Capacity-Building Workshop On Periodic Reporting 1 - 3 December 2015 Ethiopia by Avril Joffe and Andreas Wiesand

Capacity-building workshop on
periodic reporting
1 – 3 December 2015
Ethiopia
By Avril Joffe and Andreas Wiesand

Periodic reporting on the Implementation of the 2005 Convention
Quadrennial Periodic Reporting on the 2005 Convention

["quadrennial"? That's every 4 years…]
Part 1: Setting the Context for Periodic Reporting
Unit 1: Introduction to Periodic Reporting and Monitoring
Systems
Unit 2: The Periodic Report Scope and Frame
Part 2: Key Reporting Areas
Unit 3: Policies and measures
Unit 4: International Cooperation
Unit 5: Preferential Treatment
Unit 6: Integration of Culture in Sustainable Development Policies and Programme
Unit 7: Awareness Raising and Participation of Civil Society
Unit 8: Transversal Issues and UNESCO Priorities
Part 3: Data Sources and Assessment
Unit 9: Sources, Statistics and Indicators
Unit 10: Achievements and Challenges in the Implementation of the Convention
Key Questions
 What are the key concepts of the 2005 Convention?

 What are the obligations for reporting on the
implementation of the 2005 Convention?
 What are Monitoring Systems?
 Monitoring the implementation of an international
instrument – why does this matter?
 Are there interesting monitoring practices?
 How is the monitoring system of the 2005 Convention
organized?
 The National Point of Contact of the Convention - which
functions does it cover?
The 2005 Convention: What it is…

• A legally-binding international agreement
• It ensures that artists, cultural professionals, practitioners and
citizens worldwide can create, produce, disseminate and enjoy
a broad range of cultural goods, services and activities, including
their own.
• Adopted, because the international community signalled the
urgency for the implementation of international law that would
recognize:
• the distinctive nature of cultural goods, services and
activities as vehicles of identity, values and meaning.
• the dual nature of cultural goods and services: Both their
economic value AND their cultural value are important! In
other words: they are not mere commodities or consumer
goods that should only be regarded as objects of trade.
…and what it is not!

Guiding principles of the 2005 Convention

Eight key principles
1. Respect for human rights and fundamental
freedoms
2. Sovereign right of all countries to adopt cultural
policies and measures within their territory
3. Equal dignity and respect for all cultures
4. International solidarity and cooperation
5. Economic AND cultural aspects of development
6. Sustainable development
7. Equitable access to cultural expressions from
around the world
8. Openness and balance
Periodic Reporting as a Tool to:

• Monitor Implementation Progress
• Facilitate Dialogue
Difference between monitoring and information sharing
Challenges faced by diverse stakeholders, for example:

• Can we really "measure" cultural diversity or development?
• Availability and reliability of data and information
• Certain strategic policy questions (potential conflicts with the
Convention)
• Existing policy instruments / institutions: Can they adapt to the key
principles?
• Future needs, e.g. in regionals like Africa
Article 9 – Information sharing and transparency
Parties shall:
(a) provide appropriate information in their reports to

UNESCO every four years on measures taken to
promote the diversity of cultural expressions within their
territory and at the international level;
(b) designate a point of contact responsible for

information sharing in relation to this Convention;
(c) share and exchange information relating to the

diversity of cultural expressions.
Article 19 – Exchange, analysis and dissemination of

information
Parties
agree to exchange information and share expertise concerning
data collection and statistics as well as on good practices.
UNESCO shall:
 facilitate the collection, analysis and dissemination of
information, statistics and good practices;
 establish and update a data bank on pertinent
governmental, private and non-profit organizations;
 pay particular attention to capacity-building and the
strengthening of expertise for Parties.
Monitoring practices
• Goals and mission of monitoring
• Difference between "hard" and "soft" monitoring
• Standardized questions and indicators
• Availability of reliable data and information which are
collected on regular basis and over a certain time period
• Secured verification procedures by specialists of the data
and information
• Mechanisms to process and channel the expected results
to reach relevant policy makers interested in evaluating
goals, activities and instruments
About the ERICarts Institute
The European Institute for Comparative Cultural Research (ERICarts),
established 1993 and based in Bonn/Germany, is an independent provider of
empirical information and analysis to policymakers and other actors in the
cultural field and in related policy sectors (e.g. media; education; youth;
regional development; economy; security).
It relies on a network
of experienced
partner institutions
and permanent
correspondents in
over 50 countries; many
of them contribute to
the Council of Europe /
ERICarts "Compendium
of Cultural Policies &
Trends in Europe"
www.culturalpolicies.net.
Comparative studies for the European Union include, for example:
• "The Contribution of Culture to Local and Regional Economic Development
- Evidence from the Structural Funds" (with CSES);
• Mobility of Cultural Professionals (www.mobility-matters.eu); and
• "Sharing Diversity" (approaches to intercultural dialogue in Europe –
www.interculturaldialogue.eu).
My Motto for Today: Let's appreciate diversity!
"The more we share,

the more we have"
Mohamed Mounir,
Egyptian singer, author and actor
at the "Salam Ramadan" event,
Philharmonic Hall of
Cologne, October 13 and 14, 2007
12
To sum it up again:
Gathering
information on what
is done locally & Reporting
globally to Objectives:
implement the 2005
Convention • Benefit from shared
experiences and
good practices in
other countries
• Spot areas where
Sharing information more needs to be
on what is done done
locally & globally to • Monitor progress
implement the 2005 over time
Convention
A Main Result of All Periodic Reports:

UNESCO's Global Monitoring Report
• Published biennially (2015, 2017)
• Swedish support (SIDA)
• Monitor the implementation of the 2005 Convention
• Facilitate information sharing and knowledge production
• Based on information provided at country levels
• Benchmarking and monitoring tool to promote the
policies and measures reported on at a global level
• Building new indicators of progress
The 4 Highlights of the 2015 Report:
Quadrennial Periodic Reporting

Unit 1: Introduction to Periodic Reporting and Monitoring Systems
Unit 6: Integration of Culture in Sustainable Development Policies and
Programme
Unit 10: Achievements and Challenges in the Implementation of the
Convention
Key Questions
 What is the purpose of monitoring and periodic reporting in

the context of the 2005 Convention?
 Why is the periodic reporting exercise important with regard
to the implementation of the 2005 Convention?
 What are the expected outcomes of periodic reporting?
 What are the main steps in the preparation of reports?
 Who should be in charge of the preparation of periodic
reports?
 What information should be presented in periodic reports?
 What are the benefits of participatory processes in the
preparation of periodic reports?
 What good practices can be identified as regards the drafting
and submission of periodic reports?
But first, let us consider the scope of

application …
… what should the periodic report

cover?
Scope of application of the 2005 Convention
The Convention defines “cultural expressions” as cultural

goods, services and activities that result from the creativity of
individuals, groups and societies.
It does NOT address the broader concept of cultural diversity.
This means that cultural heritage, tangible or

intangible, is not covered by the scope of the 2005
Convention.
Article 9 of the Convention guidelines
The reports shall provide relevant information on

measures Parties have taken to protect and promote
the diversity of cultural expressions within
• The territory: government and its agencies at all
tiers
• The International level: through
• bilateral and multilateral cooperation
• Preferential treatment measures
• Support for stakeholders participation in
international activities
• Information and knowledge sharing
The 2005 Convention: A new international

framework for governance and management
of culture
1. Cultural policies and measures

- nurture creativity
- provide access for creators
2. Overall contribution of the cultural industries
- to economic and social development
3. Integrating culture in sustainable development
policies
- in national development policies
4. International cooperation
- to facilitate mobility of artists
- facilitate flow of cultural goods and services
The scope of cultural expressions (activities, goods

and services)
Article 8 – cultural goods and services as distinct

commodities of a unique kind
Article 10 – strengthening capacities for creation and

dissemination of cultural goods and services at the
global level
Article 11 – building partnership between the public

sector, the private sector and civil society
Article 3 ‘Policies and measures adopted by the

Parties related to the protection and promotion
of the diversity of cultural expressions’
Protection
• sovereign right of States to main, adopt and
implement appropriate policies and measures
• Preservation, safeguarding and enhancement of
the diversity of cultural expressions
Promotion
• expansion of cultural exchanges
• access to global markets for cultural activities,
goods and services
Pillars of the preservation and promotion of

creative diversity: the 1972, 2003 and 2005
Conventions
Question:
What are the benefits and expected outcomes of
the periodic reporting?
Group exercise
Periodic reporting is not only a statutory

obligation of Parties; it can be considered and
approached as a strategic tool for policy
development on creativity within your country
Periodic Reports should analyze:
- How
- Why were the measures to promote
- What diversity of cultural expressions
- When introduced?
 What impact have these measures had since the

implementation process began?
Mechanism
The Periodic Reports should be compiled in
consultation with:
 Different tiers of government,
including local and regional
 Different Ministries, including Labor,
Finance, Trade and Foreign Relations
 Relevant civil society organizations
 Statistics Offices / Bureaux
Suggested
Section
Heading number of
number
pages
Executive summary 1
Technical information 1
Overview of cultural policy context 1
1 Cultural policies and measures 8
2 International cultural cooperation 3
3 Preferential treatment 3
4 Culture and sustainable development 3
5 Awareness-raising and participation of civil society 3
6 Transversal issues and UNESCO priorities 2
7 Achievements, challenges, solutions and next steps 2
Annex Complementary data, information and statistics
Guidelines:
We recommended you use the forms
available on the Convention’s website
Illustrate statements with facts and
explanations
Avoid long historical accounts
Provide examples
Use multiple sources for information
and analysis
Length: do not exceed 30 pages
Overview of cultural policy context

Describe the key objectives and priorities of your current cultural
policy and the impact the Convention has had in their formulation or
reformulation. In doing so, they shall address the following question:
Has the Convention been integrated into the policy development
process in any of the following ways?
• It is (or has been) the basis for changing one or more policies;
• It is (or has been) a tool to promote policy discussion;
• It is (or has been) a reference for ongoing policy development.
In this section, also report on the opportunities and challenges to

promote the diversity of cultural expressions in a digital environment.
Executive summaries
Summary of the salient points of the report
including main achievements and challenges
Examples of executive summaries

http://en.unesco.org/creativity/mr/periodic-
reports-available-reports
Process of periodic reporting

1. When submit?
2. Who needs to prepare it?
3. How to gather relevant data and information?
4. Which form to use?
https://en.unesco.org/creativity/monitoring-
reporting/periodic-reports
5. To whom must the form be submitted?

6. How to submit the report?
Report submission checklist

English or French
Online Form (and offline option)
Original signature of the official designated to
sign it
No more than 30 pages
Executive summary
Statements supported by facts and explanation
Send to Secretariat of the Convention: (digital +
original paper copy)
Video Tutorial on stakeholder

involvement in Periodic Reporting
http://en.unesco.org/creativity/mr/peri
odic-reports/video-tutorials/
The Convention on Participation
“Democratic governance presupposes forms of

government and modes of decision-making that take
account of the multicultural composition of
contemporary societies and their wide variety of beliefs,
projects and lifestyles.
In promoting a more inclusive form of governance, the

management of cultural diversity can turn a societal
challenge into a democratic strength […]”
UNESCO Report on Cultural Diversity, 2009

Participatory process
Article 11) Parties acknowledge the fundamental role of civil
society in protecting and promoting the diversity of cultural
expressions.
Parties shall encourage the active participation of civil society in
their efforts to achieve the objectives of this Convention.
Parties ensure the involvement of civil society in the preparation

of the reports according to jointly agreed modalities. The reports
shall indicate the way in which civil society participated in the
drafting process.
Parties can also cooperate with specialized bodies at national,

regional and international levels to collect information and data
requested in the framework of the quadrennial periodic reports.
Why is participatory process important?

 participatory process allows for the cross-checking of the
accuracy and efficiency of the information collected
 Data collected can be clarified when needed
 Transparency is more easily ensured when all participate
 Key priorities, problems, achievements and challenges for
the future can be identified more easily
 Structured dialogue with other stakeholders is reinforced,
as a transparent and broad participatory process avoids
consulting only the most influential groups
 The richness of the activities and measures detected is
enhanced by more innovative approaches and examples
can be identified through information sharing to prepare
the report.
The process of participation is more important

than the end product
Civil society participation in the drafting

of Periodic Reports: various modalities
 collaborative processes involving joint drafting and revision

of the report
 parallel processes whereby the Government and civil society
prepared their own reports, with the latter integrated into
the former
 consultative processes whereby civil society’s views and
input were solicited through questionnaires and other forms
of feedback, and then included in the Party’s report
Group exercise:
How best to involve civil society?
1. Who should participate
2. How will you ensure a diversity of stakeholders
3. How will you ensure legitimacy of stakeholders
4. What kinds of meetings should be arranged
5. What resources will be needed
6. What data is needed
7. How will this data be collected
8. What is the expected outcome

Programme
Convention
Main Reporting Themes
6– Transversal 1 - Cultural
issues & UNESCO policies and
priorities measures
Overview of
5 – Awareness
raising and
cultural policy 2 - International
participation of context cultural
civil society (including cooperation
digital issues)
4 – Culture and
3 – Preferential
sustainable
development treatment
Key questions on each policy / measure:
 What is the scope (local, national, regional level), nature

(legislative, regulatory, financial, institutional) and main
features of the measure?
 Does it specifically target individuals (e.g. women) and/or
social groups as defined in Article 7 of the Convention as
“persons belonging to minorities and indigenous peoples”?
 What are the results expected through the implementation
of the measure?
 Which agency is responsible for its implementation and what
financial resources have been allocated to implement the
measure?
 Are non-governmental organisations and/or the private
sector engaged in the implementation of the measure?
How was it implemented?
 Was this measure introduced or revised in order to:

o Implement the provisions of the Convention?
o Support/nurture policy discussion inspired by the
Convention?
o Other reasons unrelated to the Convention?
 Has the implementation of the measure been evaluated? If

so, what were the main conclusions and which indicators
were used to determine impact?
6 – Transversal 1 - Cultural
priorities measures
Overview of
5 – Awareness
raising and
digital issues)
4 – Culture and
3 – Preferential
sustainable
Key Questions
 What are cultural policies and measures?
 What policies and measures can be adopted to promote the

diversity of cultural expressions?
 What is the governance of culture?
 What is the cultural value chain for cultural expressions?
 How do the processes of creation, production, distribution,

dissemination and participation / access to culture relate to one
another?
 What good practices exist in this field?
 How to avoid overlap between policies and measures related to

Articles 6 and 7 and those related to Article 13 with regards to
the Periodic report exercise?
Overview of cultural policy context
The key objectives and priorities of the current cultural

policy and the impact the Convention has had in their
formulation or reformulation.
Address the following question:
Has the Convention been integrated into the policy

development process in any of the following ways?
• It is (or has been) the basis for changing one or more
policies;
• It is (or has been) a tool to promote policy discussion;
• It is (or has been) a reference for ongoing policy
development.
In this section, also report on the opportunities and

challenges to promote the diversity of cultural expressions
in a digital environment.
Need to consider the country system of

governance
National Government: all
departments
What is it?
Measures
Decisions
Activities
Local municipalities
The Governance of Culture

Capacity and
skills of the
Technical / various public
administrative institutions
Multiple issues: human and and
stakeholders financial resources stakeholders
available in the
value chain
Availability of data
and information
Political will and to contribute to
Measures, the level of priority facilitating
decisions and given to the informed and
activities cultural sector transparent
governance
The 2005 Convention promotes a good governance model
 Encouraging the introduction of cultural policies and measures that

nurture creativity, provide access for creators to participate in domestic
and international marketplaces
 Recognising and optimising the overall contribution of cultural industries
to economic and social development
 Integrating culture into sustainable development strategies and national
development policies;
 Promoting international cooperation to facilitate the mobility of artists
as well as the flow of cultural goods and services, especially those from
the global South.
Creativity and the cultural value

chain
Cultural expressions result from the creativity of

individuals, groups and society
Creativity nurtures and renews cultural expressions

To support creativity, Parties adopt cultural

policies and measures at the different stages of the
cultural value chain
Creation
Enjoyment/
Production
participation
Dissemination/
Distribution
Transversal
issues
• Education
and training
for artists
and cultural
professionals
• Business
support
measures
• Regulatory
and
legislative
framework
• Competition
policy
UNESCO’s Framework for Cultural Statistics
Unesco Framework for Cultural
statistics
Cultural Domains Related domains
A: B: C: Visual D: Books E: Audio F: A: A:

Cultural Perform Arts & & Press Visual & Design Tourism Sports &
& ance & Crafts Interacti & Recreati
Natural Celebrat ve Creative on
Heritage ion Media Services
Intangible cultural heritage Intangible cultural heritage

(oral traditions & expressions, rituals, languages & social practices Education & Training
Education and training Archiving & Preserving
Archiving & Preserving

Equipment & Support
Equipment & Support Materials Materials
Throsby, 2007:5
Models: DCMS, Symbolic Texts, Concentric Circles,
WIPO:
1. DCMS Model 2. Symbolic Texts Model 3. Concentric Circles Model 4. WIPO Copyright Model
Advertising Core Cultural Industries Core Creative Arts Core copyright industries
Architecture Advertising Literature Advertising services
Art and Antiques market Film Music Copyright collection management societies
Crafts Internet Performing arts Motion picture and video
Design Music Visual arts Music
Fashion Publishing Other core cultural industries Theatre and opera
Film and Video Television and radio Film Press and literature
Music Video and computer games Museums and libraries Software and databases
Performing arts Peripheral cultural industries Wider cultural industries Television and radio
Publishing Creative arts Heritage services Photography,
Software Borderline cultural industries Publishing Visual and graphic art
Television and radio Consumer electronics Sound recording Interdependent copyright industries
Video and Computer games Fashion Television and radio Blank recording material
Software Video and computer games Consumer electronics
Sport Related industries Musician instruments
Advertising Paper
Architecture Photocopiers, photographic equipment
Design Manufacture, wholesale and retail of TV sets
Fashion Radio
CD recorders
Computers and equipment
Cinematographic instruments
Partial Copyright Industries
Architecture
Clothing, footwear
Design
Fashion
Household goods
Toys
What are The products & services
of the Creative economy?
Its a vast field dealing with the interplay of various sub-sectors from traditional art
crafts to technology-oriented multi-media services
Traditional
Visual Arts knowledge Music
Paintings, sculptures and Art crafts, festivals and
cultural activities Concerts, CDs, tapes,
photograpy digitalized music
Literature and
Publishing Creative Performing Arts
Books, newspapers Industries Theatre, dance, opera,
and periodicals puppetry, circus
Design Audio-Visuals
Architecture, interior objects, Digital Animation Broadcasting, cinema,
fashion and jewellery and Multi-media television, radio
Software, videogames
and advertising (UNCTAD)
Cultural Policies and Measures:
Public policy: a state of objectives

translated into a system of laws,
regulatory measures, courses of action
and funding priorities
Cultural Policy: not only a policy
document but a dynamic process of
public action in the cultural sector
Measures are to be understood as

those that:
nurture creativity
form part of an enabling environment
for independent producers and
distributors
provide access to the public at large to
diverse cultural expressions
Examples of what not to report on:

 policies and measures that have no bearing
on the culture sector
 policies and measures in the domains of
built, natural or intangible heritage
 policies and measures whose
implementation was completed prior to the
adoption of the Convention in 2005
Policies and Measures (Article 6)

Cultural policies and measures protecting and promoting the
diversity of cultural expressions within its territory
a) Regulatory measures
b) Measures that provide opportunities for domestic cultural
activities, goods and services
c) Measures aimed at domestic independent cultural
industries and activities in the informal sector
d) Measures aimed at providing public financial assistance
e) Measures aimed at non profit organisations, as well as
public and private institutions and artists and other
cultural professionals
f) Measures aimed at establishing and supporting public
institutions
g) Measures aimed at nurturing and supporting artists
h) Measures aimed at enhancing diversity of the media
Policies and Measures (Article 7)

Individuals and social groups
a) To create, produce, disseminate, distribute and

have access to their own cultural expressions
b) Take into account special circumstances and needs
of women as well as various social groups, including
persons belonging to minorities and indigenous
people
c) Access to cultural expressions from within their
territory as well as form other countries of the world
d) Recognize the important contribution of artist,
others involved in the creative process, cultural
communities, and organisations that support their
work
Examples of measures:
• Legislative: on the arts and culture (including the status of the artist)
• Value Chain Measures:
• Training and ‘incubation’ schemes
• Support for artists’ mobility and establishment of artists’ residencies
• Support for production infrastructures and entities such as cultural
industry companies or networks
• Financial support:
• Direct funding for the production of domestic content
• Lowering price barriers to access to cultural goods through measures
such as free tickets, reduced or zero-rated VAT, etc.
• Export and import strategies:
• Promoting national and international market access through funding
and subsidies
• Promoting the import of foreign cultural programmes, goods and
services
• Advocacy and promotion: Implementing media policies, inter alia to
promote public service media and diversity therein
• Access strategies: programmes for economically disadvantaged groups
• Copyright regulation/ status of artists and social

security; distribution rules; custom duties, taxes and
Regulatory charges
measures – at all • Law on the status of artist
levels • Health insurance
• State support to small and medium entrepreneurship
• Publishing of electronic publications
Measures that • Special fairs, festivals, exhibitions, prizes to

provide opportunities encourage artistic creation
for domestic cultural • Provision of infrastructure
goods, services and • Content quotas
• Public/private partnerships
activities
Measures aimed at • Access to cultural services and goods in rural
providing domestic regions through strengthening provision of public
independent cultural cultural service systems (radio, tv)
industries and • Information for creation and expression
• Training centres
activities in the
• Digital recording studios
informal sector
• Grant and scholarship schemes

Measures aimed at • PPPs to encourage art sponsorship
public financial • Planned subsidy through dedicated funds for
assistance different art forms
• Financial support to performing artist
• Foster mobility of artists and cultural

Measures that professionals
encourage non profit • Capacity building by training, exchange
organisations, as well activities, apprenticeship and mentoring
as public & private programmes
institutions etc • Sharing of information on existing legal
frameworks and on good practices
Measures aimed at • Establishment of Ministry of education and

culture centres to facilitate access to
establishing and educational and cultural goods and services
supporting public • Digital libraries
institutions • National agencies to support arts and culture
Article 7
Parties shall endevour to create in their territory this

environment which encourages individuals and social
groups to create, produce, disseminate, distribute and
have access to their own cultural expressions as well as to
the ones from other countries of the world
‘SHALL’
The Parties have the obligation to development such an

environment – ie it is more than a declaration of intent
Group Exercise
Part 1: Refer to case studies – analyse the examples and

suggest what part of the value chain for transversal issue
they relate to
Part 2: Consider some Ethiopian experience in Music, Film,

Performing Arts and Visual Arts and suggest possible
measures that would be appropriate to these sectors
(if they don’t exist and are seen as important they can be
reported on as future challenges in Section 7 of the report)
Refer to Handout 3: Cultural Policies and Measures

Good Practice: Measures to bridge

internal cultural divides in Viet Nam
 developing infrastructure, including
telephones and multi-service broadband
connections in rural areas
 reducing the information gap between rural
and urban areas
 promoting access and ensuring two-way
communication from central to grassroots
levels
Good Practice: Market development,

investment and flow promotion
measures in China
 funding
 government procurement
 performance venues and equipment
 simplified approval processes
 talent cultivation, commendation and
rewards
 foreign investors can establish enterprises as
wholly-owned or joint ventures

Programme
Convention

Programme
Convention
priorities measures
Overview of
5 – Awareness
raising and
digital issues)
4 – Culture and
3 – Preferential
sustainable
Key Questions
 What is international cooperation?
 How does international cooperation relate to

the objectives and principles of the 2005
Convention?
 What types of policies and measures can be

adopted in the field of international
cooperation?
 How to report on international cooperation in

the context of periodic reports?
Key Concept: International cooperation
 Collaboration between public, private and civil society

actors from different countries or regions for the
achievement of common goals:
 A right, an opportunity and an important task – or
even a "duty" – for all peoples and all nations to
share knowledge, skills and experiences
 Promote the enrichment of all cultures whilst
respecting the distinctive character of each
 To be carried out for the mutual benefit of all
nations practicing it
 Contribute to the establishment of stable and
peaceful, long term relations between peoples
Main target groups of international cooperation

policies and practices
Examples of international cultural cooperation include
successful exchanges / programmes involving…
 public officials to dialogue on policy issues;
 professionals working in public sector cultural
institutions, aimed at building strategic and
management capacities;
 professionals working in private companies, aimed
at building creation and production capacities.
 artists and civil society actors, aimed at capacity
building and information / dissemination
Relevant, successful or innovative international

cooperation measures
Examples involving governments or public agencies include:
- signing treaties and international agreements
increasing and facilitating the exchange of cultural goods and
services and professionals at the national, regional and
international levels
- organizing, and participating in, international events
(festivals, forums, summits, fairs, symposia, etc.) to foster
cultural exchanges
- providing information, advice and technical assistance on
cultural policy-making, ICTs, business models, etc.
- supporting individual trans-border contacts, exchanges or co-
productions of artists, media professionals, small companies
Deficits not to be spared out in the reports, for example:

The North-South imbalance in artists' residencies
489
500
450
400
350
300
250
194
200
150
110
100
50 29 23 15 7 7
0
Europe North Asia Australia/NZ Africa South Mid-America Middle East
America America
Source: ERICarts study "Mobility Matters", 2008 (Location of Residency Centres in the TransArtists' Network)
Examples of what not to report on:

 International cooperation measures that have
no bearing on the culture sector
 international cooperation activities and
projects in the domains of built, natural or
intangible heritage
 international cooperation activities and
projects whose implementation was
completed prior to the adoption of the
Convention in 2005
Internal arrangements and partnerships

 Transversal or inter-ministerial cooperation
• Permanent working groups
• Specific meetings to discuss opportunities
 National priority-setting
• Agreement on strategic opportunities
• Civil society involvement in negotiations
 Multi-stakeholder partnerships
• Active participation by public and private actors in regular
meetings / groups / discussions
• Foreign representatives to attend range of meetings
Good Practice: Brazil’s international

audiovisual cooperation policy
 encourage international co-productions
 support the participation in international
festivals
 promote Brazil in the international
audiovisual sector
 encourage partnerships and access to
financing

Programme
Convention
priorities measures
Overview of
5 – Awareness
raising and
digital issues)
4 – Culture and
3 – Preferential
sustainable
Key Questions
 What is preferential treatment?
 Why is preferential treatment relevant in the

context of the 2005 Convention?
 What measures and policies can be adopted to

integrate preferential treatment with regard to
the diversity of cultural expressions?
 How to report on preferential treatment

policies and measures in the context of periodic
reports?
Preferential Treatment - Key Concepts

• Accorded to cultural goods and services and artists
• May, or in the words of the Convention, Art 16:
"Shall" be granted in order to ensure equal
opportunities for all (probably the most "binding"
clause of the treaty!)
• An exception to the general principle of ‘non
discrimination’ (multilateral trade frameworks)
Global North Parties provide support to cultural

expressions from Global South – creating commercial
opportunities and ensuring more balanced flows of
cultural goods and services
Preferential treatment to be applied in a

holistic approach – exploring synergies
between
 trade
 international development
 cultural instruments and policies
Key Points about Preferential Treatment
 Refers to cultural goods and services as well as artists and

cultural professionals
Refers to institutional and legal frameworks and other
elements in the Convention
Interpreted and applied to the Convention as a whole
Parties have discretion in finding innovative ways to
exercise preferential treatment
A cross cutting principle transversally informing all types
of international exchanges
Has a wider (not narrow) meaning of "trade", involving
both cultural and trade components
Preferential treatment measures can be reported

on as having an impact on three different levels:
 individual: human resource development, including
programmes to facilitate the mobility and exchange of
artists and cultural professionals and build expertise
among them;
 institutional or organizational: building capacities of
cultural enterprises and organizations in promoting the
economic and trade dimension of the sector, including
support schemes and co-distribution agreements;
 industry: wider systemic relationships established
through bilateral, regional and multilateral trade
agreements, cultural policy and other frameworks
Internal Arrangements and Partnerships
 Transversal or inter-ministerial cooperation

• Avenues for dialogue such as permanent working groups,
specific meetings between ministries in charge of foreign/
regional affairs, government ministries for culture and
others
 National Cultural Development and Priority setting
• Strategies and action plans for international cultural
cooperation or development and integration into bilateral,
regional and multilateral agreements
• Monitoring and evaluation mechanisms
 Participation of Civil Society
• In policy making and priority-setting processes, as well as
in the monitoring of international agreements
Examples of measures by developed

countries:
 facilitating the mobility of artists and cultural
professionals, by simplifying procedures for issue of visas
or lowering visa costs
 establishing funding arrangements and resource-
sharing, including co-production and co-distribution
agreements
 providing technical assistance including equipment
acquisition, technology transfer and expertise
 providing technical assistance
 improving access of cultural goods and services of
developing countries to the markets of developed
countries
Examples of measures by developing

countries:
 assessing needs and priorities of their cultural
sector
 fostering an enabling environment for the
emergence of cultural industries at the national
level
 providing strategic support to their domestic
cultural sectors
 actively seeking knowledge and expertise in
the areas of enhancement and dissemination of
all cultural expressions
Key Lessons
 International cooperation (visas, mobility,

coproduction agreements )
 Trade (new cultural protocol tool)
 Culture and development (culture’s role in sustainable
development)
 Long term changes (require time)
 Bilateral Trade agreements (using the Convention as a
counterweight)
 The impact of digital on production and broadcasting
channels (accessing culture in new ways)
 Data collection challenges (requires interdepartmental
coordination)
 Poor National level coordination to be improved
The Parties could: Civil society could:
Create interdepartmental groups Continue their efforts to raise

(including the ministries of culture, awareness of Articles 16 and 21 by
trade, employment, immigration, etc.) organising events and the publication
and envisage the best way to involve of studies
the point of contract of the
Convention in this process
Continue their involvement in Have a louder voice and be more

consultations undertaken by UNESCO involved in the process, since it can
Secretariat and provide relevant draw attention to cases where the
information. Parties have or have not met their
obligations.
priorities measures
Overview of
5 – Awareness
raising and
digital issues)
4 – Culture and
3 – Preferential
sustainable
Key Questions
 What is sustainable development?

 What is the relationship between culture and
sustainable development?
 How does the 2005 Convention address the
relationship between culture and sustainable
development?
 What are the relevant policies and measures in this
area?
 What measures can be implemented at a national and
an international level?
 What internal arrangements and partnerships can be
adopted to foster strategies and policies in this area?
 What indicators can be used to evaluate the role of
culture in sustainable development?
Sustainable development
Operational Guidelines on Article 13 define sustainable
development as
“development that meets the needs of the present without

compromising the ability of future generations to meet their
own needs”
Human development is understood as a process of enlarging

people’s choices.
What is development?
UNDP Human Development Report defines development as
• the expansion of people’s freedoms to live long, healthy and

creative lives;
• to advance other goals they have reason to value;
• and to engage actively in shaping development equitably

and sustainably on a shared planet.
People are both the beneficiaries and the drivers of human

development, as individuals and in groups.
Thinking about sustainable development …

Intrinsic and instrumental
benefits from cultural Economic growth
expressions that Economic Material and non-
contribute to individual material wellbeing of
and collective fulfillment economic dimension
of the cultural dimension
Sustainable
Cultural Political
Development
Benefits derived from
natural resources and Democracy, freedom
ecosystems of the of expression and
environmental Environmental human rights of the
dimension political dimension
What measures to describe in the Periodic

Report?
- measures to integrate culture in sustainable
development policies and assistance
programmes at the national and international
levels.
Who implements these measures?
Agencies responsible for
• economic growth
• environmental sustainability
• social inclusion (national level)
• by development cooperation agencies
(international level).
Culture and Sustainable development policies at

the domestic level
Article 13 refers particularly to sustainable development at a

domestic level, e.g. local, regional and national strategies and
policies, although it can also be understood as an encouragement
to consider cultural aspects in all types of policies and
programmes related to the diversity of cultural expressions:
‘Parties shall endeavour to integrate culture in their development

policies at all levels for the creation of conditions conducive to
sustainable development and, within this framework, foster
aspects relating to the protection and promotion of the diversity
of cultural expressions.’
Culture and Sustainable development policies at

the international levels
‘Parties shall endeavour to support cooperation for sustainable

development and poverty reduction, especially in relation to the
specific needs of developing countries, in order to foster the
emergence of a dynamic cultural sector by, inter alia, the
following means:
the strengthening of the cultural industries;
capacity-building through the exchange of information,
experience and expertise;
technology transfer through the introduction of appropriate
incentive measures for the transfer of technology and know-
how;
financial support’
What to highlight:
A particular focus of this section is on the non-

financial aspects of the contribution of culture to
development,
i.e.
on the role of culture in

• building inclusive societies and
• reducing inequalities.
Measures at the national level:
 integrating culture into overall national development

planning, i.e., strategies, policies and action plans;
 achieving economic, social and environmental outcomes
by integrating culture into, inter alia, poverty eradication
and social inclusion strategies;
 securing fairness and equitable treatment of
disadvantaged individuals and social groups (including
women) to participate in cultural life;
 securing equity in the distribution of cultural resources
between regions and urban and rural areas.
Measures at the international level:
 strengthening human and institutional capacities for

policy development and entrepreneurship through
training, networking, exchange of information, etc.;
 transfer of technology and expertise in the areas of
cultural industries and enterprises: needs analysis,
access to new information and communication
technologies, development of new platforms, etc.
 financial support: contribution to the IFCD,
integration of the cultural sector within framework
plans for official development aid (ODA), facilitating
access of the cultural industries to public and private
funding, design of innovative financial mechanisms,
etc.
Group exercise - part 1

 Handouts of 6 case studies
 Consider these cases
 What ministry was involved?

 Where any international parties involved?
 Who was the target group / beneficiaries?
 What was the project? What outcome was expected?
 Where did it happen?
 Is it useful to you in Ethiopia??

Group exercise - part 2
 Re Ethiopia
Identify potential policies and measures relevant to the

integration of culture in sustainable development
 Consider the internal arrangements

 Interministerial cooperation
 Participation of civil society
Internal Arrangements and Partnerships
 Transversal or inter-ministerial cooperation

• Avenues for dialogue such as permanent working groups,
specific meetings and preparation of papers between
ministries in charge of foreign/ regional affairs, labour,
economy, development, statistics and government
ministries for culture
 National Cultural Development and Priority setting
• Beneficiary countries to provide a clear framework of
priorities for culture and sustainable development
• Ensure synergies and coordination among different funders
 Participation of Civil Society
• In policy making and priority-setting processes as regards
both national and international sustainable development
strategies
Handout: CDIS: Improving the Evidence-Base
1. Economy: measuring the contribution of culture to economic

development.
2. Education: analysing the priority given to culture within the
educational system, notably as an enabler for inclusion and
diversity.
3. Governance: examining the system of national cultural
governance, e.g. adoption of legislation and policy, distribution
of cultural infrastructure, civil society participation, etc.
4. Social Participation: illustrating the impact of culture practices,
values and attitudes on social progress.
5. Gender Equality: examining culture’s role in the reality and the
perceptions of gender equality.
6. Communication: analysing the conditions in place for
disseminating and accessing diverse cultural content.
7. Heritage: assessing public frameworks to protect and promote
heritage sustainability.

Programme
Convention
6– Transversal 1 - Cultural
priorities measures
Overview of
5 – Awareness
raising and
digital issues)
4 – Culture and
3 – Preferential
sustainable
Key Questions
 What is the definition of civil society in the Convention framework?

 What roles and functions for civil society do the Convention
provisions promote?
 Why is it important to involve civil society in activities related to the
Convention implementation?
 What Parties are invited to do in order to support the emergence
and active participation of civil society?
 How should civil society be involved in the preparation of the
report?
 What may prevent civil society from fully assuming the
responsibilities and opportunities offered by the Convention?
 What is awareness raising and how can civil society contribute to it?
 Why is it important to raise awareness for the quality of civil
society contribution to the implementation of the Convention and
what have Parties done so far?
Civil society
For the purposes of this Convention, civil society

includes:
 non-governmental organizations
 non-profit organizations
 professionals in the culture sector and
associated sectors
 groups that support the work of artists and
cultural communities
Source: Operational Guidelines on Article 11 – Participation of civil

society (para. 3)
Civil society in the Convention

Monitoring policies and Civil society produces,
programmes Service disseminates and
implementation and Provider promotes cultural
through active participation expressions
in periodic reporting
Accountability Innovator
Civil society plays a

Civil society
watchdog role over the
Awareness raising organisations are
values, principles and
activities through innovators in the
objectives contained in
information sharing on field of cultural
the C
the objectives and Value- policies and
Advocacy activities
implementation of the Guardian
C
By ratifying the Convention, Parties:

 acknowledge the fundamental role of
civil society in protecting and
promoting the diversity of cultural
expressions, and
 Commit to encourage their
participation in activities, designed to
achieve the objectives of this
Convention.
Watch video about the role of civil

society in the 2005 Convention
With Charles Villerand and Andreas

Wiesand
Good Practice: Governmental support to

civil society in Burkina Faso
 elaborating and implementing cultural policies
with the participation of civil society
 giving civil society access to data and statistics

gathered by the Ministry of culture
 informing civil society about financing

opportunities
 supporting cultural and arts education activities of

civil society organizations
Information to be provided by civil society on

what they have done to implement the
Convention:
 promoting the objectives of the Convention
through awareness-raising and other activities
 Bringing the concerns of citizens, associations
and enterprises to public authorities, including
those of vulnerable groups
 Monitoring policy and programme
implementation
 contributing to the achievement of greater
transparency and accountability in the
governance of culture
Information to be provided by Parties on how

they have involved civil society in:
 promoting the objectives of the Convention
through awareness-raising and other activities
 collecting data and sharing and exchanging

information on measures to protect and promote
the diversity of cultural expressions
 developing policies while providing spaces where

the ideas of civil society can be heard and
discussed
 implementing Operational Guidelines of the

Convention
Participatory governance of culture

Recognizing that the system of governance of
culture involves a range of governmental and
non-governmental actors, the Convention
encourages Parties to facilitate the active
participation of a diversity of actors in policy-
making processes as well as sharing
responsibility in policy implementation.
This involves the active participation of civil

society, individuals (e.g. women and youth) and
social groups including persons belonging to
minorities and indigenous peoples.
Civil society may also wish to share

information on:
 activities they have planned for the
next four years to implement the
Convention
 main challenges encountered or
foreseen and solutions found or
envisaged to overcome those
challenges
Specify which civil society
organizations contributed to the Report.
How have Parties involved civil society?

Some examples
 Formulating, monitoring, evaluating and amending cultural

policies
 implementing cultural policies, including the allocation of public
funding by institutions managed by civil society, to projects that
realize the aims of the Convention or cultural policies
 Supporting autonomous cultural activities in the context of the
Convention’s objectives or as a principle of cultural policy more
generally
 Distributing information and raising awareness about cultural
policies and the Convention through civil society
 Communication and consultation methods to ensure the
inclusion of the civil society’s views
Challenges to collaboration
 Inclusiveness in reaching entire spectrum of civil society and

the private sector
 Awareness of the potential for involvement in reporting
 Funding to participate in meaningful ways
 Data validity providing accurate information
 Indicators to monitor the extent of involvement of civil society
organisations
 Poor knowledge of the Convention within government, public
agencies, civil society and of its benefits
 Lack of political support and trust between government and
the cultural sector
 Poor communication channels between government and civil
society
Reporting on awareness-Raising and Participation of civil

society (Section 5 of the Reporting Framework)
Parties report on
Civil society reports
how they have
on activities that they
involved civil society
have undertaken for:
in:
the promotion,
implementation and
monitoring of the
2005 Convention
Benefits of awareness-raising
Increase
cultural
cooperation
Inform Improve
on risks quality of
and policy design
threats and planning
Support
new Instill
funding innovation
strategies
Improve
Generate
quality of
peer
products and
learning
services

Programme
Convention
priorities measures
Overview of
5 – Awareness
raising and
digital issues)
4 – Culture and
3 – Preferential
sustainable
Key Questions
 How do the Global Priorities of UNESCO impact the reporting

of the Convention?
 What policies and measures can be incorporated to ensure
gender equality?
 What policies and measures would ensure the participation
of the Youth?
 What are the new priority issues identified by the Convention
governing bodies?
 What are the key policy discussions on
 Digital issues and the impact on the diversity of cultural
expressions?
 Public service broadcasting and independent media?
 The status of artists and freedom of artistic expression?
Transversal issues
Parties are to report on the emerging transversal issue(s)
identified for each reporting period. In doing so, they may
be guided by key questions (a) – (i) of the Reporting
Framework.
A resolution of the Conference of Parties will determine

transversal issue(s) to be reported on for each four-year
reporting cycle.
For 2016-2019, no transversal issue was determined.

UNESCO Priorities: Youth

Empowering young people and promoting their participation in the
implementation of the Convention is in line with the UNESCO Operational
Strategy 2014-2021 for Youth.
In this section, Parties describe at least one policy, measure or project to:
• encourage the participation of youth as creators, producers and
beneficiaries of cultural activities, goods and services;
• facilitate the involvement of youth and youth-led organizations and the
integration of their concerns and needs in cultural policy-making
processes;
• introduce new curricula or programmes in higher education and
training institutions to build new skills required for the cultural and
creative industries including entrepreneurial, management and
technological skills;
• involve youth in collecting and disseminating information about the
diversity of cultural expressions in their communities.
UNESCO Priorities: Gender Equality
Gender equality is a UNESCO global priority for the 2014-2017

Programme and Budget period.
In this section, Parties describe at least one policy or measure

adopted to promote gender equality in the cultural sector, and
support women as creators, producers and beneficiaries of
cultural expressions.
In doing so, they may be guided by key questions (a) – (i) of
the Reporting Framework.
Global Priority Africa: Flagship programmes

Thematic highlights
 Impact of digital technologies

 Diversity of media content
 Enhancing public sector broadcasting,
quotas for television
 Status of artists and freedom of artistic
expression
 Individual artists, arts producing or arts-
delivery organisations, popular culture
communities
Digital issues
 New giants of the cultural market

 Experimentation, digital arts and
entrepreneurship
 Cultural polices in the age of Big Data and
social media
 The Digital South
Access to
culture
The Global
Creativity
South
Compendium
of special
measures for
Internatio- Digital Dev. Cultural
nal coope-
industries
ration
Public
Informa-
awareness
tion and
and civil
statistics
society
Media Diversity and public sector broadcasting

 the specific role of enhancing media diversity for achieving
the Convention’s objectives
 the need to ensure freedom of thought, expression and
information, the free exchange and circulation of ideas as
well as diversity of the media for cultural expressions to
flourish within societies;
 the principle of technological neutrality
 public service broadcasting as
 a measure for enhancing diversity of media and
 as an enabler of promoting and protecting the diversity
of cultural expressions;
 binding policy standards regarding the dual nature of
cultural goods and services that should achieve a balanced
and specific treatment of cultural and audiovisual goods and
services in international trade policies.
Opportunities and challenges for reporting on

media diversity
 Opportunities have broadened through expansion of
audiovisual media
 Media freedom and other basic freedoms are
necessary to enhance media diversity
 New types of media actors with blurring of boundaries
 Gender equity in media content and decision making
 Professional media institutions and public media
 Locally produced content and language
 Digital revolution and convergence
 Independent media producers/ public service media
 Community media and radio
 Public service media with editorial independence

Programme
Convention
Key Questions
 Why is the collection, analysis, dissemination and sharing

of empirical information important in the context of the
2005 Convention?
 What is the role and relevance of national cultural
information systems? How can these be set up?
 What indicators and statistics could be used to prepare
periodic reports?
 If a national cultural information system is missing, how
to collect/analyse alternative data that may be relevant?
 Why do periodic reports ask for (optional) information
on cultural economy, cultural industries, cultural
infrastructure and cultural participation?
Reporting on main achievements and

challenges (Reporting Framework, Section 7)
Parties and participating stakeholders should
share empirical information on:
 the results achieved
 the challenges encountered
 solutions found to overcome these
challenges
 future outlook and next steps to be taken
Suggestion: specific empirical evidence to support the reporting on different

policies and measures could already be provided in earlier chapters. In the
absence of differentiated official statistics or cultural information systems,
some of these – mostly "issue-driven" – data may need to be newly developed.
Designing and maintaining a cultural

information system
A comprehensive evidence base is the optimal solution for:

• Understanding the realities and dynamics of the country’s
cultural expressions
• Reporting on all aspects of the Convention
• Designing, implementing and evaluating cultural policy and
cultural programmes
• Encouraging public debate on issues of cultural policy
• Providing evidence to explain/defend actions in support of
the sustainable development of the sector
NOTE: Such information systems are not necessarily based in
the national statistical office, can also be associated with a
Ministry of Culture, a research institute at the university, etc.
Let's revisit first the 'Culture for Development Indicators':

Improving the Evidence-Base (Handout CDIS)
1. Economy: measuring contributions of culture to economic development
2. Education: analysing the priority given to culture within the educational
system, notably as an enabler for inclusion and diversity
3. Governance: examining the system of national cultural governance, e.g.
adoption of legislation and policy, distribution of cultural infrastructure,
civil society participation, etc.
4. Social Participation: illustrating the impact of culture practices, values
and attitudes on social progress
5. Gender Equality: examining culture’s role in the reality and the
perceptions of gender equality
6. Communication: analysing the conditions in place for disseminating and
accessing diverse cultural content
7. Heritage: assessing public frameworks to protect and promote heritage
sustainability
Important: The process of searching for/validating data is already important!
Development and evaluation of cultural

indicators and statistics: a few caveats
Can we really "measure" culture? Yes, we can, at least partially…
1. Statistical frameworks can complicate things!
2. Issues are key! The more precise policy issues are formulated, the
better we can search for relevant indicators and empirical
evidence.
3. Definitions make a difference!
4. Indicators must be simple!
5. Frequently, more potential data sources exist than statisticians
expect! Interaction with stakeholders or professional bodies is
important.
6. Size matters! How to achieve "representative" samples…
7. Don't fall into the evaluation trap!
Let's look at some examples for these points…
Ad 1: Statistical frameworks
Ad 2: Issues are key!
Ad 4. Indicators must be simple!

According to James Wagala (Regional M&E Coordinator
Africa at Global Clover Network), indicators should be:
Simple: An indicator has to be clear and understandable
by all. Simplicity can be a key consideration here.
Relevant: An indicator has to speak to the result it is used
to measure.
Economical: The indicator and datasets must be collectable at a manageable
cost. Some indicators may be good but too expensive.
Assignable: The tracking of the indicator and collection of data to measure it
must be assignable specifically to a member of the project team: One person
has to take responsibility for the delivery…
Measurable: The indicator has to be measurable. Consider these two
indicators for a training intervention: "Number of people trained" and
"Knowledge of trainees". While the second one may be a better measure for
the output of a training, it may be very difficult to measure.
Let me also add the following:

Comparable over time: Indicators are most relevant when showing trends
Reporting on complementary data,

information and statistics (optional Annex)
 Economy and finance

 Books
 Music
 Media
 Connectivity, infrastructure, access
 Cultural participation
 Additional clarifications
Parties are encouraged to provide statistics

that already exist.
• 1. Economy and finance

• 1. 1. Total flows of cultural goods and services
• 1. 1.a. Cultural Goods
• a) Exports in cultural goods (total in USD; year; source)
• b) Imports in cultural goods (total in USD; year; source)
• 1. 1.b. Cultural Services
• a) Exports in cultural services (total in USD; year; source)
• b) Imports in cultural services (total in USD; year; source)
• 1. 2. Contribution of cultural activities to Gross Domestic Product
(GDP)
• a) Total GDP (in USD; year; source)
• b) Share of cultural activities in GDP (in percentage; year; source)
• 1. 3. Government expenditure on culture
• a) Total government expenditure (in USD; year; source)
• b) Share of culture in government expenditure (in USD and as
percentage of total government expenditure; year; source)
2. Books
a) Number of published titles (year; source)
b) Number of publishing companies (year; source):
- Small size (1 to 20 titles per year)
- Medium size (21 to 49 titles per year)
- Large size (50 titles and above per year)
c) Bookshops and sales
- Bookstore chains (total number and sales in USD; year; source)
- Independent book stores (total number and sales in USD; year;
source)
- Book stores in other retail structures, including department
stores (total number and sales in USD; year; source)
- Online retailers (total number and sales in USD; year; source)
d) Translation flows: number of published translations (year; source)
3. Music
a) Production: number of albums produced:
- Physical format (year; source)
- Digital format (year; source)
- Independent (year; source)
- Majors (year; source)
b) Sales: total number of recorded music sales:

- Physical format, broken down by CDs and other physical
formats (year; source)
- Digital format, broken down by Single Tracks and Digital
Albums (year; source)
4. Media
4. a. Broadcasting audience and share
Programme type
Audience share
Type of ownership (public, private, community)
Type of access (paid-free)
4. b. Broadcasting media organizations

Ownership (Public, Private, community, not specified)
Number of domestic media organization providing: radio channels only, TV channels
only, both radio & TV channels (by type of ownership)
4. c. Newspapers
Publishing format: Number of titles
- Printed (free only, paid only, both free & paid)
- Both print and online (free only, paid only, both free & paid)
5. Connectivity, infrastructure, access
a) Number of mobile telephone subscribers per 1000

inhabitants (year; source)
b) Number of households with Internet access at home (year;

source)
c) Number of individuals using the Internet (year; source)

6. Cultural participation
Percentage of people participating in cultural activities at least one time
during the past 12 months:
Cultural participation (in %)

Activity Female Male Total
Cinema
Theatre (including cabaret, opera and
puppet shows)
Dance (including ballet)
Live concert / musical performance
Exhibition
Total
Designing and maintaining a cultural

information system
An evidence base is needed for

• Understanding the realities and dynamics of the
country’s cultural expressions
• Reporting on all aspects of the Convention
• Designing, implementing and evaluating cultural
policy and cultural programmes
• Encouraging public debate on issues of cultural
policy
• Defending actions in support of the sustainable
development of the sector

Programme
Convention
Key Questions
 What have been the main achievements reported upon

by Parties to the 2005 Convention since it’s coming into
force?
 What challenges and difficulties have been experienced
in order to implement the Convention?
 What enabling factors have been identified?
 What solutions have been proposed to overcome
existing challenges?
 What achievements, challenges and solutions do
workshop participants identify in their respective
countries?
Key findings from the first three

reporting years (2012-2014; 71 reports)
• The Convention has Most countries Many countries

led to the have adopted have integrated
introduction of new legislation on culture in their
the arts and national
cultural policies and culture, development
measures in including the plans
developing countries status of the
artist
• Countries have Countries have not

reassessed their only promoted
international export of domestic
cultural goods and
cooperation strategies services but also
to include culture import of foreign
among key objectives ones

reporting years (2012-2014), continued
More countries are

integrating cultural and
creative industries into
development strategies
and programmes
New forms of Cultural cooperation activities

support for have become focused on
young artists specific cultural industry
and cultural sectors such as music, film and
professionals book publishing and promoting
the mobility of artists

reporting years (2012-2014), continued
Policy transfer
also takes place
from developing
to developed
countries
Many have been inspired by a policy or

measure successfully implemented
elsewhere.
Lack of financial
and human
resources and
Lack of cultural insufficient public- Multiple
data and statistics private sector understandings
hindering policy partnerships and usages of
monitoring and the concepts in
evaluation the Convention
Key
implementation
contribution of Insufficient
culture to challenges awareness
economic and among
social decision-
development
makers of
Challenges to organising the
inter ministerial
cooperation
What solutions are proposed in the reports to address

these challenges?
 To build strategic partnerships with various government

agencies, civil society and private stakeholders
 To widely disseminate the Convention and news on
relevant issues
 To train officials through participatory workshops
 To create institutions or observatories that engage in-
depth research to gather data and best practices
 To establish specific targets and benchmarks and
developing a system of cultural indicators
NEXT STEPS
Drafting of the Periodic Report
 How to write the draft periodic report?
 How can the national team all be involved?
 Who else needs to be approached to help

with information?
 What is the role of the statistics agency?
 When should the draft be presented to the

national team?
Suggested timing
• Meetings of the National team and drafting
committee
• Distance coaching by AJ and AW during this
period based on written drafts
• March 10th: Finalisation of the draft Periodic
Report
• March 14-18th: Presentation of final draft to
multi-stakeholder consultative forum
• March 18th - 24th April: Finalisation of the
periodic report
• April 25th: Signature by Minister of Culture and
Tourism
• April 28th : Submission to Secretariat of UNESCO
Thank you
For further information

www.en.unesco.org/creativity/
Kassahun Abate: k.abate@unesco.org
Reiko Yoshida: r.yoshida@unesco.org

Capacity-Building Workshop On Periodic Reporting 1 - 3 December 2015 Ethiopia by Avril Joffe and Andreas Wiesand

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Capacity-Building Workshop On Periodic Reporting 1 - 3 December 2015 Ethiopia by Avril Joffe and Andreas Wiesand

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Capacity-building workshop on

By Avril Joffe and Andreas Wiesand

Quadrennial Periodic Reporting on the 2005 Convention

 What are the key concepts of the 2005 Convention?

The 2005 Convention: What it is…

…and what it is not!

Guiding principles of the 2005 Convention

Periodic Reporting as a Tool to:

Difference between monitoring and information sharing

Challenges faced by diverse stakeholders, for example:

Article 9 – Information sharing and transparency

(a) provide appropriate information in their reports to

(b) designate a point of contact responsible for

(c) share and exchange information relating to the

Article 19 – Exchange, analysis and dissemination of

"The more we share,

A Main Result of All Periodic Reports:

Quadrennial Periodic Reporting

Part 1: Setting the Context for Periodic Reporting

 What is the purpose of monitoring and periodic reporting in

But first, let us consider the scope of

… what should the periodic report

Scope of application of the 2005 Convention

The Convention defines “cultural expressions” as cultural

It does NOT address the broader concept of cultural diversity.

This means that cultural heritage, tangible or

Scope of application of the 2005 Convention

Article 9 of the Convention guidelines

The reports shall provide relevant information on

The 2005 Convention: A new international

1. Cultural policies and measures

Scope of application of the 2005 Convention

The scope of cultural expressions (activities, goods

Article 8 – cultural goods and services as distinct

Article 10 – strengthening capacities for creation and

Article 11 – building partnership between the public

Article 3 ‘Policies and measures adopted by the

Pillars of the preservation and promotion of

Periodic reporting is not only a statutory

Periodic Reports should analyze:

 What impact have these measures had since the

Overview of cultural policy context

In this section, also report on the opportunities and challenges to

Examples of executive summaries

Process of periodic reporting

5. To whom must the form be submitted?

Report submission checklist

Video Tutorial on stakeholder

The Convention on Participation

“Democratic governance presupposes forms of

In promoting a more inclusive form of governance, the

UNESCO Report on Cultural Diversity, 2009

Parties ensure the involvement of civil society in the preparation

Parties can also cooperate with specialized bodies at national,

Why is participatory process important?

The process of participation is more important

Civil society participation in the drafting

 collaborative processes involving joint drafting and revision

Quadrennial Periodic Reporting

Part 1: Setting the Context for Periodic Reporting

Main Reporting Themes

Key questions on each policy / measure:

 What is the scope (local, national, regional level), nature