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MAPPING CULTURAL DIVERSITYGood PRacticES fRom aRound thE GLobE

A Contribution to the Debate on the Implementation of the UNESCO Convention on the Diversity of Cultural Expressions

Published by: German Commission for UNESCO (DUK)Colmantstr. 15, 53115 Bonn, GermanyTel. +49 (0) 228 6 04 97-0Fax +49 (0) 228 6 04 97-30sekretariat@unesco.dewww.unesco.de

Editors:Anupama Sekhar (ASEF)Anna Steinkamp (DUK)

The editors reserve the right to select contributions and photos for inclusion in the publication and to edit the contri-butions submitted. Contributions by authors do not always reflect the opinion of the editors.

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All rights reserved © German Commission for UNESCO / Asia-Europe Foundation, November 2010

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ISBN 978-3-940785-22-0

This publication received funding from the Federal Foreign Office of the Federal Republic of Germany.

ASEF’s contribution is with the financial support of the European Commission.

Photos front cover:Amuneri Kuikuro filming the Kuikuro indigenous watching a projection of old movies about their own ethnicity

XIV Edition of the Biennale of Young Artists from Europe and the Mediterranean, Skopje, FYROM, 2009

Reconstruction of cultural facilities in Manyikeni, Mozambique: Students visiting the archaeological site

WOMEX 2009 Audience

Photo back cover:Living Culture, Teia 2010, Ponto de Cultura Floresta Criativa – Tambores da Floresta, São Luiz, Brazil

Mapping Cultural Diversity – Good Practices from Around the Globe A Contribution to the Debate in the Implementation of the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions

– A Project of the U40-programme „Cultural Diversity 2030“ –

Asia-Europe Foundation (ASEF)31 Heng Mui Keng TerraceSingapore 119595Tel. +65 6874 9700Fax: +65 6872 1135info@asef.orgwww.asef.org

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Contents

Forewords .............................................................................................................................................................................................................8Ambassador Dominique GirardExecutive Director, Asia-Europe Foundation

Walter HirchePresident, German Commission for UNESCO

Editorial Introduction ..........................................................................................................................................................................10 Objectives, Scope and Limitations of the PublicationAnupama Sekhar, Anna Steinkamp

Cultural Diversity in Times of Globalisation: Why Knowledge Matters .........................................12Ways, Measures and Possibilities for implementing Articles 9 and 19 of the ConventionChristine M. Merkel, Nina Obuljen

Mapping Cultural Diversity – Good Practices from around the Globe

chapter 1Policy Measures, Programmes and Structures

Social and Cultural Development through Cultural Diversity ...................................................................17Living Culture Programme, BrazilGiuliana Kauark, Lilian Richieri Hanania

An International Laboratory for Diversity .......................................................................................................................22The Catalan Law of CinemaMartí Petit, Jordi Baltà Portolés, Laura Gómez Bustos, Núria Reguero

For a New European Union External Cultural Strategy .....................................................................................26A French Proposal on how to deal with Cultural Cooperation in International Trade Agreements Lilian Richieri Hanania

New Impulses for Cultural Policy Development ......................................................................................................29The Inter-ministerial Working Group on the Improvement of the Social Situation of Artists in AustriaYvonne Gimpel

The Voice of a Canadian Minority Heard by Federal Cultural Agencies ..........................................32An Agreement that nurtures Francophone Arts and Culture Guillaume Sirois

Raising awareness: ASEM Seminar “Preserving and Promoting the Diversity of Cultural Expressions: Sharing Asian and European Experiences” ..........................................................................................................................21

Raising awareness: Cultural Diversity Department, Toluca de Lerdo, Mexico ...........................................................................................28

Raising awareness: Understanding the UNESCO Convention: Seminars on Cultural Diversity in Several Cities and Regions in Brazil ..........................................................................................................................................35

Raising awareness: Activities of the International Federation of Coalitions for Cultural Diversity (IFCCD)spread out through the publication

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chapter 2 Protecting and Promoting Cultural Expressions

Empowering Independent Filmmakers .............................................................................................................................37Public Service Broadcasting Trust, IndiaAnupama Sekhar

Enhancing Cooperation, Exchange and Capacity Building for the Arts ........................................40The Harare International Festival of the Arts (HIFA)Jesmael Mataga

Revitalising the Role of Literature in America .........................................................................................................44The Big ReadAimee Fullman

A Showcase for Cultural Diversity .......................................................................................................................................46Cultural festivals in AlgeriaAmmar Kessab

Enabling Communities Re-discover their Cultural Wealth ...........................................................................49Toluca, United by Music: Contest of Traditional and Popular SongsGabriela Sanchez Villegas

A Model for Cinematographic Diversity .........................................................................................................................50The Micro-cinema NetworkJulio César Vega Guanilo

An Independent Film Festival in Colombia Celebrates Diversity ..........................................................54International Festival of Cinema without BordersSandra Velásquez Puerta

A Catalyst for a Vibrant Theatre Culture .......................................................................................................................55Prithvi Theatre, Mumbai Anupama Sekhar

A Contemporary Music Hub .........................................................................................................................................................58The Global Music Academy, BerlinTina Gadow

The Independent Voice of Contemporary Vietnamese Artists .................................................................61San Art, Ho Chi Minh CityHuong Le Thu

Building Bridges between Art and Society in Latin America ....................................................................64Latin American Network of Art for Social TransformationAntonia Mehnert

Nurturing a Film Community in Singapore ..................................................................................................................67Moving Images: The Film Programme of The Substation Anupama Sekhar

Raising awareness: Targeted Communication of the Convention ......................................................................................................................66Cooperation with the International Literature Festival, Berlin

chapter 3International Cooperation

A Sustainable Development Cooperation for Cultural Diversity ..........................................................71Culture and Development: An Initiative of the German Goethe-InstitutFriederike Kamm

Women, on Your Marks! ...................................................................................................................................................................75Engagement Féminin: Engaging Women Dancers in West AfricaMoussa Dabone

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Multicultural Music Marathon ...................................................................................................................................................77WOMEX – the World Music ExpositionBirgit Ellinghaus

Strengthening Cultural Diversity and Creativity in the Mediterranean Area ...........................79The Biennale of Young Artists of Europe and the MediterraneanFrancesca Cominelli, Karsten Xuereb

Nurturing the Next Generation of Southern African Musicians ............................................................82Music Crossroads Daniel Gad

Culture and Creativity for Social and Economic Growth ..............................................................................85The FOMECC Programme of the Interarts Foundation in Colombia, Honduras, Peru and Senegal Jordi Baltà Portolés, Friederike Kamm

Fostering Cultural Diversity in the Mediterranean ...............................................................................................88The Cities of the Mediterranean ProjectFrancesca Cominelli

“It’s all about Cooperation” ........................................................................................................................................................90The World Cinema FundAnna Steinkamp

chapter 4Capacity Building

Building Capacities in Cultural Policy and Management ..............................................................................93Three Projects show the Way in Turkey, Moldova & UkraineÜlkü Zümray Kutlu, Ayca Ince, Dilia Ham, Tsveta Andreeva

Policies Revealed .....................................................................................................................................................................................98Surveying and Developing Cultural Policies in Algeria, Egypt, Jordan, Lebanon, Morocco, Palestine, Syria, TunisiaTsveta Andreeva

Connecting Asia with Itself .......................................................................................................................................................101Arts Network AsiaAnupama Sekhar

Engaging Youth through Arts and Culture ..................................................................................................................104Ignite the Americas: Youth Arts Policy ForumAndréane Aubé

chapter 5Culture and development

Empowering Indigenous Communities through Audiovisual Work .................................................107Video in the Villages, Brazil Piatã Stoklos Kignel

Archives as Empowering Resource Centres for Communities ............................................................110The Digital Community Archives of the National Folklore Support Centre, ChennaiAnupama Sekhar

chapter 6Information Sharing, Exchange and Analysis

Connecting Asia and Europe online through Arts and Culture ............................................................114culture360.orgRamona Laczko David

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Assessing the Diversity of Cultural Expressions ................................................................................................117The French Observatory of Music Diversity on TelevisionHeritiana Ranaivoson

A Journey through Colombian Music .............................................................................................................................119The Cartography of Musical Expressions in ColombiaSandra Velásquez Puerta

Connecting the Creative Sector in Africa ..................................................................................................................122The Arterial NetworkJesmael Mataga

Artistic and Political News, Discussions, Research and Education on and through Cultural Diversity ......................................................................................................................................127Brazilian Observatory for Cultural DiversityNísio Teixeira

Comparative Cultural Policy Monitoring .....................................................................................................................130Compendium of Cultural Policies and Trends in Europe

Pioneering a New Era in Cultural Journalism .........................................................................................................131Overmundo – the Collaborative Website from Brazil Felipe Arruda

One Stop Shop for Information on African Cultural Policy .....................................................................134Observatory of Cultural Policies in Africa, OCPAJesmael Mataga

Raising awareness: Latin American and Caribbean Agenda for Cultural Diversity ............................................................................137Commemorating the Signing of the UNESCO Convention for the Protection and Promotion of the Diversity of Cultural Expressions

The U40-Vector of the ConventionThe International Capacity Building Programme on Cultural Diversity 2030 ...............................................138Anna Steinkamp

About the Publishing Institutions ..................................................................................................................................................146

Index of Photos ...........................................................................................................................................................................................147

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Nurturing the Next Generation of Southern African Musicians music crossroads

daniel Gad

Young people in the Southern African region have little opportunities to be supported in cultural activities and express themselves freely. Cultural infrastructure is weak owing to the limited availability of teachers, equipment and funding. In short, due to low commitment by public authorities. At the same time, the talent of young people is undeniable. Music is one of the most powerful voices for the young people in the region to develop their personalities and communicate with others. In facilitating this access to music and music education, Music Crossroads creates the basis for a vivid cultural sector and independent creative industries.

Music is, without doubt, one of the most pow-erful means of expression, especially for

young people. Over the last 15 years, one project has been harnessing the transformative power of music to empower young people in the Southern African region and nurture their immense musi-cal talent. this is Music Crossroads International, a youth empowerment-through-music project, reaching out to young people aged between 15 and 25 years of age in Malawi, Mozambique, tanzania, Zambia and Zimbabwe through oppor-tunities for musical performance, training and mentoring. Currently, the programme reaches over 75 000 musicians and a combined annual audience of over 100 000 in five countries.

How has this been achieved? primarily, through over 40 annual festivals, performance training and international band tours, as well as workshops focused on music rights awareness, social inter-action, gender issues and HIv/AIDS prevention, organised by the national training Centres in the five countries.

the story of Music Crossroads (MC) begins in 1995 when it was initiated by Jeunesses Musi-cales International, the world’s largest youth and music network. Currently, MC is a Barcelona-based NgO implementing national responsibili-ties in partner countries. With support from the Swedish International Development Coopera-tion Agency (SIDA), the Norwegian Agency for Development Cooperation and UNESCO, MC has developed into one of Africa’s largest cul-tural projects and ranks among the continent’s most important youth empowerment projects. Additional funding comes from Spanish sources.

Festivals and Training Centres that Nurture Talent At the heart of the MC project are its festivals, which are organised on regional, national and interregional levels and serve as a musical bridge between the five participating African nations. thirty-four provincial and five national festivals are followed by the grand finale of the Inter-regional Festival every year, wherein two best bands from each country perform and compete for international tours, studio recordings, and instru-ment prizes.

Each festival is made up of at least two full days of performances, workshops, trainings, concerts, jam sessions and competitions. the winners of the competitions are invited to participate in the next level of the festival, thus moving from pro-vincial and national to interregional. In addition to gaining a chance to compete in the Interregional Festival, provincial and national festival winners also gain access to studio recordings and concert engagements, instrumental in launching their musical careers. Music Crossroads further supports selected art-ists and bands build sustainable musical careers, at home and abroad, by offering them training in musical performance, song writing and arrange-ment, as well as providing band management and information on music rights. the best young tal-ents of the five Southern African countries are, thus, provided much-needed mentoring and sup-port at the first and most crucial stage of their musical careers.

the National training Centres set up through the project in the five countries also play a significant

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role. these centres run year-round programmes for aspiring artists, while also providing them with rehearsal space and training equipment. Fur-ther, the centres also offer opportunities for chil-dren, young artists and bands to develop their life skills between the festivals.

through its activities, the MC programme aims to fulfil three goals. Firstly, at the musical level, it seeks to present all styles of music and provide skills development and professional training for young musicians. Secondly, at the social level, it seeks to stimulate self-awareness in young people in order to inspire them to contribute positively in their immediate environments. to this end, MC offers unique opportunities for interaction across cultural, ethnic, economic, language and national boundaries. the festivals also address pressing social issues such as HIv / AIDS through work-

shops, which give the participants the unique opportunity to discuss sexuality, gender and rela-tionships and learn how to take personal action against the further spread of AIDS. Finally, the project seeks to develop independent and sus-tainable cultural infrastructure by encouraging existing music and youth networks to become committed partners. While musical talent is abun-dant in the region, young artists often have little access to formal musical training or even instru-ments. In this context, the MC project has helped build new national and regional partnership struc-tures for open and sustainable dialogue.

Towards a Sustainable Model of EngagementMC plans to continue its work with foreign finan-cial support until national and local structures have been successfully established to ensure

What music makes to your inside inner growth, Music Crossroads International

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sustainability. the goal is to eventually estab-lish national music education platforms in par-ticipating countries. By developing national-level infrastructure for the programme, it is hoped that public and private co-funding can eventually be sought within each country. For example, the Ministry of youth in Mozambique has begun to co-fund the Mozambican section of the pro-gramme since 2008. However, the Mozambican case is a rare example and sustainable national financial structures are far from being fully imple-mented.

two mid-term reviews of the project have been commissioned by SIDA. In 2004-05, researchers Hope Chigudu (Zimbabwe) and Daniela rüdiger (germany) visited all five participating countries to assess how the MC project was contributing to youth empowerment, poverty alleviation, social inclusion and delivery of music, life skills as well as its effects on local communities and the music industry. the result was encouraging, although the question of gender imbalance among benefi-ciaries was highlighted. this review formed the basis of MC’s strategy for programming between 2006 and 2010.

In 2009, the second review was conducted by Nicolette du plessis (South Africa), who visited all five African countries, as well as Music Cross-roads International in Europe. By this time, local MC offices had become independent as national NgOs. Hence, the evaluation specially focused on the development and maintenance of long-term structures and networks. the review under-lines the importance of informal networking by national MC operators as a further step towards autonomy, while continuing the good relations with the MC head office. Again, the mid-term review constituted one of the pillars upon which the new strategy of 2011-13 is being built.

In addition, two Baseline Surveys were conducted in 2006 and 2010 with the purpose of measuring individual development as part of the cultural development programme.

Expanding Music Crossroadsthe programme has the potential for replication in different parts of the world. In fact, the MC project is itself modelled on the similarly-struc-tured Musik Direkt programme that supported young musicians in Sweden. A feasibility study has recently been conducted in Western Africa (covering Cape verde, Ivory Cost, ghana, Mali and Senegal) to identify existing needs of and opportunities for young people in music towards a possible pilot MC project in the region. Further, several African countries have shown interest in

becoming MC partners. the main challenges will be finding adequate local partners and long-term funding sources.

the MC project believes that better trained pro-fessional musicians and more enlightened music listeners will contribute to the growth of the music industries and increase the status of musi-cians. In working towards this goal, the project embodies the spirit of the UNESCO Convention, which recognises the diversity of cultural expres-sions as an important factor allowing individuals to express and to share their ideas and values with others and emphasises the vital role of cultural interaction and creativity.

As the project attempts to build cultural infra-structure at national level, there remain ample opportunities for collaboration between Music Crossroads International and public institutions to build national music education platforms to further develop and promote the free exchange of cultural expressions and activities. the project continues to serve as a good example of partner-ship, international cooperation and education. It contributes to the building of a sustainable crea-tive sector in the countries where it works by dili-gently building the capacities of future artists.

More information:

www.music-crossroads.net

Daniel Gad is a cultural policy researcher with a special focus on culture and development. He works closely with the Institute for Cultural Policy at University of Hildesheim, the German NGO Pan y Arte, the Goethe-Institute et. al. He participated in the pilot U40-Mentee programme in 2007.