Date: 14/10/2002
Source: Ministry of Arts, Culture, Science and Technology
Title: Ngubane: International Network on Cultural Policy (INCP) conference
KEYNOTE SPEECH BY THE MINISTER OF ARTS, CULTURE, SCIENCE AND TECHNOLOGY, DR BEN NGUBANE, AT THE OFFICIAL OPENING OF THE FIFTH ANNUAL INTERNATIONAL NETWORK ON CULTURAL POLICY (INCP), Radisson Hotel, Cape Town, 14 October 2002
In the last four years we have visited each other's countries. We have experienced each other's cultural diversity in the form of music, dance and theatre. In Canada, Mexico, Greece and Switzerland we experienced and enjoyed diverse cultural expressions that are a true reflection of the ideals of our network. I also hope that this meeting will add and contribute to the good memories and knowledge of cultural diversity.
The music that you have just heard is by Latozi Mpahlele, better known as Madosini. She was born in 1922 in the Eastern Cape Province. She has, since she was recorded for the first time in the late 1970, become famous as a specialist player of the Uhadi and Mhrubhe musical bows and the Isitolotolo.
Madosini's music is anything but "simple". The harmonic progressions she uses are (in the ancient African tradition) two chords one whole tone apart (Doh-Re) but the melodies she creates have astounding evocative power and use a scale which is similar to the Lydian modes used in jazz.
The power and quality of Madosini's music has also inspired many musicians to co-operate with her in producing works of fusion with the classical idiom and the jazz. For the International Classical Music Festival, she performed a piece composed by classical composer Hans Huyssen which saw her play with a string and wind ensemble. For the same festival she co-operated with a jazz ensemble. This is but one aspect of our diversity. I hope you have enjoyed it.
At the last INCP meeting in Lucerne, Switzerland, we announced that the theme for this year's meeting in South Africa would be "Cultural diversity in developing countries, the challenges of globalisation". Looking at recent international developments, we could not have chosen a more appropriate theme. The WTO meeting of Ministers in Doha, Qatar, in November 2001 and the World Summit on Sustainable Development in Johannesburg reinforced the urgency in which particular issues that face developing countries need to be dealt with. In the WTO trade negotiations, this current round of negotiations has been termed the developmental round.
It is often said that the United Nations Conference on Environment and Development in Rio in 1992 was a watershed in mainstreaming environmental issues, while the last Summit on Sustainable Development in Johannesburg was successful in locating people and development at the centre. There is no denying that both conferences were important milestones in attempting to resolve some of humanity's pressing issues. I would like to briefly address the latter, people and development.
As arts and culture ministers, we spend most of our time dealing with people and addressing real problems that people face. In all the debates about development and its sustainability, 'development' is not in contention, but what is often not adequately addressed is what kind of development and for whom?
Is it not time for us to start asking the same questions? What kind of art are we promoting? Is it art that serves resource -hungry affluence, or art that addresses chronic poverty, to what extent do policies that we pursue assist in poverty alleviation? Are our policies e.g. on intellectual property, heritage, cultural industries etc geared towards empowering the already empowered and powerful or bringing into the mainstream the vulnerable section of humanity that everyone professes to serve?
These are difficult questions indeed and there are no easy answers.
Developing countries often have enormous development challenges and their priorities do not necessarily include the promotion and preservation of cultural diversity. Taking South Africa as a point of departure for instance, development priorities include issues of reconstruction, nation building, transformation, social cohesion, meeting basic needs (water, shelter, electricity, food) etc. These priorities are privileged. However, our Constitution is quite categorical and upholds key principles that underlie diversity e.g. the Constitution's position on languages, gender, ethnic minorities etc.
THE SOUTH AFRICAN POLICY ENVIRONMENT
The South African Constitution makes provision for the creation of a gender commission, to ensure that gender issues are taken seriously and gender discrimination is eliminated.
The Youth Commission was established to deal with issues that affect our young people. In addition to the Youth Commission, a fund, Umsobovu Fund, was established to expedite entrance and integration of the youth in the mainstream economy. In our parliament, some political parties have young people whose mandate is to facilitate development of youth friendly policies. We also have a Pan South African Language Board (PANSALB), this is mandated to promote and preserve our language diversity.
The Human Rights Ccommission was created to monitor and evaluate adherence to human rights principles by organs of state, civil society and the private sector. Some of the most recent and controversial activities of the Human Rights Commission were the enquiry on racism in the media. It is also instrumental in a campaign to highlight the plight of both legal and illegal immigrants in the country.
South Africa recently passed a media diversity law. The law is aimed at ensuring that all spheres of our diverse society are reflected and find expression in the media. We are at an advanced stage of developing an indigenous knowledge policy.
Our Constitution also provides for the creation of the National Arts Council, and the National Film and Video Foundation. The former is mandated to develop all our art forms; meanwhile the latter is dedicated to the development of our film and television. All the necessary policy frameworks are in place. However, like many developing countries, the problem is resources to address development challenges in these areas.
CULTURAL POLICIES IN DEVELOPING COUNTRIES
In developing countries the role of culture on development policies is not well established. There are many issues resulting from this: first, cultural policies are not consolidated as public policies, and, second, the cultural sector does not impact sufficiently on the direction of development policies and, in fact, will not do so until it itself is strengthened as a sector.
Nor will the cultural sector transform and evolve with development. This is despite the fact that cultural sectors contribute massively to the achievement of development objectives, including access to information, diffusion of cultural values and ideas, nation building and social cohesion.
Research reveals that developing countries have a rich and a varied array of talent and cultural assets with a very uneven development of cultural sectors or cultural industries in their domestic economies. In many cases, however, these cultural sectors and cultural industries have been able to survive despite a lack of cultural policies in their respective countries.
The existence of cultural policies in developing countries would provide a broad framework for government tools to:
* promote and conserve natural and cultural heritage,
* support artistic expression,
* give support to creative expression and dialogue,
* ensure that creative industries grow and thrive.
In this way, governments will create the conditions in which cultural diversity may thrive and set the context within which such diversity is to be pursued. It is the responsibility of governments to facilitate a national discourse and practice that underpins and supports cultural policies. This national discourse needs to include artists, intellectuals and cultural practitioners to ensure a strong national commitment to the values of each country's culture or cultures and its development.
Just as policies of biodiversity preservation are needed to guarantee the protection of natural ecosystems and the diversity of species, only adequate cultural policies can ensure the preservation of the creative diversity against the risks of a single homogenising culture. The cultural exemption argument is just one of the possible means for achieving this objective of promoting cultural diversity. It must be acknowledged that these cultural goods and services (books, music, multimedia games, films and audiovisuals) are different from other goods and services, and deserve different and/or exceptional treatment that sets them apart from standardised mass consumption. Obviously, this requires a differential treatment in international trade agreements and possibly effective strong regulatory frameworks to redefine cultural policies focusing on the promotion and development of cultural industries.
CULTURAL INDUSTRIES IN DEVELOPING COUNTRIES
In developing countries, artistic talents and the country's cultural heritage are not fully exploited commercially. Their contributions to local job creation and foreign exchange earning are limited. This sector is to some extent neglected. Yet there are many examples of artistic creations or of cultural products deeply rooted in the cultural heritage of developing countries, which have crossed borders and established significant market niches in a large number of industrialised countries. Music from Africa and Latin America, sculptures inspired from Africa, textiles and fashion from Africa and Latin America, video documentaries, and dance forms from Africa etc. However, the commercialisation of these cultural transfers has often not benefited the countries of origin.
By contrast, in most developed countries, the sector contributes significantly to gross national product. They have economies of scale, distribution networks, and strong sectoral associations of artists that lobby government.
Cultural industries can play a more important role in the economies of these countries with government support, through a clearly articulated cultural policy and appropriate measures to promote the various sectors, and, in particular, to promote what may be called cultural entrepreneurship. Women are frequently involved as the primary producers of many cultural products (sometimes-specialising in particular crafts, processes or services, but often find themselves having to sell and market their products through male-dominated intermediaries and supply chains. There is an opportunity for empowering these producers of cultural products and ensuring that they generate decent incomes from their productive efforts, as well as linking them to market opportunities.
A serious consequence of the limited commercialisation of cultural and artistic creations on both the domestic and foreign market is a gradual impoverishment of the cultural heritage of countries. This is because talented people may not be attracted by a career as an artist, musician, filmmaker or craft worker, rooted in the country's cultural heritage, if this is not going to provide them with a decent income.
THE IMPACT OF GLOBALIZATION ON CULTURAL DIVERSITY IN DEVELOPING COUNTRIES
Globalisation impacts on developing countries through changes in ownership and control of media, telecommunications infrastructure and the extent of connectivity of the population as well as the increased movement of artists, cultural producers and tourists. Globalisation also affects the range of tools (the toolbox) that governments use to preserve and promote the diversity of cultural expression. A positive impact for the developing countries from technology for instance, is the improved means of communication and interaction that derive from low cost network technologies and the Internet. Other technologies such as that used for music recording, video recording and editing is now cheaper and simpler. Cultural diversity can be fostered by certain aspects of globalisation such as the interaction across boundaries which leads to a mixing of cultures in particular places and practice; the fact that cultural flows occur differently in different spheres and may originate in many places; the reactions and resistance that result from integration, the spread of ideas and images and the range of interpretations of global norms or practices from local tradition.
Negative impacts include an accelerated converging entertainment content, 'leakage' of talent, industry consolidation and internationalisation of production in audio-visual works affecting both ownership and cultural content. In response to this, for instance, South Africa's policy on media ownership is one in which foreign ownership is limited to 20% for broadcasting whereas in print media the regulation is less restrictive. As a developing country South Africa feels the pressure and impact of globalisation since up to 90% of its media landscape is filled with non-South African media. Its broadcasting system (both radio and television) has a high concentration of foreign media especially US imported programming. However, more important than this is the loss of identity, sense of community, personal esteem and a sense of belonging to one's own culture. The challenges of globalisation for the preservation of traditional culture and the sustainability of traditional practices are equally ambiguous.
Internationally there is concern amongst critics of ethno-tourism that it subverts important heritage and spirituality and reduces it to trivialised entertainment for the global tourist. Meanwhile others point out that it revitalises cultural interest, income generation and employment creation.
This exposure to global demand and global tourism is, however, fraught with dangers. As with heritage, global tourism can pose a threat to indigenous knowledge and intellectual property rights, traditional technologies, religions, sacred sites, social structures and relationships, wildlife, ecosystems, economics and basic rights to informed understanding by reducing indigenous people to simply another consumer product that is quickly becoming exhaustible.
WHAT KIND OF INTERNATIONAL INSTRUMENT WOULD BE NEEDED BY DELELOPING COUNTRIES TO PROMOTE AND PRESERVE CULTURAL DIVERSITY?
The instrument should encourage member states to adopt measures to ensure the development of domestic cultural expression. This ought probably to have a time-frame obligation attached. The instrument, to have effect, needs to impose obligations on participating parties and be an enforceable agreement.
Another critical role of the instrument is to provide a framework for support (financial and technical expertise) and co-operation between North and South, South and South (e.g. South America and Southern Africa), countries within a specified region (e.g. SADC, Mercosur) and between countries with a particular cultural affinity (e.g. all Lusophone countries). The establishment of cultural observatories has been found to greatly facilitate policy development and evaluation and could be supported to achieve these goals.
It should, however, be remembered that transfer of skills and knowledge can never replace individual countries' involvement in decision-making.
Developing countries do not have shortage of intellectual capacity, we need time and resources to develop capacity to enable us to develop, implement and monitor policies. This will enable us to build a robust and formidable institutional capacity and memory.
The instrument also needs to assert the importance of the promotion of domestic cultural expression and the importance of being open to others.
This openness is inherent in the concept of cultural diversity. It therefore precludes xenophobia or cultural exclusivity within domestic policies. In this way the instrument is able to operate as a guiding principle for developing countries that have not yet developed a coherent cultural policy.
The development of policy on cultural diversity should be mindful of global disparities that may have a direct bearing on cultural industries in developing countries. The promotion of cultural diversity is not intended to further entrench these disparities but to spell out the terms on which cross-cultural dialogue and creativity may be fostered. An instrument to address cultural diversity and globalisation needs to take account of the agency of cultural producers and intermediaries. Every day cultural agents make choices about what to communicate and to export, what to import and craft, when to shift cross-border allegiances and target new markets and audiences, and when to reshuffle their own cultural repertoire to bolster or transform their traditions and heritages.
The instrument would also need to pay particular attention to media issues.
These could include measures and policy instruments aimed at promoting the capacity of developing countries to produce a variety of audio-visual products and services locally and internationally and clear strategic framework proposals that could guide and inform audio-visual policy or programmes between developed countries and developing countries and member states of economies in transition.
Issued by Ministry of Arts, Culture, Science and Technology
14 October 2002
Source: Ministry of Arts, Culture, Science and Technology
Title: Ngubane: International Network on Cultural Policy (INCP) conference
KEYNOTE SPEECH BY THE MINISTER OF ARTS, CULTURE, SCIENCE AND TECHNOLOGY, DR BEN NGUBANE, AT THE OFFICIAL OPENING OF THE FIFTH ANNUAL INTERNATIONAL NETWORK ON CULTURAL POLICY (INCP), Radisson Hotel, Cape Town, 14 October 2002
In the last four years we have visited each other's countries. We have experienced each other's cultural diversity in the form of music, dance and theatre. In Canada, Mexico, Greece and Switzerland we experienced and enjoyed diverse cultural expressions that are a true reflection of the ideals of our network. I also hope that this meeting will add and contribute to the good memories and knowledge of cultural diversity.
The music that you have just heard is by Latozi Mpahlele, better known as Madosini. She was born in 1922 in the Eastern Cape Province. She has, since she was recorded for the first time in the late 1970, become famous as a specialist player of the Uhadi and Mhrubhe musical bows and the Isitolotolo.
Madosini's music is anything but "simple". The harmonic progressions she uses are (in the ancient African tradition) two chords one whole tone apart (Doh-Re) but the melodies she creates have astounding evocative power and use a scale which is similar to the Lydian modes used in jazz.
The power and quality of Madosini's music has also inspired many musicians to co-operate with her in producing works of fusion with the classical idiom and the jazz. For the International Classical Music Festival, she performed a piece composed by classical composer Hans Huyssen which saw her play with a string and wind ensemble. For the same festival she co-operated with a jazz ensemble. This is but one aspect of our diversity. I hope you have enjoyed it.
At the last INCP meeting in Lucerne, Switzerland, we announced that the theme for this year's meeting in South Africa would be "Cultural diversity in developing countries, the challenges of globalisation". Looking at recent international developments, we could not have chosen a more appropriate theme. The WTO meeting of Ministers in Doha, Qatar, in November 2001 and the World Summit on Sustainable Development in Johannesburg reinforced the urgency in which particular issues that face developing countries need to be dealt with. In the WTO trade negotiations, this current round of negotiations has been termed the developmental round.
It is often said that the United Nations Conference on Environment and Development in Rio in 1992 was a watershed in mainstreaming environmental issues, while the last Summit on Sustainable Development in Johannesburg was successful in locating people and development at the centre. There is no denying that both conferences were important milestones in attempting to resolve some of humanity's pressing issues. I would like to briefly address the latter, people and development.
As arts and culture ministers, we spend most of our time dealing with people and addressing real problems that people face. In all the debates about development and its sustainability, 'development' is not in contention, but what is often not adequately addressed is what kind of development and for whom?
Is it not time for us to start asking the same questions? What kind of art are we promoting? Is it art that serves resource -hungry affluence, or art that addresses chronic poverty, to what extent do policies that we pursue assist in poverty alleviation? Are our policies e.g. on intellectual property, heritage, cultural industries etc geared towards empowering the already empowered and powerful or bringing into the mainstream the vulnerable section of humanity that everyone professes to serve?
These are difficult questions indeed and there are no easy answers.
Developing countries often have enormous development challenges and their priorities do not necessarily include the promotion and preservation of cultural diversity. Taking South Africa as a point of departure for instance, development priorities include issues of reconstruction, nation building, transformation, social cohesion, meeting basic needs (water, shelter, electricity, food) etc. These priorities are privileged. However, our Constitution is quite categorical and upholds key principles that underlie diversity e.g. the Constitution's position on languages, gender, ethnic minorities etc.
THE SOUTH AFRICAN POLICY ENVIRONMENT
The South African Constitution makes provision for the creation of a gender commission, to ensure that gender issues are taken seriously and gender discrimination is eliminated.
The Youth Commission was established to deal with issues that affect our young people. In addition to the Youth Commission, a fund, Umsobovu Fund, was established to expedite entrance and integration of the youth in the mainstream economy. In our parliament, some political parties have young people whose mandate is to facilitate development of youth friendly policies. We also have a Pan South African Language Board (PANSALB), this is mandated to promote and preserve our language diversity.
The Human Rights Ccommission was created to monitor and evaluate adherence to human rights principles by organs of state, civil society and the private sector. Some of the most recent and controversial activities of the Human Rights Commission were the enquiry on racism in the media. It is also instrumental in a campaign to highlight the plight of both legal and illegal immigrants in the country.
South Africa recently passed a media diversity law. The law is aimed at ensuring that all spheres of our diverse society are reflected and find expression in the media. We are at an advanced stage of developing an indigenous knowledge policy.
Our Constitution also provides for the creation of the National Arts Council, and the National Film and Video Foundation. The former is mandated to develop all our art forms; meanwhile the latter is dedicated to the development of our film and television. All the necessary policy frameworks are in place. However, like many developing countries, the problem is resources to address development challenges in these areas.
CULTURAL POLICIES IN DEVELOPING COUNTRIES
In developing countries the role of culture on development policies is not well established. There are many issues resulting from this: first, cultural policies are not consolidated as public policies, and, second, the cultural sector does not impact sufficiently on the direction of development policies and, in fact, will not do so until it itself is strengthened as a sector.
Nor will the cultural sector transform and evolve with development. This is despite the fact that cultural sectors contribute massively to the achievement of development objectives, including access to information, diffusion of cultural values and ideas, nation building and social cohesion.
Research reveals that developing countries have a rich and a varied array of talent and cultural assets with a very uneven development of cultural sectors or cultural industries in their domestic economies. In many cases, however, these cultural sectors and cultural industries have been able to survive despite a lack of cultural policies in their respective countries.
The existence of cultural policies in developing countries would provide a broad framework for government tools to:
* promote and conserve natural and cultural heritage,
* support artistic expression,
* give support to creative expression and dialogue,
* ensure that creative industries grow and thrive.
In this way, governments will create the conditions in which cultural diversity may thrive and set the context within which such diversity is to be pursued. It is the responsibility of governments to facilitate a national discourse and practice that underpins and supports cultural policies. This national discourse needs to include artists, intellectuals and cultural practitioners to ensure a strong national commitment to the values of each country's culture or cultures and its development.
Just as policies of biodiversity preservation are needed to guarantee the protection of natural ecosystems and the diversity of species, only adequate cultural policies can ensure the preservation of the creative diversity against the risks of a single homogenising culture. The cultural exemption argument is just one of the possible means for achieving this objective of promoting cultural diversity. It must be acknowledged that these cultural goods and services (books, music, multimedia games, films and audiovisuals) are different from other goods and services, and deserve different and/or exceptional treatment that sets them apart from standardised mass consumption. Obviously, this requires a differential treatment in international trade agreements and possibly effective strong regulatory frameworks to redefine cultural policies focusing on the promotion and development of cultural industries.
CULTURAL INDUSTRIES IN DEVELOPING COUNTRIES
In developing countries, artistic talents and the country's cultural heritage are not fully exploited commercially. Their contributions to local job creation and foreign exchange earning are limited. This sector is to some extent neglected. Yet there are many examples of artistic creations or of cultural products deeply rooted in the cultural heritage of developing countries, which have crossed borders and established significant market niches in a large number of industrialised countries. Music from Africa and Latin America, sculptures inspired from Africa, textiles and fashion from Africa and Latin America, video documentaries, and dance forms from Africa etc. However, the commercialisation of these cultural transfers has often not benefited the countries of origin.
By contrast, in most developed countries, the sector contributes significantly to gross national product. They have economies of scale, distribution networks, and strong sectoral associations of artists that lobby government.
Cultural industries can play a more important role in the economies of these countries with government support, through a clearly articulated cultural policy and appropriate measures to promote the various sectors, and, in particular, to promote what may be called cultural entrepreneurship. Women are frequently involved as the primary producers of many cultural products (sometimes-specialising in particular crafts, processes or services, but often find themselves having to sell and market their products through male-dominated intermediaries and supply chains. There is an opportunity for empowering these producers of cultural products and ensuring that they generate decent incomes from their productive efforts, as well as linking them to market opportunities.
A serious consequence of the limited commercialisation of cultural and artistic creations on both the domestic and foreign market is a gradual impoverishment of the cultural heritage of countries. This is because talented people may not be attracted by a career as an artist, musician, filmmaker or craft worker, rooted in the country's cultural heritage, if this is not going to provide them with a decent income.
THE IMPACT OF GLOBALIZATION ON CULTURAL DIVERSITY IN DEVELOPING COUNTRIES
Globalisation impacts on developing countries through changes in ownership and control of media, telecommunications infrastructure and the extent of connectivity of the population as well as the increased movement of artists, cultural producers and tourists. Globalisation also affects the range of tools (the toolbox) that governments use to preserve and promote the diversity of cultural expression. A positive impact for the developing countries from technology for instance, is the improved means of communication and interaction that derive from low cost network technologies and the Internet. Other technologies such as that used for music recording, video recording and editing is now cheaper and simpler. Cultural diversity can be fostered by certain aspects of globalisation such as the interaction across boundaries which leads to a mixing of cultures in particular places and practice; the fact that cultural flows occur differently in different spheres and may originate in many places; the reactions and resistance that result from integration, the spread of ideas and images and the range of interpretations of global norms or practices from local tradition.
Negative impacts include an accelerated converging entertainment content, 'leakage' of talent, industry consolidation and internationalisation of production in audio-visual works affecting both ownership and cultural content. In response to this, for instance, South Africa's policy on media ownership is one in which foreign ownership is limited to 20% for broadcasting whereas in print media the regulation is less restrictive. As a developing country South Africa feels the pressure and impact of globalisation since up to 90% of its media landscape is filled with non-South African media. Its broadcasting system (both radio and television) has a high concentration of foreign media especially US imported programming. However, more important than this is the loss of identity, sense of community, personal esteem and a sense of belonging to one's own culture. The challenges of globalisation for the preservation of traditional culture and the sustainability of traditional practices are equally ambiguous.
Internationally there is concern amongst critics of ethno-tourism that it subverts important heritage and spirituality and reduces it to trivialised entertainment for the global tourist. Meanwhile others point out that it revitalises cultural interest, income generation and employment creation.
This exposure to global demand and global tourism is, however, fraught with dangers. As with heritage, global tourism can pose a threat to indigenous knowledge and intellectual property rights, traditional technologies, religions, sacred sites, social structures and relationships, wildlife, ecosystems, economics and basic rights to informed understanding by reducing indigenous people to simply another consumer product that is quickly becoming exhaustible.
WHAT KIND OF INTERNATIONAL INSTRUMENT WOULD BE NEEDED BY DELELOPING COUNTRIES TO PROMOTE AND PRESERVE CULTURAL DIVERSITY?
The instrument should encourage member states to adopt measures to ensure the development of domestic cultural expression. This ought probably to have a time-frame obligation attached. The instrument, to have effect, needs to impose obligations on participating parties and be an enforceable agreement.
Another critical role of the instrument is to provide a framework for support (financial and technical expertise) and co-operation between North and South, South and South (e.g. South America and Southern Africa), countries within a specified region (e.g. SADC, Mercosur) and between countries with a particular cultural affinity (e.g. all Lusophone countries). The establishment of cultural observatories has been found to greatly facilitate policy development and evaluation and could be supported to achieve these goals.
It should, however, be remembered that transfer of skills and knowledge can never replace individual countries' involvement in decision-making.
Developing countries do not have shortage of intellectual capacity, we need time and resources to develop capacity to enable us to develop, implement and monitor policies. This will enable us to build a robust and formidable institutional capacity and memory.
The instrument also needs to assert the importance of the promotion of domestic cultural expression and the importance of being open to others.
This openness is inherent in the concept of cultural diversity. It therefore precludes xenophobia or cultural exclusivity within domestic policies. In this way the instrument is able to operate as a guiding principle for developing countries that have not yet developed a coherent cultural policy.
The development of policy on cultural diversity should be mindful of global disparities that may have a direct bearing on cultural industries in developing countries. The promotion of cultural diversity is not intended to further entrench these disparities but to spell out the terms on which cross-cultural dialogue and creativity may be fostered. An instrument to address cultural diversity and globalisation needs to take account of the agency of cultural producers and intermediaries. Every day cultural agents make choices about what to communicate and to export, what to import and craft, when to shift cross-border allegiances and target new markets and audiences, and when to reshuffle their own cultural repertoire to bolster or transform their traditions and heritages.
The instrument would also need to pay particular attention to media issues.
These could include measures and policy instruments aimed at promoting the capacity of developing countries to produce a variety of audio-visual products and services locally and internationally and clear strategic framework proposals that could guide and inform audio-visual policy or programmes between developed countries and developing countries and member states of economies in transition.
Issued by Ministry of Arts, Culture, Science and Technology
14 October 2002
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