for Cultural Heritage Management also takes part in this work,but the Directorate is the operative unit. The Directorate and the correspondingdirectorates in the Nordic countries have an institutional collaboration, and thereare cooperative relations between the Directorate and the Baltic countries aswell. The Directorate’s budget for European culture cooperation changes everyyear. The exact budget is not available, but it is quite a modest amount.

Cultural heritage is also a subject in other major cooperation arenas whereNorway does participate: UNESCO, especially through the Nordic World HeritageCentre located at the Directorate in Norway. ICOMOS is another importantinternational arena. The wood preservation committee was under Norwegianleadership for five years. Cultural Heritage issues with relevance for archives,libraries or museums is taken care of by the Norwegian Archive, the Library andMuseum Authority (ABM-utvikling), under The Ministry of Cultural and ChurchAffairs.

1.6. Support to translation and library cooperationThe Council of Cultural Affairs has measures for financial support for organizationsand institutions which invite foreign authors, translators or reviewers to Norway,and book exchanges with foreign countries (Finland, the Baltic countries, Russia).

Norwegian Literature Abroad (NORLA) supports the translation of Norwegianliterature in several European countries: Germany, Austria, Switzerland, GreatBritain, Ireland, France, Lithuania, the Netherlands, Latvia, Poland, Estonia, Italy,Spain, Slovakia, Romania, Croatia, Greece, Portugal, and Hungary. NORLAprovides translation subsidies to publishers of Norwegian fiction abroad,organizes seminars in Norway and abroad for translators and publishers, andinitiates promotional programs abroad. Norwegian Archive, Library and MuseumAuthority also carries out activities of international cooperation.

2. National cultural institutes from foreign countries

British Council NorwayThe Council aims to be a link between the best of contemporary British arts andthe Norwegian arts scene, promoting cultural exchange between the twocountries. It is engaged in all kinds of art forms, exhibitions, seminars and festivals.

Goethe-Institut Inter Nationes OsloThe Institute organises and contributes to a wide range of activities, e.g. seminarsand conferences, exhibitions and concerts. The existing budget is not available,but 10% of the working budget is funds for projects. The grants are decreasing.Approximately 1% of the budget is set aside for cooperation projects withEuropean cultural institutes in Oslo.


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Det franske kultursenteret i Norge (Centre Culturel Francais):The Centre has one division in Oslo and one in Stavanger. The Centre organisesand contributes to a wide range of cultural events and activities. Some of theevents are initiated and accomplished by the Centre, others are carried out incollaboration with Norwegian partners. The Centre supports several importantcultural events in Norway. Budget not available. Italian Cultural Institute – OsloThe Institute contributes to cultural initiatives and arrangements, e.g. exhibitionsand concerts, and the exchange of students and researchers between Norwayand Italy. The Institute is administers scholarships and initiates courses in Italianlanguage and culture, and cooperates with Cinemateket in Oslo.

Finsk-Norsk Kulturinstitutt (”Finnish-Norwegian Culture Institute”), Oslo:This institute is an information and contact centre with a varied programmewhich includes exhibitions, seminars, concerts, literature and theatre nights. TheInstitute administers scholarships from the Norwegian-Finnish Culture Fund.Persons and organisations may apply. Cultural exchange in the fields ofarchitecture, visual arts/arts industry, film and photo, music, theatre, dance andliterature, is regularly funded.

The British, German and French institutes are the most active and the mostimportant regarding Norwegian cultural life. The Finnish institute is still quiteyoung, established in 1997. The Council for Cultural Affairs organises seminars incooperation with the Goethe-Institut Inter Nationes Oslo, the Centre CulturelFrancais and the British Council Norway.

3. Future Events

3.1. Books and reading

September 2004 World Congress of International P.E.N. (Poets, Essayists andNovelists), Tromsø.

2006 Celebration of the Norwegian author Henrik Ibsen.

August 2003 European Conference on Research and AdvancedTechnology for Digital Libraries, Trondheim.

Oslo 2005 International Federation of Library Associations andInstitutions (IFLA) Conference.

3.2. Visual arts

Autumn 2003 Institutional Aesthetics, Bergen.


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Autumn 2003 Oslo Open, Oslo.

May-August 2004 Momentum – Nordic Festival for Contemporary Art, Moss.

2004 Kunst i Nordland (”Art in the county of Nordland”).

3.3. Performing arts

13 June – 21 July Porsgrunn International Theatre Festival, summer, Porsgrunn.2003

Summer Opera Week, Stjørdal.

February 2003 Opera Festival, Winter, Kristiansund.

Autumn Ibsen Festival, National Theatre

The National Theatre and its sister institutions in Sweden and Denmark will becooperating on one major project every year.

3.4. Music

October Ultima, Oslo Contemporary Music Festival, Oslo.

15-22 May 2003 Music Factory, Bergen.

14 June 2003 by:Larm. Scandinavian Music business conference andfestival.

14 June 2003 Norwegian Wood, Oslo.

July 2003 (annual) Kongsberg Jazz Festival, Kongsberg.

14 – 19 July 2003 Moldejazz, Molde.(annual)

May (annual) Nattjazz, Bergen.

August (annual) Oslo Jazz Festival, Oslo.

May (annual) Maijazz – Stavanger International Jazz Festival,Stavanger.


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August (annual) Sildajazz – Haugesund International Jazz Festival, Haugesund.

August (annual) Notodden Blues Festival, Notodden.

July (annual) Førde Folk Music Festival, Førde.

August (annual) Telemarkfestivalen (folk music), Bø in Telemark.

November (annual)Oslo World Music Festival, Winter, Oslo.

August (annual) International Chamber Music Festival, Stavanger.

June (annual) Risør Festival of Chamber Music, Risør.

September–October Trondheim Chamber Music Festival, Trondheim. And:Trondheim 2003 International Chamber Music Competition,every second year.

May (annual) Bergen International Festival (Festspillene i Bergen),Bergen.

June (annual) The Festival of North Norway (Festspillene i Nord-Norge), Harstad.

3.5. Cultural Heritage

July – August St.Olav Festival (Olavsfestdagene) in Trondheim andthe historical (annual) St.Olav play in Stiklestad. The festival includes pilgrimages

and seminars, and chamber music and jazz concerts.Summer, Trondheim and Stiklestad.

3.6. Others:

2005 is the centenary of the dissolution of the Swedish–Norwegian Union. Theevent is a historical jubilee, but will also be celebrated by various projects in thefields of music, staged performances, film and literature. The event will be putinto an international context. The Centennial Celebration – Norway 2005 Ltd.(Hundreårsmarkeringen Norge 2005 as) is coordinating the celebration.


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POLAND


A country with a long and rich cultural tradition yet politically fragile, Poland wasoccupied by Russia, Prussia and Austria in the 18th, and Germany and the SovietUnion in the 20th century. These of course marked cultural production, as well asinternational relations deeply. Two periods characterise the development ofPolish cultural policy in the last 50 years. Distinguishing features of the first period(real socialism) include limited sovereignty, a one-party system and a plannedeconomy. Cultural activities were characterised by a high level of centralisation,institutionalisation and a monopoly of State property. The second period (liberaldemocracy and market economy) recovered Polish independence, introducedparliamentary democracy and principles for a market economy. 1989, the yearof the first democratic parliamentary election, was the watershed year betweenthese two periods. The new principles for organising and financing culturalactivities were formulated in 1993 and included decentralisation, public financialsupport for selected cultural institutions, as well as mechanisms to supplementthe public funding of culture

The direct aim of Polish international cultural policy is presenting the culturalpotential of the country abroad, stimulating interest and facilitating access toPolish culture. Polish international cultural policy within Europe concentrates onthree different groups of countries. Firstly, cultural relations and cooperationactivities undertaken with current EU countries focus on strengthening relations,improving the image of Poland and, especially in some countries, overcomingnegative stereotypes about Poland. Due to the upcoming EU accession ofPoland, these are prioritised relations. Secondly, the neighbouring Central andEast European countries are of great importance, given the joint accessionstatus, and comparable structural changes having affected the countries overthe past decades. In these countries the actions undertaken focus mainly onstrengthening relations and joint action in favour of the extension of the EU.Thirdly, other neighbouring countries have been a focus of Polish transnationalcultural cooperation in order to strengthen and maintain good contacts; thesecountries are not however relevant to this study.

A lot of attention is also paid to matters concerning Polish people living abroad.The main aim of the actions undertaken is enabling Polish people living abroadto have contact with Polish culture and developing their knowledge about thecountry.

The degree of intensity of Polish cooperation based upon bilateral agreementswith other countries differs and often depends on the other party. At themoment, based on interviews carried out in the Ministry of Culture, it is possible tosay that, especially for the neighbouring countries of Central and Eastern Europe,

Annex I – National reports – Poland

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such agreements as a form of cooperation are of great importance. In thegeneral opinion of the experts in future the importance of bilateral governmentalagreements will decrease in favour of direct cooperation between networks,national institutions, etc.


1. Ministries of Culture and Foreign Affairs

International cultural cooperation and the promotion of Polish culture abroadare mostly a joint responsibility of the Ministry of Culture and the Ministry ofForeign Affairs, also to a smaller extent of the Ministry of Education and theNational Committee of Research.

The Ministry of Culture and the Ministry of Foreign Affairs are responsible forworking out the priorities of foreign state cultural policy. The Ministry of ForeignAffairs ratifies the cultural agreements on the government level; the Ministry ofCulture supervises the application of those agreements and the implementationof cultural cooperation programmes. In the Ministry of Culture, mattersconcerning international cultural cooperation are realised on many levels. TheInternational Relations and European Integration Department is responsible forcoordinating all the actions undertaken. The Ministry of Foreign Affairs realises itstasks in the field of international cultural cooperation mainly through PolishInstitutes working beyond the borders of the country.


The programmes related to the promotion of Polish culture abroad andinternational cultural cooperation are generally implemented by two national(governmental) institutions: The Centre of International Cultural Cooperation (theAdam Mickiewicz Institute) in Warsaw, and the International Cultural Centre inCracow.

The Adam Mickiewicz Institute (IAM) for International Cultural Cooperation,established in 2000 by the Ministry of Culture and the Ministry of Foreign Affairs, isresponsible for the coordination of most of the actions related to Polish culturalpromotion abroad. The main aim of the IAM is the popularisation of Polish culturein the world and cooperation in the field of culture with other countries. TheInstitute is also responsible for the realisation of the projects that are the result ofbilateral agreements. The institute does not subsidise single (individual) culturalprojects, instead, based on agreements with its partners, it undertakes its ownpromotion projects within its statutory actions. The IAM also undertakes the tasksappointed by the Ministry of Culture and commissioned by the Ministry of Foreign


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Affairs. In consequence the IAM organizes large scale cultural events abroadsuch as large exhibitions, concerts, musical and theatrical events, movie reviews,literature presentations and scientific conferences. IAM is also responsible for thefollowing activities:

1. The Polish Translator Fund (Translator Programme © POLAND). The aim ofthis programme is to support the publishing of Polish authors’ worksabroad translated into foreign languages. In 2001 over 602,000 PLN(150,000 €) were assigned for this purpose from the budget of the Ministryof Culture. This allowed the publishing of 66 titles in 25 languages.

2. The programme “Closer to Poland” aims to assure access for foreigninstitutions to current general information about Poland, the Polish press,literature, music, film and the popularisation of knowledge about Poland.At present about 1000 people and institutions are taking part in thisprogramme.

3. Organising the national stands on the International Book Fairs andpreparing the literary programme.

4. Creating the integrated information system about Polish culture and thediffusion of this information on the website www.culture.pl.

The activities of the International Cultural Centre (ICC) concentrate on scientificresearch, and educational and cultural programmes in the field of Europeancultural heritage, principally in Central Europe. The ICC’s main goal is to seekmeans for the efficient promotion and protection of Central Europe's culturalarea. The ICC accomplishes its mission through diverse forms: from research toeducation, from promotion of the arts to providing general information (includingorganising a wide-range of conferences and publications). Special attentionshould be drawn to the exhibitions’ programmes (a series of exhibitionspresenting European art from the turn of the century, including Klimt, Kokoschka,Dix, Grosz, and other historical paintings), made possible thanks to co-operationbetween centres in the East and West of Europe. The ICC acts as a link in theEuropean network of cultural establishments.

The implementation of bilateral agreements is largely in the competence ofnational cultural institutions such as the National Library and university libraries,the National Museum, the National Theatre, the Old Theatre, the NationalPhilharmonic, the Zachęta Gallery and the Ujazdowski Castle. As an example,the National Library in the year 2000 organised 88 foreign trips for its employees,the Old Theatre staged 37 performances abroad, the Ujazdowski Castlearranged 5 foreign exhibitions and the Zachęta Gallery organised two.

Polish Institutes are appointed on the basis of bilateral agreements signedbetween the Polish government and the governments of different countries.Financing the institutes is in the competence of the Ministry of Foreign Affairs. Inthe year 2000, the Ministry of Foreign Affairs assigned over 6 million PLN (€1.5million) for their activity. The institutes act in the following countries relevant to thisstudy: Germany (Berlin, Düsseldorf, Lipsk), Slovakia (Bratislava), Hungary(Budapest), Rumania (Bucharest), the United Kingdom (London), France (Paris),


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the Czech Republic (Prague), Italy (Rome), Bulgaria (Sofia), Sweden (Stockholm),Austria (Vienna), and Lithuania (Vilnius)16. Institutes are also planned for Spain(Madrid), Belgium (Brussels) and another one in Germany (Munich). Cooperationis also undertaken through Polish embassies and attachés (cultural and scientificattachés) and the departments of the Polish Academy of Science in Berlin, Paris,Rome and Vienna. The central focus of all the above institutions is the promotionof Poland abroad. This is mainly achieved by presenting Polish culture andinformation about Poland. Institutes act according to their own conceptions,meaning that the managers taking into consideration the principles of culturalpolicy, decide on the shape and range of their activity.

4. Budget

It is not possible to determine unambiguously the total amount spent by theMinistry of Culture and the Ministry of Foreign Affairs on international culturalcooperation. The Ministry of Culture does not have information about totalexpenditures on international cultural cooperation paid for from the ministerialbudget. Thereby, the calculations mentioned below are prepared for thepurpose of this study.

In the year 2000, 837,000 PLN (209,000 €) were transferred from the budget of theMinistry of Culture to the budgetary section European Union Integration. Thesefunds were transferred for international cooperation and the promotion of Polishculture abroad through exhibitions, taking part in international festivals,conferences, expert exchange, travelling allowances, training, etc. Additionally,526,000 PLN (131,500 €) were spent on membership fees for internationalorganizations (UNESCO, WIPO, ICCROM, etc.), travelling allowances for personstaking part in international film festivals, film contests, film conferences andtraining in the field of EU law.

About 8,831,000 PLN (2,208,000 €) were assigned for the promotion of Polishbooks abroad in the year 2000. The sum consists of the following expenses:6,638,000 PLN (1,659,500 €) for organising Polish national stands at InternationalBook Fairs, 1,593,000 PLN (398,000 €) for organising literary programmes within thepreparations for Frankfurt 2000, 500,000 PLN (125,000 €) for the Polish TranslatorFund and 100,000 PLN (25,000 €) for the service of Polish literary translators.

Significant funds were given to governmental institutions handling the promotionof Polish culture abroad and realising large projects abroad. The Adam

16 Polish Institutes in other countries: Israel (Tel Aviw), Russia (Moscow, Sank Petersburg), Ukraine(Kiev), United States of America (New York)


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Mickiewicz Institute received 697,000 PLN (174,000 €) - (established in 2000), andadditionally 1,500,000 PLN (375,000 €) for the organisation of Europalia 2001. TheInternational Cultural Centre received 1,222,000 PLN (305,000 €).

In the budgetary section covering other expenditures connected with cultureand arts, The Ministry of Culture devoted 2,686,000 PLN (671,000€) to internationalcooperation. Through this section foreign trips, delegations, training, seminars,performances of Polish artists abroad, etc were financed. For the preservation ofcultural heritage abroad the sum of 651,000 PLN (163,000 €) was assigned. Directexpenditure on the promotion of Polish film abroad came to a total of 1,297,000PLN (324,000 €).

Summing up the expenses of the Ministry of Culture on international cooperation,a total sum of 18,349,000 PLN (4,624,000 €) was spent in 2000, which constituted1,7% of the budget of the Ministry of Culture that year. It is to be rememberedthat this is an (under-) estimate. The subsidies granted for this purpose very oftencome from different departments that do not collect separate statisticsconcerning international cultural cooperation. It should be also emphasized thathigh share of expenditures for book promotion in the total budget forinternational cultural cooperation in 2000 was mostly caused by the presence ofPoland as guest of honour on International Book Fair in Frankfurt.

Tab. 1 The main expenditures from the budget of The Ministry of Culture forinternational cooperation in the year 2000

Category In thousand PLN in thousand €European Integration 1,363 341Book promotion 8,831 2,208Activity of IAM and ICC 3,419 855Film 1,327 332Other 3,337 834Total 18,349 4,624

Own calculation, based on: Annual Report of Ministry of Culture, Warsaw, 2001

It’s worth mentioning that funds for international cultural cooperation also comefrom the budgets of national cultural institutions (such as the Zachęta Gallery, theUjazdowski Castle, the National Theatre, the National Library, universities, etc).

In the year 2000 the Ministry of Foreign Affairs assigned over 6 million PLN (1.5million €) for the activities of Polish Institutes abroad.



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The most important document concerning international cultural cooperation is adocument prepared by the Ministry of Foreign Affairs and the Ministry of Culture,entitled Polish Foreign Cultural Policy – priorities for the period 2001-2003. Thisdocument is planned to be prepared every three years. Important implicationsfor foreign cultural policy are also indicated in the year 2000 programmeadopted by the Cabinet: the Government Frame Programme of ForeignPromotion of Polish Accession to the EU. In the year 2002, the Cabinet alsoaccepted the “Governmental programme of cooperation with Polish peopleliving abroad” coordinated by The Ministry of Foreign Affairs.

2. Bilateral and multilateral agreements

The negotiations on the content of intergovernmental agreements and thecooperation programme in the field of culture and science are under theresponsibility of the Ministry of Foreign Affairs, with the participation of otherministries, mainly the Ministry of Culture. Poland signed bilateral agreementsconcerning cultural cooperation with all the countries that are the subject of thisresearch excluding Ireland, Liechtenstein and Sweden17. With Iceland, Polandexchanged only diplomatic notes related to cultural cooperation in the year1970.

Cultural agreements are bilateral treaties for which the Ministry of Foreign Affairsand the Ministry of Culture are jointly responsible. The agreements cover all thefields of competence of the Ministry of Culture: arts, cultural heritage, libraries,archives and cultural institutes. The first agreement was concluded with Norway,and most date from the 1990s. Three bilateral agreements with the CzechRepublic, Italy and France are currently being negotiated or prepared and willreplace the ones signed earlier.

Tab. 2 Bilateral agreements in the field of culture signed by the PolishGovernment with other European governments

Period Number of signed agreements

2000-1990 14

1989-1980 0

1979-1970 9

1969-1960 4

17 Polish –Swedish cultural cooperation is based on the cultural cooperation programme. The nextone, for the period 2003-2006 is being prepared.


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1959-1950 1

The agreements differ in the range of legal settlements, the degree ofcircumstantialities of decisions and law solutions. At times the range ofsettlements goes beyond the field of cultural cooperation and also embracesactions from the field of science and education. In all the agreements there aregeneral references to cooperation in training and mobility, arts production,distribution and dissemination, activities in the field of restoration and heritagepreservation, support for translation and library cooperation, and culturalpromotion. The agreements are implemented by means of 2-3 year culturalcooperation programmes in which the means of realisation of the agreementsare defined in detail.

The bilateral agreements which Poland signed with other countries do not ingeneral give too much detailed information about the means of culturalcooperation. Rather they encourage cooperation and the undertaking ofcommon actions in the field of culture, as stated by a few Polish experts"they create a friendly and kind atmosphere for cooperation". Theseagreements are:

1. The basis for future initiatives which are specified in 2-3 year long culturalcooperation programmes (executive programmes). In the Polish case it isdifficult to prepare detailed executive programmes because of the one-year budgetary cycle.

2. The basis for implementing other mechanisms of cultural cooperation (forexample translation funds which are not directly mentioned in bilateralagreements or executive programmes).

3. The basis for signing bilateral agreements between national institutions. Forinstance, the Polish National Library signed bilateral agreements with 19libraries, the exchange of publications involves more than 140, but all ofthis activity is a direct result of bilateral governmental agreement orexecutive programmes.

Different countries attach different importance to these agreements, in the caseof Poland such documents are much more important for Eastern and CentralEuropean countries than for Western Europeans. The opinions of the experts onthe importance of governmental, bilateral agreements in the future vary. Someof them think that they've lost their significance due to other forms ofcooperation (e.g. networks, institutions), of course others have totally differentopinions.

Bilateral agreements in the fields of culture signed by Polish Government withother European governments:


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1. Bilateral agreement between The Government of the Republic of Polandand The Government of the Republic of Slovakia about cultural,educational and scientific cooperation, signed in Bratislava in 23rd ofMarch 2000

2. Bilateral agreement between The Government of the Republic of Polandand The Government of the Republic of Lithuania about cultural,educational and scientific cooperation, signed in Vilnius 17th ofDecember 1998

3. Bilateral agreement between The Government of the Republic of Polandand The Government of the Federal Republic of Germany about culturalcooperation, signed in Bonn 14th of July 1997

4. Bilateral agreement between The Government of the Republic of Polandand The Government of the Republic of Romania about cultural,educational and scientific cooperation, signed in Warsaw 23rd of June,1994

5. Bilateral agreement between The Government of the Republic of Polandand The Government of the Republic of Slovenia about cultural,educational and scientific cooperation, signed in Warsaw 14th ofFebruary, 1994

6. Bilateral agreement between The Government of the Republic of Polandand The Government of the Republic of Bulgaria about cultural,educational and scientific cooperation, signed in Warsaw 25th ofFebruary 1993

7. Bilateral agreement between The Government of the Republic of Polandand The Government of the Republic of Estonia about cultural andscientific cooperation, signed in Tallinn 2nd of July 1992

8. Bilateral agreement between The Government of the Republic of Polandand The Government of the Republic of Hungary about cultural andscientific cooperation, signed in Budapest 13th of October 1992

9. Bilateral agreement between The Government of the Republic of Polandand The Government of the Republic of Latvia about cultural,educational and scientific cooperation, signed in Riga 1st of July 1992

10. Bilateral agreement between The Government of the Republic of Polandand The Government of the Czech and Slovak Republics about culturaland scientific cooperation, signed in Prague 16th of September 1991.

11. Bilateral agreement between The Government of the Republic of Polandand The Government of the Duchy of Luxemburg about cultural andscientific cooperation, signed in Luxemburg 19th of March 1990

12. Bilateral agreement between The Government of the Republic of Polandand The Government of the Republic of Turkey about cultural,educational and scientific cooperation, signed in Ankara 24th of October1990 r.


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13. Bilateral agreement between The Government of the Republic of Polandand The Government of Malta about cultural and scientific cooperation,signed in Valetta 11th of December 1990 r.

14. Convention between The Government of The Polish Peoples’ Republicand The Government of the United Kingdom and North Ireland in the fieldof cultural, educational and scientific cooperation, signed in London 7thof November 1978

15. Bilateral agreement between The Government of Polish Peoples’ Republicand The Government of Spain about cultural, educational and scientificcooperation, signed in Warsaw, 27th of May 1977.

16. Bilateral agreement between The Government of the Polish Peoples’Republic and The Government of the Republic of Greece about culturaland scientific cooperation, signed in Athens 31st of March 1976

17. Bilateral agreement between The Government of the Polish Peoples’Republic and The Government of Republic of Portugal about cultural andscientific cooperation, signed Warsaw 30th of September 1975

18. Bilateral agreement between The Government of the Polish Peoples’Republic and The Government of the Kingdom of Belgium about culturaland scientific cooperation, signed in Warsaw 18th of October 1974

19. Bilateral agreement between The Government of the Polish Peoples’Republic and The Government of the Republic of Finland about culturaland scientific cooperation, signed in Warsaw 8th of March 1973

20. Bilateral agreement between The Government of the Polish Peoples’Republic and The Government of the Republic of Cyprus aboutcooperation in the field of culture, education and science signed inNicosia 1st of February, 1973

21. Bilateral agreement between The Government of the Polish Peoples’Republic and The Government of the Republic of Austria about culturaland scientific cooperation, signed in Vienna 14th of June 1972

22. Agreement between The Government of the Polish Peoples’ Republic andThe Government of the Republic of Iceland about cultural cooperation,Warsaw, 23rd of May, 1970

23. Cultural agreement between The Government of the Polish Peoples’Republic and The Government of the Kingdom of The Netherlands, signedin Warsaw, 22nd of August, 1967

24. Cultural agreement between The Government of the Polish Peoples’Republic and The Government of the French Republic, signed in Warsaw,20th of May, 1966

25. Cultural agreement between The Government of the Polish Peoples’Republic and The Government of the Republic of Italy signed in Warsaw25th of March 1965


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26. Cultural agreement between The Government of the Polish Peoples’Republic and The Government of the Kingdom of Denmark, signed inCopenhagen 8th of June 1960

27. Cultural agreement between The Government of the Polish Peoples’Republic and The Government of the Kingdom of Norway, signed inWarsaw 17th of December 1958

Bilateral agreements in the field of culture in negotiation process

1. Bilateral agreements in the field of culture between The Government ofthe Polish Republic and The Government of the Czech Republic (as areplacement of an agreement from 1991)

2. Bilateral agreements in the field of culture between The Government ofthe Polish Republic and The Government of the Republic of France (as areplacement of an agreement from 1966)

Bilateral agreements in the field of culture in the process of preparation

1. Bilateral agreements in the field of culture between e the Polish RepublicThe Government and The Government of the Republic of Italy (as areplacement of an agreement from 1965)



Polish public authorities support transnational cultural cooperation in many ways,especially by:

� Preparing the documents / programmes supporting international culturalcooperation, and providing administrative and financial support for theexecution of the bilateral agreements/cultural cooperation programmes

� Widening the network of Polish Institutes and cultural attachés abroad,

� Taking part in international organisations or initiatives (for instance, PolishNational Television signed an agreement associating it with EuropeanCultural Television ARTE presenting the most important cultural events inBelgium, France, Germany, Switzerland, Austria, Finland, Spain)

� Establishing the national institutions responsible for the promotion of Polishculture abroad and international cultural cooperation (IAM, ICC). Amongthe large scale multidisciplinary projects coordinated by the IAM, thefollowing deserve special attention: the Polish Year and Festival Europaliain Belgium and the Benelux countries in 2001, the Polish Year in Spain in


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2002, the Polish Year in Austria 2002-2003 and the Polish Year in Sweden in2003, the Polish cultural season in France 2004.

� Funding for particular projects implemented by Polish associations andfoundations. In the year 2000 the biggest funds were assigned to the W.Wieniawski Association for organising the International Violin Contest inPoznań (970,000 PLN or 243,000 €), and the Association of PolishComposers for organising the International Contemporary Music Festival“Warsaw Autumn” (750,000 PLN or 188,000 €).

Tab. 3 The biggest international cultural events in Poland supported from thebudget of the Ministry of Culture (MC) in 2000

Field of culture MC expenditures Music In thousand PLN In thousand €

International Violin Contest W. Wieniawski,Poznań

970 242,5

International Contemporary Music FestivalWarsaw Autumn, Warsaw

750 187,5

International Festival Wratislava Cantas 450 112,5International Contest of Young Violin Players,Lublin

180 45

International Festival of Sacral Music GaudeMater, Czestochowa

180 45

International Chopin Festival, Duszniki 150 37,5International Festival of Musical Individualists,Lodz

110 27,5

International Festival of Orthodox Music,Hajnówka

80 20

TheatreInternational Theatre Festival, Kontakt, Toruń 480 120International Theatre Festival Malta, Poznań 200 50International Theatre Festival Confrontation,Lublin

150 37,5

International Festival of Theatre Schools, Lodz 100 25Visual Art

International Graphic Art Triennale, Krakow 166 41,5Film

International Film Festival Lubuskie FilmSummer

150 37,5

International Festival of Film Art Camerimage,Lodz

200 50

International Short Subject Film Festival,Cracow

400 100

International Festival of Childrens Film 100 25Other


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International Festival of Puppet Art, Bielsko-Biała

240 60

Jewish Culture Festival, Cracow 260 65International Festival of Folklore, Pila 80 20

Based on the Annual Report of the Ministry of Culture, Warsaw, 2001

1.1. Training and mobility

� The Polish–Hungarian cultural cooperation programme 1998-2000 allowedfor the exchange of 70 experts for 330 days (60 days reserved fortranslators and literature critics )

� The Polish–Spanish cultural cooperation programme 2000-2002 providedfor the exchange of experts for 14 weeks.

� The Polish–Belgian cultural cooperation programme 2003-2005exchanged one expert from the field of art, cultural heritage andarchitecture for a period no longer than 80 days.

� The Polish–Austrian cultural cooperation programme 1997-1999 allowedfor the exchange of experts from the librarian field for 20 days.

The exchange visits, training and bursaries apply to all the cultural fieldsmentioned below.

1.2. Arts production

The Polish Institutes and other foreign diplomatic agencies cooperated on artsproduction across all sectors. In France, and on the occasion of the J.Malczewskiexhibition of paintings in the Musee d’Orsay, an exhibition of the painter’sdrawings was held in the Polish Institute in Paris. The Polish embassy in The Hagueorganised a small Polish festival in Amsterdam and a Polish Week in Maastricht;and in Italy, the festival of Bruno Schulz was organised with the help of the PolishInstitute in Rome. In Sweden, the “Sopot Days” with a broad cultural programmewere organised with the help of the Polish Institute in Stockholm. Othercooperation in the arts sectors include:

a. Theatre

� Polish-Italian cultural cooperation between the Drama Art Academy ofPalmi and the National Theatre Academy of Warsaw.

b. Music

� The Polish-Austrian cultural cooperation programme 1997-99 producedthe participation of Austrian musicians in the International Music FestivalWarsaw Autumn, International Festival of Oratorian and Cantas MusicVratislava Cantas in Wroclaw, and the participation of Polish musicians in


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the International Wiener Music Festival, Bregenzer Festpiele, and ChopinFestival,

� The Polish–Romanian cultural cooperation programme 1997-2000 allowedthe participation of Romanian artists in the International Festival ofContemporary Music “Warsaw Autumn” and the International VocalContent Moniuszki, as well as the participation of Polish artists in theInternational Music Content D. Lipatti and the International Music FestivalG. Enescu.

� In the cultural cooperation programmes with Spain, Italy and France, thepromotion of F. Chopin’s music is strongly emphasised

c. Exhibitions (contemporary art.) .

� During the Polish–Spanish cultural cooperation programme 2000-2002, theSpanish party organised an exhibition of “Gaudi, Picasso, Miro, Dali andTapies: the Catalan Masters of the XX century” in the Zachęta Gallery inWarsaw and in The National Museum in Cracow. The Polish partyorganised an exhibition “ Art from Poland” in Spain.

� During the Polish–Italian cultural cooperation programme 1999-2002, thesculpture exhibition of M. Abakanowicz and K.Kobro was organised inRome; and the Polish–Italian cultural event “De composition - culture andart at the beginning of the year 2000” was organised in Rome andWarsaw.

� On the basis of a bilateral agreement between Poland and Portugal,cooperation was instigated between the Gulbenkian Foundation in Lisbonand the Zachęta Gallery in Warsaw. The main aim of the cooperation isthe exchange of exhibitions. Cooperation between the Centre of PolishSculpture in Orońsk and the Centre of Sculpture in Pero Pinheiro was alsoinitiated.

1.3. Restoration and Heritage Preservation

� Within the Polish-Spanish cooperation, the Independence Museum inWarsaw undertook the patronage of the House of Memory of Puerto deSomosierra.

� Within the Polish–Italian cultural cooperation programme 1999-2002 anexchange of Italian masterpieces of art took place. The Lady with anErmine, by Leonardo da Vinci, was presented in Italy, and Lady with a Veiland Venus from Urbino, by Rafael, were presented in Poland. Thecooperation also includes the training of conservators. The cooperationbetween the International University Centre and the Academy of Fine Artsin Cracow can serve as an example. Their cooperation is conductedwithin the Tempus programme.

1.4. Translations and Library Cooperation


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� During the Polish–Italian cultural cooperation programme 1999-2002, anarchival exhibition dedicated to Queen Bona was prepared by the StateArchives in Cracow and State Archives in Bari.

� Cooperation was coordinated by the National Library to document theso-called displaced Polish collections that have not been repatriated andcollections that belong to the cultural heritage of neighbouring states, butcurrently are held by Polish libraries.

� During the Polish–Spanish cultural cooperation programme 2000-2002, anexchange of Polish and Spanish language teachers was organised Thesame kinds of exchange programmes are organised, among others, withItaly, Hungary and the United Kingdom.

� There are cultural cooperation programmes with most of the countries inthe field of book promotion by organising national stands duringInternational Book Fairs

� University libraries cooperate, especially in the field of exchange ofexperiences, librarians, exhibitions and books.

2. Foreign Cultural Institutes

Cultural institutes of several countries are active in Poland. They are the AustrianCultural Forum, the Bulgarian Cultural Institute, the Czech Centre, the FrenchInstitute, the Cervantes Institute, the Goethe Institute, the Slovakian Institute, theHungarian Cultural Institute, the Italian Cultural Institute and the British Council.The main aim of these institutes is to promote the culture and science of theirown country in its various aspects, by maintaining libraries, organising exhibitions,theatre shows, concerts, promoting cinematographic production, lectures andlanguage courses. They also provide financial support for cultural exchangesinvolving artists active in all fields of culture.

Examples of activities undertaken by institutes:

� The British Council supports university language centres, coordinateslibraries, language courses, and congresses (for example every 1-2 yearsthe symposium “British Culture” in cooperation with the Lodz University) , aswell as different cultural programmes (for example every year the BritishCouncil invites British poets to the Poetry Festival in Legnica). It alsosupports exchanges between Poland and United Kingdom.

� The Austrian Cultural Forum cooperates with publishing houses, galleries,and theatres.

� The Goethe Institute organises the “Inter Nationes Library” in Cracow, aninformation centre, which provides information about German social,economic and cultural life.


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� The Danish Institute organises exchange visits between experts andindividuals.

3. Future Events

Most events with a European relevance to take place in the coming years areannual events, some of which have been held for many years now. They arelisted under sectorial headings rather than chronological ones.

3.1. Books and Reading

May International Book Fair, Warsaw

3.2. Visual Arts

July- August International Print Triennial, Cracow,

International Poster Biennale, Warsaw

3.3. Performing Arts

June International Theatre Festival Malta, Poznan.

September International Street Theatres Festival, Cracow.

March International Alternative Theatres Festival, Cracow

April- May Cracovian Ballet Spring, ,Cracow

June-July 2003 International Contemporary Dance Festival, Warsaw

(every two years)

3.4. Music

August International Music Festival in old Cracow, Cracow

September International Music Festival “Warsaw’s Autumn, Warsaw

April International Music Festival, L.van Beethoven Easter Festival,Cracow

International Sacral Music Festival, Czestochowa

May International Festival, The Old and the Young or Jazz in Krakow,Cracow

June International Festival of J.S.Bach, Świdnica,

June Warsaw Summer Jazz, Warsaw

International Violin Contest of W. Wieniawski, Poznań

May International Orthodox Music Festival, Hajnówka


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June-August International Organ Music Festival, Gdańsk-Oliwa

June Mozart Festival, Warsaw

May-September Chopin Concerts, Warsaw (every Sunday)

September International Music Festival "Wratislavia Cantans", Wroclaw

International Pianist Contest of F.Chopin, Poznań

3.5. Other

July Jewish Culture Festival, Cracow

July International Media Art Festival, Poznań

May Wro – Media Art Biennale, Wroclaw