Creating Cultural Capital
The Cultural Policy and Action Department of the Council of Europe will launch a new project in 2004 called Creating Cultural Capital (CCC). The project's objectives are to develop capacity and participation in the new economy on the part of local level cultural producers; to promote European expertise in cultural entrepreneurship, which respects and adapts those local level cultural conditions which are the source of diversity and creativity; to create a network of local, regional and international cultural development agencies which are responsive to the needs of local level cultural producers and which will facilitate their access to the global market.
For more information, please contact: Madelena Grossmann at Madelena.Grossmann@coe.int
STAGE Project was launched by the Cultural Policy and Action Department of the Council of Europe in 2000 with the aim to create a framework for exchange and co-operation amongst countries in the Caucasus area and to assist them in the transition of their cultural policies.
One of the objectives of the project was to assist policy makers in implementing appropriate policies in order to respond to the challenges of democratic transition, notably new ways of financing, decentralization, privatisation, status of artists, and the development of civil society. To achieve these objectives, the Council of Europe invited several European cultural policy experts to contribute their texts and analysis.
This issue of Culturelink presents the publications that have appeared so far from within the STAGE Project. A summary and list of all reports, as well as PDF versions of some of these reports, can be found at the web portal of the Council of Europe at: http://www.coe.int/T/E/Cultural_Co-operation/Culture/Assistance_&_Development/S.T.A.G.E/Publications/
Baku - Azerbaijan: A Proposal of Cultural Strategy
by Markus Baumer, Strasbourg, Council of Europe, Cultural Policy and Action Department, DGIV/CULT/STAGE(2003)9, 2003, 35 pp.
This report is based on four chapters inspired by the recommendations of the earlier reports, the final declaration of the National Debate, and the three strands of cultural policy developed in 1994 by Phil Woods and Charles Landry. Part I is entitled: 'Promoting better advocacy for culture', or 'Creating a dynamic view of culture'. It gives the theoretical background necessary for the understanding of cultural development as a dynamic process within the economy and politics in an international and local context. The other three chapters include: Part II: 'Preserving the past', or 'Monitoring distinctiveness'; Part III: 'Supporting and developing the present', or 'Celebrating diversity', and Part IV: 'Providing for the future', or 'Harnessing creativity'.
Each part is followed by a conclusion and practical recommendations for local and/or national authorities.
A Policy Review of the Georgian Book Sector
by Grzegorz Boguta, Strasbourg, Council of Europe, Cultural Policy and Action Department, DGIV/CULT/STAGE(2003)5, 2003, 29 pp.
This report was prepared on the basis of a visit to Georgia in February 2002 and the collection of data about the Georgian book sector. Besides the overview of the Georgian book sector, the report includes recommendations for the stabilisation of the country's cultural and social policy, particularly with regard to the book sector.
A polyphony of potential : Cultural training provision and needs in Armenia, Azerbaijan and Georgia
by Ian Brown, Strasbourg, Council of Europe, Cultural Policy and Action Department, DGIV/CULT/STAGE(2003)7, 2003, 69 pp.
This report considers the broad context of cultural provision in Armenia, Azerbaijan and Georgia and the needs for change management produced by the events of the last fifteen years. It considers cultural training in a wider sense, to include arts education for school children and professional training of university students and young professionals, as well as considering the specific needs in the area of cultural management. It addresses the current situation and presents needs in all appropriate sectors, including museums, visual and performing arts, and libraries. It also considers the relationship between the central administrations and regional authorities in each country.
In its final section, Conclusions and Recommendations, the report identifies issues which must be addressed and makes recommendations concerning them, dealing first with general issues for the South Caucasus and then addressing specific issues country by country. In the country sections, the larger issues are first identified and appropriate recommendations made before specific training needs are identified for each country.
Imagination and regeneration: Cultural policy and the future of cities
by Charles Landry, Strasbourg, Council of Europe, Cultural Policy and Action Department, DGIV/CULT/STAGE(2003)3, 2003, 47 pp.
Imagination and regeneration describes how the debate on culture and cities has developed world-wide over the last decade. This debate has been largely developed and driven by cities in Western Europe, Australasia, America and, more recently, Asia, but the perspectives generated and lessons learnt will inevitably over time impact on the cities of East Europe, Africa and South America. Two forces have catalysed the debate. The first is urban competition, as cities have recognized that their cultural distinctiveness is perhaps the unique asset they have to offer to the rest of the world. Distinctiveness creates positive images and in so doing makes cities more attractive for their residents, thus enhancing their civic pride and in turn leading to a drawing power that attracts visitors and potential investors or companies that might wish to re-locate. In the longer term, this has economic impacts. This publication draws on Charles Landry's other writing, including 'The Creative City: A toolkit for urban innovators' and 'Culture at the Crossroads: Culture and cultural institutions at the beginning of the 21st century'. It also draws on the work of Franco Bianchini and the work undertaken in collaboration with Fran‡ois Matarasso.
Cultural legislation: why? how? what?
by Delia Mucica, Strasbourg, Council of Europe, Cultural Policy and Action Department, DGIV/CULT/STAGE(2003)4, 2003, 69 pp.
This text starts with the reflection on the reaction of different groups of people saying the same phrase: 'We need a law'. In seminars, workshops, various meetings, and in different countries, representatives of quite diverse groups of cultural players were saying, basically, the same thing: to solve our problems, we need a law. Delia Mucica explores whether this is really true. Can a law, or, for that matter, any kind of regulation solve all problems that culture is facing, satisfy everybody and make culture flourish? Is cultural regulation the problem-solving panacea for the cultural sector? And her answer to these questions is NO. Regulation in general, or any particular piece of regulation, cannot achieve all these goals by simple adoption and enactment of legislation.
Still, Mucica explains why cultural regulation is necessary and what is the purpose of drafting and enacting regulations for the cultural field, as well as the scope and limits of cultural regulation. According to her, 'the message of this volume is that regulation is not an end in itself. Moreover, enacting regulation is not the end of the road for decision-makers. The most arduous task is yet to come: implementation and compliance are the benchmarks against which the success of a cultural policy transposed into one or several pieces of regulation should be assessed.'
The performing arts: A manual for managers
by Simon Mundy, Strasbourg, Council of Europe, Cultural Policy and Action Department, DGIV/CULT/STAGE(2002)16, 2002, 67 pp.
From the introduction by Simon Mundy:
"This manual has been written to help the manager through the minefield. For those already at the top of the organisation it can be a refresher manual, reaffirming the basic tenets of the profession to which they belong. For the manager moving up through the ranks it can put the task ahead into perspective. Senior managers may find it useful as a basis for discussion with their staff, who may not often have the opportunity to see themselves as part of the whole operation and to understand the importance of their work to the whole enterprise. This will be particularly true for those in front-of-house positions or posts which have direct contact with the public. For Board members and funders, it should be seen as a tool to measure the performance of the organisation as well as a reminder of the stresses that a manager has to deal with."
For more information on the STAGE project, please contact: Ms Dorina Bodea, STAGE Project Manager; Cultural Policy and Action Department, Directorate of Culture and of Cultural and Natural Heritage, DGIV-Council of Europe, FR - 67075 Strasbourg Cedex, France; tel.: + 33 (0) 3 90 21 42 13; fax: + 33 (0) 3 88 41 37 82; e-mail: email@example.com