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1、Addressing culture asa global public goodRE|SHAPING POLICIES FOR CREATIVITY2022Global Report2022MONITORING FRAMEWORK OF THE 2005 CONVENTIONON THE PROTECTION AND PROMOTION OF THE DIVERSITY OF CULTURAL EXPRESSIONSGUIDING PRINCIPLESEnsure the sovereign right of States to adopt and implement policies to
2、protect and promote the diversity of cultural expressions,based on informed,transparent and participatory processes and systems of governanceFacilitate equitable access,openness andbalance in theflow of cultural goods and services as well as the free movement ofartistsand cultural professionalsRecog
3、nize the complementarity ofeconomic and cultural aspects ofsustainable developmentRespect human rights and fundamental freedoms of expression,information and communication as a pre-requisite for the creation and distribution ofdiverse culturalexpressionsGOALSSUPPORT SUSTAINABLE SYSTEMS OF GOVERNANCE
4、 FOR CULTUREACHIEVE A BALANCED FLOW OF CULTURAL GOODS AND SERVICES AND INCREASE THE MOBILITY OFARTISTS ANDCULTURALPROFESSIONALSINTEGRATE CULTURE IN SUSTAINABLE DEVELOPMENT FRAMEWORKSPROMOTE HUMANRIGHTS AND FUNDAMENTAL FREEDOMS2030 SDGsEXPECTED RESULTSNational policies and measures support creation,p
5、roduction,distribution and access with regard to diverse cultural activities,goods and services and strengthen informed,transparent and participatory systems ofgovernanceforcultureNational policies and measures,including preferential treatment,facilitate a balanced flow of cultural goods and service
6、s and promote the mobility of artists and cultural professionals around the worldSustainable development policies and international cooperation programmes integrate culture asastrategicdimensionInternational and national legislation related to human rights and fundamental freedoms is implemented and
7、 promotes gender equality andartistic freedom AREAS OF MONITORINGCultural and creative sectorsMedia diversityDigital environmentPartnering with civilsocietyMobility ofartists and cultural professionalsFlow of culturalgoods and servicesTreaties and agreementsNational sustainable development policies
8、andplansInternational cooperation for sustainable developmentGender equalityArtistic freedomCORE INDICATORSPolicies and measures support the development of dynamic cultural and creative sectorsPolicies and measures support diversity of themedia Policies and measures support digital creativity,enterp
9、rises and marketsMeasures strengthen the skills and capacities of civilsocietyPolicies and measures support the outward and inward mobility of artists and cultural professionalsPolicies and measures support balanced international flows ofcultural goods and servicesTrade and investment agreements ref
10、er to the Convention or implement itsobjectivesNational sustainable development policies and plans include action lines to support diverse cultural expressionsDevelopment cooperation strategies include action lines to support diverse cultural expressionsPolicies and measures promote gender equality
11、in the culture and media sectors Policies and measures promote and protect freedoms of creation and expression and participation in cultural lifePolicy-making is informed and involves multiple public bodiesPolicies and measures support diversity of content in the mediaPolicies and measures facilitat
12、e access to diverse cultural expressions in the digital environmentCivil society is involved in the implementation of the Convention at national and globallevelsOperational programmes support the mobility of artists and cultural professionals,notably from developing countriesInformation systems eval
13、uate international flows ofcultural goods and servicesOther agreements,declarations,recommendations and resolutions refer to the Convention or implement itsobjectivesPolicies and measures support equity in the distribution of cultural resources and inclusive access to such resourcesDevelopment coope
14、ration programmes strengthen creative sectors in developingcountriesMonitoring systems evaluate levels of representation,participation and access of women in the culture and media sectorsPolicies and measures promote and protect the social and economic rights of artists and cultural professionalsACT
15、IONSStrategic decisions of the governing bodies implemented Awareness raised Partnerships and networks established,strengthened and fostered Public debates organized Information and data collected,analysed and shared Policy analysis,benchmarking and monitoring ensured Global reports producedCapaciti
16、es and skills reinforced Technical assistance and policy advice provided Projects financedAddressing culture asa global public goodRE|SHAPING POLICIES FOR CREATIVITY2022Global Report2022Published in 2022 by the United Nations Educational,Scientific and Cultural Organization(UNESCO)7,place de Fonteno
17、y,75352 Paris 07 SP,France UNESCO 2022ISBN 978-92-3-100503-9This publication is available in Open Access under the Attribution-ShareAlike 3.0 IGO(CC-BY-SA 3.0 IGO)license(http:/creativecommons.org/licenses/bysa/3.0/igo/).By using the content of this publication,the users accept tobebound by the term
18、s of use of the UNESCO Open Access Repository(www.unesco.org/openaccess/termsuseccbysaen).The designations employed and the presentation of material throughout thispublication do not imply the expression of any opinion whatsoever on the part of UNESCO concerning the legal status of any country,terri
19、tory,city or area or of its authorities,orconcerning thedelimitation of its frontiers or boundaries.The ideas and opinions expressed in this publication are those of the authors;they are not necessarily those of UNESCO and do not commit the Organization.The images marked with an asterisk(*)in this p
20、ublication donot fall under the abovementioned CC_BY_ SA licence and may not be used or reproduced without the prior permission ofthe copyright holders.Cover photo:Enrique Larios,The Lovers,2019*Graphic design&cover design:Corinne HayworthInfographics designed by Interior of AfricaPrinted by UNESCOT
21、his publication was supported by Sweden.S H O RT S U M M A R YCulture and creativity account for 3.1%of global Gross Domestic Product(GDP)and 6.2%of all employment.Exports of cultural goods and services doubled in value from 2005 to reach US$389.1 billion in 2019.Besides being one of the youngest an
22、d fastest growing economic sectors in the world,new and ongoing challenges also make the creative economy one of the most vulnerable sectors that is often overlooked by public and private investment.The cultural and creative sectors were among the hardest hit by thepandemic,with over 10 million jobs
23、 lost in 2020 alone.Public investment in culture has been declining over the last decade and creative professions remain overall unstable and underregulated.Although culture and entertainment are major employers of women(48.1%),gender equality is a distant prospect.Additionally,only 13%of voluntary
24、national reviews of progress towards the 2030 Agenda acknowledge cultures contribution to sustainable development.Disparities between developed and developing countries are significant,with developed countries leading the trade of cultural goods and services accounting for 95%of total exports of cul
25、tural services.The COVID-19 pandemic is a reminder that no country alone can forge the protection and promotion of diversity within its territory and beyond.Cultures value as a global public good must be cherished and preserved for the benefit of present and future generations.Re|Shaping Policies fo
26、r Creativity Addressing culture as a global public good offers insightful new data that shed light on emerging trends at a global level,as well as putting forward policy recommendations to foster creative ecosystems that contribute to a sustainable world by 2030 and beyond.Addressing culture as a gl
27、obal public good3.1%6.2%andof global GDP of all employment The cultural and creative sectors account for Since wars begin in the minds of men and women,it is in theminds of men and women thatthe defences ofpeace mustbe constructed.Global Report20225ForewordForewordThe COVID-19 pandemic has led to an
28、 unprecedented crisis in the cultural sector.All over the world,museums,cinemas,theatres and concert halls places of creation and sharing have closed their doors.In2020,the income drawn by creators fell by more than 10%,or more than 1 billion euros.What was already a precarious situation for many ar
29、tists has become unsustainable,threatening creative diversity.At the same time,we have realized how much we need culture,creativity and the diversity of cultural expressions protected by UNESCOs 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions.We need the vita
30、lity of a sector which employs young people and nurtures innovation and sustainable development.As shown at the height of the crisis,we also need what culture and creation,in all the diversity of their expressions,can do to provide some personal respite and what they can do to unite our societies an
31、d forge the road ahead.Today,we must secure cultures rightful place in our recovery plans in order to overcome the crisis.Butwealso need long-term policies in order to respond to the structural challenges highlighted by the crisis.Artistsand cultural professionals from all over the world have spoken
32、 out on this subject in the ResiliArt debates organized by UNESCO.They have drawn attention to the need to create regulations which provide artists with some degree of security,the need to provide support with regard to digitalization by ensuring cultural diversity,equitable value chains,and fair re
33、muneration of creators by the main digital platforms.The third edition of the Re|Shaping Policies for Creativity report is an essential collection of data on culture and creation.It is a unique tool for analysing these issues,both globally and locally.It takes stock of the geographical,gender and di
34、gital inequalities detrimental to cultural diversity.Consequently,it shows theimpact of the persistent imbalances in the circulation of cultural goods and services,in a context where developed countries application of the preferential treatment measures recommended in the 2005 Convention remains an
35、exception.This monitoring of the objectives and implementation of the 2005 Convention by the 151 Parties thereto cantherefore not only inform public action,but also encourage its ambition by illustrating the role of diversity and creativity as a source of innovation for sustainable societies.UNESCO
36、is thus determined to help governments and cultural players with the development of extensive cultural initiatives,regulations and policies,and to support the growing role of culture in international exchanges at the highest level.We have already taken action by convening two Forums of Ministers of
37、Culture,one in November 2019 and the other in April 2020,and by supporting the G20s first ministerial declaration on culture.And we will continue to put culture at the top of the political agenda with the organization of the long-awaited UNESCO World Conference on Cultural Policies and Sustainable D
38、evelopment(MONDIACULT)in 2022.For it is time to make culture,in all its diversity,a truly common good;it is time to unlock its full potential in order to shape the future.Audrey AzoulayDirector-General of UNESCO6Global Report2022Global Report teamDirector of the Publication Ernesto Ottone R.,Assista
39、nt Director-General for CulturePrincipal Editor Jordi Balt PortolsCoordinator Berta de SancristbalEditorial Team Florisse Hendschel Ioana-Maria Tamas Caroline UllerupEditorial Board Luis A.Albornoz,Mauricio Delfn,Lydia Deloumeaux,Vronique Guvremont,Yarri Kamara,Magdalena Moreno Mjica,Ojoma Ochai,Mer
40、edith Okell,Josep Pedro,AnupamaSekhar,Mikael Schultz,Anna Villaroya Planas andSara Whyatt.External Reviewers Areej Abou Harb,Tsveta Andreeva,Javiera Atenas,MiraBurri,Bridget Conor,Milena Dragi evi ei,AyodeleGaniu,Marisa Henderson,Beln Igarzbal,AvrilJoffe,PatrickKabanda,Alfons Karabuda,OctavioKulesz,
41、HelenaNassif,Justin OConnor,Milica Pesic,Janina Pigaht,Eduardo Saravia,Abeer Saady,Amy Shelver,Michelle Zang and the 2005 Convention Civil Society GlobalCoordination Group.Internal Review Committee Denise Bax,Guilherme Canela De Souza Godoi,BenedettaCosco,Nigel Crawhall,Dafna Feinholz,DamianoGiampao
42、li,Amina Hamshari,Maksim Karliuk,Paola Leoncini Bartoli,Pablo Guayasamn Madrin,SaorlaMcCabe,Rion McCall Magan,Anne Muller,QiaoboNi,Marissa Potasiak,Emmanuelle Robert,JamilaSeftaoui and Konstantinos Tararas.7AcknowledgementsAcknowledgementsThis third edition of the Global Report Re|Shaping Policies f
43、or Creativity would have not been possible without the contribution of many people whose time and commitment deserve to be warmly thanked:The Diversity of Cultural Expressions Entity led by Toussaint Tiendrebeogo,in particular CarolineBordoni,Xiaoyang Duan,Yuliya Ivankevych,Herim Lee,Laurence Mayer-
44、Robitaille,MelikaMedici Caucino,JorgeNavarro de Julin,Laura Nonn,Floor Oudendijk,Julie Pilato,GabrielleThiboutot,ReikoYoshida,AhmedZaouche and Zhehao Zhao as well as its dedicated interns Francesca Germani,AntoineSauvageau-Audet and Luis Zea Mares.Burns Owens Partnership(BOP)Consulting and its devot
45、ed team led by Richard Naylor:MartaMoretto,Yvonne Lo and Douglas Lonie,for accompanying the production of this report from start to finish,analysing data from quadrennial periodic reports,collating and analysing supplementary primary and secondary datasets,and providing unfailing support to the edit
46、orial team and board in reviewing the chapters.The experts who met in June 2019 to reflect on the relevance of the Global Report series and the wider uptake of its findings and whose thoughts and advice have helped shape this third issue:OuafaBelgacem,Mylne Bidault,Laurence Cuny,Khadija El Bennaoui,
47、Brenda Fashugba,AndrewFirmin,AdrianaGonzlez Hassig,Nathalie Guay,Daves Guzha,Eddie Hatitye,Iman Kamel,Balufu Bakupa Kanyinda,ChristineM.Merkel,Delphine Pawlik,Jad Shahrour,Julie Trbault,SophieValais and Charles Vallerand.Contributions and support from other current and former UNESCO staff were also
48、highly valued:AlhanoufAlmogbil,Camille Apprderisse,Barbara Blanchard,Moe Chiba,LindsayCotton,ThomasDeClercq,Coryn Lang,Laura Frank,Anthony Krause,Michel Lpez Barrios,MatildaMachimura,Karalyn Monteil,SamaaMoustafa,Adelaida Shabanaj,Ingrid Pastor Reyes andRochelleRoca-Hachem.Furthermore,this report co
49、uld not have materialized without the invaluable help of Helen Connor,NoNougbode,Emmanuel Pivard,Yvonne Rwabukumba,Najet Saafi,Djorogo Christian Tanon and YalThomas.The UNESCO translation services edited and proofread the manuscript with patience and dedication.Special thanks go to Corinne Hayworth
50、for the design and layout of the Report and to Interior of Africa for the infographics.Their commitment and patience are second to none.Finally,UNESCO extends its deep gratitude to the Swedish Government and the Swedish International Development Cooperation Agency(Sida),whose financial support makes
51、 the GlobalReport series Re|ShapingPolicies for Creativity possible.8Global Report2022ContentsContents Foreword5Acknowledgements7Contents 8List of figures,boxes,tables,and messages 10Introduction Addressing culture as a global publicgood 15 Ernesto Ottone R.COVID-19:Testing times for thediversity of
52、 cultural expressions 31 Jordi Balt PortolsGOAL 1 SUPPORT SUSTAINABLE SYSTEMS OF GOVERNANCE FORCULTURE .39Chapter 1 Building resilient and sustainable cultural and creative sectors 43Magdalena Moreno MujicaChapter 2 Ensuring adiversity ofvoices in the media 69Luis A.AlbornozChapter 3 New opportuniti
53、es and challenges for inclusive cultural and creative industries in the digital environment 91Ojoma OchaiChapter 4 Opening up cultural governance through civil society participation 117Mauricio DelfnGOAL 2 ACHIEVE ABALANCED FLOW OF CULTURAL GOODS AND SERVICES AND INCREASE THE MOBILITY OF ARTISTS AND
54、 CULTURAL PROFESSIONALS.139Chapter 5 Re-imagining mobility for artists and culturalprofessionals 143Anupama SekharChapter 6 Global flow of cultural goods and services:still a one-way trade 163Lydia DeloumeauxChapter 7 Protecting diversity:still room to pursue a legitimate public policy objective out
55、side the framework of the Convention 183Vronique Guvremont9ContentsGOAL 3 INTEGRATE CULTURE IN SUSTAINABLE DEVELOPMENT FRAMEWORKS .205Chapter 8 Culture and sustainable development:a still untapped potential 209Yarri KamaraGOAL 4 PROMOTE HUMAN RIGHTS AND FUNDAMENTAL FREEDOMS .237Chapter 9 Gender equa
56、lity:one step forward,two steps back 241Anna Villarroya PlanasChapter 10 Safeguarding thefreedom to create 263Sara WhyattAnnexes.287Author biographies 288Methodology293The Convention 297Abbreviations307Bibliography31110Global Report2022ContentsList of figures,boxes,tables,and messagesList of figures
57、Figure 1.1 Mean government expenditure on cultural services and broadcasting and publishing services as a percentage of GDP,2010-2019.47Figure 1.2 Participatory and integrated governance of culture under the Convention.48Figure 1.3 Policies and measures designed through interministerial cooperation,
58、byremit of ministries.49Figure 1.4 Regional,provincial or local governments or administrations withdecentralized responsibilities for cultural policy-making.52Figure 1.5 Specific education and training programmes in the arts and the cultural and creative sectors by types,by developed/developing coun
59、tries.59Figure 1.6 Specific education and training programmes in the arts and the cultural and creative sectors,by cultural domains.59Figure 1.7 Mean percentage of people in cultural employment,as a percentage of total employment.61Figure 1.8 Specific measures and programmes implemented over the las
60、t four years tosupport job creation and/or micro-,small-and medium-sized enterprises inthe cultural and creative sectors.62Figure 1.9 Statistical offices or research bodies that have produced data on the cultural and creative sectors and/or evaluated cultural policies over the last four years.64Figu
61、re 2.1 Fifteen years of democratic decline.72Figure 2.2 Parties with domestic content regulations for audiovisual media.78Figure 2.3 Linguistic quotas for audiovisual media.83Figure 2.4 Presence of independent media regulatory authorities.86Figure 3.1 Share of the population with some basic informat
62、ion and communication technologies skills.97Figure 3.2 GitHub active users by continent,2020-2021.98Figure 3.3 Growth in users on GitHub,2020-2021.98Figure 3.4 Milestones of the Conventions engagement with digital issues.101Figure 3.5 Public support for culture in the digital environment.106Figure 3
63、.6 Initiatives to promote digital creativity andcompetencies of artists andcultural professionals.108Figure 4.1 Professional organizations and/or trade unions representing artists and/or cultural professionals,by sectors.120Figure 4.2 Training and mentoring opportunities organized or supported by pu
64、blic authorities in the last four years to improve communication,advocacy and/or fundraising of CSOs promoting the diversity of cultural expressions.121Figure 4.3 Public funding schemes supporting involvement of civil society organizations in promoting thediversity of cultural expressions.124Figure
65、4.4 Types of funding by broad category.125Figure 4.5 Open civic space results in better outcomes.125Figure 4.6 Activities reported by civil society organizations,by types.134Figure 5.1 Policies andmeasures to support inward andoutward mobility of artists and culturalprofessionals.146Figure 5.2 Origi
66、n of artists represented at 13selected art biennales.151Figure 5.3 Representation of artists from developed/developing countries at13selected art biennales.15211ContentsFigure 5.4 Average number of countries accessible without visas for passport-holders,by developing/developed countries.152Figure 5.
67、5 Average number of countries accessible without visas for passport-holders,by regions.153Figure 5.6 Location of artist residencies on the TransArtists platform in 2020.158Figure 6.1 Exports of cultural goods from developing countries,2005-2019(in US$billion).167Figure 6.2 Total flow of Foreign Dire
68、ct Investment in the arts,entertainment and recreation sector,2014-2019(in US$million).168Figure 6.3 The recent stagnating share of developing countries in exports of cultural goods.168Figure 6.4 Imports of cultural goods between developed countries,2005-2019.170Figure 6.5 Imports of cultural goods
69、between developing countries,2005-2019.170Figure 6.6 Exports of cultural services,total amount and share in total trade,2006-2019.172Figure 6.7 Most Favoured Nation applied tariff Average of Ad Valorem tariffs bycultural domains anddeveloped/developing countries.174Figure 6.8 Aid for Trade in Offici
70、al Development Assistance and radio/television/print media in Aid for Trade,2005-2018.176Figure 6.9 Overview of export strategies and measures implemented by level of development.179Figure 8.1 Share of NDPs and NSDPs including cultural goals specific to the Convention.212Figure 8.2 Inclusion of cult
71、ure in National Sustainable Development Plans according to expected outcome.214Figure 8.3 Share of culture and recreation of total Official Development Assistance spent between 2004 and 2018.226Figure 8.4 Ten largest Culture and Recreation Official Development Assistance recipients,2018.227Figure 8.
72、5 Culture and Recreation Official Development Assistance to least-developed countries,2004-2018.227Figure 8.6 Ten largest Culture and Recreation Official Development Assistance donors,2018.227Figure 8.7 Contributions to the International Fund for Cultural Diversity,2007-2020(inUS$million).228Figure
73、8.8 Countries with largest contributions to the International Fund for Cultural Diversity,2007-2020.228Figure 9.1 Progress in monitoring policies and measures promoting gender equality,by%of quadrennial periodic reports submitted by Parties.244Figure 9.2 Policies or measures to support womens full p
74、articipation in cultural life inthe last four years,by region.244Figure 9.3 Proportion of male and female heads of national arts or cultural councils ofParties to the Convention.246Figure 9.4 Proportion of female award winners and jurors in major film festivals,2019.251Figure 9.5 Gender balance in M
75、EDIA grants,2020.251Figure 9.6 Proportion of female artists and curators in 20 international art biennales,2018-2020.253Figure 9.7 Regular data collection and dissemination tomonitor gender equality inculture and media sectors or the participation of women in cultural life,byregion.256Figure 10.1 Ty
76、pes of measures reported in relation to artistic freedom.266Figure 10.2 Attacks on artistic freedom,2018-2020.268Figure 10.3 Independent bodies to receive complaints andmonitorviolations andrestrictions to artistic freedom.270Figure 10.4 Initiatives to protect artists at risk or in exile have been d
77、eveloped or supported by public authorities during the last four years.273Figure 10.5 Countries that haveadopted or revised economic measures that take into account the status of artists between 2017and 2020.277Figure 11.1 Overview of the quadrennial periodic reports considered for the third edition
78、 of the Global Report .29312Global Report2022ContentsList of boxesBox 1.1 Embedding culture in national policy discourse awhole-of-government approach.50Box 1.2 Participatory policy monitoring:sustained dialogue for policy changes.54Box 1.3 Integrated multistakeholder approaches to decent working co
79、nditions.63Box 1.4 Regional perspective on knowledge production andsharing.66Box 2.1 The Media Ownership Monitor.73Box 2.2 CBC/Radio-Canada diversity,inclusion and anti-racism.74Box 2.3 Community Radio Installation,Broadcast and Operation Policy.76Box 2.4 Uganda Increasing the presence of local cont
80、ent inbroadcast media.79Box 2.5 Media content that fairly represents our world 50:50The Equality Project.85Box 3.1 Devices and their manufacturers as important players in the digital environment for the cultural and creative industries.95Box 3.2 United Arab Emirates Culture Agenda andNational Artifi
81、cial Intelligence Strategy 2031.104Box 3.3 Egypts support for the creative sector in the Stay at Home initiative during the COVID-19 pandemic.107Box 3.4 Electric South.108Box 3.5 Fair remuneration of creators in the European Union:alook at the Directive on Copyright in the Digital Single Market.111B
82、ox 3.6 Franco-Quebec report on the online discoverability ofFrancophone cultural content.113Box 4.1 Defending artists labour unions advocating forcreativity.121Box 4.2 Supporting civic engagement in Niger.124Box 4.3 Mapping open government practices and connecting with the cultural agenda.127Box 4.4
83、 ResiliArt a global movement for and by artists.130Box 4.5 Enabling participatory policy monitoring throughperiodic reporting.132Box 5.1 Facilitating the Schengen visa application process for Algerian cultural professionals.147Box 5.2 Evaluations of publicly-funded mobility programmes.148Box 5.3 Wij
84、hat A Culture Resource(Al-Mawred Al-Thaqafy)programme to promote mobility and the arts andculture of the Arab region.157Box 5.4 Mapping regional mobility funding landscapes.159Box 6.1 The International Creative Exchange Caribbean.166Box 6.2 Indonesian Partnership Programme Publishing.173Box 6.3 Berl
85、inale World Cinema Fund supporting international co-production and market access.177Box 6.4 Ouaga Film Lab.180Box 7.1 Taking into account the dual nature of digital cultural products in the Digital Economy Partnership Agreement.192Box 7.2 The Organisation internationale de la Francophonie(Internatio
86、nal Organization of La Francophonie)and its ongoing commitment to the diversity of cultural expressions in the digital age.196Box 7.3 Preferential treatment as part of cultural cooperation.202Box 8.1 Mobilizing culture as a bulwark against violent extremism.214Box 8.2 Colombias Orange Economy develo
87、pment arsenal.215Box 8.3 Reducing the environmental impact of the cultural and creative sectors .218Box 8.4 Giving a platform to indigenous voices.223Box 8.5 The European Union mainstreaming culture indevelopment and cooperation.22613ContentsList of tablesTable 2.1 Policies and measures that promote
88、 content diversity inprogramming.78Table 2.2 Domestic content quotas for audiovisual services.80Table 2.3 Areas of monitoring by media regulatory authorities.87Table 2.4 Responsibilities of media regulatory authorities.87Table 3.1 Volume of data circulating on the Internet in one minute,2016 and 202
89、1.94Table 3.2 Internet users from 16 to 64 whoconsume content via the Internet eachmonth(Q3,2020).95Table 3.3 Top 20 global digital distributors in music(including mixed audio and video services),2020.99Table 3.4 Interrelatedness of three analytic frameworks:the Conventions Monitoring Framework,the
90、Open Roadmap for the Implementation of the Convention in the Digital Environment and the Sustainable Development Goals .103Table 6.1 Flows of cultural goods by domains and by level of development,2004 and 2019.169Table 7.1 The CanadaUnited StatesMexico Agreement(CUSMA).187Table 7.2 Overview of e-com
91、merce or digital trade chapters/sections in bilateral and regional trade agreements signed between 2017 and 2020 .189Table 7.3 Overview of references to the Convention and/or cultural clauses in bilateral and regional trade agreements signed between 2017 and 2020.191Table 7.4 Instruments adopted bet
92、ween 2017 and 2020 that refer to the Convention,its objectives or its principles.197Table 8.1 Inspiring ways to advance selected Sustainable Development Goals through the implementation of the Convention.230Table 10.1 Status of the Artist laws globally.277Box 8.6 How COVID-19 is putting a strain on
93、international cultural cooperation.229Box 9.1 Soma Book Caf Reading Initiative.245Box 9.2 Australia Council for the Arts investment in female artists.247Box 9.3 Gender equality policy of the Finnish Ministry ofEducation and Culture.250Box 9.4 Institutional assessments to identify priority areas thec
94、ase of Chile.257Box 9.5 Montenegros LGBT Strategy in the Field of Culture.258Box 10.1 United Nations instruments relevant to artistic freedom.267Box 10.2 Tackling hate speech and threats against artists in Sweden.268Box 10.3 Artistic freedom in regional human rights instruments.272Box 10.4 Germany s
95、everal initiatives supporting freedom ofartistic expression.274Box 10.5 The Artist Welfare Law in the Republic of Korea.27814Global Report2022ContentsList of messagesChristopher Bailey Arts and Health Lead,World Health Organization.51Abdulla Shahid President of 76th United Nations General Assembly.5
96、5Noura Al Kaabi Minister of Culture and Youth,United Arab Emirates.60Irma Ratiani Director,Creative Georgia.65Noel Curran Director General of the European Broadcasting Union.75Bela Bajaria Head of Global TV,Netflix.81Hwang Hee Minister of Culture,Sports and Tourism,Republic of Korea.105Yvonne Chaka
97、Chaka Vice-President,International Confederation of Societies of Authors and Composers(CISAC).110Muna Al-Bader Visual artist and curator.123Nina Obuljen Korinek Minister of Culture and Media,Republic of Croatia.129Japheth Kawanguzi Team Lead,MoTIV Creations Limited,Uganda.133Phloeun Prim Executive D
98、irector,Cambodian Living Arts.155Abrao Vicente Minister of Culture and Creative Industries,Republic of Cabo Verde.175Rebeca Grynspan UNCTAD Secretary-General.193Tamara Kotevska and Ljubomir Stefanov Directors of the award-winning documentary film Honeyland.213Jutta Urpilainen Commissioner for Intern
99、ational Partnerships,European Commission.216Alexandra Xanthaki UN Special Rapporteur in the Field of Cultural Rights.220Dr Claudia Sheinbaum Pardo Mayor of Mexico City.225Yalitza Aparicio Martnez Actress and UNESCO Goodwill Ambassador for Indigenous Peoples.249Jeanette Gustafsdotter Minister of Cult
100、ure,Sweden .255Juan Fernando Velasco Singer-songwriter and former Minister of Culture of Ecuador.271Irene Khan UN Special Rapporteur on the promotion and protection of the right to freedom of opinion and expression.279Roger Assaf Actor and theatre director.281Guy Ryder Director-General of the Intern
101、ational Labour Organization.28215IntroductionAddressing culture as a global publicgoodErnesto Ottone R.16IntroductionBe Kind,2020(digital),Osinachi/Private Collection Osinachi.All Rights Reserved 2021/Bridgeman Images*Global Report202217IntroductionTHE VALUE OF CONTINUED REFLECTIONS The Global Repor
102、t series was launched in 2015 to monitor the implementation of the 2005Convention on the Protection and Promotion of the Diversity of Cultural Expressions,which has now been ratified by 150 countries and the European Union.The series was also intended to provide evidence of how implementation contri
103、butes to the achievement of the United Nations 2030Agenda for Sustainable Development and its Sustainable Development Goals(SDGs)and Targets.Indeed,the need to integrate culture as a strategic element in national and international development policies and in international development cooperation is
104、stated in the Conventions preamble.One of the objectives of the Convention is to reaffirm the link between culture and development for all countries,particularly developing countries,and to encourage national and international action to recognize the true value of this link.The third Global Report a
105、ppears in February 2022,more than two years after the first waves of the COVID-19 pandemic plunged the entire world into an unprecedented crisis.The first two editions of the series sought to understand how ratification of the Convention had inspired changes in national and international cultural po
106、licies,contributing to more effective protection and promotion of the diversity of cultural expressions and progress towards the achievement of the SDGs.This third edition continues to measure progress and challenges in this area,based on monitoring frameworks and methodologies that are becoming inc
107、reasingly established among Parties to the Convention.This edition also provides an overview of the solutions and challenges facing the cultural and creative ecosystem in the context of the global COVID-19 crisis and in response to the UN Secretary-Generals call for a Decade of Action.The Report doe
108、s this by highlighting the solutions put in place in the cultural and creative sectors,on a global scale,to address international challenges.These challenges,which have only been exacerbated by the COVID-19 crisis,include poverty,gender inequality,climate change and inequalities within and among cou
109、ntries.On a national and local scale,the Report also identifies trends in cultural policies,budgets,institutions and governance mechanisms.Finally,at the individual level,it analyses the role of civil society,media,trade unions and the private sector in raising awareness of and advocating for the gu
110、iding principles of the Convention.These principles include the respect for human rights and fundamental freedoms,the equal dignity of and respect for all cultures and the complementarity of economic and cultural aspects ofdevelopment.THE CONVENTIONS MONITORING FRAMEWORK:AN EVOLVING ARCHITECTUREIn 2
111、015,UNESCO developed a Monitoring Framework based on four objectives drawn from the Conventions guiding principles.The aim was to facilitate an understanding of the core areas of policy implementation,as well as to enable evaluation and learning.The four objectives,which remain valid,are as follows:
112、Support sustainable systems of governance for culture that are conducive to States exercising their sovereign right to adopt measures and policies to protect and promote the diversity of cultural expressions within their territory(related to the Conventions guiding principle No.2).Achieve a balanced
113、 flow of cultural goods and services and increase the mobility of artists and cultural professionals to ensure equitable access to a rich and diversified range of cultural expressions from all over the world,openness to other cultures of the world and balanced support for the diversity of cultural e
114、xpressions(guiding principles No.7 and No.8).Integrate culture in sustainable development frameworks based on the recognition of the complementarity of economic and cultural aspects of development and the shared will to enable all countries,particularly developing countries,to create and strengthen
115、the means necessary for their cultural expression(guiding principles Nos.4,5 and 6).Promote human rights and fundamental freedoms as a necessary condition for the protection and promotion of cultural diversity and the recognition of the equal dignity of and respect for all cultures(guiding principle
116、s No.1 and No.3).The four objectives of the Monitoring Framework are broken down into 11monitoring areas listing the policy areas where action is needed.Each monitoring area has two indicators with its associated means of verification.It was designed as a dynamic tool to support the monitoring of th
117、e Convention over time,to inform policy decisions and guide the collection of data and information,while also promoting a better understanding of the Convention and its application scope for implementation.As mentioned in previous editions,the framework is not fixed,as it is designed to evolve and b
118、e adapted to the realities on the ground and the emergence of new global challenges.The second edition of the Global Report,Re|Shaping Cultural Policies:Advancing Creativity for Development,tested the viability of indicators and means of verification identified in the Monitoring Framework.That editi
119、on began to establish direct links with the SDGs to clarify how and why the protection and promotion of the diversity of cultural expressions fit into the efforts to achieve sustainable development and how the Convention can be an operational instrument for the 2030 Agenda.Prior to this third editio
120、n,the Monitoring Framework underwent a series of adjustments.The titles of the three monitoring areas were changed.The Conventions Monitoring Framework no longer refers to cultural policies,public service media or international sustainable development programmes but rather to cultural and creative s
121、ectors,media diversity and international cooperation for sustainable development.18Global Report2022IntroductionIn the case of media diversity,the scope of the monitoring area was broadened from public media services to all media services in order to better capture measures introduced to ensure dive
122、rsity of and in the media and the diversity of the actors involved.In the case of cultural and creative sectors,it was a matter of better defining the scope of the monitoring area.Cultural policies as a whole are not covered in this series,since heritage policies are not addressed.In addition,it see
123、med important to highlight that the structure,functioning and governance of the sector are being assessed,in addition to policies or regulatory and legal frameworks.The same logic led to a change in the title of the series,on the basis that the term cultural policies did not seem to capture the wide
124、 range of policies and measures introduced by Parties to protect and promote the diversity of cultural expressions.As shown by the 11 areas of the Monitoring Framework,measures in policy areas other than those traditionally encompassed by cultural policies are needed to promote the creativity that n
125、urtures and renews cultural expressions and enriches their diversity.The new title of the series Re|Shaping Policies for Creativity,therefore does not refer to the subject of such policies but rather to their intendedimpact.A NEW FRAMEWORK FOR PERIODIC REPORTING AT THE NATIONAL LEVELThe greatest met
126、hodological and conceptual change compared to previous editions is that most of the quadrennial periodic reports(QPRs)1 submitted by Parties between 2017 and 2020 were prepared using a framework harmonized with the Conventions Monitoring Framework.At its seventh session in June 2019,the Conference o
127、f Parties revised the Operational Guidelines on 1.Reports submitted every four years to UNESCO by Parties to the Convention on measures taken to protect and promote the diversity of cultural expressions within their territory and at the international level.They constitute the main source of informat
128、ion for the Global Reports.Article 9 on Information Sharing and Transparency,including a new framework for QPRs strictly aligned with the Conventions Monitoring Framework to address key questions from the indicators and means of verification.As explained in the appended methodological note,much of t
129、he quantitative analysis offered in this report is therefore based directly on Parties responses.Most of the participatory policy monitoring processes that led to the national QPRs were guided by the Conventions MonitoringFramework.The alignment of the framework for QPRs has resulted in a more holis
130、tic monitoring of the policies and measures adopted by Parties to foster creativity,while providing the periodic reporting process with a role of improving understanding of the Conventions areas of application.The QPRs feature a new section on measures implemented by civil society,thereby resulting
131、in a more participatory information-gathering process.This new tool was widely used by Parties from 2020;77%of the reports submitted since 2019 included measures or initiatives undertaken by civil society organizations(CSOs).This is in line with the importance placed on civil society in the Conventi
132、on,in particular through Article 11,and the understanding that the diversity of cultural expressions relies on the contributions of many stakeholders.COVID-19S IMPACT ON THE PUBLICATION SCHEDULEThis edition was originally planned for publication in June 2021.However,to offer an analytical overview o
133、f the measures put in place to protect and promote the diversity of cultural expressions through Parties QPRs,the Report could not fail to be affected by the COVID-19 crisis that reverberated around the world.These exceptional circumstances severely affected national processes for preparing QPRs.The
134、 deadline for their 2020 submission was therefore extended to 1 November.This allowed 78Parties to fulfil their reporting obligation despite the exceptional circumstances.The editorial team also worked tirelessly to analyse information collected up to a year before the final release in February 2022
135、.PERSISTENT DATA GAPS The QPRs analysed were received from 63%of the then 149 Parties to the Convention as of 1 November 2020,which is a relative increase of 55%compared to the reports considered for the previous edition.Those earlier editions also only analysed progress over two,rather than four,ye
136、ars.In addition to this greater diversity of sources,19of these reports come from Parties that had not previously submitted a report.While this diversification of sources cannot compensate for an uneven rate of ratification among regions,it nonetheless represents a considerable step forward.In addit
137、ion,while complementary research particularly from non-governmental sources has enriched the analysis in this edition,the importance of information shared by Parties themselves has become even more significant.While the collection of qualitative data for this edition has improved,quantitative and st
138、atistical data remain a major challenge.This has been partially overcome by the key questions approach in the periodic reporting form,which allowed quantitative analyses of responses to provide a more accurate picture of how countries characterize their policies and measures to protect and promote t
139、he diversity of cultural expressions.However,when it comes to statistical data,the difficulty of obtaining reliable and comparable data remains.Examples include the share of cultural and creative sectors in Gross Domestic Product,the share of employment in the cultural and creative sectors(disaggreg
140、ated by sector,gender or contractual arrangement)or the percentage of total public funds given to female artists and cultural producers.This type of data is vital in understanding the cultural and creative sectors by assessing their health,evaluating the impact of existing policies and measures and
141、their alignment with the SDGs and guiding future policies.19IntroductionThe indicators of the Monitoring Framework provide valuable guidance to qualitatively assess the cultural and creative sectors and their contribution to the 2030 Agenda and identify regional and global trends.However,there remai
142、ns a lack of unified international indicators available to help all countries quantify the sectors progress and shortcomings in areas such as economic growth,employment,gender equality or responsible consumption and production(which are all included in the SDGs).At the request of Member States and s
143、ubject to securing the necessary support,UNESCOs Institute for Statistics(UIS)should develop international indicators on the cultural and creative sectors and produce methodologies to support data collection by Member States.This should enable more systematic global measurement and analysis of the s
144、ectors contribution to development goals in the 2030 Agenda and beyond.A BRIEF OVERVIEW OF PROGRESS TOWARDS THE CONVENTIONS OBJECTIVESWhile the chapters of this report explore the current policy and regulatory landscape in each area of the Conventions Monitoring Framework,identify emerging trends,an
145、alyse progress towards the Conventions objectives,highlight key challenges and propose a series of policy recommendations,this introduction summarizes the progress towards achieving the four goals of the Monitoring Framework and any gaps to be filled by those involved in protecting and promoting the
146、 diversity of culturalexpressions.Reena Kallat,Woven Chronicle,2015,electrical wires,speakers,circuits boards,10 min single channel audio*20Global Report2022Introduction Goal 1 SUPPORT SUSTAINABLE SYSTEMS OF GOVERNANCE FOR CULTUREAreas of monitoringIndicatorsSDG TargetsMeans of verificationCULTURAL
147、AND CREATIVE SECTORS1.Policies and measures support the development of dynamic cultural and creative sectors 8.38.34.41.1 Integrated strategies and frameworks1.2 Sectoral laws and policies 1.3 Job creation and entrepreneurship measures 1.4 Education and training programmes2.Policymaking is informed
148、and involves multiple publicbodies16.616.716.7 2.1 Ministry with competence and budget for culture2.2 Interministerial cooperation2.3 Decentralized responsibilities2.4 Information systems and statisticsMEDIA DIVERSITY3.Policies and measures support diversity ofthemedia16.10 3.1 Media freedom3.2 Medi
149、a accountability3.3 Media monitoring3.4 Media ownership4.Policies and measures support diversity of content in the media4.1 Public service media with cultural mandate4.2 Content diversity in programming4.3 Domestic content incentives4.4 Data and information trendsDIGITAL ENVIRONMENT5.Policies and me
150、asures support digital creativity,enterprises and markets 4.45.1 Diverse actors in the digital industries5.2 Digital transformation of industries and institutions5.3 Digital creativity and competencies6.Policies and measures facilitate access to diverse cultural expressions in thedigital environment
151、6.1 Access to domestic digital content6.2 Digital literacy6.3 Data and information trendsPARTNERING WITH CIVIL SOCIETY7.Measures strengthen theskills and capacities ofcivil society 17.177.1 Enabling environment for Civil Society Organizations(CSOs)7.2 Structuring of CSOs7.3 Training and mentoring fo
152、r CSOs7.4 Funding for CSOs 8.Civil society is involved in the implementation of the Convention at national and global levels17.1716.7 8.1 Policy dialogue mechanisms with public authorities8.2 Participation in policy design8.3 CSO initiatives8.4 Participation in the work of the Conventions governing
153、bodies21Introduction GOAL 1SUPPORT SUSTAINABLE SYSTEMS OF GOVERNANCE FORCULTUREThe governance of culture encompasses the normative frameworks,public policies,infrastructure,institutional capacities and processes that shape the cultural and creative sectors.In the context of the Convention,such gover
154、nance aims to promote participation at all levels and by all actors,enabling a diversity of voices.It is therefore intended to be inclusive and sustainable.Those two parameters are measured by the Report through four monitoring areas:The cultural and creative sectors:an overarching area that is part
155、icularly interested in the strategic,legal and political frameworks that shape the sectors(including in terms of employment and training),as well as in the quality of involvement of various public or arms-length bodies in the organization of and support to thesectors.Media diversity:the Conventions
156、preamble recognizes the diversity of the media as a factor enabling cultural expressions to flourish within societies.This area seeks to measure the diversity of media by looking at their level of freedom,accountability and monitoring and the level of media ownership pluralism;and diversity in the m
157、edia by assessing diversity of content in programming and related incentives.Digital environment:considering the rapid evolution of information and communication technologies since the early 2000s,the Convention recognizes the new opportunities they create for enhanced interaction between cultures,a
158、s well as the challenges they represent for the diversity of cultural expressions and the risks of increasing imbalances between developing and developed countries.In this monitoring area,diversity is measured through both the diversity of the actors involved(and the support they receive to actively
159、 participate in digital creativity and markets)and the diversity of content available in the digital environment.Partnering with civil society:because Parties recognize the fundamental role of civil society in protecting and promoting the diversity of cultural expressions,they are called upon to enc
160、ourage its active participation in their efforts to achieve the objectives of the Convention.In order to measure the quality,effectiveness and sustainability of partnerships,this monitoring area focuses on the support provided to civil society in terms of training,funding and enabling environment,as
161、well as on the effective participation of civil society in the protection and promotion of the diversity of cultural expressions at national and globallevels.The evidence presented in this third edition of the Global Report demonstrates progress as follows:Over the last few years,the Convention has
162、fostered policy change in the cultural and creative sectors.Evidence shows that it also helped to streamline legislative frameworks,structure the creative ecosystem and provide a responsive framework to meet new challenges.Moreover,interministerial collaboration and multistakeholder engagement in th
163、e governance of culture have been mainstreamed,leading to more integrated policies.Public authorities tend to inform and consult civil society organizations on a more regular basis regarding policy-making processes,thus opening new and sometimes sustainable spaces for the governance of culture.In mo
164、st regions,domestic content quotas continue to be a common measure introduced to ensure access to diverse cultural content.With the rise of individualized services,existing regulations are beginning to be adapted to Video on Demand services.The digital transformation of the cultural value chain acce
165、lerated during the COVID-19 pandemic.The growing need for digital cultural content,amplified by widespread lockdowns in 2020,is driving significant efforts to support creation in the digital environment in all regions of theworld.In the coming years,however,significant barriers need to be addressed
166、to ensure resilient,informed,transparent and participatory processes and systems of governance for culture:There is an ongoing downward trend in public investment for culture,which points to new challenges for the cultural and creative sectors,especially after the COVID-19 pandemic has exacerbated t
167、he economic and social vulnerability of artists and cultural professionals across the world.Access to funding remains the main obstacle for CSOs involvement in cultural policy-making,monitoring and evaluation.Opportunities to co-create policy processes with public authorities are also rather limited
168、 and should be expanded beyond dialogue and consultation mechanisms.Freedom of information and diversity in the media are threatened by increased disinformation in the context of the COVID-19 pandemic,insufficient media monitoring,ongoing concentration of media ownership and broadcasters difficultie
169、s in meeting existing quota requirements due to a lack of local content.Only a few countries have regulatory frameworks to address digital challenges.Significant gaps therefore remain in terms of fair remuneration for creators online,the use of copyright in the digital environment and the discoverab
170、ility of digital cultural content.Uneven access to connectivity and digital skills reinforces existing inequalities,leading to a widening digital divide and limited diversity of the actors able to engage in and benefit from the digital creative economy.22Global Report2022IntroductionGoal 2 ACHIEVE A
171、 BALANCED FLOW OF CULTURAL GOODS AND SERVICES AND INCREASETHE MOBILITY OF ARTISTS AND CULTURAL PROFESSIONALSAreas of monitoringIndicatorsSDG TargetsMeans of verificationMOBILITY OF ARTISTS AND CULTURAL PROFESSIONALS9.Policies and measures support the outward and inward mobility of artists and cultur
172、al professionals10.710.7 9.1 Outward mobility9.2 Inward mobility9.3 Mobility information systems10.Operational programmes support the mobility of artists and cultural professionals,notably from developing countries 10.1 Mobility funds10.2 Cultural events and exchange facilities 10.3 South-South mobi
173、lity programmes10.4 CSO mobility initiativesFLOW OF CULTURAL GOODS AND SERVICES11.Policies and measures support balanced international flows of cultural goods andservices 10.a8.a11.1 Export strategies and measures 11.2 Implementation of preferential treatment11.3 Aid for Trade12.Information systems
174、evaluate international flows of cultural goods andservices17.1117.1110.b12.1 Value,origin and destination of cultural goods12.2 Value,origin and destination of cultural services12.3 Direct foreign investment in culture and creative sectorsTREATIES AND AGREEMENTS13.Trade and investment agreements ref
175、er to the Convention or implement its objectives 10.a13.1 Special status for cultural goods and services13.2 Cultural clauses related to e-commerce and digital products13.3 Preferential treatment provisions 14.Other agreements,declarations,recommendations and resolutions refer to the Convention or i
176、mplement its objectives 14.1 Agreements aligned with the goals of the Convention14.2 Declarations,recommendations and resolutions aligned with thegoals of the Convention 23Introduction GOAL 2ACHIEVE A BALANCED FLOW OFCULTURAL GOODS AND SERVICES AND INCREASE THEMOBILITY OF ARTISTS AND CULTURAL PROFES
177、SIONALSThe Conventions objective of widening and balancing cultural exchanges applies to the flow of cultural goods or services and the transnational mobility of artists and cultural professionals.In both cases,this can only be achieved through the convergence and complementarity of measures introdu
178、ced both by those benefiting from the existing imbalances,as well as those feeling their adverse effects.This is illustrated by the implementation of Article 16 of the Convention on preferential treatment for developing countries.The impact of the Article depends on the institutional and legal frame
179、works of developed countries to grant preferential treatment to developing countries artists,cultural professionals and cultural goods or services as well as on developing countries capacity to build and maintain vibrant cultural and creative sectors and to support artists and cultural professionals
180、 who can benefit from preferential treatment.The Report seeks to measure progress and challenges in three monitoring areas,and pays particular attention to the implementation of preferential treatment measures:Mobility of artists and cultural professionals:to determine the extent to which there are(
181、governmental and non-governmental)policies,measures and programmes to support inward and outward mobility particularly for artists and cultural professionals from developing countries.Flow of cultural goods and services:to determine which measures(such as export strategies)and support(technical and
182、financial)are in place to facilitate equitable access,openness and balance in the worldwide distribution of cultural goods and services.Treaties and agreements:to assess Parties progress in fostering mutual supportiveness between this Convention and the other treaties to which they are parties(Artic
183、le20),while promoting the Conventions objectives and principles in other international forums(Article21),particularly in terms of trade and investment but also digital,environmental issues or any other area that may impact the diversity of cultural expressions.The evidence in this third edition of t
184、he Global Report demonstrates the following progress:An increasing number of countries both developed and developing are supporting the outward mobility of artists,mainly under the principle of internationalizing the arts in cultural policy strategies and legal frameworks.CSOs are playing a major ro
185、le in this regard by providing opportunities for training and networking and filling funding gaps in the absence of sufficient publicsupport.Although cultural services still account for less than 2%of total traded services,world exports of cultural services doubled in value to US$117.4 billion betwe
186、en 2006 and 2019.Audiovisual and related services remained the largest cultural service sector,having increased its value by 70%to reach US$47.9billion in 2019.Two-thirds of the trade agreements concluded between 2017 and 2020 contain clauses recognizing the specific nature of cultural goods and ser
187、vices,while at least 40 multilateral and regional instruments(mostly non-binding)adopted during that period refer directly to the Convention or its objectives and principles.Manyofthelatter link culture and the digital environment or sustainable development,including the newly adopted UNESCO Recomme
188、ndation on the Ethics of Artificial Intelligence.However,there remain significant challenges in achieving a balanced flow of cultural goods and services and increasing the mobility of artists and cultural professionals.These are asfollows:The preferential treatment clause remains largely unimplement
189、ed.Not only have no preferential treatment measures been implemented in mobility-support schemes in the last four years(except for a few actions triggering positive but unintended collateral effects),but none of the bilateral and regional trade agreements signed by developed countries that are Parti
190、es to the Convention between 2017 and 2020 has included preferential treatmentprovisions.The participation of developing countries in the global flows of cultural goods has stagnated over the last three years.Global trade has shown no signs of opening up to cultural services from developing countrie
191、s.The lack of Aid for Trade towards the culture and media sectors of developing countries contributes to ongoing imbalances in the flow of cultural goods and services and limits the overall capacity of the cultural and creative sectors to promote sustained,inclusive and sustainable economic growth.2
192、4Global Report2022IntroductionGoal 3 INTEGRATE CULTURE IN SUSTAINABLE DEVELOPMENT FRAMEWORKSAreas of monitoringIndicatorsSDG TargetsMeans of verificationNATIONAL SUSTAINABLE DEVELOPMENT POLICIES ANDPLANS15.National sustainable development policies and plans include action lines to support diverse cu
193、lturalexpressions8.317.1415.1 Culture and creative sectors in national development plans15.2 Public cultural bodies in planning and implementation15.3 Evaluation of national development plans and strategies16.Policies and measures support equity in the distribution of cultural resources and inclusiv
194、e access to such resources 16.1 Culture-based regeneration plans16.2 Participation and access to diverse cultural expressionsINTERNATIONAL COOPERATION FOR SUSTAINABLE DEVELOPMENT17.Development cooperation strategies include action lines to support diverse cultural expressions 17.217.1 Culture and cr
195、eative sectors in development cooperation strategies17.2 Official development assistance(ODA)for culture 17.3 Evaluation of development cooperation strategies18.Development cooperation programmes strengthen creative sectors in developing countries17.917.917.918.1 Support for cultural policy design a
196、nd implementation18.2 Support for cultural micro and small and medium-sized enterprise(SME)development18.3 Support for artists and creation25Introduction GOAL 3INTEGRATE CULTURE IN SUSTAINABLE DEVELOPMENT FRAMEWORKSAn integrated approach to sustainable development also requires the recognition and i
197、ntegration of its cultural dimension,as promoted by Articles 13 and 14 of the Convention.Integrating culture in sustainable development frameworks involves participatory elaboration,implementation and evaluation of national sustainable development plans and international cooperation strategies.This
198、also applies to cultural bodies in special coordination mechanisms,and includes factoring in the priorities of the cultural and creative sectors and allocating a dedicated budget.Despite being a less well-explored area,the contribution of culture and creativity to climate action and environmental su
199、stainability is the next urgent priority for connecting the dots in the sustainable development agenda.Key components in harnessing the potential of diverse cultural expressions for sustainable development include strengthening the capacities and skills of artists and cultural professionals,as well
200、as partnerships and knowledge transfer including through North-South-South and South-South cooperation.The Report therefore seeks to measure progress and challenges in two monitoring areas:National sustainable development policies and plans:to assess whether diverse cultural expressions and cultural
201、 and creative industries are recognized as strategic areas of action in policies and plans,thereby fostering a holistic approach to sustainable development;and to monitor territorial and social equity in the distribution of cultural resources,ensuring inclusive participation in cultural life notably
202、 for vulnerable groups.International cooperation for sustainable development:to assess how international development cooperation strategies and assistance programmes invest in diverse cultural expressions and cultural and creative industries as strategic areas of action;and strengthen capacities acr
203、oss the creative ecosystem in developingcountries.The evidence in this third edition of the Global Report demonstrates the following progress:National development plans and sustainable development strategies widely recognize cultures contribution,especially in terms of advancing cultural,social or e
204、conomic development outcomes.At city level,culture and creativity are increasingly perceived as assets for local development,fostering economic growth and innovation,increasing attractiveness and social cohesion and widening participation in cultural life.Evidence shows an increasing interest of mul
205、tilateral organizations and non-traditional donor countries in development cooperation for culture and creativity.Cooperation models promoting peer-to-peer exchanges and knowledge transfer such as North-South-South and South-South cooperation are becoming more common,thereby promoting mutual learnin
206、g and ownership at a regional level.However,significant barriers need to be addressed to promote the cultural agenda in sustainable development over the next few years:In national sustainable development planning,the specific contribution of cultural and creative industries to development outcomes i
207、s rarely acknowledged.Intersectoral coordination mechanisms tend to overlook the needs and priorities of cultural stakeholders,thereby hindering the holistic implementation of the 2030 Agenda for Sustainable Development.Climate action and environmental sustainability remain blind spots in cultural p
208、olicy.Despite the potential of culture and creativity to drive much-needed changes in mindsets and behaviours,these areas are mostly ignored in climate strategies and environmental policies due to a lack of awareness,expertise and capacity.The share of Official Development Assistance devoted to cult
209、ure and recreation in 2018 represented a third of the funding that was available before the 2008 global financial crisis.A decline is predicted in the coming years due to COVID-19-related recessions.Across cooperation programmes,there is a lack of investment to support cultural micro-and small and m
210、edium-sized enterprise development in developing countries,despite such enterprises being essential for increasing local cultural production.Moreover,a lack of systematic evaluation and inadequate management of existing evaluation reports combine to prevent cultural development actors from capitaliz
211、ing on existing knowledge and developing evidence-based cooperation programmes.26Global Report2022IntroductionGoal 4 PROMOTE HUMAN RIGHTS AND FUNDAMENTAL FREEDOMSAreas of monitoringIndicatorsSDG TargetsMeans of verificationGENDER EQUALITY19.Policies and measures promote gender equality in the cultur
212、e and mediasectors 5.c5.519.1 Government bodies in charge of gender equality19.2 Support to womens participation in cultural life19.3 Support to female artists and cultural professionals20.Monitoring systems evaluate levels of representation,participation and access of women in the culture and media
213、 sectors5.5 20.1 Levels of womens representation in the culture and mediasectors20.2 Levels of womens participation in cultural lifeARTISTIC FREEDOM21.Policies and measures promote and protect freedoms of creation and expression and participation in culturallife16.1021.1 Legal recognition of artisti
214、c freedom21.2 Monitoring of artistic freedom violations 21.3 Protection of artists and cultural professionals at risk 22.Policies and measures promote and protect the social and economic rights of artists and cultural professionals22.1 Transparency of public funding schemes 22.2 Social protection22.
215、3 Economic rights27Introduction GOAL 4PROMOTE HUMAN RIGHTS AND FUNDAMENTAL FREEDOMSEnsuring respect for human rights and fundamental freedoms refers to freedom of expression,information and communication,as well as the ability of individuals to choose cultural expressions.This is set out as a necess
216、ary and indispensable condition for the protection and promotion of cultural diversity in the first guiding principle of the Convention.Accordingly,the Conventions Monitoring Framework seeks to measure progress in promoting human rights and fundamental freedoms in the cultural and creative sectors,w
217、ith a particular focus on gender equality and artistic freedom.The Report therefore seeks to measure progress and challenges in these two monitoring areas:Gender equality:the aim is to measure:the level of womens participation in cultural life as active contributors(creators,producers and decision-m
218、akers)and as audiences;steps taken to promote gender equality in these areas;and the integration of gender equality into monitoring systems of the cultural and media sectors.Artistic freedom:the aim is to measure progress in the area of freedom of artistic expression in terms of protective legal fra
219、meworks;monitoring and effective protection;and the protection of the economic and social rights of artists(notably through regulatory frameworks and special schemes suited to the nature of creative work,as advocated by the 1980 Recommendation concerning the Status of the Artist).The evidence presen
220、ted in this third edition of the Global Report demonstrates the following progress:Gender equality is increasingly being recognized as a priority for the cultural and creative industries,as evidenced by the high percentage of Parties reporting measures to ensure gender equality in the sector.QPRs al
221、so reveal the key role of CSOs in advancing innovative measures for gender equality,building the capacities of female artists and creative professionals and stimulating networking.Parties have been attempting to bring labour protection of artists and cultural professionals in line with what applies
222、to the general workforce,notably through measures to ensure social welfare for artists(as demonstrated by half of Parties reporting measures to improve the status of the artist).With precarious working conditions being exacerbated by the COVID-19 pandemic,emergency measures of this nature were also
223、deployed by manycountries.Cultural and human rights defenders,as well as CSOs,increasingly engage in monitoring and advocating for freedom of artistic expression,including through the provision of safe havens for artists atrisk.However,there remain significant challenges in mainstreaming human right
224、s and fundamental freedoms in the cultural and creative sectors:Despite a critical lack of data regarding women in the culture and media sectors,evidence suggests that women remain under-represented in positions of leadership,have less access to public funding,achieve less visibility and acknowledge
225、ment for their work than male counterparts and are suffering a disproportionate impact from the COVID-19pandemic.Overall,a significant number of countries have not yet put in place or revised measures to improve the status of the artist.Only a few countries provide schemes for income protection or c
226、areer transition.While some States have amended or abolished laws affecting freedom of artistic expression,there remains a worrying disconnect between protective law and practice with attacks on freedom of artistic expression continuing to rise in 2020.To be effective,protective laws must be support
227、ed by local monitoring systems and concrete implementation mechanisms,yet just over half of the Parties report having independent bodies that receive complaints or monitor violations and restrictions to freedom of artistic expression.28Global Report2022IntroductionLOOKING AHEAD:THE IMPORTANCE OF ADD
228、RESSING CULTURE AS A GLOBAL PUBLIC GOODSince the publication of the last edition of the Global Report,cultural policy reform has been increasingly placed at the heart of the sustainable development agenda.Twenty-one years after the 1998 Intergovernmental Conference on Cultural Policies for Developme
229、nt held in Stockholm,Sweden,in November 2019 UNESCO hosted the Forum of Ministers of Culture on the margins of the 40thsession of the General Conference.The Forum was structured around four themes including Investing in culture and creativity for sustainable development and employment.On that occasi
230、on,the Government of Mexico announced its intention to host an intergovernmental meeting on cultural policies in 2022,40 years after the World Conference on Cultural Policies MONDIACULT.Two years later,in October 2021,at its 212th session,the UNESCO Executive Board gave the mandate to the Director-G
231、eneral to convene the UNESCO World Conference on Cultural Policies and Sustainable Development MONDIACULT 2022.This momentum has been supported by a number of global political processes such as those leading up to the UN General Assembly declaring 2021 as the International Year of Creative Economy f
232、or Sustainable Development,the development of the UNESCO Culture|2030 Indicators and the G20 Rome Leaders Declaration in July 2021.That Declaration firmly established culture as one of the policy areas where joint efforts are needed,particularly in the context of the response to the COVID-19 pandemi
233、c.In particular,the Declaration underlines the role of culture and creative professionals and enterprises as drivers of sustainable development and key actors in the resilience and regeneration of economies and societies.It is therefore also vital to support them,including by facilitating access to
234、employment,social protection,digitalization and business support measures.At the United Nations level,in May 2021 UNESCO launched the Inter-agency Platform on Culture for Sustainable Development to combine efforts,strengthen collaboration and maximize coherence of UN-wide action to harness cultures
235、contribution to sustainable development across the UN System.This echoed the call of the Global Reports previous edition to raise awareness within the development community by exploring collaborative ways to optimize the contribution of culture and creativity to employment and income generation,but
236、also to traditional development areas such as education and gender equality.Through its journey to MONDIACULT,the Platform reflects on three SDGs where cultures contribution can be expanded and championed reducing inequalities(SDG 10),combatting climate change(SDG 13)and promoting dialogue and peace
237、(SDG 16).This report also aims to contribute to this and possibly guide the joint action of UN Country Teams in the context of COVID-19 impact assessment and national recovery plans.The Report highlights many policies,measures and initiatives in countries from all world regions relating to training
238、and job creation in the cultural and creative sectors,particularly in the digital environment,strengthening dialogue with civil society in support of participatory governance of culture,and improving access to culture with a view to reducing inequalities within countries.However,the same efforts are
239、 not being made to reduce inequalities among countries.This is shown by the low rates of Official Development Aid or Aid for Trade dedicated to culture and the lack of preferential measures for artists and other cultural professionals or cultural goods and services from developing countries.In Chapt
240、er 8,Culture and sustainable development:a still untapped potential,the analysis of the types of outcomes expected from including culture in 127national development and national sustainable development plans reveals that environmental outcomesaretheleast pursued.This suggests that,despite some scatt
241、ered initiatives,there remains considerable scope for harnessing culture to combat climate change.Thiswould involve drawing appropriate responses from practices and know-how but also placing creativity at the service of environmental challenges and increasing the environmental responsibility of cult
242、ural and creative industries in,inter alia,their digital transition.That chapter and this edition in general provide a comprehensive overview of how well-suited policies are to promoting creativity in the light of development challenges.In that sense,it represents a solid starting point for the impl
243、ementation of the UN Resolution A/C.2/76/L.42 on Culture and sustainable development(2021)by countries,intergovernmental bodies and organizations of the UN system,relevant non-governmental organizations and all other relevant stakeholders.This is particularly relevant in terms of:Ensuring a more vis
244、ible and effective integration and mainstreaming of culture in economic,social and environmental development policies and strategies at all levels,and mobilizing additional resources for development,including through innovative mechanisms of public and private financing(Chapter 8).Ensuring that all
245、genders enjoy equal access and opportunities to participate in and contribute to cultural life,as well as opportunities to lead by holding decision-making positions(Chapter 9).Promoting capacity-building,where appropriate,at all levels for the development of dynamic cultural and creative sectors,in
246、particular by encouraging creativity,innovation and entrepreneurship;supporting the development of cultural institutions and cultural and creative sectors;providing technical and vocational training for culture professionals;and increasing employment opportunities in the cultural and creative sector
247、s for sustained,inclusive and equitable economic growth and development(Chapter 1).29Introduction Actively supporting the emergence of local markets for cultural goods and services and facilitating the effective and licit access of such goods and services to international markets,taking into account
248、 the expanding range of cultural production and consumption and the provisions of the Convention(Chapter 6);and Promoting the diversity of and access to cultural expressions in the digital environment(Chapter 3).The highlighted analysis and the trends and gaps identified in this edition are meant to
249、 inform the policy dialogue that will culminate in MONDIACULT 2022.Indeed,this report offers relevant reflections and examples from all world regions of how policies to support creativity(cultural policies as well as policies in other fields)can be adapted to the challenges of sustainable developmen
250、t.These include ensuring sustainable and inclusive economic growth,decent employment opportunities,gender equality,reducing inequalities within and among countries and taking urgent action to combat climate change.The Report also highlights the outcomes and challenges of converging governmental and
251、non-governmental multistakeholder efforts to support resilient,thriving and inclusive cultural and creative sectors.In terms of goals of the Conventions Monitoring Framework,the comparative analysis of measures described by Parties shows that the lowest number of measures have been reported under th
252、e heading of the promotion of human rights and fundamental freedoms.This may mean that more advocacy efforts are needed to show how guaranteeing the human rights and fundamental freedoms of creators and participants of diverse cultural expressions is key to ensuring the very existence of a diversity
253、 of cultural expressions.The Report also shows that equal economic and social protection among cultural workers,regardless of their gender,may not yet be fully understood as a prerequisite for nurturing and maintaining the diversity of cultural expressions.It therefore seems that artists and cultura
254、l professionals might deserve special attention as part of the 12 commitments put forward in the UN Secretary-Generals report Our Common Agenda.The Secretary-Generals report spoke of leaving no one behind through a renewed social contract anchored in human rights,a new era of universal social protec
255、tion,including basic health care and income security and digital inclusivity(UN,2021b).In its preamble,the Convention affirms that cultural diversity is an inherent characteristic of humanity that constitutes both a common heritage of humanity that should be celebrated and preserved for the benefit
256、of all,and a mainspring for the sustainable development of communities.There is a reason why Parties to the Convention are required to report to UNESCO every four years on measures taken to protect and promote the diversity of cultural expressions within their territory and at the international leve
257、l,since diversity can only be achieved if it is simultaneously pursued at the local,national,regional and international levels.The number and diversity of actors and actions having an impact on the protection and promotion of the diversity of cultural expressions also show that diversity cannot be a
258、dequately guaranteed by one State acting alone but requires a convergence of efforts at multiple levels to ensure that everyone has the capacity to access and enrich this diversity.Based on measures included by Parties in their QPRs to the Convention,this report shows,however,that more attention is
259、being paid to promoting the Conventions objectives at the national level than at the international level.Fewer efforts are mobilized for rebalancing cultural exchanges(in terms of the flow of cultural goods and services or the mobility of artists and cultural professionals)than for establishing sust
260、ainable systems of governance of culture at the national level.As shown in this report,there is increasing local and national awareness and actions around the idea that culture is central to inclusive,resilient and sustainable societies.This now needs to be reflected at the global level.Newly emergi
261、ng fault lines in the international order,as well as persistent transnational challenges such as inequality,conflict,the digital shift and climate change,are leading countries to adapt their policies to better fulfil their role in providing global public goods.Against this backdrop,the UN Secretary-
262、General is calling for a discussion on which ones are the most essential and valued and which are the best means of ensuring their delivery.The ongoing process has highlighted areas of international concern that could be considered as global public goods,meaning goods and services provided to and be
263、nefiting all of society that cannot be adequately provided by any one State acting alone and concern the welfare of humanity as a whole,such as health,information,economy,science,digital or peace(UN,2021b).Global public goods are those marked by non-rivalry of consumption and non-exclusion.Moreover,
264、their benefits are near-universal in terms of geographical coverage,people(benefitting all)and generations(present and future).This report argues that culture encompasses all these characteristics,as creativity is an inexhaustible source,participated in by societies and individuals around the world,
265、and todays creativity is tomorrows heritage.Culture is not just about institutions or economy,but also individual and collective imagination.Ensuring everyones right to take part in cultural life represents a basic requirement and a fundamental freedom to contribute to the sustainable development of
266、 societies.The promotion and protection of the diversity of cultural expressions is thus a common goal on which our welfare,and indeed survival,as a human race depend(UN,2021b).Establishing culture as a global public good,and the resulting practical implications,requires further reflection through t
267、he policy dialogue involving all Member States in 2022 as part of the build-up to MONDIACULT 2022.30Global Report2022IntroductionThis report intends to contribute to that reflection.The diversity of actors and knowledge in policies and programmes relevant to creativity means that this dialogue needs
268、 to involve actors of varying size and outreach capacity.This will ensure legitimacy,inclusion and equality in the creation and supply of cultural goods and services at all levels through policies that can address existing imbalances and inequalities(which are partly due to the global marketplace).W
269、hat the COVID-19 pandemic teaches societies is that,in times of crisis,culture is a major resource for resilience,connection and recovery(even when the forms of engagement for creators,producers and audiences are in flux).It has also revealed the importance of the State as a provider of trustworthy
270、information,goods and services(UN,2021b).As culture is central to the development of our societies through its economic,social and environmental benefits and because of its vulnerability to global phenomena,it is a global public good that needs to be fully protected and promoted for the benefit of h
271、umanity as a whole.This was the aspiration of UNESCO Member States adopting the 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions,as well as the UNESCO standard-setting instruments that preceded it.Culture must therefore be an integral part of a new global deal
272、 to support solidarity within and among societies and between generations.Alina Grubnyak/U31COVID-19:Testing times for the diversity of cultural expressionsCOVID-19:Testing times for thediversity of cultural expressionsJordi Balt Portols*Researcher and consultant,Trnsit Projectes.Ismail Zaidy,In Tou
273、ch,2019,Morocco*33COVID-19:Testing times for the diversity of cultural expressionsINTRODUCTIONThe Convention on the Protection and Promotion of the Diversity of Cultural Expressions was adopted by the UNESCO General Conference in October 2005 amidst growing awareness of the effects of globalization
274、on cultural diversity.The Convention reaffirms the importance of culture and creativity for individuals and societies in a changing world.It also highlights the growing need for cultural policies to tackle the ever-changing threats to the diversity of cultural expressions.These threats hamper the po
275、tential of the creative sector to truly help make societies more resilient,sustainable and inclusive.However,as stated by Croatias current Minister of Culture and Media,Nina Obuljen,the adoption of the Convention was just a beginning and not an end,as its success would partly depend on how its provi
276、sions are interpreted in response to real-world situations and challenges(Obuljen,2006).Although the conditions for preserving and enabling diversity have been challenging for some time,with many countries experiencing major crises previously,the impact of the COVID-19 pandemic is nonetheless unprec
277、edented.This is because of its global nature,as well as how the pandemic accelerated pre-existing trends and radically affected the conditions for a diversity of cultural expressions to thrive.It is,therefore,crucial to use appropriate policies and measures to meet these challenges and imbue the Con
278、vention with renewed meaning in a post-COVID environment.These concerns form the backdrop to this Global Report.Paying sufficient attention to these points will remain essential for years to come.IMPACT ON THE CULTURAL AND CREATIVE SECTORS:AN INITIAL ACCOUNTSince late 2019,and particularly since the
279、 early months of 2020,COVID-19 has:led to the closure of cultural facilities and the cancellation of events;hampered or halted regular work and collaboration in most cultural and creative occupations;put a stop to international mobility;and compromised the purchasing power of audiences.As described
280、in this Global Report and elsewhere(ILO,2020a;IDEA Consult et al.,2021),this led to a fall in economic returns and a loss of employment within the cultural and creative sectors.According to initial estimates,the global Gross Value Added in the cultural and creative industries contracted by US$750bil
281、lion in 2020,and at least 10million jobs were lost.In the countries for which data are available,the revenue of the cultural and creative industries decreased by between 20%and 40%in 2020,and cultural and creative industries generally performed worse than their national economies,thereby sustaining
282、more damage than during any previous crisis(BOP Consulting,2021).According to initial estimates,the global Gross Value Added in the cultural and creative industries contracted by US$750billion in 2020,and at least 10 million jobs were lostThe collapse in employment and income followed a decline in p
283、ublic funding and a rise in the precariousness of cultural workers.These factors have reinforced entrenched patterns of gender and regional inequality(Banks and OConnor,2020).Digitization took a front seat during the pandemic,as it became more central to creation,production,distribution and access t
284、o culturalexpressions.As a result,online multinationals consolidated their position,and inequalities in Internet access became more significant(UNESCO,2020f).At the same time,many artists and cultural professionals seized the opportunity of the rise in niche streaming services to develop innovative
285、projects in the digital sphere.These generated a strong connection with domestic and international audiences in ways that were relatively unexplored previously(BOP Consulting,2021).Beyond the desperate improvisation that the pandemic often triggered among public authorities,as well as for artists an
286、d cultural professionals,the digital experiments carried out during the pandemic will need to be assessed and lessons learned for the recovery of the cultural and creative sector.The collapse in employment and income followed a decline in public funding and arise in the precariousness ofculturalwork
287、ersIn many ways,the digitization journey has produced mixed results:innovative and pioneering work but also ill-adapted digital performances that have sometimes failed to meet the expectations of audiences and artists.Income from live and public performance almost halved as lockdown measures took ef
288、fect across the world.Although the decline in worldwide royalty collections for creators was partly mitigated by a significant shift to digital in some markets,as digital revenues represent just above a quarter of total global collections,that income source does not make up for the overall decrease(
289、CISAC,2021).Moreover,critical issues have emerged in terms of the accelerating digitization of the sector copyright issues,online privacy and security,censorship,unfair competition,monetization models that provide unfair remuneration for creators,unequal access,digital environmental footprint and so
290、 forth.34Global Report2022COVID-19:Testing times for the diversity of cultural expressionsGiven that the door to a new world of hybrid creativity live and digital is unlikely to close,these areas need to be targeted by responsive policy actions to protect and promote the diversity of cultural expres
291、sions.The Open Roadmap for the Implementation of the Convention in the Digital Environment,adopted in 2019 by its Conference of Parties,offers some untapped potential in terms of tools to help countries formulate the comprehensive approach required to tackle such challenges.As the pandemic unfolded,
292、many societies and governments recognized the importance of culture in peoples lives,as a form of expression,enjoyment,cohesion and well-being.However,this did not always translate into sustainable forms of income and,as stated by the then UN Special Rapporteur in the field of Cultural Rights,Karima
293、 Bennoune,a basic paradox emerged,whereby the meanings of cultural expressions were intensified,yet those who produce arts and culture were finding their work increasingly difficult.Ultimately,this runs the risk of dramatically altering the landscape of cultural and creative organizations and having
294、 long-lasting implications for cultural rights(Bennoune,2021).She thus called for the full implementation of the Convention and the related guidelines on its implementation in the digital environment,as a means to guarantee cultural rights during and after the pandemic.Faced with the pandemic,many n
295、ational and local governments worldwide responded with agility.They deployed a diverse range of measures direct support for artists and cultural professionals,online platforms to increase the availability and diversity of cultural expressions,temporary relief from regulatory obligations for cultural
296、 actors,promotion of national cultural content in the media and so forth.Political will and clear leadership from governments acknowledging cultures central place in society and the need for supportive policies with appropriate budget allocations emerged as a determining factor in this respect.CULTU
297、RE AND SUSTAINABLE DEVELOPMENT:THE NEED TO ADDRESS STRUCTURAL CHALLENGESThis key focus on culture and the diversity of cultural expressions should not only feature in short-term responses but also contribute to fostering long-term,structural change.Ultimately,the ability of the cultural and creative
298、 sectors to navigate these testing times will depend on how structural challenges are addressed,including:the digital divide and socio-economic inequalities within and among countries;learners uneven acquisition of knowledge and skills to appreciate cultural diversity and cultures contribution to su
299、stainable development;gender inequality;labour precarity;and respect for freedom of expression.These are all essential for the protection and promotion of the diversity of cultural expressions and should encourage the cultural and creative sectors to embrace the Sustainable Development Goals(SDGs)an
300、d development policies to harness the sectors multiplecontributions.Some of these challenges are also relevant for other professional sectors and social groups.This calls for cross-cutting policies,the inclusion of the cultural and creative sectors in broader recovery policies and programmes,and the
301、 strengthening of dialogue and collaboration between civil society organizations(CSOs)involved in culture and other sectors.In addition,the specific needs of the cultural sectors(including organizational models,training needs and mobility challenges)should be acknowledged through consultation proces
302、ses and suitable policy responses in culture and other areas(OECD,2020a;UCLG Culture Committee,2020;Sargent,2021).The challenge is to design sophisticated policy responses that recognize and value the sector-specific and highly varied operating models within the sector,while also addressing the stru
303、ctural weaknesses identified in order to protect and promote the diversity of culturalexpressions.The crisis has resulted in calls for a universal basic income and a minimum wage that encompasses all employment models in the cultural and creative sectorsBased on the range of initiatives supporting c
304、ultural and creative sectors around the world,some lessons can already be drawn.Many such lessons are also applicable to government support for the sector beyond the crisis.These include the need to consider the creative and cultural ecosystem as a whole,including profit-making enterprises,non-profi
305、t organizations and people working in the creative and cultural sectors regardless of their professional status(Sargent,2021).The crisis has resulted in calls for a universal basic income and a minimum wage that encompasses all employment models in the cultural and creative sectors.Indeed,even in co
306、untries with social security schemes designed for freelancers or self-employed people(who constitute a large part of the creative economy workforce),a significant proportion of such workers were often ineligible.To address the inequalities that have been exacerbated by the pandemic,strategic investm
307、ents in digital initiatives must remain focused on the following key objectives:improving connectivity;enhancing digital skills and capacities of creators,cultural professionals and organizations;and widening access to a diverse range of cultural expressions.Pandemics highlight the interconnectednes
308、s of the worldwide community and the growing threat that global inequalities pose to the health,well-being and security of all peoples.The origins of inequalities are attributable to human beings,and their effects can be exacerbated by certain forms of production,trade,consumption,mobility and envir
309、onmental changes(see,inter alia,IPBES,2020).35COVID-19:Testing times for the diversity of cultural expressionsThepandemic has demonstrated that the cultural and creative sectors are intrinsically bound with communities in terms of the resilience,connectedness and well-being they provide,but also bec
310、ause they are deeply affected by broader social change.In many societies,increasing attention is therefore being paid to accessibility of cultural goods and services;inequalities in exercising the right to take part in cultural life;connections between culture,health and well-being;and the need for
311、the cultural and creative sectors to accept more responsibility for environmental challenges(Fancourt and Finn,2019;Julies Bicycle,2020;Kantar Public,2021;Anheier et al.,2021).The holistic lens within the Convention,in terms of seeing cultural diversity as an essential requirement for sustainable de
312、velopment(Article 2.6)and the commitment to integrating culture in sustainable development policies(Article13),has never been more important.The Conventions Monitoring Framework that forms the basis for this Global Report also highlights connections between policies and measures to promote the diver
313、sity of cultural expressions and the achievement of several targets in the SDGs.In this respect,it is increasingly crucial to have an interconnected understanding of the Convention and global challenges such as those in the 2030 Agenda for Sustainable Development.That understanding can lead to innov
314、ative policies that explore the interdependence between the diversity of cultural expressions and broader societal challenges in a way that transcends the traditional scope of cultural policy.An interconnected reading of the Convention and Agenda 2063 of the African Union(AU)is necessary for achievi
315、ng the AUs key transformation outcomes,including inclusive and sustainable economies,good governance,regional integration and peace.The Convention can provide an excellent roadmap to inspire theseprocesses.The pandemic has demonstrated that the cultural and creative sectors are intrinsically bound w
316、ith communities in terms of the resilience,connectedness and well-being they provide,but also because they are deeply affected by broader social change Sasha Zaitseva,Eden Mask,2021,Paris,France*36Global Report2022COVID-19:Testing times for the diversity of cultural expressionsINTERNATIONAL SOLIDARI
317、TY,COOPERATION AND OPENNESS The Convention involves a principle of international solidarity and cooperation(which aims to strengthen capacities in developing countries)and a principle of openness and balance,which includes openness to other cultures from around the world(Articles 2.4 and 2.8).Furthe
318、rmore,there is a commitment for developed countries to grant preferential treatment to artists,cultural professionals,goods and services from developing countries(Article 16).The pandemic has resulted in more closed borders,making South-North mobility even more difficult than it was previously.The p
319、andemic has also often increased fear of the other and has bolstered social and political movements opposed to international mobility and exchange.To tackle this,increased commitment to international cultural cooperation and openness to diverse cultural expressions are vital.In the field of culture
320、and creativity,the international response has taken the form of spaces for dialogue,suchas the online meeting of 130Ministers and Vice-Ministers of Culture convened by UNESCO inApril2020 Indeed,there is extensive evidence that the pandemic has increased awareness of how global challenges of this mag
321、nitude cannot be addressed by a single State acting alone but rather concern the well-being of humanity as a whole.In the field of culture and creativity,the international response has taken the form of spaces for dialogue,such as the online meeting of 130 Ministers and Vice-Ministers of Culture con
322、vened by UNESCO in April 2020 or the first Culture Ministers Meeting of the Group of Twenty(G20)held in Rome in July 2021.Regional dialogue has also been strengthened,with organizations such as the African Union,CARICOM,the European Union and MERCOSUR adopting declarations and action plans.Networks
323、of local governments and CSOs have collected and disseminated information,promoted reflections on the impacts of the pandemic on culture,put forward recommendations and initiated new projects and activities.ResiliArt was launched by UNESCO as a series of debates on how the cultural and creative sect
324、ors were grappling with the pandemic.The movement has enabled exchange and learning,while also helping to increasesolidarity with and among people working in thesector.The future context of implementation for the Conventions underlying principles of solidarity,cooperation and openness will be extrem
325、ely different.Mobility may have to be reimagined in more virtual,sustainable and environmentally friendly ways.It is also key to ensure that cultural policy remains committed to the diversity of cultural expressions at the domestic and at international levels,based on appropriate budgetary allocatio
326、ns and the principle of preferential treatment for artists and other cultural professionals,goods and services from developing countries.Furthermore,there is an urgent need to increase the limited resources assigned to culture in international development policies,as underscored in this and previous
327、 editions of the Global Report.Finally,in a context where new international negotiations are likely to happen in areas such as digital trade and international tax reform,it is important to recall the commitment to promote the objectives and principles of the Convention in other international forums(
328、which is enshrined in Article21).This is critical to ensure that the specific nature of the cultural and creative sectors,as well as any potential impact on the diversity of cultural expressions,are taken into account when other agreements arenegotiated.GOVERNANCE AND INFORMATION SYSTEMSBeneath the
329、global repercussions of the COVID-19 pandemic,there are many national and local implications that need to be addressed in particular ways.While the Global Report presents a general analysis of initial trends,there will be specific challenges and possibilities at the local,national and regional level
330、s as part of this evolving situation.In this regard,it is increasingly necessary to foster participatory consultations with civil society and greater openness to collaborative governance involving governments and CSOs,with a view to jointly designing and implementing the aforementioned set of sophis
331、ticated and comprehensive policy responses.More integrated multilevel governance approaches that involve local and other subnational governments and that where necessary promote decentralization can also help to ensure that policies and measures are as tailored to the sectors needs as possible.While
332、 the Global Report aims to provide a global overview of how Parties are implementing the Conventions goals and principles,it does not offer an exhaustive analysis of the pandemics impact on the diversity of cultural expressions and related policies.Indeed,the crisis was still ongoing,albeit less sev
333、erely in some regions,at the time of publication.Furthermore,the periodic reports submitted by Parties on measures to protect and promote the diversity of cultural expressions at the national and international levels,which are the main source of information for this report,were collected between June 2017 and November2020.Even Parties that submitted their reports last could therefore not gather su