The following document, which was prepared by the Unit for ...€¦  · Web viewCULTURE AND HIGHEST APPROPRIATE AUTHORITIES REMIC-II/INF. 2/04 . August 23 and 24, 2004 August 18,

SECOND INTER-AMERICAN MEETING OF MINISTERS OF OEA/Ser.K/XXVII.2CULTURE AND HIGHEST APPROPRIATE AUTHORITIES REMIC-II/INF. 2/04 August 23 and 24, 2004 August 18, 2004Mexico City, Mexico Original: Spanish

THE ROLE THAT CULTURE PLAYS IN SOCIAL DEVELOPMENT AND ECONOMIC INTEGRATION IN OUR HEMISPHERE

(Studies commissioned by the Technical Secretariat for the Second Inter-American Meeting of Ministers of Culture and Highest Appropriate Authorities)

- 1 -ORGANIZATION OF AMERICAN STATESInter-American Council for Integral Development

(CIDI)

TABLE OF CONTENTS

Page No.

INTRODUCTION 1

STUDY OF TOPIC ONE: Culture as an engine for economic growth, employment and development 3

Background and general data 3Challenges 4Policy Recommendations 5

STUDY OF TOPIC TWO: Challenges Faced by Cultural Industries 9Introduction 9Legislation and policies to promote cultural industries 9New technologies 11Convention on Diversity, the hemispheric perspective 15Conclusions 16

STUDY OF TOPIC THREE: Culture as a Tool for Inclusion, Social Cohesion and Fight against Poverty 19

Contextual information 19Culture as a tool for social cohesion and fight against poverty 20Hurdles, challenges and ministerial recommendations 21

BIBLIOGRAPHY 29Topic 1 29Topic 2 32Topic 3 34

THE ROLE THAT CULTURE PLAYS IN SOCIAL DEVELOPMENT AND ECONOMIC INTEGRATION IN OUR HEMISPHERE

(Studies commissioned by the Technical Secretariat for the Second Inter-American Meeting of Ministers of Culture and Highest Appropriate Authorities)

The Unit for Social Development and Education has compiled in this document three studies that come to enrich the main topic of the Second Inter-American Meeting of Ministers of Culture and Highest Appropriate Authorities, titled: “The Role that Culture Plays in Social Development and Economic Integration in our Hemisphere”. These studies were requested to the Unit by the Planning Meeting of the Authorities of the Inter-American Committee of Culture, held in Washington, D.C. in March 2004, and will support the three thematic axes of the meeting:

Topic 1: Culture as an Engine for Economic Growth, Employment and DevelopmentTopic 2: Challenges Faced by Cultural Industries. Topic 3: Culture as a Tool for Inclusion, Social Cohesion and Fight against Poverty.

The first topic “Culture as an Engine for Economic Growth, Employment and Development” is authored by Javier Machicado, economist from Universidad de los Andes, Bogota, Colombia, and Ph.D. Candidate in Ibero-American Studies at The University of Paris X. Mr. Machicado has done research on the economic incentives and impacts of cultural industries for the Centro Regional para el Desarrollo del Libro en America Latina y el Caribe (CERLALC), the Ministry of Culture of Colombia and the Convenio Andres Bello

The second topic: “Challenges Faced by Cultural Industries”, is author by Fernando Vicario, Director of the Madrid office of “Consultores Culturales”, an entity that advises the Spanish Government and other Ibero-American organizations on several aspects of cultural policy; professor and consultant on cultural policy and management.

The third topic: “Culture as a tool for inclusion, social cohesion and fight against poverty”, was authored by Claudia Ulloa, Chilean, sociologist from Universidad de la Republica, Montevideo, Uruguay. Professor and specialist on cultural and educative polities and cultural management.

These documents and other studies requested by the Unit for Social Development and Education to experts from the region, can be found at the Unit’s Web page: www.oas.org/udse.

TOPIC 1

CULTURE AS AN ENGINE FOR ECONOMIC GROWTH, EMPLOYMENT AND DEVELOPMENT1

Background and general data

Culture is a human activity which per se produces senses and imaginaries in society. It also reinforces the sense of identity and citizenship in peoples. To start with, this concept entails a particularity in the American continent: the coexistence of cultural manifestations which are close to what we could call traditional culture, product of a multiplicity of ethnic communities and subcultures which have participated in the building of identity and history of a region. It also entails manifestations closer to what we could call a modern culture or, beyond, industrial, also characteristics of continental contemporary culture. Sustainability of all cultural manifestations without exception is then an indispensable guarantee of a society which attempts to be multiethnic and multicultural.

Some of the activities linked to culture additionally generate an economic impact which is similar to that produced by other sectors in the economy. In a word, culture is, as well as an indispensable element for social cohesion and the rebuilding of identity, an economic sector as or even more important than any other productive sector. Economic transactions in the heart of culture generate economic effects such as learning and knowledge. This means that the cultural sector contributes to development both from the social and identity sphere, which belong to it, and from its participation in the economic sector.

Nowadays the concept of cultural sector can be understood in a very wide sense. In the present document we have incorporated a vision that comprises traditional arts and extends to cultural industry, in which, the very concept of culture is redefined and significant economic and social interests are at stake. We understand cultural industry in the following terms:

Its raw material is a creation that is protected by copyright and is set on a tangible or electronic support.

Its production, conservation and distribution is mass produced and its distribution is generally massive.

It has its own processes of production, circulation and social appropriation. It is articulated through the logics of the market and commercialization or it has the

potential to enter those areas. It constitutes places of integration and production of social imaginaries, configuration of

identities and promotion of citizenship.

1 This Study was done by Javier Machicado, economist from Universidad de los Andes, Bogotá, Colombia, and Doctorate Candidate in Iberian-American Studies. University of Paris X. Mr. Machicado has done research on the economic incentives and impacts of cultural industries for the Centro Regional para el Desarrollo del Libro en America Latina y el Caribe (CERLALC), the Ministry of Culture of Colombia and the Convenio Andres Bello.

A full version of this study can be found at the OAS Unit for Social Development and Education web page, http://www.oas.org/udse.

- 3 -

Finally, the realities of a continent such as the American one, where the development of cultural industries has not meant the destruction of traditional cultures, although it has meant its transformation and adaptation, poses a challenge to the notion of culture from a purely industrial level. The evidence of the cultural production at an industrial level would not leave aside other sectors which still exist and readapt in this specific modernity of our continent, such as craftsmanship or the large intangible heritage generated by customs and knowledge which are characteristic to our multiplicity in terms of ethnicity and culture.

This definition fully recognizes the economic condition inherent to cultural industries in the framework of a global market. However, at the same time, it has the virtue of considering the role played by cultural industries in the affirmation and determination of cultural and civic identity. In principle we could include the following activities on the definition provided above: Radio, Television, Magazine, Music, Books, Press, Cinema, Video, Scenic Arts, Visual Arts, Arts Crafts (even if it is not necessarily protected by copyright, we included art crafts because of its identity, social and economic importance), Marketing, New Technologies, Arts Education, Intangible and Tangible Heritage and Cultural Tourism.

Studies have been carried out in the American Continent, that recognize the economic dimension of the cultural sector, measuring its impact on national GNPs and on employment. Other goals of these studies are: to recognize the structure of the markets in the different cultural sub sectors, to show that culture can represent an economic and solvent project, to justify a more decisive action on culture by a State, to understand how this economic dynamic of culture affects social, identity and civic relations.

• The results of these studies have produced important evidence. First, they demonstrate that culture, from a wide perspective, is an important sector for economic growth, since it represents between 1 and 7% of GNP, according to the findings of the country studied. Moreover, its growth rate over time is higher than that of GNP in the economies, which reflects the fact that the economic flows move more and more towards the contents of creation, knowledge and entertainment. On the other hand, the sectors that have greater weight on these indicators are those of communications, further away, the publishing, the phonographic and the audiovisual industries and finally, playing a more modest part are the traditional arts sectors. In addition, the cultural sector is an important employment generator, with a similar percentage weight on total employment rates then those of GNP. This employment is highly qualified and remunerated in the areas related to creation and production, and less qualified in the areas of distribution and sales. In some countries which lack studies that measure the economic impact of the entire cultural sector, there are nevertheless studies that have outlined the economic importance of an important cultural event in the economy of the region. This is the case of the study made in Trinidad y Tobago in which Carnival has a significant impact on the micro economy of the country, generating 15 million of US dollars and attracting more than 40,000 visitors per year. It has also been calculated that the marginal cost-benefit of the event is 1 to 7. In the following table we can observe the most important results of these studies as far as economic weight and employment are concerned, within the continent.

- 4 -

Country Contribution from the cultural sector to GNP

Contribution of cultural employment to global employment

Sample Year

Argentina 4,1% 3’5% 1993 (GNP) and 1994 (employment)

Brasil 6’7% 5% 1998Colombia 2’01% 27.724 jobs in three

sectors2001 (GNP) and several data between 1999 and 2002 (employment)

Chile 2% 2,7% Average from 1990 to 1998

Ecuador 1’79% - 2001 (?)United States 7’75% 5’9% 2001Paraguay 1% 3’3% Average from

1995 to 1999 (GNP) and 1992 (employment)

Uruguay 6% 4’9% 1997Venezuela 2’3% - 2001 (?)

Although the data allows us to claim that the cultural sector generates growth and employment, it des not however confirm that the cultural sector generates development. We consider human development in several ways. First of all, human development is synonymous with progress of life and human welfare. Secondly, human development is co-related with the possibility that people can increase and make the best use of their abilities in any area, whether the cultural, economic, political, etc. Thirdly, development has to do with people’s freedom to live the way they would like to (material freedom, access to education and housing, to life in society), in a word, freedom to develop their civility. Finally, development must allow all persons to have equal access to its benefits.

Culture and especially cultural industries, play a leading role in development as such and as discussed previously. The latter happens on one hand, because of their contribution to economy, employment, and material welfare. But above all, because cultural industries construct social identities and are places where civility is developed in an innovative way. Collective demands of large social sectors are articulated through these industries. Thus, from this perspective, the construction of development has an inherent cultural dimension.

Challenges

Two conditions are necessary so that culture contributes effectively to development. One is the condition of equity. This condition presupposes that individuals have the same conditions to access the necessary means for expression and satisfaction of their needs, including cultural ones. It also assumes that individuals have access to the variety and quality of products and services offered by culture. This condition becomes at stake when big media conglomerates monopolize the decisions about what is to be circulated or not in the international and national cultural

- 5 -

market. Because of this, State policy faces a huge challenge to establish the necessary conditions to make this turn. The second condition is freedom, which implies the respect and recognition of the attitudes of a non-passive public when confronted with determining their cultural preferences. This means that the public reinterprets and recreates their cultural surrounding in a context of economic globalization, and they end up being a proactive actor. This must lead the state to support the conditions established by the public and the cultural entrepreneurs for the growth of the sector. All of the aforementioned supposes the incorporation of all actors in the chain of value of the cultural industry in the determination of national and free trade policies, as well as international cooperation in the field of culture.

This disjunction of development has a practical application. Indeed, cultural markets are far away from being perfect and cultural policy must take care of and correct the imperfections of these markets, all the while trying to do so with minimal impact on the sector’s productivity, the sovereignty of the consumer and international free trade negotiations. Actors active in the market are also to be involved in the formulation of this policy. Thus, State action is not a simple task.

The formulation of policies has two main problems. On the one hand, policy still ignores the importance of the manifestations of cultural industries. As a result, there is still a lack from cultural policies of creators in strategic sectors of culture such as mass media and new technologies, etc. We refer to small scale independent producers, whose sustainability depends on the development of a diverse and plural culture, but also on the mass media that offers access to the general public to the production of the SME. On the other hand, we cannot forget the permanence of cultural manifestations that are developed at the margins of mainstream market, and that are a crucial part of diversity, such are artcrafts and popular carnivals. The problems faced by this type of creators, specially with regards to there success in a market oriented system, is not well represented in the policy arena, which actually sees them as museum artifacts. In the production of sectors such as the editing, phonographic, and above all, audiovisual sectors we find that within the continent, globalization in commercial exchanges and in investments has generated a concentration process of this activity in big transnational conglomerates. In fact, the processes of cultural industrial are characterized by their generation of economies of scale in large internal markets, protected by cultural barriers. This means that, although the initial investment in producing a cultural good is very high, there are no additional costs because more and more people can enjoy this good (a film, a music compact disc, a book). This causes countries with big internal markets to develop unique competitive advantages against which small countries and those with lower purchasing power cannot compete. This imperfection of international markets generates a concentration of production in large companies. When the latter merge, they augment their market capacity. Another important problem for development and growth of the cultural sector is the high levels of piracy that have been detected in the editorial, phonographic and cable and satellite television sectors, etc.

The distribution of culture, on the other hand, is also an area where the market is imperfect. It has been verified that the distribution of cultural goods and services, also concentrated in a few actors with large capital and presence in the market (bookstore chains and big retailers of cultural products, cinema distributors intertwined with big production companies, etc), is a topic that in the majority of countries reveals itself as key for the development of a plural and diverse offer of industrialized culture. This is a problem especially relevant for independent productions that quickly find a limit in the small size of national markets. So far there have been shy efforts to develop more aggressive sales and market strategies, as well as strategies to find external markets.

- 6 -

Finally, the scarce coverage and quality of education, above all in the majority of Latin American countries, has reduced the size of cultural demand. This is specially the case for sectors such as the editorial and new technology sectors, which regardless of this situation, are of utmost importance in the dynamics of development. The flows of supply and demand of quality culture are intrinsically correlated with the educational level of the population. This is why training should have a privileged place in cultural policies. Furthermore, and more importantly, the education of the population is what allows the general public to be less of a mere receptor of cultural contents, and more of a critical and creative one. To sum up, education gives individuals the ability to be creators instead of passive receptors.

The international aspects of hemispheric integration and liberalization of flows of exchange and capitals, present a challenge not always approached by the cultural sector. In the cases of integration and negotiation (MERCOSUR, Andean Group, ALCA (Free Trade Area of the Americas), NAFTA, among others) the cultural industries sector is normally left aside or it is subject to exceptions which, in any case, still do not correspond to discussion frames which are adequate to defend sector strategies, which are useful to confront the liberalization of commercial and capital flows. On the other hand, there have been some advances in instances of international cooperation. International cooperation, in the form of co-production and co-distribution of cultural products and services, of recognition and exchange of knowledge and market strategies, has proven to be an essential element for the development of a diverse cultural production and for the extension of national markets.

The previous analyses lead us to propose some central axes for cultural policy:

Policy Recommendations

• Formulation of policies: The design and formulation of cultural policies must incorporate all of the actors involved in the chain of value ranging from the creator to the public, as the only way of generating effective growth and development strategies for a sustainable and diverse cultural offer. Here we included from handcraft creators and promoters of popular carnivals, to independent creators in mass media and big cultural industries. On the other hand, support must also be provided for the elaboration of studies and diagnosis on the structure of cultural markets, in which there is still a big void, with the aim to refine the design of policies. These studies should be complemented by others that measure the social impact of the policies and the cultural manifestations in a wide sense -as a funding element for the definition of the criteria of cultural policy.

State funding: Subsidies to production are justified in strategic sectors for development (such as publishing, where there are tax exemption laws in some countries) or in sectors, that on the other hand, have relatively higher costs that cannot be recovered by independent companies that face a limited internal market (such as the cinematography industry). In that sense, and through programs that are need to be developed and that are destined to strengthen any type of cultural manifestation, it is essential to not only create a subsidy structure with clear innovation and democratic access criteria, but also special lines for soft loans, giving priority to actors such as independent SME, which has produced positive results in some countries.

Private funding: Funding that means private investment in culture must be the necessary counterpart of public funding. This, apart from assuring the sustainability of

- 7 -

cultural companies, guarantees the independence of cultural creation. As such, tax reductions, which are already in effect and have been effective in some countries, have been proposed for these private agents, whose investments feed the cultural production or distribution.

Distribution: The issue of distribution seems to be the most sensitive one in the whole of cultural industries. This allows independent and diverse production to have financial viability and to arrive effectively to the public. To support the diverse cultural distribution we propose the creation of understanding spaces among the participants of the market of each cultural sector, which allow the creation of innovative and efficient strategies for the opening of internal and foreign markets. These spaces must allow the exchange of knowledge among big and small participants, allowing the latter to open new markets. These spaces must also allow the generation of alliances among the participants of each productive link with the aim to lower costs and increase its market value. Finally, mass media (radio, press, television, internet, etc) entail possibilities, which have not been explored in the continent, for the distribution of the diverse cultural offer. The opening of markets must move in this direction.

Education and new technologies: Education, especially at the basic level, is a crucial element of cultural policy. Policy should aim to develop both effective capacities of critical reception of cultural contents (books, music, new technologies, etc.) and creative capacities of individuals. Furthermore, the formation and development of cultural actors is fundamental. This training must transcend the creation and production ambit, and it must extend to management and handling of commercial structures, since, as expressed previously, it is in distribution where the sustainability of cultural companies is mostly at stake. New technologies have, furthermore, a capital importance, since they allow not only to make costs cheaper and open new markets for distribution in the long run, but they reveal themselves as a more cost efficient and innovative alternative for independent creation and production. Finally with respect to cultural consumption, the new medias allow for a bigger democratization of culture and an unexpected appropriation of cultural contents.

Incentives for demand: As explained before, cultural demand is correlated to the population’s education level. In this sense it is essential to extend and democratize the public library network in the geographic and social ambits, as well as incorporate new formats and contents within this net. In fact, libraries must promote, not only reading, but also the appreciation of other kinds of music, images and skill formation in new technologies such as the internet.

Piracy and copyright: The policy of copyright defense must be directed transversally in two directions. First, education and sensitization campaigns about the importance of copyright and the damage of piracy (economic loss for distributors, loss of legal jobs, etc) must be implemented. Also, national policy organisms must be trained to identify the violations to this right. On the other hand, legislation must be generated and/or strengthened which punishes this crime effectively at a national level. This must redound in directives to discourage production and distribution of pirate materials.

Free trade Negotiations: We propose a joint negotiation strategy between the government and the private sector which takes into account the particularities of the cultural industries sector in the following ways: On one hand, cultural cooperation alliances (studies, co-funding, and co-distribution, etc) must be encouraged continuously. Secondly, national legislations must be harmonized with the aim to facilitate the circulation of goods and services from cultural industries, the defense strategies of copyright and the fight against piracy, among others. Third, analyze the convenience of exceptions to vulnerable sectors in

- 8 -

an opportunity of free exchange, such as the case of the audiovisual sector. Particularly, the pertinence of shares, custom tariffs to import and restrictions to ownership of national telecommunication companies must be analyzed; in any case, with specific objectives and definite deadlines.

International cooperation: The issue of international cooperation has special importance in the context of free trade negotiations among the countries in the area. The recommendations are as follows: First, the cooperation ambit must extend to cover, on top of issues of respect for national identities and heritage, the aspects related to cultural industries. Second, cooperation must move from the government side to a cooperation that integrates actors from civil society (cultural entrepreneurs, associations, NGO’s, etc), which has given positive results. In this direction the co-funding agreements and international co-distribution agreements are included. In the audiovisual case the transcendence of these accords has already been proved to organize sector strategies, share costs and investment risks in production and widen international markets facilitating distribution. Finally, the multiple cooperation spaces, offered by diverse international organizations working in the cultural sector, must be taken advantage of, with the aim to alleviate the lack of studies and analysis about the cultural industries sector, to set up consultancies to build strategies by sectors for the sustainability of independent production, susceptible of being repeated in other countries, etc.

- 9 -

TOPIC 2

CHALLENGES THE CULTURAL INDUSTRIES FACE2

Introduction

During the last two decades, much has been written about Cultural Industries. Although different views are presented, some more interesting than others, all pursue the same objective: to include this topic in one of the main chapters of the countries agenda of economic growth.

Without a solid cultural industry network, the possibilities of development are undoubtedly limited. Also unquestionable, the growth of CIs alone is useless, unless it is in parallel and in line with that of other vitally important sections. In this document we intend to establish a series of interrelations that facilitate an integrating view so necessary for the cultural sector of a country to really be an incentive for sustainable development and a stimulus of growth of other State policies essential for development.

With respect to the methodology used for the elaboration of this document, we highlight the comparative study of works performed by the Corporación Andina de Fomento (CAF), the Convenio Andrés Bello (CAB), MERCOSUR and the Organización de Estados Iberoamericanos (OEI). These works, which we consider very trustworthy, were used to establish the bases of a debate to discuss the challenges that Cultural Industries are facing in the XXI century.The annotations made herein are inevitably generic. Discussing the sectorial development, as well as the analysis of geographic specifities, would have made this work much more complex, although it should undoubtedly be covered at some time.

The parameters of investigation used were elaborated in different studies carried out in several Spanish Universities and “Management Societies” in the Iberic Peninsula. The methods and the procedures followed shall be included in a final brief bibliographic description.

Legislation and Policies to promote cultural industries

The Cultural Industries discussed in this article are directly related to a cultural economy that goes beyond the economy of the arts.

In fact, to discuss Cultural Economy in its full sense, other realities of today that cover culture – and, in a very special manner, cultural industries, will have to be included in the object of the study3. This is where we run into our first difficulties. Our first need is to limit the field of study, set the boundaries in each country and in each international reality to define the field of work. There is

2 The Study was commissioned by the Unit for Social Development and Education of the Organization of American States with the intent of supporting the discussions on Topic 2 at the II inter-American Meeting of Ministers and Highest Appropriate Authorities of Culture. This study was done by Fernando Vicario, Director of the Madrid office of “Consultores Culturales”, an entity that advises the Spanish Government and other Ibero-American organizations on several aspects of cultural policy; professor and consultant on cultural policy and management.3 Jesús Prieto de Pedro... Pensar Iberoamerica... OEI

- 11 -

still no consensus regarding issues such as “software” or “hardware”. Also, there is no consensus on the industry of video games, Internet web pages or the legislation of copyrights of virtual supports. Each country applies their own criteria, whereas it is very complicated for any researcher to approach this issue with well-grounded criteria. This task is even more difficult due to the ever changing legislations, concepts and methods of approaching these issues. In the legislative compilation work carried out by the CAB more than six years ago, these issues had not been covered and, when considering an update, these were not included owing to the constant mutation in the legislative power of each country. As no coherent legislative body exists, it is only obvious that a well-founded State view that allows for the implementation of stable policies is hard to consolidate. They do not exist owing to the lack of knowledge of our policy makers. Growth has been so vertiginous and with such surprisingly rapid expansion that it would be impossible for any “regular” politician to be up to date in this area. An endemic evil of culture and the rights derived from them is repeated: the tardiness of legislation and policies and their conceptual inclusion in a world that without them would certainly be much worse. Talking about the right to culture has taken too much time. The same can be said about a legal specialty that covers this field with the same firmness with which one talks about other factors of human development.

This new legislative factor is slowly sinking in and it is in the field of cultural rights where we must start to think about a specific legislation for the development of Cultural Industries. If this is not done from this perspective, we will find ourselves making mistakes such as believing that the absence of a movie or music industry is not worse than the absence of a stable and solid automotive industry. Each industry has different external factors. The right to culture should provide us the “embroidered canvas” “cañamazo”, as denominated by Professor Prieto de Pedro, the aptness to articulate the social expectations and aspirations.

This is the potential relevant scientific mission of the right to culture, to assist in introducing the cultural aspirations of a Society in democracy and operatively establish them in the State of Right, in the form of rules, principles and legal values, Society’s aspirations regarding culture, understood and formulated in the different specialties applied to cultural analysis, converting the Democratic State of Right into a State of Culture, whereas its unwaivable objective is that of preserving cultural legacy and cultural progress4.

From a simplistic and archaic view of development, one can argue that what people need is to eat and afterwards they need other things. The hackneyed example of the fish and the fishing rod is illustrative. If we feed people, but do not listen to the cultural needs of those for whom the policies are made, the solutions will always be temporary. The policies that change countries, modify situations and improve perspectives are those effective at medium and long term. Short term policies are only made to win votes. Therefore, these types of policies should be State policies, that is, a social agreement, an agreement with all of the political forces of a country.

To accomplish this, we must first achieve minimum levels of consensus, whereas the person responsible of governing a country cannot change what the previous person has established.

Nowadays, it would not occur to anyone to tear down the idea of free and mandatory education. No one with common sense would think about destroying progress in health matters attained with great effort, or recede in environmental issues. Consensus on cultural legislation forms an integral part of this body of State rules and no one would question the preservation of patrimonial goods, or to improve library networks or increase the space or activities of our museums.

4 Id

- 12 -

However, we run into more opposition than agreement when it has to do with this new facet of culture: the Cultural Industries. Evidently, these disagreements are due to the different viewpoints that each one has on the subject. Economy Ministries consider them expenses with few profits that require great efforts and for which they are not yet ready. The Trade Ministries consider that these industries present specifities that do not fit into regulatory frameworks and therefore tend to slow down the global markets. Foreign Affairs Ministries consider that this product creates distrust among countries that become jealous and threat to stop other types of development. The Ministries in charge of National Treasury continuously struggle to be as fair as possible and levy taxes on cultural products similar to the rest of the products subject to the regulations of contract of sale.

Education does not contemplate the results of CIs, since they tend to believe that their field of action only pursues economic profits and it is therefore more harmful than profitable to learn from these results. The Ministries of Development, or however they are called in each case, do not consider this factor, nor do they integrate them in their plans to strengthen the countries. In the XXI century, it seems as though the construction of highways is to physically make them and not to build connections to integrate citizens and stimulate social cohesion. Those in charge of technological and scientific development pursue mother cells and lost genes that cause diseases as if the only fields of research were those of the medicine or biology. It’s unbelievable how the CYTED has overlooked this field.

In the meantime, regular citizens indifferent to all of these developments watch TV, hear music, get into Internet when and wherever they can, read newspapers, study books that are at times used for pleasure, listen to the radio, enjoy cultural tourism (those who can) and like always purchase craftwork from those who still suffer to keep alive.

Regarding new technologies:

Nowadays, to remain abreast of the industries of communication and information is Tantamount to a dramatic circumstance of cultural exclusion, similar to what illiteracy meant in the XIX and XX centuries.

The limited access of the Latin American population to these new technologies and networks, and the poor initiatives developed to close the gap, require an ambitious leap ahead to place technology in the middle of the cultural strategies. That is, at the same time that it aims to democratize and universalize its use, this 5should be done to strengthen and multiply the cultural diversity of a global world that calls for new ways of comprehension and defense of identities, and not to generate new ways of cultural dependency.3

It is not only a matter of bonds with modernity and universalistic goals. The absence of cultural policies which bring us closer to the technologies promotes the lack of creativity in the schools. The absence of cultural policies that couple with educational reforms is the culture broth for the lack of innovation. Nowadays, any country unable to innovate becomes perpetually dependent. And we are all aware of the consequences.

New channels of independent cultural production are necessary, as well as the creation of more markets open to private businesses, which will surely find answers in the capacity and potential of the new industries of culture, communications and information. Essentially, each country must thoroughly review the measures that stop the growth and enhancement of this sector.

5 Paper of the CAF for the ex-President Meeting of Ibero-America. Not published.

- 13 -

The information and communication technologies include challenges and opportunities regarding cultural policies and its articulation with economic strategies. Countries must never overlook the importance of cultural industries in economic terms, nor in terms of radiation of values, principles, images and behavioral patterns.

It is important to develop an adequate legislation facing the challenge of the new technologies. A legislation that expresses the most integrated viewpoint of the cultural policies. Governments must assure that all children have access to the informative technologies throughout the different grades of education. Likewise, they must elaborate strategies to link participation with the new technologies of information.

TABLE. - Indicators of Technologies of Information and Communication (TIC’s) in ALADI member countries

COUNTRYPOPULATION 2001(IN MILLIONS)

PENETRATION IN THE INTERNET MARKET(%)

WEB SERVERS WEB (AMOUNT)

COMPUTERS

(THOUSANDS)

TELEPHONES(IN THOUSANDS)

ARGENTINA37,49 8,8 465.359 2.000 15.082,9

BOLIVIA 8,52 1,8 1.522 170 1.258,8

BRASIL 172,56 4,6 1.644.575 10.800 66.176,5

CHILE 15,50 20,0 122.727 1.300 8.974,9

COLOMBIA 42,80 2,7 57.419 1.800 10.460,0

CUBA 11,24 1,1 878 220 580,7

ECUADOR 12,88 2,5 3.383 300 2.194,9

MÉXICO 100,37 3,6 918.288 6.900 33.669,0

PARAGUAY 5,64 1,1 2.704 80 1.438,8

PERÚ 26,09 11,5 13.504 1.250 3.567,3

URUGUAY 3,36 11,9 70.892 370 1.470,9

VENEZUELA 24,63 5,1 22.614 1.300 9.248,2

ALADI 436,45 5,3 3.323.865 26.490 154.122,9

SOURCE: ITU, Marzo 2002.

The first conclusion that can be reached from the preceding table is that the amount of web servers installed in a given country does not seem to be a determinant variable for the diffusion of TICs, since the large amount in the United States (77.3%) serves the whole worldwide Network. Consequently, this is an external factor that the United States uses to justify the feasibility and operativeness of Internet, which at the same time generates significant costs for the countries of the Region in terms of computer traffic. The number of domains as a complementary indicator has been ruled out since it could be conditioned by other correlated variables that distort the statistics. Private companies have a greater demand for Internet domains that are almost always used for commercial purposes. Finally, no standard measurement exists to date for all countries that allows for appropriate comparison, since this figure differs according to the source used.

- 14 -

TABLE - Indicators of Technologies of Information and Communication (TICs) in Advanced Economies. Year 2001

COUNTRYPOPULATION 2001 (IN MILLIONS)

PENETRATION IN INTERNET(%)

WEB SERVERS (AMOUNT)

COMPUTERS (IN THOUSANDS)

TELEPHONES

(IN THOUSANDS)

ALEMANIA 82,36 36,43 2.426.202 27.640 108.525,0

AUSTRIA 8,14 31,94 326.016 2.270 10.375,9

BÉLGICA 10,29 28,00 351.970 3.500 12.764,0

CANADÁ 31,02 43,52 2.890.273 12.000 30.243,2

DINAMARCA 5,37 44,69 561.056 2.300 7.836,1

ESPAÑA 40,43 18,27 538.655 6.800 43.921,2

EE.UU. 285,93 49,95 106.193.339 178.000 317.000,0

FINLANDIA 5,20 42,99 886.916 2.200 6.889,0

FRANCIA 59,34 26,38 788.897 20.000 69.955,2

GRECIA 10,60 13,21 143.240 860 13.569,7

HOLANDA 16,10 32,92 2.632.137 6.900 21.900,0

HUNGRÍA 9,97 14,84 167.585 1.000 8.698,0

IRLANDA 3,84 23,31 128.092 1.500 4.660,0

ITALIA 58,02 27,58 680.461 11.300 76.001,0

LUXEMBURGO 0,45 22,22 13.965 230 782,4

POLONIA 38,63 9,84 489.895 3.300 21.450,0

PORTUGAL 10,30 34,95 246.534 1.210 12.347,2

REP.CHECA 10,27 13,63 215.525 1.250 10.615,0

REP. ESLOVACA 5,40 12,04 72.557 800 3.703,6

SUECIA 8,91 51,63 735.200 5.000 13.452,0

TURQUÍA 66,28 3,77 106.556 2.700 38.900,9

UK 60,08 39,95 2.230.976 22.000 81.736,0

UE 384,80 31,56 13.251.373 116.010 492.551

OECD 826,93 27,38 122.826.047 312.760 915.325

NORUEGA 4,53 59,60 305.107 2.300 6.999,0

SUIZA 7,22 40,40 527.592 5.000 10.409,0

ISLANDIA 0,29 67,24 54.668 120 425,9

COREA DEL SUR 47,74 51,07 439.859 12.000 51.770,3

JAPÓN 127,33 45,47 7.118.333 44.400 148.795,9

AUSTRALIA 19,34 37,23 2.288.584 10.000 21.229,0

NUEVA ZELANDA 3,89 28,05 408.290 1.500 4.250,0

OTRAS ECONOMÍAS AVANZADAS

210,34 45,82 11.142.433 75.320 243.879,1

ECON. AVANZADAS 1.473,72 23,54 137.292.345 414.570 1.313.327

Source: ITU, Marzo 2002.

- 15 -

The following assumptions clarify these qualifications:

The information, distributed and screened throughout the whole society should be considered basic input to take decisions, comprising political, economic, commercial, educational and cultural aspects.This scenario includes the concept of digital opening, a universal phenomenon considered as one of the main obstacles to consolidate the information society and, as a consequence, a highly important obstructive factor to reach the new paradigm of development.

We have copied this long text from the CAF, because it is important to point out how a Bank, especially created to advocate development among its potential clients, includes a series of policies in their researches that the countries will surely adopt with caution, but without delay. The present situation of debate of new technologies and their relationship with development policies is clear. New technologies are to development as highways, as trains, or planes were in the past. In many countries the infrastructure is still deficient, but there is no reason to continue accumulating delays. We will never reach the train of modernity, of sustainable development and the real insertion in a growing expansion, if we do no take the pertinent measures, and right now. The Ministries of Culture should insist on this point, because it is their duty to think about the kind of country that should be built and the type of cultural inheritance that we want to leave our children.

Te progresses made up to date are already our conquest, the museums, the defense of material heritage, libraries, archives, etc. We must continue to defend these, but not become stagnant, because when culture becomes stagnate it dies. Therefore, the activity of those responsible of Culture in each country in defense of new technologies by means of defending the cultural industries should be the standard in the Region. On the long run it will surely be much more expensive to search for new methods of defense. Doing so by means of cultural policies attracts alliances that would otherwise not be possible. Video games, digital cameras, digital virtual images, video graphic art exhibitions, layout and design, photo-composition and animation, MP3, computerized musical composers, electronic books, are all forms of expression, among others, of the fields in which young people evolve nowadays and where the Ministry of Culture should also be involved. If not, we will miss the train of that in which people are interested in.

But we must help this to happen and make room for its diffusion, exhibition and commercialization. At the end of the day, promotion alone of production will only leave us with the shelves on which the products have rotted. The figures regarding the internal distribution of products in each country are at least worrisome, if not pitiful. Of the regional countries, only the USA easily consumes its own production, the rest of the countries, including Canada, have severe restrictions on the circulation of cultural products, restrictions due to the lack of stimulus, the scarcity of incentives for the creation of new businesses, the absence of assistance and grants to reward innovations, the difficulties of exhibiting national products, etc.

New culture has a lot to do with the new way of being in the world. To continue cultivating an XVIII century outlook in the making of cultural policies is tantamount to sinking the country back to the XVIII century way of being in the World. We must know what we want, pursue it with enthusiasm and carefully evaluate it.

The Ministries’ challenge is to know where to dictate criteria and formulate the means by which they shall evolve. Everyone knows that we should not leave aside the accomplishments attained

- 16 -

to date. We should praise and honor what we have obtained, but it should also allow us to pursue new proposals and discourse new ways of getting closer to the XXI century and its cultural challenges. Once everyone understands that a painting from the XVIII century deserves careful and specialized attention, if all human beings understand that a book written by Shakespeare or Cervantes or any other literary giant is of vital importance to understand that man needs to tell stories to grow. Why can’t we understand that we have entered another era, that although the products are different, they need the same care?

Convention on Diversity, Hemispheric Perspective

What started out as a proposal on cultural exception is for many reasons now becoming a World Convention on Cultural Diversity? In the Spanish newspaper “El País” Vargas Llosa, the Spanish nationalized Peruvian author, wrote an article in which he explains why he refuses to defend cultural exception (July 25, 2004), article which very clearly shows why this topic is at least controversial and exposes points of view contrary to many other opinions. Especially against those who defend a free market, or the market that one controls. The author Molina Foix and academician Vidal Beneyto confront his position in the same prestigious newspaper, clearly evidencing this polemic issue, especially after reading Vargas Llosa’s reply on August 8, 2004.

The Convention on Cultural Diversity which is now circulating as a draft in the web and that UNESCO is trying to use to obtain all countries approval before the end of the year contains data and proposals of unquestionable importance for the region. There are essential discrepancies in the Latin American countries regarding many things written and proposed in this work. Proof of these differences has been evidenced by the controversy generated after the last writings of Huntington. Among others, article 8 of the Convention that asserts that the goods and cultural services are merchandise different from the others and article 11 that discusses the relationship between civil society, the private and public sectors, can be rough issues when trying to reach a global hemispheric position. The ideal situation would be to probably indicate the points of discrepancy that the Convention provokes, searching for the positions of each country that can and should be discussed and those that are not negotiable to combine agreements and make them grow little by little.

There is no doubt that a hemispheric position would be very healthy, although now it would be completely impossible. It is preferable to face this issue from the reality of the existing situations and search for minimum consensus to avoid both commercial and spiritual confrontations. The defense to death of a position such as that exposed by Huntington, even without looking for it could cause xenophobia. Not only the Saxon against the Mexican and the different from the distinct. That is, the white Salvadoran against the Indian Salvadoran, the rich Venezuelan against the poor Venezuelan who will never be opulent unless he has a strike of good luck.

The Convention on Cultural Diversity should become a kind of navigational chart, but for this to happen it must be thoroughly discussed by each of the signing countries

One of the most important tasks for the next few months is to study the Convention carefully to extract all possible controversies and establish clear positions with proposals to resolve the differences.

Each country has certain dispositions that are subject to the impact of the treaties of free trade and commerce that should be revised taking into account the future interests that copyrights, the management of new technologies, audiovisuals and other elements that could favor balanced growth with the other world economies.

- 17 -

In fact, the integration processes generated by commercial relations have a very important impact on culture which goes beyond the economic limits and comprises elements related to the identity of the countries involved in the negotiations. (5)

For the Convention on Cultural Diversity to become reality, it must be taken to the heart of the Cultural Industries of each of the signing countries. How are we going to face a reality such as television and fiction like the convention? Are the Governments ready to add restrictions, recommendations, legislations and actions to their policies to enhance the audiovisual sector, facing the violent consumer proposals permitted today? Even more worrisome, are politicians ready to intervene in a communication media that is so decisive for them to keep their jobs? These, together with many other questions have to be put on the table if we want to generate a realistic position and leave behind rhetorical questions which tend to come out when submitting collective positions.

Conclusions

Cultural Industries are directly related to a wealth that goes beyond the economy of the arts. The Industries we are talking about affect technological development, youth employment and a true insertion into modernity.

The appearance of modern societies transfers social relations into bigger territories where border lines disappear. The modern-world offers collectives several references resulting from the globalization of culture. Each social group in the elaboration of its collective identities will appropriate them in different ways. (6)

This is why the debate is of vital importance for the Region. Now is the time to initiate a political, legal and economic process that propels towards the harmonizing intentions that are starting to show up in international forums.

These debates should be carried out to convert this topic into one of the chapters of the countries’ agenda of economic growth. Undoubtedly without a well-grounded cultural industry framework the possibilities of development are limited by the different factors derived from this weakness.

The Ministries of Culture challenge is to know how to establish criteria and define the road to follow. It is time to activate and modernize such Ministries, the cultural institutions and enable them to participate in the trend in which culture has decided to grow. Those in charge of regulating the State participation in the cultural sector seem to have become stagnant in a patrimonial and worn out conception. Culture originates from emotions and we cannot accept that its “promoters” only devote their attention to regulate their “corpses” with the pretensions of the so called benefit of society. We all agree that it is imperative to remember, it is essential to respect memory, to recover social art and the cultural structure in a competitive world in which we live; but we cannot overlook the fact that it is also imperative to not forget that we must live the moment we are living and not only that which we have already lived. Also, it is important to help with a legislative regulation to encourage the growth of the modes of creation, the production of said creation and the distribution of the new products. These three steps should be synchronized and grow in an aphasic manner and it could be a waste of time to not coordinate them with other State policies. We cannot miss anymore trains. It is vital to put together a joint project in which the region can look towards the future with resolute interest in participating. For some time now, the European Union is trying to coordinate a joint legislative position. Latin America, should try to consolidate its growth process strengthening certain cultural options that

- 18 -

will consolidate them. First of all, it will be necessary to reach a minimum level of consensus, in which that accomplished by a government cannot be destroyed by the next. The large multilateral agreements should respect the agreements reached, making sure they are complied with and defending the spaces necessary for their fulfillment. This will assure a solid and credible result. New culture has a lot to do with the new way of being in the world. Not to understand that television should be a tool of growth as well as audiovisual programs in which our citizens spend three hours every day, is to understand very little. Not to understand that music conveys more than harmony of sounds, that it transports ways of understanding, of relationship, of being in a harmonious way generating urbane tribes, contributing as well as television, radio, video, photography, etc. stable jobs, together with a capital, day by day, more significant to the countries GNP’s, is not to understand that the world has changed, is changing, and is important to know that said change is basically cultural.

A hemispheric position in this respect will undoubtedly be very healthy, but in today’s world maybe totally impossible. It is preferable to face this topic from the reality of existing situations looking for minimum consensus to help prevent commercial or spiritual confrontations.

The great challenge of today is to generate new policies in the region with intercultural dialogues, without losing the existing link between culture and development. As indicated in the above mentioned document of the CAF, this can be achieved and in even a short period of time, if we simply start to prepare specialists in this area, who understand, who are able to introduce them in international negotiations and understand the sensitiveness of the raw material they are handling.

- 19 -

TOPIC THREE

CULTURE AS A TOOL FOR SOCIAL COHESION AND FIGHT AGAINST POVERTY

Contextual information

The first report commissioned by the OAS in support of the Second Inter-American Meeting of Ministers of Culture on “Culture as a tool for social cohesion and fight against poverty” contained observations on the social trends present in our societies and how they affect processes of social cohesion, citizen participation and collective motivation. We saw then that individualism, mass consumption, privatization of collective affairs, widespread indifference, citizen apathy are tendencies that pose a serious threat to collective forms of social coexistence.

However, democratic practices have grown in several countries in the Americas in recent decades. Culture has gradually assumed significant dimensions that are enabling it to expand its roles and projections in the “Humanization of Globalization”. The challenges of development are accorded priority in the public agendas of government policies. Today, human rights, social equity, quality of life, cultural diversity, the rights of indigenous peoples, protection of the historical roots of each community and people, strengthening of the collective memory, citizen participation, state decentralization, and inter-ministerial coordination are the guiding principles for the legitimization of cultural citizenship.

Traditional knowledge (vernacular languages, oral history, scientific knowledge), skills and expressions (skills in arts and crafts, architecture and traditional technologies, natural resource management methods), creative communication (storytelling, poetry, music, dance, theater), and significant cultural forums, are expressions of who we are, how we learn, and how we relate to others. Some are also potential sources of revenue, while others can contribute to our affective development. The proposals examined explore the use of such assets at the community level, the effects on group or community organization, links to national or international markets, the potential progress of such activities, their sustainability, and how they concern the wellbeing of the poor. (1)

In this context, this report is almost exclusively concerned with state or government intervention in cultural policies. Its objective is for such policies to adopt as their aim a macro-cultural transformation in the social orders where they are implemented and, in turn, to spearhead public measures through the joint adoption by the state and civil society organizations of lines of action, strategic objectives, development indicators, and projects and programs designed to enhance the socio-cultural wellbeing of the most vulnerable and disenfranchised populations in each of the territories belonging to the inter-American region.

If the aim is for culture to play a key role in human development in the countries of the Americas, the state has to take an interest in the cultural wellbeing of its people as an integral part of their social and economic wellbeing. Taking appropriate heed of the link between culture and development will be pivotal to the success of future cultural policies, as will the capacity of policy shapers to accomplish results through multi-sectoral intervention.

- 21 -

Culture as a tool for social cohesion and fight against poverty

The fight against poverty is one of the most complex and pressing tasks that currently faces us as inter-dependent, diverse, pluralistic and heterogeneous societies. Attaining sustainable development entails the participation of an ever-increasing number of stakeholders in the events and issues of collective survival that pose a serious threat to our common future.

It is essential, therefore, for cultural leaders to implement cultural policies that clearly express the relevance of measures designed to strengthen cultural identities. In the creation of dynamic, participatory, assertive, partnership-oriented, diverse, responsible, and committed communities it is necessary to keep in mind that the cultural models are built based on the narratives that each community creates about itself, enabling the individual to have a relatively clear notion of what, at a given juncture, is considered a good life, collective good or common good. Such cultural narratives seek to address the fundamental problems of collective life, such as physical security, moral tranquility, material wellbeing, and personal development).

The powerful tools that cultural policies can wield to generate social cohesion and cultural identity should be encouraged through interventions that combine the goals of poverty relief with the internal development of each community.

It is not utopian to pursue the international goals of poverty relief from a cultural framework that includes cultural policies with high local relevance, educational policies on cultural and indigenous affairs, and multi-sectoral cultural policies on heath, education, housing, productive development, gender, decentralization, environment, urban development and citizen security.

The eight anti-poverty goals set by the United Nations at the Millennium Summit held in 2000, entail short-, medium-, and long-term multi-dimensional challenges that involve different social stakeholders and institutions.

Can cultural policies contribute to these social integration objectives and help defeat poverty in the Americas?

Goal Objective Cultural Policies 1 Eradicate extreme poverty and hunger 1.- Cultural policies with high local

relevance.

2.- Educational policies on cultural and indigenous affairs.

3.- Multi-sectoral cultural policies con health, education, housing, productive development, gender, decentralization, environment, urban development and citizen security.

2 Achieve universal primary education 3 Promote gender equality and empower

women 4 Reduce child mortality 5 Improve maternal health 6 Combat HIV/AIDS, malaria, and other

diseases 7 Ensure environmental sustainability8 Develop a global partnership for

development.

The forecasts for meeting these goals in the short and medium terms are rather unpromising. A UN report underscores that if the same pace of growth in social investment and promotion

- 22 -

continues “the world will only reach the goal of halving the proportion of persons who are hungry between 2020 and 2050.”  A similar forecast holds true for the goal of reducing child morality by two thirds. The goal of having all children up to 14 years of age enrolled in school is in a worse situation.  This goal, as a world average, would only be achieved after 2050.

What are the social factors that we need to understand in order to adopt appropriate and timely measures against the problems connected with poverty?

First, we need to understand the multi-causal and multidimensional nature of poverty. It is a phenomenon that concerns the material objective aspects of survival, as well as the ideational subjective aspects of beliefs in each community.

Second, we must recognize that basic human development needs, such as potable water, sewerage, food, universal primary education and medical care are problems whose solution is a collective responsibility. The structural conditions of inequality, imbalance and power must be addressed by new collective stakeholders concerned with and committed to the wellbeing of humankind.

Third, we need to give attention to the social threats that tend most to affect impoverished social groups and which comprise the so-called pathologies of social ties. Phenomena such as sexual abuse, domestic violence, street violence, child neglect, child prostitution, school non-attendance, child labor, overcrowded housing, crime, street children, drug trafficking, and drug and alcohol abuse, are realities exacerbated in communities with high levels of instability and exclusion from the productive, social, political and cultural systems where they live.

Hurdles, challenges and ministerial recommendations

1.- Design and implement cultural policies with high local relevance

Why cultural policies with high local relevance?

The need for such policies arises from the fact that the development of a community’s critical capacity necessarily begins with a focalist vision of its individual problems and the problems of its small locality, until they are understood to be more general problems, common to others. That is how, little by little, the group manages to discover the close linkage between local problems and other more general problems.

Their need also has to do with the fact that participation should become a continuous cultural practice. That is the only feasible way for each community to become engaged in the transformation of its own reality and to take up its respective tasks. Thus the momentum of its transformation cease to be the sum of individual ventures and becomes a collective expression, in the shape of projects of solidarity, established on the basis of long learning processes, new social relations, new forms of behavior, new perceptions of projections and constraints.(3)

Under this perspective, ministries of culture will have to tackle the present hurdles for the construction of cultural citizenship most keenly felt by the community.

Dialogue, the participation of an ever greater number of stakeholders in discussions on cultural development should be ensured by the Ministers and Highest Government Authorities of Culture. They

- 23 -

can encourage and support citizen initiatives for discussion and collective reflection on culture and its implications for social equilibrium on a broad and local level.

A top priority for the cultural authorities of the OAS member countries is to concoct plans, programs and projects specially designed to protect initiatives for collective discussion on culture. It is necessary to stimulate citizen participation through programs geared in particular towards strengthening the social fabric of civil society. Examples of such initiatives include: Public Cultural Colloquiums, Cultural Audiences, Cultural Councils, and Cultural Forums.

Cultural Authorities will have to ensure that all citizens have the opportunity to be heard; that collective discussions on culture do not discriminate, exclude, divide, or deny participation to any citizen.

The questions that would be likely to come up in collective discussions on culture, local cultural development, and the relevance of cultural issues at the local level are as follows:

What are the areas where cultural intervention would be most relevant? What connections should be created between cultural managers and poor citizens in each

territory?

What cultural strategies are needed to rebuild the collective, oral and written memory of each poor community (rural, urban, indigenous, multiple)?

Can awareness, appreciation, and passion for artistic expressions be cultivated from an

early age through educational policies on cultural, heritage and indigenous affairs with high local relevance?

Is it feasible to introduce cultural activities in schools, medical practices, community centers, and squares in order to strengthen citizen participation?

The recommendations on the core issues that should be included in cultural policies with a view to management in a particular territory are as follows.

Know the cultural practices found in each area. A Map of all stakeholders involved in the pursuit of arts is a priority for creating partnership-oriented settings for cultural development. Such stakeholders might be organizations or individuals involved in visual arts, dramatic arts, auditory arts, literary arts, and small craft-making businesses that produce cultural objects.

Reaffirm public spaces as multi-purpose cultural centers, such as schools, medical

practices, hospitals, theaters, public libraries, museums, heritage sites, public squares, parks, lookouts, promenades, avenues, streets, and street corners, in order to use them as readily accessible places for the public to come together and forge social ties through communication, recreation, education, affection, solidarity, sociability; try innovative collective activities, feel part of the city infrastructure, strengthening their sense of belonging, of identity with the places found there. In the medium term, citizens should come to feel part of the collective activities carried out in these spaces, and be accustomed to participate, express their opinions, and organize common activities, and come together at events that strengthen cultural citizenship as a legitimate development practice.

- 24 -

Stimulate the creation of cultural leadership programs that target the most economically, socially and culturally excluded portions of the poor in the 34 OAS member states; strengthen expressions of cultural diversity at the national, subregional and hemispheric level; and encourage the participation of traditionally sidelined social sectors.

Create, where feasible, cultural policies that foster widespread cultural activities

within each territory, and publicize literary, musical, dramatic, audiovisual and fine arts, as well as traditional and popular expression, crafts, gastronomy, and collective representation that stimulate the creation of arts for public consumption, recreation, leisure and cultural participation.

Develop growth strategies for small local businesses with a cultural content. Protection and promotion of cultural objects unique to each community, created by local craftsmen whose skills are passed down through generations. These are a niche of opportunity for implementing vocational training initiatives designed to create sources of employment.

Include cultural contents in community development plans. Today it is possible to see how strategies for implementing consensualized local development plans have gradually become institutionalized in rules and regulations governing local economic development, local governance, and community decentralization. Such local development plans represent the opinions, projections and desired images that public and private stakeholders have for their city, in order to improve the quality of life of its residents. Cultural contents have not yet been included to their full extent. Consensualized cultural objectives should be included in community development plans.

Design programs for protection and conservation of the collective memory in the framework of the cultural policies of the OAS member countries. Each community has autochthonous vernacular cultural traditions; an oral and written memory; tangible and intangible heritage, and artistic expressions; they have a unique origin, context, geography and history in which diverse social groups gradually give shape to a particular culture. That culture contains social ties, public and private ways of life, senses of belonging, common spaces for interaction, the dynamics of collective coexistence, and cultural habits.

Legitimize the use of social cohesion methodologies that combine the scientific procedures of the social sciences with those of artistic pursuits. It is necessary, in conjunction with academic centers, centers of learning, etc., to carry out joint applied research on artistic abilities, skills and techniques and how they connect with the social cohesion of society.

Promote the creation of decentralized sources of financing for which cultural stakeholders may apply independently; the submission of cultural projects should become a permanent practice for cultural consolidation.

Creation of a cultural information network: It is essential to have cultural information, coordination and collaboration networks that linked through national and international public libraries, museums, theaters, art galleries, community cultural centers, houses of culture, art schools, and cultural promotion agencies.

- 25 -

2.- The second main challenge facing the Ministers and Highest Authorities of Culture concerns the systematic inclusion of programs on cultural and indigenous affairs in the educational policies in force in each country in the hemisphere.

Education and Culture

Why is it important to foster the development of educational abilities and skills that enable children and young people to connect with their language, their traditional forms of explaining the world, their systems of beliefs, their tangible and intangible cultural heritage, and their potential for self-expression, observation, appreciation and artistic creation?

Because only then is it possible to form citizens with a collective memory, with a sense of belonging, of community, and of expressiveness as they lead their lives.

Because the things that are ours reinforce our collective confidence, add elements of

certainty to social relations, as well as elements of stability and security that reinforce interpersonal ties inside a community.

Because of the significance of culture for those who created it.

Because we strengthen shared common sensations that allow us to communicate with the environment that shelters us using coherent regulatory, affective and rational patterns.

Because representational, ritual, mythological, traditional and experiential settings are needed for the diverse cultural manifestations found in our communities.

Recommendations for implementing Educational Policies on Cultural and Indigenous Affairs

The governments of each country should adopt bilingual intercultural education programs. Interculturality should be the core guideline of the curriculum, so that objectives, knowledge, and methodologies are rooted in the community’s particular world view, knowledge and set of practices and, from there, gradually open up to and include in a reflective and critical manner elements of other cultures necessary to improve the living conditions of the indigenous population, thus contributing to the individual and social enrichment of harmonious dialogue among the different sociocultural groups that comprise each country. (4)

Strengthen the cultural relevance of curricula: As an essential element, the curriculum should be consistent with its cultural foundations. Relevance is achieved when the school ceases to be a strange and foreign environment for the whole population, in particular for the impoverished majorities who come from sectors that are virtually without schools, and instead becomes a place where the ideational and material creations present in each separate culture can take shape.

Protect and support education centers in indigenous communities: It is necessary to protect educational facilities and to ensure the supply of material and human resources necessary for them to function properly. It is also necessary to ensure that the budget appropriation for the development of intercultural education matches the needs of indigenous peoples.

- 26 -

Highlight the importance of the creation and promotion of training centers for crafts and trades, with particular attention to reproduction and knowledge of indigenous American traditional production techniques that are in danger of disappearing.

Encourage implementation of artistic education programs for under-14-year-olds at risk of dropping out due to their situation of vulnerability: Artistic education helps to develop self-expression, observation, appreciation and creation: self-expression as the activity that satisfies the need to transmit ideas, emotions and feelings; observation as a means for a person to knowingly face something new, and to consciously relate what they see with what they have stored in their memory; appreciation as the attitude that respects and values the expressions of others or events in their milieu; and artistic creation through design, music, dance, poetry, drama, trades and crafts. (5)

Design educational models to protect heritage sites in the Americas: Educational processes need to be established that in an instructive and clear way can provide information about the heritage sites found in various communities in the Americas, be they natural, architectural, or connected with local customs or indigenous cultural traditions, etc. The foregoing entails putting together study courses on heritage education that underscore the importance of conservation and protection of tangible and intangible heritage as part of the protection of unique territorial identities.

Use multimedia technology educational aids to strengthen bilingual intercultural education, heritage education, artistic education, and training in traditional trades and crafts. It is necessary to form critical individuals who are accustomed to considering the implications of new multimedia technologies and can, at the same time, benefit from them. Students should be made aware, based on an analysis of their own situation as regards new multimedia technologies, of the consequences of an unequal and unfair system of information communication and transmission, in which a handful are always the transmitters and the rest, who are the majority, become of the recipients. (6)

3.- The third hurdle to be tackled by the ministers of culture has to do with successful participation in and influence of the affairs of other ministries.

Is the use of culture to spearhead anti-poverty inter-ministerial cooperation a necessary challenge for the institutionalization of cultural policies?

When we explore the feasibility of implementing on the basis of social cohesion public social development policies on education, health, housing, productive development, gender, decentralization, environment, public spaces and citizen security, should we not ask ourselves what foundations would serve to establish inter-ministerial cooperation on culture as permanent practice?

What components should anti-poverty sectoral inter-ministerial cooperation include?

The opinions of the poor should be heeded and development strategies recognized by the poor as stakeholders. “The guiding principle should be the generation of social consensus as the basis for social relations”.( 7)

Poverty should be tackled bearing in mind its multidimensional nature, in other words through multi-sectoral social intervention.

- 27 -

Poverty should be addressed bearing in mind it heterogeneous nature and linked to the acceptance of diversity and gender.

Poverty should be addressed in a participatory manner and support provide for the creation of partnerships, networks, inter-group alliances, and coordination systems among individual and groups in the process of formation, development or consolidation.

Poverty should be tackled with a focus on Integration: with a view to community integration, municipal integration, and integration in the city.

From the multidimensionality of poverty to multi-sectoral intervention

Recommendations for implementation of multi-sectoral cultural policies

Inter-ministerial cooperation: It is necessary to introduce in the anti-poverty programs implemented by each country state intervention modalities that include in their thematic agendas inter-ministerial programs between the culture sector and other sectors concerned with social development.

Promote youth cultural volunteer systems: young people should have the opportunity to participate in the solution of the social problems that affect their community. They have the potential and energy to become dedicated cultural collaborators. They need to develop roles that give them visibility, and make them feel counted along with other social groups. In this context the creation would be relevant of multi-sectoral programs on cultural promotion with young people to overcome poverty.

Stimulate widespread cultural consumption: Poor sectors should have increased access to cultural manifestations, such as theater; concerts; literature; dance; art exhibitions, audiovisual material on popular and vernacular traditions; compilations of popular traditional and contemporary music; and information on their native culture. In this connection, a major challenge is to ensure that initiatives to broaden public cultural consumption are appropriately targeted at groups whose access to such manifestation really is more limited.

Include in policies on health, environment and gender the practices and traditions of the indigenous peoples that belong to each community.

Shore up poverty elimination programs in effect in government agendas in each country with cultural measures aimed to reaffirm the collective, oral and written memory of each group in process of transformation. Such initiatives should have their place in programs on housing, road paving, community kitchens, preventive health, public security, environmental promoters, childcare centers, local micro-enterprise, vocational training, community leadership, open schools.

Professional training for government employees that supervise implementation of social and cultural development programs (leadership): government employees, professionals, agents, and managers should receive professional training for performing their functions, and acquire knowledge and expertise in order to carry out their activities efficiently. Furthermore, in the framework of their functions as government employees they should also demonstrate their probity with respect to public assets and resources.

- 28 -

Engage artists in efforts against poverty and in favor of freedom of expression : Artists have the intuition, sensitivity, esthetic capacity, and independence sufficient to freely represent social inequalities, ranging from discrimination to different forms of social exploitation. They possess the creativity, talent, and expertise to depict, disseminate, display, represent, symbolize, recreate and capture both the misfortunes of poverty and the collective opportunities to defeat it.

Intervention models and structures that should be encouraged by cultural authorities in order to generate sustainable anti-poverty cultural policies

The three core strategies identified for the implementation of anti-poverty cultural policies are part of the broader framework of the farther-reaching and universal objectives of public policies on sustainable development. Therefore, we considered it relevant to conclude our observations by mentioning the need to have in place certain principles, resources, processes and infrastructure for planning implementation of cultural policies over the short, medium and long terms.

The protection of creativity, development of copyright laws, and observance of the social rights of artists are cultural development goals.

Strengthen cultural institutions at every political and administrative level in each country

(central, regional, departmental, provincial and community)

Enact laws on basic cultural rights, cultural goods and services, and on inclusion of cultural issues in all laws in force on public policies in each country.

Construct cultural policies based on extant cultural practices. Particular attention should

be given to methods that make it possible to reproduce initiatives, organize internships, disseminate those initiatives, and turn them into model cultural development projects. The cultural practices in use are practical examples of artistic and cultural viability.

Take steps to ensure that the state recognizes cultural and linguistic diversity in its Constitution and education laws.

Provide training in cultural planning processes that takes into account the dimensions of cultural activity, such as promotion, creation, dissemination, and preservation of cultural representations, and includes variables in coordination, leadership, partnership, decentralization, citizen participation and project preparation in different fields of cultural expression, such as the visual arts, dramatic arts, auditory arts, literary arts, popular culture, indigenous peoples, and cultural heritage.

Design cultural indicators that make it possible to measure the impact of cultural policies on social development policies, through the organization and implementation of research to describe, explore, systematize, innovate, record and publicize the connection between the culture sector and other development sectors, such as housing, health, urban and rural development, citizen security, food security, basic sanitation, social assistance, environment, decentralization, international cooperation, citizen participation, productive development, and vulnerable groups (at-risk children and youth, women heads of low-income households, disabled people, the elderly, and ethnic minorities)

- 29 -

Create promotion and performance evaluation systems able to recognize capacities, commitment, and leadership of professionals best-suited for implementation of cultural practices in partnership between the public and private sector in each community.

Include different territorial levels of government: The foregoing should be catalysts and promoters of public-private sector cooperation agreements for local development. They should act in concert with the main local private stakeholders, such as entrepreneurs, peasant farmers, producers, traders, labor organizations, regional universities, research and technical extension centers, and nongovernmental organizations.

Generate cultural policies that progress from a framework that represents the convictions and goals of a government to one that embodies the ideas and aspirations of society as a whole, and thus acquires greater support and stability.

Follow-up on cultural interventions: Ministries of culture should have the scope of action necessary to ensure follow-up and support for the cultural initiatives they spawn, until they become firmly rooted in the communities where they were set up.

- 30 -

BIBLIOGRAPHY

TOPIC 1 (Comments not available in English)

1. Benhamou, Françoise, L’économie de la culture, París, La découverte, 2003.Texto básico que explica la economía de la cultura desde una doble óptica: primero, hace una revisión sobre el estado del arte mundial de la teoría económica que se ocupa del tema cultural y, segundo, lo abroda desde una perspectiva sectorial.

2. Bonet, Lluís, Políticas de cooperación e industrias culturales en el desarrollo euro-latinoamericano, Seminario Internacional previo a la 3ª Cumbre de Jefes de Estado y de Gobierno de América Latina, el Caribe y la Unión Europea, México, 2004.

El texto analiza el estado de cosas de la relación entre economía y cultura, y posteriomente hace un recuento crítico de las relaciones de cooperación entre Europa y América Latina, especialmente desde el sector audiovisual.

3. Crane, Diana, “Cultural globalization from the perspective of the sociology of culture”, en Proceedings of the international symposium of culture statistics”, Montreal, UNESCO, 2002.

La autora hace un recorrido por los paradigmas que desde la sociología han abordado la relación entre globalización y cultura, para proponer finalmente una visión conjunta.

4. Diagnóstico dos investimentos em cultura no Brasil, Belo Horizonte, Minstério da Cultura, Fundaçao Joao Pinheiro, 1998.

Estudio estadístico del Ministerio de Cultura del Brasil que trata a profundidad tres temas: la inversión pública en cultura en ese país, la inversión privada y por último la aportación al PIB y al empleo de las industrias culturales desde una perspectiva estricta.

5. Estudio sobre la importancia económica de las industrias protegidas por el derecho de autor y los derechos conexos en los países de MERCOSUR y Chile , Universidade Estadual de Campinas, Organización Mundial de la Propiedad Intelectual (OMPI), 2001.

Estudio estadístico y analítico sobre la economía de las industrias culturales en los países del MERCOSUR y Chile. Contiene cálculos de aporte al PIB, empleo y comercio exterior y cálculos sectoriales, todo lo cual está acompañado por análisis país por país.

6. Farchy, Joëlle y Dominique Sagot-Duvauroux, Economie des politiques culturelles, París, Presses Universitaires de France, 1994.

Los autores examinan críticamente los modelos teóricos que desde la economía sustentan el apoyo estatal a la cultura. El análisis se concentra especialmente en la cultura desde una perspectiva tradicional.

7. García Canclini, Néstor y Carlos Moneta (Coordinadores), Las industrias culturales en la integración latinoamericana, Buenos Aires, Eudeba, SELA, 1999.

Libro que recopila textos de diferentes autores. Cada autor hace un análisis de la situación de un sector de las industrias culturales desde una perspectiva latinoamericana. Normalmente, cada texto lleva reflexiones en torno a políticas y a los temas de integración en la región.

8. Guzmán Cárdenas, Carlos E., Diagnóstico de las industrias culturales y comunicacionales en Venezuela, Innovatec-Innovarum Inteligencia del Entorno, 2000(?).

Compilación de estadísticas disponibles sobre industrias culturales en Venezuela.

- 31 -

9. Heilbrun, James y Charles M. Gray, The Economics of art and Culture, Cambridge, Art Books, 2001.

Texto a la vez teórico y básico sobre la visión estadounidense de la economía de la cultura. En un principio expone los argumentos económicos para subsidiar la cultura para después analizar el sistema de política cultural de este país.

10. Hopenhayn, Martín, “El reto de las identidades y la multiculturalidad” en Revista Pensar Iberoamérica, OEI, 2002.

El texto analiza el concepto de multiculturalidad como parte del desarrollo desde una perspectiva latinoamericana. Finalemente recoge unas recomendaciones de política.

11. Impacto de la cultura en la economía chilena: participación de algunas actividades culturales en el PIB y evaluación de las Fuentes estadísticas disponibles, Bogotá, Consejo Nacional de la Cultura y las Artes de Chile, Universidad ARCIS, Convenio Andrés Bello, 2003.

Estudio estadístico que calcula el impacto económico de las industrias culturales en Chile en conjunto. Realiza posteriormente un análisis de los resultados y, finalmente, recopila y analiza algunas cifras sectoriales disponibles.

12. Impacto económico de las industrias culturales en Colombia, Bogotá, Ministerio de Cultura de Colombia, Convenio Andrés Bello, 2003.

Estudio estadístico y analítico sobre el impacto económico de las industrias culturales en Colombia. El estudio calcula el impacto de este sector en el PIB, para luego abordar la información sectorizadamente. Las cifras están acompañadas por profundos análisis. Finalmente, se recogen proposiciones de política articuladas en ejes temáticos.

13. InCorpore, “El desarrollo cultural en Centroamérica y la participación de las entidades culturales en el proceso de integración regional” en Revista Pensar Iberoamérica, OEI, 2002.

Artículo que elabora una recuento de la experiencia de la Asociación InCorpore de Centroamérica a través de los años, destacando aciertos y problemas encontrados. Finalmente, se hace una somera descripción de los programas ejecutados.

14. McFayden, Stuart, Colin Hoskins y Adam Finn, “Cultural industries from an Economic/Business Research Perspective”  en Canadian Journal of Communication Vol. 25, No. 1, 2000.

Balance de los estudios económicos y estadísticos de estos autores sobre la efectividad de las políticas audiovisuales en Canadá. Se analiza, específicamente, la pertinencia econométrica de cada medida.

15. Nivón, Eduardo, “Cultura e integración económica. México a siete años del Tratado de Libre Comercio en Revista Pensar Iberoamérica, OEI, 2002.

Recuento de la experiencia mexicana en el ámbito de las negociaciones de libre comercio en el TLCAN. Desde una perspectiva crítica, el autor analiza aciertos y, ante todo, carencias de la política de negociación en relación a las industrias culturales.

16. Nivón, Eduardo, “La cooperación cultural como proceso de la globalización. Una visión desde América Latina” en Revista Pensar Iberoamérica, OEI, 2002.

Artículo que mira el proceso del concepto de cooperación internacionbal en el tema de la cultura desde Latinoamérica. Específicamente, describe como se está pasando de un modelo de cooperación en la cultura tradicional hasta uno que mire la importancia económica de la cultura.

- 32 -

17. Ochoa, Ana María y George Yúdice, “The latin american music industry in an era of crisis”, París, Global Alliance for Cultural Diversity, UNESCO, 2002.

Los autores hacen una puesta al día de cifras y análisis sobre la situación de la industria musical en el hemisferio. Reconocen aspectos positivos del crecimiento y analizan posibles salidas alternativas a la crisis que ha sobrevenido en los últimos años.

18. Prieto de Pedro, Jesús, “Cultura, economía y derecho: tres conceptos implicados” en Revista Pensar Iberoamérica, OEI, 2002.

Después de analizar el estado de las relaciones entre economía y cultura, el autor propone una visión del derecho como elemento necesario para el buen desarrollo de estas relaciones y de un crecimiento de las industrias culturales socialmente equitativo.

19. Rascón, Victor Hugo, “Legislación y políticas en las industrias culturales de latinoamérica”, Seminario Internacional previo a la 3ª Cumbre de Jefes de Estado y de Gobierno de América Latina, el Caribe y la Unión Europea, México, 2004.

Repaso de la situación actual de los ectores de las industrias culturales en Latinoamérica, con recomendaciones legislativas para la sustentabilidad de estas industrias.

20. Rey, Germán, “Cultura y desarrollo humano: unas relaciones que se trasladan”, en Revista Pensar Iberoamérica, OEI, 2002.

Texto que analiza la posición de la cultura dentro de lo que hoy en día puede ser ua definición de desarrollo global.

21. Rivas, Patricio, “Cooperación cultural en el espacio del MERCOSUR” en Revista Pensar Iberoamérica, OEI, 2002.

El autor analiza el proceso que ha tenido el tema cultural desde la creación del MERCOSUR. Al final compila aciertos, carencias y perspectivas futuras.

22. Sandoval, Natalia, “Las industrias culturales en América Latina en el marco de las negociaciones de la OMC y del ALCA: opciones para la elaboración de una política cultural latinoamericana que favorezca el crecimiento y el desarrollo del sector cultural” en Revista Pensar Iberoamérica, OEI.

Profundo estudio jurídico dividido en dos partes. La primera parte expone la aspecto cultural de los diversos procesos de integración regional y libre comercio en la región; la segunda, por su parte, se ocupa de mirar la legislación que protege al sector audiovisual en 6 países latinoamericanos. Al final expone unas conlcusiones desde una perspectiva comparada.

23. Seminario internacional, Economía y cultura: la tercera cara de la moneda, Bogotá, Convenio Andrés Bello, 2001.

Libro que compila las ponencias presentadas en este seminario. Los temas son variados: estado del arte de las relaciones entre economía y cultura, estudios sectoriales, conveniencia del apoyo estatal a las industrias culturales, medios de comunicación, diversidad, mecenazgo.

24. Siwek, Stephen E., Copyright industries in the US economy: the 2002 report, International Intellectual Property Alliance (IIPA), 2002.

Estudio estadístico anual sobre el peso de las industrias protegidas por el derecho de autor desde ua perspectiva estadounidense. Hay cifras sobre empleo, igualmente y un somero análisis de la evolución de las cifras a lo largo del tiempo.

- 33 -

25. Tolila, Paul, “Industrias culturales: datos, interpretaciones, enfoques. Un punto de vista europeo”, Seminario Internacional previo a la 3ª Cumbre de Jefes de Estado y de Gobierno de América Latina, el Caribe y la Unión Europea, México, 2004.

Cifras estadísticas y análisis de las industrias culturales europeas y su relación con la economía del continente americano.

26. UNESCO, “Etat de l’industrie de l’audiovisuelle en Amérique Latine”Recuento sumario sobre el estado de la industria audiovisual en algunos países de Latinoamérica, identificación de problemas de política y experiencias de caso existosas.

27. Yúdice, George, “Industrias culturales y desarrollo culturalmente sustentable”, Seminario Internacional previo a la 3ª Cumbre de Jefes de Estado y de Gobierno de América Latina, el Caribe y la Unión Europea, México, 2004.

Análisis sectorial sobre experiencias de caso que representan alternativas cooperativas de sustentabilidad en las empresas culturales frente a una coyuntura de globalización y concentración económica de la producción y distribución cultural.

28. Zuleta, Luis Alberto y Lino Jaramillo / Fedesarrollo, Impacto del sector fonográfico sobre la economía colombiana, Convenio Andrés Bello, 2003.

Estudio completo sobre la estructura del sector fonográfico en este país. Cálculo de aporte a la economía, identificación de actores y dinámicas en cada uno de los eslabones de la cadena de valor. Problemas y recomendaciones de política.

29. Zuleta, Luis Alberto, Lino Jaramillo y Mauricio Reina / Fedesarrollo, Impacto del sector cinematográfico sobre la economía colombiana: situación actual y perspectivas, Bogotá, Convenio Andrés Bello, 2003.

Estudio completo sobre la industria cinematográfica en este país. Cálculo de aporte a la economía, identificación de actores y dinámicas en cada uno de los eslabones de la cadena de valor. El estudio hace gran énfasis en las recomendaciones de política.

Topic 2

1. Informe SGAE sobre hábitos de consumo cultural. Edición Fundación Autor; Madrid año 2000

Interesante pauta metodológica para investigar los hábitos de los consumidores. Centrado en: Música, Teatro, Artes audiovisuales, Lectura y otras actividades como visitas a museos, cursos, visitas a monumentos, lugares de ocio, etc. Divide bien a los consumidores culturales, consiguiendo sacar unas conclusiones eficaces y pertinentes para los estudios posteriores.

2. La Industria de la Cultura y el Ocio en España, su aportación al PIBEdición SGAE Madrid 1994Autores: García, Maria Isabel - Encinar del Pozo, Isabel – Muñoz Pérez, Félix Primera pauta metodológica que aproxima a medición eficaz del aporte del sector cultural al desarrollo económico del país. Introduce variables interesantes y desconocidas, hasta el momento, en el mundo de la cultura. Una buena herramienta para sincronizar lenguajes con los economistas.

3. Entre la realidad y los sueños: La Cultura en los tratados internacionales de libre comercio y el ALCA

- 34 -

Edición: CERLALC y CABAutores: Germana Rey, Mauricio Reina, Gonzalo Castellanos

Es una brillante aproximación a lo que representa en estos momentos el sector cultural en las negociaciones internacionales. Brillante por su claridad, por su capacidad de análisis y por su novedosa propuesta de trabajo.

4. Economía da cultura, A força da industria cultural no Río de JaneiroEdición: E- Papers Río de Janeiro 2002Autor: Ciclo de encuentros de economía de la cultura en Río septiembre de 2001

Diversas ponencias presentadas en el encuentro de Río del año 2001, uno de los emblemáticos sobre el tema celebrados en la región. A destacar la relación entre economía de la cultura y políticas públicas.

5. Cultura, Culturas y ConstituciónEdición: Congreso de los diputados Madrid 1995Autor: Jesús Prieto de Pedro

Tal vez el mejor estudio realizado sobre la importancia del derecho de la cultura. Comienza un análisis profundo sobre el papel de la cultura en las constituciones y desgrana lo que debe ser y como se ha de buscar un estado de cultura. Un texto imprescindible para comenzar el cambio de mentalidad legislativa.

6. Estado y Cultura, La función cultural de los poderes públicos en la constitución española.Edición: Centro de Estudios Ramón Areces. Madrid 1998Autor: Marcos Vaquer

Discípulo del profesor Prieto de Pedro, este trabajo constituye el complemento perfecto del anterior. Un análisis fácilmente extrapolable a otras realidades sobre todo de ámbito iberoamericano.

7. Colección del Convenio Andrés Bello sobre el impacto económico de las industrias culturales en Colombia, Venezuela, Chile y BoliviaEdición: Convenio Andrés BelloAutor: Diversos Coordinadores, en cada país y en la sede de Bogotá.

Sin temor a exagerar se puede afirmar que el CAB inauguro el proyecto de Economía y Cultura en la zona andina y supo coordinar esfuerzos con otros trabajos regionales. En el año 2003 ha terminado la segunda fase de las publicaciones y ha conseguido unos datos y una seriedad en los mismos que hacen a este trabajo imprescindible de todo punto de vista. Tanto el general como los anexos que sobre diferentes sectores se han ido sacando.

8. Políticas y economía de la cultura en VenezuelaEdición: Instituto de la comunicación UCV Caracas 2003Autor: Carlos Guzmán

Una brillante discusión académica sobre la relación entre cultura y economía. Resultado de este debate es el trabajo de investigación del académico Carlos Guzmán sobre el compartimiento productivo del sector en Venezuela. Una mirada voluminosa por la cantidad de datos que aporta y el significativo modelo de investigación que se propone.

9. Actores culturales y globalización, lectura creativa de la televisión, economía y cultura. Edición: Anuario Ininco, Nº 14 Instituto de investigaciones de la comunicación UCV. Caracas 2002.Autor: Varios

- 35 -

Un número especialmente recomendable de la revista ININCO. Con un buen tratamiento de la relación entre comunicación, economía y cultura. Una trilogía que cada vez se presenta más inseparable.

10. Globalización y CulturaEdición: Oxford University PressAutor: John Tomlison

Un análisis de la relación entre los procesos de globalización y los cambios contemporáneos en la cultura. Acicado a los debates sobre modernidad social y cultural.Encuentro necesario sobre modernidad cultural, reforma territorial y necesidad de redefinición social.

11. Televisión publica, del consumidor al ciudadanoEdición Frederich Ebert y Convenio Andrés BelloAutores: Omar Rincón; Compilador, Martín Barbero, Rey, Portales, Orozco...

La televisión como estrategia para el cambio social. Una mirada desde las políticas publicas y desde la revisión económica de lo que esto significa para quien las aborde.

12. Cinéfilos, videoadictos y telespectadores Los perfiles de los consumidores de los productos audiovisuales en EspañaEdición Fundación Autor y SGAE Madrid 2002Autor: Fernández, Prieto, Muñiz y Gutiérrez

Una compilación sobre la estructura del consumo audiovisual en España. Una metodología de trabajo fácilmente exportable y recomendable a todas luces para los interesados en el tema.

13. Pensar IberoamericaEdición: Revista Digital de la OEI. Numero dedicado a la Industria Cultural, Cultura, economía y derecho, tres conceptos implicados Autor: Jesús Prieto de Pedro.

Una revista de cultura en formato digital que aparece cada cuatro meses en la red y que permite consultar los números anteriores, cuidada, con buenos autores y excelente selección de temas.

Topic 3

1. Culture and Poverty: Learning and Research at the World Bank. A text that reflects on culture and fighting poverty. It proposes efficient research efforts with a view to overcoming poverty by means of cultural manifestations. http://www.worldbank.org/poverty/culture/themes.htm

2. Bajoit, Guy, Todo Cambia, Análisis Sociológico del cambio social y cultural en las sociedades contemporáneas, Ediciones LOM, 2003 .

The author seeks in this book to merge different views of the present and future into a single overall interpretation, combining the factors and dimensions of change in an analytical and theoretical proposal that forces us to reevaluate our representation of society and to reconstruct based on a new paradigm that he calls identitary.

3. Salazar, Benitez, Autonomía, Espacio y Gestión, el Municipio Cercenado, Ediciones LOM, 2003

The text addresses the strategic problem of the need for, and possibility to introduce and foment, citizen participation systems and cultures. Evidently, the foregoing concerns the possibility of enhancing democracy and returning increasing quotas of power to civil society.

- 36 -

4. Peralta, M Victoria, Curriculos Educacionales en América Latina, Su pertinencia cultural, Editorial Andrés Bello, 1996

This study is the fruit of 10 years of research and theoretical and practical work that examines the various problems affecting education, curricula, culture and children. The study of these issues requires contributions from all sectors in order to ensure effective change. The measures adopted to date are helping to broaden awareness of their importance, showing that it is feasible to put these ideas into practice and to move beyond words.

5. Diaz Patricia, Guía Metodológica de Crearte de Talleres Artísticos para el fortalecimiento de la autoestima, la creatividad y la expresión en niños y niñas de entre 6 y 14 años en situación de riesgo social, UNESCO, Lea, internacional enlaces para la educación y el arte, 2004

This guide deals with the contributions that art can make in producing well-rounded children. These workshops help to develop capacity for self-expression, observation, creativity and appreciation of reality through knowledge of artistic techniques in fine arts, music, literature, theater and crafts.

6. Gutiérrez, Martín, Educación Multimedia y Nuevas Tecnologías, Ediciones de la Torre, 1997The aim of this text is to examine the advisability for the study of new technologies in education by teachers to become an opportunity to reflect on the far-reaching consequences of new forms of representation and communication.

7. Balboa, Jordán, Simioni, “La Ciudad Inclusiva”,ECLAC, United Nations,2003This book presents a compendium of texts prepared by international experts on urban issues that deal specifically with the situation of developing countries. The topics addressed include the urbanization of poverty, the efficient city, decentralized urban management, the role of planning, sustainable urban development, security, food, gender perspective, and urban vulnerability.

document.doc

- 37 -