5.1 We conducted a desk review of the cultural strategies of Denmark, Sweden, Norway, The Netherlands, Ireland and Catalonia. They all have cultural strategies and may offer some guidance to Scotland.
5.2 Strict comparisons between them and Scotland are not possible from the published information. However, several factors appear to contribute towards success and there are several common components in each of these cultural strategies.
5.3 The scope of cultural policy varies. Some include sport, some do not. Broadly, there are four main areas included within most cultural policy:
5.4 Clear statements of principles govern most of the strategies. The principles include, for example:
5.5 All the countries reviewed had Ministries for Culture, sometimes as part of a broader portfolio. However there is a growing awareness that cultural policy needs to be owned by, and implemented by, a broad range of government departments.
5.6 The structures for implementation of the strategies vary from country to country. These reflect the political structures of the countries. All have a balance between the central and the local. Local authorities are responsible for delivering certain services; central bodies are responsible for others. For facilities which are based in a region but which have a remit which is national, joint decisions are made.
5.7 The strategies indicate that there is a clarity about the various roles and responsibilities of each area. However, in some of the countries the present systems are under review.
5.8 Local authorities are obliged to provide some cultural provision. At its minimum, this is a library.
5.9 Most of the countries are committed to the arm’s length principle for central funding to some extent. However the election of directors onto the arm’s length bodies is sometimes political and the extent of intervention and freedoms varies greatly. Some countries, such as Catalonia, do not have arm’s length bodies. This largely reflects the high level of political commitment to culture in Catalonia. In the Netherlands, there are arm’s length bodies but they are advisory only and all decisions and commitment are made by the government.
5.10 Cultural policy is enshrined in varying degrees of legislation. Some countries simply have one act covering policy. Some have acts which enshrine anpromote a broad entitlement of for the individual individual'sto access to culture. Others, such as Catalonia, have a raft of legislation protecting aspects of culture and heritage.
5.11 In all of these countries, there is debate about how best to achieve certain balances, in particular:
5.12 In some countries, there is a major commitment to culture in education.
5.13 Some countries have legislation which includes an obligation on broadcasters and other media to a quota of cultural transmission. Some are also involved in supporting publishing and obliging libraries to buy a certain amount of indigenous literature.
5.14 Most countries are involved in supporting the artist through bursaries, grants and pension or social security schemes.
5.15 Strategies include the promotion of each country’s culture overseas. Structures to do this vary from the Catalan COPEC which is a government department with major programmes of investment and activity, to the Danish Cultural Institute, to the Foreign Ministries of other countries.
5.16 Most appear to evaluate and monitor the success of the policies. In most cases, this consists largely of statistical data about attendance and consumption. There is a growing recognition that impacts - economic and social – ought to be included and Ireland and Denmark are now undertaking this sort of evaluation.
5.17 From each country, there are models and ideas which might be useful to Scotland.
5.18 Denmark pursues a policy of decentralisation and is committed to the arm’s length principle with multi-tiered systems of state support.
5.19 It supports artists including providing pensions over a long period.
5.20 Culture is central to the education system. For example, music is used as a key to emotional and intellectual development of children, to develop their concentration and motor functions and their understanding of themselves as part of a community.
5.21 There is a cultural policy programme specifically for children which aims to teach children about culture and use culture to contribute towards their development. This will be overseen by a Children’s Culture Council.
5.22 Danish Culture is promoted overseas through the Danish Cultural Institute which has offices in several countries.
5.23 The success of the cultural policy is evidenced by the fact that 75% of the population participates in cultural activities.
5.24 In Sweden there is a Cultural Heritage Bill which entitles individuals to participate in and take responsibility for their cultural environment.
5.25 Cultural policy is set by government along with the level of funding. Funding is then distributed and the policy implemented by arm’s length bodies. The two tiers of local authorities also are major providers and funders of culture. The extent of this is discretionary except for the library service.
5.26 The policy aims, revised in 1996, are:
5.27 Reading and literature form the core of Sweden’s policy and the Literature Bill subsidises distribution, reading for young people and publishing.
5.28 Improving conditions for artists is linked to developing public interest and the consumption of culture. The government supports artists directly, including, under the Artist Terms Bill, through the creation of a theatre company, which employs actors who have no work. The National Employment Agency supports artists in promoting their work and improving business skills.
5.29 There is a percent for art scheme in Sweden for all public buildings.
5.30 Support for film production is supported by a levy on video and cinema tickets.
5.31 Cultural diversity and the promotion of minority cultures and languages runs throughout the policy.
5.32 Norway is committed to decentralisation and culture on a local and regional level is managed by elected cultural committees which co-ordinate the work of national and local institutions.
5.33 Cultural participation and experience are regarded as essential for quality of life and as a right for citizens.
5.34 The state sets cultural policy, and it is implemented by an arm’s length body. Local authorities have freedom of action.
5.35 The state funds a Sami theatre and the Sami language and culture are protected.
5.36 Policy in visual arts and craft concentrates on improving conditions for artists.
5.37 The state operates a purchasing scheme for Norwegian literature.
5.38 Cinemas are largely owned by the state in order to create access, as they would not be commercially viable in most parts of Norway.
5.39 Duty is charged on video and films and the proceeds invested in Norwegian film production.
5.40 Artists must have the same standards of welfare support as other working citizens. The state considers itself employers of artists and negotiates with the professional bodies on matters concerning salary and social rights.
5.41 Cultural heritage and activity are key components of the curriculum.
5.42 The Ministry works with other ministries, for example with Foreign Affairs in international policy and collaboration, and with Health and Social Affairs on culture and health.
5.43 The Netherlands has a highly developed cultural strategy and a general policy of decentralisation. There is a Council for Culture which is an advisory body comprising several other advisory bodies specialising in various genres.
5.44 The government makes decisions on priorities and on specific funding applications on a four-year rolling basis. Although the Council for Culture advises the government, the Minister of Culture still makes the recommendation to the government.
5.45 The provinces are responsible for regional cultural facilities, and the municipalities for local venues.
5.46 Previous cultural policy was based on concepts of quality and participation. In the recently issued Principles on cultural policy 2001-2004 the Minister states that this policy has been a barrier to change and created a cultural sphere which benefits only a small minority and does not respond to market demand.
5.47 The revised principles aim to achieve change – the Council for Culture will have to argue the case for continuing to fund organisations, funding will be redirected towards new initiatives and the health of each sector and required interventions will be evaluated. Umbrella bodies are likely to have their subsidy reduced.
5.48 In order to achieve the new aim of reaching more people, each funded organisation will have to dedicate 3% of their subsidy to attracting a new audience. Venues are seen as the point of confrontation between supply and audience. Venues in areas lacking cultural facilities will be given funding to produce quality programmes.
5.49 Entrepreneurism is a major strand of the revised principles. Cultural organisations, the Minister argues, should not be protected from market forces. Organisations will be required to achieve 15% of their income from box office receipts.
5.50 The Council for Culture will assess subsidy applications according to new criteria: quality, social outreach, ticket subsidy ratio and position within the system.
5.51 Cultural diversity and cultural education are major forces driving the review of principles.
5.52 The Media Act protects elements of Dutch culture.
5.53 The Cultural Policy Document is a cross government document, taking a thematic approach and includes projects with other government departments.
5.54 The mission statement of the Department of Arts, Heritage, Gaeltacht and the Islands is:
5.55 The Department funds both through the Arts Council and directly. Local government has little resources or power but there are local arts committees.
5.56 Current priorities include:
5.57 Social and economic impacts are deemed important. Priorities include access, inclusion, and regional balance, knowledge and the opportunity to participate in Irish artistic traditions.
5.58 Tax incentives and active promotion have led to Ireland being used as a major film production base.
5.59 Tax exemption for earnings from original and creative work with cultural or artistic merit has attracted artists to live in Ireland.
5.60 The Aosdana is an affiliation of up to 200 creative artists. Members resident in Ireland are eligible for a five-year grant to enable them to work full time on their art.
5.61 Catalonia differs from the other countries reviewed in that it is an autonomous community with self-government within the nation state of Spain. When it achieved this status, one of its overall key priorities was to reverse years of repression of the Catalan language and culture. Since becoming autonomous, there has been a priority given to protecting and emphasising aspects of Catalan cultural identity, in particular, the language and the traditional aspects of culture and heritage.
5.62 The government in Catalonia (the Generalitat) has a raft of legislation to preserve and protect heritage; it directly supports the preservation of, and the development of, culture, through its own Ministry of Culture and through supporting independent organisations.
5.63 It is overall concerned to increase consumption of Catalan culture, both at home and abroad. In doing so, it is seeking both cultural impacts and economic impacts. Thus, it supports new national (centralised in Barcelona) infrastructure like museums, the new national theatre, opera houses etc; the preservation of traditions, and the explicit use of the Catalan culture in the consumption of culture, like subtitling American films in Catalan, and supporting Catalan media and broadcasting. At the same time it invests in Catalan cultural industries directly and strategically.
5.64 It supports the promotion of Catalan art and artists abroad through COPEC, the Catalan Consortium for the External Promotion of Culture. This aims to stimulate actions conducive to the presence of Catalan culture in the majority of international markets.
5.65 COPEC has funded activities and programmes throughout the world and has cultural exchange agreements with several countries in place.
5.66 Responsibility for culture is enshrined in policy at different levels. The regional and municipal/rural local authorities all have a statutory responsibility for culture, for example, all authorities with a population of over 5000 must provide a library.
5.67 The main local provision is funded directly by the regional and other local authorities. Where there is a national institution within a local authority area, this will either be run directly by the Generalitat (like museums) or funded directly, but the local authority will also be involved in the funding decisions.
5.68 Cultural policy, legislation and strategies include the professional and amateur, heritage, traditions, museums, libraries, and media.