Culture for a creative EU

Culture for a creative EU

Visions by Ministers of Culture for the role of culture in the EU Ministry of Culture of the Republic of Slovenia — 2014

Photography on the cover page from the performance Valentina Turcu, Leo Mujić: Dangerous Liasons, co-production by the Slovene National Theatre Maribor, the Dubrovnik Summer Festival and the Ljubljana Summer Festival.

Photo: Tiberiu Marta/SNG Maribor

Table of contents 005 Preface: Uroš Grilc, PhD, Minister of Culture,

Republic of Slovenia

009 Austria 017 Belgium 037 Bulgaria 047 Croatia 059 Denmark 069 France 085 Germany 093 Bavaria 101 Greece 107 Italy 119 Luxembourg 127 Malta 135 Netherlands 143 Poland 153 Portugal 161 Romania 167 Slovakia 177 Slovenia 185 Spain 195 United Kingdom

Spoštovani tvorci kulturnih politik, spoštovani kulturniki in umetniki, spoštovani uporabniki kulture in umetnosti, spoštovani Evropejci, elektronska knjiga, ki leži pred vami, je zbornik vizij kulturnih politik, ki so jih prispevali ministri, pristojni za kulturo, iz dvajsetih držav članic Evropske unije. Je rezultat pobude, ki sem jo širši evropski kulturniški javnosti prvič predstavil na nedavni Chaillotski konferenci aprila letos v Parizu – pobude, ki je izšla iz zavedanja, da je Evropska unija, tudi kar se kulturne politike (oziroma kulturnih politik) tiče, v prelomnem obdobju, in želje po odpiranju dialoga. Vse morebitne spremembe, ki nas čakajo v prihodnosti, bodo namreč lahko spremembe na bolje samo, če bodo premišljene, reflektirane in široko javno prediskutirane.

Več kot počaščen sem, da je bil moj predlog deležen tako velikega odziva. Le-ta namreč priča o tem, da je dialog med odločevalci o kulturi posameznih držav članic Evropske unije ne le možen, marveč celo zaželen.

Vsem dvajsetim avtorjem in avtoricam ter njihovim ekipam bi se ob tej priložnosti rad toplo zahvalil za sodelovanje. Posebna zahvala gre gospe ministrici Aurelie Filippetti, ki mi je s svojo podporo predlogu na pariški konferenci dala upanje, da lahko ideja resnično zaživi.

Kultura je gonilo človekovega razvoja, pa naj s tem ciljamo na človeka kot posameznika ali na družbo kot celoto, zato so izzivi kulturne politike izzivi za celotno skupnost. Izdelek, ki je pred vami, odpira relevantna vprašanja in išče odgovore nanje. Ne ponuja dokončnih rešitev, ampak predvsem odpira polje razprave, iz katerega bomo v prihajajočem obdobju črpali navdih za razvojne spremembe evropskih kulturnih politik. Na bolje.

Hvala vsem.

Dr. Uroš Grilc, minister za kulturo Republika Slovenija

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Dear cultural policy makers, Dear professionals in the field of culture and artists, Dear users of culture and the arts, Dear fellow Europeans, This e-book is a collection of cultural policy visions offered by ministers responsible for culture from twenty EU member states. It is the result of the initiative that I presented for the first time to the European cultural public at the Paris Chaillot Forum in April 2014, an initiative stemming from aspirations to open a dialogue and the understanding that, in terms of its cultural policy or policies, the European Union finds itself at a turning point.

Any changes that the future may bring will only be changes for the better if they are well-thought-out, reflective of the situation and thoroughly publicly discussed.

It is a great honour for me to see that so many responded to my proposal, which also demonstrates that a dialogue between decision makers in cultural issues in the member states is not only possible but indeed welcome. I would like to take this opportunity to thank most sincerely all twenty authors, ministers and their teams for their contributions. And I would also like to extend a special word of gratitude to Minister AurĂŠlie Filippetti who endorsed my proposal at the Paris meeting thus giving hope that my idea may come to fruition.

Culture is the engine of human evolution, be it the development of individuals or society as a whole, which makes challenges in cultural policies those of the entire community. This publication tackles many of these challenges, raises relevant questions and searches for answers. It does not provide ready-made solutions, but rather creates a platform for discussion which will inspire change in the European cultural policies in the coming period. A change for the better.

Thank you all!

UroĹĄ Grilc, PhD, Minister of Culture Republic of Slovenia

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Ă–sterreich Austria

“The EU ministers of culture underlined the need of significant and reliable cultural statistics in a political resolution almost 20 years ago. Despite various efforts, we still have a long way to go.“

Dr. Josef Ostermayer

— Bundesminister für Kunst und Kultur, Verfassung und öffentlichen Dienst — Federal Minister of Arts, Culture, Constitution and Public Service

Der Stellenwert von Kunst und Kultur in unserer Gesellschaft kann nicht hoch genug eingeschätzt werden. Sie regen kritische Auseinandersetzung mit soziokulturellen, politischen und wirtschaftlichen Themen an und sind damit ein wichtiger Impulsgeber für andere Bereiche. Wie viele Studien belegen, ist der Beitrag der Kultur- und Kreativsektoren zum sozialen Zusammenhalt, zur Beschäftigung und zur Wirtschaft in Europa beachtlich und stetig im Steigen.

Kulturpolitik hat die Aufgabe, freies und kreatives Schaffen zu ermöglichen und zu fördern. Zum einen geht es um die Absicherung von Kulturbudgets in Zeiten restriktiver Budgetpolitik, zum anderen um maßgeschneiderte Rahmenbedingungen in wichtigen Bereichen wie Urheberrecht, Steuerrecht, Sozialversicherung oder Visapolitik.

Wie können wir für eine erkennbare Handschrift von Kultur in der EU sorgen und wesentliche kulturpolitische Akzente setzen? Bei den laufenden Verhandlungen zum neuen EU-Arbeitsplan für Kultur 2015-2018 müssen klare Ziele, Maßnahmen und Ergebnisvorgaben ausgearbeitet werden. Was kann die EU für die Kultur tun und was kann Kultur für Europa tun?

Inklusive und zugängliche Kultur Die Finanzkrise, die verstärkte Migration und die zunehmende Mobilität der Menschen zählen zu den größten Herausforderungen unserer Zeit. Daher ist die Stärkung des sozialen Zusammenhalts eine unserer wichtigsten Aufgaben. Kunst und Kultur können hier eine entscheidende Rolle spielen. Sozialer Zusammenhalt heißt nicht nur ökonomischer Zusammenhalt, sondern auch symbolischer und kultureller Zusammenhalt. Europa braucht dafür zugängliche Kultur. Wichtig sind die Förderung der interkulturellen Kompetenzen von Menschen und Institutionen sowie politische Maßnahmen zur Stärkung der kulturellen Vielfalt und des interkulturellen Dialogs.

Sinnvoll könnten Benchmarks für die Messung der kulturellen Vielfalt und eine europaweite Auszeichnung für die kulturelle Vielfalt sein.

Kunst muss etwas wert sein Kunst braucht keine Almosen, sondern eine adäquate Abgeltung. Geistige Leistung darf nicht anders behandelt werden als materielle Werke. Wir benötigen ein modernes Urheberrecht, das die Kreativen angemessen an der Wertschöpfungskette beteiligt. Darüber hinaus bedeutet gerechte Entlohnung auch gesellschaftliche Bewusstseinsmachung für den monetären Wert künstlerischer Arbeit. Dies impliziert auch die öffentliche Finanzierung von Kunst und Kultur inklusive europäischer Förderinstrumentarien.

Kulturelle Nahversorgung Die Abwanderung junger Menschen aus ländlichen Regionen zählt auch zu den kulturpolitischen Herausforderungen unserer Zeit. Kunst und Kultur in den Regionen heben die Lebensqualität, tragen zur Attraktivität bei und stärken zudem das Zusammengehörigkeitsgefühl. Auch die wirtschaftlichen Effekte der Kultur und Kreativwirtschaft, mit innovativen und besseren Arbeitsplätzen, werden manchmal zu wenig wahrgenommen. All dies begünstigt eine polyzentrische Entwicklung. Die Integration dieser Bereiche in die strategische Planung und Umsetzung der EU-Politik, insbesondere auch die EU-Regionalpolitik, ist daher wesentlich.

Faktengestützte Kulturpolitik Vor knapp 20 Jahren haben die Kulturminister der EU in einer politischen Entschließung die Notwendigkeit einer aussagekräftigen Kulturstatistik unterstrichen.

Trotz verschiedenster Bemühungen sind wir von diesem Ziel noch immer weit entfernt. Der

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ökonomische Mehrwert von Kunst, Kultur und Kreativwirtschaft in Europa und deren Spill-Over Effekte auf andere Sektoren ist unbestritten, es fehlt jedoch nach wie vor an fundiertem Zahlenmaterial. Darüber hinaus muss auch die Wahrnehmung für den immateriellen Mehrwert der Kultur, der über die wirtschaftlichen Effekte hinausgeht, wie beispielsweise Lebensqualität und sozialer Zusammenhalt, geschärft werden.

Europaweit vergleichbare Indikatoren sind dafür unabdingbar.

Kulturpolitik braucht Gestaltungsfreiheit Die „Exception culturelle“ hat als politisches Konzept an Aktualität nicht eingebüßt.

Kulturelle Güter und Dienstleistungen sind nicht bloße Handelsware, sondern sind auch Träger von Identität und Ausdruck von Werten und Orientierungen. In den aktuellen EU-USA Freihandelsverhandlungen wird die „Exception culturelle“ neuerlich auf die Probe gestellt. Zur Beunruhigung tragen die intransparente Informationspolitik sowie die Tatsache bei, dass die USA die UNESCO-Konvention zum Schutz und zur Förderung der Vielfalt kultureller Ausdrucksformen nicht ratifiziert hat. Die Befürchtungen, das Freihandelsabkommen könnte den kulturpolitischen Spielraum der EU-Mitgliedstaaten beeinträchtigen, sind also nicht unbegründet. Die Einhaltung der im Verhandlungsmandat festgelegten kulturpolitischen Grundsätze muss daher mit größter Aufmerksamkeit verfolgt werden.

Das hochwertige europäische Filmschaffen stärken Der europäische Filmsektor ist stark fragmentiert und besteht aus kleinteiligen Strukturen. Zudem liegt das Schwergewicht auf der Herstellung der Filme, während der Vertrieb noch zu wenig Unterstützung erfährt. Fördermittel müssen noch gezielter in die professionelle Entwicklung, die Vermarktung und die internationale Verbreitung fließen, um die europäische Filmindustrie weltweit zu stärken. Darüber hinaus gilt es, die großen Ungleichgewichte zwischen einzelner, nationalstaatlicher Produktionskapazitäten möglichst auszugleichen, beispielsweise durch stärkere Anreize für sprachübergreifende Co-Produktionen innerhalb Europas.

Europäische Filme machen zwei Drittel der Filmstarts in der EU aus, aber nur ein Drittel der Kartenverkäufe. Um eine größtmögliche Verbreitung zu erzielen, muss auch der Online-Vertrieb von Filmen intensiviert werden. Dafür ist es notwendig, innereuropäische Schranken abzubauen. Grenzüberschreitende Lizenzen und die synchrone Vermarktung von Filmen über mehrere Verwertungskanäle könnten helfen, das europäische Publikum stärker für das europäische Filmschaffen zu begeistern.

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The importance of art and culture for our society can not be appreciated enough.

By encouraging a critical examination of socio-cultural, political and economic issues, art and culture also provide significant stimuli to other areas. As documented in many studies, the contribution made by the cultural and creative sectors to social cohesion, employment and the economy is substantial and growing continuously.

It is the task of cultural policy to facilitate and promote independent and creative work.

In times of tight budget policies, it is vital to ensure that budgets for culture are not cut.

In parallel, it is necessary to create tailored framework conditions in crucial areas such as copyright law, tax law, social insurance or visa policies.

How can culture leave a mark in the EU and how can we take substantial measures in cultural policies? It is a vital goal of the ongoing negotiations on the new EU Work Plan for Culture 2015-2018 to develop clear goals, measures and targets. What can the EU do for culture and what can culture do for Europe?

Inclusive and accessible culture The financial crisis, increased migration as well as the growing mobility of people are among the most important challenges of our time. It is therefore one of our most vital tasks to strengthen social cohesion. In this context, art and culture may play a decisive role. Social cohesion does not only mean economic cohesion but also symbolic and cultural cohesion. This is why Europe needs an accessible culture. It is important to promote the intercultural skills of our citizens and institutions as well as to take political measures which will strengthen cultural diversity and intercultural dialogue.

Benchmarks to measure cultural diversity and a Europe-wide award for cultural diversity could be useful.

Art has a value Art does not need donations but adequate compensation. Intellectual services must not be treated differently than material work. We need a modern copyright law to ensure that creative professionals can participate adequately in the value-added chain. Fair remuneration also means to raise public awareness of the monetary value of artistic work. This implies public budgets for financing art and culture including European funds.

Culture in the regions The rural exodus of young people is one of the current challenges for cultural policy as well. Art and culture in the regions improve the quality of life, enhance the attractiveness of regions and strengthen the sense of togetherness. The economic effects of culture and the creative industries including innovative and better jobs are still not recognized enough. All these factors support a polycentric development. It is therefore crucial to integrate these areas into the strategic planning and implementation of EU policies, in particular EU regional policy.

Evidence-based culture policy The EU ministers of culture underlined the need of significant and reliable cultural statistics in a political resolution almost 20 years ago. Despite various efforts, we still have a long way to go. While the economic added value of art, culture and the creative industries in Europe as well as their spill-over effects on other sectors are undisputed, sound data are still lacking. It is also necessary to raise the awareness of the intangible added value of culture, which goes beyond economic effects like quality of life and social cohesion. Europe-wide indicators are therefore indispensable.

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Cultural policy needs a free scope As a political concept, “exception culturelle” is still relevant. Cultural assets and services are not merely commodities but also convey identity and express values and attitudes.

In the current negotiations between the EU and USA on the free trade agreement the concept “exception culturelle” is once more put to the test. Information policies lacking transparency as well as the fact that the USA did not ratify the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions also give cause for concern. Hence, fears that the free trade agreement could limit the scope for cultural policy-making of the EU Member States are not unfounded. Compliance with the principles of cultural policy defined in the negotiating mandate must therefore be monitored very closely.

Strengthening Europe’s high-quality filmmaking The European film sector is highly fragmented and is characterised by a patchwork structure. Emphasis is placed on filmmaking, while the support for the distribution of European films is still inadequate. Funds must be allocated even more effectively to professional development, marketing and international distribution in order to strengthen Europe’s film industry at global level. Moreover, measures should be taken to eliminate major imbalances between the production capacities of the individual Member States, e.g. by providing stronger incentives for film productions that cross language barriers within Europe.

European films represent two thirds of all films released in the EU, but merely one third of all tickets sold. To ensure the widest possible dissemination, the online sale of European films must also be intensified. Hence, barriers within Europe must be reduced. Transnational licenses and synchronous marketing activities through multiple channels could help to spark more enthusiasm among the European audience for European filmmaking.

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Belgien Belgique BelgiĂŤ Belgium

“Cultural activity only works with a lot of idealism and effort. This is something it shares with politics“

Isabelle Weykmans

— Ministerin für Kultur, Medien und Tourismus der Deutschsprachigen Gemeinschaft Belgiens — Minister of Culture, Media and Tourism of the German-speaking Community

“We need a strong and efficient European culture administration which is very knowledgeable about the interests of the cultural sector and its actors and is able to express these accordingly.“

Fadila Laanan

— Ministre de la culture, de la politique audiovisuelle, de la santé et de l’égalité des chances de la Communauté française (2004-2014) — Minister of Culture, Audiovisual Policy, Health and Equal Opportunities of the French-speaking Community (2004-2014)

“Cultural policy has to guarantee that a maximum of people can participate in as varied and outstanding cultural offer as possible.”

Joke Schauvliege

— Vlaams Minister van Leefmilieu, Natuur en Cultuur (2009-2014) — Flemish Minister of Environment, Nature and Culture (2009-2014)

Kultur, in ihrem weitesten Sinne, gibt einem Menschenleben auf unvergleichbare Weise Sinn und bildet das unentbehrliche Fundament einer Gesellschaft. Forschungen haben gezeigt, dass Kultur sich nicht nur positiv auf die körperliche und geistige Gesundheit eines Menschen auswirkt, sondern auch, dass sie auf unterschiedliche Art und Weise die Wirtschaft beeinflussen kann, dass sie soziale Verbindungen zwischen den Menschen festigt und dass sie ein wichtiges Element für die individuelle und kollektive Selbstreflektion ist.

Kultur ist Gemeingut, dessen die Bürger nicht beraubt werden können und das mit Sorgfalt behandelt werden muss. Es gehört zu unserer gemeinsamen Verantwortung den immanenten Wert der Kultur für jeden Einzelnen und für die Gesellschaft zu schützen und zu bewahren.

Die Kulturpolitik muss dafür sorgen, dass so viele Menschen wie möglich an einem abwechslungsreichen und qualitativen Kulturangebot teilhaben können. Auch wenn die wichtigsten Schalthebel dafür sich auf lokaler, regionaler und nationaler Ebene befinden, hat die Europäische Union eine klare Aufgabe zu erfüllen, wie im Artikel 167 des Vertrags über die Arbeitsweise der Europäischen Union festgelegt wurde: 1. Die Kultur in europäischer Politik und Gesetzgebung stärker integrieren Artikel 167 des Vertrags über die Arbeitsweise der Europäischen Union regelt die europäischen Maßnahmen im Bereich Kultur. Paragraf 4 dieses Artikels lautet wie folgt: Die Union trägt bei ihrer Tätigkeit aufgrund anderer Bestimmungen der Verträge den kulturellen Aspekten Rechnung, insbesondere zur Wahrung und Förderung der Vielfalt ihrer Kulturen Diese Bestimmung ist ein entscheidender, wenn auch noch zu selten genutzter Schalthebel um den Platz der Kultur auf der europapolitischen Agenda zu stärken und zu bestätigen. Wir rufen also dazu auf, die Kultur klüger und effizienter in die Europapolitik und in den Prozess der Ausarbeitung der europäischen Gesetzgebung einzubeziehen.

Wir benötigen eine starke und effiziente europäische Kulturverwaltung, die die Belange der Kultur und der Kulturakteure gut kennt und diese entsprechend zum Ausdruck bringen kann. Um dieses Ziel zu erreichen, ist es notwendig, in einen tiefgehenden Dialog mit den Sektoren zu treten, Daten und Statistiken über den Kultur- und Kreativsektor zu sammeln und kohärente Argumentationen und Visionen auszuarbeiten.

Diese Visionen und Argumente für und über Kultur können durch gemeinsame Beratungen verschiedener Dienststellen, aber auch durch informelle Gespräche einen Zugang zur allgemeinpolitischen Debatte finden. In diesem Zusammenhang sollte das Thema Kultur auch bei der Halbzeitevaluierung der Strategie „Europa 2020“ berücksichtigt werden.

Die Verbindungen zu anderen politischen Themen sollten genauer untersucht werden. Dies gilt sowohl für „harte“ Themen wie die Steuergesetzgebung, das Urheberrecht, den Außenhandel (wie beispielsweise die transatlantische Handels- und Investitionspartnerschaft), als auch für die „weicheren“ politischen Gebiete wie Bildung, Jugend und Soziales. Durch den Einfluss der Digitalisierung und die Notwendigkeit die Gesetzgebung und die Politik an neue Herausforderungen und Möglichkeiten anzupassen (wie beispielsweise digitale Agenden), wird die Integration von Kultur in diesen Bereichen wichtiger als je zuvor.

Die Vorschriften für elektronische Zahlungssysteme sollten die spezifischen

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Eigenschaften von Ticketing Transaktionen mit Kulturinstitutionen und Organisatoren von Konzerten in Betracht ziehen. Bei Verhandlungen zu den Rechten von Flugpassagieren, sollten auch Musiker, die alle möglichen Instrumente transportieren müssen, nicht vergessen werden. Das Arbeitnehmer-Entsendegesetz und andere Richtlinien zum freien Personenverkehr haben einen ernstzunehmenden Einfluss auf die beruflichen Laufbahnen von Künstlern. Bei den Verhandlungen zu Freihandelsabkommen, die die Grundbedingungen von „in-the-cloud“ Transaktionen regeln, muss deutlich werden, wie mit kulturellen Inhalten umgegangen werden muss.

Die europäische Kulturverwaltung muss die Rolle des Interessenvertreters für diese und viele andere Bereiche übernehmen. Durch eine aktive Teilnahme der europäischen Kulturverwaltung an der politischen Debatte, kann gezeigt werden, welch großen Einfluss die Kultur auf die gesellschaftliche Realität hat. Die Mitgliedstaaten sind in diesem Bereich ein wichtiger Partner für die Europäische Kommission. In diesem Zusammenhang möchte Belgien die Rolle der Unesco Konvention zum Schutz und zur Förderung der Vielfalt kultureller Ausdrucksformen aus dem Jahre 2005, als Instrument zum Schutz der Besonderheiten und als Interessenvertretung des Kulturund Kreativsektors hervorheben.

2. Grenzüberschreitenden Austausch nachhaltig fördern Die Europäische Union spielt eine unverzichtbar wichtige Rolle für die grenzüberschreitende Bewegung von Kulturakteuren, -gütern und –diensten.

Mithilfe von Programmen, die sich auf die Zusammenarbeit und den Austausch, auch über die Grenzen der EU hinaus, konzentrieren, wird der Zugang zur Kultur und zu einem interkulturellen Dialog vereinfacht. Das Motto „Einheit in Vielfalt“, unter dem europäische Initiativen häufig stehen, kann nur dann zur Realität werden, wenn wir diese Vielfalt auch wirklich leben. Unterstützung von gemeinsamen Projekten von Akteuren aus dem Kulturbereich, unter anderem durch Programme wie Kreatives Europa, kann es dementsprechend nie genug geben.

Zusammenarbeit und Austausch ermöglichen es den Kulturakteuren neue Orte und neue Zuschauer kennenzulernen. Sie inspirieren sich gegenseitig mit ihren Erfahrungen und erweitern im eigentlichen und im übertragenen Sinne ihren Horizont. Gleichzeitig werden auch Grenzen zwischen den verschiedenen Sektoren überschritten. CrossOver Projekte und sektorenübergreifende Partnerschaften eröffnen neue Einblicke in den Kultursektor und zeigen neue Praktiken. So ermöglichen sie einen Blick auf die Neuerungen, die die kulturelle Perspektive in andere Sektoren, wie beispielsweise in die Entwicklung von Business Modellen, in Projekte zur sozialen Innovation oder im Bereich neuer Lernmethoden, bringt.

Auch das Publikum kann dank der grenzüberschreitenden Bewegung und des Austauschs neue Entdeckungen machen und andere, unbekannte und oft auch unerwartete Kreationen und Inhalte kennenlernen. Kulturelle Vielfalt ist in diesem Zusammenhang kein abstraktes Konzept, sondern eine lebendige Praxis die Menschen zusammenbringt und diese zu Reflexionen über sich und andere bewegt.

Diese Konfrontation fördert die Offenheit gegenüber nicht-lokalen Kulturgütern und –diensten.

In Belgien gehen die Förderung von grenzüberschreitendem Austausch und kultureller Bildung Hand in Hand. Ein breiteres und vielfältigeres Angebot trägt maßgeblich zur Förderung von kulturellen Kompetenzen und zum kulturellen Selbstbewusstsein unserer europäischen Bürger bei. Es gehört zu unserer gemeinsamen Verantwortung den Zugang zu Kultur allen Bürgern, auch den Schwächsten, in unserem Land zu erleichtern.

Aufgabe der Europäischen Union ist es an dieser Stelle die grenzüberschreitende Dimension von Zusammenarbeit und Austausch zu sichern.

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3. Einen unbürokratischen Zugang zu Kultur als Gemeingut gewährleisten Die Zugänglichkeit von Kultur als Gemeingut wird unter anderem durch Bibliotheken, Museen und andere öffentliche Institutionen gewährleistet. Die Europäische Union spielt eine unbestreitbar wichtige Rolle in der Zuerkennung und Rechtfertigung öffentlicher Fördergelder für die Kultur, und hat dabei die unverminderte Zugänglichkeit derselben stetig im Blick. Die Digitalisierung und die damit einhergehende Neudefinierung von kulturellem Erleben und der Teilnahme an kulturellen Angeboten stellt Organisationen wie Bibliotheken und Museen vor große Herausforderungen. Auch in diesem Zusammenhang muss darauf geachtet werden, dass Kultur ein Gemeingut bleibt.

Dies erfordert eine Reihe wirksamer Urheberrechte, die sowohl die Interessen der Berechtigten als auch das Interesse der Gemeinschaft berücksichtigen. Prioritär sollte bei der Definition von gemeinsamen technischen Normen für die Digitalisierung, auf Transparenz geachtet werden. Die Entwicklung hin zu „Open Data“ geht in die richtige Richtung, muss jedoch finanziell nachhaltig organisiert werden können.

Die digitale europäische Bibliothek Europeana steht an erster Stelle im Dienst von Institutionen, die sich um das europäische Kulturerbe bemühen und der öffentlichen Aufgaben dieser Institutionen: Kulturerbe bewahren und zugänglich machen, die Prozesse der Digitalisierung beschleunigen, gemeinsame Standards definieren und gemeinschaftliche Analysen der Politik machen. Aus diesem Grund gilt Europeana als besonderer Fall, da hier die Aufgabe, Kultur als Gemeingut zu wahren und zu stärken, in die Praxis umgesetzt wird. *** Schlussfolgernd möchten wir hervorheben, dass wir alle als Bürger der Europäischen Union, nicht nur eine reiche Geschichte miteinander teilen sondern auch eine gemeinsame Zukunft. Wir stehen alle vor ähnlichen Herausforderungen und müssen uns gegenseitig inspirieren um kluge und nachhaltige Lösungen zu finden. Wir sind davon überzeugt, dass Kultur uns dabei, in all ihren sichtbaren und unsichtbaren Formen, hilft und auch in Zukunft helfen wird. Dies kann allerdings nur dann erreicht werden, wenn der Kultur, trotz technischer und gesellschaftlicher Entwicklungen, genug Raum bleibt um Kultur zu sein und ihre einzigartige Rolle voll und ganz wahrzunehmen. Der Schlüssel zur Bewahrung der Kulturautonomie ist die Zusammenarbeit auf europäischer Ebene.

— La Culture, au sens large du terme, donne d’une manière incomparable une signification à la vie des citoyens et constitue à ce titre un des fondements inaliénables d’une société. De multiples recherches ont révélé les nombreux avantages de la Culture : au-delà de sa contribution au bien-être, tant mental que physique, d’une population, elle influence également l’économie de différentes façons, elle renforce les liens sociaux entre les citoyens et constitue un élément important de la remise en question individuelle et collective.

La Culture est un « bien commun » dont les citoyens ne peuvent être spoliés et qui devrait, à ce titre, être traitée avec les égards qui lui sont dus. La protection et la sauvegarde de la valeur intrinsèque de la Culture, tant pour l’individu que pour la société, relève de notre responsabilité commune.

La politique culturelle doit garantir qu’un public aussi vaste que possible puisse participer à une offre aussi variée et exceptionnelle que possible. Bien que les outils fondamentaux permettant d’atteindre ces objectifs soient intégrés au niveau local, régional et national, l’Union européenne a également un rôle très clair à remplir tel qu’il est établi par l’article 167 du Traité sur le fonctionnement de l’Union européenne.

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1. Intégrer plus intensivement la Culture dans l’élaboration des politiques et de la législation européennes L’article 167 du Traité sur le fonctionnement de l’Union européenne définit les actions de l’Europe dans le domaine de la Culture. Il stipule notamment en son paragraphe 4 que : L’Union tient compte des aspects culturels dans son action au titre d’autres dispositions des traités, afin notamment de respecter et de promouvoir la diversité de ses cultures.

Cette disposition est un levier crucial, bien qu’encore trop peu utilisé, pour renforcer et confirmer la place de la Culture dans l’agenda politique européen. Nous lançons donc un appel pour que la Culture soit intégrée plus intelligemment et plus efficacement dans l’élaboration des politiques et de la législation de l’Union européenne.

Nous avons besoin d’une administration de la Culture européenne forte et efficace, qui soit informée des intérêts du secteur culturel et de ses acteurs, tout en étant en mesure d’exprimer ces intérêts de manière appropriée. À cette fin, nous devons entamer un dialogue en profondeur avec les secteurs, rassembler davantage de données et de statistiques en ce qui concerne les secteurs culturels et créatifs, ainsi que travailler au développement d’une argumentation et d’une vision cohérentes. Ces arguments et cette vision en faveur du secteur culturel seront plus susceptibles d’être intégrés au débat de politique générale, non seulement dans le cadre des consultations entre services dans la perspective de nouvelles législations ou de nouvelles politiques, mais également lors des entretiens informels. Dans cette perspective, la culture devrait être prise en considération lors de l’évaluation à mi-parcours de la stratégie « Europe 2020 ».

Les liens avec les autres thèmes politiques devraient être examinés avec plus d’attention. Il s’agit considérer les dossiers négociés dans des filières « fortes », tels que la législation fiscale, la propriété intellectuelle, le commerce extérieur (par exemple le Partenariat transatlantique pour le commerce et les investissements), sans négliger, bien sûr, les domaines de politiques plus « douces » tels que l’éducation, la politique de la jeunesse et des affaires sociales. L’impact de la numérisation et la nécessité d’ajuster la législation et la politique aux défis et aux nouvelles opportunités (par exemple au moyen de l’agenda numérique) rendent l’intégration de la culture dans ces filières plus importante que jamais.

Par ailleurs, les directives concernant les systèmes de paiements en ligne devraient prendre en compte les caractéristiques spécifiques des transactions de billetterie avec les institutions culturelles et les organisateurs de concerts. Lors des négociations concernant les droits des passagers en matière d’aviation, les spécificités inhérentes au transport des instruments de musique rencontrées par les musiciens devraient également être prises en considération. Les directives sur le détachement des travailleurs et les autres directives sur la libre circulation des travailleurs devraient tenir compte de leurs impacts sur les carrières spécifiques des artistes. Au cours des négociations des accords de libre-échange réglementant les conditions préalables aux transactions « in the cloud », il conviendrait également de disposer d’une compréhension approfondie des différentes façons de gérer les contenus culturels.

L’administration européenne de la Culture doit remplir pleinement son rôle de défenseur des intérêts dans ces matières et dans de nombreuses autres filières.

En participant activement au débat politique, elle permettra à d’autres domaines politiques de constater l’impact large et profond de la culture sur la réalité sociale.

Les États membres sont sans conteste des partenaires importants de la Commission européenne dans ces dossiers. Dans ce contexte, la Belgique souhaite également mettre en évidence le rôle de la Convention de l’UNESCO sur la protection et la promotion de la diversité des expressions culturelles de 2005 en tant qu’instrument

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pour la protection de la spécificité et pour la promotion des intérêts des secteurs culturels et créatifs.

2. L’encouragement durable des échanges et des déplacements transfrontaliers L’Union européenne remplit un rôle irremplaçable dans la circulation transfrontalière des acteurs, ainsi que des biens et des services culturels. L’accès à la culture et le dialogue interculturel sont facilités par des programmes qui se concentrent sur la coopération et les échanges, même au-delà des frontières de l’Union. La devise « l’unité dans la diversité » qui s’applique souvent à la mise œuvre d’initiatives européennes, ne peut devenir une réalité que si nous pouvons véritablement expérimenter cette diversité. On ne soutiendra donc jamais assez les projets de coopération entre les acteurs de terrain, par l’intermédiaire de programmes tels que, notamment, Creative Europe.

La coopération et les échanges emmènent les acteurs culturels vers de nouveaux lieux et de nouveaux publics. Ils s’inspirent de leurs pratiques et expériences respectives et élargissent ainsi littéralement et symboliquement leurs horizons. Parallèlement aux limites territoriales, les limites sectorielles sont également franchies. Des projets « cross-over » et des partenariats entre les secteurs ouvrent de nouvelles perspectives et créent des pratiques dans le secteur culturel, notamment dans la façon dont la perspective culturelle introduit de l’innovation dans d’autres secteurs, dans le processus de développement de modèles d’affaires, dans les projets d’innovation sociale ou les nouvelles méthodes d’apprentissage.

Le public peut également bénéficier de nouvelles découvertes grâce à ces mouvements et échanges transfrontaliers puisqu’ils permettent de découvrir des créations et des contenus inconnus et souvent inattendus. La diversité culturelle n’est pas un concept abstrait dans ce contexte, mais bien une pratique vivante et retentissante rassemblant les citoyens et les inspirant à réfléchir sur eux-mêmes et sur les autres.

Cette confrontation est propice à davantage d’ouverture vis-à-vis de biens et services culturels d’origine autre que locale.

En Belgique, l’encouragement des échanges et déplacements transfrontaliers coïncide avec l’éducation culturelle. Une offre culturelle plus étendue et plus diversifiée alimente effectivement les compétences culturelles et la conscience de soi culturelle de nos citoyens européens. Tous les échelons politiques ont une responsabilité dans l’ouverture de l’accès à la culture pour tous les citoyens, y compris les plus vulnérables de la société. L’Union européenne devrait assumer son rôle en la matière et se distinguer en assurant la dimension transfrontalière des coopérations et des échanges.

3. Assurer un accès aisé à la culture en tant que « bien commun » Les bibliothèques, les musées et les autres institutions publiques garantissent un accès à la culture en tant que « bien commun ». L’Union européenne a un rôle incontestable à remplir dans la reconnaissance et la justification des subventions publiques à la culture, notamment dans la perspective de la durabilité de son accessibilité. La numérisation et la redéfinition des expériences culturelles et de la participation qui l’accompagne, posent des défis considérables aux organisations telles que les bibliothèques et les musées. Dans ce contexte également, la culture devrait rester un « bien commun ».

Dans ce contexte, les droits d’auteur doivent être adaptés, et prendre en compte les intérêts de la communauté aussi bien que ceux de leurs propriétaires. La transparence devrait constituer une priorité pour la définition de normes techniques communes pour la numérisation. La transition vers un environnement de données ouvert évolue bien mais requiert encore un cadre de financement durable.

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La bibliothèque numérique européenne, Europeana, est avant tout au service des institutions qui s’occupent du patrimoine en Europe et de leurs missions publiques : la conservation et la fourniture d’un accès au patrimoine, en agissant en tant que catalyseur de la numérisation et en définissant des normes communes tout en effectuant des analyses partagées des politiques. Europeana peut dès lors servir d’argument en faveur de la mise en pratique de la valorisation et du renforcement de la culture en tant que « bien commun ». *** En conclusion, nous tenons à souligner qu’en notre qualité de citoyens de l’Union européenne, nous partageons tous non seulement une histoire riche mais également un futur commun. Nous rencontrons tous des défis similaires, pour lesquels nous devons nous inspirer mutuellement afin de trouver des solutions intelligentes et durables. Nous sommes convaincus que la Culture nous aide et continuera à nous aider dans toutes ses expressions visibles et invisibles. Cet objectif ne peut toutefois être atteint que si, malgré toutes les évolutions de la technologie et de la société, la Culture conserve assez d’espace et de marge de manœuvre pour être la culture et assumer pleinement son rôle unique. Par la coopération au niveau européen nous devrions être en mesure d’assurer que la culture conserve cette autonomie.

— Cultuur in de brede betekenis geeft op een onvergelijkbare manier zin aan een mensenleven en vormt het niet weg te denken fundament van een samenleving.

Onderzoek toont aan dat cultuur mensen mentaal en fysiek gezonder maakt, dat ze op verschillende manieren bijdraagt aan de economie, dat ze sociale banden tussen mensen versterkt en dat ze een belangrijk element is voor individuele en collectieve zelfreflectie.

Cultuur is een ‘common good’, iets waarvan we als burgers niet kunnen ontvreemd worden en waarmee we op een duurzame manier moeten omgaan. Het is onze gedeelde verantwoordelijkheid om de intrinsieke waarde van cultuur voor individu en samenleving te beschermen en te vrijwaren.

Het cultuurbeleid moet er voor zorgen dat zoveel mogelijk mensen kunnen deelnemen aan een zo divers en kwalitatief mogelijk cultureel aanbod. De belangrijkste hefbomen om dit te bereiken bevinden zich op lokaal, regionaal en nationaal niveau, maar ook de Europese Unie heeft een onmiskenbare taak die verankerd werd in artikel 167 van het Verdrag (VWEU).

1. Intensiever mainstreamen van cultuur in de Europese beleidsvorming en regelgeving Artikel 167 van het Verdrag betreffende de Werking van de Europese Unie regelt de actie van de EU op het vlak van Cultuur. Lid 4 van dit artikel bepaalt: De Unie houdt bij haar optreden uit hoofde van andere bepalingen van de Verdragen rekening met de culturele aspecten, met name om de culturele verscheidenheid te eerbiedigen en te bevorderen.

Deze bepaling is een cruciale, maar nog te vaak onderbenutte hefboom om de plaats van cultuur op de Europese beleidsagenda te versterken en te bevestigen. Daarom willen wij pleiten voor het slimmer en efficiënter ‘mainstreamen’ van cultuur in de Europese beleidsvorming en regelgeving.

Er is een sterke en performante Europese cultuuradministratie nodig die de belangen van cultuur en culturele actoren goed kent en doeltreffend kan verwoorden. Daartoe hebben we een diepgaandere dialoog met de sectoren nodig, de uitbouw van meer

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gegevens en statistieken over de culturele en creatieve sectoren en een coherente argumentatie en visie. Door interservice consultaties voor nieuwe wetgeving of nieuw beleid, maar ook door middel van informele gesprekken, kunnen de visie en argumenten van en voor cultuur breder ingang vinden in het algemene beleidsdebat.

Vanuit dit opzicht moet cultuur meegenomen worden in de mid-term review van de EU 2020 strategie.

Er moet aandacht zijn voor linken met andere beleidsthema’s. Dat geldt voor harde materies zoals fiscaliteit, auteursrecht, externe handel (denken we bijvoorbeeld aan het TTIP), maar uiteraard ook in zachtere domeinen zoals onderwijs, jeugdbeleid en sociale zaken. Onder meer omwille van de impact van digitalisering en de noodzaak om regelgeving en beleid aan te passen aan de nieuwe mogelijkheden en uitdagingen (bijvoorbeeld aan de hand van de Digitale Agenda) is mainstreaming van cultuur belangrijker dan ooit.

Bij richtlijnen voor onlinebetalingen is het van belang de linken te zien met de specifieke kenmerken van ticketing transacties van cultuurhuizen of concertorganisatoren. Bij onderhandelingen over de rechten van vliegtuigpassagiers moet er ook gedacht worden aan muzikanten die met allerlei instrumenten reizen. Bij detacheringsrichtlijnen en andere punten van vrij verkeer van werknemers dient er ingeschat te worden welke impact dat heeft op de specifieke carrières van (uitvoerende) kunstenaars. Bij de onderhandeling van vrijhandelsakkoorden die de randvoorwaarden van de transacties in de ‘cloud’ regelen, zal er ook inzicht moeten zijn in de wijze waarop er met culturele content moet worden omgegaan.

In al deze en zoveel andere materies dient de Europese cultuuradministratie haar rol als belangenverdediger op te nemen. Door consequent deel te nemen aan het beleidsdebat moet ook voor andere domeinen duidelijk worden hoe breed en diep de vertakking van cultuur in de maatschappelijke realiteit reikt. De lidstaten zijn in deze vanzelfsprekend een belangrijke partner voor de Europese Commissie. In dit kader wensen we vanuit België ook de nadruk te leggen op de Unesco Conventie voor de bescherming en de promotie van de diversiteit van culturele expressies (2005) als instrument om het specifieke karakter en de belangen van de culturele en creatieve sectoren te vrijwaren.

2. Grensoverschrijdende uitwisseling en circulatie blijvend stimuleren De Europese Unie speelt een onvervangbare rol in de grensoverschrijdende beweging van culturele actoren, goederen en diensten. Met programma’s die inzetten op samenwerking en uitwisseling, ook over de grenzen van de Unie heen, wordt de toegang tot cultuur en tot de interculturele dialoog vergemakkelijkt. Het motto ‘eenheid in verscheidenheid’, dat zo vaak als een vaandel door de Europese initiatieven wordt gedragen, krijgt maar invulling als we de verscheidenheid ook werkelijk beleven.

Steun voor samenwerkingsprojecten tussen actoren op het terrein, via onder meer programma’s als Creatief Europa, kan er daarom nooit te veel zijn.

Samenwerking en uitwisseling brengen de culturele actoren op nieuwe plekken en bij nieuwe publieken. In elkaars praktijken en expertise vinden ze inspiratie en verruimen ze letterlijk en figuurlijk hun horizon. Behalve territoriale grenzen worden ook de grenzen met andere sectoren overgestoken. Cross-overprojecten en transsectorale partnerschappen brengen nieuwe inzichten en praktijken naar de cultuursector, net zoals het culturele perspectief vernieuwing brengt in andere sectoren bij bijvoorbeeld de ontwikkeling van business-modellen, sociale innovatieprojecten of nieuwe leermethodes.

Ook voor het publiek staan de grensoverschrijdende circulatie en uitwisseling synoniem voor nieuwe ontdekkingen. Zij maken kennis met andere, onbekende en

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vaak onverwachte creaties en inhouden. Culturele diversiteit is in deze context geen abstract concept, maar een levende en levendige praktijk die mensen bij elkaar brengt en hen tot reflectie beweegt over zichzelf én anderen. Die confrontatie creëert meer openheid ten aanzien van niet lokale cultuurgoederen en diensten.

Voor België gaat stimuleren van grensoverschrijdende uitwisseling en circulatie bovendien hand in hand met cultuureducatie. Een breder en meer divers cultuuraanbod voedt de culturele competenties en het cultureel zelfbewustzijn van onze Europese burgers. De toegang tot cultuur faciliteren voor alle burgers, ook de meest kwetsbare in onze maatschappij, is een gedeelde verantwoordelijkheid van alle beleidsniveaus.

De Europese Unie moet in deze haar rol opnemen en het verschil maken door de grensoverschrijdende dimensie van samenwerking en uitwisseling te verzekeren.

3. Een laagdrempelige toegang tot cultuur als ‘common good’ verzekeren De toegankelijkheid van cultuur als ‘common good’ wordt verzekerd door onder meer bibliotheken, musea en andere publieke instellingen. De Europese Unie heeft een onmiskenbare rol te spelen in de erkenning en legitimering van publieke financiering voor cultuur met het oog op een onverminderde toegankelijkheid. De digitalisering en daarmee gepaard gaande herdefiniëring van cultuurbeleving en -participatie stelt organisaties als bibliotheken en musea voor belangrijke uitdagingen. Ook in deze context moet er over gewaakt worden dat cultuur een ‘common good’ blijft.

Dit vergt een set van werkbare auteursrechten, die naast de belangen van rechthebbenden, het belang van de gemeenschap voor ogen houden. Transparantie moet voorop staan door onder meer gemeenschappelijke technische standaarden te bepalen voor digitalisering. De beweging naar een open data omgeving gaat de goede richting uit maar moet financieel duurzaam georganiseerd kunnen worden.

De digitale Europese bibliotheek Europeana staat in de eerste plaats ten dienste van de Europese erfgoedinstellingen en hun publieke taken: conservatie en toegankelijk maken van erfgoed, het digitaliseringsproces katalyseren, gemeenschappelijke standaarden definiëren en gedeelde beleidsanalyses maken. Aldus geldt Europeana als een bijzondere case waar het pleidooi om cultuur als ‘common good’ te waarderen en versterken, in de praktijk wordt omgezet. *** Ter afsluiting willen wij graag nog benadrukken hoe wij allen, als burgers van de Europese Unie, niet alleen een rijke geschiedenis delen maar ook een toekomst. We staan allemaal voor gelijkaardige uitdagingen en moeten elkaar inspireren om slimme en duurzame antwoorden te vinden. Wij zijn ervan overtuigd dat cultuur ons hierbij helpt en zal blijven helpen op al haar zichtbare en onzichtbare manieren. Maar dat kan alleen als cultuur doorheen alle technologische en maatschappelijke evoluties de nodige ruimte blijft krijgen om cultuur te zijn en haar unieke rol ten volle op te nemen.

Wij moeten cultuur die autonome ruimte garanderen. Samenwerking op Europees niveau is daartoe de sleutel.

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There is nothing like culture, in the broad sense of the term, to give meaning to people’s lives and therefore, it is rightly considered the inalienable foundation of a society. Research has revealed the many benefits of culture: culture not only contributes to people’s mental and physical well-being, it also has an impact on the economy in several ways, strengthens social ties between people and is an important element for individual and collective self-reflection.

Culture is a ‘common good’, a commodity which citizens can’t be robbed of and should be treated with due care. It is our shared responsibility to protect and safeguard the intrinsic value of culture for the individual and society.

Cultural policy has to guarantee that a maximum of people can participate in as varied and outstanding a cultural offer as possible. Although the key levers for achieving this are embedded at the local, regional and national levels, the European Union also has a clear role to fulfil, as has been laid down in article 167 of the Treaty (TFEU).

1. Mainstreaming culture into European policy-making and legislation more intensively Article 167 of the Treaty on the Functioning of the European Union lays down the EU’s actions in the field of Culture. Paragraph 4 of this article reads as follows: The Union shall take cultural aspects into account in its action under other provisions of the Treaties, in particular in order to respect and to promote the diversity of its cultures.

This provision is a crucial, although often left unused lever for reinforcing and confirming culture on the European policy agenda. We would therefore like to make an appeal for culture to be mainstreamed into European policy-making and legislation in a smarter and more efficient way.

We need a strong and efficient European culture administration which is very knowledgeable about the interests of the cultural sector and its actors and is able to express these accordingly. To this end, we need to embank on an in-depth dialogue with the sectors, collect more data and statistics on the cultural and creative sectors and develop a coherent argumentation and vision. The vision and arguments of and in favour of the cultural sector are more likely to become entrenched in the general policy debate, not only through inter-service consultations in view of new legislation or new policy but through informal talks as well. In this view, culture should be taken into consideration in the mid-term review of the EU 2020 Strategy.

Links with other policy themes should be examined. This goes for hard themes such as tax law, copyrights, external trade ( e.g. the TTIP), without neglecting the softer policy areas such as education, youth policy and social affairs of course. Through the impact of digitisation and the need to adjust legislation and policy to the new opportunities and challenges (e.g. by means of the Digital Agenda), the mainstreaming of culture has never been more important.

The directives for online payments should allow for the specific characteristics of ticketing transactions with cultural institutions and concert organisers. In negotiations on the rights of airplane passengers, musicians transporting all kinds of musical instruments, should also be taken into account. The directives on the posting of workers and other guidelines on the free movement of workers should take account of the impact these have on the specific careers of (performing) artists. During the negotiations of the free-trade agreements regulating the preconditions of ‘in the cloud’ transactions, there will also be need for an understanding into dealing with cultural content.

The European culture administration must fully play its role as a defender of interests in

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these and so many other matters. If the European culture administration participates in the policy debate as a matter of course, other policy areas will also realise how widely and deeply culture impacts on societal reality. It goes without saying that the member states are an important partner for the European Commission in this. In this context, Belgium would also like to underline the role of the Unesco 2005 Convention on the Protection and promotion of the diversity of Cultural Expressions as an instrument to protect the specificity and promote the interests of the cultural and creative sectors.

2. Sustained encouragement of cross border exchange and movement The European Union plays an irreplaceable role in the cross border movement of cultural actors, goods and services. Thanks to programmes which focus on cooperation and exchange, even beyond the borders of the Union, access to culture and the intercultural dialogue is being facilitated. The ‘unity in diversity’ motto, under which banner European initiatives are often implemented, can only become real if we genuinely experience this diversity. Therefore, one can never grant too much support to cooperation projects between actors in the field, through programmes such as Creative Europe, amongst others.

Cooperation and exchanges take cultural actors to new places and new audiences.

They take inspiration from each other’s practices and experience, thereby literally and figuratively broadening their horizons. Besides territorial boundaries, boundaries with other sectors are also crossed. Cross-over projects and cross-sectoral partnerships channel new insights and practices into the cultural sector, in the way that the cultural perspective introduces innovation in other sectors, in the course of developing business models, social innovation projects or new learning methods for example.

The audience too enjoys new discoveries through these cross border movements and exchanges as they learn to know other, unfamiliar and often unexpected creations and contents. Cultural diversity is no abstract concept in this context but a lively and booming practice which brings people together and inspires them to a reflection on themselves and other people. This confrontation fosters more openness towards non local cultural goods and services.

In Belgium, the encouragement of cross border exchanges and movements coincides with cultural education. A wider and more diverse cultural offer indeed nourishes the cultural competences and the cultural self-awareness of our European citizens.

All policy levels have a responsibility in opening up access to culture for all citizens, including the most vulnerable in society. The European Union should assume its role in this and distinguish itself by assuring the cross border dimension of cooperations and exchanges.

3. Assuring an easy access to culture as a ‘common good’ Libraries, musea and other public institutions guarantee accessibility to culture as a ‘common good’. The European Union has an undeniable role to play in the acknowledgement and justification of public funding of culture with a view to its continued accessibility. The digitisation and the redefinition of cultural experiences and participation going with it, is raising huge challenges for organisations such as libraries and musea. In this context too, culture should remain a ‘common good’.

This calls for workable copyrights, which take account of community interests besides those of the proprietors. Transparency should be prioritised through defining common technical standards for digitisation. The move towards an open data environment is evolving well but is still in need of a sustainable financial framework.

Europeana, the European digital library, is first and foremost at the service of European heritage institutions and their public assignments: conservation and provision of

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access to heritage, acting as a catalyst for the digitisation process, defining common standards and drawing up shared policy analyses. Europeana can therefore serve as a special case, in which the argument in favour of the valorisation and reinforcement of culture as a ‘common good’ is put in practice. *** In conclusion, we would like to stress that we all, in our capacity as citizens of the European Union, not only share a rich history but also have a common future. We all face similar challenges and must inspire one another in order to find smart and sustainable answers. We are convinced that culture helps and will continue to help us in this in all its visible and invisible expressions. But this can only be achieved if, despite all technological and societal evolutions, culture will continue to receive enough leeway to be culture and assume its unique role to the full. Through cooperation at European level we should assure that culture maintains this autonomy.

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България Bulgaria

“From my point of view now is the moment when culture is taking the lead role at the European political agenda and it is appropriate for us to utilise this for the benefit of our efforts for the integration of culture into the other sectoral policies of the EU.“

Д-р Петър Стоянович — министър на културата — Minister of Culture

Състоялите се през месец май 2014 г. избори за Европейски парламент потвърдиха обезпокояващия факт, че все повече европейски граждани се вливат в редиците на евроскептиците. Резултатите показаха също така задълбочаващата се пропаст между тях (гражданите) и дейността на европейските институции. Заради продължаващата криза последните задълбочиха своята работа в посока към преодоляване на икономическите последиците от нея, като забравиха да обърнат внимание на други, свързани с нарушеното чувство за принадлежност на гражданите към една общност, каквато е Европейския съюз. В резултат, създалото се усещане за преследване на единствено и само икономически интереси отдалечи още повече гражданите от него и нещо повече – създаде предпоставки за нарушаване на диалога и разрастване на недоверието между европейските народи. В този контекст културата отново се открои като важен елемент от нашата социална структура; която в настоящата криза може да допринесе за разширяване на взаимното разбиране и да се противостои на националистически перспективи. Като препотвърждаваме изключително важната роля на културата като че ли е дошъл момента да помислим не толкова какво Европейският съюз може да направи за културата, а по-скоро какво културата може да направи за него. Състоялите се през месец май 2014 г. избори за Европейски парламент потвърдиха обезпокояващия факт, че все повече европейски граждани се вливат в редиците на евроскептиците. Резултатите показаха също така задълбочаващата се пропаст между тях (гражданите) и дейността на европейските институции. Заради продължаващата криза последните задълбочиха своята работа в посока към преодоляване на икономическите последиците от нея, като забравиха да обърнат внимание на други, свързани с нарушеното чувство за принадлежност на гражданите към една общност, каквато е Европейския съюз. В резултат, създалото се усещане за преследване на единствено и само икономически интереси отдалечи още повече гражданите от него и нещо повече – създаде предпоставки за нарушаване на диалога и разрастване на недоверието между европейските народи. В този контекст културата отново се открои като важен елемент от нашата социална структура; която в настоящата криза може да допринесе за разширяване на взаимното разбиране и да се противостои на националистически перспективи. Като препотвърждаваме изключително важната роля на културата като че ли е дошъл момента да помислим не толкова какво Европейският съюз може да направи за културата, а поскоро какво културата може да направи за него. Бихме могли да отговорим веднага на този въпрос. Културата поставя човека в центъра на интеграционните процеси. Тя провокира полемика, събужда страст, стимулира използването на всички наши сетива. Тя гарантира баланса между рационалните и емоционални аспекти на обединението на Европа, който, когато е нарушен, създава предпоставки за разминаването между нея и нейните граждани. Именно културата е онова силово поле, което може да помогне да го възстановим, като създадем у европейските граждани чувството за принадлежност и на собственост на техния Европейския съюз. За радост в последните години сме свидетели на признаването на тази роля на културата на найвисоко политическо ниво, както от лидери на Европейския съюз, така и от различни представители на европейските правителства. Но както често се случва риториката все още изпреварва конкретната работа по утвърждаване на тази нова визия за културата. Това за мен е й основният смисъл от подобни инициативи като създаването на електронна книга, за което благодаря на нашия словенски колега – да се възползваме от постигнатото на всички нива на управление и да го обвържем в последователна политическа линия, на базата на която да предприемат конкретни действия.

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Ще започна от това, че за мен ключовата дума по отношение на подкрепата на ЕС за културата и обратното – подкрепата на културата за ЕС, е mainstreaming. Според мен днес е моментът, когато културата е заела челно място в европейския политически дневен ред и е редно да го използваме в полза на нашите усилия за интегрирането й в другите секторни политики на ЕС. Факт е, че в някои от тях културата е застъпена на подобаващо ниво и признават както директния, така и индиректния й икономически и социален принос. Ето защо е необходимо да лобираме и да положим съвместни усилия в посока към това да покажем чрез конкретни примери и добри практики на вземащите решения в други секторни политики, че подкрепяйки културата в рамките на инструментите, които управляват, те не само ще допринесат за нейното опазване, популяризиране и разширяване на достъпа до нея, но и ще помогнат значително за постигане на собствените им цели. Това е един от възможните пътища за утвърждаването и прякото признаване на възможностите на културата за изпълнение на Стратегия Европа 2020 за интелигентен, устойчив и приобщаващ растеж. В тази връзка, обединените ни усилия биха помогнали потенциалът на културния и творчески сектори да бъде преоткрит в общоевропейски контекст при изпълнение на дейностите в поне четири от водещите инициативи на Стратегия Европа 2020: Съюз за иновации, Програма в областта на цифровите технологии за Европа, Индустриална политика за ерата на глобализацията и Програма за нови умения и работни места. Извършеното до момента е ярко доказателство, че икономическият растеж и културата не си противоречат, а се допълват взаимно – първият е неизбежно необходим за осигуряване на живота ни, а културата е това, което влияе върху неговото качество. В тази връзка трябва да отбележим, че достъпността на културните стоки е важен елемент за постигане и на икономически, и на социални цели. Тя от своя страна е обвързана с важния проблем за културното потребление. Последното се нуждае от задълбочен анализ на европейско ниво, който да помогне за приложение на последващи политики за неговото стимулиране. Това се налага и поради факта, че по дефиниция, в условията на криза културното потребление силно снижава своите показатели. Свидетели сме обаче, че именно сега в редица европейски страни култура и културно наследство доказаха, че са ключови сектори за създаването на работни места и служат за радикално подобряване на икономическите перспективи на градовете и регионите. Ето защо, това, което е необходимо да направим днес, е да се погрижим публичното финансиране за културния и творчески сектор да не намалява, а да стимулира изграждането на здраво публично-частно партньорство, което да подкрепи разгръщането на пълния им потенциал. Това е свързано и със създаването на такава законодателна среда, както от национално, така и на ниво Европейски съюз, която да насърчава премахването на съществуващите пречки пред тяхното цялостно развитие. Друг важен въпрос, поставен от нашия словенски колега, е свързан с дигитализацията и свързаните с нея нови възможности за културата. Може би най-важната сред тях е, че благодарение на по-евтиния и побърз цифров път за разпространението на културно съдържание позволява на авторите или на доставчиците на съдържание да достигат до нова и все по-широка публика. Ето защо е необходимо нашите усилия да бъдат съсредоточени към подкрепата за функциониране на различните платформи за разпространение на цифрово съдържание. Това изисква иновативни бизнес модели, които ще съдействат за постигне на справедлив баланс между приходите на носителите на права и достъпа на широката общественост до културно съдържание. Еуропеана, като може би най-амбициозния културен проект предприеман някога на европейско

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ниво, би могъл да се посочи като един добър пример за подобна платформа, който заслужава нашата подкрепа. Тя следва да се допълва и обогатява при строго спазване на европейските и националните разпоредби за защита на авторското право. Обсъждането и търсенето на решения по повдигнатите по-горе въпроси са тясно свързани с принципа на субсидиарността. С основание можем да кажем, че той е едно от най-важните достижения на демократичното управление в ЕС и неговото последователно спазване е гарант за релевантни политики. Както ни е известно, ЕС не разполага с преки правомощия за вземане на решение в областта на културата. Задачата на държавата, регионите и общините и техните институции е не само да подпомага самата култура, но и да я свърже с други сфери на живот в обществото, в частност – да направи достъпни ценностите й, както и свободата и креативността, които са важни за културната продукция – така че хората да се възползват от нея в различните си дейности. От друга страна обаче, както вече споменах, редица политики, които ние не познаваме добре, и в които ЕС има своите компетенции имат пряко или косвено влияние върху културата. Мисля, че е време да проведем дискусия дали сме използвали всички възможности, които ни дава Договора за ЕС, за разгръщане на сътрудничеството на европейско ниво в тази област (Да си припомним член 3.3.!). В този смисъл, като сектор, който допринася значително за просперитета и благосъстоянието на ЕС, е добре да проучим възможността за определянето на съгласуван стратегически подход на равнище ЕС по отношение на културата и нейния принос към социално-икономическия живот. Несъмнено засилването на сътрудничеството на ниво ЕС в областта на културата ще доведе до формирането на иновативни политики и благоприятен климат за диалог в културния сектор, насърчаване на културното многообразие, обмен на добри практики, безпрепятствено движение на нашите творци и други експерти, както и на културни стоки и ценности. Във връзка с това бих казал, че е налице необходимостта от това ГД „Образование и култура” да се утвърди като водеща институция по проблемите на културата и наследството както сред останалите служби на ЕК, така и извън нея. Дали е необходимо да се отдели в отделна Генерална дирекция е въпрос, чийто отговор не е еднозначен. Отделена или не ГД”ОК” трябва да поеме централната роля при определянето на специфичен принос на ЕС към културната политиката. Тя трябва да работи за разрастване на сътрудничеството и да бъде водеща в реализирането на съвместните ангажименти между различните служби на ЕК. Нещо повече, ГД”ОК” би трябвало да инициира и координира един по-широк дебат между европейските институции по отношение на визията и важността на културата на ниво ЕС, въпрос, който се явява общ не само за всички тях, но и за държавитечленки.

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The European Parliament elections held in the month of May 2014 confirmed the disturbing fact that more and more European citizens join the ranks of the Eurosceptics.

The results also showed the growing gap between the citizens and the activities of the European institutions. Because of the continuing crisis the later have focussed their work on overcoming its economic consequences, forgetting to pay attention to other issues related to the citizens’ weakened sense of belonging to a community, such as the European Union. As a consequence, currently there is a pervasive sense that chasing economic interests dominates other priorities, which distanced the citizens further away and further created conditions for the breakdown of dialogue and the expansion of mistrust between the European nations. In this context, culture is again highlighted as an important element of our social structure, which in the current crisis can contribute to the increasing of our mutual understanding and counteract the nationalist standpoint. By reaffirming the significant role of culture it is time to consider not so much what the European Union can do for culture, but rather what culture can do for the EU. There is an immediate answer to this question. Culture places the individual at the centre of the integration processes. It creates disputes, awakens passions, and encourages the use of all of our senses. It ensures the balance between the rational and the emotional aspects of the unification of Europe, which, when disturbed, creates conditions for the deepening of the gap between Europe and its citizens. Culture is precisely that force, which can help us restore the stability by creating among the European citizens a sense of belonging and ownership of their European Union.

Fortunately in recent years we have witnessed the recognition of this role of culture at the highest political level, both by the European Union leaders and by the representatives of the various European governments. Yet, as it often happens the rhetoric still gets ahead of the actual work on the affirmation of this new vision on culture. This to me is the main sense of initiatives, such as the creation of an e-book, which I thank our Slovenian counterpart for employing - to build on the achievements of all levels of government, to bind them with a coherent line of policy, and to take real actions on that basis.

I will start from the fact that to me the keyword to the European Union’s support of culture and vice versa - the culture’s support of the European Union - is mainstreaming.

From my point of view now is the moment when culture is taking the lead role at the European political agenda and it is appropriate for us to utilise this for the benefit of our efforts for the integration of culture into the other sectoral policies of the EU. It is a fact that culture participates in some of them to a certain degree and both its direct and indirect economic and social contributions are recognised. It is therefore necessary to lobby and to make a common effort in order to demonstrate through tangible examples and best practices to decision-makers in other sectoral policies that if they support culture within the instruments they manage, they will not only contribute to its preservation, promotion and to the expansion of the access to it, but they will also significantly help the achievement of their own goals. This is one of the possible ways for the affirmation and direct recognition of culture’s potentials for implementing the Europe 2020 strategy for smart, sustainable and inclusive growth.

In this regard, our combined efforts would help the potential of the cultural and creative sectors to be rediscovered in the European context when fulfilling the activities in at least four of the flagship initiatives of the Europe 2020 strategy: Innovation Union, Digital Agenda for Europe, Industrial policy for the globalization era and Agenda for new skills and jobs. What is achieved so far is a clear evidence that economic growth and culture do not oppose but complement each other - the former is inevitably fundamental to our lives, and culture affects the quality of it.

In this respect it should be noted that the access to cultural goods is an important

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element for the achievement of both economic and social goals. It is in turn linked to the important issue of cultural consumption. The later requires a thorough analysis at European level, which analysis will help the implementation of the ensuing policies for its promotion.

This is also needed because of the fact that, by definition, in times of crisis the indicators for cultural consumption greatly decrease. However, we are witnessing that now is precisely the time when many European countries prove that culture and cultural heritage are key sectors for job creation and may be used to radically improve the economic perspectives of cities and regions.

Therefore, what we need to do now is to ensure that the public funding for the cultural and creative sectors will not reduce but will enhance the building of strong publicprivate partnerships which will support the development of their full potential. This is related to the creation of such legal environment, both at national and at EU level, which will encourage the elimination of the existing obstacles to their overall development.

Another important issue raised by our Slovenian counterpart, is connected to digitization and the associated new opportunities for culture. Perhaps the most important among them is that the cheaper and faster digital method for distribution of cultural content allows the authors and content providers to reach new and ever-wider audience. It is therefore necessary to focus our efforts on supporting the functioning of the various distribution platforms used for digital content distribution. This requires innovative business models which will help striking a fair balance between the revenue of the holders of the rights and the access of the general public to cultural content.

Europeana, perhaps the most ambitious cultural project ever undertaken at the European level could be cited as a good example of such platform that deserves our support. It should be updated and enriched with new additions in strict compliance with the European and national provisions on the protection of copyright.

The discussions and decisions on the issues raised above are closely connected with the principle of subsidiarity. We can say with good reason that it is one of the most important achievements of the democratic governance in the EU and its consistent adherence is a guarantee for the creation of relevant policies. As we know, the EU has no direct powers for decision-making in the field of culture. The task of the state, the regions and the municipalities and their institutions is not only to support culture itself, but also to connect it to the other areas of social life, in particular - to make its values accessible, as well as to support freedom and creativity, which are important for the cultural production - so that people can make use of it in their various activities.

However, on the other hand, as already mentioned, a number of policies which we are not familiar with in detail, and for which the EU has its competencies have a direct or an indirect impact on culture. I think it is time to start considering whether we are using all the opportunities that the EU Treaty gives us for the expansion of cooperation at the European level in this field (Let us recall Article 3.3.). In this sense, as a sector that contributes significantly to the prosperity and welfare of the EU, we should explore the possibility for defining a coherent strategic approach at EU level with respect to culture and its contribution to the socio-economic life. Undoubtedly, the strengthened cooperation at the EU level in the field of culture will lead to the creation of innovative policies and a favourable climate for dialogue in the cultural sector, the promotion of cultural diversity, the exchange of best practices, the unrestricted movement of our artists and other experts, as well as of cultural goods and values.

In relation to this, I would like to mention that there is a need for the Directorate General for Education and Culture to affirm itself as the leading institution on the issues of culture and heritage among the other bodies of the European Commission and beyond. Whether or not a division of the Education and Culture functions of the

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Directorate through an establishment of separate Directorate General for Culture and respectively for Education should be considered is a question whose answer is not unequivocal. Divided or not, the Directorate General for Education and Culture should take the central role in determining the specific contribution of the EU to cultural politics. It should work for the expansion of cooperation and lead the different bodies of the European Commission in the fulfilment of their joint commitments. Moreover, the Directorate General for Education and Culture should initiate and coordinate a wider debate between the European institutions regarding the vision and the importance of culture at the EU level, an issue which is not only common to all of them, but also to the Member States.

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Hrvatska Croatia

“Changing trends in EU policies in relation to connecting art with the local community, the education system and the business sector shows a shift in concepts such as culture and art, which gives a new definition to their importance.“

dr. sc. Andrea Zlatar Violić — Ministrica kulture — Minister of Culture

U trenutnim raspravama o budućnosti Europske sve se češće ističe pojam kulture i njena važnost u integrirajućim procesima nove zajednice država. Dakako, ne bez razloga, jer Europa se susrela sa samom sobom, s jedne strane sa svojim slojevitim, ali i zadivljujućim bogatstvom, s druge strane nedostatkom, možda čak i vlastitom zaboravnošću. Kao zajednica, kao složeni mehanizam prevladavanja ograničavajućih državnih nacionalizama, Europa danas nije samo administrativna ili tek ekonomska unija, nego svoje jedinstvo i svoju osobitost crpi iz tragova povijesti, iz kreativnosti koja anticipira sadašnju budućnost, iz umjetnosti i kultura svake od svojih članica.

Razlog je jasan, kultura je ta koja potentno povezuje pojedinca, skupine, zajednice, narode; ona nudi kontekst društvenim interakcijama; ona osigurava političku, socijalnu i ekonomsku koheziju. U svom antropološkom značenju pripada svima; ona je ono što mi jesmo u smislu nacionalnog, transnacionalnog, nadnacionalnog i europskog identiteta. Kroz kulturu razvijamo društvo, kritičku misao, promišljanje i sposobnost artikuliranja.

Zato je današnji imperativ osigurati stalni prostor za promišljanje ideje Europe kao globalnog kulturnog entiteta. Zato je potrebno ojačati kapacitet zagovaranja kulturnog sektora u raspravi o politici na svim razinama, dapače dopustiti širenje i obuhvaćanje svih drugih područja ljudskog djelovanja njenom integrirajućom i kohezivnom snagom.

Europska unija svojom je kulturnom politikom zacrtala nekoliko značajnih prekretnica; prije svega tu mislim na izuzeće kulture u okviru trgovinskih pregovora. U odnosu na pregovore unutar EU o transatlantskoj suradnji u trgovini i ulaganju između EU i SAD (TTIP), RH je prilikom usvajanja mandata za otvaranje pregovora, podržala stajalište Vijeća da AV usluge ne budu pokrivene sporazumom. Hrvatska snažno podupire stav da kulturna i jezična raznolikost treba biti očuvana te podržava uključivanje reference na UNESCO-vu Konvenciju o zaštiti i promicanju raznolikosti kulturnih izričaja, koja jasno ukazuje na razliku između ekonomske vrijednosti i kulturne vrijednosti u odnosu prema kulturnim dobrima i uslugama. EU je oduvijek isključivala audiovizualne usluge od obvezivanja na liberalizaciju u okviru Svjetske trgovinske organizacije ili bilateralnih pregovora. Vjerujemo da EU treba podržavati i razvijati kulturnu kreativnost na svojem području, te da bi odustajanje od politika koje promiču kulturu, posebice onih koje se odnose na kino i audiovizualne medije, značilo ne samo odricanje od dijela europskoga kulturnog utjecaja, već i oduzimanje snažne poluge za rast i zapošljavanje.

Ovom prilikom istaknula bih važnost programa Kreativna Europa koji značajno razvija kulturne odnose između zemalja Unije, potom razvoj europske digitalne knjižnice, osuvremenjivanje inicijative Europske prijestolnice kulture, aktivnosti zagovaranja Europske kulturne fondacije, a osobitim doprinosom širenja lepeze novih promišljanja, ali i poticajem za bolju suradnju smatram rad Vijeća ministara kulture Jugoistočne Europe. Aktivno podržavam svako daljnje prepoznavanje, istraživanja postojećih veza, razmjene dobrih praksi, neometan protok informacija, jer pred nama je jačanje ekonomskog i socijalnog utjecaja kulture, njenog iznimnog utjecaja na formiranje održivog razvoja i snažnija građanska participacija.

Svjesni smo važnosti određivanja pristupa održivom razvoju u kreiranju javnih politika i postojeći Plan rada Vijeća za kulturu imao je pozitivan utjecaj na razvoj kulturne politike na nacionalnoj i europskoj razini, no danas je naš zadatak pronaći nove modele financiranja i upravljanja kulturnim sektorom, promicanje većeg pristupa i sudjelovanja u kulturi, poticanje participativnog pristupa u stvaranju i angažman s kulturnim sadržajima dionika i iz javne i iz privatne sfere, na lokalnoj, regionalnoj i europskoj razini.

Promjena trendova politika EU u odnosu na povezivanje umjetnosti s lokalnom zajednicom, obrazovnim sustavom i poslovnim sektorom pokazuje zaokret u konceptima kao što su kultura i umjetnost što daje novu definiciju njihovoj važnosti.

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Upravo na toj razini trebalo bi pružati više podrške socijalno integrirajućim umjetničkim i kulturnim projektima, integriranju kreativnosti u kurikulum na svim razinama te sprezi umjetnosti i poslovnog svijeta. Navedene razine implementiranja umjetnosti u neumjetničke sfere doprinose poboljšanju kvalitete života i dovode do pozitivnih procesa u zajednici, kao što su smanjenje gentrifikacije, urbani i socijalni razvoj. Tek kao primjer spomenimo kako uključivanje umjetnika u rad s djecom unutar osnovnih i srednjih škola poboljšava uspješnost učenja, potiče kreativno i kritičko mišljenje učenika, te odgaja novu generaciju građana senzibiliziranih za umjetnost, kulturu i društvo u cjelini; aktiviranjem umjetničkih akcija u zapuštenim dijelovima grada potiče se urbana obnova i stvaraju nova mjesta atrakcije.

Nužno je, zbog raznolikosti i ubrzanog tehnološkog razvoja razviti nova znanja i nove modele stjecanja znanja koji će poništiti postojeće predrasude i stereotipe i ublažiti razarajuće učinke klasnih, rasnih, rodnih i nacionalnih razlika.

Kulturni i kreativni sektori promišljaju se unutar područja kulturnih industrija, koje su formirale održivi okvir za tržišni opstanak brojnih umjetničkih područja te postale značajan potencijal u razvoju lokalnih gospodarstava. Međutim, kako bi se održala heterogenost kulture potrebno je na razini kulturnih politika osigurati podršku onim oblicima umjetničkog stvaralaštva koji ne mogu implementirati principe industrije, ali posjeduju snažnu dodanu vrijednost i bitno doprinose društvenom razvoju. Osobito značajnim smatram podršku dugoročnim ulaganjima čije će se prednosti pokazati u višegodišnjem razdoblju – logika društvenog razvoja podrazumijeva procese koji traže sinergiju različitih sektora, suradnja administracije i lokalne zajednice te pažljivo planiranje svih faza dugoročnog procesa.

Na tom tragu važni su i zaključci Vijeća ministara kulture o kulturnom nasljeđu kao strateškom izvoru i važnom čimbeniku održivog razvoja, usmjerenom prema projektima urbanističkog i ruralnog planiranja, ponovnog razvoja i obnove. Navodi se potreba stvaranja uvjeta potrebnih za umrežavanje i partnerstva između kulturnog nasljeđa i drugih područja politika, među različitim administrativnim razinama, kao i između javnih i privatnih aktera u svim relevantnim domenama. Podupire se ulaganje u kulturno nasljeđe kao dio integriranih strategija za lokalni i regionalni razvoj u okviru programa i strukturnih fondova EU. Predlaže se razmatranje uključivanja kulturnog nasljeđa kao prioriteta u okviru budućeg Plana rada za kulturu Vijeća, jačanje prekogranične i međuregionalne suradnje u pitanjima kulturnog nasljeđa, poticanje tradicionalnog znanja i vještina potrebnih za očuvanje i razvoj kulturnog nasljeđa.

Komisija je Zaključcima pozvana da analizira gospodarski i društveni učinak kulturnog nasljeđa u EU-u te oblikuje strateški pristup kulturnom nasljeđu, uzme u obzir razvojni potencijal kulturnog nasljeđa kod revizije strategije Europa 2020., razmotri posebnost kulturnog nasljeđa prilikom primjene pravila o državnim potporama, potakne mogućnosti za financiranje kulturnog nasljeđa u okviru dostupnih programa EU-a.

Smatram da je suradnju u područjima turizma i regionalnog razvoja moguće ostvariti u sklopu priprema za korištenje sredstava iz Strukturnih i investicijskih fondova, iako je neophodno da kultura bude što je više moguće zastupljena horizontalno kroz tematske ciljeve i prioritete. Međutim, na svim razinama odlučivanja unutar institucija EU, moramo isticati potrebu da se kultura može financirati i iz vlastitih investicijskih prioriteta. U Hrvatskoj i brojnim drugim zemljama s bogatom kulturnom baštinom to će najvjerojatnije biti moguće jedino u turističke svrhe, a to nas ponovno vraća na percepciju kulture kao potrošača, a ne proizvođača. Naš bi zajednički cilj do 2020. godine svakako trebala biti promjena percepcije u okviru sveobuhvatne i konkretne europske kulturne politike. Na taj bismo način mogli puno učinkovitije realizirati projekte u kulturi s obzirom da bi se svijest o kulturi kao proizvođaču s razina relevantnih institucija prelila i na središta financijske moći, te bi mikro, mali i srednji poduzetnici u kulturi mnogo lakše dolazili do bankovnih zajmova nego sada.

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Brojne studije pokazuju kako više zapaženih europskih projekata vjerojatno ne bi bilo bez strukturnih fondova. Kulturne intervencije široko pridonose gospodarskom razvoju i socijalnoj koheziji u europskim regijama i gradovima. Ulaganje u umjetnost i kulturu pridonosi zapošljavanju, lokalnom i regionalnom BDP-u, proizvodnji, uslugama, inovacijama, socijalnoj integraciji itd. Doprinos kulture ciljevima kohezijske politike ogleda se u urbanom preporodu, obnovi napuštenih industrijskih postrojenja, borbi protiv nezaposlenosti u kulturnom i kreativnom sektoru, podupiranju poduzetništva, inovacijama, poboljšanju financiranja malog i srednjeg poduzetništva u kreativnom sektoru, uključivanju izvedbenih umjetnosti i suvremene umjetnosti u kreiranje politika, poticanju kreativnih talenata, brendiranju gradova i razmjeni dobre prakse na europskoj razini.

Investicijski prioriteti koji direktno proizlaze iz ciljeva Strategije Europa 2020 uglavnom su općeniti. Prioriteti pokrivaju sve sektore, uključujući i kulturu kao npr. investicije u kulturu tj. kreativne i kulturne industrije mogu imati značajan utjecaj na pametan, održiv i uključiv rast. U mnogim regijama i gradovima kulturni i kreativni sektor predstavlja veliki potencijal. Izazov je kako taj sektor više integrirati u regionalne inovativne strategije za pametne specijalizacije, koje su u aktualnim prijedlozima Komisije preduvjet za pristup fondovima. Slijedom toga regije trebaju uzeti u obzir kompleksne veze između tradicionalnih kulturnih proizvoda (kulturna baština, kulturne institucije i usluge) i razvoja kreativnih poslova ili turizma.

Digitalna Agenda predstavlja jedno od prioritetnih područja ulaganja i razvoja EU. Svjetske promjene poput recesije i rapidnog razvoja kulturne i kreativne industrije pod utjecajem razvoja tehnologije stvaraju zahtjev za doradu i daljnji razvoj dokumenta.

Dostupnost kulturnog sadržaja i korištenje kulturnog sadržaja putem informacijske tehnologije trebaju biti više zastupljeni u Digitalnoj Agendi putem jedinstvene skale sustava vrijednosti. Europeana je centralno mjesto europskog nasljeđa koje ujedinjuje nacionalne i međunarodne politike i pridonosi ne samo širenju kulturne baštine nego i razvoju jedinstvenog europskog standarda digitalizacije kulturne baštine. Europeana se razvija paralelno sa razvojem EU te se od svojih početaka zalaže za i promovira jedno od osnovnih načela EU, politiku interkulturalnosti, višejezičnosti, raznolikosti i humanizma.

Hrvatska aktivno prati razvoj Europeane od samih njezinih početaka. MK RH uspostavilo je centralno mjesto hrvatske kulturne baštine www.kultura.hr koje je razvijano prema Europeana standardima. Izradom nacionalne strategije digitalizacije kulturne baštine Hrvatska započinje s razvojem sustava koji će omogućiti svim institucijama i autorima u Hrvatskoj da na jednom mjestu pohrane, obrade i prezentiraju kulturno nasljeđe. Iako višegodišnje surađujemo s Europeanom, neznatan broj nacionalne građe vidljiv je na Europeani te nam je cilj osigurati normativne, organizacijske, financijske, materijalne i druge uvjete za razvitak jedinstvenoga informacijskog sustava digitalne kulturne baštine Republike Hrvatske koji je jasno vidljiv i prepoznatljiv u Europeana zajednici.

Pojavom novih grana kulture i razvojem informacijskih tehnologija otvaraju se nove mogućnosti za autore i kulturne djelatnike, za međunarodnu suradnju, nastaju nova zanimanja i nova radna mjesta.

Kako bi se kultura snažnije integrirala u ostale politike EU (ponajprije obrazovanja, turizma, gospodarstva, regionalnog razvoja) potrebne su organizacijske i strukturne mjere, poput najavljivanog formiranja Opće uprave za kulturu kako bi se otvorio, sada nedostajući, dijalog između Komisije i profesionalnih organizacija i civilnog društva. Bila bi to snažna podrška i osnivanju odgovarajućeg tijela u sklopu EEAS-a kako bi kultura zadobila svoje mjesto i u vanjskoj politici Europske unije jer bez dijaloga s Drugima ostaje na samotnom mjestu. Stoga podržavamo i aktivno participiramo u inicijativama koje otvaraju nove ideje i značaj kulturne diplomacije. Naime, pomak od tradicionalne bilateralne kulturne diplomacije prema dijaloški orijentiranoj transnacionalnoj suradnji i izravnoj suradnji između institucija i umjetnika pokazuje se kao daleko efikasniji i

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kvalitativno uspješniji model i suradnje među zajednicama i unutar samog kulturnog polja te međusektorskog povezivanja kulture i drugih područja, osobito akademskog.

Upravo iz tih razloga Ministarstvo vanjskih i europskih poslova i Ministarstvo kulture Republike Hrvatske utemeljili su Zakladu „Hrvatska kuća“ koja temeljno potiče izravnu suradnju kulturnih institucija i pojedinaca, kooperativni odnos s poslovnim subjektima, stvaranje snažnijih kulturnih interaktivnih odnosa bez patronata državne administracije.

Usvajanjem i provedbom postojećih europskih programa, ali i aktivnim sudjelovanjem u kreiranju novih modela suradnje i razvoja Unije, Hrvatska od samog početka pristupa nastoji unaprijediti njene javne politike. Kultura je, smatram, jedna od glavnih prednosti Europe u globalnoj ekonomiji; utjelovljuje najveću neizvjesnost svake inovativnosti, ali omogućuje i najveću nagradu. Na nama je danas da stvorimo pretpostavke za jednaku dostupnost rizika stvaranja – svima.

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In the current debate on the future of the European Union, the concept of culture and its importance in the integration process of a new union of states is increasingly emphasized. Of course, not without reason, because Europe is faced with itself, on the one hand with its multi-layered, but amazing richness and on the other hand with the lack, perhaps even its own forgetfulness. As a community, as a complex mechanism of overcoming restrictive state nationalisms, Europe today is not only an administrative or merely an economic union, but it derives its unity and in particular its uniqueness from the traces of history, a creativity that anticipates the future, the art and culture of each of the its members.

The reason is clear, culture is potently connecting individuals, groups, communities, nations; it offers a context to social interactions; it ensures political, social and economic cohesion. In its anthropological sense it belongs to everyone; it is what we are in terms of national, transnational, supranational and European identity. Through culture we develop society, critical thinking, reflection and the ability to articulate.

That is why today’s imperative is to provide a permanent space for reflection on the idea of Europe as a global cultural entity. Therefore it is necessary to strengthen the advocacy capacity of the cultural sector in the debate on politics at all levels, indeed to allow expansion and inclusion of all other areas of human activity with integrating and cohesive strength.

The European Union in its cultural policy has targeted several significant milestones; here I refer first of all to the exemption of culture in the framework of trade negotiations.

In terms of the negotiations within the EU on transatlantic cooperation in trade and investment between the EU and the U.S. (TTIP), the Republic of Croatia, when adopting the mandate to open negotiations, has supported the Council’s position on audiovisual services not being covered by the agreement. Croatia strongly supports the position according to which cultural and linguistic diversity should be preserved and supports inclusion of the reference to the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, which clearly points to the difference between economic value and cultural value in the relation towards cultural goods and services. The EU has always excluded audio-visual services from the commitment to liberalisation in the framework of the World Trade Organisation and bilateral negotiations. We believe that the EU should support and develop cultural creativity in its area, and that relinquishing the policies promoting culture, particularly those relating to cinema and audio-visual media, would mean not only waiving part of the European cultural influence, but also a powerful leverage for growth and employment.

On this occasion, I would like to stress the importance of the Creative Europe programme, which significantly develops cultural relations between the countries of the Union, the development of the European digital library, the modernization of the European Capital of Culture initiative, advocacy activities of the European Cultural Foundation, and I believe the work of the Council of Ministers of Culture of South East Europe to be a particular contribution to widening the scope of new thinking, but also an incentive for better cooperation. I actively support all further recognition, exploration of existing connections, exchange of good practices, unhindered flow of information, because we are facing the strengthening of the economic and social impact of culture, its remarkable influence on the formation of sustainable development and stronger civil participation.

We are aware of the importance of determining the approach to sustainable development in creating public policies and that the current Work Plan of the Council for Culture has had a positive impact on the development of cultural policies at national and European level, but today our task is to find new models of financing and management of the cultural sector, promote more access to and participation in culture, encourage participatory approach in the creation and engagement in cultural

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contents of stakeholders both from the public and the private sphere, at local, regional and European level.

Changing trends in EU policies in relation to connecting art with the local community, the education system and the business sector shows a shift in concepts such as culture and art, which gives a new definition to their importance. It is precisely at this level that more support should be provided to socially integrating artistic and cultural projects, the integration of creativity into the curriculum at all levels and partnership of art and business should be advocated. These levels of implementation of art in non-artistic spheres contribute to improving the quality of life and lead to positive processes in the community, such as the reduction of gentrification, urban and social devel-opment. Let us mention, just as an example how the involvement of artists in working with children in elementary and secondary schools improves successful learning, encourages creative and critical thinking of students, and educates a new generation of citizens sensitive to art and culture and society as a whole; the activation of artistic activities in neglected parts of the city encourages urban renewal and creating of new places of attraction.

It is necessary, for the purpose of diversity and rapid technological development, to develop new knowledge and new models of artistic education that will abolish existing prejudice and stereotypes and mitigate the devastating effects of class, race, gender and national differences.

Cultural and creative sectors are being considered within the field of cultural industries, which form a sustainable framework for market survival of many artistic fields and became a significant potential in the development of local economies. However, in order to maintain the heterogeneity of culture, it is necessary to provide support at the level of cultural policies to those forms of artistic creation that cannot implement the principles of industry, but have a strong added value and significantly contribute to social development. I consider particularly significant the support to longterm investments, the benefits of which will show over many years - the logic of social de-velopment implies processes requiring synergy between different sectors, collaboration between the administration and the local community and careful planning of all the phases of a longterm process.

Important on that track are the conclusions of the Council of Ministers of Culture on cultural heritage as a strategic source and important factor of sustainable development, focusing on urban and rural planning projects, redevelopment and renovation. The need to create the conditions necessary for networking and partnerships between cultural heritage and other policy areas, among different administrative levels, as well as between public and private actors in all relevant domains is identified. Support is given to investing in cultural heritage as part of integrated strategies for local and regional development in the framework of the EU Structural Funds. It is proposed to consider inclusion of cultural heritage as a priority in the framework of the future Work Plan of the Council for Culture, strengthening of crossborder and inter-regional cooperation in matters of cultural heritage, promoting traditional knowledge and skills necessary for the preservation and development of cultural heritage.

In their conclusions, the Commission is called upon to analyse the economic and social impact of cultural heritage in the EU and to outline a strategic approach to cultural heritage, taking into account the developing potential of cultural heritage in Europe when revising the Europa 2020 Strategy, to consider the uniqueness of cultural heritage when applying state aid rules, to encourage opportunities of financing cultural heritage within available EU programmes.

I believe that cooperation in the fields of tourism and regional development can be achieved in the scope of preparations for the use of Structural and investment funds, although it is imperative that culture is as much as possible represented horizontally

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through thematic objectives and priorities. However, at all levels of decision making within the EU institutions, we must emphasize the need for culture to have the possibility of financing itself from own investment priorities. In Croatia and many other countries with a rich cultural heritage that is likely to be possible only for tourism pur-poses, which brings us back to the perception of culture as consumer and not producer. Our common goal by 2020 should definitely be a change in perception in the framework of a comprehensive and specific European cultural policy. In this way we could more efficiently implement projects in culture since awareness of culture as producer has passed from the level of relevant institutions onto the centres of financial power, and micro, small and medium sized enterprises in culture could obtain bank loans much easier than now.

Numerous studies show that many notable European projects probably could not be realized without structural funds. Cultural interventions broadly contribute to economic development and social cohesion in European regions and cities. Investing in arts and culture contributes to employment, local and regional GDP, production, services, innovations, social integration, etc. The contribution of culture to the cohesion policy objectives is reflected in urban regeneration, renewal of abandoned industrial sites, the fight against unemployment in the cultural and creative sector, supporting entrepreneurship, innovation, improved financing of SMEs in the creative sector, inclusion of performing arts and contemporary art in policy making, fostering creative talents, branding cities and exchange of good practices at European level.

Investment priorities ensuing directly from the Europe 2020 Strategy objectives are mostly general. The priorities cover all sectors, including culture, such as investment in culture, and creative and cultural industries can have a significant impact on smart, sustainable and inclusive growth. In many regions and cities, the cultural and creative sector represents a huge potential. The challenge is in how to integrate this sector more into regional innovation strategies for smart specialization, which in the current Commission proposals is a prerequisite for accessing funds. Consequently, the regions should take into account the complex links between traditional cultural products (cultural heritage, cultural institutions and services) and the development of creative business or tourism.

The Digital Agenda is one of the priority areas for investment and development of the EU. World changes such as recession and rapid development of cultural and creative industries under the influence of technology development create a requirement for refinement and further development of the document. The availability of cultural content and use of cultural content by means of information technology should be more represented in the Digital Agenda through a single scale of values. Europeana is the central place of European heritage that unites national and international policies and contributes not only to the spreading of cultural heritage but also the development of a single European standard of cultural heritage digitization. Europeana is developing in parallel with the development of the EU and from its origins advocates for and promotes one of the basic principles of EU, the policy of multiculturalism, multilingualism, diversity and humanism.

Croatia is actively following the development of Europeana from the very beginning.

The Ministry of Culture of the Republic of Croatia established a central place of Croatian cultural heritage www.kultura.hr that has been developed according to the European standards. By creating a national strategy of digitization of cultural heritage Croatia begins developing a system that will allow all institutions and authors in Croatia storage, processing and presenting of cultural heritage in one place. Although we have been working with Europeana for many years only a small number of national material is visible on Europeana and our goal is to provide normative, organizational, financial, material and other conditions for the development of a unified information system of digital cultural heritage of the Republic of Croatia which is clearly visible and

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recognizable in the Europeana community. With new branches of culture emerging and with the development of information technology new opportunities for artists and cultural professionals open for international cooperation, creation of new professions and new jobs.

In order for culture to integrate more strongly into other EU policies (notably education, tourism, economy, regional development) organizational and structural measures are necessary, such as the announced formation of the Directorate General for Culture, in order to open the now missing dialogue between the Commission and professional organizations and the civil society. It would be a strong support for the establishment of appropriate bodies within the EEAS in order for culture to gain its place in the foreign policy of the European Union because without dialogue with others it remains in a solitary spot. Therefore, we support and actively participate in initiatives that create new ideas and the importance of cultural diplomacy. The shift from traditional bilateral cul-tural diplomacy toward dialogue oriented transnational cooperation and direct cooperation between the institutions and the artists proves to be a far more efficient and qualitatively successful model both of cooperation between communities and within the cultural field and cross sector connecting of culture to other areas, particularly the academic one. For those reasons, the Ministry of Foreign and European Affairs and the Ministry of Culture of the Republic of Croatia established the Foundation “Croatia House” that fundamentally encourages direct cooperation between cultural institutions and individuals, cooperative relationships with businesses, creation of powerful interactive cultural relations without the patronage of state administration.

By adopting and implementing existing European programs, as well as by active participation in the creation of new models of cooperation and development of the Union, Croatia has been seeking to improve Union’s public policy from the moment of the accession. I believe culture is one of the main advantages of Europe in the global economy; it embodies the greatest uncertainty of every innovation, but also the one that enables the greatest reward. It is today upon us to create the conditions for equal access to risk creating – for everyone.

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Danmark Denmark

Nicolas Tobias Følsgaard

“The legal basis of cultural co-operation within the EU is about two things: Firstly, to ensure that also in the future we will have many different cultures in Europe.

Secondly, to bring the common cultural heritage to the fore – as it is beautifully said.“

Marianne Jelved — Kulturminister — Minister of Culture

Mens især politiske kommentatorer er i færd med at analysere årsagerne til udfaldet af det netop overståede valg til Europa-Parlamentet, er jeg blevet bedt om at give min vision for EU’s fremtid set med kulturbriller. Er den markante grad af protest, fravalg og EU-skepsis, der tilsyneladende ligger bag ved vælgernes stemmeafgivelse, et resultat af et fejlslagent kultursamarbejde i EU? Har de europæiske kulturministre fejlet så eklatant, at borgerne i de europæiske lande har valgt at sige fra i forhold til EU, EU-institutionerne og EU-samarbejdet? Der er givetvis mange forskellige forklaringer på, hvorfor valggrafikken bragt i nyhedsmedierne dagen derpå har fået helt nye farver og nyt udseende. Hvad der står klart, er, at vi må forholde os til, at EU-skeptiske partier stormer frem over hele Europa.

I Danmark nævnes kunst og kultur ikke i flæng, når talen falder på EU. Det er helt andre områder, der knyttes sammen med Unionen – f.eks. områder som økonomi, fri bevægelighed og miljø. EU kobles også hyppigt sammen med tungt bureaukrati, uforståelige beslutninger og beslutningsprocesser samt demokratisk underskud. Ved første øjekast har skepsissen og mistilliden til EU ikke noget med kulturministre at gøre. Alligevel mener jeg, at EU’s kultursamarbejde spiller en vigtig rolle – både for udviklingen af de enkelte landes kulturer og som brobygger mellem borgerne og EU. Lovgrundlaget for samarbejdet om kultur i EU handler om to ting: For det første at sikre, at vi også fremover har mange forskellige kulturer i Europa. For det andet at fremhæve – som det så smukt hedder – den fælles kulturarv. Vi skal på en og samme tid dyrke det, der gør os forskellige, og det, vi har tilfælles. Et lands kultur er knyttet tæt sammen med landets identitet, skikke og måder at handle på, og det giver på alle måder mening at sikre, at landene i Europa bevarer deres kulturelle særpræg.

Et klart eksempel er den sproglige mangfoldighed, der kendetegner det europæiske kontinent, som vi i fællesskab må gøre noget aktivt for at bevare og udvikle. Vores fælleseuropæiske historie og kulturarv er samtidig den fælles platform af værdier, tanker og håndgribelige vidnesbyrd, som vi står på, og som vi op gennem historien har udviklet på kryds og tværs af vores landegrænser.

Vi må ikke her i 100-året for udbruddet af 1. Verdenskrig og 70-året for D-dagen glemme, at vores fælles historie og kulturarv ligger til grund for EU’s tilblivelse. Som ministre for ikke blot den skabende kunst, men også kulturbevaringsområdet, har vi en central rolle i at sikre, at kulturarven formidles og er tilgængelig – ikke mindst for de nye generationer og de stadig flere, der ikke selv har oplevet krige i Europa. Det sker ikke af sig selv, og også her har vi en vigtig opgave i at gøre noget aktivt for at tilgængeliggøre og sikre vores fælles arv for fremtiden.

Vi har igennem de senere år samarbejdet om en strategisk tilgang til kultur i EU, hvor fokus har været på at synliggøre kulturens rolle i forbindelse med vækst og beskæftigelse, EU’s relationer udadtil, uddannelse og forskning m.v. Vi har udvekslet ideer og erfaringer, som har været til stor gensidig inspiration.

Alligevel vil jeg gerne slå til lyd for, at vi fremover fokuserer vores indsats på områder, der er reelt grænseoverskridende og derfor helt naturlige at samarbejde om på europæisk plan. En indsats over for kulturelle temaer, der i sagens natur går på tværs af lande, kan samtidig være med til at bygge bro, skabe dialog og mindske afstande – det være sig mellem borgere i EU og i forholdet mellem borgerne og EU-institutionerne.

Jeg mener, at især tre grænseoverskridende områder er centrale at samarbejde om i fremtiden. En fremtid, som vi kun kan gisne om, men som formentlig fortsat vil være præget af en stadig mere globaliseret verden og en grænseløs teknologisk udvikling, der sætter os over for nye udfordringer, som vi end ikke kan forestille os.

For det første bevarelsen af vores fælleseuropæiske kulturarv, som er vores fundament: Da jeg sidste år skulle indvie en europæisk kulturrute ved navn Megalithic Routes på Møn

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i Syddanmark, gik det op for mig, at noget, som vi i Danmark har betragtet som noget helt særligt dansk – nemlig stendysser og jættestuer – faktisk er et fælleseuropæisk fænomen, som findes i store områder af Vest- og Nordeuropa. Megalitruterne går på tværs af lande og præsenterer storstensgrave, som er bygget inden for en ganske kort årrække, og som har mange ensartede konstruktionstræk. Det vidner om, at der i Nederlandene, Sverige, Tyskland og Danmark allerede for 5.000 år siden var meget stor udveksling af teknologi mellem de forskellige samfund, og at håndværkere allerede dengang har vandret på kryds og tværs af Europa og delt deres teknologi. I Danmark har vi kun omkring 5-10 % tilbage af vore storstensgrave, og vi lægger derfor vægt på at restaurere og vedligeholde dem, der er tilbage. De udgør en del af vores enestående kulturarv, men de skal også bruges i nutiden – til at forstå vores egen historie, men også til at blive mindet om, at vores historie og nationale klenodier er en del af en større europæisk fortælling.

Noget som vi i Danmark betragter som kernen i den danske kulturarv er to noget yngre sten fra omkring år 950-985 – nemlig Jellingstenene. Den største sten er også blevet kaldet ”Danmarks dåbsattest”. Bl.a. nævnes ”Danmark” i indskriften, og stenen markerer med en Kristusfigur overgangen til kristendommen i Danmark. Ligesom Jelling betragter jeg imidlertid også Akropolis og Venedig og mange andre vigtige kulturarvssteder i Europa som min kulturarv. De er alle en del af en større europæisk fortælling på tværs af landegrænser, og jeg mener, at vi derfor alle har et ansvar for at fremhæve dem. Formidling og tilgængeliggørelse er også vigtig, men kan ikke lade sig gøre, hvis kulturarven forfalder. Vi bør derfor alle tage ansvar for at restaurere og vedligeholde de mange steder, der har brug for en særlig indsats. Noget som gør stort indtryk, når jeg rejser rundt i Europa, er, at flere monumenter, bygninger og arkæologiske steder er i forfald og er ved at smuldre væk for øjnene af os. Fordi vi alle er en del af kulturarven, har vi en fælles opgave i at passe på den, og denne fælles indsats bør følges op af økonomisk støtte fra fælles EU-midler.

For det andet bør vi i kultursamarbejdet rette en særlig opmærksomhed mod de nye generationer, som er vores fremtid. Vi bør sigte på at gøre Europa til en naturlig del af vores børns og unges dagligdag. Det kan f.eks. ske ved at lade børn og unge på tværs af grænserne besøge hinanden – f.eks. som led i et program for udveksling af børn og unge, hvor drenge og piger fra øst kan møde drenge og piger fra vest og tilsvarende mht. syd og nord. Man kunne hente inspiration fra et udvekslingsprogram for unge i Norden (Nordplus Junior), der dels støtter klasseudveksling som led i længerevarende, tematiske samarbejder mellem klasser fra forskellige lande, dels støtter individuel udveksling for elever på gymnasier eller erhvervsuddannelser. Der findes også EU-programmer, der støtter udveksling, inden for Erasmus+-programmet.

Min idé er, at udvekslingen gennemføres med udgangspunkt i kunst- og kulturtemaer, således at børnene og de unge ved at besøge hinanden danner sig deres egne indtryk af Europas kulturelle mangfoldighed og fælles kulturarv. Gennem udvekslingen kan der bygges bro mellem vores børn og unge, således at de geografiske og kulturelle afstande fra en tidlig alder opleves som mindre.

Endelig for det tredje vil jeg gerne pege på digitalisering som et naturligt område at samarbejde om set i et fremadrettet perspektiv. Digitalisering er et tema, som berører enhver borger i dagligdagen og begrænser sig ikke kun til kulturområdet.

Ligesom inden for miljøbeskyttelse kender digitaliseringen ingen landegrænser, og samarbejdet om digitalisering giver derfor kun mening, hvis det sker i fællesskab.

Digitalisering er blevet et vigtigt informations- og kommunikationsredskab, som giver nogle helt unikke muligheder for at formidle kunsten, kulturen og kulturarven. Gennem digitale midler kan alle få adgang til litteratur, musik, film, se tv og høre radio. Der er med den digitale teknologi også mulighed for selv at skabe og formidle sin egen kunst og kultur. F.eks. kan man selv udgive sine litterære værker på nettet. Forskellige oversættelsesværktøjer på nettet bliver stadig mere forfinede og kan bidrage til at

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mindske de udfordringer, som den sproglige mangfoldighed giver.

Digitaliseringen giver også mulighed for at skabe dialog og bygge bro på tværs af de europæiske lande og i forhold til resten af verden, og de digitale platforme giver mulighed for at understøtte de grundlæggende værdier i Europa som retten til information, menings- og ytringsfrihed.

Den fælles internetportal Europeana er et konkret eksempel på, at man med via digitale midler og med få klik kan få direkte adgang til digitaliseret materiale fra hele Europa – i form af bøger, malerier, aviser, fotografier og andre audiovisuelle dokumenter fra europæiske kulturinstitutioner.

Vi bør samarbejde om konkrete initiativer som Europeana og de muligheder, de giver for at lære hinanden og vores fælles kulturarv bedre at kende. Samtidig ved vi, at der også er en lang række udfordringer ved digitaliseringen, som vi kun i fællesskab kan håndtere. Jeg tænker f.eks. på, at digitalisering af kulturarven er meget dyr, og at det er vigtigt at udveksle erfaringer om, hvordan man hver især prioriterer og får mest muligt ud af de knappe ressourcer. Blokering af adgang til digitalt indhold og censur på nettet er også emner, som vi fortsat bør være opmærksomme på. Vigtigt er det også, at vi er bevidste om de ophavsretlige spørgsmål, der knytter sig til digitaliseringen og digitalt kulturelt indhold, som vore ministerkolleger drøfter i regi af det indre marked.

Ved at fokusere på de tre grænseoverskridende områder mener jeg, at vi i det europæiske kultursamarbejde fremover kan arbejde med noget, der kun giver mening at samarbejde om på europæisk plan – uden at områderne er hermetisk lukkede over for resten af verden! Lande uden for EU har også del i den europæiske kulturarv, børn og unge fra andre dele af verden kunne med fordel også tage del i et udvekslingsprogram, og digitaliseringen er ikke kun relevant for Europa, men er verdensomspændende.

Bevaringen af den fælles kulturarv, program for udveksling af børn og unge og digitalisering favner om det væsentlige: Vores fundament, vores fremtid og en hastigt fremherskende informations- og kommunikationsform. Set i et bredere perspektiv har de tre temaer et stort potentiale for at bygge broer mellem borgerne på tværs af landegrænserne, men også for at gøre EU og EU-samarbejdet mere meningsfuldt og vedkommende for EU’s borgere.

Kan et samarbejde om kulturarven, et udvekslingsprogram for børn og unge og en indsats omkring digitalisering mindske befolkningernes skepsis og fremmedgørelse over for EU? Mit svar er, at vi ved en indsats på disse områder har en unik chance for at skabe konkrete positive resultater i dagligdagen for borgerne og dermed en større positiv tilgang og forståelse for den europæiske tanke. Det er med de konkrete positive eksempler, at ”det europæiske projekt” bliver demonstreret i praksis.

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While political commentators in particular are trying to analyse the reasons behind the outcome of the recent European Parliament Elections I am being asked to offer my vision on the future of the EU from a cultural point of view. Is the pronounced degree of protest, rejection and EU scepticism which appear to lie behind the votes of the electorate a result of an unsuccessful cultural co-operation? Have European Ministers for Culture failed in such a striking way that citizens of European countries have chosen to object to the EU, EU institutions and EU co-operation? There are certainly many different explanations of why the graphics of the elections brought to us by the news media the day after the vote have completely new colours and shapes. What is clear, however, is that we should address the fact that EU-sceptic political parties are making a leap forward throughout Europe.

In Denmark art and culture are not mentioned automatically when speaking about the EU. Completely different areas are associated with the Union – e.g. areas such as the economy, free movement and the environment. The EU is also frequently connected with heavy bureaucracy, decisions and decision making processes that are incomprehensible and with democratic deficit. At first glance, scepticism and mistrust vis-à-vis the EU have nothing to do with Ministers for Culture. Nonetheless, I think that cultural co-operation within the EU plays an important part – both with respect to the development of cultures of the individual countries and as a bridge builder between citizens and the EU. The legal basis of cultural co-operation within the EU is about two things: Firstly, to ensure that also in the future we will have many different cultures in Europe. Secondly, to bring the common cultural heritage to the fore – as it is beautifully said. We must at the same time engage in what makes us different and in what we have in common.

The culture of a country is closely linked to that country’s identity, customs and ways of doing things, and it makes sense in every way to ensure that countries in Europe keep their distinctive cultural characters. A clear example of that is the linguistic diversity that characterizes the European continent which we should jointly do something active in order to preserve and develop. Our common European history and cultural heritage are at the same time the common platform of values, thoughts and tangible evidence on which we stand, and were developed by us through the ages across our national borders.

This year, marking the centenary of the outbreak of the Great War and the 70-years of the D-Day, we should not forget that our common history and cultural heritage make a basis for the creation of the EU. As Ministers for not only creative art but also the area of cultural heritage preservation we have a central role to play in order to ensure that cultural heritage is presented and made available not least to the new generations and the growing number of people who have not themselves experienced wars in Europe.

It does not happen by itself and also in this respect we have an important task in doing something active in order to make our common heritage accessible and to preserve it for the future.

During the recent years we have co-operated on a strategic approach to culture within the EU with a focus on making more visible the role of culture in connection with growth and employment, EU’s external relations, education and research etc. We have been exchanging ideas and experience which were of great mutual inspiration.

However, I would like to advocate that from now on we focus our efforts on areas that are genuinely cross-border and hence completely natural areas of co-operation at European level. An action towards cultural themes which by nature are inherently transnational will at the same time contribute to bridging, creating dialogue and reducing distances – whether between citizens in the EU or when it comes to the relationship between citizens and the EU institutions.

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In my opinion, three cross-border areas in particular should be at the core of our future co-operation. I am referring to a future we can only try to predict, but which will most probably continue to be characterized by an ever more globalizing world and technological developments beyond any borders which will present new challenges which we are unable to imagine.

Firstly, the preservation of our common European cultural heritage, which is our foundation: last year, when I was asked to inaugurate a European Cultural Route named Megalithic Routes on the island of Møn in the South of Denmark I realised that a something, which in Denmark we regard as typically Danish – i.e. dolmens and passage graves are actually a common European phenomenon that can be found in great parts of West and Northern Europe. The Megalithic Routes reach across countries and present megalithic tombs that were built within a very short period of time having many similar structural features. It shows that already 5,000 years ago in the Netherlands, Sweden, Germany and Denmark there was a considerable exchange of technology between different communities and that already at the time craftsmen travelled across Europe and shared their technology. In Denmark, we have only about 5-10 % of our megalithic tombs left and therefore we attach great importance to restoring and maintaining those that are left. They are part of our unique cultural heritage but they should be used in the present too to understand our own history as well as to remind ourselves that our history and national treasures are part of a larger European narrative.

Something which in Denmark is viewed as the essence of Danish cultural heritage comprises two somewhat younger stones from A.D. 950-985 – more precisely the Jellingstones. The larger stone of the two stones is also called “Denmark’s birth certificate”. This is due to the fact that among other things, Denmark is named in the inscription and with its image of Christ the stone marks the change to Christianity in Denmark. However, just like Jelling I regard Akropolis and Venice and numerous other important heritage sites in Europe as my cultural heritage. These sites are all part of a greater European narrative across borders and in my opinion we have all a responsibility to bring them to the fore. Presentation and accessibility are important but this is not possible if the cultural heritage falls into ruin. This is why we should all take responsibility to restore and maintain the many sites that need a special care.

What makes a big impression on me is when I travel around Europe and see that many monuments, buildings and archaeological sites are in decay and disintegrating before my very eyes. Because we all are part of cultural heritage we have a common task to look after it and this common action should be followed up by financial support from common EU funds.

Secondly, within our cultural co-operation we should pay special attention to the new generations that are our future. We should aim at making Europe a natural part of the daily life of our children and young people. As an example this could happen by letting children and young people visit each other across countries – e.g. in the context of an exchange programme for children and young people through which boys and girls from the East could meet boys and girls from the West and similarly with respect to the South and the North. One could seek inspiration from an exchange programme for young people within the official Nordic co-operation (Nordplus Junior) which partly supports exchanges of school classes as part of longer thematic co-operation projects between classes from different countries, and partly supports individual exchanges targeted students at secondary schools including vocational institutions. There are also EU programmes supporting exchanges within the Erasmus+programme. My idea is that such exchanges take art and cultural themes as their starting point in order that children and young people form their own impression of Europe’s cultural diversity and common cultural heritage. Through this exchange bridges can be built between our children and young people so that from an early age geographical and cultural distances are perceived as shorter.

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Finally and thirdly, I would like to point at digitisation as a natural co-operation area for the future. Digitisation is a theme which affects any citizen in their daily life and it is not confined only to the area of culture. As with environmental protection digitisation knows no borders and therefore co-operation on digitisation only makes sense if carried out jointly.

Digitisation has become an important information-and communication tool offering unique possibilities for presenting art, culture and cultural heritage. Through digital means everybody can gain access to literature, music, film, watch television and listen to radio. With digital technology it is also possible to create and present one’s own art and culture. For example, one can publish one’s own literary works on the internet.

Different translation tools are becoming more and more refined and can contribute to reducing the challenges that linguistic diversity represents.

Digitisation also makes it possible to create dialogue and build bridges across the European countries and vis-à-vis the rest of the world and digital platforms enable the support of fundamental values in Europe such as the right of information, the freedom of opinion and speech.

The joint internet portal Europeana is a concrete example of how through digital means and with few clicks one can gain direct access to digitised material from all over Europe – such as books, paintings, newspapers, photographs and other audiovisual documents from European cultural institutions.

We should co-operate on concrete initiatives such as Europeana and on the possibilities they offer to get to know each other and our common cultural heritage better. At the same time, we know that there are many challenges connected with digitisation, which only together we will be able to tackle. I am thinking here for example that digitisation is very costly and that it is important to exchange experience on how each of us prioritise and make the best of our scarce resources. Blocking access to digital content and censorship on the internet are subjects to which we should continue to pay attention.

It is also of great importance that we are aware of the copyright questions that are connected to digitisation and cultural content which our ministerial colleagues are discussing in the context of the Single Market.

By focusing on these three cross-border areas I think that in future European cultural co-operation we can work on something that makes sense only at European level – without these areas being hermetically sealed towards the rest of the world! Countries outside the EU also have a stake in European cultural heritage, children and young people from other parts of the world could benefit from taking part in an exchange programme and digitisation is not only relevant for Europe but is a global issue.

Preservation of our common heritage, an exchange programme for children and young people and a focus on digitisation embrace what is essential: our foundation, our future and a way of information and communication that is rapidly becoming mainstream. Seen in a broader perspective these three themes have a great potential to form a bridge between citizens across borders and to make EU and EU cooperation more meaningful and relevant to EU citizens.

Will co-operation on cultural heritage, an exchange programme for children and young people and a focus on digitisation reduce scepticism and alienation of citizens towards the EU? My answer is that through efforts in these areas we have a unique chance to create positive results in the daily life of citizens and hence a more positive approach and understanding of the European idea. It is with concrete positive examples that “the European project” will be demonstrated in practice.

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France France

“The EUROPE 2020 Strategy does not mention culture, despite its role as a catalyst for economic and social development, as the European Commission itself recognised in its 2012 report on the potential of cultural industries.“

Aurélie Filippetti

— ministre de la Culture et de la Communication — Minister of Culture and Communication

Que peut faire l’Union européenne pour la culture et que peut faire la culture pour l’UE ?

L’Europe a été une réalité culturelle avant d’être un projet politique et économique : la culture est au cœur du modèle de société européen, de ses nations et de ses territoires.

L’identité même de l’Europe est intimement liée à la richesse de son héritage culturel et à la vitalité de sa création, fondements de son rayonnement dans le monde.

La culture est également une des réponses à la crise économique qui touche l’Europe : l’attractivité de la culture européenne ainsi que le rayonnement de ses créateurs et de ses industries culturelles sont des moteurs de l’économie européenne. Le secteur culturel et créatif représente 3,3% du PIB de l’Union et 6,7 millions d’emplois sur le continent. Dans sa communication du 26 septembre 2012, la Commission a d’ailleurs elle-même mis en exergue le rôle de catalyseur de développement socio-économique que jouent les industries culturelles et créatives, un territoire qui investit dans le champ culturel ou qui prend des initiatives dans le champ culturel connait un surcroît de dynamisme économique et gagne en cohésion sociale. La culture peut être la clé de voûte d’une nouvelle Europe, plus à l’écoute des citoyens, de leurs aspirations, de leurs interrogations, de leur diversité, de leur créativité. Le renouvellement du Parlement européen (mai 2014) et celui de la Commission européenne (automne 2014) sont toujours un moment de réflexion pour faire avancer le projet européen. Saisissons cette opportunité pour réaffirmer l’apport de la culture à la société dans toutes ses composantes et mettre en place une politique à la hauteur de cet apport.

L’Union européenne a joué un rôle historique dans la promotion et la protection de la diversité culturelle. Elle doit poursuivre dans cette voie. C’est là d’ailleurs une responsabilité collective : celle des Etats qui doivent continuer à mettre en place des politiques ambitieuses de promotion et de protection de la diversité culturelle et celle de l’Union européenne qui a le devoir d’en permettre le plein épanouissement.

C’est le sens de l’appel lancé par les artistes venus de toute l’Europe lors du forum de Chaillot « Avenir de la culture, Avenir de l’Europe » organisé à l’initiative du Ministère de la Culture de de la Communication les 4 et 5 avril derniers. C’est également le principal message des vingt ministres européens de la culture qui se sont réunis en marge de ce forum, en présence du Président du Parlement européen, Martin Schulz, des Commissaires Michel Barnier et Androulla Vassiliou ainsi que de la Directrice générale de l’UNESCO, Irina Bokova. Il est indispensable de se mobiliser tous ensemble pour poser les fondements d’une stratégie partagée par l’ensemble des acteurs du monde culturel au bénéfice de la création artistique, de la diversité culturelle et de l’accès de tous à la culture. Cette stratégie doit être pensée à une échelle européenne, dans le plein respect du principe de subsidiarité. La révolution numérique modifie en profondeur le contexte de la création, de sa diffusion et de son accès. Elle est à la fois opportunité et défi, en ce qu’elle modifie la chaîne de valeur, facilite la concentration et abolit les frontières physiques.

C’est dans cette optique que doit être abordée la préparation du prochain plan de travail culture qui sera finalisé sous Présidence italienne du Conseil de l’Union européenne. Bien que le plan de travail soit un instrument important de la politique culturelle européenne, il faut aller au-delà et construire une stratégie globale qui rende à la culture toute sa place dans le projet européen.

Comment la culture et l’accessibilité aux biens culturels influent-elles sur la qualité de vie des citoyens européens ?

C’est à travers la culture que l’Europe trouve son incarnation la plus concrète aux yeux de nos concitoyens. L’image même de l’Europe, la représentation qu’elle se fait d’elle-même et que les autres ont d’elle, sont intimement liées à la richesse de son héritage culturel et à la vitalité de sa création. C’est par la culture que naît le sentiment d’appartenance à une communauté, c’est par elle que les citoyens peuvent développer,

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individuellement et collectivement, leurs compétences tout au long de la vie. L’accès du plus grand nombre à la culture et son corollaire, l’accroissement et la diversification de l’offre culturelle, sont donc essentiels.

L’éducation artistique et culturelle joue donc un rôle déterminant. En favorisant l’accès de tous à la culture et à la pratique culturelle, elle permet l’acquisition de compétences sociales, utiles tant dans la vie citoyenne que privée ou professionnelle, favorise l’insertion sociale et l’exercice de la démocratie. La France en a d’ailleurs fait une priorité de son action. Si l’école a un rôle particulier à jouer auprès des jeunes en matière d’éducation culturelle et artistique, l’accès à la culture doit pouvoir être assurée tout au long de la vie.

Nos sociétés se transforment sous l’effet de la mondialisation : les échanges économiques entre les populations croissent, les déplacements sont plus fréquents, les frontières s’estompent. Les politiques culturelles, en protégeant et promouvant la diversité culturelle, permettent aux citoyens européens de mieux connaître leurs voisins, proches ou lointains, de participer à un vivre ensemble respectueux de chacun dans ce qui fait sa spécificité et sa richesse. Elles leur permettent aussi de mieux se faire connaître. Patrimoine matériel et immatériel et diversité des langues sont donc des atouts majeurs à valoriser.

La culture a également un impact sur la qualité de vie des citoyens européens de par son rôle économique : en favorisant l’attractivité économique, en permettant le développement de multiples activités dont le tourisme, elle facilite le développement, la création d’emplois locaux et l’aménagement des territoires.

La culture a en outre un aspect festif et fédérateur. Alors que l’Europe a plus que jamais besoin de solidarités palpables, de lien vivant entre ses citoyens, l’art et la culture lui permettent de les construire.

La culture est donc indissociable de la qualité de vie.

Quel équilibre entre l’application du principe de subsidiarité et la coopération au niveau de l’UE ? Souhaite-t-on renforcer la coopération en faveur des artistes et professionnels du secteur culturel ou a-t-on atteint les limites des actions et des programmes de l‘UE ?

La culture est une compétence des Etats membres et doit le rester. L’Union européenne a en ce domaine une compétence d’appui et peut à ce titre développer des politiques transversales favorables à la culture et en prise avec la réalité des secteurs culturels de l’Union européenne, dans le plein respect de la compétence des Etats membres et des articles 6 et 167 du TFUE. Elle doit ainsi tenir compte des aspect culturels dans l’ensemble de ses politiques, notamment le marché intérieur, la concurrence, les aides d’Etat, la politique fiscale ou la politique commerciale.

Les artistes ont joué un rôle majeur dans la construction du projet européen : en favorisant les échanges d’idées ils ont rendu possible une vision partagée, en faisant circuler les œuvres ils ont rendu possible le partage des imaginaires. Au cours des quinze dernières années, les différents programmes culturels européens ont permis de renforcer cette dynamique, en soutenant la circulation des œuvres, des personnes (artistes et des professionnels) et des créations. Aujourd’hui le nouveau programme Europe Créative, qui couvre les années 2014-2020, signe la reconnaissance par l’UE de l’importance du secteur culturel dans l’emploi, la croissance et l’innovation. Il reconnaît la nécessité d’investir spécifiquement dans le renforcement et la compétitivité du secteur culturel au moment où mondialisation et révolution numérique transforment l’environnement quotidien. Europe Créative permettra également aux artistes et professionnels de renforcer leurs partenariats avec les pays du voisinage Sud et Est. Lors de la négociation de ce programme, les autorités françaises ont fortement œuvré pour que son budget, déjà très modeste, ne soit pas sacrifié au profit d’autres secteurs.

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Europe Créative doit maintenant contribuer à donner au secteur culturel les moyens de renforcer sa structuration. La mobilité des artistes est, à cette fin, un enjeu important.

Des projets tels la mise en œuvre d’un point de contact européen sur la mobilité des artistes dans le prolongement des initiatives « Mobile Home Heldesk » et « Practics » permettraient de favoriser le transfert d’expertise entre les pôles d’information existants en Europe sur les questions administratives et sociales au bénéfice des artistes et professionnels de la culture en mobilité. La création d’un office européen de la diffusion artistique permettrait d’assurer une mission de veille, de repérage et de mise en réseau des acteurs. Elle favoriserait des coopérations pérennes et structurantes.

Favoriser la mobilité dans le secteur culturel, c’est aussi promouvoir une politique européenne des visas qui prenne en compte la spécificité des artistes et des professionnels de la culture. Les artistes des pays tiers qui ont noué des liens durables avec les opérateurs culturels des Etats membres présents dans les dits pays doivent pouvoir poursuivre de façon fluide des relations qui contribuent au développement de la diversité culturelle en Europe (venue dans des festivals, enregistrements, représentations, enseignement) et au renforcement des capacités des pays d’origine (notoriété, actions de formation) .

Compte tenu de la pyramide des âges, nombre de pays européens, notamment de l’Ouest, devraient pâtir d’un manque de professionnels et d’experts de haut niveau dans certains métiers de la culture, en particulier du patrimoine à plus ou moins brève échéance. Le cycle de préparation à ces métiers à haute valeur ajoutée étant long (formation, apprentissage, expérience), il importe de réfléchir dès maintenant aux réponses à apporter à court, moyen et long termes.

L’expertise européenne est en outre très sollicitée et les appels d’offres internationaux de plus en plus nombreux dans les domaines culturels qu’il s’agisse de formation spécialisée, technique ou administrative.

Pour répondre à ces différents défis, il pourrait être envisagé de mettre en place une méthode ouverte de coordination dans la perspective d’un livre vert sur la protection des sites, des savoir-faire patrimoniaux , la qualité architecturale et les dispositifs et techniques de la protection et la valorisation du patrimoine matériel et immatériel.

Dans le plein respect du principe de subsidiarité, essentiel pour faire vivre la diversité culturelle, il y a donc place pour un renforcement de la coopération au niveau européen.

La culture est-elle considérée à sa juste valeur parmi les politiques de l’UE ? Que peut-on faire ensemble pour les secteurs culturels et créatifs qui ont une forte valeur ajoutée et contribuent de façon significative au développement social ?

A côté des programmes spécifiquement culturels, d’autres politiques européennes ont un impact très direct sur le secteur culturel européen. Comme l’ont montré les récents débats du Conseil des ministres de la culture et de l’audiovisuel, les domaines autres, dans lesquels où l’Union est dotée de compétences législatives, voire de compétences exclusives, sont souvent de première importance pour la politique culturelle qu’il s’agisse de la politique de concurrence, des aides d’Etat, de la propriété intellectuelle, de la fiscalité, de la politique commerciale, de la politique régionale, voire de l’environnement, de l’agriculture ou des affaires maritimes. Il est donc crucial de tenir compte de la culture dans l’ensemble des politiques de l’Union européenne, comme l’impose clairement le traité sur le fonctionnement de l’Union européenne (article 167.4).

C’est dans cette perspective, que la France a proposé, à de nombreuses reprises (au Forum de Chaillot, au Conseil des Ministres de la culture et de l’audiovisuel du 21 mai dernier...) et en plein accord avec de nombreux ministres européens de la culture,

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que soit élaborée une stratégie européenne pour la culture à l’ère numérique qui couvre l’ensemble des politiques de l’Union européenne, promeuve une économie de la création et donne ainsi toute sa place à la culture et la diversité culturelle et linguistique dans le projet européen.

La Commission européenne devrait, dès 2015, proposer une stratégie européenne pour la culture à l’ère numérique qui devrait 1.Reconnaître la place spécifique et transversale de la culture et lui apporter un soutien à travers ses divers programmes: outre le programme Europe créative, les projets culturels devraient être éligibles à la politique de cohésion, de la recherche (Horizon 2020), de la mobilité des étudiants et des jeunes (ERASMUS +), au soutien aux entreprises et PME (COSME), à la politique de réseaux trans-européens (Mécanisme d’interconnexion en Europe), aux instruments de l’aide extérieure, aux programmes pour le développement rural (Fonds européen agricole pour le développement rural), aux programmes environnementaux (Life, Natura 2000) et maritimes (Fonds européen pour les affaires maritimes et la pêche – FEAMP), …

2. Garantir une juste rémunération des créateurs. Il est impératif de consolider les droits de propriété intellectuelle, y compris le droit d’auteur, fondement de la rémunération de la création et de la diversité culturelle. La politique du droit d’auteur est aujourd’hui appréhendée au sein de l’Union européenne uniquement comme une composante d’une politique du marché intérieur entendue trop restrictivement. Définie à l’aune exclusivement des enjeux d’un marché intérieur, vu comme espace de circulation des biens et des services, et non de production de ceux-ci ou de création culturelle, la politique du droit d’auteur de l’Union européenne risque de n’aller que vers une restriction des protections offertes à la création. La politique du droit d’auteur doit au contraire être intégrée à une véritable stratégie européenne pour la culture à l’ère numérique. Elle doit ainsi être regardée comme une politique industrielle, sur laquelle repose des pans essentiels du tissu économique et social européen. Elle doit prendre sa place dans la stratégie numérique de l’Union européenne en tant qu’axe essentiel du développement du secteur des contenus numériques en Europe. Enfin, la politique culturelle de l’Union européenne devrait évidemment peser dans la politique du droit d’auteur qui constitue un élément-moteur de la diversité culturelle. Par ailleurs, il est certain que dans le cadre des réflexions sur la directive sur les services de médias audiovisuels, il faudra veiller à maintenir la contribution des distributeurs au financement de la création, dans un objectif de maintien de la diversité des contenus audiovisuels 3. Permettre la mise en place des soutiens nécessaires à ce secteur fondamental et dont les lois du marché seules n’assureraient pas l’épanouissement et la diversité.

La Commission européenne doit donc poursuivre une politique en matière d’aides d’Etat qui assure un cadre juridique et budgétaire stable, sûr et favorable pour les interventions publiques en faveur de la culture, comme cela a été amorcé par le récent règlement général d’exemption par catégories qui permet de sécuriser les aides à la culture.

4. Reconnaître le rôle essentiel du patrimoine pour l’Union européenne et développer une approche stratégique pour sa valorisation.

Une politique active de soutien à la restauration des monuments historiques encourage l’accès des jeunes à des formations qualifiantes, développe l’économie locale et concourt à l’attractivité du pays. Le patrimoine participe ainsi à la vie économique par les liens qu’il entretient avec l’industrie touristique, le secteur du bâtiment et l’aménagement du territoire.

Des conclusions du Conseil des Ministres de la culture sur le patrimoine comme ressource stratégique pour une Europe durable viennent d’être adoptées le 21 mai

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2014 dans le cadre de la présidence grecque de l’UE. Enfin, une Communication sur « le patrimoine en 2020 et au-delà : une approche politique intégrée pour l’Europe », devrait être publiée fin juin 2014, sur la base de trois piliers (potentiel sociétal du patrimoine culturel, potentiel économique et renforcement de la coopération entre acteurs concernés). Il conviendra donc, dans le prolongement de cette communication, de créer, dans le cadre de la stratégie UE 2020, les synergies nécessaires entre les différentes politiques qui concourent à cette valorisation ainsi qu’entre les programmes et les financements afférents.

5. Promouvoir la diversité culturelle dans les relations extérieures de l’Union européenne, sur la base notamment de la convention de 2005 de l’UNESCO. L’Union européenne pourrait ainsi impulser une véritable réflexion sur l’application de la Convention de 2005 sur la promotion et sur la protection de la diversité des expressions culturelles dans l’environnement numérique.

C’est également dans cette optique que doit s’envisager la politique commerciale de l’Union européenne. Outre la préservation des garanties assurées à l’OMC pour les services culturels, seule la pleine exclusion des services audiovisuels des accords de libre-échange permettra de préserver, pour l’Union européenne et ses Etats membres, toute la marge de manœuvre nécessaire à la mise en place de politiques de protection et de promotion de la diversité culturelle, y compris dans l’environnement numérique.

A ce titre les négociations relatives au partenariat transatlantique sur le commerce et l’investissement sont de première importance.

D’autres mesures organisationnelles et structurelles sont-elles nécessaires au sein de l’UE pour intégrer la culture dans les politiques de l’UE ? Doit-on-créer un poste spécifique de Directeur général pour la culture ?

Le renouvellement de la Commission européenne en 2014 est le moment propice pour réfléchir à une nouvelle organisation. Que ce soit dans la définition des portefeuilles ou dans son mode de fonctionnement, il faut veiller à ce que la Commission soit en mesure à la fois d’assurer la prise en compte effective des enjeux culturels dans chacune des politiques européennes pertinentes (en pleine conformité avec l’article 167.4 TFUE) et de développer des instruments et des mesures spécifiques au champ culturel d’autre part. Un Commissaire chargé d’un portefeuille largement défini autour de l’ensemble des sujets culturels et audiovisuels serait pleinement en mesure de remplir cette mission.

Quoi qu’il en soit il est essentiel d’assurer une meilleure prise en compte du secteur culturel dans toutes les propositions de textes et d’actions de l’Union européenne. Cela pourrait, par exemple, prendre la forme d’un système d’alerte précoce et d’un groupe de haut niveau pour la culture. Des rendez-vous réguliers entre les Etats membres, par exemple sous la forme de réunions des hauts fonctionnaires des ministères en charge de la culture, seraient également très utiles.

La culture est-elle suffisamment prise en compte dans l’agenda numérique et comment doit-on agir avec Europeana ?

Dans l’univers numérique, les contenus culturels constituent les meilleurs atouts dont dispose l’Europe face à ses concurrents internationaux. Le secteur des contenus culturels ne doit donc pas être regardé comme un aspect secondaire de la politique menée en matière de stratégie numérique, mais bien comme l’un de ses sujets principaux. Ainsi, il apparaît impératif de doter la stratégie numérique du volet culturel qui lui manque.

Dans cette optique, l’apport et le rôle des plates-formes numériques dans la création et l’accès à la culture en Europe doivent être pris en compte dans l’agenda numérique.

Un partage équitable de la valeur doit être garanti aux différents intervenants de la chaîne de production et les créateurs bénéficier d’un droit d’auteur leur garantissant

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une juste rémunération. La concentration doit être évitée et l’ensemble des acteurs du numérique doit contribuer au financement de la création et au respect du droit d’auteur. Adapter le cadre fiscal aux enjeux de développement des contenus et des services culturels dans le nouvel environnement numérique devient ainsi urgent (lutte contre les pratiques d’optimisation et d’évasion fiscale, révision du cadre réglementaire européen permettant explicitement l’application de taux réduits de TVA pour les biens et services culturels, qu’ils soient commercialisés sous forme physique ou sous forme numérique dématérialisée ...).

Dans le domaine du patrimoine, la bibliothèque numérique Europeana, projet emblématique au carrefour des dimensions européennes, culturelles et numériques, doit voir son rôle et son financement confortés, dans le cadre notamment de projets tournés vers les citoyens comparables à Europeana 1914-1918.

Quand la stratégie UE2020 tiendra-t-elle compte directement (et pas seulement indirectement) de l’importance de la culture pour la création d’emplois, le développement et la cohésion sociale?

La Stratégie EUROPE 2020 ne mentionne pas la culture, alors même qu’elle est un catalyseur de développement économique et social, comme la Commission européenne l’a reconnu elle-même dans sa communication de 2012 sur le potentiel des industries culturelles.

Si la Commission européenne a, en 2010, consacré une stratégie numérique importante dans le cadre d’EUROPE 2020, force est de constater que son pendant pour la culture est inexistant. C’est la raison pour laquelle, en plus de la mise en place d’une stratégie idoine pour la culture, la Commission européenne devrait inscrire la culture parmi les enjeux de la révision à mi-parcours de la stratégie Europe 2020.

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What can the European Union do for culture and what can culture do for the EU? Europe was a cultural reality before it became a political and economic project. Culture is central to the model of Europe’s society, nations and regions. The very identity of Europe is inseparably linked to its rich heritage and the strength of its creativity - crucial factors in its influence worldwide.

Culture is also one of the answers to the economic crisis affecting Europe. The appeal of European culture, as well as the influence of its creators and cultural industries, are mainsprings of the European economy. The cultural and creative sectors represent 3.3% of the Union’s GDP and 6.7 million jobs across the continent. In its statement of the 26th September 2012, the Commission actually emphasized the role of the cultural and creative industries as catalysts for socio-economic development: regions that invest in the cultural sector or launch initiatives in the field of culture boost economic activity and increase social cohesion. Culture can be the keystone of a new Europe, one that is more attentive to its citizens, and their aspirations, concerns, diversity and creativity. As always, the election of a new European Parliament (May 2014) and the renewal of the European Commission (Autumn 2014) offer an opportunity to reflect on how we can further develop the European project. So let us seize this chance to underline the contribution of culture in all its forms to society and form policies that take that vital contribution into account.

The European Union has played a historic role in the promotion and protection of cultural diversity. It must continue on that path. In fact, it is a collective duty: the responsibility of the States, which must continue to develop ambitious policies for the promotion and protection of cultural diversity, and that of the European Union, which has an obligation to ensure it can thrive.

That is the message of the appeal launched by artists from all over Europe at the Chaillot Forum “The future of culture, the future of Europe”, organized on the initiative of Ministry for culture and communication on April 4th and 5th 2014. It is also the main message of the twenty European Ministers of Culture who met on the occasion, in the presence of the President of the European Parliament, Martin Schulz, Commissioners Michel Barnier and Androulla Vassiliou, and the Director-General of UNESCO, Irina Bokova. It is essential for us all to work together to lay the foundation of a shared strategy for all the players of the cultural world, to benefit artistic creation, cultural diversity and universal access to culture. The strategy must be planned on a European level, in full compliance with the principle of subsidiarity. The digital revolution is radically changing the context of creation and its dissemination and access. This is both an opportunity and a challenge, as it modifies the value chain, facilitates concentration and removes physical barriers.

It is against this background that we must begin to prepare the next culture work plan, which will be finalised during the Italian Presidency of the Council of the European Union. The work plan is of course an important tool of European cultural policy, but we must go still further and develop an overall strategy that enables culture to play its entire role in the European project.

How do culture and the accessibility of cultural goods affect the quality of life of European citizens?

In the eyes of our fellow citizens, culture is the quality that most clearly embodies Europe. The very image of Europe - the image it has of itself and that others have of it - are closely related to its rich cultural heritage and the dynamic nature of its creativity. The feeling of belonging to a community springs from culture, and it is through culture that citizens can individually and collectively acquire and improve their skills throughout their lives. So access for the greatest number to culture, and its consequence, the growth and diversification of cultural offer, are essential.

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We can see, then, that artistic and cultural education plays a decisive role. By facilitating universal access to culture and cultural practice, it enables each individual to acquire social skills, useful in both their personal and working lives. It encourages social integration and optimises the democratic process. In fact, France has made it a priority in its initiatives. Schooling plays a special role in the cultural and artistic education of young people, but access to culture must be lifelong.

Globalisation is transforming our societies: there is increasing trade between populations, travel is more common and borders are increasingly permeable. By protecting and promoting cultural diversity, cultural policies enable European citizens to get to know their close or more distant neighbours better, and participate in a universal community that appreciates the specific nature and qualities of individuals.

They also enable European citizens to make themselves known to others. Tangible and intangible heritage and diversity of language are important assets that must be used to the full.

Culture also impacts on the quality of life of European citizens because of its economic role: by enhancing economic appeal and driving multiple forms of economic activity including tourism -, it facilitates growth, the local creation of jobs and land development.

Culture also has an entertaining, unifying dimension. More than ever, Europe needs to encourage tangible forms of solidarity and active bonds between its citizens, and art and culture enable it to create these.

So culture is inseparably linked to quality of life.

What balance is there between the application of the principle of subsidiarity and co-operation across the EU? Should co-operation in favour of artists and workers in the cultural sector be increased or have EU initiatives and programmes reached their limit?

Culture is a competency of the Member States and should remain so. However, the European Union is competent to provide support in the area and can consequently apply transversal policies that benefit culture and are compatible with the reality of the European Union’s cultural sectors, while fully complying with the competency of Member States and articles 6 and 167 of the Treaty of Rome. Consequently, it should take cultural issues into account in all its policies, notably those related to the internal market, competition, state aid, taxation and trade.

Artists have played a major role in furthering the European project. By encouraging the exchange of ideas, they have enabled a common vision; by disseminating their works, they have allowed imagination to be shared. Over the last fifteen years, different European cultural programmes have accentuated these trends by supporting the free movement of works, persons (artists and professionals) and creation. Today, the new Creative Europe programme for the years 2014-2020 confirms that the EU recognises the importance of the cultural sector to employment, growth and innovation. It accepts the need to specifically invest in the growth and competitiveness of the cultural sector at a time when globalisation and the digital revolution are transforming our everyday environment. Creative Europe will also allow artists and professionals to build stronger partnerships with neighbouring countries to the south and east. When the programme was negotiated, the French authorities made every effort to ensure that none of its already very modest budget was diverted to other sectors.

Now, Creative Europe must play its part in providing the cultural sector with the means to optimise its structuring. Here, the mobility of artists is an important issue. Projects such as the implementation of a European contact point on the mobility of artists as an extension of the “Mobile Home Helpdesk” and “PRACTICS” initiatives would encourage the transfer of expertise between existing information clusters in Europe

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dealing with administrative and social issues to benefit the mobility of artists and culture professionals. The creation of a European office of artistic dissemination would enable monitoring, localisation and networking for stakeholders. It would encourage ongoing, structuring co-operation.

Facilitating mobility in the cultural sector also means promoting a European visa policy that takes into account the specific case of artists and culture professionals. Artists from third-party countries who have forged long-term ties with cultural operators from the Member States present in these countries must be able to flexibly pursue relationships that contribute to the development of European cultural diversity (visits to festivals, recordings, performances, teaching) and strengthen the capacities of the country of origin (awareness, training initiatives).

Given the age pyramid, many European countries (especially in the West) are expected at some point to suffer from a shortage of professionals and top experts in certain cultural fields, particularly heritage. Because of the length of the preparatory cycle for these high added-value professions (training, learning, experience), it is important that we should immediately begin to consider short, medium and long-term solutions.

Also, European expertise in this area is in great demand and there are increasing numbers of international calls to tender in the cultural domain, whether for specialised, technical or administrative training.

To meet these different challenges, we might consider setting up an open method of co-ordination with the prospect of a green paper on the protection of sites, heritage skills, architectural quality and systems and techniques for the protection and optimised use of tangible and intangible heritage.

So there is scope for increased co-operation on a European level, in full compliance with the principle of subsidiarity, essential to the flourishing of cultural diversity.

Do EU policies take into account the true worth of culture? What joint action can we take in favour of cultural and creative sectors with high added value that make a significant contribution to social development?

Together with specifically cultural programmes, other European policies have a very direct impact on the European cultural sector. As shown by the recent discussions of the Council of Ministers of Culture and Audiovisual Affairs, other domains in which the Union has claimed legislative and even exclusive competencies are often of crucial importance to cultural policy: competition, state aid, intellectual property, tax, trade or regional policy, and even environmental, agricultural and maritime policy. So it is vital that culture should be taken into account by all the European Union’s policies, as is clearly prescribed in the Treaty of Rome (article 167.4).

To this end, in full agreement with many European Ministers of Culture, France has repeatedly proposed (at the Chaillot Forum, at the Council of Ministers of Culture and Audiovisual Affairs on the 21st May last, etc.) that a European strategy for culture in the digital age should be developed to cover all European Union policy and promote a creative economy, so ensuring that culture and cultural and linguistic diversity occupy their proper place in the European project.

In 2015, the European Commission should present a European strategy for culture in the digital age that will: 1. Recognise the specific, transversal role of culture, and support its various programmes. Aside from the Creative Europe programme, cultural projects should be eligible for inclusion in Cohesion Policy, research (Horizon 2020), mobility of students and young people (ERASMUS +), competitiveness of businesses and SMEs (COSME), cross-Europe networks (Connecting Europe Facility), external aid instruments, rural

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development programmes (European Agricultural Fund for Rural Development), environmental (Life, Natura 2000) and maritime (European Fund for Maritime Affairs and Fisheries – EFMAF) programmes, etc.

2. Ensure equitable remuneration for creators. It is essential to consolidate intellectual property rights, including copyright, as the basis for remuneration of creation and cultural diversity. Within the European Union, copyright policy is today seen only as an element in internal market policy in a narrow sense. Defined exclusively in terms of the issues of an internal market seen as an area for the circulation of goods and services, and not the production of those goods and services, or cultural creation, the European Union’s copyright policy is in danger of tending to restrict the protection provided for creation. Yet copyright policy should actually be part of a full European strategy for culture in the digital age. It should be considered an industrial policy, underpinning vital sections of Europe’s economic and social fabric. It should be integrated within the digital strategy of Europe as an essential approach in the development of the digital-content sector in Europe. Finally, European cultural policy should obviously be a preoccupation in copyright policy, a mainspring of cultural diversity. Moreover, when working on the Audiovisual Media Services Directive, we must ensure that the contribution of distributors to the funding of creation is maintained, with a view to preserving diversity of audiovisual content.

3. Enable the support needed by this vital sector, whose development and diversity cannot be ensured by the rules of the market alone. So the European Commission must implement a state-aid policy that provides a stable, reliable legal and budgetary framework allowing for public intervention in favour of culture - a strategy prefigured by the recent General Block Exemption Regulation by category that enables states to guarantee aid to culture.

4. Recognise the essential role of heritage in the European Union and develop a strategic approach to optimise its use.

An active policy of support for the restoration of historic monuments facilitates access for young people to training leading to qualifications, develops the local economy and increases a country’s appeal. So heritage is an important factor in economic life because of its ties to the tourist industry, the building sector and land management.

Several conclusions of the Council of Ministers of Culture on Heritage as a Strategic Resource for a Sustainable Europe were adopted on the 21st May 2014 under the Greek Presidency of the EU. Finally, a statement on “Heritage in 2020 and beyond: an integrated political approach for Europe,” should be published at the end of June 2014, founded on three central elements (social potential of cultural heritage, economic potential and increased co-operation among stakeholders). To follow on from this statement, it will be appropriate - within the context of EU 2020 Strategy - to develop the necessary synergies between the different policies contributing to this optimisation, as well as between the relevant programmes and funding operations.

5. Promote cultural diversity in the European Union’s external relations, especially on the basis of the 2005 UNESCO convention.

The European Union could thus set in motion in-depth study on the application of the 2005 Convention on the promotion and protection of diversity of cultural expression in the digital environment.

The European Union’s trade policy should also be planned in this perspective. Apart from maintaining the WTO’s guarantees related to cultural services, only the full exclusion of audiovisual services from free-trade agreements will leave the European Union and its Member States with sufficient leeway to implement policies for the protection and promotion of cultural diversity, including in the digital environment.

On this point, the negotiations for a Transatlantic Trade and Investment Partnership are crucial.

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Are other organisational and structural measures necessary within the EU to ensure the integration of culture within EU policies? Should a specific post of DirectorGeneral for Culture be created?

The renewal of the European Commission in 2014 provides an opportunity to reflect on a new organisation. Whether in the definition of portfolios or its method of operation, we must make certain that the Commission is capable of ensuring that cultural issues are effectively taken into account in each relevant European policy (in full compliance with article 167.4 of the Treaty of Rome) and also ensure that instruments and measures specific to the cultural domain are developed. A Commissioner with a portfolio defined to cover cultural and audiovisual affairs as a whole would be fully able to take on this task.

In any case, it is vital to ensure that the interests of the cultural sector are taken into account more effectively in all proposed EU documents and initiatives. This could, for instance, take the form of an early-warning system and a high-level body for culture.

Regular contacts between the Member States - for example in the form of meetings of senior civil servants from various Ministries of Culture - would also be very useful.

Is culture taken into account sufficiently by the digital agenda and how should we act in relation to Europeana?

In the digital world, cultural content is Europe’s prime asset in its relations with international competitors. Consequently, the cultural sector should not be viewed as a secondary element in digital strategy policies, but indeed as one of the main issues. It is vital that our digital strategy should include a cultural chapter, something it currently lacks.

In this perspective, the contribution and role of digital platforms in the creation of and access to culture in Europe must be included on the digital agenda. Equitable sharing of value should be ensured for the different operators in the production chain and creators should receive royalties that represent fair remuneration. Concentration should be avoided and all players in the digital sector should contribute to the funding of creation and copyright compliance. There is an urgent need to adapt the tax framework to take into account the necessity of developing cultural content and services in the new digital environment (combating tax avoidance and evasion, and revising the European regulatory framework to explicitly enable the application of reduced rates of VAT for cultural goods and services, whether they are marketed in physical or virtual digital form).

In the heritage domain, the role and funding of the Europeana digital library, an iconic project with European, cultural and digital dimensions, should be consolidated, especially in terms of citizen-oriented projects such as Europeana 1914-1918.

When will the EU 2020 Strategy directly (and not just indirectly) take into account the importance of culture in job creation, development and social cohesion?

The EUROPE 2020 Strategy does not mention culture, despite its role as a catalyst for economic and social development, as the European Commission itself recognised in its 2012 report on the potential of cultural industries.

Even though the European Commission announced a major digital strategy in the context of EUROPE 2020 back in 2010, we note that there is no corresponding strategy for culture. That is why, aside from the implementation of an appropriate cultural strategy, the European Commission should include culture on the list of subjects to be examined during the mid-term revision of the Europe 2020 Strategy.

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Deutschland Germany

“Like all our EU partners, we expressly demand that all U.S. negotiating documents be made available. Only transparency leads to democratic oversight, legitimacy and acceptance which TTIP needs not only from us, the political stakeholders, but also from the general public.“

Prof. Monika Grütters

— Staatsministerin bei der Bundeskanzlerin — Minister of State to the Federal Chancellor

Zu den wichtigsten Fragen, die uns derzeit auf europäischer Ebene in der Kultur betreffen, gehören die laufenden Verhandlungen zum transatlantischen Freihandelsabkommen. Den Abschluss eines solchen Handelsabkommens unterstützen wir sehr, wenn es einen ausrei-chenden Schutz für unser großes kulturelles Schaffen bietet.

Kulturelle Vielfalt, Meinungs- und Medienpluralität sind nur möglich, wenn wir die Freiheit von Kultur und Medien schützen, ein System ihrer auskömmlichen Finanzierung gewähr-leisten und sie so unabhängig machen vom Zeitgeist, von privaten Geldgebern - und auch von einem allzu freien Spiel der Marktkräfte.

Denn: Unsere Kulturförderung und unser Mediensystem in Deutschland ziehen eine Lehre aus zwei deutschen Diktaturen, die lautet: Kunst-, Meinungs- und Medienfreiheit sind konstitutiv für eine Gesellschaft. Kreative und Intellektuelle sind das kritische Korrektiv dieser Gesellschaft. Das können sie aber nur sein, wenn sie nicht zwangsläufig gefallen müssen. Kultur ist eben keine übliche Handelsware. Kulturelle Leistungen sind oftmals Kultur- und Wirtschaftsgut in einem. Deshalb gibt es in Deutschland eine öffentliche Kulturfinanzierung, damit die Künste kritisch, sperrig, heterogen und nicht nur affirmativ auftreten können. Deshalb gibt es in Deutschland auch ein System des abgabefinanzierten öffentlich-rechtlichen Rundfunks, der eine unabhängige Information und Meinungsbildung garantiert. Öffentliche Kultur- und Medienförderung sind - ebenso wie in zahlreichen Mit-gliedstaaten der Europäischen Union - unsere Stärke, in den USA jedoch - abgesehen von Steuererleichterungen - kaum vorhanden.

Europa hat hier viel zu verlieren und wenig zu gewinnen.

Wenn es um neue Marktmechanismen, um fallende Zollschranken, um weniger transatlantische Bürokratie, um klugen Wettbewerb, um neue Arbeitsplätze, aber auch um die Sicherung hoher Standards z.B. im Verbraucher- und Umweltschutz gehen soll, so ist klar: Die Bundesregierung strebt den Abschluss einer transatlantischen Handels- und Investi-tionspartnerschaft an, die viele Chancen diesseits und jenseits des Atlantiks eröffnen kann. Das ist unbestritten, und dazu stehe ich auch als Kulturund Medienpolitikerin.

Wir treten allerdings jeglicher neuen Liberalisierungsverpflichtung der Kultur und der Medien entgegen, weil wir Sorge haben, dass anderenfalls unsere einzigartige kulturelle Vielfalt und unser sorgsam austariertes Mediensystem auf dem Spiel stünden.

Deutsch-land ist nicht ohne Grund im Jahr 2007 dem UNESCO-Übereinkommen zum Schutz der kulturellen Vielfalt beigetreten, die EU bereits im Jahr 2006 - die USA leider bis heute nicht. Das war unser Bekenntnis zur besonderen Schutzbedürftigkeit von Kultur und Medien. In den Verhandlungen zu diesem Freihandelsabkommen, wie auch in dessen Ergebnis, muss das erneut zum Ausdruck kommen Deshalb ist es ein Erfolg für uns Kulturpolitiker und Maxime für die weiteren Verhandlungen, dass wir die Audiovisuellen Mediendienste bereits vom Verhandlungsmandat ausge-schlossen haben und innerhalb des Mandates den Schutz der Kultur unter Verweis auf die UNESCO-Konvention zum Schutz der kulturellen Vielfalt festlegen konnten.

Durch die medienbeherrschende Stellung der USA fürchten viele EU-Mitgliedsstaaten eine Beeinträchtigung unserer kulturellen Identität. Sie stellt auch eine wirtschaftliche Gefahr dar, da eine Verdrängung der europäischen Inhalte, Dienstleistungsanbieter und Geschäftsmodelle durch die US-amerikanischen nicht auszuschließen ist. Der Marktanteil an US-Filmen in Deutschland beträgt bereits heute circa 70 % und erreicht in einigen EU-Staaten mehr als 90 %. Der Anteil europäischer Filme auf dem USMarkt liegt demgegen-über nur bei circa 7 %. Generell hat sich das Ungleichgewicht der Handelssituation in den letzten Jahren eher verschlechtert, obwohl die USA ihren audiovisuellen Bereich bereits in hohem Maße liberalisiert haben. Bisherige

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Maßnahmen zur Förderung des europäischen Films, wie zum Beispiel Fernsehquoten oder die gesetzliche Filmabgabe zur Finanzierung nationaler Filmfördersysteme, dürfen nicht in Frage gestellt werden. Auch ein weiterer Ausbau der Vormachtstellung amerikanischer Internetgiganten wie Google, Amazon und Apple sowie eine für den Medienpluralismus abträgliche Unternehmenskonzentration können nicht in unserem Sinn sein.

Zu Bedenken ist auch, dass aufgrund des amerikanischen Kulturverständnisses dort eine andere Konzeption des Urheberrechts gilt. Während wir zuallererst den Urheber - also den Kreativen - im Blick haben, ist das US-amerikanische Copyright-System deutlich stärker an Nutzerinteressen orientiert. Nach unserem Verständnis muss das Grundprinzip des euro-päischen Urheberrechts unverrückbar fortbestehen, wonach der Urheber sowohl mit seinem Persönlichkeitsrecht als auch mit seinen ökonomischen Rechten im Mittelpunkt steht.

Um das transatlantische Freihandelsabkommen nüchtern zu beurteilen, lohnt der Blick auf bisherige Freihandelsabkommen. Für alle bisher abgeschlossenen Freihandelsabkommen der Europäischen Union oder bilateralen Abkommen zwischen Deutschland und anderen Staaten wurden Sonderregelungen für Kultur und Medien vereinbart. Für Audiovision gab es immer eine Bereichsausnahme, im Kulturbereich galten lediglich die minimalen Ver-pflichtungen zur wirtschaftlichen Öffnung, die im Rahmen des GATS seit 1995 auch für Deutschland gelten und den kulturwirtschaftlichen Bereich betreffen. Seit 1995 ist trotz einer Vielzahl bi- und multilateraler Abkommen keine einzige neue Liberalisierungsver-pflichtung im Kultur- und Medienbereich für Deutschland hinzugekommen. Nichts anderes als diesen Status quo erwarte ich auch für das Freihandelsabkommen mit den USA. Das bedeutet: Es dürfen keine weiteren Verpflichtungen aufgenommen werden, als ohne-hin in WTO/GATS bereits gelten. Keine neuen Verpflichtungen für Kultur und Medien heißt durchgängige, komplette Ausnahme vom Anwendungsbereich für Audiovision und Auf-rechterhaltung aller bisherigen Vorbehalte für den Kulturbereich.

Deshalb halte ich eine Generalklausel für erforderlich, die Maßnahmen zum Schutz der kulturellen Vielfalt und der Meinungsvielfalt in allen Bereichen - auch Telekommunikation oder Urheberrecht - möglichst durchgängig bei allen Kapiteln (also auch Investitionsschutz oder regulatorische Zusammenarbeit) ausdrücklich für rechtmäßig erklärt. Für das US-Ziel der nationalen Sicherheit ist dies im Übrigen in fast allen bestehenden Freihandelsabkommen der USA anerkannt. Die Abstimmungen hierzu sind innerhalb der Bundesregierung noch nicht abgeschlossen.

Europäische Errungenschaften und Standards gilt es zu sichern: Buchpreisbindung, öffent-lich finanzierter öffentlich-rechtlicher Rundfunk, Verbraucherschutz, Jugendschutz, Daten-schutz, Schutz kultureller Vielfalt, Meinungsvielfalt und Urheberrecht.

Wir fordern - wie alle unsere EU-Partner - nachdrücklich die Vorlage sämtlicher US-Ver-handlungsdokumente. Nur Transparenz führt zu demokratischer Kontrolle, Legitimation und Akzeptanz. Und die braucht das TTIP nicht nur bei uns politischen Akteuren, sondern vor allem in der Bevölkerung.

Ich werde mich auch im Kreise der europäischen Kultur- und Medienminister weiterhin dafür einsetzen, dass diese Standards bei den weiteren Verhandlungen des transatlantischen Freihandelsabkommens eingehalten werden, damit das TTIP die Grundlage für ein besonders gutes Miteinander zwischen den USA und Europa wird.

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The on going negotiations on the transatlantic free trade agreement are among the most important issues we are currently dealing with in the field of culture at European level. We will fully back the conclusion of such a trade agreement if it provides sufficient protection for our numerous cultural activities.

Cultural diversity, diversity of expression and plurality of the media can only prevail if we protect the freedom of culture and the media, ensure that they receive sufficient funding and make sure that they are not dependent on current trends, private donors or the free play of market forces.

Because when it comes to cultural promotion and our media system in Germany, we have learned our lessons from two German dictatorships: freedom of art, freedom of expression and freedom of the media are essential to any society. Artists and intellectuals have the power to change this society for the better by expressing criticism. However, they will only be able to voice criticism if they are not required to please the public.

Culture is not a commercial product like any other. Cultural achievements are often both cultural and economic goods. This is why Germany has a public funding scheme to support culture so that the arts can be critical, complex and heterogeneous instead of simply affirmative. This is why Germany has levy-based public service broadcasters that ensure independent information and opinion-formation. Public funding of culture and media is a strength that Germany shares with numerous Member States of the European Union. Apart from tax reliefs, however, the U.S. hardly has any public funding schemes in the field of culture and media. Europe has much to lose and little to gain here.

When it comes to new market mechanisms, the reduction of trade barriers, less transatlantic bureaucracy, smart competition, new jobs and high standards in the field of consumer and environmental protection, for example, one thing is clear: The Federal Government seeks to conclude a transatlantic trade and investment partnership that can provide plenty of opportunities on both sides of the Atlantic Ocean. This is an undisputed fact and, as a politician responsible for culture and media, I stand by it.

We oppose, however, any new obligation to liberalize culture and the media because we fear that doing so might put our unique cultural diversity and our carefully balanced media system at risk. There is a reason why Germany and the EU joined the UNESCO Convention on the Protection of Cultural Diversity in 2007 and 2006, respectively (unfortunately, the U.S. has not yet joined it): This was our commitment to the need to protect culture and the media. It must also be reflected in the negotiations on this free trade agreement and in the outcome of these negotiations.

We have already excluded audio-visual media services from the negotiating mandate and were able to include the protection of culture within the framework of the mandate, referring to the UNESCO Convention on the Protection of Cultural Diversity. We, the politicians responsible for culture, consider this a success and have made it our guiding principle with regard to the ongoing negotiations.

Due to the cultural dominance of the U.S., many EU Member States fear that we will lose our cultural identity. The leading position of the U.S. in the field of culture also constitutes a political threat, because the U.S. content, service providers and business models might force aside the European ones. The market share of U.S. films currently amounts to approximately 70% in Germany and reaches more than 90% in several EU Member States. The share of European films, however, stands at merely 7% in the U.S. The imbalance of trade has generally been growing in the past few years although the U.S. has already liberalized its audio-visual sector to a large extent. Measures taken so far to support European films, such as TV quotas or the mandatory film levy used to fund national film support schemes, must not be questioned. Nor do we want American

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Internet giants like Google, Amazon and Apple to become even more dominant, and a concentration of businesses that is detrimental to media pluralism is not in our interest, either.

Furthermore, we need to consider that, due to its understanding of culture, the U.S. has a different notion of copyright law. While Germany focuses first and foremost on the creator, i.e. the artist, the U.S. copyright system puts a much stronger emphasis on users’ interests. From our point of view, the basic principle of European copyright must be maintained in its current form. This means that the main focus must be on the creators of content and their moral and economic rights.

For a sober assessment of the transatlantic free trade agreement, it is worth taking a look at previous free trade agreements. All previous EU free trade agreements and all bilateral agreements between Germany and other countries have included special regulations in the area of culture and media. An exception has always been made for audiovisual media. Regarding culture, only minimal obligations regarding greater economic openness have applied to Germany and the cultural sector under GATS since 1995. Despite the large number of bilateral and multilateral agreements, not a single new obligation for liberalization in the area of culture and media has been added since 1995. With regard to the free trade agreement with the U.S., this status quo is exactly what I expect.

This means: No more obligations must be added beyond those already applicable under WTO/GATS. No new obligations in the area of culture and media – this means creating exceptions for all audio-visual media and maintaining all previous reservations in the area of culture. I therefore believe we need to include a general clause that explicitly declares the measures taken to protect cultural diversity and diversity of expression to be lawful in all areas (including telecommunications and copyright law) and for all chapters (including investment protection and regulatory cooperation).

Regarding the U.S. goal of national security, this is recognized in almost all existing free trade agreements of the U.S. The Federal Government has not yet concluded the consultations on this matter.

It is vital to secure European achievements and standards: fixed book prices, publicly funded public service broadcasting, consumer protection, protection of minors, data protection, protection of cultural diversity, diversity of expression and copyright.

Like all our EU partners, we expressly demand that all U.S. negotiating documents be made available. Only transparency leads to democratic oversight, legitimacy and acceptance which TTIP needs not only from us, the political stakeholders, but also from the general public.

At the meetings of the European ministers responsible for culture and media, I will continue to call for compliance with these standards during the upcoming negotiations on the transatlantic free trade agreement so that TTIP will lay the groundwork for excellent relations between the U.S. and Europe.

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Bayern Bavaria

“Art and culture as an elementary need are an expression of human creativity and of our experiences in the world we live in. Art and culture create identity. We Europeans in particular need to constantly remind ourselves of that fact.“

Dr. Ludwig Spaenle

—Vertreter der deutschen Länder im EU-Kulturministerrat Bayerischer Staatsminister für Bildung und Kultus, Wissenschaft und Kunst — Representative of the German Federal States in the EU Culture Ministers‘ Council Bavarian State Minister of Education, Science and the Arts

Die mythologische Gestalt Europa, eine Ikone der Geistesgeschichte unseres Kontinents, war so liebreizend, gewinnend und betörend, dass sie sogar den Göttervater Zeus für sich einnahm.

An dieser sagenhaften Attraktivität könnte sich unsere Kulturpolitik auf EU-Ebene, die doch unserem Erbe und unserer kulturellen Strahlkraft verpflichtet sein muss, sicherlich stärker als bisher ein Beispiel nehmen. Wir überlegen derzeit intensiv, wie die Kultur zu wirtschaftspolitischen Zielen der Union beitragen kann, kümmern uns um Statistiken, experimentieren mit Finanzfazilitäten oder beobachten argwöhnisch die Zugriffe von Freihandelsabkommen der EU auf den Kulturbereich. Doch wo bleiben dabei das Schöngeistige, das Herz, die Inspiration und der Stolz auf einen kulturellen Reichtum und Traditionen, für die Europa in der ganzen Welt steht?

Die Frage nach dem Wesen Europas ist alles andere als leicht zu beantworten.

Geografische Daten oder politische Grenzen sagen wenig über die europäische Identität aus. Zudem sind sie nicht klar zu bestimmen, wohl aber Europas kulturelle Ausmaße. Wenn es indessen um einen Definitionsversuch geht, ist die Kultur ein Bereich, auf den wir uns alle einigen können. Denn nur so lässt sich der Kern Europas in seiner Gänze umfassen und begreifen.

Kunst und Kultur als elementares Grundbedürfnis sind Ausdruck der Kreativität des Menschen sowie seiner Auseinandersetzung mit seiner Lebenswelt. Kunst und Kultur stiften Identität. Das müssen gerade wir Europäer uns immer wieder bewusst machen.

Schließlich ist Europa der einzige Kontinent, der als Kulturraum selbst eine eigene Identität entwickelt hat. Das ist umso bemerkenswerter, als gerade die kulturelle Vielfalt die europäische Kultur ausmacht – so widersprüchlich das zunächst klingen mag.

Als identitätsstiftendes Element ist die Förderung und Pflege von Kunst und Kultur absolut zweckfrei. Diese Erkenntnis muss im Mittelpunkt unserer Kulturpolitik stehen: Die Kultur muss sich einer jeden Instrumentalisierung entziehen. Leider ist jedoch auf EU-Ebene eine zunehmende Verquickung von Zielen klassischer Kulturpolitik mit Zwecken der Wirtschaftspolitik festzustellen. Stand ursprünglich etwa die grenzüberschreitende Künstlermobilität oder der interkulturelle Austausch im Mittelpunkt, ist seit Jahren die Einbeziehung von Kulturpolitik in Maßnahmen zur Umsetzung der wachstumspolitischen Europa-2020-Strategie zu verzeichnen. An der Bedeutung und der Wichtigkeit der Förderung etwa der Kultur- und Kreativwirtschaft für den Wohlstand und die wirtschaftliche Entfaltung Europas will ich keinesfalls zweifeln. Ich möchte jedoch für die klare Trennung von Kultur- und Wirtschaftspolitik plädieren und für eine Rückbesinnung der europäischen Kulturpolitik auf ihre eigentlichen, originären Aufgaben: Sie soll den kulturellen Austausch über Landesgrenzen hinweg stärken, die Vielfalt kultureller Angebote auf dem ganzen Kontinent spürbar machen, den intellektuellen Diskurs in Europa befeuern und letztlich Europa als einen Kulturraum erlebbar machen, auf den wir Europäer stolz sein können – wo auch immer wir leben und wie unterschiedlich wir sein mögen.

Kunst und Kultur dürfen nicht verzwecklicht werden. Das Wesen von Kunst und Kultur ist ihr eigener Wert und ihre identitätsstiftende Wirkung. Es kann nicht die erste Aufgabe der öffentlichen Förderung von Kunst und Kultur sein, für wirtschaftliches Wachstum zu sorgen. Kulturelle Traditionen müssen bewahrt, lebendig gehalten und weiterentwickelt werden, auch um mit ihren Mitteln und ihrer Kraft gesellschaftliche Diskurse zu prägen. Denn Kunst und Kultur schaffen in Europa ein Klima, in dem Kreativität und Innovationsgeist (und damit auch Unternehmer- und Erfindergeist) gedeihen, in dem Ideen entstehen, in dem Neues, Unerhörtes, Sperriges, Unbequemes gedacht und ausprobiert werden kann. Das verdanken wir Kunst und Kultur und deshalb dürfen wir sie nicht mit den Maßstäben des Marktes messen. Der Sonderstatus von Kunst und Kultur – und daraus abgeleitet von Kulturförderung und Kulturpolitik – muss

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auf EU-Ebene Anerkennung finden und dort wieder stärker verteidigt werden.

Gleichzeitig wird die europäische Kulturpolitik zunehmend von Entscheidungen in anderen Politikfeldern berührt. Kulturakteure und -institutionen sind von Änderungen im Beihilferecht, im Steuerrecht, im Urheberrecht oder in der Handelspolitik massiv betroffen. Deswegen ist es so wichtig, die europäische Kulturpolitik auch als horizontale Aufgabe zu begreifen und in diesem Sinne zu stärken. Es muss eines der vordringlichsten Anliegen von europäischer Kulturpolitik sein, dass die Belange der Kultur auch in anderen Politikbereichen berücksichtigt werden.

Die Vielfalt der Kultur und der kulturelle Austausch prägen Europa. Dies gilt nach wie vor. So wie die karolingische Renaissance geboren wurde, als Karl der Große Gelehrte und Künstler vom ganzen Kontinent am Aachener Hof versammelt hatte, so wie die Philosophen und Schriftsteller des späten 17. und 18. Jahrhunderts sich gegenseitig inspirierten und aus der Aufklärung eine europäische Bewegung formten, so wie der künstlerische Aufbruch zu Beginn des 20. Jahrhunderts dank des regen Austauschs der Künstler über Ländergrenzen hinweg ganz Europa erfassen konnte, so können auch in Zukunft Dialog und Kommunikation zur kulturellen Blüte führen. Die Voraussetzungen sind günstig. Nie hatten wir ein offeneres, ein freieres, ein friedlicheres Europa.

Deshalb sollen die Verständigung und die Begegnung als Chance der gegenseitigen Befruchtung wieder verstärkt in den Fokus unserer europäischen Kulturpolitik rücken.

Wir möchten die Kulturakteure miteinander vernetzen und ins Gespräch bringen.

Schließlich ist und bleibt die Kultur bei aller Vielfalt der Kitt, der uns einigen kann.

Sie stiftet Einheit und prägt unsere Wahrnehmung der europäischen Gemeinschaft ganz wesentlich. Nur wenn wir uns mit den kulturellen Formen und dem Denken in aller Mannigfaltigkeit auseinandersetzen, können wir unser Europa verstehen und fest zusammenwachsen. So gibt die Kultur auch weiterhin Europa seine Seele.

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The mythological figure of Europa, an icon of the intellectual history of our continent, was so charming, captivating and enchanting that she even won over the god Zeus.

Her legendary appeal could certainly inspire our cultural policy at EU level, which after all must be committed to our heritage and our cultural strength. We are currently considering how culture might contribute to the objectives of the Union’s economic policy; we take great care of statistics, experiment with financial facilities, or observe critically the intrusion of EU free trade agreements into the field of culture. But what about the aesthetics, the heart, the inspiration and pride in traditions and the cultural wealth, for which Europe is known around the world?

The question of what is the essence of Europe is anything but easy to answer.

Geographical data or political boundaries say little about European identity.

Furthermore, they cannot be clearly determined, but Europe’s cultural dimensions can. Thus, we can all agree: culture is the only way to encompass and comprehend the quintessence of Europe in its entirety.

Art and culture as elementary needs are an expression of human creativity and of our experiences in the world we live in. Art and culture create identity. Us Europeans in particular need to constantly remind ourselves of that fact. After all, Europe is the only continent that has developed its own identity as a cultural region by itself. This is even more remarkable as cultural diversity is what constitutes European culture - as contradictory as this may seem at first glance.

With art creating identity, the promotion and support of art and culture is absolutely without ulterior motivation. This knowledge must be at the center of our cultural policy: culture must defy any instrumentalisation. Unfortunately, however, at the EU level, we see an increasing fusion of the objectives of classic cultural policy with the purposes of economic policy. For instance, while cross-border mobility of artists and intercultural exchange had originally taken center stage, for years we have witnessed the inclusion of cultural policy in measures to implement the Europe 2020 strategy, which focuses on growth.

I do not doubt the importance and value of promoting creative industries for the prosperity and economic development of Europe. However, I would argue for a clearer distinction between cultural and economic policy and for the return of European cultural policy to its genuine, original tasks: to strengthen the cultural exchange across borders, to emphasise the diversity of cultural activities across the continent, to fuel the intellectual discourse in Europe and ultimately to make us experience Europe as a cultural entity that us Europeans can be proud of wherever we live and however different we may be.

Art and culture may not be instrumentalised. The essence of art and culture is their own value and their ability to create identity. It cannot be the prime task of the public promotion of art and culture to ensure economic growth. Cultural traditions must be preserved, kept alive and further developed to influence social discourses with their means and their power. For art and culture create a climate in Europe, in which creativity and innovation (and therefore the entrepreneurial and inventive spirit) thrive.

Here, ideas are developed; the new, the unheard of, the unwieldy, and inconvenient can be conceived and tested – thanks to art and culture. And therefore we cannot measure them by means of market standards. The special status of art and culture – and thus of cultural policy and the promotion of culture – must be recognized and strongly advocated at the EU level.

At the same time, European cultural policy is increasingly affected by decisions in other policy areas. Cultural players and institutions are heavily affected by changes in the state aid law, tax law, copyright and trade policy. That is why it is so important to understand European cultural policy as a horizontal task and strengthen it in this

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sense. It must be one of most pressing concerns of European cultural policy that the interests of culture are taken into account in other policy areas.

The diversity of culture as well as cultural exchanges have shaped Europe - and still do. Just as the Carolingian Renaissance was born when Charlemagne gathered scholars and artists from all over the continent at the Palace of Aachen, just as the philosophers and writers of the late 17th and 18th century inspired each other and made the Enlightenment a European movement, just as the artistic awakening at the beginning of the 20th century encompassed all of Europe thanks to the artists’ vivid exchange across borders, so too, today and in the future, dialogue and communication may lead to a cultural flowering. The conditions are favourable. Never before have we had a more open, more free, more peaceful Europe. Therefore, we should focus our European cultural policy on encounter and dialogue - as an opportunity for mutual enrichment. We want to bring people together to exchange their views and ideas.

After all, culture in all its variety is and remains the glue which holds us together. Culture creates unity and fundamentally shapes our perception of the European Community.

Only when we explore its cultural forms and its heterogeneity of reasoning, can we understand Europe and grow more closely together. Thus, culture continues to give Europe its soul.

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Ελλάδα Greece

“Culture is a comparative asset for Europe and a cohesive bond of the European edifice. The humanitarian values and ideals, such as freedom of expression and respect for cultural diversity, constitute intrinsic elements of the European culture and define the European identity.“

Κωνσταντίνος Τασούλας

— Υπουργός Πολιτισμού και Αθλητισμού —Minister of Culture and Sports

Σε μια εποχή που στην Ευρώπη επικρατούν δυσμενείς οικονομικές συνθήκες και κοινωνικές ανισότητες και έχουν ήδη παρεισφρήσει αντιευρωπαϊκές και ξενοφοβικές δυνάμεις που υπονομεύουν την ίδια την ιδέα της Ευρώπης, η Ευρωπαϊκή Ένωση καλείται να επαναπροσδιορίσει τον ρόλο του πολιτισμού στην πολιτική της και να αναδείξει τη δυναμική του ως αντίδοτο στη σημερινή οικονομική, κοινωνική και ιδεολογική κρίση. Ο πολιτισμός αποτελεί το συγκριτικό πλεονέκτημα της Ευρώπης και συνεκτικό δεσμό του ευρωπαϊκού οικοδομήματος. Οι ανθρωπιστικές αξίες και τα ιδεώδη, όπως η ελευθερία της έκφρασης και ο σεβασμός στην πολιτιστική διαφορετικότητα αποτελούν εγγενή στοιχεία του ευρωπαϊκού πολιτισμού και προσδιορίζουν την ευρωπαϊκή ταυτότητα. Το μέλλον της Ευρώπης είναι άμεσα συνυφασμένο με το μέλλον του πολιτισμού της, ο οποίος θα διαδραματίσει καθοριστικό ρόλο όσον αφορά την κατεύθυνση που θα πάρει η Ευρώπη τα επόμενα χρόνια. Ειδικότερα, η θεσμική της έκφραση, η Ευρωπαϊκή Ένωση, δεν αποτελεί και δεν πρέπει να αποτελεί μόνο μια οικονομική ένωση αλλά μια κοινότητα ελεύθερης διακίνησης ανθρώπων και ανταλλαγής ιδεών και προϊόντων, όπου κυρίαρχη θέση έχουν ο διάλογος, η συνεργασία, και η αμοιβαιότητα. Το ερώτημα που καλούμαστε να απαντήσουμε είναι ποιος θα είναι ο ρόλος του πολιτισμού στην Ευρώπη του αύριο. Πρώτα απ’ όλα, θέλουμε έναν πολιτισμό με επίκεντρο τον άνθρωπο. Έναν πολιτισμό που θα απελευθερώνει όλες τις δημιουργικές δυνάμεις έκφρασης και θα αποτελεί εχέγγυο για την ελευθερία, την ανάπτυξη και την αλληλεγγύη μεταξύ των κρατών μελών της Ευρωπαϊκής Ένωσης αλλά και μεταξύ της Ευρωπαϊκής Ένωσης και των στρατηγικών της εταίρων σε τρίτες χώρες. Έναν πολιτισμό που θα επιτρέπει την πρόσβαση σε όλους και θα καταπολεμά τους κοινωνικούς αποκλεισμούς και τις προκαταλήψεις. Έναν πολιτισμό που θα στηρίζει έμπρακτα τους επαγγελματίες του πολιτισμού, προκειμένου να καταστεί ο πολιτιστικός και ο δημιουργικός τομέας βιώσιμος και ανταγωνιστικός έναντι των νέων προκλήσεων της ψηφιακής εποχής. Η Ευρώπη ως κοιτίδα πολιτισμού αλλά και γέφυρα πολιτισμών με όλες τις χώρες του κόσμου, οφείλει να επιδεικνύει ενεργό ενδιαφέρον για την προστασία, διαφύλαξη και ανάδειξη της πολιτιστικής της κληρονομιάς αλλά και των παγκόσμιων πολιτιστικών θησαυρών, ιδιαίτερα όταν απειλούνται σε περιοχές του πλανήτη που βρίσκονται πολύ κοντά στην ευρωπαϊκή ήπειρο. Δεν είναι δυνατόν μνημεία και αρχαιολογικοί τόποι που αποτελούν πολύτιμα στοιχεία της παγκόσμιας πολιτιστικής κληρονομιάς να γίνονται θύματα πολεμικών συγκρούσεων ή να μεταβάλλονται σε έρμαια πολιτικών και εκλογικών σκοπιμοτήτων. Παρ’ όλες τις κρίσεις που κατά καιρούς την έπληξαν, η Ευρώπη υπήρξε πάντοτε και παραμένει ένα προπύργιο επικοινωνίας των πολιτισμών. Και για το λόγο αυτό, η Ευρωπαϊκή Ένωση, αυτή την παράδοση μπορεί και πρέπει να την υπερασπιστεί και να τη συνεχίσει. Λαμβάνοντας πλήρως υπ’ όψιν τις αξίες και τις δυνατότητες του πολιτισμού ως σημαντικού πόρου για τη μελλοντική ανάπτυξη και την εσωτερική συνοχή της Ευρώπης, οι πολιτιστικές πολιτικές πρέπει να προσαρμόζονται στις σημερινές προκλήσεις. Η διερεύνηση νέων μοντέλων χρηματοδότησης για τον πολιτισμό, η ανάγκη καλύτερης ενσωμάτωσης των στόχων της πολιτιστικής πολιτικής σε άλλους τομείς πολιτικής όπως η περιφερειακή ανάπτυξη, η εκπαίδευση, το εμπόριο, οι εξωτερικές υποθέσεις, το περιβάλλον, ο τουρισμός κλπ, καθώς και η προώθηση της πρόσβασης και της συμμετοχής στον πολιτισμό με τα νέα ψηφιακά μέσα αποτελούν στόχους στους οποίους η Ευρωπαϊκή Ένωση πρέπει να ανταποκριθεί με στοχευμένες ενέργειες και μακροπρόθεσμη στρατηγική. Είναι σημαντικό να υπάρξει συναίνεση μεταξύ των κρατών μελών σχετικά με τη στρατηγική που θα ακολουθήσει η Ευρωπαϊκή Ένωση τα επόμενα χρόνια στον τομέα του πολιτισμού, προκειμένου να μπορέσουμε να αξιοποιήσουμε όλες τις δυνατότητές του για μια καλύτερη, βιώσιμη και πιο δίκαιη Ευρώπη, προς όφελος όλων των πολιτών μας.

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Nowadays adverse financial conditions and social inequalities in Europe and antiEuropean and xenophobic forces which undermine the idea of Europe are starting to exist within the institutions of Europe. Under these circumstances, the European Union has to redefine the role of culture in its policy and to highlight its potential as an antidote to the current economic, social and ideological crisis.

Culture is a comparative asset for Europe and a cohesive bond of the European edifice.

The humanitarian values and ideals, such as freedom of expression and respect for cultural diversity, constitute intrinsic elements of the European culture and define the European identity. The future of Europe is directly linked to the future of its culture, which will play a key role in the direction that Europe will follow in the forthcoming years. In particular, its institutional expression, the European Union is not and should not be just an economic union, but a community of free movement of people and exchange of ideas and products, where dialogue, cooperation, and reciprocity have a dominant place.

The question we have to answer is what will be the role of culture in the Europe of tomorrow. First of all, we want a human-centered culture. A culture that will release the strengths of creative expression and will provide a guarantee for freedom, development and solidarity between the Member States of the European Union and between the European Union and its strategic partners in third countries. A culture that will allow access to all and will combat social exclusion and prejudice. A culture that will actively support the culture professionals, so as the cultural and creative sector to become sustainable and competitive towards the new challenges of the digital era.

Europe as the cradle of culture and bridge among cultures all over the world, should show an active interest in the protection, preservation and promotion of its cultural heritage and world cultural treasures, especially when they are threatened in areas that are very close to the European continent.

We should not allow monuments and archaeological sites, which are valuable elements of world cultural heritage, to become victims of military conflicts or prey of political and electoral considerations. Despite all the crises that have struck at times, Europe has always been a bastion of communication among cultures. For this reason, the European Union, can and should defend this tradition and keep it alive.

We also have to protect the integrity of our cultural treasures and make Europe an example of this protection.

Taking fully into account the value and potential of culture as an important resource for future growth and internal cohesion of Europe, cultural policies should adapt to current challenges. The new funding models for culture, the need to better integrate cultural policy objectives into other policy fields such as regional development, education, trade, foreign affairs, environment, tourism, etc. and the promotion of access to and participation in culture with the use of the new digital technologies are some of the challenges that the European Union should tackle, with targeted actions and longterm strategy.

It is important to achieve consensus among Member States on the strategy followed by the European Union in the forthcoming years in the field of culture, so that we can use all its potential for a better, sustainable, fairer Europe and the benefit of all our citizens.

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Italia Italy

“Culture is still too often marginalised by large EU policies as evidenced by its budget which is absolutely inadequate for turning the European Union into the cultural superpower that it should be.“

Dario Franceschini

— Ministro dei Beni e delle Attività Culturali e del Turismo — Minister of Cultural Heritage and Activities and Tourism

Che cosa può fare l’Unione Europea per la cultura e cosa può fare la cultura per l’Unione Europea?

E’ tempo che la politica culturale assuma un ruolo centrale nell’ambito del progetto europeo e che le venga riconosciuto un ruolo determinante nella realizzazione degli obiettivi della strategia Europa 2020, di uno sviluppo sostenibile, intelligente, inclusivo che ponga al centro il benessere dei cittadini europei.

La cultura può dare coerenza e prospettiva al progetto politico europeo e renderlo attraente agli occhi dei cittadini. La cultura suscita consapevolezza e appartenenza, due elementi fondamentali per la nascita di un’autentica società europea coesa.

L’azione della Presidenza italiana mira a mettere a fuoco, nell’ambito del dibattito politico, la trasversalità della cultura nelle diverse politiche dell’Unione, favorendo una più ampia sinergia fra i diversi settori. È importante sostenere la cooperazione culturale e il dialogo interculturale quali strumenti primari per affrontare tanto le sfide sociali all’interno dell’Unione, quanto quelle inerenti alle relazioni esterne, con particolare riferimento alla politica di vicinato.

Ci impegneremo affinché durante il nostro mandato sia riconosciuto il contributo delle politiche culturali allo sviluppo sostenibile, al consolidamento dell’identità europea, all’imprenditorialità, all’innovazione, alla competitività, all’occupazione giovanile, alla coesione sociale e all’integrazione delle comunità migranti.

Porre la cultura al centro del nostro modello di sviluppo vuol dire anche sviluppare nuovi modelli di governance in cui le competenze di comuni, regioni, Stati e Unione Europea siano efficacemente integrate e l’intervento di attori privati e della società civile venga coordinato con l’azione amministrativa pubblica.

Più l’Unione Europea riconoscerà la centralità della cultura, anche prendendo in considerazione una sua futura competenza diretta in materia culturale, più profondamente riuscirà a raggiungere l’animo dei cittadini europei e a recuperare il capitale di fiducia che la recente crisi ha in parte disperso.

In quale modo la cultura e l’accesso ai beni culturali influiscono sulla qualità della vita dei cittadini dell’Unione Europea?

Cultura, patrimonio culturale e creatività svolgono una indubbia funzione di stimolo per il miglioramento della qualità della vita. Consapevolezza identitaria e senso di appartenenza unite a formazione, capacità d’impresa e innovazione tecnologica generano un circolo virtuoso che crea maggiore coesione sociale e benessere economico.

La ripresa economica dell’Unione Europea ha bisogno anche di cultura e patrimonio, che devono essere visti come beni collettivi, fonte di nutrimento spirituale, di dialogo sociale, ma anche come stimolo all’innovazione e anima di quella creatività e inventiva che ha sempre contraddistinto l’Europa.

C’è equilibrio tra l’applicazione coerente del principio di sussidiarietà e la cooperazione a livello UE? Vogliamo rafforzare la cooperazione a livello UE a favore dei nostri artisti e delle altre professionalità del settore della cultura, oppure abbiamo raggiunto il limite con le azioni e i programmi UE e non vogliamo proseguire?

Le attuali azioni e progetti comunitari che mirano a facilitare la mobilità dei giovani artisti e delle altre professionalità, soprattutto nei settori emergenti del digitale e del multimediale, costituiscono un’esperienza sicuramente da proseguire, per intensificare gli scambi culturali e soprattutto incoraggiare una mentalità d’impresa che faccia di arte e cultura una risorsa e una fonte di occupazione.

In questo senso, sotto la Presidenza italiana ci sarà un momento di riflessione

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sulla mobilità degli artisti e professionisti della cultura, con l’intento di riflettere sull’opportunità di rafforzare le politiche comunitarie di cooperazione operanti in questo campo, anche estendendo la mobilità ai paesi terzi.

Nel campo dell’editoria, molto è stato fatto ma tanto ancora resta da fare al fine di riconoscere il ruolo fondamentale che il libro ricopre per la promozione della diversità culturale nella consapevolezza della comune appartenenza europea.

In questo contesto sembra importante sostenere iniziative che tendano al riconoscimento del valore sostanziale del dialogo tra espressioni culturali diverse, come, ad esempio, il sostegno alle traduzioni, nella consapevolezza che la diversità linguistica non è un ostacolo alla diffusione delle varie culture, ma fonte di arricchimento e strumento di apertura sul mondo, anche in chiave di influenza. Non va dimenticato che, anche nell’era digitale, la parola scritta rimane un’insostituibile occasione di ponderazione e di approfondimento e che in essa si coltiva la capacità del pensiero astratto che è motore della creatività.

La sussidiarietà va intesa come strumento di moltiplicazione delle iniziative e di potenziamento del quadro comunitario.

La cultura è stata adeguatamente presa in considerazione in tutte le politiche UE che la possono riguardare, e ha in proposito ulteriore potenziale, riconoscimento e valore?

La cultura resta ancora oggi troppo spesso a margine delle grandi politiche comunitarie, a partire dal bilancio che ad essa è destinato, assolutamente inadeguato a fare dell’Unione Europea la superpotenza culturale che dovrebbe essere. Va ricordato che, oltre a essere il fondamento delle nostre identità e risorsa economica ancora troppo poco sfruttata, la cultura europea è in sé un potente manifesto di civiltà, percepito nel mondo intero come espressione unica e considerato uno dei fulcri dell’intera esperienza umana. Il prestigio di cui la cultura europea gode nel mondo potrebbe essere maggiormente utilizzato come strumento di influenza politica e credenziale di un modello di coesistenza che ha confermato la sua efficacia nel tempo.

Scendendo più nello specifico, la cultura è affrontata in modo spesso incoerente nell’ambito delle istituzioni europee. Le competenze che incidono sulla politica culturale sono sparse da una DG all’altra anziché essere tutte riunite nella DG Istruzione e Cultura (DG EAC). Questo indebolisce l’azione e la coerenza dei programmi culturali.

Separare politica e attuazione non è neutrale. Ad esempio, la direttiva sul traffico illecito dei beni culturali è di competenza della DG ENTREPRISE, non della DG EAC, mentre la gestione del Programma MEDIA appartiene alla DG EAC, ma la direttiva sui servizi audiovisivi dipende dalla DG CONNECT. Anche Europeana – un’impresa culturale per definizione - è in mano a CONNECT che ne vede soprattutto gli aspetti tecnici. Ma il punto di vista di CONNECT ed EAC non è lo stesso. CONNECT tende a favorire il massimo accesso digitale, detassando e de-regolando Internet e quindi facilitando i giganti del settore. La DG EAC invece, per sua missione, intende tutelare i piccoli autori e favorire la diversità dell’offerta culturale. Si giunge ad esempio al paradosso che mentre CONNECT tende a vedere la soluzione del problema della pirateria digitale nell’indebolimento del copyright, EAC conduce una battaglia opposta per tutelarlo.

Anche la questione generale del diritto d’autore è trattata in modo inappropriato.

Affidandola alla DG MARKT, la si affronta unicamente come una questione di mercato interno, mentre l’essenza del copyright è culturale. Una maggiore coerenza del portafoglio appare quindi indispensabile per dare più efficacia alla politica culturale dell’UE. Sono necessari ulteriori provvedimenti organizzativi e strutturali all’interno dell’Unione Europea per integrare la cultura nella globalità delle politiche UE? È necessaria un’apposita Direzione Generale per la Cultura?

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Il potenziamento delle politiche culturali europee passa attraverso il rafforzamento e l’estensione delle competenze dell’attuale DG EAC nel campo della politica culturale, attraverso l’aggregazione di alcune delle competenze sopra citate (in primis sulle politiche del digitale, già avviata con il trasferimento di Media a EAC) o tramite un ruolo centrale nel coordinamento delle altre politiche con quella culturale. Si tratta di un passaggio indispensabile perché a livello europeo si possa cominciare davvero a sfruttare le potenzialità di un settore attualmente sottoutilizzato.

Sarebbe in ogni caso da evitare un appesantimento in senso burocratico/gerarchico che rischierebbe piuttosto di allontanare l’obiettivo desiderato.

Che cosa possiamo fare insieme per i settori della cultura e della creatività così da apportare un notevole valore aggiunto e contribuire in modo significativo allo sviluppo sociale?

Valorizzare il ruolo della cultura, del patrimonio e delle imprese creative nell’ambito del progetto europeo, a partire dalla strategia Europa 2020, contribuirebbe a mettere nella giusta luce il contributo chiave che essi danno tanto allo sviluppo sociale ed economico che all’immagine dell’Europa nel mondo.

Un forte coordinamento delle politiche culturali con tutte le altre che con essa hanno rapporti di interconnessione o influenza reciproca eliminerebbe tanti ostacoli che attualmente limitano lo sviluppo del settore. Un efficace mainstreaming europeo della cultura offrirebbe un modello virtuoso anche per le politiche interne degli Stati membri.

A livello europeo potremmo inoltre ulteriormente impegnarci a stimolare e valorizzare la partecipazione attiva dei cittadini alla produzione e fruizione di cultura, coinvolgere la cittadinanza attiva nella governance della cultura e del patrimonio, adoperare il patrimonio e le attività culturali come terreno privilegiato per il dialogo e l’integrazione delle comunità di migranti. Queste misure hanno indubbie ricadute positive sullo sviluppo sociale e la crescita di cittadinanza europea.

La cultura è sufficientemente presa in considerazione nell’Agenda digitale e come dovremmo procedere con Europeana?

Lo sviluppo delle tecnologie ha una matrice essenzialmente culturale: gli uomini creano strumenti che consentono loro di realizzare le proprie idee, esigenze, aspirazioni individuali e collettive. Solo la cultura ci aiuterà a passare da una fase in cui la rivoluzione digitale viene prevalentemente subita a una fase di consapevolezza in cui le tecnologie potranno essere attivamente adoperate e ulteriormente sviluppate orientandole al benessere sociale, individuale ed economico dei cittadini. Una politica culturale forte e trasversale apporta un contributo chiave all’innovazione.

Nell’attuale definizione della strategia Europa 2020 l’Agenda europea del digitale vede coinvolto il patrimonio culturale in una sola iniziativa, finalizzata all’interconnessione e accessibilità online del patrimonio digitalizzato di musei, archivi, biblioteche, archivi audiovisivi europei tramite il portale Europeana. L’iniziativa favorisce senz’altro il riuso di materiali informativi di qualità da parte di piccole e medie imprese del settore culturale e creativo, contribuendo allo sviluppo del settore. Un più diretto raccordo fra Europeana e le politiche culturali e sul patrimonio sia a livello europeo che nazionale, per esempio coinvolgendo gli Stati membri interessati nella sua governance, renderebbe l’iniziativa più efficace. La percentuale già digitalizzata delle collezioni detenute dalle organizzazioni culturali europee non supera attualmente il 20% del totale, pertanto, in assenza di programmi mirati all’ulteriore digitalizzazione e messa in rete, la materia prima a disposizione di Europeana verrà presto meno.

Il semestre di presidenza italiana ci offre l’occasione di proporre un lavoro condiviso a livello europeo sul tema della valorizzazione e riuso del patrimonio culturale digitale. Nel quadro

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della riconosciuta trasversalità della cultura, si intende favorire la collaborazione tra i settori cultura, turismo, competitività, ricerca, di concerto con le istituzioni europee preposte, in particolare la Commissione e l’iniziativa faro [flagship initiative] Europeana.

Ulteriori modalità interattive di distribuzione, produzione e fruizione multilingue di contenuti culturali potrebbero inoltre essere sviluppati a partire dal grande repository di Europeana.

Un altro tema importante da trattare insieme è la conservazione a lungo termine delle memorie digitali, di fondamentale importanza per le istituzioni della memoria, ma essenziale anche al di là del settore culturale. E’ urgente giungere a soluzioni condivise, tanto a livello tecnico che organizzativo, che si fondino sulle molteplici ricerche condotte e sulle infrastrutture istituite negli ultimi anni.

Cultura e patrimonio culturale possono efficacemente contribuire ad altre iniziative dell’Agenda europea del digitale: per esempio al filone di attività sulle città intelligenti [c.d. “smart cities”]. Attività culturali e patrimonio culturale svolgono infatti un ruolo chiave per lo sviluppo economico sostenibile e la qualità della vita, favoriscono una gestione accurata delle risorse naturali, stimolano l’impegno e l’azione partecipativa dei cittadini, così contribuendo ad aspetti chiave del modello di città intelligente. La cultura consolida inoltre l’identità delle città, dei territori, delle comunità, costituendone un fattore di attrattività e competitività. Sinergie potrebbero sorgere con il programma delle Capitali della cultura, allo scopo di proporre un modello europeo di città intelligente, strettamente legata al suo ambiente e ai centri circostanti in una rete attiva, che trova nei centri storici e nelle attività culturali elementi identitari potenti e un efficace volano per lo sviluppo economico. La città intelligente europea diverrebbe dunque il luogo in cui proficuamente si coniugano il passato (il patrimonio, la conoscenza) il presente (la formazione, le attività culturali) e il futuro (l’innovazione e la ricerca).

Quando la strategia EU2020 riconoscerà direttamente (non solo indirettamente) l’importanza della cultura nella creazione di posti di lavoro, nello sviluppo e nella coesione sociale?

Ci auguriamo che la cultura abbia un ruolo esplicito, non adeguatamente riconosciuto fino ad oggi, nella ridefinizione della strategia Europa 2020, e stiamo lavorando per tale obiettivo nell’ambito della Presidenza italiana.

Il Trattato di Lisbona attualmente in vigore concede ampio spazio per dare alla cultura maggior valore strategico. La revisione della strategia Europa 2020 può essere l’occasione giusta per riconoscere finalmente alla cultura e al patrimonio culturale un ruolo centrale e trasversale nelle strategie dell’Unione Europea.

Un cambiamento di rotta in tal senso sarà rappresentato dalla valorizzazione della cultura come risorsa economica, fonte di occupazione e imprenditorialità, e come strumento di coesione, integrazione e sviluppo sociale.

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What Can the European Union Do for Culture and What Can Culture Do for the European Union?

The time has come for cultural policy to take on a central role within the European project and to be assigned a fundamental role in achieving the objectives of the Europe 2020 Strategy to ensure sustainable, intelligent and inclusive development with the wellbeing of European citizens at its core.

Culture can give coherence and offer prospects to the European political project and make it more attractive in the eyes of its citizens. Culture engenders awareness and a sense of belonging, two fundamental elements to create a genuinely cohesive European society.

Within the political debate, the Italian Presidency aims at focusing on the cross-cutting nature of culture in the various EU policies by promoting wider synergy between different sectors. Supporting cultural cooperation and intercultural dialogue as primary tools for facing social challenges within the Union and challenges relating to external relations, with particular reference to the neighbourhood policy, is important.

During our mandate we are committed to ensuring that the contribution of cultural policies to sustainable development, consolidation of the European identity, entrepreneurial spirit, innovation, competitiveness, youth employment, social cohesion and integration of migrant communities is recognised.

Putting culture at the centre of our development model also means developing new governance models whereby the competencies of Municipalities, Regions, States and the European Union are effectively integrated and the measures taken by private actors and civil society are coordinated with the actions of the public administration.

The greater the recognition by the European Union of the central nature of culture which takes into consideration its future direct competence on cultural issues, the deeper it will be able to reach the souls of European citizens and regain the trust that has been partially lost during the recent crisis.

How Do Culture and Access to Cultural Heritage Influence the Quality of Life of EU Citizens?

Culture, cultural heritage and creativity have an undeniable stimulating function in improving quality of life. Together with training, entrepreneurial spirit and technological innovation, awareness of one’s identity and sense of belonging generate a virtuous circle that creates greater social cohesion and economic wellbeing.

The economic recovery of the European Union too needs culture and heritage. They must be seen not only as collective assets and a source of spiritual nourishment and social dialogue but also as stimuli to innovate and the core of the creativity and inventiveness that have always distinguished Europe.

Is There a Balance Between Coherent Application of the Principle of Subsidiarity and EU-Level Cooperation? Do We Want to Strengthen EU-Level Cooperation in Favour of Our Artists and Other Professionals Working in the Cultural Sector or Have We Reached the Limit of Our EU Actions and Programmes and No Longer Want to Carry On? Current EU actions and projects aiming at facilitating the mobility of young artists and other professionals particularly in the emerging digital and multimedia sectors are worth carrying on with in order to intensify cultural exchanges and, above all, encourage an entrepreneurial frame of mind that turns art and culture into resources and sources of employment.

To this end, under the Italian Presidency, there will be a debate on the mobility of artists

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and professionals in the cultural sector with the aim of reflecting on the opportunity to strengthen EU cooperation policies in this field and extending mobility to third countries.

In the field of publishing, much has been done but there is still a lot to do in order to recognise the fundamental role that books play in promoting cultural diversity while being aware of a European sense of belonging.

In this context, it seems important to support initiatives recognising the power of dialogue between different cultural expressions such as supporting translations while being aware that linguistic diversity is not an obstacle to disseminating various cultures but a source of enrichment and a tool for opening up to the world, even in terms of influencing others. In the digital era, the written word is still an irreplaceable opportunity to ponder and analyse and the fact that it cultivates abstract thinking, which is the engine of creativity, should not be forgotten.

Subsidiarity must be understood as a tool for multiplying initiatives and enhancing the community framework.

Has Culture Been Adequately Taken into Account in Every EU Policy With Which It Has Been Concerned? As Such, Does Culture Have Further Potential, Recognition and Value?

Culture is still too often marginalised by large EU policies as evidenced by its budget which is absolutely inadequate for turning the European Union into the cultural superpower that it should be. It must be remembered that it is the foundation of our identities and an economic resource that is scarcely exploited and that European culture is by itself a powerful manifesto for civilisation, perceived by the entire world as a unique factor and considered to be one of the cornerstones of the entire human experience. The prestige enjoyed by European culture in the world could be used even more as a tool of political influence and a credential for a model of coexistence that has confirmed its effectiveness over time.

More specifically, culture is often dealt with incoherently within European institutions.

Competencies related to cultural policies are to be found in the various DGs and are not all included within the Directorate-General for Education and Culture (DG EAC).

This weakens the action and coherence of cultural programmes. Separating policy from implementation is not a neutral action. For instance, it is the DG ENTREPRISE and not the DG EAC which is responsible for the directive on illicit trafficking of cultural goods whereas the management of the MEDIA Programme is handled by the DG EAC. However, DG CONNECT is in charge of the directive on audio-visual services.

Europeana too – a cultural enterprise by definition – is in the hands of CONNECT which deals mainly with its technical aspects. However, CONNECT and EAC’s points of views are not the same. CONNECT tends to favour the widest possible digital access by removing taxes from the Internet and deregulating it thus facilitating large companies operating in this sector. DG EAC’s mission, however, is that of protecting small authors and promoting diversity within the cultural offer. Paradoxically, while CONNECT feels that the solution to the problem of digital piracy is weakening copyright, EAC is fighting the opposite battle and wants to protect copyright. The general issue of copyright is dealt with inappropriately. By giving copyright to DG MARKT, this is only dealt with as an internal market issue whereas the essence of copyright is cultural. Greater portfolio coherence seems therefore indispensable to ensure that EU cultural policy is more effective.

Are Further Organisational and Structural Measures Within the European Union Necessary to Integrate Culture in EU Policies Overall? Is a Directorate-General for Culture Necessary?

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Enhancing European cultural policies can take place by: a) strengthening and extending the competencies of the current DG EAC in the field of cultural policy; b) aggregating some of the above mentioned competencies (first and foremost digital policies; this has already begun with the transfer of Media to DG EAC); or c) centrally coordinating other policies with cultural policy. This is an indispensable step towards truly exploiting the potential of a currently under-used sector at European level.

More red tape and hierarchical structures should be avoided because they would compromise the achievement of the desired objective.

What Can We Do Together for Culture and Creativity in Order to Have Substantial Added Value and Significantly Contribute to Social Development?

Promoting and developing the role of culture, heritage and creative businesses within the European projects, starting from Europe 2020 Strategy, would contribute to providing the right focus on the key contribution they make to social and economic development as well as the image of Europe in the world.

Strong coordination of cultural policies with all other policies that are interconnected with them or mutually influence each other would remove many obstacles that are currently constraining the development of this sector. Effective mainstreaming of culture within Europe would offer a virtuous model for domestic policies within Member States too.

At European level, we could also further commit to: a) stimulating and promoting active participation by our citizens in the production and use of culture; b) engaging active citizens in the governance of culture and heritage; and 3) using cultural heritage and activities as the privileged backdrop to dialogue and integration of migrant communities. These measures would have undeniably positive repercussions on social development and the growth of European citizenship.

Is Culture Sufficiently Taken into Consideration by the Digital Agenda and How Should We Proceed with Europeana?

Basically, the development of technologies has a cultural origin: men create tools enabling them to turn their ideas, requirements, and individual and collective aspirations into reality. Only culture will be able to help us move from a phase where digital revolution is largely endured to a phase of awareness where technologies will be actively used and further developed for a citizens’ social, individual and economic wellbeing. A strong cross-cutting cultural policy makes a key contribution to innovation.

In its current definition by the Europe 2020 Strategy, the European Digital Agenda sees the involvement of cultural heritage as a single initiative aimed at online interconnection and accessibility of the digitised heritage of European museums, archives, libraries, and audio-visual archives through Europeana, the Internet portal. There is no doubt that this initiative promotes the re-use of quality informational materials by small and medium sized enterprises operating in the cultural and creative sector, thus contributing to the development of the sector itself. A more direct connection between Europeana and cultural policies and heritage both at European and national levels by, for instance, involving interested Member States in its governance, would make this initiative more efficient. The percentage of digitised collections held by European cultural organisations does not currently exceed 20% of the total. Therefore, as there are no programmes aimed at further digitisation and online dissemination, there will soon be no available raw material for Europeana.

The Italian Presidency semester gives us the opportunity to suggest that we carry out shared work at European level on promoting, developing and re-using our digital cultural heritage. Within the framework of the recognised cross-cutting nature of culture, the objective is to promote cooperation between culture, tourism, competitiveness, and

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research together with the relevant European institutions, particularly the Commission and Europeana, the flagship initiative in this field.

Further interactive modalities for multilingual distribution, production and use of cultural content could also be developed starting from the large repository within Europeana.

A further important question to be dealt with together is the long-term conservation of digital memories that is of fundamental importance for institutions dealing with memory but also essential beyond the cultural sector. Finding shared solutions at technical and organisation levels based on the numerous studies that have been carried out and the infrastructures built over the last few years, is urgently required.

Culture and cultural heritage can effectively contribute to other initiatives of the European Digital Agenda such as the activities relating to smart cities. In fact, cultural activities and heritage play a key role in sustainable economic development and quality of life, promote accurate management of natural resources, and stimulate citizens’ commitment and participation thus contributing to key aspects of the smart city model.

Moreover, culture consolidates the identity of cities, regions and communities as it is a factor of competitiveness and attractiveness. There could be synergies with the ‘Capital of Culture’ Programme in order to put forward a European smart city model that is closely linked with its environment and its surrounding areas thanks to an active network within which historic centres and cultural activities are powerful identity factors as well as effective boosters for economic development. The European smart city would therefore become the place where past (heritage and knowledge), present (training and cultural activities) and future (innovation and research) come profitably together.

When Will the EU2020 Strategy Directly (and Not Just Indirectly) Recognise the Importance of Culture in Job Creation, Development and Social Cohesion?

We hope that culture will play a clear role that so far has not been adequately recognised, when redefining the Europe 2020 Strategy. The Italian Presidency is working toward this.

The Treaty of Lisbon that is currently in force offers plenty of room to give culture greater strategic value. A review of the Europe 2020 Strategy could be the right opportunity to finally assign culture and cultural heritage a central and cross-cutting role within EU strategies.

Changing our course of action to accommodate this new approach will be represented by the promotion of culture as an economic resource, source of employment and entrepreneurship and instrument of cohesion, integration and social development.

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Luxembourg Luxembourg

“If we consider what Europe should look like in the future and how culture and diversity can be better accommodated in the process, many great plans and programs can be drawn up. We should keep asking ourselves, however, if we thus manage to grasp the soul – the citizen – in the sense of wholeness or unity.“

Maggy Nagel

— Ministère de la Culture — Minister of Culture

D’Geschicht vun Europa huet eis geléiert, datt d’Eenheet net ëmmer einfach ze erreechen ass an och net ëmmer onbedéngt en ‚Fait acquis’ ass, ëm deen ee sech net méi bräicht ze suergen.

Dohir stellt sech natierlech d’Fro, wat d’Eenheet vun Europa dann iwwerhaapt ausmécht.

Geographesch gesi kann een Europa am Fong net eendäiteg definéieren. Sécher, et gi Grenzen. Mee wa mer versichen, e Begrëff ewéi Europa ze verstoen, andeems mer eng geographesch Limite setzen, da stelle mer fest, datt een Europa primär net gutt duerch seng Grenze kann definéieren, well déi am Fong d’Resultat vu senger selwer produzéierten Organisatioun an Originalitéit sinn.

Historesch gesi war Europa bis an déi rezent Geschicht era vu ville Muechtkämpf, also éischter engem Manktem un Unitéit gepräägt; eng Charakteristik, déi den europäesche Kontinent an de Verlaf vu senger Geschicht déifgrënneg an entscheedend gepräägt hunn. Och dat gehéiert zu enger gewësser europäescher Originalitéit, datt et am Endeffekt vill kleng Eenheete waren, déi eng gréisser Struktur geformt hunn.

Den Dram vun enger politescher Unioun an Europa - wann och mat ganz verschiddenen Ziler an aus ganz ënnerschiddleche Motivatiounen eraus - gëtt et och net eréischt zanter gëschter: Georges Podiebrad, Dante mat sengem Dramvun der universeller Monarchie, Sully mat sengem “Grand Plan”, dem Abbé de Saint-Pierre, Jean-Jacques Rousseau, Jeremy Bentham an Immanuel Kant mat hirem Dram vun engem Europa vum éiwege Fridden, Victor Hugo a seng “Etats-Unis d’Europe”, Aristide Briand, Gustav Stresemann a.s.w.: Si all hu scho viru laanger Zäit ganz ënnerschiddlech arrangéiert Pläng fir e friddlecht Zesummeliewe vun den europäesche Staaten zur Diskussioun gestallt.

Wa mer dowéinst haut vun Zesummeliewen an Eenheet an Europa schwätzen, da bedeit dat virun allem, datt mer eng Gemeinschaft bilden. Mir deelen eng europäesch Wäertekultur, un där mer eis orientéieren oder déi mer op d’mannst all als wënschenswäert unerkennen. An och d’Kultur am breede Sënn ass an där Hisiicht e ganz wichtege Faktor, well se: - Verbindunge schaaft tëscht den Individuen an der Gemeinschaft, - gesellschaftlech Integratioun an domatter de sozialen Zesummenhalt fërdert, - zzur Participatioun um kollektive Liewen animéiert, - d’Gefill vun engem gemeinsame Schicksal entwéckelt, - den Nierbuedem ass fir eis Wäerter, - dat ass, wat eis och no baussen hin identifizéiert.

Dës Aspekter - Geographie, Geschicht, Politik, Wäerter, Kultur - spillen alleguer eng determinant Roll fir ze erklären, wat Europa ass a wouranner eis Eenheet besteet. Mer si wat mer sinn, well déi historesch, geographesch, gemeinschaftlech, wäerteméisseg, kulturell asw. Elementer sech ëmmer géigesäiteg befruucht hunn, an enger kontinueller Progressioun an Entwécklung.

Gläichzäiteg gëtt Europa ëmmer nees reprochéiert, datt wirtschaftlech, institutionell a politesch Preoccupatiounen ëmmer méi an de Vierdergrond getratt sinn, an datt de Bierger dobäi vernoléissegt oder souguer komplett vergiess gouf. Dëst deit drop hin, datt een entscheedend Element vernoléissegt gouf, an zwar d’Séil vun Europa. D’Séil vun Europa, dat si fir mech d’Bierger, dat si mir. „Auf den Geist muß man schauen. Denn was nützt ein schöner Körper, wenn in ihm nicht eine schöne Seele wohnt.“, sot den Euripides. Wa mer haut iwwerleeën, wéi Europa soll an Zukunft ausgesinn, wéi mer der Kultur an där Diversitéit an deem Exercice kënne besser Rechnung droen, da kënne mer natierlech vill wonnerbar Pläng a Programmer

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op d’Bee setzen. Mee mir sollten eis awer dobäi och ëmmer nees froen, ob mer domatter och wierklech d’Séil, an zwar de Bierger, gräifen am Sënn vun der Ganzheet oder Eenheet.

Mee wéi mécht een dat dann och, eng Séil gräifen? Fir mech ass dat am Fong eng Saach vu Puzzlestécker zesummesetzen. An Initiativen, ewéi déi vum Jacques Delors, dee gesot huet: „Il nous faut donner une âme à l’Europe“, bedeiten dann net, datt et d’Séil net gëtt; et bedeit vill méi, datt mer dat Stéck endlech mussen asetzen, wat d’Gesamtbild ergëtt a wat bis elo ëmmer e bëssen an der Këscht vum Puzzle vergiess gouf.

Dat ass net onbedéngt einfach, well d’Séil och net eppes Onverännerleches ass. Mee grad dat, dës Flexibilitéit an Diversitéit ass et jo och nees, wat Europa am Endeffekt spezifesch mécht a wat dann nees en Deel vun där Séil ausmécht.

Et geet een ëmmer dovunner aus, datt d’Séil sech op verschidden Aarte kann äusseren: d’Empfannen, d’Gefill, den Zoustand, mee awer och de Wëllen an d’Aktiounen, déi dozou gehéieren. „Es ist unglaublich, wie viel Kraft die Seele dem Körper zu leihen vermag“, sot de Wilhelm von Humboldt emol – Hei si mir also gefrot: D’europäescht Haus ass vun Ufank un e pluralistescht ‚Gebilde’, dat aus ville Wuerzele gefiddert gëtt an deem säi Geescht vun der Diversitéit u Volleker, Sproochen, Kulturen a Relioune gepräägt gëtt. Dëst historescht Ierwen ass et, dat mer haut an Zäite vu globalen a rapide Verännerunge musse weiderentwéckelen. Europa ass en oppene Prozess, deen engersäits wuel politesch gestalt gëtt, deen anerersäits a virun allem awer och vum europäesche Bierger ofhänkt, deen d’Häerz, de Geescht an d’Séil vun Europa weiderdréit.

Et ass finalement dat, wat an Zäite vu radikaler Diskontinuitéit ëmmer konstant bliwwen ass an och wäert bleiwen. Et ass dat d’Festegkeet vun der europäescher Séil, déi een awer trotzdem net als ‚Fait acquis’ däerf unhuelen, andeems een näischt méi dofir mécht a sech net méi fir se asetzt.

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European history has taught us that unity is not something that is easily achieved.

Once realised, this unity should not be considered as a “fait acquis”, something that one takes for granted and does no longer need to worry about.

But what are actually the characteristics of European unity?

From a geographical point of view, Europe cannot be clearly defined. There are borders, for sure. But if we try to define a concept like Europe by geographical limits we soon realize that its borderlines cannot serve as a primary criterion since they are in fact the result of Europe’s own organization and originality.

Historically speaking, recent history has shown us that Europe has been subject to many power struggles – which would rather signify a lack of unity. This characteristic has marked the continent both profoundly and crucially in the course of its history and also forms part of a certain European originality: the bigger structure was indeed formed by many small units.

The dream of a political union in Europe – although with different goals and motivation – is not a new concept either: Georges Podiebrad, Dante and his dream of a universal monarchy, Sully and his ‘Grand Plan’, the Abbé de Saint-Pierre, Jean-Jacques Rousseau, Jeremy Bentham and Immanuel Kant’s dream of a Europe of perpetual peace, Victor Hugo and his ‘United States of Europe’, Aristide Briand, Gustav Streseman etc.: each one of them imagined different plans for a peaceful union among all European states.

Thus, when talking about living together and about unity in Europe today, it implies above all that we are forming a community. We share a European culture of values that we adhere to, or at least consider desirable. In this context, culture in a broader sense also plays an important factor as it: - Creates connections between individuals in the community - Promotes social integration and therefore social cohesion - Encourages participation in community life - Nurtures the feeling of sharing a common fate - Forms the breeding ground for our values - Serves as our identification to the outside These aspects – geography, history, politics, values, culture – all play a vital part when trying to explain what Europe is about and what constitutes our unity. The historical, geographical, social, value-orientated, cultural etc. elements nurtured each other in a continuous progression and development. They have made us what we are today.

At the same time, with economical, institutional and political preoccupations increasingly taking centre stage, Europe is repeatedly accused of neglecting or even completely forgetting the citizen. This points to the fact that a crucial element – namely Europe’s soul - has been neglected. For me, Europe’s soul, it’s the citizen, it’s us.

One has to look at the spirit; for what use is a beautiful body if it is not inhabited by a beautiful soul, as Euripides said. If we consider what Europe should look like in the future and how culture and diversity can be better accommodated in the process, many great plans and programs can be drawn up. We should keep asking ourselves, however, if we thus manage to grasp the soul – the citizen – in the sense of wholeness or unity.

But how does one grasp a soul? Personally, I would compare this to putting together puzzle pieces. Initiatives such as the one of Jacques Delors, who said “Il nous faut donner une âme à l’Europe”1 , do not imply that there is no soul present; for me, it indeed rather suggests that it is high time to fill in the piece that has been forgotten in

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the puzzle box all along and that will complete the picture.

This is not necessarily easy, for the soul is not something unaffected by change. It is in turn exactly this flexibility and diversity though which gives Europe its unique character in the end, and again constitutes a part of this soul.

One always assumes that the soul can express itself in different ways: sense, feeling, current condition, but also concurring will and action. “Es ist unglaublich, wie viel Kraft die Seele dem Körper zu leihen vermag”2 , Wilhelm von Humboldt once said – This is where we come in: the ‘European house’ has been a pluralist entity right from the beginning. It is nurtured by many roots and its spirit is marked by the diversity of its people, languages, cultures and religions. In times of global and rapid change, it is this historical heritage that we need to continue to develop. Europe is an open process that is on one hand carved politically, but on the other hand it is mostly dependent on its citizens, who carry on the heart, spirit and soul of Europe.

The bottom line is that in times of radical discontinuity, this is what has been and will be the one constant. This is what constitutes the strength of the European soul, which should never be considered to be a “fait acquis”, never be taken for granted as something that does not need supporting or putting oneself out for.

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We now have to give a soul to Europe.

It is unbelievable how much strength the soul is able to confer to the body.

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Malta Malta

“In our view, the coordination and support functions of the existing structures within the main European institutions, and particularly within the European Commission, are important elements of the European project.“

Dr Owen Bonnici

— ministeru għall-ġustizzja, kultura u gvern lokali — Minister of Justice, Culture and Local Government

Il-valur tat-tisħib tagħna lkoll fl-Unjoni Ewropea qiegħed fil-ħidma kollettiva lejn għan komuni, li huwa dak ta’ livell tal-għixien aħjar għaċ-ċittadini kollha Ewropej fuq bażi ta’ solidarjetà u kollaborazzjoni. Inqisu li d-dimensjoni kulturali tagħti sens qawwi lejn dan l-għan ta’ kwalità tal-ħajja. Min-naħa turi li l-aspirazzjonijiet Ewropej għandhom għeruq fi ġrajja li għaqqdet ġnus differenti u li wasslet sabiex ħolqot kulturi, ilsna, twemmin u drawwiet differenti fi spazju kontinentali wieħed. Min-naħa l-oħra, meta wieħed idaħħal il-kontribut tal-kultura fid-iskors dwar il-kwalità tal-ħajja ikun qed jagħmel stqarrija ċara u importanti dwar il-valuri komuni li rridu nibnu flimkien. Inkunu koll qed ngħidu li rridu li d-dimensjoni umana, il-komunikazzjoni bejn ġnus differenti, l-apprezzament u l-promozzjoni tad-diversità kulturali Ewropea bejn l-istati li jikkostitwixxuha għandha tieħu preċedenza fuq dimensjonijiet iktar materjali u monetarji, mingħajr perÒ ma xxekkel l-iżvilupp ekonomiku tal-Unjoni. Jekk inżommu dawn il-prijoritajiet quddiemna, inkunu nistgħu nifhmu aħjar x’kontribut għandha l-kultura lejn il-proġett Ewropew, u kif dan jista’ jissaħħaħ u jitmexxu ’l quddiem.

L-għarfien tal-ambjent li fih ġew iffurmati l-identitajiet tagħna bħala ċittadini Ewropej huwa ċ-ċavetta sabiex niskopru fejn dawn l-identitajiet jistgħu joħduna fil-ġejjieni.

Il-kollaborazzjonijiet Ewropej, speċjalment fil-qasam artistiku u kulturali, huma ħafna drabi mibnija madwar dan il-proġett ta’ tiftixa u skoperta: riċerka li titlaq millpostijiet li ġejna minnhom sabiex toħloq u tifforma d-destinazzjoni kollettiva tagħna.

Għaldaqstant, l-aċċessibilità tal-kultura u tal-oġġetti u l-materjali kulturali li ffurmawna individwalment u kollettivament hija dritt li kull wieħed minna għandu, sabiex jagħraf u jibni fuq l-identità li għandu u li jrid ikollu. Din hija wkoll il-bażi tad-djalogu, tal-għarfien u l-apprezzament reċiproku, u tal-konvivenza tal-kulturi, etniji, u gruppi soċjali differenti fl-Ewropa. Mingħajr dan l-aċċess u mingħajr opportunitajiet sabiex kulħadd ikun jista’ jifhem aħjar il-kuntest kulturali tiegħu u tal-gruppi soċjali li jgħix fihom u madwarhom, ma nistgħux nittamaw f’titjib ħolistiku tal-kwalità tal-ħajja.

Il-prinċipju tas-sussidjarjetà fil-qasam kulturali Ewropew jistrieħ fuq il-prinċipju li l-politika kulturali ta’ kull stat membru għandha titfassal fl-awtonomija sħiħa ta’ dak l-istat. Min-naħa l-oħra, il-ħidma sħiħa tal-Unjoni Ewropea għal matul għexieren ta’ snin fuq diversi aspetti tal-kultura dejjem żammet il-benefiċċji tal-kollaborazzjoni u taliskambji bejn artisti u professjonisti kulturali bħala valur miżjud importanti li l-Unjoni tista’ toffri lis-settur kulturali u lis-soċjetà in ġenerali. Bħala pajjiż Mediterranju fuq ix-xifer tal-konteninet Ewropew, aħna nqisu li għandha tibqa’ tissaħħaħ l-attenzjoni lejn kollaborazzjoni ma’ pajjiżi ġirien, b’mod partikolari permezz ta’ għajnuna lil organizzazzjonijiet li jiffaċilitaw skambji u proġetti konġunti bejn pajjiżi f’reġjuni bħal dawn.

L-istrutturi Ewropej eżistenti fl-istituzzjonijiet ewlenin, u b’mod partikolari filKummissjoni Ewropea, qed jaqdu tajjeb il-funzjoni ta’ koordinament u ta’ sostenn.

Inqisu li inizjattivi bħall-Pjan ta’ Ħidma tal-Kultura li fih jipparteċipaw l-Istati Membri permezz ta’ esperti u professjonisti taħt il-qafas tal-Open Method of Coordination huwa forum ideali fejn jistgħu jibdew inizjattivi li jitmexxew ’il quddiem, anki sabiex eventwalment jinfluuenzaw il-formulazzjoni ta’ policies fuq skala Ewropea.

Matul dawn l-aħħar snin kien hemm diversi inizjattivi li mexxew ’il quddiem għarfien aħjar dwar il-kontribut ekonomiku tas-settur kulturali u kreattiv. Fil-kuntest Malti, ilGrupp ta’ Ħidma dwar l-Ekonomija Kreattiva ġab flimkien u qed ikompli jlaqqa’ esperti minn dixxiplini differenti (ekonomija, liġi, kultura, impjiegi u taħriġ, u oħrajn) sabiex joħloq u jimplimenta l-miżuri u l-interventi neċessarji b’sostenn għas-settur.

Fuq livell Ewropew, issa li rajna s-suċċess tal-inizjattiva tal-Belt Ewropea tal-Kultura, jista’ jkun li wasal iż-żmien li nisħqu iktar sabiex l-għażla ta’ titlu bħal dan iwassal fil-konkret lejn it-tisħiħ tas-settur kulturali u fit-titjib tal-impatti tiegħu fuq setturi oħra tal-ekonomija.

Rikonoxximent ta’ dan fuq livell Ewropew għandu jwassal ukoll sabiex investmenti u tħejjijiet lejn avveniment bħal dan ikunu mirquma b’mod li jħallu l-ikbar u l-aktar impatt fit-tul fuq l-attività kulturali u kreattiva u fuq il-ħolqien tax-xogħol f’dan is-settur.

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Il-promozzjoni tal-wirt kulturali tagħna b’mezzi diġitali huwa kruċjali f’dinja dejjem iktar iddominata minn dawn l-istess mezzi. L-Europeana hija inizjattiva importanti sabiex dan il-għan jista’ jintlaħaq fuq skala Ewropea. Importanti ukoll li jinħolqu rabtiet bejn din l-inizjattiva u l-programmi ta’ finanzjament bħalma huma l-Fondi Strutturali u l-Erasmus+, fost oħrajn, sabiex isiru l-investimenti neċessarji kemm fejn tidħol l-aħħar teknoloġija ta’ preservazzjoni u ta’ aċċess għall-pubbliku kif ukoll fejn jidħol it-taħriġ u l-iskambji dwar prassi tajba fid-diġitalizzazzjoni tal-wirt storiku Ewropew.

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The value of participating in the European project lies in the collective effort towards a common goal, which is that of a better standard of living for all European citizens based on principles of solidarity and collaboration. We feel that the cultural dimension provides a very strong contribution towards this understanding of quality of life. On one hand, this shows that European aspirations are rooted in a historical trajectory that has brought together different peoples, leading to the development of a variety of cultures, languages, beliefs and customs within one common continental space.

On the other hand, when the cultural contribution is considered within the context of our quality of life, we are thereby also making a clear and important statement about the common values that define our aspirational project. It is a statement about our will to give precedence to the human dimension, to dialogue between different nations, and to the appreciation and promotion of European cultural diversity, over a more material and monetary dimension, and this without diminishing the potential for economic development within the Union. While keeping these priorities in mind, we can understand better the contribution that culture can provide towards the European project, and the manner in which this same project can be strengthened further and driven forward.

Our knowledge about the environment that has moulded our identities as European citizens is the key for us to understand and see where these identities can take us in the future. European collaborations, especially in the artistic and cultural field, are very often built around this process of quest and discovery: a research effort that takes off from our various points of origin with the aim of constructing and giving shape to a shared destination. In this sense, gaining access to the cultural objects and material that have contributed towards our individual and collective formation is a right that each one of us has, a right to acknowledge and build upon the identities we hold and aspire to. This is also the basis for dialogue and for mutual recognition and appreciation, and for opening a space to co-inhabit for the different cultural, ethnic, and social groups in Europe. Without this form of accessibility and without these opportunities to understand better our own and our community’s cultural context we cannot achieve the substantive and holistic improvements in the quality of life of European citizens that we aspire to.

The subsidiarity principle in the cultural domain rests on the understanding that each Member State should articulate its own cultural policy as an exercise of its own political autonomy. On the other hand, all the work the European Union has been undertaking for decades in various areas related to culture was based on the added value that the Union can provide in terms of collaboration, exchange, and mobility of cultural professionals, for the benefit of the cultural sector and of European society at large.

As a Mediterranean country on the borders of the European continent, we consider collaboration with neighbouring countries as an area that should be strengthened, especially through the support of organisations that facilitate exchange and joint projects between countries in such regions.

In our view, the coordination and support functions of the existing structures within the main European institutions, and particularly within the European Commission, are important elements of the European project. We consider the Work Plan for Culture, with the participation of experts and professionals from Member States within the framework of the Open Method of Coordination, as an ideal forum for discussion and for kick-starting a number of initiatives that can be taken forward to even influence the formulation of policies within a wider European sphere.

During the past years, several initiatives have been put forward to increase the awareness about the economic contribution of the cultural and creative industries.

In the Maltese context, the Creative Economy Working Group has brought together and is continuing to work with experts and stakeholders from a range of disciplines (economy, law, culture, education, training and employment, and others) with a view to

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formulating and implementing supportive measures and other necessary investment interventions for the sector.

On a European level, and within the context of the European Capital of Culture title having attained a very high profile in European culture-led initiatives, it is importance to ensure that the awarding of the ECoC title actually and concretely delivers its promised benefits for the cultural sector in the respective cities, leading to a greater awareness of the positive links this has with other sectors of the economy. A better recognition of these links on a European level should ensure that investments and other preparatory work for such events are channelled in such a way as to leave deeper and longer-lasting impacts on the cultural and creative activity in the city and its surrounding region and the on employment opportunities in the sector.

In terms of cultural heritage, a greater awareness of our rich heritage through digital means is crucial in a world increasingly dependent on such media. The EUROPEANA initiative is important to ensure such a target is achieved on a European scale. Equally important are the synergies that can be developed and strengthened between this initiative and the European funding programmes, such as the Structural Funds and Erasmus Plus, amongst others, so that the necessary investments are put in place both in terms of the latest preservation and public accessibility technologies as well as in terms of training and exchange of best practices in the digitisation of European cultural material.

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Nederland Netherlands

“The first challenge is culture’s contribution to wider societal problems. I think that creativity can help tackle all kinds of issues – ranging from healthcare and ageing to climate, energy, spatial planning and social cohesion.“

Ms. Dr. Jet Bussemaker

— Minister van Onderwijs, Cultuur en Wetenschap — Minister of Education, Culture and Science

Er zijn veel culturele prijzen in Europa, maar geen ervan is zo bekend als het Eurovisie Song Festival. Elk jaar kijken miljoenen mensen, en vieren ze deze muzikale samenkomst thuis of in het plaatselijke café. De deelnemende artiesten verschijnen in heel Europa in de media. Maar nog steeds geven de nationale jury’s gemiddeld hogere cijfers aan liedjes van hun buurlanden, en de instant roem van de winnaar kan snel vergaan.

Het Eurovisie Song Festival illustreert dat cultuur mensen zowel kan verbinden als verdelen. Bovendien blijkt eruit dat een herkenbare culturele identiteit zich lastig laat verzoenen met universele aantrekkingskracht.

Ik denk dat vergelijkbare mechanismen spelen in veel culturele disciplines. Voor beeldende kunst, architectuur en design zijn geen woorden nodig, maar literatuur, theater en film blijven sterk verbonden met de verschillende talen in Europa. De taalbarrière versterkt een andere scheiding binnen het publiek. Een deel van de mensen geniet vrijwel uitsluitend van het populaire nationale en Angelsaksische repertoire. Een kleinere groep van omnivoren heeft daarnaast ook belangstelling voor de hogere kunsten en voor werk uit andere Europese landen. Zelfs cultureel erfgoed draait niet alleen om een gedeelde Europese geschiedenis en internationaal toerisme.

Historische monumenten, sites, voorwerpen en symbolen kunnen evengoed een rol krijgen in oplevend nationalisme.

Het is kortom niet vanzelfsprekend dat Europese burgers culturele diversiteit werkelijk waarderen; we moeten daar iets voor doen. Wat is hierbij de rol van de EU en van haar lidstaten?

Ik vind dat de lidstaten als eerste verantwoordelijk zijn voor steun aan cultuur. Zij zijn het beste in staat om beleid voor kunsten, erfgoed en creatieve industrie af te stemmen op specifieke nationale behoeften. Zij zijn ook het beste in staat om te bewijzen dat cultuurbeleid het geld van belastingbetalers nog steeds waard is.

De EU kan nationaal beleid aanvullen, vooral door grensoverschrijdende uitwisseling van werken, van artiesten en van professionele kennis te bevorderen. Artikel 167 van het EU Verdrag onderstreept deze taakverdeling.

Er zijn veel voorbeelden van EU activiteiten die de inspanningen van de lidstaten aanvullen. Voorbeelden zijn: steun uit Creatief Europa aan distributie van films in andere EU landen en aan internationale culturele samenwerking, de Europese Culturele Hoofdsteden en het Europees Erfgoed Label, werkgroepen van deskundigen om bruikleen tussen musea en mobiliteit van artiesten gemakkelijker te maken, wetenschappelijke samenwerking rond cultureel erfgoed, en gezamenlijke inspanningen om illegale handel in kunst te bestrijden.

Ik denk dat we moeten voortborduren op deze successen en dat de EU zich moet blijven concentreren op grensoverschrijdende uitwisseling. In de komende jaren, vragen twee uitdagingen onze speciale aandacht.

De eerste uitdaging is de bijdrage van cultuur aan bredere maatschappelijke problemen. Ik denk dat creativiteit vragen kan helpen oplossen op allerlei gebieden – van gezondheidszorg en vergrijzing, tot klimaat en energie, tot ruimtelijke ordening en sociale cohesie. Sommige Nederlandse ontwerpers doen dit al. Een voorbeeld is Daan Roosegaarde, die een slimme snelweg heeft ontworpen waarbij de energie van passerende auto’s wordt hergebruikt voor de verlichting van de weg. Een ander voorbeeld is Marina Toeters, die kleding ontwerpt met antibacteriële, lichtgevende en andere slimme stoffen.

Hoewel de eerste verantwoordelijkheid voor cultuurbeleid bij de lidstaten ligt, is het

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natuurlijk nuttig als de EU ook ontmoetingen tussen de culturele sector en andere sectoren stimuleert. Bijvoorbeeld via de financiële programma’s Creatief Europa en Horizon 2020.

De tweede uitdaging betreft de digitale media. Sommigen zijn bang dat internationale spelers internet zullen domineren en Europese culturen onder de voet lopen. Ik zou denken dat internet juist ook geweldige kansen biedt aan Europese spelers. Ook zij kunnen hun publiek vergroten, vooral onder jonge mensen. Het is onverstandig om te proberen internet op te delen in nationale gebieden en zo “onze” cultuur te beschermen tegen die van anderen. De opgave is eerder om fragmentatie van de Europese markt te overwinnen en onze creatieve bedrijven te helpen de mogelijkheden in het digitale domein maximaal te benutten. Een goed voorbeeld is Spotify, een Europees muziekplatform dat nu ook andere delen van de wereld verovert.

Zo zouden we drempels voor pan-Europese video-on-demand diensten kunnen wegnemen en hen niet moeten belasten met quota’s en heffingen. We zouden het makkelijker kunnen maken om auteursrechtelijke licenties te verkrijgen voor exploitatie van audiovisuele werken in heel Europa, zoals al is gebeurd voor muziek en verweesde werken. We moeten zeker voortbouwen op Europeana om digitale collecties van musea en archieven te verbinden en open te stellen. Dit stimuleert hergebruik van gedigitaliseerd erfgoed in apps voor onderwijs, ontspanning en toerisme.

Wetgeving in andere sectoren kan effect hebben op cultuur. Voorbeelden zijn de EU regels voor staatssteun, auteursrecht, belastingen, telecommunicatie, energiegebruik (monumenten), hergebruik van overheidsinformatie (gedigitaliseerd erfgoed) en bescherming van persoonsgegevens. Het gemeenschappelijk landbouwbeleid bepaalt mede de kenmerken van ons (cultureel) landschap. Artikel 167 van het EU Verdrag bepaalt dat de EU bij dergelijk beleid ook rekening houdt met de culturele effecten. Dit is niet eenvoudig en het vereist goede coördinatie op alle niveaus: binnen de Commissie, het Europees Parlement, de Raad en – niet in de laatste plaats – binnen de lidstaten. Toch denk ik dat we ons de komende jaren moeten blijven concentreren op de culturele impact van ander EU beleid. Ik denk in het bijzonder aan de discussie over BTW-heffing; ik zou graag zien dat we een lager BTW tarief kunnen heffen op digitale boeken en kranten, net zoals op de papieren uitgaven.

Samengevat ben ik ervan overtuigd dat een levendige Europese cultuur vraagt om stevige steun van de EU lidstaten en een EU agenda die zich concentreert op grensoverschrijdende uitwisseling. Het ultieme doel is niet alleen om culturele diversiteit te bewaren, maar ook om de waardering daarvoor bij Europese burgers te vergroten. Misschien niet bij iedereen de hele tijd, maar in elk geval wel bij iedereen een deel van de tijd.

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We have many prizes for culture in Europe, but the prize getting most attention is the Eurovision Song Contest. Each year, millions of people watch and celebrate this musical get-together in their homes or local cafés. And the contenders get media coverage all over Europe. Even so, national juries still tend to give higher points to songs from their neighbouring countries, and the winner’s instant fame may quickly disappear.

The Eurovision Song Contest shows that culture can be a unifying and a dividing force at the same time. Moreover, it shows how hard it is to reconcile universal appeal with cultural identity.

I think similar mechanisms apply to most cultural disciplines. The visual arts, architecture and design speak for themselves, but literature, theatre and cinema remain firmly connected to the various European languages. The language barrier feeds another division within the audience. On one hand, there are people who mainly enjoy the popular national and global Anglo-American repertoire. On the other hand, there is a smaller group of omnivores who are also interested in high culture and works from other EU countries. Even cultural heritage is not only about a common European history and attracting international tourism; historical monuments, sites, artefacts and symbols can also become tokens of reviving nationalism.

Consequently, efforts are needed if we want European citizens to really appreciate cultural diversity. What is the role for the EU and its Member States in order to make this happen?

In my opinion, the EU Member States are primarily responsible for supporting culture.

They are best placed to adapt measures for the arts, cultural heritage and creative industries to their country-specific needs. They are also best placed to prove that cultural policies are still worth taxpayers’ money.

The EU can complement national policies, mainly by encouraging the cross-border exchange of works, artists and professional knowledge. Article 167 of the EU-Treaty underlines this division of competences.

Tere are many examples of EU activities that supplement Member States’ efforts. To mention just a few: the support for EU-wide film distribution and international cultural cooperation through Creative Europe, the European Capitals of Culture and the European Heritage Label, work done by expert groups to facilitate lending between museums and mobility of artists, international scientific cooperation through the joint programming initiative on cultural heritage and common efforts to prevent illicit traffic in cultural goods.

I think we should build on these successes and keep the EU’s focus on cross-border exchange. In the next few years, two challenges require special attention.

The first challenge is culture’s contribution to wider societal problems. I think that creativity can help tackle all kinds of issues – ranging from healthcare and ageing to climate, energy, spatial planning and social cohesion. Some designers in my home country are already active in such fields. One example is Daan Roosegaarde, who designed a smart highway that harvests the energy of passing cars and re-uses it for lighting. Another example is Marina Toeters, who designs clothes with antibacterial, luminous and other smart fabrics.

Although primary responsibility for formulating cultural policy lies with Member States, it is of course helpful if the EU also fosters encounters between culture and other sectors. For example by financial programmes such as Creative Europe and Horizon 2020.

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The second challenge involves digital media. Some fear that global players will take over the internet and crush Europe’s cultures. I am inclined to think that the internet offers great opportunities to European players. They too can widen their audience, especially among younger people. We must not carve out national territories on the internet and protect ‘our’ culture from others. Instead, we should overcome fragmented markets and help our creative companies to exploit their huge potential in the digital domain. A good example is Spotify, a European platform for music that is now conquering other parts of the world.

We could, for example, lift barriers for pan-European video-on-demand services, and not burden them with quotas or levies. We could also make it easier to obtain panEuropean licenses for copyrights in the audiovisual sector, as we have done for music and for orphan works. We should certainly build on Europeana to connect and open up digitised collections of museums and archives. This will foster the re-use of digitised heritage in apps for education, entertainment and tourism.

Legislation in other fields can affect culture. Examples are EU rules on state aid, copyright, taxation, telecommunications, energy efficiency (monuments), the re-use of public sector information (digitised heritage) and data protection. The common agricultural policy influences the characteristics of our (cultural) landscape. Article 167 of the Treaty requires the EU to assess the cultural effects of other such EU policies.

This is not easy and requires proper coordination at all levels: within the Commission, the European Parliament, the Council and – last but not least – within EU Member States. Nevertheless, I think that the cultural impact of other EU policies must remain a priority in the years ahead. Examples include discussions about the rules for Value Added Tax (VAT), which should, in my opinion, align the rate for digital publishing with the lower rate for print.

To sum up, I am convinced that the vitality of European culture is best served by firm support from EU Member States and an EU focus on cross-border exchange. The ultimate aim is not only to sustain cultural diversity, but to encourage its appreciation

by European citizens. If not by all of them all the time, than at least by all of them some of the time.

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Polska Poland

“Today, we need culture in the EU to recall the history and the values underlying the European integration and guarding its existence.“

Małgorzata Omilanowska

— Minister Kultury i Dziedzictwa Narodowego — Minister of Culture and National Heritage

Co może dać kultura Unii Europejskiej, a Unia kulturze? Odpowiedź brzmi: więcej niż dotychczas. Unia stoi w obliczu wyzwań: wewnętrznych - takich jak wzrost postaw radykalnych i populistycznych, jak i zewnętrznych, jakimi są konflikty zbrojne w bezpośrednim sąsiedztwie Unii. Te szczególne okoliczności dotykają bezpośrednio naszej tożsamości i uświadamiają kruchość naszych osiągnięć, niekiedy wręcz je podważając.

W Polsce przedsmak wspomnianych postaw radykalnych mieliśmy już na początku XXI w. To wtedy najsilniej do głosu dochodziły partie budujące swoje pozycje na nastrojach antyeuropejskich, formacje wyrażające poglądy skrajnie przeciwne integracji w ramach Unii Europejskiej. Pamiętamy, jak wielką troską były wyniki polskiego referendum akcesyjnego. Jednym z elementów, który mógł zadecydować o dobrym wyniku i wystarczającej frekwencji, były słowa Jana Pawła II wypowiedziane podczas przemówienia na Placu św. Piotra w 2003 r. Papież opowiedział się wówczas jednoznacznie za wstąpieniem Polski w Unii. To wtedy padło słynne, do dziś często cytowane hasło „Od Unii Lubelskiej do Unii Europejskiej”.

Wzorcem bowiem, do którego chcemy się odwoływać, jest ważne doświadczenie współistnienia w obrębie państwa wielu narodowości, etnosów, religii i kultur. Mamy tu na myśli odwołania do istniejącej w XVI-XVIII w. Rzeczpospolitej Obojga Narodów.

Państwa powstałego na podstawie Unii Lubelskiej zawartej między Koroną Królestwa Polskiego i Wielkim Księstwem Litewskim. Ówczesne państwo nie było wolne od różnego rodzaju napięć między grupami społecznymi i narodowościowymi wspólnie zamieszkującymi teren jednego kraju, ale potrafiło te napięcia niwelować poprzez stwarzania warunków do współistnienia różnorodnych postaw.

Dziedzictwo Rzeczpospolitej to dla nas lekcja, że z wielości wykluwać się może nowa jakość, że różnorodne kultury mogą funkcjonować obok siebie, a państwo powinno być kształtowane w poszanowaniu dla ich odrębności. Integracja i asymilacja mniejszości jest zjawiskiem normalnym, ale nie powinna być wprowadzana odgórnie i na siłę. Prawdziwą bowiem siłą Unii Europejskiej musi być wielość – kultur, historii i doświadczeń, które ukształtowały teraźniejszość i wpływają na przyszłość.

Dziś Polska, podobnie jak większość państw europejskich, nie jest całkiem wolna od postaw radykalnych, przeciwnych wspólnocie europejskiej. Jednocześnie jednak z badań społecznych przeprowadzonych w 10. rocznicę wejścia Polski do Unii Europejskiej wynika jednoznacznie, że Polacy należą do nacji najlepiej oceniających jej funkcjonowanie – aż 89% respondentów popiera obecność Polski w Unii. Pragnę wierzyć, że przyczyną tego rekordowego poparcia jest nie tylko modernizacja kraju, do której doszło w dużej mierze dzięki środkom europejskim. Ostatnia dekada udowodniła, że zacieśnianie formalnych i nieformalnych więzi z państwami europejskimi nie musi prowadzić do utraty własnej, unikalnej tożsamości, ale pozwala ją wzbogacać i rozbudowywać.

Dziś potrzebujemy kultury w Unii, by przypominać o historii i wartościach leżących u podstaw europejskiej integracji, stojących na straży jej istnienia. Potrzebujemy Unii w kulturze, by wspierać rozwój europejskiej kultury, wzmacniać etos, który stanowił podwaliny europejskiej integracji oraz pokojowych wolnościowych przemian, których 25-lecie świętujemy właśnie w Polsce i w naszej części Europy.

Jednocześnie do skutku należy prostować nieporozumienie związane z myśleniem o kulturze. W potocznym bowiem rozumieniu termin „kultura” ogranicza się do sztuki, a niekiedy nawet wyłącznie do sztuki wysokiej. Prostą konsewkencją takiego definiowania jest uznawanie kultury za dobro luksusowe, a jej finansowanie ze środków publicznych za fanaberię. Jest to zatem rozumienie nie tylko błędne, ale i szkodliwe, bo umniejszające znaczenie kultury, która w swoim najszerszym znaczeniu jest właściwie wszystkim, co powstało jako dzieło człowieka. W tym sensie częścią kultury są wszelkie dziedziny

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nauki, różnorodne gałęzie przemysłu, a takze codzienne praktyki i zachowania ludzkie ukształtowane w ciągu setek lat istnienia cywilizacji.

Europejska polityka kulturalna wymaga dalekosiężnej strategii opartej na współpracy i stanowieniu dobrego prawa. Strategii wzmacniającej europejską różnorodność kulturową oraz europejską tożsamość wewnątrz Europy i wobec świata zewnętrznego. Żadne krótkoterminowe korzyści gospodarcze nie mogą być uzasadnieniem dla osłabiania kultury i sektora kreatywnego. Krótkowzroczne podejście do walki z panującym obecnie kryzysem ogranicza zainteresowanie Unii Europejskiej wyłącznie do kwestii ekonomicznych. Zapomina się często, że to właśnie kultura stanowi trzon integracji europejskiej, przyczynia się do budowy wspólnej tożsamości europejskiej oraz stanowi punkt odniesienia w czasie destabilizacji gospodarczo-politycznej.

Należy także docenić ekonomiczne korzyści inwestowania w kulturę, wprost odpowiadające na wyzwania postawione w Strategii Europa 2020. Inwestowanie w dziedzictwo kulturowe ma bezpośredni wpływ na wzmocnienie konkurencyjności regionów i wzrost ich atrakcyjności turystycznej. Udowodniono, że inwestowanie w infrastrukturę kultury i infrastrukturę szkolnictwa artystycznego jest konieczne dla budowania kapitału społecznego, rozwoju edukacji kulturalnej, kształcenia kadr dla przemysłów kultury i przemysłów kreatywnych. Istotnym czynnikiem budowania wspólnej tożsamości europejskiej jest upowszechnianie dostępu do dóbr kultury, czemu służy ich digitalizacja.

Jak widać, zadania kultury są wielorakie i zróżnicowane, co powinno być odzwierciedlone zarówno w rozwiązaniach instytucjonalnych, jak i w procesie tworzenia licznych unijnych polityk mających wpływ na kulturę. Naszą intencją nie jest tworzenie nowych instytucji, lecz reforma ich struktur i funkcjonowania, a także zaszczepienie nowego sposobu myślenia o nich. Dotyczy to całego szeregu kwestii, które zostaną tu omówione; przykładowo, konieczności konsekwentnego działania na rzecz ochrony europejskiego dziedzictwa kulturowego poprzez promowanie specjalnego ustawodawstwa jej sprzyjającego oraz uwzględnianie specyfiki i roli dziedzictwa w toku realizacji celów innych unijnych polityk.

Kultura powinna być też integralną częścią odpowiedzi na dramatyczne wydarzenia dziejące się w bezpośrednim sąsiedztwie Europy. Zainteresowanie rolą kultury w relacjach zewnętrznych Unii nie może sprowadzać się wyłącznie do obszarów gwarantujących ekonomiczny zysk. Kryzysy, z którymi mamy do czynienia na wschodzie i południu, mają swoją genezę w zderzeniu przeciwstawnych systemów wartości, zarówno w obszarze gospodarki, jak i polityki. Europejska polityka kulturalna nie powinna pozostać obojętna wobec tego faktu. W tym zakresie należy podkreślić rolę i rezultaty programów realizowanych w ramach Europejskiej Polityki Sąsiedztwa wspierających kulturę oraz budowanie społeczeństwa obywatelskiego. Bez wątpienia należałoby jednak zintensyfikować podejmowane działania oraz zmodyfikować je w taki sposób, by lepiej odpowiadały priorytetowi Europejskiej Agendy Kultury dotyczącemu relacji zewnętrznych. Podobna strategia winna być przyjęta wobec liberalizacji handlu z krajami trzecimi.

Kolejnym wyzwaniem, które stoi przed nami, jest rozwój technologii cyfrowych i Internetu. Wpływa on znacząco na sposoby tworzenia, wprowadzania do obiegu, korzystania i dostępności dóbr kultury. Odbiorcy dóbr kultury szczególnie silnie postulują poszerzenie i ułatwienie szerokiego dostępu do dóbr kultury, w dowolnym miejscu i czasie. Korzystanie z tych zasobów umożliwia społeczną kreatywność, uczy wrażliwości i szacunku wobec odmiennych sposobów myślenia, ma niebagatelne znaczenie w procesie edukacji oraz rozwoju nauk humanistycznych i społecznych.

Rozwojowi kultury powinien towarzyszyć równoczesny rozwój prawa, które należycie chroniłoby twórcze i innowacyjne dzieła ludzkiego umysłu oraz wyobraźni.

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Technologiczny postęp znacznie wyprzedza jednak istniejące rozwiązania legislacyjne.

Obowiązujące obecnie przepisy prawne dotyczące zarówno własności intelektualnej, jak i regulujące funkcjonowanie rynku medialnego muszą zostać dostosowane do zmieniającej się rzeczywistości. Ułomność i niedostosowanie systemu prawnego do wyzwań współczesności istotnie spowalnia rozwój kultury. Ważnym zadaniem będzie zatem przeprowadzenie reformy, która unowocześni system legislacyjny, a która zgodnie z zasadą konkurencyjności nie będzie zarazem faworyzowała interesów jakiegokolwiek internetowego giganta. Rozmowa o prawie autorskim wymaga przede wszystkim uwzględnienia wielu perspektyw. Punktu widzenia twórców kultury, podmiotów licencjonujących, w tym organizacji zbiorowego zarządzania prawami autorskimi, użytkowników komercyjnych chronionych treści, odbiorców kultury.

Każda z tych stron pełni ważną rolę w procesie tworzenia, dystrybucji i wykorzystania twórczości. Aktywność każdego podmiotu wymaga współpracy z pozostałymi, każdy z nich ma także swoje potrzeby.

W dyskusji dotyczącej prawa autorskiego niektóre środowiska postulują niemal całkowitą rezygnację z ochrony dóbr kultury dystrybuowanych przy użyciu nowych technologii i proponują podważenie podstawowych, funkcjonujących obecnie zasad służących ochronie twórczości. Argumentacja ta opiera się na błędnym przekonaniu, że przestrzeń internetowa jest szczególnym miejscem, w którym akceptowane powszechnie zasady życia społecznego powinny ulec zawieszeniu. Tymczasem rozwój przestrzeni wirtualnej, przedsiębiorstw oraz informacji kształtują realni ludzie, których praca powinna być równie realnie wartościowana. Europejski i polski przemysł kreatywny potrzebuje nowoczesnego i skutecznego prawa autorskiego.

Bez niego europejscy i polscy producenci oraz dystrybutorzy dóbr kultury nie będą w stanie rozszerzać oferty, ani skutecznie konkurować na rynku prawa autorskiego w podmiotami z państw, ktore należycie chronią ich twórczość i legalną dystrybucję.

Jeszcze trudniej będzie im współzawodniczyć z tymi, którzy swoją działalność opierają na korzystaniu z cudzej twórczości bez zgody uprawnionych, bez ponoszenia kosztów i bez dzielenia się zyskami z tworzącymi cenne kulturowo treści. Nowoczesne prawo autorskie może dobrze służyć zapewnieniu miejsc pracy obywatelom Unii Europejskiej i ułatwieniu im jak najszerszego dostępu do wysokiej jakości dóbr kultury.

Regulacje dotyczące promowania twórczości europejskiej dla niektórych podmiotów działających na rynku medialnym stanowią koszt prowadzonej działalności, ale bez nich wybitne osiągnięcia europejskiego kina mogą stać się niszową ciekawostką.

Stracimy w ten sposób język, który przez cały XX wiek służył do prowadzenia dyskusji najważniejszych dla naszego kontynentu. Istota usług internetowych opiera się na swobodnym wyborze odbiorców, którzy swoje decyzje podejmują w zakresie „dostępnego katalogu” oferowanego przez dostawcę usług medialnych. Zapewnienie określonego minimalnego udziału produkcji europejskich na platformach internetowych oferujących usługi w UE winno pomóc w budowaniu wspólnej europejskiej przestrzeni kulturowej i promowaniu wspólnych, europejskich projektów audiowizualnych.

W najbliższym czasie czeka nas burzliwa dyskusja o kolejnym wieloletnim planie prac na rzecz kultury, o zmianach w europejskim prawie autorskim i europejskim prawie medialnym. Ważne, by w jej trakcie nie zapomnieć o tym, że kultura to nie tylko kolejna sfera życia gospodarczego. Różnorodność kulturowa to jedna z podstawowych wartości stworzonych przez naszą cywilizację – odwołując się do dziedzictwa Rzeczpospolitej Obojga Narodów, a także korzystając z doświadczeń pierwszych lat obecności w Unii Europejskiej starać się będziemy wprowadzać dobre wzorce tolerancji i poszanowania dla wszelkiej odmienności. Prawdziwym bogactwem Europy jest różnorodność, bez której trudno wyobrazić sobie przyszłość naszego kontynentu.

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What can culture do for the European Union, and what can the Union do for culture?

The answer is: more than has been done so far. The Union faces challenges: internal, such as the growing popularity of radical and populist ideas, as well as external, such as military conflicts in the immediate vicinity of the EU. These special circumstances directly affect our own identity and make us realise the fragility of our accomplishments, sometimes even undermining them.

In Poland, the said radical attitudes have already appeared at the beginning of the 21st century. The political parties which then came to the force have built their positions on euroscepticism and expressed views extremely opposite to the integration with the European Union. We can still remember the great concern over the results of the Polish EU accession referendum. One of the elements that could have contributed to the positive result and a sufficient voter turnout were the words of John Paul II spoken during his speech on St. Peter’s Square in 2003. The Pope then clearly stood for Poland’s entry in the EU. That is when he said the famous sentence, often quoted until today: “From the Union of Lublin to the European Union”.

The model that we want to relate to is based on the important experience of coexistence within the state of many nationalities, ethnicities, religions and cultures. I refer here to the times of the Polish-Lithuanian Commonwealth between the 16th and the 18th century. It was a state created on the basis of the Union of Lublin concluded between the Crown of the Kingdom of Poland and the Grand Duchy of Lithuania. The state of that time was not free from various kinds of tensions between social and ethnic groups living together on the territory of one country, but it was also able to alleviate these tensions by creating conditions for the co-existence of various attitudes.

The heritage of the Commonwealth teaches us that multiplicity can be a source of new quality, that various cultures may function next to each other and that the state should respect their autonomy. Integration and assimilation of minorities are a natural phenomenon, but they should not be imposed by the authorities and by force. A true strength of the European Union must be a multiplicity – of cultures, history and experiences that have shaped the present and affect the future.

Today Poland, like most of the European countries, is not completely free from radical attitudes, adverse to the European Community. At the same time, however, the results of social surveys, conducted on the 10th anniversary of Poland’s accession to the European Union, show clearly that Poles are one of the nations that have the most favourable opinions about its functioning – as many as 89% of the respondents support the Polish presence in the EU. I would like to believe that this record-breaking support is caused not only by the modernisation of the country, which, to a large extent, was possible thanks to the European funds. The last decade proved that tightening of formal and informal bonds with European states does not have to lead to a loss of the unique identity, but enables its enrichment and development.

Today, we need culture in the EU to recall the history and the values underlying the European integration and guarding its existence. Culture needs the EU to support the development of European culture and to strengthen the ethos that was a foundation of the European integration and peaceful transformation whose 25th anniversary is now celebrated in Poland and in our part of Europe.

At the same time, a misunderstanding related to thinking about culture must be persistently corrected. The understanding of the term “culture” is commonly limited to art, and sometimes even solely to high art. A simple consequence of such definition is the perception of culture as a luxury good and its financing from public funds as a whim. This understanding is not only incorrect, but also harmful, because it diminishes the significance of culture, which in its broadest sense is in fact everything that has been created by humans. In this sense, culture includes all fields of science, various

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industry branches and daily human practices and behaviour shaped within hundreds of years of the existence of civilisation.

European cultural policy requires long-distance strategy, based on cooperation and good law-making; a strategy strengthening European cultural diversity and European identity inside Europe and towards the external world. No short-term economic benefits can justify the diminution of culture and the creative sector. Short-sighted approach to the fight with the current crisis limits European Union’s interest exclusively to economic issues. We often forget that it is culture that is the core of the European integration, it is culture that contributes to the construction of common European identity, and it is culture that is a point of reference in times of economic and political destabilisation.

The economic benefits of investing in culture, corresponding directly to the challenges raised in the Strategy Europe 2020, should also be appreciated. Investing in cultural heritage has a direct impact on strengthening competitiveness of regions and increasing their tourist appeal. It has been demonstrated that investing in cultural infrastructure and the infrastructure of art education is necessary for building social capital, developing cultural education and training staff for cultural and creative industries. Building a common European identity requires the popularisation of access to cultural goods, which is the purpose of digitalisation.

As it can be seen, culture has multiple and diverse tasks, which should be reflected both in institutional solutions and in the process of creating numerous EU policies that affect culture. Our intention is not to create new institutions, but to reorganise their structures and functioning, as well as instil a new way of thinking about them.

This applies to a number of issues that are going to be discussed here; for instance, the need for consistent actions for the protection of the European cultural heritage by promoting special legislation favouring such actions and considering the specific nature and role of the heritage in the course of implementation of the objectives of other EU policies.

Culture should also become an integral part of responses to dramatic events happening in the direct neighbourhood of Europe. An interest in the role of culture in external relations of the EU cannot refer only to economically profitable areas. The crisis which now affects the East and the South of Europe originates in the clash of contradictory systems of values, both in the area of economy and politics. European cultural policy should not remain neutral to this fact. In this regard, it is important to emphasise the role and the results of programmes implemented within the European Neighbourhood Policy, supporting culture and the formation of the civil society.

Undoubtedly, the undertaken actions should be intensified and modified in such a way as to successfully meet the priorities of the European Agenda for Culture relating to external relations. A similar strategy should be adopted towards the liberalisation of trade with third countries.

Another challenge that we face is the development of digital technology and the Internet. It significantly affects the ways of creating, releasing, using and availability of cultural goods. The recipients of cultural goods particularly strongly demand broadening and facilitating the access to cultural goods, at any place and time. The use of these resources increases social creativity, teaches sensitivity and respect for different ways of thinking and has a considerable significance in the process of education and development of humanities and social sciences. The development of culture should be accompanied by simultaneous development of law that would properly protect creative and innovative products of human mind and imagination.

Technological progress, though, is significantly ahead of existing legislative solutions.

Currently applicable legal regulations, concerning both intellectual property and regulation of the functioning of the media market, need to be adapted to the changing

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reality. Imperfection and maladjustment of the legal system to the challenges of today significantly slow down the development of culture. An important task will then be to carry out a reform that will modernise the legislative system and which, in accordance with the principle of competitiveness, will not at the same time favour the interests of any Internet giant. A debate on copyright requires, first of all, considering many perspectives. It should include points of view of culture creators, entities that grant licences, including organisations for collective management of copyright, commercial users of protected content and recipients of culture. Each of these parties has an important role in the process of creating, distributing and using art. The activity of each entity requires cooperation with the others; each of them has also their own needs.

In the debate concerning copyright, some groups demand almost a total resignation from the protection of cultural goods distributed with the use of new technologies and suggest questioning basic, currently applicable principles of protection of creative content. The reasoning is based on a misconception that the Internet space is a special place where commonly accepted principles of life in a society should be suspended. Meanwhile, the development of virtual space, companies and information are shaped by real people, whose work should also be valued in reality. European and Polish creative industries need modern and effective copyright. Without it, European and Polish producers and distributors of cultural goods will not be able to develop their offer or effectively compete on the market of copyright with the entities from the countries that properly protect their creative content and its legal distribution. It will be even harder for them to compete with those whose activity is based on using someone else’s works without permission, without incurring any expenses and without sharing profits with the creators of culturally valuable content. Modern copyright may serve well the purpose of providing jobs for EU citizens and offering them the broadest possible access to high-quality cultural goods.

Regulations concerning the promotion of European creative content represent additional costs of conducting business for some entities operating on the media market, but without them, the outstanding achievements of the European cinema may become a niche curiosity. This will result in losing the language that throughout the whole 20th century was used for conducting the most important discussions for our continent. The essence of Internet services is based on a recipients’ free choice: right to choose from among the “available catalogue” provided by the supplier of media services. Ensuring a minimum share of European production on web platforms offering services in the EU should help in building a common cultural space and promoting common European audiovisual projects.

In the near future, we will have to face a heated discussion about the next multiannual plan for culture, about changes in European copyright and European media law. It is important not to forget in its course that culture is not only another sphere of economic life. Cultural diversity is one the fundamental values created by our civilisation.

Referring to the heritage of the Polish-Lithuanian Commonwealth, as well as making use of the experience of the first years of presence in the European Union, we will strive to introduce good models of tolerance and respect for all differences. A real wealth of Europe consists in its diversity, without which it is difficult to imagine the future of our continent.

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Portugese Portugal

“Culture is an essential element in the construction of the European project and it is the European governments´ mission to actively contribute to the acknowledgement of this role, through thoughts, words and actions.“

Jorge Barreto Xavier

— Secretário de Estado da Cultura — Secretary of State of Culture

Os 68 anos que nos separam do fim da II Guerra Mundial marcam um caminho da Europa convergente com a ideia de Paz. As recentes ameaças à paz na Europa só reforçam o entendimento que se construíu no pós-Segunda Grande Guerra.

Aos horrores da guerra de 1939-1945, sucedem-se a exaustão de recursos humanos e materiais. A constituição de dois blocos político-militares antagónicos no espaço europeu não impedem que alguns países tomem a iniciativa de avançar para um percurso de comunidade desde a Comunidade Europeia do Carvão e do Aço, constituída em 1951 pela França, Bélgica, Alemanha Ocidental, Holanda, Luxemburgo e Itália, até à Europa a 28 da União Europeia, em 2013, uma União complexa, aberta a novos membros e com dificuldades na consolidação do seu percurso.

A mais recente crise económica e financeira de escala global, colocou uma pressão muito significativa no espaço da União Europeia – no espaço físico e no espaço conceptual. Pela primeira vez desde a sua constituição, o orçamento da União Europeia para o quadro financeiro plurianual 2014-2020 foi reduzido em relação ao período anterior.

O orçamento da União Europeia corresponde a aproximadamente 1% do PIB da Europa a 28, mas creio que todos percebemos que o valor político da União não se pode medir pelo valor a que esta base de consenso mínimo respeita.

A Cultura é um elemento essencial da construção do projeto europeu e é missão dos governos europeus contribuírem de forma ativa para o reconhecimento desse papel, através de pensamentos, palavras e atos. A questão orçamental é sem dúvida importante, mas antes dela, está o reconhecimento do lugar da Cultura enquanto elemento de relevância política a um título não meramente subsidiário.

O princípio da subsidiariedade da União no que concerne às políticas culturais, de acordo com os Tratados, não equivale a um princípio de menoridade do valor político da cultura. E a manutenção da ótica da subsidiariedade prevista nos Tratados, não prejudica um maior empenhamento na importância da Cultura no espaço europeu.

Será que podemos consolidar a União Europeia numa perspetiva exclusivamente económica? Já sabemos que a resposta é não.

O grau de aprofundamento das relações no quadro da União é hoje de tal complexidade que só permite três opções: - o aprofundamento político do conjunto; - a Europa a várias velocidades; - saída voluntária de alguns países não interessados no caminho comum.

Não existe nenhum outro caminho excepto a dissolução do projeto europeu no médio prazo. E qualquer um dos três caminhos referidos exige uma clarificação que decorre da perspetiva de um projeto político para lá do projeto económico. Uma situação de impasse maquilhado por avanços e recuos táticos desgastam o conjunto da União e as suas partes, com perdas maiores de curto prazo para os países mais frágeis em termos económicos mas com perdas gerais para todos no médio e no longo prazo.

A Cultura tem um papel fundamental nas políticas de coesão, no desenvolvimento económico e nas políticas de inclusão social.

A Cultura gera riqueza na indústria, na área dos serviços, no desenvolvimento do território, na afirmação global da pluralidade a que corresponde a diversidade cultural europeia, na afirmação de uma literacia plena e consequentemente de uma

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democracia dos cidadãos.

Numa Europa plural, coesa e aprofundada, enquanto a maior potência económica mundial e o melhor espaço para se viver do planeta, a Cultura desempenha o papel de um cimento essencial na construção do projeto europeu.

Na perspetiva de um crescimento inteligente, inclusivo e sustentável, a Cultura será nos próximos anos elemento essencial a tomar em conta nos cenários de sustentabilidade e desenvolvimento do Projeto Europeu.

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The 68 years that separate us from the end of the Second World War have set a path where the idea of Europe converges with the idea of Peace.

The recent threats to peace in Europe only reinforce the understanding that was built after the Second World War. The horrors of the War (1939-1945) were succeeded by an exhaustion of human and material resources. The creation of two antagonistic politico-military blocks in the European space did not prevent some countries from taking the initiative to move towards a path of Community with the creation of the European Coal and Steel Community, established in 1951 by France, Belgium, West Germany, Holland, Luxembourg and Italy, which led to the European Union with 28 member countries in 2013, a complex Union, opened to new members and with difficulties on the consolidation of its own path.

The most recent economical/financial crisis on a global scale, has put a significant pressure on the European Union´s space - physical space and conceptual space. For the first time since its creation, the European Union´s budget for the Multiannual Financial Framework 2014-2020 was reduced regarding the previous period.

The European Union´s budget represents, approximately, 1% of Europe 28´s GDP, but I think we all understand that the political value of the Union cannot be measured by the value to which this basis of minimum consensus regards.

Culture is an essential element in the construction of the European project and it is the European governments´ mission to actively contribute to the acknowledgement of this role, through thoughts, words and actions. The budget issue is certainly important but, prior to that, there is the acknowledgement of the Culture´s place as an element of political relevance in a not merely subsidiary way.

The subsidiarity principle of the Union, concerning the cultural policies, according to the Treaties, is not equivalent to a minority principle of the political value of Culture.

The maintenance of a subsidiarity perspective predicted in the Treaties does not affect a greater commitment towards the importance of Culture in the European space.

Can we consolidate the European Union exclusively in an economical way? We already know that the answer is no.

The deepening level of the relations on the Union´s framework is, nowadays, so complex that it only allows three options: - Political deepening of the whole Union; - Multi-speed Europe; - Voluntary departure of some countries not interested in a common path.

There is no other way except the dissolution of the European project on a medium term. Any of these three options need a clarification that follows the perspective of a political project beyond the economical project. A deadlock situation masked with tactical advances and retreats wears down the Union and its parts, with bigger losses on a short term for the economically fragile countries but with general losses for all the countries on a medium and long term.

Culture plays a key role on the cohesion and social inclusion policies and on the economic development.

Culture generates wealth on industry and services; territory´s development; a global expression of plurality to which correspond a European cultural diversity; an expression of a full literacy and, therefore, of a citizen´s democracy.

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On a plural, cohesive and deepened Europe, as the World´s largest economy and the best area to live on the Planet, Culture plays the role of essential cement on the construction of the European Project.

In the perspective of a smart, inclusive and sustainable growth, Culture will be, in the coming years, an important element to take into account on the scenarios of sustainability and development of the European Project.

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Rom창nia Romania

“The history of the European identity believes Jean Monnet to have said that “If I could start again, I would begin with culture”. Paraphrasing, we can say that it is the right time for rebuilding the European project and placing culture at the heart of the European construction.”

Kelemen Hunor

— Viceprim-ministru, Ministeru Culturii — Deputy prime minister, Minister of Culture

Uniunea Europeană are în acest moment nevoie de o Renaştere, o nouă dimensiune care să contracareze euroscepticismul şi lipsa de încredere în proiectul european cu care ne confruntăm tot mai des şi mai pregnant. În acest sens, cultura, cu profundul său potenţial identitar, reprezintă unul dintre vectorii esenţiali ai revitalizării Europei prin prisma valorilor culturale pe care cetăţenii europeni le împărtăşesc într-o lume aflată într-o continuă globalizare. După cum cunoaștem, cultura este unul dintre factorii principali ai coeziunii sociale, reușind, chiar și în perioadele de criză economică, să întărească sentimentul de unitate și apartenență la un spațiu comun, atât din punct de vedere geografic, cât și simbolic.

Ca atare, în contextul reorganizării echipei de comisari europeni, este momentul să ne consolidăm eforturile şi să lucrăm împreună la o re-gândire a Europei prin intermediul produselor culturale, prin încurajarea profesioniştilor din domeniul culturii şi crearea unor legături reale şi dinamice între sectoarele culturale şi creative pe de o parte, şi domeniile adiacente, de cealaltă parte. Numeroase date statistice demonstrează faptul că domeniul cultural şi, ab extensio, creativitatea reprezintă un motor pentru bunăstarea economică şi socială, contribuind în mod profund, printre altele, la crearea de locuri de muncă, la incluziunea socială, precum şi la dezvoltarea unui spirit antreprenorial în rândul populaţiei tinere.

La nivel european, este astfel necesară elaborarea şi implementarea unei abordări centrifuge şi integratoare a culturii (inclusiv a noilor aspecte legate de cultura digitală), precum și dezvoltarea unei sinergii la nivelul direcțiilor din cadrul Comisiei Europene care gestionează dosarele culturale, astfel încât să eficientizăm procesul decizional european și să evităm actuala fragmentare a acestuia. Interdependenţa sectoarelor şi domeniilor de activitate, care există deja de facto, necesită o coordonare a intervenţiilor, care să asigure un echilibru între nevoile specifice fiecărui domeniu şi o coerenţă a politicilor la nivel naţional şi european. De aceea, promovarea, la nivelul Comisiei Europene, a unui portofoliu cultural mai comprehensiv, cu un sprijin politic adecvat, este utilă nu doar pentru reducerea disparităţilor regionale şi a dezechilibrelor în dezvoltarea teritorială, ci şi pentru consolidarea contribuţiei culturii la dezvoltarea altor sectoare socio-economice. În același timp, în linie cu Concluziile Consiliului privind patrimoniul cultural ca resursă strategică pentru o Europă durabilă, adoptate în mai 2014, este nevoie de un efort comun la nivel european pentru promovarea și valorizarea atât a patrimoniului cultural, cât și a creației contemporane.

Parafrazând-ul pe Jean Monnet, căruia istoria identității europene îi atribuie celebra frază „Dacă aș începe din nou, aș începe cu cultura”, putem spune că ne aflăm acum la momentul oportun pentru o re-zidire a proiectului european. Este necesar să profităm de acest prilej pentru a aşeza cultura la baza edificiului european, întrucât aceasta reprezintă elementul central care însuflețește această importantă construcţie comunitară. Avem, cu alte cuvinte, responsabilitatea să investim în Europa. Iar a investi in Europa înseamnă, în contextul actual, a investi în cultură care nu trebuie privită ca un domeniu de interes periferic, ci trebuie valorizată pentru a-și atinge întregul potențial.

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The European Union needs a Renaissance, a new dimension that must be able to tackle the euro-scepticism and lack of confidence in the European project that we are facing more and more often. In this regard, culture, with its profound identity-defining potential, is one of Europe’s main vectors for revitalization, through the cultural values that all Europeans share in a globalizing world. Furthermore, as we all know, not only does culture represent one of the most important factors for social cohesion, but, even in times of economic turmoil, it also manages to strengthen the feeling of unity and belonging to a common space, both geographic and symbolic.

Therefore, given the reorganization of the European Commission, it is time to strengthen our efforts and work together in order to re-think Europe through its cultural products, by encouraging professionals in the field of culture and by creating real and dynamic links between cultural and creative sectors, on one hand, and adjacent areas on the other. Many statistics show that culture and creativity are an engine for economic and social welfare, contributing, inter alia, to job creation, social inclusion and promoting entrepreneurship amongst young people.

At European level, it is thus necessary to elaborate and implement a centrifugal and inclusive approach to culture (incorporating the newly-emerged aspects of the digital culture). At the same time, it is important to develop a synergy between the different specialized directions within the European Commission that handle cultural matters, with a view to improve the decision-making process at European level and overcome its current fragmentation. The interdependence of sectors and branches of activity, which de facto exists, requires coordinated interventions, in order to ensure a balance between the needs of each branch as well as policy consistency at national and European level. Therefore, fostering, in the European Commission, a more comprehensive cultural portfolio, with adequate political support, is useful not only for reducing regional disparities, but also for strengthening the role of culture in other socio-economic sectors. Moreover, in line with the Conclusions on cultural heritage as a strategic resource for a sustainable Europe, which we adopted in May 2014, we need to engage in a common effort for the promotion and valorisation of both cultural heritage and contemporary creation.

The history of the European identity believes Jean Monnet to have said that “If I could start again, I would begin with culture�. Paraphrasing, we can say that it is the right time for re-building the European project. It is imperative to take advantage of this momentum and place culture at the heart of the European construction, since it represents one of its vital elements. We have, in other words, the responsibility to invest in Europe. And, in the current context, to invest in Europe, means to invest in culture, which must not be regarded as a peripheral field, but rather as a valuable, high-potential sector.

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Slovensko Slovakia

“What culture can offer the EU is even more important than what the EU can offer culture. Culture represents a unique means for coming together and overcoming national barriers.“

Marek Maďarič — Minister kultúry — Minister of Culture

1.Čo môže urobiť EÚ pre kultúru v budúcnosti a naopak, čo môže urobiť kultúra pre EÚ?

EÚ má v oblasti kultúry obmedzený manévrovací priestor, keďže na základe Zmluvy o EÚ oblasť kultúry spadá do kategórie podporných, koordinačných a doplnkových činností. V tejto oblasti preto EÚ vo vzťahu ku kultúre uskutočňuje len podporné aktivity, ktoré sú „pridanou hodnotou“ pre členské štáty. Je preto potrebné hneď na úvod uviesť, že v oblasti kultúry a jej podpory boli, sú a naďalej aj budú najdôležitejšie aktivity jednotlivých členských štátov. Aktivity na úrovni EÚ budú doplnkové v tých oblastiach, kde pre ne existuje pridaná hodnota.

EÚ sa preto môže v rámci dostupných možností snažiť rozvíjať a podporovať tie kultúrne aktivity, ktoré prinášajú v rôznych oblastiach kultúry pridanú hodnotu z hľadiska rozvoja cezhraničnej spolupráce v rámci EÚ. Je však dôležité aby sa táto spolupráca rozvíjala tam, kde je po nej reálny dopyt a poskytnutá podpora nevedie k umelej spolupráci a jednorazovým projektom, ktoré ukončia svoju činnosti po vyčerpaní dostupných verejných zdrojov. Účelom by preto malo byť dosiahnutie trvalo udržateľného modelu rozvoja kultúry. Príkladom sektoru kultúry, v ktorom existuje prirodzená vysoká miera internacionalizácie tvorivého procesu je oblasť audiovízie a to napríklad medzinárodné filmové koprodukcie, v rámci ktorých je spolupráca profesionálov a umelcov z viacerých štátov štandardom.

Ešte dôležitejšie ako to čo môže ponúknuť EÚ kultúre je to, čo môže kultúra ponúknuť EÚ. Kultúra predstavuje jedinečný prostriedok zbližovania a prekonávania národných hraníc. To je z hľadiska EÚ veľmi dôležité, keďže po formálnom odstránení bariér medzi členskými štátmi v rámci neustále sa posilňujúceho integračného procesu často zostáva tento potenciál v praxi len čiastočne naplnený. Čo sa týka nástrojov vytvorených na podporu kultúry v EÚ, najväčšie očakávania sa kladú na program Kreatívna Európa. Cieľom tohto programu je zvýšiť hospodársky rast a pracovné miesta práve v sektore kultúry a kreatívnych odvetviach, podporiť umelecké aktivity, profesionálov, spoločnosti a organizácie v kultúre, a tým im pomôcť osloviť nové publikum v Európe i mimo nej a zlepšiť ich vzájomné prepojenie, vzťahy a zručnosti.

2. Ako kultúra a prístupnosť kultúrnych tovarov ovplyvňuje kvalitu života občanov EÚ? Úloha kultúry je nezastupiteľná v procese udržania rovnováhy v spoločnosti. Na individuálnej úrovni dostupnosť kvalitných a rozmanitých kultúrnych tovarov a služieb prispieva k rozvoju kreativity jednotlivcov, skupín a komunít, vyhľadáva a rozvíja talenty, sprostredkúva informácie z oblasti umenia a kultúry.

Neoddeliteľnou súčasťou kultúry a prístupnosti kultúrnych tovarov je kultúrno-osvetová činnosť, ktorá prostredníctvom neformálneho vzdelávania poskytuje množstvo informácií z umenia, kultúry, histórie, vedy a techniky, a zároveň rozvíja zručnosti a kompetencie v oblasti kultúrneho dedičstva, manažmentu kultúry a mnohých odborných smerov, ktoré ďalej slúžia predovšetkým na rozvoj neprofesionálnej umeleckej tvorby na európskej, národnej, regionálnej a miestnej úrovni.

3. Existuje rovnováha medzi konzistentnou aplikáciou princípu subsidiarity a spoluprácou na EU úrovni? Chceme posilniť spoluprácu na EU úrovni v prospech našich umelcov a iných expertov z oblasti kultúry, alebo chceme dosiahnuť iba strop a najvyššiu možnú hranicu programov EU a ďalej nebudeme mat záujem pokračovať?

Vzhľadom na pretrvávajúci nedostatok finančných prostriedkov v oblasti verejnej podpory kultúry, je dôležité dosiahnuť najvyššiu možnú mieru verejnej podpory, ale prioritou by malo byť na úrovni EÚ dosahovanie čo najväčšieho reálneho dopadu na rozvíjanie nadnárodnej umeleckej spolupráce. Táto spolupráca by však vždy mala vychádzať z potrieb a iniciatív samotného odvetvia. Platí však, že nie je možné

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„garantovať“ konkurencieschopnosť kultúrnych odvetví.

V rámci posilnenia spolupráce v prospech našich umelcov je možné len pozitívne pôsobiť na vytváranie optimálnych podmienok pre európske subjekty pôsobiace v kultúrnych odvetviach tak, aby boli schopné sa efektívnejšie vyrovnávať s konkurenciou na globalizovanom trhu. Šírenie osvety v oblasti efektívneho využitia všetkých podporných mechanizmov nastavených v EÚ je takisto jedným z dôležitých nástrojov posilnenia spolupráce na EÚ úrovni.

4. Je kultúra adekvátne braná do úvahy vo všetkých relevantných EÚ politikách a má dostatok uznania a potenciálu v rámci tohto priestoru?

Kultúra je schopná zachytiť prierezovo široké spektrum verejných politík – aj takých, ktoré sa jej na prvý pohľad týkajú iba okrajovo. V rámci rozpracovania politík na celoštátnej úrovni má rezort kultúry svoje miesto aj v spoločensky vysoko aktuálnych témach sociálnej inklúzie, nediskriminácie či prevencie negatívnych spoločenských javov. Ministerstvo kultúry SR sa aktívne podieľa na formulovaní a implementovaní verejných politík z oblasti verejného zdravia (prevencia, informovanosť), prevencie negatívnych spoločenských javov (napr. extrémizmus), a predovšetkým ľudských práv (debarierizácia prístupu ku kultúre) vrátane práv detí (ochrana maloletých pred nevhodnými mediálnymi obsahmi).

Potenciál kultúry v menovaných oblastiach je významný, predovšetkým v oblasti odstraňovania mentálnych a informačných bariér v prístupe ku kultúre pre zraniteľné skupiny obyvateľstva, predovšetkým v oblasti sociálnej inklúzie a v oblasti odstraňovania stereotypov a predsudkov. Plné a efektívne využitie takéhoto potenciálu pri formulovaní konkrétnych verejných politík však predpokladá zabezpečenia adekvátnych finančných a odborných personálnych kapacít.

5.Sú potrebné nasledovné organizačné a štrukturálne opatrenia v rámci EU úrovne na integráciu kultúrneho porozumenia v EU politikách? Je Generálne riaditeľstvo pre kultúru vôbec potrebné?

Organizačné a štrukturálne opatrenia na presadzovane kultúrnych záujmov v EÚ, či už sú to pracovné skupiny a výbory Rady EÚ, Európskeho parlamentu, ale aj samotné generálne riaditeľstvo pre kultúru a vzdelávanie Európskej komisie, sú potrebné na tvorbu kultúrnej politiky EÚ, finančných mechanizmov a nástrojov na podporu kultúry v jednotlivých členských štátoch EÚ i mimo nej.

6.Čo môžeme spoločne urobiť pre kultúrny kreatívny priemysel, ktorý má vysokú pridanú hodnotu a výrazne prispieva k rozvoju spoločnosti? Je kultúra dostatočne braná do úvahy v rámci digitálnej agendy a ako by sme mali postupovať s projektom Europeana?

V súvislosti s potrebou adaptácie relevantných politik EÚ sa domnievame, že jediným spôsobom ako kontinuálne adaptovať stratégie a systémy verejnej podpory na realitu kultúrneho a kreatívneho priemyslu, je v úzkej spolupráci so sektorom samotným, keďže len vďaka relevantným subjektom zo sektora je možné určiť ich reálne potreby. Úlohou verejnej politiky v oblasti kreatívneho priemyslu by preto malo byť priebežne sledovať a vyhodnocovať, v dialógu so zástupcami samotného sektora, potrebu verejného zásahu, či už v oblasti legislatívnej alebo v oblasti implementácie podporných mechanizmov.

Kultúrny a kreatívny priemysel už v súčasnosti tvorí 4,5 % z hrubého produktu celej Európskej únie a poskytuje viac než 8,5 milióna pracovných miest pre vysokokvalifikovaných pracovníkov. Ide o mimoriadne perspektívne odvetvie, kde už len štatistiky hovoria o tom, že má vysokú pridanú hodnotu a vo vysokej miere prispieva k rozvoju spoločnosti.

7. Kedy bude v stratégii EU2020 pridaná vážnosť oblasti kultúry, ktorá priamo, alebo nepriamo ovplyvňuje tvorbu pracovných miest, rozvoja spoločnosti a sociálnu kohéziu?

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Primárnymi cieľmi stratégie Európa 2020 sú inteligentný, udržateľný, inkluzívny rast, ako aj hospodársky rast a prekonanie hospodárskej krízy smerom k roku 2020. Otázka zamestnanosti a podpory tvorby ekologickejšieho a konkurencieschopnejšieho hospodárstva a prostredia sú najčastejšie prerokúvanými témami na všetkých úrovniach EÚ. Oblasť kultúry síce v stratégii Európa 2020 nie je popisovaná priamo a nie je jej venovaná ani samostatná časť v dokumente, avšak témy ako sú Digitálny program pre Európu, Digitálna spoločnosť, inovácie, ako aj priemyselná politika na zlepšenie podnikateľského prostredia predovšetkým pre malé a stredne podniky sú témami, ktoré sú priamo, alebo nepriamo spojené s agendou kultúry a jej vplyvom na tvorbu pracovných miest, rozvoja spoločnosti a sociálnu kohéziu. Jedná sa všetko o politiky, ktoré treba presadzovať na regionálnej a vnútroštátnej úrovni, ako aj na úrovni EÚ. Vzhľadom na tieto skutočnosti je vplyv kultúry v stratégii Európa 2020 značný a nespochybniteľný.

Takisto je to jedna z prioritných tém zasadaní Rady ministrov a je zrejmé, že diskusia naberá na intenzit, kde kultúre a jej vplyvu sa venuje podstatne väčšia pozornosť ako to bolo v minulom období.

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1. What can the EU do for the culture of the future and what can culture do for the EU? The EU’s room for manoeuvring in the field of culture is limited, due to the fact that based on the Treaty on the European Union culture is classified in the category of support, coordination and complementary activities. As such, the EU only implements cultural support activities which have “added value” for member states. Therefore, to begin with, we must note that activities of individual member states were, are and will continue to be the most important in the area of culture and its support. Activities at the EU level will only be complementary in those areas where added value exists for them.

Therefore, according to the available possibilities, the EU can strive to develop and support those cultural activities which bring added value to various areas of culture in terms of cross-border cooperation within the EU. However, it is important to develop this cooperation where there is actual demand for it and where the provided support does not lead to artificial cooperation and single use projects which terminate upon the exhausting of available public resources. Therefore, the purpose should be to achieve a sustainable model for the development of culture. Audio-vision is an example of a cultural sector with a high degree of internationalization of the creative process. For example, international film co-productions where cooperation among professionals and artists from several states is a standard.

What culture can offer the EU is even more important than what the EU can offer culture.

Culture represents a unique means for coming together and overcoming national barriers. This is very important in terms of the EU, since this potential frequently remains only partially implemented after the formal elimination of barriers among member states as a result of the permanently strengthening integration process.

Concerning those instruments created for the support of culture in the EU, the greatest expectations are borne by the Creative Europe programme. This programme aims at increasing economic growth and creating jobs in the cultural and creative sectors, supporting artistic activities, professionals, communities and organizations in culture and thus helping to address a new audience in Europe and beyond and improve their mutual links, relations and skills.

2. How do culture and the accessibility of cultural products affect the quality of life of the EU population?

The role of culture is irreplaceable in the process of maintaining balance in society.

At the individual level, the availability of various cultural goods and services of high quality contributes to the development of the creativity of individuals, groups and communities, searches for and develops talent, and mediates information related to culture and art.

Cultural and educational activities, which through informal education provide an abundance of information related to art, culture, history, science and technology and also develop skills and competences in the area of cultural heritage, cultural management and many expert specializations which further serve for the development of non-professional artistic work at the European, national, regional and local levels, represent an inseparable part of culture and accessibility to cultural goods.

3. Is there a balance between the consistent application of the principle of subsidiarity and cooperation at the EU level? Do we want to empower cooperation at the EU level in favour of our artists and other cultural experts or do we want to achieve only the ceiling and the highest possible limit of EU programmes without any further interest in continuing?

Because of the persistent lack of funds for the public support for culture, it is important to achieve the highest possible degree of public support; yet achieving the greatest

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actual impact on developing supranational artistic cooperation should be a priority at the EU level. Although this cooperation should always be based on the needs and initiative of the sector itself, it is not possible to “guarantee” the competitiveness of cultural sectors.

By strengthening cooperation in favour of our artists, we can only positively affect the creation of optimal conditions for European entities operating in the cultural sector to ensure that they are able to effectively cope with competition in the globalized market. The dissemination of information related to the efficient use of all EU support mechanisms is also one of the important instruments for empowering cooperation at the EU level.

4. Is culture adequately considered in all relevant EU policies and does it have sufficient respect and potential within this space?

Culture is able to encompass a wide spectrum of public policies – even those which are only marginally related to it at first sight. When elaborating policies at the national level, culture has its place even in highly topical themes of social inclusion, non-discrimination and the prevention of negative social phenomena. The Ministry of Culture of the SR actively participates in forming and implementing public policies in the fields of public health (prevention, information), the prevention of negative social phenomena (such as extremism), and especially human rights (eliminating barriers to access to culture) including the rights of children (protection of minors from improper media content).

The potential of culture in these areas is significant when working to eliminate mental and information barriers to access to culture for vulnerable groups of the population particularly in terms of social inclusion and the elimination of stereotypes and prejudice. However, the full and effective use of such potential in formulating actual public policies anticipates ensuring adequate financial and expert staffing capacities.

5. Are the following EU organizational and structural measures aimed at the integration of cultural understanding in EU policies necessary? Is the DirectorateGeneral for Culture necessary at all?

The organizational and structural measures that promote cultural interests in the EU, such as the working groups and committees of the Council of the EU, Europe (Council of EU)?, the European Parliament and the Directorate-General for Culture and Education of the European Commission are necessary for creating EU cultural policy, financial mechanisms and instruments that support culture in individual members states of the European Union and beyond.

6. What can we do together for the cultural creative industry which has high added value and markedly contributes to the development of society? Is culture sufficiently taken into consideration within the digital agenda and how should we proceed with the Europeana project?

In connection with the need to adapt relevant EU policies, we believe that close cooperation with the cultural and creative industry is the only way to continuously adapt strategies and the system of public support to the reality of the cultural and creative industry, since the actual needs of the relevant subjects from this sector can be determined only thanks to them. Therefore, the role of public policy in the creative industry should be to continuously monitor and evaluate the need for public intervention in dialogue with the representatives of this sector, in terms of legislation and the implementation of support mechanisms.

The cultural and creative industry creates 4.5 % of the gross product of the European Union and provides more than 8.5 million jobs for highly skilled workers. This sector, where even statistics demonstrate that it has high added value and greatly contributes to societal development, has immense potential.

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7. When will the EU 2020 Strategy sufficiently acknowledge the area of culture which directly or indirectly affects job creation, societal development and social cohesion?

Smart, sustainable, inclusive and economic growth and overcoming the economic crisis by 2020 are the primary goals of the Europe 2020 Strategy. Employment and support for the creation of a more ecological and competitive economy and environment are the most frequently discussed subjects at all EU levels. Although culture is not directly mentioned in the Europe 2020 Strategy and a separate section is not dedicated to culture in this document, the Digital Programme for Europe, the Digital Society, Innovations and Industrial Policy Improving the Business Environment for SMEs are directly and indirectly connected with the agenda of culture and its impact on job creation, societal development and social cohesion. This includes all policies that must be promoted at the regional, national and EU levels. Thus, the impact of culture on the Europe 2020 Strategy is significant and unquestionable.

This is also one of the priority topics at sessions of the Council of Ministers and it is obvious that this discussion has gained in intensity and that substantially greater attention is being paid to culture and its impact.

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Slovenija Slovenia

Jo탑e Suhadolnik, Delo

“I believe that one of the key challenges facing the cultural ministers of EU Member States is to find the way to empower the voice of culture within the EU and thus make it more audible and visible.

Culture represents a creative force with integration potential; it creates synergies and thus it may contribute significantly to strengthening active citizenship.“

Uroš Grilc, PhD — Minister za kulturo — Minister of Culture

Obdobje, v katerem se Evropska unija nahaja trenutno, bo v perspektivi verjetno obveljalo za prelomno. Zadnja leta so prenekatero izmed držav članic pahnila v primež ekonomske krize, ki za seboj potegne določeno perspektivo – perspektivo nujnih in manj nujnih vprašanj. Ta perspektiva se pogosto oblikuje na način, da v ospredje stopi reševanje gospodarstva, ostale človeške dejavnosti pa do izteka kriznega obdobja obveljajo za zamrznjene, skrb zanje je namreč preložena na obdobje prosperitete, ki mora šele nastopiti. Kolikor je ta drža za nek grob obči pogled razumljiva, jo vendarle moramo temeljito relativizirati. Pozablja namreč, da družba ne deluje kot vsota različnih, ločenih dejavnosti, marveč holistično, kot preplet panog, ki druga na drugo medsebojno vplivajo in se recipročno osmišljajo. Zato si je treba nenehno prizadevati, da kultura ne bi postala eno tistih področji, ki jih doživljamo kot nekakšen modni dodatek, ki je sicer dobrodošel, vendar za družbo ni odločujočega pomena. Kultura je namreč ob znanosti eden tvornih gradnikov stanja v družbi, ki s svojo možnostjo za kreativnost in razvoj šele odpira prostor, znotraj katerega se lahko ideje o napredku in spremembi razvijejo in zaživijo. Če ne bomo pripravljeni vedno, ne glede na situacijo, skrbeti za njeno dobrobit, na določeni točki morda ne bo več povsem jasno, za kaj v družbi nam pravzaprav gre in kaj z ekonomskimi ukrepi pravzaprav rešujemo.

Zato je po mojem prepričanju eden ključnih izzivov, ki jih prihodnost postavlja pred kulturne ministre držav članic Evropske unije, poiskati način, da bo glas kulture znotraj EU bolj slišen in prepoznaven. Kultura namreč predstavlja ustvarjalno silo, ki je povezovalna, ustvarja sinergije, zato verjamem, da lahko odločilno pripomore h krepitvi aktivnega državljanstva. EU kot monetarna skupnost in skupni trg - čeprav zelo potrebna – namreč ni dovolj privlačna, da bi pri državljanih spodbudila pozitivna čustva, občutek pripadanja skupnemu evropskemu prostoru se lahko zgodi le na podlagi vrednot in smisla, ne zgolj vrednosti.

Menim, da je ta cilj najlažje doseči s partnerstvi, saj le-ta prinašajo dodano vrednost, izmenjavo izkušenj, znanj in širijo obzorja. Kakšna partnerstva imam v mislih?

(1) Partnerstva med državami članicami: ves čas je treba aktivno iskati ravnovesje med popolnim upoštevanjem načela subsidiarnosti in okrepljenim sodelovanjem na področjih kulture, ki jih države članice prepoznavajo kot prioritetna in na katerih EU lahko pomeni dodano vrednost.

Jasen dokaz za pomen partnerskega sodelovanja so prispevki delovnih skupin strokovnjakov, ki so v okviru odprte metode usklajevanja pripravili preglede dobrih praks, pa tudi priporočil za različna področja kulture. Menim, da je ta metoda (open method of coordination), ki smo jo prvič preizkusili v času prvega predsedovanja Slovenije EU, že prinesla pomembne rezultate. Želim si, da bi rezultate dela strokovnih skupin in študij v prihodnje še bolj intenzivno vključevali v delo Sveta, kadar je to primerno, pa jih upoštevali tudi na nacionalnih ravneh. Največji izziv kulturne politike po mojem mnenju namreč še vedno predstavlja priprava ukrepov in politik, ki bodo temeljila na preverjenih in primerljivih statističnih podatkih.

(2) Partnerstva z drugimi politikami na ravni EU: kulturo je treba na EU in nacionalnih ravneh načrtno horizontalno umeščati v druge relevantne politike, ki znatno vplivajo tako na položaj umetnikov in drugih ustvarjalcev, ki delujejo znotraj področja kulture, pa tudi na področje kulture samo (politike s področja izobraževanja, znanosti, mladih, gospodarstva, intelektualnih pravic, digitalne agende, okolja, socialnih zadev, zunanjih zadev in še bi lahko naštevali). Že v letu 2015 bomo soočeni z izjemno pomembnim vprašanjem spremembe direktive o davku na dodano vrednost, kjer bomo imeli edinstveno priložnost, da obdavčitev e-knjige izenačimo z obdavčitvijo tiskane knjige, s tem pa spodbudimo razvoj založništva v vseh njegovih segmentih in povečamo dostopnost knjige. Stanje, po katerem je tiskana knjiga danes skozi oči EU zakonodaje razumljena kot kulturna dobrina (in ji je s tem dana tudi možnost, da je obdavčena po nižji stopnji), elektronska pa je dojeta kot »storitev«, ne ustreza več realnosti, zato ga je treba nujno spremeniti

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Pomena sklepanja takšnih partnerstev z drugimi področji se v Sloveniji jasno zavedamo, zato smo v Nacionalnem programu za kulturo 2014-2017 poudarili potrebo po celostnem razumevanju vloge kulture in posledično sprejeli ukrepe za njeno umeščanje v vse relevantne politike. Te procese moramo torej peljati vzporedno tako na nacionalnih ravneh, kot na ravni EU. (3) Partnerstva s civilno družbo: nenehno je treba krepiti sodelovanje s civilno družbo, posebej ko gre za evalvacijo in pripravo politik na področju kulture. Sodelovanje naj bo jasno opredeljeno in konkretno, nanj pa je potrebno gledati kot na konstantno odvijajoči se proces.

(4) Partnerstva z Evropsko komisijo in Evropsko službo za zunanje politično delovanje: Ko razmišlja o prihodnosti, Slovenija meni, da bi morale biti pristojnosti prihodnjega komisarja/ke za kulturo okrepljene in razširjene tudi z avdiovizualnimi zadevami, digitalno agendo (skrb za Europeano mora nazaj v pristojnost komisarja za kulturo), morda tudi z avtorskimi pravicami. Znotraj tega bi bilo smiselno, da se ustanovi poseben generalni direktorat za področje kulture, avdiovizualnih zadev in digitalne agende.

Pri Visokem predstavniku Unije za zunanje zadeve in varnostno politiko bi bilo prav tako treba ustanoviti organizacijsko enoto za promocijo kulturne raznolikosti in medkulturni dialog, ki bi skrbela za primerno promocijo kulture v zunanjih odnosih EU. Oboje je izjemno pomembno tako na organizacijski, še bolj pa na simbolni ravni. Dokazalo bo namreč, da v EU kulturo jemljemo resno.

(5) Partnerstva z mednarodnimi organizacijami: Ne zadovoljimo se le z našim okrepljenim sodelovanjem na EU ravni, pač pa razmislimo tudi o možnosti okrepitve našega sodelovanja z mednarodnimi organizacijami, zlasti z UNESCOM in Svetom Evrope.

Veliko dobrih sodelovanj je že vzpostavljenih, ena uspešnih je nedvomno Ljubljanski proces, s katerim Svet Evrope ob podpori Evropske unije skrbi za rehabilitacijo kulturne dediščine v JV Evropi. Takšnih projektov bi lahko bilo še več.

Kultura je že po svoji naravi vključevalna. Iz skupine ljudi ustvarja družbo, osmišlja in veže življenje v skupnosti. Ker je Evropska unija več kot zgolj monetarna ali gospodarska unija, ker je torej identitetna skupnost, ki je zrasla na podlagi dolgih stoletji skupne, močno prepletene zgodovine, verjamem, da je zdaj pravi trenutek, da tudi odločevalci na področju kulture bolj odločno kot doslej poudarimo partnerstva in jih začnemo tudi aktivno uveljavljati. Samo tako bomo od življenja v skupnosti potegnili tisto najboljše, o čemer priča tudi moto Unije, združenost, katere tvorni temelj je prav raznolikost njenih članic. In dostopnost kulture, skratka možnost za dejavno participacijo državljank in državljanov v kulturi je garancija razvoja naše skupnosti. Zato so dejavnejši in celovitejši ukrepi za podporo kulturnemu sektorju na ravni Evropske unije nujno potrebni.

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In the present perspective, the period which the European Union is currently in will most probably turn out to be a major turning point. In recent years, many a Member State has been plunged into the grip of economic crisis, entailing a certain perspective – that of there being urgent and less urgent issues. This perspective often puts rescuing the economy in the forefront, while other human activities are deemed to be put on ice, so to speak, until the end of the crisis, only to be taken care of in some future period of prosperity. Though from a certain rather general point of view this attitude is understandable, it still needs t be thoroughly relativised. It ignores the fact that the society, rather than functioning as a sum of different, independent activities, is a holistic result of interrelated spheres of activity which influence and give sense to each other. Therefore it is necessary to continually strive to prevent culture, for example, becoming just another area perceived as a kind of fashion accessory, welcome maybe but of no vital relevance for society. Next to science, culture is one of the most active elements of the state of society – through its creative and developmental potential, it opens up the space within which ideas of progress and change may evolve and come to life. If we are not ready at all times, irrespective of the situation, to look after its welfare, at some point we may cease to see clearly what our society is aiming at and what are we trying to solve by our economic interventions.

Therefore I believe that one of the key challenges facing the cultural ministers of EU Member States is to find the way to empower the voice of culture within the EU and thus make it more audible and visible. Culture represents a creative force with integration potential; it creates synergies and thus it may contribute significantly to strengthening active citizenship. The EU as merely a monetary community and common market – though this is much needed – is not attractive enough to evoke in citizens positive emotions and raise their awareness of belonging to a common cultural area, which can only stem from common ethical values and sense and not material value alone.

I believe this objective is most easily attainable through partnerships, as these bring added value and exchange of experience and knowledge and broaden horizons. What partnerships am I referring to?

(1) Partnerships between Member States: all the time it is necessary to actively seek balance between full compliance with the principle of subsidiarity and enhanced cooperation in the areas of culture that are recognised as priorities by Member States and on the basis of which the EU may gain an added value.

The importance of partnership has been clearly shown by the contributions of working groups that have prepared an overview of good practices and recommendations for different areas of culture by way of an open method of coordination. I believe that this method, i.e. the open method of coordination, which was first tested during Slovenia’s EU Council presidency, has already yielded important results. I hope, moreover, that in the future the results of the work of expert groups and studies are even more intensively included in the work of the Council and, where appropriate, taken into account at national levels. To my mind, the greatest challenge to cultural policy remains the preparation of actions and policies that are based on verified and comparable statistics.

(2) Partnerships with other policies at the EU level: at EU and national levels, culture should be systematically incorporated horizontally into other relevant policies which significantly influence not only the status of artists and other creators working within the field of culture but also the cultural sphere itself (so policies in the fields of education, science, youth, the economy, intellectual property rights, the digital agenda, the environment, social affairs, foreign affairs and so on). Already in 2015 we will be faced with the extremely important issue of amendments to the value added tax directive, where we will have a unique opportunity to equalise the taxation of e-books with the taxation of printed books and thus promote the development of publishing in all its

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segments and increase the accessibility of books. The situation where the printed book is currently perceived through EU legislation as a cultural asset (and thus also taxed at a lower rate) whereas the e-book is treated as a service no longer corresponds to reality, so this does need to be changed.

In Slovenia, we are well aware of the importance of concluding such partnerships with other areas. Therefore in the National Programme for Culture 2014–2017, we have emphasised the need for a comprehensive understanding of the role of culture and consequently adopted measures for its integration into all relevant policy areas. These processes must be therefore carried out parallely at both the national and EU levels.

(3) Partnerships with civil society: constant strengthening of cooperation with civil society is needed, particularly when it comes to evaluation and policymaking in the field of culture. This cooperation should be clearly defined, specific and perceived as a constantly evolving process.

(4) Partnerships with the European Commission and the European External Action Service: when thinking about the future, in Slovenia we believe that the competencies of the next Commissioner for Culture should be extended to include audio-visual contents, the digital agenda (Europeana should again fall within the remit of the Commissioner for Culture) and possibly also copyright. Within this context, it would be reasonable that a separate Directorate-General for Culture, audio-visual affairs and the digital agenda be established.

Furthermore, an organisational unit for the promotion of cultural diversity and intercultural dialogue should be set up at the High Representative of the Union for Foreign Affairs and Security Policy – this would be responsible for the appropriate promotion of culture in the EU’s external relations. Both institutions would be important not only from the organisational point of view, but even more at a symbolic level, as they would demonstrate that the European Union takes culture seriously.

(5) Partnerships with international organisations: let us not only focus on enhanced cooperation at the EU level, but also consider taking a step forward and reinforcing our cooperation with other international organisations, in particular with UNESCO and the Council of Europe. We have established many cooperation frameworks, one of which is undoubtedly the Ljubljana Process, through which the Council of Europe, supported by the European Union, implements the concept of cultural heritage rehabilitation in South-East Europe. There should be more such projects.

Culture is by its nature inclusive. From a group of people it creates society; it gives meaning to and integrates life in the community. As the European Union, rather than just a monetary or economic union, is an identity union stemming from long centuries of common and strongly intertwined history, I believe that now is the moment for the decision-makers in the field of culture to stress more strongly than before the importance of partnerships and start actively implementing them. Only in this way will we derive from life in the community the best form of unity – and this is also the motto of the Union – , one whose creative basis is the very diversity of its members. And as the accessibility of culture, i.e. the opportunity for active participation of citizens in culture is a guarantee of the progress of our community, so more active and comprehensive measures to support the cultural sector at the EU level are indispensable.

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Espa単a Spain

“Culture has the potential to contribute to help build a more unified Europe and strengthen solidarity and mutual trust, now damaged by the inequalities caused by the current economic and financial situation.“

José Ignacio Wert Ortega

— Ministro de Educación, Cultura y Deporte — Minister of Education Culture and Sport

Las grandes obras de la naturaleza se miden en milenios, las de la humanidad en siglos. No sabemos a ciencia cierta cuándo comenzó la construcción europea, pero sí sabemos que sus manifestaciones culturales abarcan centurias. Y si hay algo imprescindible y omnipresente en la noción de Europa –aunque en ocasiones resulte imperceptible–, eso es su cultura.

No es este el espacio más adecuado para resumir la vastísima herencia cultural europea; citar algunos nombres solo llevaría injusticia a los cientos o miles que no encontrarían acomodo en estas líneas. Sí podemos afirmar, en cambio, que la cultura europea es portadora de las grandes ideas y valores de la humanidad, refleja la dignitas que hay en el ser humano y conduce al encuentro con su mejor yo.

La cultura europea representa un ideal de civilización y a ella debemos recurrir para sustentar la sólida unión de la que ahora disfrutamos. El aumento del euroescepticismo es una amenaza para la Unión Europea, ya que limita la posibilidad de una mayor integración, aspecto que actualmente se configura como urgente y necesario. La cultura tiene la potencialidad de contribuir a hacer más viable una Europa unificada y a fortalecer la solidaridad y la confianza mutua, dañadas por las desigualdades generadas por la situación económica y financiera. Es la cultura la que debe ser portadora de la necesidad de una Europa unida, la misma que ha garantizado la paz entre nuestros pueblos desde 1945, pues “nada hay que acerque tanto a los hombres como la cultura”, como nos recordó Francisco Pi y Margall. Es por ello que la labor de las instituciones comunitarias y de los Estados miembros debe ir destinada a lograr una mejor comprensión y apreciación de la cultura, de nuestra diversidad y del patrimonio compartido; esto ayudará a consolidar el sentimiento de pertenencia a la Unión Europea y a reforzar el diálogo intercultural. No podemos ignorar nuestra tradición. Es esencial promover un mayor acceso y visibilidad de la cultura y aumentar su dimensión europea.

El conocimiento y la cultura son nuestros mayores activos y una de nuestras principales aportaciones al mundo. Por ello debemos conservar nuestro legado cultural, hacerlo prosperar y transmitirlo por todos los canales disponibles.

Estamos en un momento crucial en el que las posibles debilidades estructurales requieren de nuestro esfuerzo para establecer soluciones en materia de empleo, competitividad, productividad y cohesión social. En estas circunstancias, la cultura debe desempeñar un papel significativo por su aportación a la creatividad, a la innovación y al conocimiento. Las industrias culturales y creativas facilitan la consecución de estos objetivos a la vez que fomentan la competitividad, el diálogo intercultural y el desarrollo local y regional. Estas industrias son cada vez más importantes para la economía, el crecimiento y el empleo, sin dejar de ser esenciales para la equidad y la calidad de vida de nuestras sociedades.

En tiempos de crisis económica, con los problemas sociales que esta conlleva, el acceso a la cultura debe funcionar como un instrumento eficaz para posicionar a los países de la Unión en primera línea del proceso de desarrollo humano sostenible. La cultura debe, por un lado, reforzar el sentido de ciudadanía y, por otro, contribuir a la cohesión social.

La acción en materia cultural por parte de la Unión que define el artículo 6 del Tratado de Funcionamiento de la Unión Europea es de apoyo y complementaria a las políticas nacionales, siempre respetando el principio de subsidiariedad. Dadas estas limitaciones, la metodología establecida para potenciar el papel de la cultura en el ámbito europeo es el método abierto de coordinación, que consiste en avanzar en los acuerdos sobre una base voluntaria y de cooperación reforzada. La Agenda Cultural Europea, y su desarrollo en los diferentes Planes de Trabajo, cuenta con la participación activa de la mayoría de los Estados miembros. Así, la cultura ocupa un espacio relevante en el debate comunitario. En este sentido, las cooperaciones transnacionales que

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establecen los diferentes Programas Europeos de este septenio (2014-2020) permitirán una colaboración estrecha del sector cultural y creativo en diferentes ámbitos, así como una mejora significativa de las relaciones con la sociedad civil y con el sector cultural y creativo del resto del mundo –países terceros y organizaciones internacionales–.

Además, el programa Europa Creativa promoverá proyectos que generen nuevas audiencias, un mayor tejido organizativo e industrial y una mejora de la calidad de los bienes y servicios culturales europeos.

A pesar de todos estos avances en el diseño de una cooperación cultural más sólida, sería necesario redefinir las prioridades culturales para los próximos años con un mayor criterio estratégico y político. La cultura debe ocupar una posición central dentro de las políticas que afectan al desarrollo de la Unión Europea. La cultura no debe ni puede percibirse como un ámbito aislado, sino que es preciso situarla en la base de la acción comunitaria y elevar este componente transversal a otras áreas –empleo, agenda digital, formación, mercado interior o medio ambiente–. La actual revisión de la Estrategia Europa 2020 y las nuevas propuestas que la Comisión presentará en enero de 2015, deberían permitir una visión integrada de la cultura y de las industrias culturales y creativas en el resto de las políticas de la Unión Europea.

Esta visión holística es particularmente importante en la era de la economía digital.

La aparición de Intenet y de la llamada Sociedad de la información ha supuesto una revolución en la manera en que los ciudadanos disfrutan de la cultura. El acceso es más amplio, efectivo, global y diverso, al mismo tiempo que los creadores disponen de nuevas herramientas para la creación y distribución de sus obras. Internet ofrece la emancipación al artista.

La cultura en el entorno digital constituye el activo principal para la competitividad de la economía europea. En este sentido, la cultura debe estar presente en la aplicación de la Agenda Digital Europea ya que, además, contribuye a minimizar los obstáculos que dificultan su efectividad: la fragmentación de los mercados digitales, la homogenización cultural, las carencias en la alfabetización y la capacitación digital.

En la digitalización de la cultura hay que destacar dos aspectos fundamentales: el apoyo a los creadores y a los contenidos culturales legales en línea y la digitalización del patrimonio cultural y audiovisual. A estas prioridades básicas habría que añadir el soporte necesario para hacerla realidad, es decir, la protección de la creación y de los derechos de autor en la red; el reflejo de la diversidad cultural de la Unión Europea; nuevos modelos de negocio que faciliten la creación y el acceso del público; y lograr los recursos financieros adecuados, a nivel regional, nacional y europeo, mediante el fomento de la participación público-privada.

Nuestro trabajo a favor de democratizar la cultura debe ser constante y se verá recompensado por el hecho de que existe una enorme interrelación entre las distintas formas de participación cultural: una vez que ganemos un espectador, un lector o un oyente, este queda fidelizado para otros consumos culturales. Esa posibilidad de fidelizar al público debe suponer un aliciente para nuestras políticas puesto que es una de las más potentes externalidades de la cultura.

Como conclusión, quisiera subrayar la necesidad de que la Unión Europea lleve a cabo un esfuerzo en consonancia con el reto al que se enfrenta: ser un referente mundial en innovación y en competitividad. El camino para lograrlo es el apoyo a la cultura y a la creatividad. El fondo de la cuestión es cómo desarrollar una mejor y mayor articulación de las industrias culturales y creativas con las estrategias de innovación tanto nacionales como comunitarias.

En definitiva, se trata de avanzar en la consideración de la cultura como uno de los pilares de la construcción europea y como un factor transversal en las estrategias

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europeas y en sus políticas de innovación y cohesión.

Debemos asumir la responsabilidad de la inmensa y magnífica herencia cultural europea porque a través de nuestra cultura haremos ciertas las palabras de Julián Marías: “Lo decisivo es que las naciones europeas están en Europa; es decir, que esta no es simplemente la suma de aquéllas, un resultado, sino al contrario: Europa es un ámbito preexistente a las naciones, irreductible a estas, y que por consiguiente siempre las excede”.

De este modo, seguiremos progresando para que la Unión Europea sea más que un proyecto, para que sea una realidad.

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Major works of nature are measured in millennia while those of humankind are measured in centuries. Even though we cannot state the exact date for the beginning of the construction of Europe, we have witnessed its cultural manifestations spanning centuries. If something is essential and omnipresent in Europe as a concept - though imperceptible at times-, that is Culture.

This is not the best place to summarize the vast European cultural heritage and giving some names would be only unfair to the remaining hundreds or thousands of people that would not be mentioned within these lines. However, we can definitively say that the European culture conveys great ideas and human values, reflects the ‘dignitas’ of the human being and leads us to an encounter with our best self.

The European culture represents an ideal of civilization, towards which we must turn in order to support the solid union we are able to enjoy nowadays. The rise of euroscepticism is a menace to the European Union, as it reduces the possibility of a greater integration, integration that is currently urgent and necessary. Culture has the potential to contribute to help build a more unified Europe and strengthen the solidarity and mutual trust, now damaged by the inequalities caused by the current economic and financial situation. Culture should be able to convey the necessity of a unified Europe, the one that has guaranteed peace amongst our people since 1945, as “nothing brings people together better than Culture”, as Francisco Pi and Margall reminded us. That is the reason why the work of the European Institutions and the European countries should be aimed at reaching a better understanding and appreciation of our culture, our diversity and our shared heritage. This will help consolidate the feeling of belonging to the European Union and strengthen the intercultural dialogue. We cannot ignore our tradition. And promoting a greater access to culture and increasing its visibility is essential in order to enhance its European dimension.

Knowledge and Culture are our greatest assets and one of our main contributions to the world. Thus, we should preserve our cultural legacy, make it flourish and transmit it in every possible way.

We are now living a crucial moment, in which all the structural weaknesses demand all our efforts to find solutions regarding unemployment, competitiveness, productivity and social cohesion. In these circumstances, Culture should have a significant role through its contribution to creativity, innovation and knowledge. The cultural and creative industries help the accomplishment of these objectives and also encourage competitiveness, intercultural dialogue and local and regional development. These industries are becoming really important for the economy, growth and employment of the countries, while also being of great relevance for the equity and the quality of life in our societies.

In times of economic crisis, with the consequent social problems that it entails, access to Culture should become an efficient tool to bring the European countries to the forefront of the process of the sustainable human development. Culture must, on the one hand, reinforce the sense of citizenship and, on the other hand, contribute to the achievement of social cohesion.

The action on cultural matters, as it is defined in Article 6 of the Treaty on the Functioning of the European Union, is to support, coordinate and supplement the national policies, while observing the principle of subsidiarity. Given these limitations, the established methodology to enhance the role of Culture in the European field is the open method of coordination, which consists of progressing in the agreements on a voluntary base of reinforced cooperation. The European cultural agenda and its development in the different workplans rely on the active participation of most of the Member States. Thus, Culture occupies a relevant space in the EU debate. In this

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sense, the transnational cooperation established by different European Programs for the period 2014-2020 will allow a close collaboration in the cultural and creative sectors of different areas, as well as a significant improvement of the relationships with the civil society and with the cultural and creative sectors of the rest of the world - third countries and international organizations. Furthermore, the Creative Europe program will promote projects which will result in the creation of new audiences, a greater organizational and industrial network and the improvement of the quality of the European assets and cultural services.

In spite of this progress in the design of a wider and stronger cultural cooperation, it would be necessary to redefine cultural priorities for the upcoming years with both strategic and political criteria. Culture must be at a central position within the policies that affect the development of the European Union. Culture cannot be perceived as an isolated area, but must be at the foundations of the EU action and it should be able to bring this cross-sectorial component to other areas such as employment, the digital agenda, training, internal markets or environmental matters. The current review of the Europe 2020 strategy and the new proposals that the Commission will present in January 2015 should build an integral vision of culture and the cultural and creative industries in the rest of the European Union policies.

This holistic vision is particularly important in this digital era. The appearance of the Internet and the so called Information Society has triggered a revolution in the way people enjoy culture. Access to Culture is more widely available, effective, global and diverse. At the same time, new tools for creation and distribution of their works are available to creators. This way, the Internet offers complete emancipation to the artist.

Culture in digital settings is the main asset for the competitiveness of the European economy. In this sense, culture must have a place in the implementation of the European digital agenda as it must also contribute to reduce the obstacles that may put its effectiveness at a risk: the fragmentation of the digital markets, the cultural globalization, illiteracy and the lack of digital training.

In the process for the digitalization of culture we have to highlight two essential aspects: the support to creators and the legalization of online cultural contents, and the digitalization of the cultural and audiovisual heritage. To these basic needs, we must add the necessary support to make it possible, that is: the protection of authors’ copyright and their work online, the protection of the cultural diversity of the European Union, new business models that facilitate cultural creativeness and the access of public to culture and the necessary financial resources, at regional, national and European level, through the participation of both public and private sectors.

Our work in favor of the democratization of Culture should be a constant and it will be rewarded by the interrelationship among the different ways of cultural participation: once we gain a spectator, a reader or a listener, we will have gained their loyalty for other cultural manifestations. This possibility of gaining ’faithful followers’ should be an incentive for our policies as this is one of the most powerful assets of Culture.

As a conclusion, I would like to highlight the need for the European Union to make a joint effort in line with the challenge that we are facing: to be a worldwide referent in innovation and competitiveness. The bottom line is how to develop a better and greater articulation of cultural and creative industries with the strategies of innovation on a national and EU level.

In essence, we are talking about giving Culture the consideration it deserves, as one of the main pillars of the European construction and as a cross-sectional factor for European strategies and its innovation and cohesion policies.

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We must assume the responsibility of the immense and magnificent European cultural heritage because it is through our culture that we will bring Julian Marias ´words to life: “The decisive fact is that all the European nations are in Europe; that is to say, Europe is not simply the sum of the European nations; on the contrary, Europe is an entity pre-existing to the nations, irreducible to them and, as a result, it will always exceed them�.

This way, we will continue to progress towards the completion of making of the European Union not just a project, but a reality.

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United Kingdom

“Culture permeates many aspects of our lives. Its importance to society and the economy is fundamental: and as we move into the age of the Digital Economy, its capacity to be a force for good will significantly increase.“

Ed Vaizey

— Minister of Culture and the Digital Economy

In the field of culture and creativity, the EU’s achievements are often underappreciated. Working with the Member States and co-ordinating activities across borders, the EU has helped to open up Europe’s rich cultural heritage and diversity to audiences across the continent and beyond. It has also created opportunities for artists and creative professionals to work in and with partners from other countries, and significantly increased the levels of cultural exchange.

Today however, Europe is at a crossroads. The EU is perceived by many of our citizens to be remote and overly bureaucratic. Some political groups question the rationale for the EU project. As we prepare for the next five years, with a new Commission and a new European Parliament, we must ensure that the EU addresses the issues that matter to the people of Europe and the issues that have an impact on their everyday lives: focussing on those areas where it can make a real difference and add value to the efforts of the Member States.

As we look to the future, the EU needs to find new ways to demonstrate and communicate the value of its work. For the cultural and creative sectors this means not only focussing on the intrinsic value of the arts – which is vital – but also looking at measures that will help them to develop and enhance their contribution to wider economic and social agendas: creating jobs, developing skills, promoting access and participation, and bringing people and communities together; as well as improving the collection and analysis of data and statistics to demonstrate the impact and benefits of culture and creativity.

The single market is one of the EU’s most important achievements. The EU must be ambitious in seeking to reduce regulation and remove barriers to cross-border trade in order to ensure that the cultural and creative sectors can benefit from the free movement of goods and services within Europe. The same applies to free trade agreements, where the EU should seek to maximise the opportunities for the cultural and creative sectors to benefit from the dissemination of their work beyond Europe’s borders.

At a time when public funding is under considerable pressure, we need to develop innovative funding models for culture. The new Creative Europe programme includes an innovative financial instrument to support loans to cultural and creative businesses, many of which are SMEs. The effectiveness of this new instrument should be closely monitored to ensure maximum impact across the EU so that lessons can be learned for similar initiatives in the Member States and by private sector organisations.

Philanthropy and donations from the business community and private individuals already provide valuable support for cultural and creative activities and organisations.

But there is scope for much more. With proper cultivation, businesses and private donors could give much greater support to our arts and heritage, enabling them to flourish during periods of public sector fiscal constraint.

Crowd-funding is an innovative new way of raising money to develop, produce, and market new products and services. For creative businesses and individuals it can offer a means of raising funds without recourse to traditional sources of funding in the public and private sectors. The Commission communication on crowd-funding published earlier this year set out the issues to be considered for the future development of this new means of fundraising. It is to be commended for undertaking such an important initiative.

The EU can support our efforts at national level to develop new sources of funding for the cultural and creative sectors by bringing together experts from across Europe to identify and analyse new funding models and sources of funding, disseminating information and good practice, and providing advice to policymakers. It can also ensure

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that its legal framework is fit for purpose, facilitating fundraising and encouraging responsible lending and borrowing in the cultural and creative sectors. Building on the work of the last few years, the EU can demonstrate the added value of an EU-wide approach to these issues.

It can also seek to develop new ways of funding its own cultural actions and programmes, for example through sponsorship by major European companies of the European Capitals of Culture programme, the European cultural prizes or cross-border co-operation projects.

At the same time it is important for the EU to respect the principle of subsidiarity, and not encroach on those areas which are properly the preserve of its Member States. We would be wary of treating culture as a ‘special case’ which would be largely protected from market forces. Competition, together with private sector funding, can help to stimulate the vibrant creativity which is the only real guarantee of long-term sustainability.

Our ability to generate investment in culture and creativity, whether it comes from the public sector or the private sector, is hampered by the difficulties of measuring its impact, both in terms of its contribution to innovation and economic development and its contribution to the well-being of society. Addressing these shortcomings, improving our understanding of the relationship between cultural activities, economic growth and social well-being, and ensuring comparability of the data and information we collect, will help us to make the case for culture and for investment – both public and private – in cultural activities and organisations.

The EU can help by providing a forum in which experts can come together to share information, understanding and experience, develop new methods of collecting and analysing data, and validate the benefits of culture in stimulating creativity, innovation, economic development and the social inclusion of marginalised groups.

Culture permeates many aspects of our lives. Its importance to society and the economy is fundamental: and as we move into the age of the Digital Economy, its capacity to be a force for good will significantly increase. That capacity merits careful cultivation.

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Culture for creative EU — Visions of Ministers of Culture for the Role of Culture in EU

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CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 351.854(4) 008(4) CULTURE for creative Europe [Elektronski vir] : visions of ministers of culture on the role of culture in the EU / editor Nataša Lombergar ; translations Ministries of Culture EU represented in the e-book. - El. knjiga. Ljubljana : Ministry of Culture of the Republic of Slovenia, 2014 ISBN 978-961-6370-22-6 (pdf) 274859008

Culture for a creative EU Visions by Ministers of Culture for the role of culture in the EU Ljubljana, August 2014 Publisher: Ministry of Culture of the Republic of Slovenia For the publisher: Uroš Grilc, PhD Editors board: Sonja Kralj Bervar, PhD, Nataša Lombergar, Katja Perat, Katarina Culiberg, Kristina Plavšak Krajnc Design and layout: Ivan Ilić / 0.10 Büro Translations: Ministries of Culture EU represented in the E-book URL: http://www.mk.gov.si ISBN 978-961-6370-22-6 (pdf) All rights reserved by Ministries of Culture EU as represented in e-book This E-book is a free copy. Issued by the Ministry of Culture of the Republic of Slovenia.

The contents of the contributions published in this e-book only reflect the views of the signed authors.

Photography on the cover page from the performance Valentina Turcu, Leo Mujić: Dangerous Liasons, co-production by the Slovene National Theatre Maribor, the Dubrovnik Summer Festival and the Ljubljana Summer Festival.

Photo: Tiberiu Marta/SNG Maribor

Culture for a creative EU Visions by Ministers of Culture for the role of culture in the EU Ministr y of Culture of the Republic of Slovenia — 2014