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종합보고서<br />
종합보고서
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
2012 <br />
<br />
Culture and Development<br />
Roundtable Series
1. Company Overview <br />
?<br />
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* <br />
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-UNESCO <br />
-- 31 UNESCO (2001.11.02) -<br />
Reaffirming that culture should be regarded<br />
as the set of distinctive spiritual, material, intellectual<br />
and emotional features of society or a social group,<br />
and that it encompasses, in addition to art and literature,<br />
lifestyles, ways of living together, value systems,<br />
traditions and beliefs,<br />
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// <br />
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ex) 1988 <br />
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:<br />
‘’ ‘’ <br />
(2010), : . , 501, 2010, pp.267-271<br />
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1. Company Overview<br />
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(2010), : . , 501, 2010, pp.271-275
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(Millennium Development Goals, MDGs)<br />
: 2000 UN <br />
8 <br />
• , <br />
• , (Global norm) <br />
• MDGs <br />
• MDGs <br />
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----- 8 18 4 , 6 , 8
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MDGs <br />
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*KOICA, 2012 14, Post-2015 ODA
*UNESCO(2005.12.05) Introduction to the UNESCO Culture for Development Indicator Suite p.8 <br />
<br />
<br />
<br />
Dimensions<br />
Economy<br />
Education<br />
Sub-dimensions<br />
Added value of cultural activities, Employment in culture,<br />
Expenditures on culture<br />
Investment in human capital, Promotion of cultural diversity appreciation and<br />
valorisation, Investment in highly trained cultural professionals<br />
Heritage<br />
Communication<br />
Governance<br />
Participation and<br />
Social Cohesion<br />
Protection of cultural heritage, Valorisation of cultural heritage<br />
Freedom of expression, Enabling environment for communication,<br />
Cultural diversity of media<br />
Enshrinement of cultural rights and promotion of culture at the normative level,<br />
Institutional capacities, Cultural infrastructure,<br />
Participation of civil society in cultural policy elaboration and implementation<br />
Participation in cultural activities, Interpersonal trust,<br />
Freedom of self-determination<br />
Equal capacities to participate in culture,<br />
Gender Equality<br />
Equal opportunity to access public institutions<br />
*UNESCO(2005.12.05) Introduction to the UNESCO Culture for Development Indicator Suite p.9
Culture & Media support based on human rights,<br />
cultural diversity, Media pluralism<br />
Resources: Human Socio/Political Material<br />
Empowerment as regards power, influence and opportunities<br />
Structural changes in society:<br />
Economic, social, cultural, civil, political<br />
<br />
Poverty eradication, Development, Realization of human rights<br />
<br />
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CDMA2000<br />
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GTZ et al., 2006 ; , ‘KOIKA ’, 2011,
2011 DAC ODA (2011, / USD 10, 2010 <br />
*: OECD, http://www.oecd.org/dac/aidstatistics/50060310.<strong>pdf</strong>, 2012.08.31<br />
17<br />
2011 100 :<br />
<br />
(307.4 )(145.3 ) (137.4) (129.9 )<br />
(106 )<br />
<br />
<br />
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2011 DAC GNI ODA( / :%)<br />
*: OECD, http://www.oecd.org/dac/aidstatistics/50060310.<strong>pdf</strong>, 2012.08.31<br />
21<br />
2011 GNI ODA :<br />
(1.02%), (1.00%), (0.99%), (0.86%), <br />
(0.75%) , GNI ODA UN 2015 <br />
0.7% DAC 0.31%
*: OECD, http://www.oecd.org/development/aidstatistics/<br />
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DAC / ‘ <br />
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- 2008 (commitment current USD millions <br />
) 3.75 16 . 1 (192) > 3 <br />
(84.1) > 5 (42.2)> 6 (26.1) > 7 (25.9) ><br />
16 (3.75) --- ODA 0.26%
DAC / ‘ <br />
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- 2008 (commitment current USD millions <br />
) 3.75 16 . 1 (192) > 3 <br />
(84.1) > 5 (42.2)> 6 (26.1) > 7 (25.9) ><br />
16 (3.75) --- ODA 0.26%
DAC / ‘ <br />
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- 2008 (commitment current USD millions <br />
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16 (3.75) --- ODA 0.26%
DAC / ‘ <br />
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- 2008 (commitment current USD millions <br />
) 3.75 16 . 1 (192) > 3 <br />
(84.1) > 5 (42.2)> 6 (26.1) > 7 (25.9) ><br />
16 (3.75) --- ODA 0.26%
DAC / ‘ <br />
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- 2008 (commitment current USD millions <br />
) 3.75 16 . 1 (192) > 3 <br />
(84.1) > 5 (42.2)> 6 (26.1) > 7 (25.9) ><br />
16 (3.75) --- ODA 0.26%
DAC / ‘ <br />
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- 2008 (commitment current USD millions <br />
) 3.75 16 . 1 (192) > 3 <br />
(84.1) > 5 (42.2)> 6 (26.1) > 7 (25.9) ><br />
16 (3.75) --- ODA 0.26%
DAC / ‘ <br />
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- 2008 (commitment current USD millions <br />
) 3.75 16 . 1 (192) > 3 <br />
(84.1) > 5 (42.2)> 6 (26.1) > 7 (25.9) ><br />
16 (3.75) --- ODA 0.26%
DAC / ‘ <br />
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- 2008 (commitment current USD millions <br />
) 3.75 16 . 1 (192) > 3 <br />
(84.1) > 5 (42.2)> 6 (26.1) > 7 (25.9) ><br />
16 (3.75) --- ODA 0.26%
DAC / ‘ <br />
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- 2008 (commitment current USD millions <br />
) 3.75 16 . 1 (192) > 3 <br />
(84.1) > 5 (42.2)> 6 (26.1) > 7 (25.9) ><br />
16 (3.75) --- ODA 0.26%
DAC / ‘ <br />
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- 2008 (commitment current USD millions <br />
) 3.75 16 . 1 (192) > 3 <br />
(84.1) > 5 (42.2)> 6 (26.1) > 7 (25.9) ><br />
16 (3.75) --- ODA 0.26%
DAC / ‘ <br />
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- 2008 (commitment current USD millions <br />
) 3.75 16 . 1 (192) > 3 <br />
(84.1) > 5 (42.2)> 6 (26.1) > 7 (25.9) ><br />
16 (3.75) --- ODA 0.26%
DAC / ‘ <br />
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- 2008 (commitment current USD millions <br />
) 3.75 16 . 1 (192) > 3 <br />
(84.1) > 5 (42.2)> 6 (26.1) > 7 (25.9) ><br />
16 (3.75) --- ODA 0.26%
DAC / ‘ <br />
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- 2008 (commitment current USD millions <br />
) 3.75 16 . 1 (192) > 3 <br />
(84.1) > 5 (42.2)> 6 (26.1) > 7 (25.9) ><br />
16 (3.75) --- ODA 0.26%
DAC / ‘ <br />
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<br />
- 2008 (commitment current USD millions <br />
) 3.75 16 . 1 (192) > 3 <br />
(84.1) > 5 (42.2)> 6 (26.1) > 7 (25.9) ><br />
16 (3.75) --- ODA 0.26%
DAC / ‘ <br />
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- 2008 (commitment current USD millions <br />
) 3.75 16 . 1 (192) > 3 <br />
(84.1) > 5 (42.2)> 6 (26.1) > 7 (25.9) ><br />
16 (3.75) --- ODA 0.26%
DAC / ‘ <br />
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16 (3.75) --- ODA 0.26%
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At the beginning of this year, 2012, the Korean national Commission for UNESCO and the Ministry<br />
of Culture, Sports, and Tourism in Korea hosted Culture and Development Roundtables in order to<br />
gather the opinions of domestic scholars in line with such global trends and contribute to the agenda<br />
setting at an international level. This international symposium, the 3 rd and the last roundtable for this<br />
year, held under the theme of ‘Strengthening the Role of Culture in the Post-MDGs Framework’,<br />
served as a unique venue of experiencing cutting edge discussions around the post-development goals.<br />
The following publication contains contributions from the speakers at the forum including Professor<br />
David Throsby, Professor Kwak Jae Sung, Professor Ryu Seoungho Ms. Lynne Patchett, and Mr.<br />
Hendrik van der Pol.
Keynote Speech<br />
Contribution of Culture to Development in the Post-MDGs Era<br />
David Throsby<br />
Distinguished Professor of Economics, Macquarie University<br />
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Towards the Post-2015 Environment<br />
• Limited success in achieving MDGs<br />
• Continued processes of globalisation<br />
• Emergence of global marketplace for cultural<br />
products, but dominated by North countries<br />
with limited access for South<br />
• New threats to cultural diversity
Culture in UN’s Post-MDG Agenda<br />
• Positive signs in 2010 UN General Assembly<br />
Resolution on culture<br />
• But no mention of culture in Report to the<br />
Secretary-General by the UN Systems Task<br />
Team in June 2012<br />
• Important potential role for UNESCO,<br />
especially via the 2013 edition of the Creative<br />
Economy Report (joint with UNDP).<br />
Evolution of Understanding about<br />
Culture’s Contribution to Development<br />
• Shift from narrow concepts of economic growth to<br />
wider concepts of human-centred development<br />
during 1970s and 1980s<br />
• Raising the profile of culture in national and<br />
international affairs: Our Creative Diversity (1995),<br />
Stockholm Conference (1998),UNESCO World<br />
Culture Reports (1998, 2000)<br />
• Creative industries as a force for development,<br />
1990s to date.<br />
• Culture’s role in sustainable development as an<br />
emerging paradigm in the current era.
Creative Industries: Some Background<br />
• Creative Nation, Australia, 1994<br />
• Creative Industries Task Force, UK, 1997<br />
• Increased policy focus on creative industries in<br />
Europe, Japan, Korea, Latin America<br />
• Creative Economy Reports, UNCTAD, 2008, 2010.<br />
• Emerging interest in China in the creative sector’s<br />
potential<br />
Creative Industries: A Consolidated List<br />
Advertising<br />
Architecture<br />
Design<br />
Fashion<br />
Film, video<br />
Heritage services<br />
Literature<br />
Music<br />
Museums, galleries, libraries<br />
Publishing, print media<br />
Software<br />
Sport<br />
Theatre, dance<br />
Television, radio, broadcast media<br />
Video games<br />
Visual art, craft, photography
Creative or Cultural Industries?<br />
• Creative industries are those industries in which<br />
creativity is an identifiable and significant input: they<br />
may or may not have cultural content<br />
• Cultural industries are those industries providing<br />
specifically cultural goods and services, i.e.<br />
products which have cultural content and yield both<br />
economic value and cultural value<br />
The Cultural Industries Create Economic Value Via:<br />
• market value of output of cultural goods and services<br />
• contribution to employment and job creation<br />
• non-market value of public goods produced reflecting:<br />
existence demand for arts and culture<br />
option demand for arts and culture<br />
bequest demand for arts and culture<br />
• flow-through effects to innovation processes in other<br />
industries via:<br />
diffusion of creative ideas from core creative arts<br />
skills and knowledge transfers<br />
movement of creative labour from the core to enhance<br />
creativity and contribute to innovation in other sectors
The Cultural Industries Create Cultural Value<br />
Via Their Contribution to:<br />
• expressing the intrinsic values of artistic goods and<br />
services<br />
– aesthetic value<br />
– symbolic value<br />
– spiritual value, etc.<br />
• enhancing the value to individuals of creative activity and<br />
engagement<br />
• celebrating the various forms of expressing cultural<br />
identity<br />
• helping to realise the social value of intercultural dialogue<br />
• supporting the role of the arts in education<br />
Culturally Sustainable Development:<br />
An Emerging Paradigm<br />
• Ecologically sustainable development (ESD)– now an<br />
established concept – entails the sustainable management of<br />
natural capital<br />
• Culturally sustainable development (CSD) entails the<br />
sustainable management of cultural capital, both tangible and<br />
intangible<br />
• CSD applies to culture the same principles as apply to ESD.<br />
• Principles of CSD imply meeting the needs of the present<br />
generation in regard to the production and enjoyment of the<br />
benefits of the arts and culture, without compromising the<br />
capacity of future generations to meet their own artistic and<br />
cultural needs. It also requires equity and non-discrimination in<br />
cultural access and participation, observance of essential<br />
human rights, and the maintenance of cultural diversity.
Sustainability in the 2005 Convention<br />
on the Protection and Promotion<br />
of the Diversity of Cultural Expressions<br />
Article 2 Para 6 – Principle of sustainable development:<br />
Cultural diversity is a rich asset for individuals and societies.<br />
The protection, promotion and maintenance of cultural<br />
diversity are an essential requirement for sustainable<br />
development for the benefit of present and future generations.<br />
Article 13 – Integration of culture in sustainable<br />
development: Parties shall endeavour to integrate culture in<br />
their development policies at all levels for the creation of<br />
conditions conducive to sustainable development and, within<br />
this framework, foster aspects relating to the protection and<br />
promotion of the diversity of cultural expressions.<br />
Conclusions: The Challenges Ahead<br />
• At the individual level: changes in cultural consumption<br />
patterns in a technologically dynamic context;<br />
• At the enterprise level: difficulties for both private and<br />
public organisations to adapt to global trends;<br />
• At the urban and regional level: recognising the potential of<br />
creative industries in cities;<br />
• At the national level: developing a comprehensive cultural<br />
policy that fosters the economic, cultural and social<br />
benefits of the arts and culture across the board;<br />
• At the international level: effective integration of culture in<br />
sustainable development, together with cross-country<br />
evidence-building to strengthen understanding about<br />
culture’s potential contribution to development in the post-<br />
2015 environment
Presentation<br />
Culture and Development Strategy in the Post-MDGs Era<br />
Kwak, Jae Sung<br />
Graduate School of Pan-Pacific International Studies, Kyunghee University<br />
I. Introduction<br />
The traditional cultures of developing countries have long been considered developmental<br />
“constraints” or “relaxation.” Since the 1970s, however, there have been growing movements<br />
primarily in Africa and Latin America to emphasize the traditional ways of life, place value<br />
on indigenous cultures and languages, and bring new life to the economy-centric<br />
development model. In particular, the Declaration of the World Cultural Policies of 1982<br />
served as an opportunity for culture to be reestablished as a concept that encompasses social<br />
organizations, values, and belief systems. It also started drawing attention to culture as a<br />
useful tool in defining the identity of groups and their relationship to economic and social<br />
development. With sustainable development rapidly gaining importance starting in the late<br />
1980s, it became essential 1 to understand the value of cultural factors and cultural heritage<br />
for a balanced social and economic development. Held in 2012, the Rio+20 Summit also<br />
reached an agreement: “Green growth policies for sustainable development and poverty<br />
eradication should preserve the identity and cultural heritage of indigenous people and local<br />
communities to improve their levels of welfare.”<br />
Nevertheless, these “cultural” elements have not yet been developed into a highly<br />
institutionalized global discourse, unlike the issue of “environment and climate change” that<br />
has successfully built an independent system of global governance―through the United<br />
Nations Framework Convention on Climate Change (UNFCCC) and other institutional<br />
frames―after being highlighted as a shared challenge for the world through the publication<br />
of Our Common Future (Brundtland Report) in 1987 and the Declaration on Environment<br />
and Development at the Rio Summit in 1992 2 . In other words, while the international<br />
community has successfully incorporated the importance of a socio-cultural approach into the<br />
<br />
1 Blake, Janet (2012). "Historical significance of the 2003 UNESCO Convention: Why intangible heritage<br />
becomes a global issue," 2012 International Conference for the Protection of Intangible Heritage: Creative<br />
Values of Intangible Heritage and Sustainable Development. 5 October 2012. p. 167.<br />
2 The key driving force for building a global governance system on environmental and climate change issues<br />
has been their characteristics as challenge and opportunity (“crisis and greedy”). Environmental issues have<br />
created the sense of crisis that these issues may result in a common crisis for humanity as a whole, while<br />
providing unlimited business opportunities such as environmental business and CDM. Therefore, environmental<br />
discourse can be very easily turned into global issues.
paradigm of sustainable development, it has yet to build a high level of global governance<br />
system in the fields of culture and development as it had to address environment and climate<br />
change.<br />
The goal of this study is to help build the correlation between culture and development and<br />
thereby ensure the effectiveness of international development cooperation. Ultimately, it<br />
seeks to lay down the foundation for future discussion regarding culture and development<br />
that will become the basis for the establishment of a global system of cultural governance.<br />
For this purpose, this study will first attempt to develop a correlated network of culture and<br />
development through classification and case study.<br />
Culture and development are familiar concepts to all but there have been few efforts for<br />
their systematic classification. This study will first refer to the classification by the (cultural)<br />
heritage economist Throsby (2012) who, in his paper on the “Economics of (Cultural)<br />
Heritage”, divided the values of cultural heritage into economic and cultural values.<br />
First, economic value consists of two subcategories: use value and non-use value. The<br />
former refers to the value of cultural heritage as a consumable good enjoyed by individuals,<br />
while the latter refers to the value of cultural heritage as public goods 3 . For instance, the<br />
restoration of an old building may enhance its use value and enable a higher rent, thus<br />
increasing benefits for the landlord. Also, if the restoration of historic buildings provides an<br />
opportunity for tourists to revisit them and the improvement of the cityscape increases the<br />
satisfaction of its citizens, this translates into better individual welfare. On the other hand,<br />
non-use value is indiscernible in the market. Divided into present and future values, this is a<br />
common value found in cultural and environmental goods (i.e. environmental assets).<br />
Therefore, one may borrow the methodology of evaluating non-use value from the field of<br />
environmental studies 4 .<br />
Second, while cultural value, unlike its economic counterpart, is hard to quantify, it does<br />
generate a wide range of cultural effects: (a) aesthetic value that enhances environmental<br />
value; (b) symbolic value that defines the identity and cultural code of communities; (c)<br />
spiritual value that instills cultural conviction in citizens; (d) social value that promotes social<br />
stability through increased solidarity; (e) historical value that uses cultural heritage as a<br />
<br />
3 Throsby, David (2012), “Heritage Economics: A Conceptual Framework”, in Guidl Licciardi and Rana<br />
Amirtahmasebi (Eds.) The Economics of Uniqueness: Investing in Historic City Cores and Cultural Heritage<br />
Assets for Sustainable Development, The World Bank; Washington D.C. pp. 52-55.<br />
4 See Nijkamp, Peter (2012), “Economic Valuation of Cultural Heritage,” in Guidl Licciardi and Rana<br />
Amirtahmasebi (Eds.), The Economics of Uniqueness: Investing in Historic City Cores and Cultural Heritage<br />
Assets for Sustainable Development, The World Bank; Washington D.C.
epository for history and culture; and (f) authentic value that symbolizes uniqueness and<br />
authenticity 5 . In short, cultural value indicates culture that is not just an instrument of<br />
development but a multifaceted concept that is a basic developmental factor.<br />
Similarly, Taejoo Lee (2012) viewed the relationship between culture and development<br />
from two separate perspectives: Culture in Development (CID) and Culture and<br />
Development (CAD). The former highlights the importance of culture in the development<br />
process and thus focuses on the development strategy where culture is viewed as a means; the<br />
essence of culture is thought to be the very basis of happiness, identity, and sustainability,<br />
while cultural values are recognized as the purpose of development. This classification is in<br />
line with Throsby's suggestions 6 .<br />
When looking at the relationship between culture and development from the perspective of<br />
classifications for international development cooperation, the domain of economic value or<br />
CID may be regarded as the basis for the sector of development, since culture is viewed as a<br />
tool for development. Cultural value or CAD, on the other hand, can be approached as an<br />
interdisciplinary or cross-cutting issue since culture here is examined as a purpose or basis<br />
across overall areas of international development.<br />
II. Why is Culture Yet to be Established as a Sector of Development?<br />
Is culture a sector of development? It is not, at least on the institutional dimension of<br />
current international development practices. As illustrated in the table below, major<br />
international aid organizations have designated education, public health, environment<br />
(climate change and water resources), and governance as common aid areas, while choosing<br />
additional sectors depending on the circumstances of individual countries.<br />
(Table) Classification of development sectors by international aid organizations<br />
World Bank<br />
DFID<br />
(United Kingdom)<br />
USAID<br />
(United States)<br />
KOICA<br />
(Korea)<br />
Education Education Education and training Education<br />
Health and social<br />
services<br />
Health Global health Health<br />
Climate change and<br />
environment<br />
Environment Climate change<br />
<br />
5 Throsby (2012), p. 54<br />
6 Lee, Taejoo (2012). A new trend of international development cooperation in the field of culture. 2nd<br />
Roundtable on Culture and Development: Cultural Contemplation of and Alternatives to Korea's International<br />
Development Cooperation. UNESCO. p. 52.
Water, sanitation and<br />
flood protection<br />
Water and sanitation<br />
Food and nutrition<br />
Public<br />
administration, law,<br />
and justice<br />
Governance<br />
Democracy and<br />
governance<br />
Governance (public<br />
administration)<br />
Disasters and<br />
emergencies<br />
Humanitarian<br />
assistance<br />
Industry and trade<br />
Economic growth and<br />
trade<br />
Global partnerships<br />
Agriculture, fishing,<br />
and forestry<br />
Agriculture, forestry<br />
and fishery<br />
Energy and mining<br />
Industry and energy<br />
Finance<br />
Information and<br />
communication<br />
Transportation<br />
(Cross-cutting<br />
programs)<br />
Cross-cutting<br />
(environment,<br />
gender, ICT, human<br />
rights)<br />
The lack of culture in the sectors can be explained in three ways: First, culture tends to be<br />
unsuccessful in driving international sensationalism and creating a macroscopic discourse<br />
meant to tackle a global crisis. In other words, culture has little chance to form a<br />
comprehensive global governance system to ensure international cooperation, unlike issues<br />
such as the physical aftermath of warfare and terrorism, natural disasters triggered by<br />
environmental problems and climate change, and the threat of financial crisis to economies<br />
worldwide. While there are cultural heritages that are in danger of demolition, the impacts of<br />
such threats are negligible on the international scale and thus fail to make people recognize<br />
the situation as a global crisis.<br />
Second, even if cultural issues can be successfully raised, it remains difficult for culture to<br />
provide sufficient incentive for people to take action. Environmental issues have generated<br />
booming industries, and new guidelines such as carbon emission rights have led to lucrative<br />
business opportunities on the flip side of the ongoing discourse on the environmental crisis.<br />
In contrast, although culture has been successfully commercialized on a large scale in<br />
developed countries, this is not true in the case of developing countries, where the role and<br />
capability of culture is still weak, as is the link between culture and the national economy.
Third, despite the overwhelming support of the member states for the Cultural Diversity<br />
Convention at the UNESCO General Assembly in 2005, developed countries and a vast<br />
majority of donor states have expressed their dissatisfaction with the Convention. In<br />
particular, the United States, which aggressively promotes the export of its massive cultural<br />
capital, is opposed to the screen quota and other such methods countries use to protect their<br />
domestic cultural industries.<br />
Furthermore, the West has a tendency to confront non-aligned nations (the so-called “G-77”<br />
that hold anti-American and anti-Western stances in the international arena. Unlike<br />
diplomatic rhetoric, the discourse on “cultural diversity” has had little impact in actual<br />
international development cooperation. In a world divided into the “mainstream” cultures and<br />
the “fringe,” or the powerful nations and the weak, the mainstream or powerful countries tend<br />
to be uncomfortable with the notion of cultural diversity.<br />
As explained above, culture has an institutional limit in establishing itself as an<br />
independent sector of development. Nonetheless, culture has been commercialized in both its<br />
tangible and intangible forms, and as indicated in the aforementioned classification by<br />
Throsby, already serves a function as a sector of development whose economic value or CID<br />
can be identified. In fact, while culture is not a sector in the grand classification per se, it is<br />
often dealt as a subcategory under themes such as environment or sustainable development 7 .<br />
Culture has the potential to be established as a sector in the future if it can change public<br />
perception and increase awareness, and reach a consensus among participants. In this sense,<br />
any debate as to whether culture constitutes a sector of development at this current time is<br />
pointless and unproductive, as it may only be a matter of time and perception. A more<br />
realistic choice of action in the discourse on culture and development would be to recognize<br />
that culture is an integral part of the overall factors of development, and to identify and<br />
develop the meaning and message culture symbolizes into a theory.<br />
III. Strategic Approaches to Presenting Culture as a Cross-Cutting Issue<br />
<br />
7 In Finland, the Ministry of Education and Culture published documents on the importance of culture, but<br />
culture is still left out in the classification of international development sectors set out by the Ministry of<br />
Foreign Affairs. (Culture in development cooperation: Cultural Sectors in sustainable development policy,<br />
Ministry of Education and Culture, Finland. 2011; Finland’s Development Cooperation, Ministry for Foreign<br />
Affairs, 2010 (http://formin.finland.fi/public/download.aspx?ID=79042&GUID={8C33442F-3CF4-4F46-83A3-<br />
83DC841A1B67})
In order to present culture and development as cross-cutting issues, we need to break away<br />
from a uniform, linear approach and examine the following three areas to create a discourse<br />
on the econo-cultural value of culture.<br />
1) Perception - Sharing and Transplanting Universal Developmental Culture<br />
Elements of universal developmental culture, such as innovation and creativity, should be<br />
transplanted to enhance the effectiveness of development. Economies worldwide are<br />
transitioning from being knowledge-based to creativity-based, entailing innovation. Today,<br />
creativity, alongside information and knowledge, is considered a vital asset for in the<br />
enhancement of national competitiveness as well as a key driving force of economic growth.<br />
In 2004, UNESCO launched the Creative City Network project to further develop the<br />
inherent creativity of cities and improve their cultural diversity with the goal of facilitating<br />
their social, economic, and cultural development. Creativity-based business is different from<br />
traditional industries reliant on the conventional factors of production such as labor, capital<br />
and technology. Thus, this business can be developed in various forms within indigenous<br />
cultures to create high added value, thereby contributing to the economic development and<br />
poverty eradication in developing countries. After all, artistic ability, talent, and<br />
experimenting in new domains are things that can be fostered by anyone who puts in effort,<br />
not just the developed countries.<br />
The UNESCO Creative City Network Model<br />
A model that focuses on improving the city's image, efficiently leveraging urban<br />
space and providing a pleasant living environment and space for cultural activities<br />
A model focused on creative human resources that highlights creativity and ideas as<br />
the driving force of the city's sustainable development, while also seeking measures to<br />
foster and utilize the creative resources<br />
A model that promotes creative industries based on the city's unique cultural assets or<br />
characteristics<br />
(Source: http://www.unesco.or.kr)<br />
As such, the creative development strategy, which puts great value on cultural and<br />
intellectual creativity, autonomy and freedom, is closely related to private sector development<br />
(PSD). Support for the private sector and aiding its capacity building is a hot topic in<br />
international development cooperation these days. This is noteworthy as it maximizes the<br />
effectiveness of development in the private sector of developing economies, which is the<br />
ultimate goal, through creative support.
What has recently come under the spotlight is the use of mobile technology to ensure that<br />
the poor in developing countries have greater access to financial services. Widely used even<br />
among the poor, mobile phones are utilized in receiving social welfare benefits, or making<br />
payments and deposits, thereby guaranteeing efficiency and reducing transaction costs.<br />
In particular, the British Department for International Development (DFID) utilizes its<br />
knowhow from the country's advanced financial sector to help the poor in developing<br />
economies have better access to financial services. Based on their experience of developing<br />
fair trade, the DFID promotes fair trade for the development of private sectors in recipient<br />
countries. The United Kingdom pursues the most active level of private sector development<br />
among donor countries by developing innovative business models and catalyzing private<br />
investment in education, public health, and other basic services. It also emphasizes private<br />
sector development in marginalized countries. Direct governmental involvement does not<br />
take place often; most of the projects are undertaken in the form of separate funds or<br />
financing collected for private organizations. Capitalizing on its competitiveness in the<br />
financial sector, the country provides technology development funds for microfinance<br />
providers to help improve financial access 8 .<br />
Similarly, the United States Agency for International Development (USAID) expanded the<br />
department for public-private cooperation into the Office of Innovation and Development<br />
Alliances (IDEA) in 2012. With a former business consultant as its director, the office<br />
executes private sector development strategies that implement innovative and creative ideas<br />
according to the condition and environment of recipient countries 9 .<br />
2) Sector - Convergence with Overall Areas of Development<br />
This means that the underlying economic value of culture is realized in combination with<br />
the overall sectors of development. It is the closest domain to culture as a separate sector, but<br />
the convergence with other areas is carried out given that culture is still not a sector on its<br />
own. Here are the prime examples of convergence between culture and industry, or culture<br />
and education that indicate the scope of this domain:<br />
A. Culture Converged with Industry (The Preservation of Cultural Heritage to Ensure<br />
Development and Cultural Independence)<br />
<br />
8 Jeong, Jiseon and Juyeong Lee (2011). The current status of international support for private sector<br />
development and challenges ahead of Korea. Korea Institute for International Economic Policy. p. 128.<br />
9 http://idea.usaid.gov/
Cultural heritage is the symbol of a nation's history and culture and is the source of<br />
national pride. However, historical and cultural assets―both tangible and intangible―are<br />
being damaged and destroyed in many developing countries going through a fast-paced<br />
modernization and urbanization process. Another major cause of cultural heritage destruction<br />
are natural disasters like tsunamis and earthquakes, which are taking place more frequently<br />
and on a greater scale in the wake of climate change. However, the often limited financial<br />
capacity of governments makes systematic repair or maintenance impossible, let alone<br />
development and preservation.<br />
For this reason, many strongly suggest the gaining tourism earnings by pushing for<br />
international development projects such as the development, restoration, and preservation of<br />
cultural heritage in developing countries, while also turning tangible and intangible cultural<br />
assets into commercial opportunities in order to create a value chain and seek sustainable<br />
development. It would be desirable to focus on building the capabilities of recipient countries<br />
by supporting the registration of cultural heritages on the UNESCO World Heritage List,<br />
transferring knowhow in the management and operation of cultural heritage, building<br />
integrated development programs aligned with adjacent industries, and providing training to<br />
back up this process 10 . When the Chan Chan Archaeological Zone of Peru was endangered<br />
soon after its registration as a world heritage site in 1986, UNESCO recommended the<br />
government to take the necessary actions for preservation, restoration, and maintenance; to<br />
halt excavation works; and to come up with measures to prevent plundering. With the World<br />
Heritage Fund providing much needed support, a comprehensive plan was devised to train<br />
preservation/maintenance workers and take care of the cultural heritage 11 .<br />
Donna Karan's artwork using Haitian<br />
stones, animal bones and horns<br />
Donna Karan's artwork using Haitian<br />
tobacco leaves<br />
<br />
10 The technique that sets the capability building of recipients as the most important criterion of evaluation to<br />
ensure effective outcomes is called "outcome mapping." (http://www.outcomemapping.ca)<br />
11 http://www.unesco.or.kr/heritage/down/200404_575_No7.<strong>pdf</strong>
Drawing attention recently are attempts to build a value chain for local cultural industries<br />
as an integrated approach to enhance the effectiveness of development. These endeavors are<br />
evolving in various ways, from building the capabilities of local enterprises for enhanced<br />
marketability to promoting global exports. Globally renowned designer Donna Karan blended<br />
art with business by joining the Clinton Global Initiative (CGI), an anti-poverty program led<br />
by former U.S. President Bill Clinton, to take the lead in relief efforts for Haiti―one of the<br />
poorest countries in the Americas suffering from natural disasters and underdevelopment. She<br />
unearthed creative values from Haiti with a paradigm shift that translated the country's bleak<br />
situation into hope; she also found the spiritual energy 12 and artistry within Haitian nature<br />
and indigenous products, and successfully commercialized them in the American and<br />
European markets. With her brand Urban Zen, the designer distributed Haitian products as a<br />
way of contributing to poverty eradication, working toward sustainable development through<br />
the promotion of the cultural industry, as opposed to one-off relief or charity.<br />
B. Culture Converged with Education<br />
The effect of youth education through culture and arts is widely recognized. A case in<br />
point is El Sistema of Venezuela, also known as the Social Movements through Music 13 . In<br />
1975, Venezuelan economist José Antonio Abreu formed the Social Movements through<br />
Music to create the first youth orchestra as its musical director. In 1995, Abreu was appointed<br />
by UNESCO as a special ambassador for the development of an international network of<br />
youth and children's orchestras and choirs, and served as the representative of UNESCO's<br />
World Youth Orchestra and Choir Movements. Consisting of 102 youth orchestras and 55<br />
children's orchestras (which rounded up to around 100,000 youths in total), the El Sistema<br />
Network is currently managed by the government and aims to motivate learning, prevent<br />
crimes, and provide the groundwork for children to grow in a better environment through<br />
music. The program has led poor children exposed to drugs and crimes onto the right path.<br />
The best-known of these orchestras is the Simón Bolivar Youth Orchestra, which performed<br />
at the Carnegie Hall in 2007.<br />
There are abundant examples of similar support in Korea. Launched by World Sharp, the<br />
Jirani Children's Choir is comprised of children from a Kenyan village making a living by<br />
<br />
12 The world view of Haitians is based on Voodooism. A unique blend of African folk beliefs and Catholicism,<br />
the religion is widespread among the Afro population in the United States and the Caribbean region.<br />
13 The official name is the National Foundation for the Youth and Children's Orchestra System of Venezuela<br />
(Fundación del Estado para el Sistema Nacional de las Orquestas Juveniles e Infantiles de Venezuela,<br />
FESNOJIV).
collecting garbage. The chorus seeks to elicit artistic talent from destitute children who lack<br />
access to food, clothes, and education to provide them with hope and dreams. The Musical<br />
Foundation for One has established musical centers in Cambodia and other countries and<br />
dispatches music majors to offer musical education to children.<br />
Since September 2012, the Seoul Ballet Theater offers ballet classes in the poor Colombian<br />
village of Tulua to drive a positive change among children living in crime-prone areas. A<br />
large number of children participating in the classes are those exposed to the threats of rape<br />
and drug abuse. Colombia has suffered from mafia wars, drug abuse, and teenage prostitution<br />
as well as a longstanding civil war; the village of Tulua has an extremely high crime rate with<br />
140 homicides occurring in just this past nine months. Against this backdrop, expectations<br />
are high for the positive impacts of this project 14 .<br />
As part of their youth support efforts, the Korea Trust Fund of the Inter-American<br />
Development Bank (IDB) joined forces with FIFA to sponsor a project to promote soccer<br />
among low-income groups in Latin America. In association with NGOs supporting poor<br />
children and adolescents, the project supports 24 street soccer teams in the region, unearths<br />
outstanding cases to provide systematic training for youth soccer teams, and sponsors<br />
international matches. Students immersed in soccer were found to have better academic<br />
achievement since they had to study hard to become eligible to play soccer. A festival is held<br />
whenever a soccer match between neighborhoods is held; men and women, the young and the<br />
old have a joyous day helping foster the community culture. This also translates into<br />
considerable economic effects.<br />
Launched in Zimbabwe in 2003, Grassroots Soccer has provided children and youngsters<br />
aged 11 to 18 with soccer-based health education programs on HIV/AIDS. Offering<br />
psychological and social support as well, the program increases children’s awareness on<br />
HIV/AIDS through games, significantly reducing HIV/AIDS infections of the participating<br />
children 15 .<br />
3) Project Execution – A Holistic Culture-Centered Approach<br />
A culture-centric approach is needed for the overall elements and phases of development in<br />
executing projects: (a) a respect for the recipient region and its culture, and an understanding<br />
of the differences and regional particularity; (b) reflection of the local culture when realizing<br />
<br />
14 http://m.mk.co.kr/index.php?sc=42600013&cm=%5B%BF%AC%BF%B9%A1%A4%BD%BA%C6%F7<br />
%C3%F7%5D%20%BF%AC%BF%B9&year=2012&no=576756&relatedcode=&TM=V1&PM=M4<br />
15 http://blog.usaid.gov/2010/06/harnessing-the-power-of-soccer-to-fight-hiv/
alignment; and (c) increased awareness of the recipient country that culture is a variable for<br />
ensuring political, social, economic, and ecological sustainability as well as for fighting<br />
poverty.<br />
It is advisable to go beyond the conventional method of international development<br />
cooperation, which goes according to area and sector, and instead aim to “build a sustainable<br />
ecosystem” in recipient regions. For this purpose, it is vital to: (a) create/maintain basic<br />
infrastructure; (b) routinize capability-building programs to promote the independent<br />
operational capabilities of the public and/or private sector; and (c) establish unique<br />
cultural/artistic sensitivity and traditions.<br />
A respect for recipient regions and their cultures is crucial. Respect for the local people’s<br />
rights to development and their participation are a must in creating an optimized model for<br />
development to meet the ultimate goal of realizing cultural diversity and development. For<br />
effective development, it is crucial for recipients to have ownership in the planning,<br />
executing, and result of the development projects.<br />
As for the recipient regions, it is desirable for them to break away from the conventional<br />
top-down regional development led by external forces such as donor countries and central<br />
governments. Instead of relying on external resources or input, they should develop methods<br />
under their control to secure the benefits in the local communities. For this purpose, it is<br />
imperative for the regions to drive the change from within.<br />
To do this, donors should first develop a specialized understanding of recipient regions.<br />
Countries that are not traditional donors like Korea and other non-Western countries lack the<br />
experience colonizing or managing on a global scale, so their technical expertise alone is not<br />
Examples of Development that Respects Local Conditions<br />
JTS, a Buddhism-based NGO, follows these principles in undertaking projects aimed at<br />
building "self-reliant village communities with the grassroots-based traditions kept<br />
intact":<br />
Help local communities become self-reliant<br />
Develop various small sources of income for economic independence, with the local<br />
agricultural industry as the main source<br />
Nurture village leaders to embrace the concept of education as a lifelong learning experience<br />
available to everyone, as opposed to a test-centered education with age restrictions<br />
Educate people to become the backbone of their local communities by loving, fully<br />
understanding, and taking care of their village<br />
Cultivate young leaders to form key groups<br />
Set up mutual aid systems among residents to ensure welfare (e.g. microcredit, local<br />
currency, producer cooperatives, and consumer cooperatives)<br />
Promote traditional culture in the most traditional way possible, minimizing the use of<br />
modern technology<br />
Emphasize voluntary engagement, self-regard, and independent commitment of local<br />
residents instead of merely constructing buildings and bridges for them<br />
Yoo, Jeonggil (2009), "Toward an alternative model for religion-based NGOs in Korea," 21st Monthly ODA<br />
Talk: Toward an alternative model for international activities by Korea's religion-based NGOs, ODA<br />
Watch. 8 October 2009. p. 9.
enough to carry out development projects without prior knowledge infrastructure on the<br />
recipient regions. That is, alignment is crucial for development projects led by new donors,<br />
and their expertise in the regions needs to be highlighted.<br />
IV. Conclusion: A Strategy to Build Global Cultural Governance in the Post-MDG Era<br />
It is possible to ensure effective development through cultural aid and to create a network<br />
of correlation between culture and development. This can be done via theoretical definition<br />
and case studies regarding the domains of economic value (i.e. culture as a tool for<br />
development) and cultural value (i.e. culture as a cross-cutting issue). Thus, further research<br />
in relevant theories and examples is strongly recommended.<br />
This may also be the basis for formulating strategies in building a global cultural<br />
governance system. To benchmark environmental governance for this purpose, the following<br />
methods may be taken into account: (a) the publication of reports to spread the discourse<br />
(“Our Common Future”); (b) the launch of a new international organization dedicated to the<br />
global system of culture and development (“UNFCCC”) or a fundamental reform of<br />
UNESCO; (c) the leadership of globally renowned figures who can serve as cultural icons<br />
(e.g. Al Gore or Gro Harlem Brundtland); and (d) the collaboration among relevant agencies<br />
to make sure that the discourse of culture and development is incorporated with great<br />
significance into the Post-MDG Global Partnership, an ongoing forum for post-MDG<br />
discussions.
Presentation<br />
Culture and Development: Focusing on Overcoming Poverty and the Role of Culture<br />
Ryu, Seung-ho<br />
Department of Visual Culture, Kangwon University<br />
I. Development from a Cultural Perspective: Consideration of Cultural Diversity<br />
“Cultural approach to poverty” is often an unwelcome subject for social scientists who deal<br />
with poverty issues. They argue that culture is the reason why poor people cannot escape<br />
from poverty no matter how much welfare they receive. This rationale leads to the<br />
justification of poverty. This logic applies to the rich as well. The rich are worthy of their<br />
wealth because they hold certain values, and the disparity in values is what results in the<br />
difference in capabilities, which eventually makes them rich. A cultural approach that ignores<br />
the structural factors that affect poverty and wealth, and instead blames individual or group<br />
values denote that the income gap is a matter of values as well. Under this logic, poverty and<br />
wealth are cultural values that cannot easily be changed and hence passed on from generation<br />
to generation. For this reason, social science research on poverty from a cultural perspective<br />
has remained unpopular for the past several decades.<br />
Ironically, this approach to understanding poverty has recently gained the attention of the<br />
mainstream sociology academia. “Reconsidering poverty and culture” by Small et al (2010)<br />
is a reflection of this trend. As questions were raised about the long-term effects of the<br />
economic, educational, and political institutions established by the West to reduce poverty,<br />
such as affirmative action and employment policies, people began to argue yet again that<br />
poverty is more closely related to culture than it is to politics or economics. Moreover, with<br />
the progress of science, it has become possible to analyze the workings of the human mind,<br />
which is at the core of culture.<br />
Thus, the understanding of the previously vague and arbitrary concept of culture is<br />
becoming increasingly concrete and applicable to the real world. Such a change is another<br />
drive behind the re-interpretation of culture. With the progress in cognitive science raising the<br />
possibility of understanding and re-shaping people's way of thinking and their values, fresh<br />
approaches to cultural values have started to emerge.<br />
An economic viewpoint cannot answer some of the more important questions regarding<br />
poverty. Why do people fall into poverty in the first place? Studies have shown that recipients<br />
of economic aid tend to be complacent instead of trying to escape from poverty. Why is this
so? The mechanism behind such phenomena needs to be explored. That is, the mechanism<br />
that causes learned helplessness, as opposed to simple helplessness, needs to be discovered.<br />
Thus, this study aims to find the logic behind the failure to escape from poverty despite<br />
economic assistance, and to explore whether culture can contribute to alleviating this problem.<br />
All discussions within this study are on the premise that economic aid has been provided.<br />
The UN Committee on Economic, Social and Cultural Rights (CESCR, 2001) defines<br />
poverty as “a human condition characterized by sustained or chronic deprivation of the<br />
resources, capabilities, choices, security, and power necessary for the enjoyment of an<br />
adequate standard of living and other civil, cultural, economic, political, and social rights.”<br />
Poverty is by definition highly subjective as it varies greatly depending on the environment<br />
and perception of the person experiencing it. For example, the western notion of being “poor”<br />
cannot be applied in cultures where money or goods hold less personal value. No matter what<br />
the outside perspective, the people in those cultures will not identify themselves as being in<br />
poverty if they are satisfied with their life. As such, culture creates the paradigm in which<br />
people understand and experience poverty (UNESCO, 2009).<br />
In a social marketing research on poverty, Kotler (2006) identified five major points that<br />
must be carefully considered in poverty eradication. First, the poor are a heterogeneous group<br />
of varying characteristics and instances. Second, adequate solutions must be provided based<br />
on the analysis of individual markets. Third, cooperation between multiple organizations is<br />
necessary. Cooperation between the government, civic groups, and businesses makes it easier<br />
to alleviate poverty. Fourth, the principle behind the poverty cycle must be understood.<br />
Without long-term relief measures, the vicious cycle of poverty is most likely to repeat itself<br />
no matter the efforts. Factors that lead to people relapsing into poverty must be identified for<br />
long-term strategies to be developed. Last of all, poverty, in essence, has regional features.<br />
Change is difficult to achieve through anti-poverty measures enacted at the national level;<br />
programs should be created that fit the cultural traits of each individual region (Gladwell,<br />
2000).<br />
These arguments suggest that programs that are more segregated and suited to regional<br />
characteristics play an important role in “liberating people from sustained poverty.” This<br />
indicates that “specific programs designed in accordance with indigenous details” that<br />
incorporate “long term perspectives on cultural levels” can eradicate poverty. Current welfare<br />
programs assume that all poor people think alike and that governments can fulfill their<br />
obligations by covering their minimum cost of living, which is why the cycle of poverty
continues unchecked. There must be assistance and measures that goes further. Of course, the<br />
ideal solution is to educate the poor out of poverty.<br />
Yet at a time when education is also becoming a “dependent variable,” an environment<br />
where people can continue to receive education is required for it to work. Such an<br />
environment can be created by means of “immigration” and “emigration,” and new habits can<br />
be formed under a new educational environment. However, this approach denies the<br />
recipients of their cultural diversity and is not sustainable.<br />
In the end, the necessity for cultural perspective and strategy is to find “a practical way of<br />
thinking that acknowledges the cultural diversity of each region and that can overcome<br />
poverty at the same time.” In other words, it is about finding new and creative cultural<br />
elements that can help overcome poverty. This raises a fundamental question: What exactly is<br />
culture?<br />
1) Cultural Approach to Poverty<br />
Many researchers explain culture based on their own concepts and background knowledge.<br />
However, cultures differ greatly according to historical, institutional, political and<br />
geographical factors, which make it very difficult to define what it is. Culture does not exist<br />
on its own; it is influenced by a number of factors such as politics, economy, nature, and<br />
history. In the context of poverty research, Dakson and Binns (2010) thought that culture is<br />
closely connected with sustainable livelihood, because livelihood is influenced by traditional<br />
customs, knowledge, beliefs, technologies, social institutions, languages, identities, and<br />
tangible heritage. Cahn (2002) also said that there is a strong connection between culture and<br />
livelihood, and that livelihood is only sustainable when it is within culture and traditions.<br />
Because factors such as risk, vulnerability, resources, livelihood strategies, politics, gender<br />
roles, personal relationships, and social norms are affected by culture, sustainable livelihood<br />
patterns are created through social traditions and customs.<br />
To summarize, culture is a mix of components that includes values, communication, and<br />
symbolism, as well as a way of life that is influenced by said components. It provides<br />
strategies for survival as well as livelihood choices and opportunities based on available<br />
resources. It influences group behavior; and is passed from one generation to another<br />
(Kulatunga, 2010). Nonetheless, programs are still enacted that are doomed to fail due to a<br />
lack of understanding of cultural variables and inadequate response to development. There<br />
are numerous instances where public facilities are installed in unnecessary places and school
uildings made of concrete were built in developing countries where classes are conducted<br />
outdoors. Outcomes of the development strategies undertaken without careful consideration<br />
are pathetic and they undermine the traditional way of life, thus making it more difficult to<br />
manage resources (UNESCO, 2009). These mistakes can be prevented when the parties who<br />
formulate development strategies do so with due consideration for culture and the diversity of<br />
the recipient parties.<br />
2) Cultural Diversity: Power that Acknowledges Differences<br />
Until now, developed countries took the lead in solving the poverty issue under the pretext<br />
of protecting mankind, but did so for the more practical purpose of seeking profits and<br />
achieving industrial development. Meanwhile, underdeveloped countries have been halfhearted<br />
in anti-poverty efforts that will help them maintain their national identity and political<br />
security while being fully aware of the fact that they have to address poverty. In situations<br />
where such a conflict of interest exists, cultural relativism has emerged as a point of<br />
compromise.<br />
UNESCO argues that cultural diversity can be a tool for facilitating development of<br />
communities and preserving different cultures. This argument is supported by many cases<br />
where the level of innovation and creativity of communities have been enhanced with due<br />
consideration for diversity. According to a study by Small et al. (2010), the marginalized with<br />
low income or social status was able to increase their self-determination as a result of<br />
recognizing and cherishing their cultural heritage. Self-determination is the perception of<br />
degree of control one has over his behavior. According to the self-determination theory, an<br />
individual is more self-determined when his motivation is more intrinsic than extrinsic.<br />
Therefore, it can be said that self-determination determines the degree of self-control.<br />
Major factors affecting self-determination are autonomy, competence and relatedness.<br />
Autonomy means that individuals can decide and act of their own will (Gagne & Deci, 2005).<br />
Competence means how competent individuals feel about themselves. Relatedness concerns<br />
establishing and sustaining relationships with others. These factors impact personal wellbeing<br />
and social development through the enhancement of self-determination (Ryan & Deci,<br />
2000). In sum, cultural diversity is how individuals define themselves, and it is in the process<br />
of discerning their cultural group from others that they are able to increase their autonomy,<br />
competence, and social relatedness. This, in turn, results in enhanced self-determination.
Swidler (2007) also found that governments and NGOs were more effective when they<br />
mobilized solidarity and the social meaning structure within local communities. Field studies<br />
in Uganda and Botswana came to the conclusion that local governments and organizations<br />
have more access to the poor than international voluntary organizations. This means that<br />
poverty alleviation can be better achieved when the focus of assistance is on empowering the<br />
poor so that they can figure out their own ways to escape from poverty.<br />
One example of relief efforts that started on the basis of cultural diversity is the Seed<br />
Project of Korea Advanced Institute of Science and Technology (KAIST). It aims to remodel<br />
towns in developing countries for the purpose of increasing their quality of life. Local<br />
residents are consulted in the creative process and local conditions are taken into<br />
consideration. In 2011, there were many slate houses built by international nonprofit<br />
organizations in the Masai towns of Kenya. The Seed Project started when KAIST realized<br />
that the Masai people slept on houses made from dung while these houses were abandoned.<br />
Such attempts intended to aid poor countries, i.e. through music, dance, and good houses, are<br />
the results of a westernized way of thinking. Indigenous people, unfamiliar with the western<br />
culture, found them inconvenient and rejected them because they did not give them cognitive<br />
peace. Therefore, solutions are needed that take into account the understanding of the<br />
environment, culture, customs, and the educational levels of regions concerned.<br />
3) Examples of Cultural Strategies for Overcoming Poverty<br />
The tradition and indigenous culture held by communities play an important role in<br />
regional development as they are the only resources they have. Tradition is passed down from<br />
generation to generation among community members, shaping livelihood portfolios of<br />
regions in the form of tangible artworks or intangible performances. This in turn increases the<br />
opportunities for members to pursue self-development and sustainable livelihoods. The<br />
importance of crafts in livelihoods can be verified in a number of actual cases. For instance,<br />
the production of crafts in Colombia amounts to $400 million each year, including $40<br />
million in exports. Workers in this industry earn annual incomes ranging from $140 to $510.<br />
300,000 Tunisian workers produce 3.8% of the annual GDP with each household earning<br />
$2,400 a year. As seen in these cases, crafts are gaining attention as a major means of<br />
generating income through trade and enhancing capabilities (UNESCO, 2010).<br />
Kandi in Sri Lanka is another good example of establishing a sustainable livelihood model<br />
through crafts. Since the late 18th century, Kandi has served a central role in culture with
advanced architecture, crafts, music, and dance. The craftsmanship of these people is mostly<br />
developed at the family level. Master jewelry craftsmen, stone craftsmen, and carpenters<br />
form communities. Master craftsmen train village children, and knowledge is passed through<br />
generations as tradition. Dakson and McGregor (2012)'s in-depth interviews in the region<br />
clearly show that development achieved through tradition helps maintain cultural diversity<br />
and promotes the development of communities.<br />
Although the immediate economic effects from the craft production and cultural activities<br />
are not substantial, the benefits are big in light of life autonomy, well-being, and the<br />
livelihood sustainability of community members. Behind the success of Kandi's livelihood<br />
model lies three major factors: First, craftsmen inherit the tradition of their people and further<br />
develop skills within their culture. To the indigenous people, it is important to achieve selfdevelopment<br />
by increasing their cultural autonomy and competence while conserving their<br />
tradition. Crafts in Kandi exist in arts and culture that originate in tradition. Crafts can be<br />
considered to be a genre of art represented by culture as a tool - i.e. material culture - rather<br />
than culture as a simple value. They constitute an important part representing material culture.<br />
Second, in the Kandi model, all family members play a big role in overcoming poverty by<br />
making the most of their abilities. Especially in developing countries, women are known to<br />
play the most significant role in household income. To earn more income, both men and<br />
women must participate as the labor force. Generally, women have no choice but to work as<br />
street vendors or other such simple manual work that does not require special skills. In<br />
contrast, women in Kandi have learned and mastered traditional skills for generations, thus<br />
playing an important role in the economy. They are not just housewives; they build<br />
confidence in their abilities by producing results as crafts experts.<br />
Finally, residents of Kandi showed a high level of satisfaction in doing traditional work,<br />
which led to a stronger identity of community and increased solidarity. The case of Kandi is<br />
keeping with the concept of social capital in that social and economic development can be<br />
easily achieved in societies where reciprocity is valued due to the existence of social<br />
networks and strong solidarity (Putnam, 1995).<br />
Thus, a sustainable livelihood model for overcoming poverty, as made evident in Kandi's<br />
case, is centered on sustained education aimed at providing jobs and fostering future<br />
craftsmen in the crafts industry, with the major components of this model being craftsmen,<br />
women, and the local community. Jobs have been created, educational systems continued<br />
through craftsmen who are autonomous and competent in their work, women have become
competent through a higher status and education, and jobs have been created. In this process,<br />
relatedness among community members saw an increase, boosting social capital that<br />
eventually helps achieve social and economic development.<br />
The economic role of relatedness among members of a common culture has been discussed<br />
in several studies. Karlan and Appel (2011) studied the relationship between loan repayment<br />
and social solidarity using the “microcredit group loan” system run by a Peruvian branch of<br />
FINCA, a credit bank. Whereas most microcredit financial institutions granted loans to<br />
customers who came in groups, FINCA made a list of customers in order of their visit and<br />
formed groups at random. Social solidarity was then studied in two ways. One was using a<br />
cultural index. Solidarity was defined using languages or clothing of individuals as<br />
continuous variables. The other concerned geographical solidarity measured by the ratio of<br />
people living in towns that were a 10 minute walk apart. This research studied 600 borrowers<br />
for two years and found that groups with high cultural and geographical solidarity tended to<br />
repay loans in time and showed a low probability of deviating from the group, whereas<br />
groups with strong internal solidarity tended to better forgive people who could not repay<br />
loans (Karlan et al., 2012: 190-191). This means that groups with strong relatedness among<br />
members - i.e., groups with high social capital - can manage each other more effectively.<br />
Another case often cited as a prime example of social capital enhancement through culture<br />
and arts is El Sistema of Venezuela. El Sistema, a youth music education program, is one of<br />
the most widely known cultural welfare programs today. Created by economist, social activist,<br />
and amateur musician Dr. Abreu in 1975, the program has grown into an organization with<br />
190 centers with 260,000 members in total. El Sistema was created by Dr. Antonio who<br />
wanted to get children from poor families to hold musical instruments instead of guns in a<br />
country where crimes are rampant. The program started with 11 members at a garage in a<br />
slum, but with growing sponsorship from other governments and private companies, it has<br />
grown to the extent that it influences countries all around the world.<br />
What differentiates El Sistema from existing music education programs is that it pursues<br />
social change. The program not only contributes to crime prevention by teaching music to<br />
children in slums who are exposed to a variety of dangers such as drugs, violence,<br />
pornography, and gun accidents, but it also helps give children hope, a sense of belonging,<br />
and a goal, all the while teaching them the values of dreams, cooperation, empathy, order,<br />
and responsibility. Social capital played a key role in the success of El Sistema by integrating
the marginalized into the society and giving the powerless the power to overcome or alleviate<br />
social exclusion through a variety of culture programs (Yoo Yun Moo, 2010).<br />
The success story of El Sistema was spread all over the world through movies and books,<br />
and similar efforts to overcome poverty using culture and arts were made. The 2005<br />
Academy Award winning documentary, “Born into Brothels” is another program that was<br />
designed to help poor children through culture and arts like El Sistema. The film is an<br />
account of American photographer Briski's efforts to help children living in the red light<br />
districts of Calcutta. The director gave a camera to the children who believed they will follow<br />
in their parent’s footsteps. Through the camera lens, the children were able to look at the new<br />
world for the first time, away from prostitution and drugs. The children started to think of<br />
their future outside the brothel and have dreams of stepping into the outside world. The<br />
camera changed the way children thought and looked at their life.<br />
II. Cultural Approach to Overcoming Poverty: Self-Control, Construal Levels, and Pro-<br />
Social Behavior<br />
However, culture still does not play a proper role in some poor countries, despite having<br />
the necessary cultural resources and related industries. As a result, a wasteful debate arises as<br />
poor countries unilaterally demand foreign aid while donor countries ponder on the gains and<br />
losses of aid (Benergee & Duflo, 2011). Discussions are needed on why aid does not work in<br />
creating jobs or achieving educational goals, and how poverty issues should be approached 16 .<br />
1) Psychology of “Scarcity” and Nudge Intervention<br />
Why is the wealth gap not narrowing and why does poverty not disappear even when<br />
investment increases? It is because of the cognitive constraints of individuals. Behavioral<br />
economist Mullainathan (2010) uses a suitcase metaphor to explain. When one packs his<br />
suitcase, the amount of stuff one can pack is limited, so he has to consider what to pack.<br />
Packing becomes more complicated if the size of the suitcase is small. The smaller the<br />
suitcase, the more complex the decision-making process becomes. Similarly, poor people are<br />
<br />
16 Sociologist Small (Small et al., 2010) presents cultural approach to poverty based on seven different concepts:<br />
Values specify the ends toward which behavior is directed. The premise behind frames is that how people act<br />
depends on how they cognitively perceive themselves or their surroundings. Repertoires are described as a set of<br />
"modes of action" (Swidler, 1986). The premise behind the idea of narrative is that people interpret their lives as<br />
a set of stories that have a beginning, a middle, and an end and contain casually linked sequences of events.<br />
Symbolic boundaries are a system of classification that defines a hierarchy of groups and the similarities and<br />
differences between them (Lamont and Molnar, 2002). Cultural capital has been used to mean institutionalized<br />
cultural signals acquired through social experience. Finally, institutions mean analysis of poverty through laws<br />
and regulations (Scott, 1995).
likely to be under cognitive overload. They have limited resources and are under more<br />
pressure to economize on what they have due to violence between the family members and<br />
the difficult financial situation. They worry about feeding themselves and about their<br />
uncertain future. All they can do when stimulated is to accept or resist it, with no in between.<br />
They lack the cognitive capacity to make decisions by themselves or a rational thinking<br />
process.<br />
As such, poverty creates cognitive overload on individuals because of “scarcity” and<br />
triggers an inefficient or detrimental decision-making process. According to Mullainathan,<br />
poor people find it difficult to take part in or execute programs or policies aimed at fighting<br />
poverty due to the psychological stress caused by poverty. Thus, when designing anti-poverty<br />
programs, one must understand the psychology of scarcity and provide the poor with a proper<br />
stimulus. In particular, cognitive resources such as attention and self-control have a limited<br />
capacity. Therefore, when people face situations like poverty that require cognitive resources,<br />
their ability to make the right decisions or work become increasingly hindered as available<br />
resources decrease. A poor man is unable to concentrate on his work because his household<br />
affairs or money issues will naturally be the focus of his attention.<br />
Therefore, to change behaviors of poor people, small stimuli are preferred over big ones<br />
that might cause a cognitive overload. Behavioral economists Thaler and Sunstein (2009)<br />
explain how small stimuli, not coercion, can change people's behavior in “Nudge.” They say<br />
a set of small ideas can make the world better. Such intervention changes people's behavior<br />
by changing their values, mindsets, repertoires and narratives. Behavioral economist<br />
Mullainathan confirmed that a low level of attention can be increased by a simple stimulus in<br />
a field study on the poor in three countries. All participants participated in a savings program<br />
in which only half were sent text messages containing the program information. The rate of<br />
savings increased by 6% in the group that received the text, compared to the group of that did<br />
not. As demonstrated in the study, simply sending people with limited attention reminders<br />
can lead to a successful behavioral change.<br />
2) Poverty and Self-Control: From a Consumption Economy to Self-Control<br />
Another big problem of poverty is the lack of self-control in the poor due to their<br />
impoverished state, which leads to impulsive behavior. Also, the fact that poor people cannot<br />
refrain from consumption because their economy is consumption-oriented also relates to
impoverishment (subjective poverty). As Banergee and Duflo (2011) state in “Poor<br />
Economics,” it is relatively easy for rich people to satisfy their desires compared to the poor.<br />
(Figure 1) Poverty Trap (Banerjee & Duflo, 2011)<br />
In fact, the rich and the poor react differently to temptation. If sweet tea is a typical<br />
tempting good, rich people generally do not feel much difficulty dealing with their temptation.<br />
It does not mean that they are not tempted to drink sweet tea; it means that because they have<br />
enough money, they are not worried about a small reduction in their hard-earned wealth from<br />
just drinking several more cups of tea. On the other hand, poor people without enough money<br />
in hand are more affected by such temptations.<br />
When it comes to making decisions on whether or not to save money, rich people assume<br />
that the money they saved for the future will be used as intended. The same is not true of poor<br />
people. Struggling to make ends meet, poor people cannot afford to save. While the rich can<br />
have money automatically withdrawn from their bank accounts when they want to increase<br />
savings, the poor cannot use such systems because they don't have enough money. Poor<br />
people thus must practice self-restraint when they save. The problem is, self-restraint is like a<br />
muscle. Every time poor people save money, they feel stressed and make decisions even<br />
more impulsively because of cortisol, a hormone released in the cortex of the adrenal gland<br />
(Banergee & Duflo, 2011: 72). Poor people end up getting trapped in a vicious cycle of<br />
poverty, repeating impulsive and irrational choices.<br />
What is commonly found in the models explaining irrational choices and behaviors of<br />
individuals is the weakening of self-control that leans towards instant gratification. Selfcontrol<br />
can be defined as “the choice of a larger, more delayed gratification over a smaller,<br />
sooner gratification,” and impulsiveness can be defined as the opposite (Kirk & Logue, 1996).<br />
All things being equal, poor people show a high degree of impatience, pay attention to<br />
peripheral routes, and tend to make impulsive decisions. Due to these features, they show<br />
weak self-control (Mullainathan & Shafir, 2010; Hall, 2008; Bertrand et al., 2004).
Continuation of poverty is due to such irrational choices arising from weak self-control.<br />
Cognitive control acts to bring attention to important goals and restricts automatic behaviors.<br />
Poverty forces a trade-off between priorities, thereby making it more difficult to make<br />
rational decisions. Poor people who make a “trade-off decision” often choose pleasureseeking<br />
consumption for immediate satisfaction rather than education, which is in their best<br />
interest in the long run. To poor people, consumption decisions are always difficult and this<br />
“difficulty” reduces cognitive control.<br />
The reason why self-control matters is because people's higher-order goals that offer longrun<br />
benefits conflict with their lower-order goals offering immediate rewards (Fishbach &<br />
Trope, 2007). The problem with self-control can be seen as a type of motivational conflict.<br />
People need to take counteractive control over temptations to achieve long-term benefits<br />
(Fishbach & Trope, 2005). That is, self-control relates to the construal process of whether<br />
present benefits can be sacrificed for future benefits.<br />
3) Self-Control and Construal Level Theory<br />
The success or failure in exerting self-control is explained in more detail by the construal<br />
level theory (Trope & Liberman, 1998). The construal level theory addresses the individual<br />
cognitive system. According to the theory, people construe things differently based on the<br />
psychological distance, which has an impact on how people approach problems or make<br />
decisions. Events with close psychological distance are low-level construals that emphasize<br />
concrete, incidental, contextual, and instrumental aspects. In contrast, events with far<br />
psychological distance are high-level construals which focus on abstract, decontextualized,<br />
and essential aspects.<br />
Low-Level Construals<br />
(Close Psychological Distance)<br />
Concrete<br />
Incidental<br />
Contextual<br />
Instrumental (the “how” aspect of behavior)<br />
High-Level Construals<br />
(Far Psychological Distance )<br />
Abstract<br />
Essential<br />
General<br />
Decontextualized (the “why” aspect of behavior)<br />
(Table) A comparison of high-level construals and low-level construals (Trope & Liberman, 2003)<br />
Among people who successfully exercise self-control, tacit self-control automatically<br />
occurs in the face of a self-control dilemma (Fishbach et al., 2003). When there is a conflict<br />
between goals (when there is a self-control conflict), important goals (high-level goals) get<br />
automatically activated by the temptation (low-level goals), and an asymmetrical activation
process tacitly occurs in which the temptation is automatically restrained by the important<br />
goals. Impulsive consumption choices arising from weakened self-control are most evident in<br />
health, diet, obesity, appearance, and entertainment that immediately satisfy desires, which<br />
broaden the gaps by depriving people of rational consumption items such as conservation,<br />
savings, and education. Poor people face continued gaps and the vicious cycle of poverty by<br />
repeatedly making irrational choices.<br />
The reason why self-control is weak among poor people is because they use more lowlevel<br />
construals than high-level ones. Social polarization is also due to more widely spread<br />
thoughts and behaviors of low-level construals. Low-level construers have weak self-control<br />
and indulge in instant consumption. As a result, consumption for the future decreases, and<br />
with repeated consumption, poverty becomes perpetuated (Spear, 2010).<br />
4) Poverty and Pro-Social Behavior<br />
The solution to ending the mechanism that sustains a vicious cycle is to encourage prosocial<br />
behavior, which produces positive social results. For this, it is important to match<br />
construal levels to behavioral levels. People are more cooperative when they “think about<br />
their behavior more abstractly at a high-level construal” and “think about their behavior<br />
specifically at a low-level construal.”<br />
According to previous studies, construal levels affect cooperation, and especially are valid<br />
when they guide ethical judgments and negotiations. Construal levels also interact with<br />
motives (Giacomantonio et al. 2010). High-level construals eventually guide mutually<br />
beneficial solutions in negotiations when cooperative motives are activated. Extending this to<br />
cooperation, Sanna et al. (2010) found that people behave in a more pro-social manner when<br />
their construal levels and motive levels coincide. As such, guiding pro-social behaviors by<br />
making construal levels coincide with motive levels can be an important point in tackling<br />
poverty.<br />
One of the negative opinions about aid is that recipients, complacent with immediate aid,<br />
stay impoverished rather than considering the future. Moreover, if aid continues to be granted<br />
as requested by recipients, individual recipients may enjoy more benefits, but the overall<br />
economy will be affected. Still, we cannot force recipients who follow immediate benefits to<br />
look to a far future and behave cooperatively for gross benefit in order to change their beliefs.<br />
Their motive levels are specific and at the same time short-term, so it is difficult to guide
them toward cooperative behaviors if the motive levels do not coincide with the construal<br />
levels as demonstrated in the study above.<br />
Therefore, the possibility of reducing poverty starts with the provision of specific aid in the<br />
short run, alongside a “nudge” stimulus that can produce immediate effects according to the<br />
low-level construals, which will be gradually moved to higher-level construals by providing<br />
the poor with abstract and future-oriented motivations.<br />
A study that examined saving behavior also demonstrated the fact that incentives to make<br />
savings must be provided according to individual construal levels. The study shows that for<br />
high-level construers, specific goals lead to savings success because they perceived them to<br />
be more important. In contrast, specific goals are perceived as more difficult by low-level<br />
construers, resulting in lower savings success (Ulkumen & Cheema, 2011). As people's<br />
mindset on goals determines effects, people may consider goals to be important or<br />
unimportant depending on their construal levels, and the success will differ accordingly.<br />
Therefore, high-level construers must be provided with incentives that encourage savings<br />
with proposed target amount, while the same will not work for the poor, with low-level<br />
construals. The psychological aspect must be taken into account in formulating policies for<br />
the poor.<br />
III. Culture is Important Again<br />
1) Cultural Model for Overcoming Poverty<br />
The importance of negotiation in the formulation of development strategies can be found<br />
from “Getting More: How to Negotiate to Achieve Your Goals,” written by the world’s<br />
leading negotiation expert, Diamond (2011). According to him, the first step of negotiation is<br />
to understand and sympathize with the other party. A true negotiation is “understanding the<br />
other party's emotions and perceptions, and gradually approach negotiations after creating a<br />
favorable atmosphere.” This implies that the method of “understanding” in cultural relativism<br />
is the starting point in attaining one’s goals. The same is true of aid or relief policies for poor<br />
countries. How the assistance is perceived by the poor is a crucial factor.<br />
The cultural approach to poverty respects cultural diversity, thereby enhancing the cultural<br />
identity of local communities. This in turn increases the autonomous decision-making process<br />
of the poor. In addition, individuals gain competence with the development of unique cultural<br />
resources and actively engage in communication within their communities, thus enhancing<br />
relatedness. Autonomy, competence and relatedness lead to increased self-determination, and<br />
increased self-determination eventually leads to the creation of social capital, self-control,
and self-motivation. Self-control, self-motivation, and social capital ultimately lead to<br />
happiness, which can facilitate social development. In other words, the respect for cultural<br />
diversity is the starting point for initiating a positive development in individuals and the<br />
society as a whole.<br />
A cultural model for overcoming poverty can be drawn based on the studies so far.<br />
(Figure 2) Cultural model for overcoming poverty<br />
A more specific agenda can also be provided, taking into account the psychology of<br />
scarcity of the poor based on the construal level theory of cognitive psychology. Poor people<br />
generally use more low-level construals that focus on events in the near future than high-level<br />
construals that focus on events further in the future. In this situation, the best way for the poor<br />
to escape poverty would be to show pro-social behaviors, which can bring positive outcomes<br />
in their behavior. For this to happen, individual's construal levels must coincide with<br />
motivation levels. This means that no outcome can be expected by asking the poor, who are<br />
struggling to make ends meet today, to think about their distant future and to cooperate for<br />
everyone’s benefit.<br />
As the motivation levels of the poor remain at the near future, nudge-like stimuli and shortterm<br />
assistance that provide immediate gratification should be provided, rather than solutions<br />
targeted at a distant future. Yet from a long-term perspective, low-level construals weaken<br />
self-control and trigger instant consumption and behavior, making it more difficult to<br />
overcome poverty in the long run. Therefore, motivation for the poor should gradually<br />
become abstract and future-oriented to guide them to high-level construals and eventually<br />
change their life. Only in this way can the poor ultimately get closer to overcoming poverty.<br />
Finally, applying the principle of “seeing is believing” is important in overcoming poverty.<br />
When people see what they have made in front of their eyes, they attach great meaning to it.<br />
That is why tangible cultural heritage such as crafts is important, because it provides a venue<br />
to realize their labor through material culture founded on the values of tradition. No matter<br />
the importance of freedom and prosperity, local residents will perceive the values differently
from what they were initially meant to be. This is because the cultural frame of mind also<br />
works when people experience new things. After all, to approach abstract values, we first<br />
need to focus on things that are specific and tangible. Poor people will be motivated to escape<br />
from poverty and pursue happiness when they see their efforts realized and rewarded.<br />
What is needed here is soft infrastructure that can provide institutional support. Unlike<br />
other infrastructure for physical health, soft infrastructure is for psychological well-being of<br />
individuals. If the existing infrastructure was more of social infrastructure that enabled the<br />
smooth traffic of vehicles and ships (i.e. movement across space and time), soft infrastructure<br />
is designed to guide social communication toward human resources, social capital, and<br />
welfare for better life of individuals (Geum Seong Geun, 1997). We need an infrastructure<br />
that goes beyond competition and machinery to embrace people. If tasks undertaken under<br />
hard infrastructure are temporary ones like dams built under the New Deal, soft<br />
infrastructure-driven tasks have a more lasting effect by focusing on human resources and<br />
social capital to overcome poverty.<br />
The idea behind soft infrastructure is laying the foundation for the poor to seek out the<br />
work they like, rather than just building construction sites through paid labor. In sum, it can<br />
be said that soft infrastructure aims to pursue development through unique cultures of<br />
communities and their members.<br />
2) Culture and Development Strategy<br />
It is generally known that autonomy leads to a more active decision making process, but<br />
sometimes rules and regulations can yield better outcomes. Behavioral economists call this<br />
phenomenon the “default option.” For example, it would be highly inconvenient if people had<br />
to enter all the commands when using computers. For this reason, computers have predefined<br />
commands and these rules are known as the default options. In a way, a default<br />
strategy can be understood as a small set of nudges. Effects of these nudges can be allocated<br />
differently depending on regions, classes and groups. When mapped against tribes of poverty,<br />
the nudges can greatly contribute to poverty reduction. Therefore, it is necessary to gather<br />
successful cases and ideas that have been effective in overcoming poverty, and to use the<br />
accumulated information to formulate strategies.<br />
Strategies are helpful not only in running businesses, but also in tackling poverty.<br />
Strategies here mean rational solutions that increase the predictability of outcomes.<br />
Discussions on poverty must go beyond economic assistance or political choices and move
toward cultural strategies. That is, default options or cultural strategies that can trigger<br />
intrinsic motives the way economics or political factors can are required. The chances of<br />
getting the poor out of the poverty trap can be increased by intervening in their way of<br />
thinking and providing them with economic assistance at the same time. According to<br />
Mullainathan (2010), policies that do not analyze behaviors of the poor cannot become antipoverty<br />
strategies. In fact, an experiment conducted on students of low-income households<br />
found that simple economic solutions such as scholarships were ineffective in increasing<br />
class attendance rates. The process of applying for scholarship required more attention than<br />
was possessed by students, and was thus not embraced by them. In contrast, attendance rates<br />
substantially rose when schools actively took part in the administrative procedures. As shown<br />
in the experiment, culture-based simplification strategies are needed when individual<br />
attention has been depleted.<br />
In addition, mobile or online networks can be presented as specific strategies. According to<br />
a 2011 survey by the International Telecommunication Union (ITU), as many as 6 billion<br />
people are currently in use of mobile services. Of these people, 79% live in developing<br />
countries where mobile usage rates exceed access rates to electricity or drinking water. It was<br />
also found that an increase of 10% in mobile penetration was followed by an annual GDP<br />
increase of 0.8%. As is evident by such statistics, mobile services are closely linked to the<br />
everyday lives people in developing countries. Related services are thus expected to<br />
contribute to the improvement of living standards. The use of culture can be further<br />
diversified through such services, with one possibility being alleviating poverty via culture<br />
and art. For example, a business model that allows the poor to learn photography (or other<br />
such arts that require little prior training or background knowledge) via mobile applications<br />
can be developed into a social enterprise.<br />
Samuel Huntington, well-known for his theory regarding the Clash of Civilizations (2001),<br />
emphasized the prosperous life that can be brought by culture in “Culture Matters.” When a<br />
country moves from one developmental stage to the next, its economy typically faces a crisis<br />
that is characterized by an occurrence of temptation. Whether the country can resist it<br />
determines whether economic development takes place or not. The key to resistance is culture.<br />
Culture has the power to stop a country from succumbing to temptation. It is through culture<br />
that countries can prosper. This notion can be applied to individuals as well. Individuals face<br />
countless temptations in the course of growth and maturity. The ease with which they resist<br />
temptation determines the time taken to achieve growth or success. The time is ripe for
econsidering the role of culture for development both on the national and personal level.<br />
Culture is important again.<br />
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Presentation<br />
Strengthening the Role of Culture in the Post-MDGs Framework<br />
Lynne Patchett<br />
Chief of the Executive Office, UNESCO Culture Sector<br />
Good afternoon Ladies and Gentlemen,<br />
I would like to begin by thanking the organisers of this international symposium on<br />
Culture and Development: the Korean National Commission for UNESCO and the Korean<br />
Ministry of Culture, Sports and Tourism, as well as the Korean International Cooperation<br />
Agency for co-sponsoring this important meeting. It is both a pleasure and a privilege for me<br />
to be invited here today.<br />
In his presentation this morning, Professor David Throsby eloquently focused on creative<br />
industries and their multi-faceted contribution and value for sustainable development. My<br />
presentation picks up on his last point about the challenges ahead at the international level,<br />
and of “effective integration of culture in sustainable development, together with crosscountry<br />
evidence-building, to strengthen the understanding of culture’s contribution to<br />
development in post 2015.” To do so, I will share with you the work that UNESCO has been<br />
undertaking both at the institutional level and in the field, to awareness raise about the<br />
importance of culture for development, in order to include culture in the post-2015<br />
international development agenda. Why? Because we have examples from the field that show<br />
us that it works.<br />
Before embarking on this, allow me briefly to set the context.<br />
As you know, UNESCO is the UN Specialized Agency with a specific mandate and<br />
expertise on culture. We have developed a comprehensive set of normative instruments in<br />
the area of culture, ranging from tangible heritage (1972 Convention), intangible heritage<br />
(2003 Convention), and underwater cultural heritage (2001 Convention), but also illicit<br />
international trafficking of cultural property, the protection of cultural property in the event of<br />
armed conflict and (1954, 1970 Convention), cultural industries and the diversity of cultural<br />
expressions (the 2005 Convention).<br />
Through these Conventions and Recommendations and associated operational<br />
programmes, UNESCO contributes to building the capacity of cultural institutions at country<br />
level, networks of professionals, communities, and to the development of norms, standards<br />
and legislation in all culture fields.
UNESCO also provides a unique platform for international cooperation, technical and<br />
financial assistance, as well as for fostering dialogue, mutual respect, appreciation and<br />
understanding.<br />
However, while UNESCO has a specific mandate, we believe that “Culture” is not a<br />
“UNESCO-specific” concern. Indeed, 18 UN organizations work in this area thereby<br />
illustrating both the transversality and the intrinsic importance of culture in the field (UNDP,<br />
UNIDO, UNWTO, IFAD, WIPO, FAO, UNEP, UNCTAD, UNITAR, UNOPS, UNAIDS,<br />
UNHCR, UN-Habitat, UNFPA, UNV)<br />
It is therefore rather interesting, that while culture was not explicitly recognized in year<br />
2000 in the international development agenda, the UN System as a whole has gradually<br />
become more and more involved in integrating culture, or following a culture-sensitive<br />
approach in their development work.<br />
As Professor Throsby indicated, the international community is falling short on delivering<br />
on the targets set out in the Millennium Development Goals in 2000. As we approach 2015,<br />
we are all looking forward, working to see how we can promote socioeconomic and human<br />
development across the globe. For UNESCO, the answer is inextricably linked to the<br />
approach that culture both enables and drives development, and for this reason, it is important<br />
that it be recognized as such in the international development agenda moving forward. In<br />
short, Culture cannot be sidelined in the post 2015 agenda.<br />
What do we mean by saying that culture both enables and drives development?<br />
Our argument is based on three main axes:<br />
Culture has a transformative power that can help broaden the development<br />
debate.<br />
A human-centred approach to development that emerges the cultural context<br />
is most likely to be effective and to yield sustainable, inclusive and equitable<br />
outcomes.<br />
Culture is a resource to:<br />
Simultaneously address both the economic and human rights dimensions<br />
of poverty and<br />
Provide innovative solutions to complex development issues, such as gender,<br />
health and environment and challenges in the areas of education and livelihoods.<br />
UNESCO has embarked upon a coordinated strategy in order to promote this vision. We<br />
have been moving on two levels: the international, institutional policy level, and of<br />
course, at the national, country level – where it really counts and where we can see in situ,
the impact that culture has.<br />
At the institutional level, there have been positive signs. There has been an increasingly<br />
explicit recognition of culture for development: in 2005 the World Summit Outcome, adopted<br />
by the UN General Assembly, acknowledges the diversity of the world and recognizes that all<br />
cultures contribute to the enrichment of humankind. This was followed by the Outcome<br />
Document of the 2010 MDG Summit, published 10 years after the Millennium Declaration,<br />
emphasizing the importance of culture for development and its contribution to the<br />
achievement of the Millennium Development Goals. These messages were further reiterated<br />
in two consecutive Resolutions of the UNGA on “Culture and Development” in 2010 and<br />
2011, which called for the mainstreaming of culture into development policies and strategies,<br />
and underscored culture’s intrinsic contribution to sustainable development.<br />
In June 2012, the Report of the Secretary-General UN System Task Team on the Post-<br />
2015 UN Development Agenda, entitled “Realizing the Future We Want for All’ – a key<br />
document in the Post-2015 process - specifically noted that in its paragraph number 71 that:<br />
“It is also critical to promote equitable change that ensures people’s ability to choose<br />
their value systems in peace, thereby allowing for full participation and empowerment.<br />
Communities and individuals must be able to create and practice their own culture and<br />
enjoy that of others free from fear. This will require, inter alia, respect for cultural<br />
diversity, safeguarding cultural and natural heritage, fostering cultural institutions,<br />
strengthening cultural and creative industries, and promoting cultural tourism.”<br />
This is what has been accomplished. Looking ahead, the momentum is growing.<br />
The President of the UN General Assembly (PGA) will hold a thematic debate early 2013<br />
on the importance of culture for development, in particular with regard to the role it has to<br />
play in conflict prevention and peace building. Similarly, the 2013 ECOSOC Annual<br />
Ministerial Review’s theme will be on “Science, technology and innovation, and the potential<br />
of culture, for promoting sustainable development and achieving the Millennium<br />
Development Goals.”<br />
In view of the debates which will be held in the General Assembly from September<br />
2013, on taking stock of the MDGs and on the way forward, including a 3 rd UNGA<br />
Resolution on Culture and Development and perhaps a UN Conference on Culture and<br />
Development as a result of that, both the PGA and the ECOSOC discussions and<br />
awareness building in the field of culture and development will be of crucial importance.<br />
In fact, 2013 will be a critical year for developing the arguments and building the<br />
advocacy for culture in the post 2015 development framework. A UNESCO International
Congress entitled Culture: Key to Sustainable Development will take place in Hangzhou,<br />
China in May, UNESCO is leading the preparation of the Creative Economy Report 2013<br />
will build on the work of the previous editions which showed that the creative economy is<br />
one of the fastest growing sectors of the world economy and transformative in terms of<br />
income generation, job creation and export earnings. It will do this by putting the focus on<br />
creativity in domains and contexts that are broader than the purely economic through an<br />
empirical, field based, analysis to show how creativity drives development in the broadest<br />
terms.<br />
In addition, the Government of Indonesia has announced its intention to host a World<br />
Forum on Culture for Development in November 2013 and invited UNESCO to be a key<br />
partner in this endeavour. This is very significant as the President of Indonesia is one of the<br />
three co chairs of Ban Ki-Moon’s High Level Panel on the Post 2015 agenda.<br />
At the national, country level – where it all really happens and where, through our<br />
Offices and the work we undertake in the field, constantly see the evidence – the proof – of<br />
the importance of culture for development. Indeed, many countries are developing vibrant<br />
culture sectors and initiatives and request assistance in this area. In particular, Middle-Income<br />
Countries (such as Brazil, Thailand) are increasingly requesting the UN to work further in<br />
strengthening their cultural sectors.<br />
There is a growing interest in culture as an integral part of the broader development<br />
debates at country level. Culture has been defined as an UNDAF outcome in several<br />
countries: Cambodia, Bangladesh and China, are but a few examples.<br />
As an indication of the growing interest for culture and of the importance that is attached<br />
to it at the country level, we see that while in 2006 culture was mentioned in less than 30% of<br />
UNDAFs. Yet by 2012 this had increased to 70%. The fact that the number of entries almost<br />
doubled between 2006 and 2008 is no doubt linked to the launching of the pilots for the<br />
Reform of the United Nations, increased efforts by UNESCO to participate in United Nations<br />
common country programming and the inception of the MDG Fund (MDG-F) Culture and<br />
Development Joint Programmes.<br />
As you may know, the end of 2006 was marked by the establishment of the thematic<br />
window on Culture and Development under the Millennium Development Goals<br />
Achievement Fund (MDG-F) by Spain. The thematic window is led by UNESCO and was<br />
the first major country-level effort of its kind. The window brought the debate on linkages
etween culture and development into a broader United Nations forum, as United<br />
Nations country teams across the world started developing joint programmes in the field of<br />
culture. 18 United Nations inter-agency programmes were selected in mid-2007 and their<br />
implementation began in the second half of 2008 and early 2009. The joint programmes were<br />
the first initiative on such a scale (US$ 96 million) to demonstrate the contribution of culture<br />
to development at the national level in order to boost progress towards achieving the MDGs.<br />
They aim to promote social inclusion and poverty reduction through cultural resources by<br />
means such as encouraging the inclusion of minorities and disadvantaged groups in social,<br />
political and cultural life and by harnessing the potential of the cultural sector for poverty<br />
reduction.<br />
Allow me now to take a few minutes to give you just a few examples of how culture<br />
contributes and promotes sustainable development in 4 key areas: (i) Peace and Security (ii)<br />
Inclusive Social Development (iii) Inclusive economic Development (iv) Environmental<br />
Sustainability. These are of course the 4 core dimensions of Development outlined in<br />
‘Realizing the Future We Want for All’.<br />
1. Culture is key to Peace and Security<br />
- Culture, as a source of identity, is a valuable resource for empowering communities<br />
to participate fully in social and cultural life. Respect for culture facilitates inclusive<br />
governance and dialogue at the national and international levels and can contribute to<br />
conflict prevention and mitigation, as well as to reconciliation and recovery.<br />
Culture is crucial at all stages of peace-building and for a lasting peace<br />
I would like to touch upon a very recent and on-going example where UNESCO is under<br />
discussion with UN DPKO in Cote d’Ivoire, to work together for the promotion of peace<br />
and security. The Dozos are initiated hunters as well as healers, ethno-botanists, blacksmiths,<br />
griots, ritual specialists and guardians of social order and of the communities in which they<br />
live. For more than two decades, Ivoirian Dozos have also taken on additional functions as<br />
armed security guards and even as irregular armed forces. In so doing, they have also<br />
acquired, in the eyes of some Ivoirians, an image as forces of disorder or criminality, rather<br />
than as guardians of social order.<br />
The present challenge is to find a means of revalorizing the Dozo traditional cultural<br />
functions and strengthening the practice and transmission of their intangible cultural heritage<br />
(ICH) as a complement to the efforts of Côte d’Ivoire to consolidate peace through the DDR
process. As the guardian of the 2003 Convention for the Safeguarding of the Intangible<br />
Cultural Heritage, UNESCO is well positioned to help address this challenge. We believe in<br />
the invaluable role of the intangible cultural heritage as a factor in bringing human beings<br />
closer together and ensuring exchange and understanding among them, contributing thereby<br />
to dialogue, mutual respect, international cooperation and peace. We therefore propose to<br />
undertake an innovative effort – in close collaboration with the Dozo community, the Ivoirian<br />
authorities, sister United Nations organizations and Ivoirian civil society – to safeguard Dozo<br />
intangible cultural heritage (ICH).<br />
2. The second key area in which culture is key is Inclusive Social Development<br />
- Culture is central for communities and individuals, who ask for better governance<br />
and increased cultural choices while seeking to ensure that they have a voice in cultural<br />
decision-making.<br />
- Development needs to be relevant to all, including local communities and<br />
indigenous peoples, with appropriate recognition of cultural rights, traditional knowledge<br />
systems, cultural heritage and the rich diversity of environmental and sustainability<br />
practices. Culture makes development more sustainable, inclusive and equitable.<br />
Culture is crucial for social cohesion & national ownership<br />
Here, I would like to share an example of the MDG-F Culture and Development project<br />
implemented in Ecuador by several UN agencies and national counterparts. Among the main<br />
successes of this project was the strengthening of cultural and social rights, increased political<br />
participation, the promotion of equal opportunities and reduced discrimination against<br />
marginalized groups. This was mainly done through the approval of the National Anti-<br />
Racism Plan by the President of Ecuador, the support for the bill structuring indigenous and<br />
ordinary justice systems, the submission of proposals for the creation of equality councils,<br />
and national and local workshops on anti-racism and racial equality policies.<br />
Moreover, national policy on gender and interculturalism was developed, and cultural<br />
sensitivity was incorporated into the national health system through capacity-building and<br />
infrastructure development to ensure culturally appropriate medical services, cultural<br />
education strengthened through the publication of dictionaries in native Ecuadorian languages.<br />
Indeed, the linkages between culture and health – and of course social development – was<br />
promoted through the establishment of an intercultural health system in the province of<br />
Sucumbios to raise awareness about intercultural health and culturally appropriate childbirth
amongst medical staff. Medical units were also equipped so that patients colud decide how<br />
they wanted to be attended during childbirth, thereby leading to improved neonatal and<br />
maternal health.<br />
3. Culture is key to Inclusive Economic Development<br />
Professor Throsby’s presentation has made the case of the economic value of cultural<br />
industries. Indeed, culture in all its forms (handicrafts, festivals or performing arts, cultural<br />
institutions such as museums, or heritage sites, both natural and cultural) has proven its worth<br />
as a source of income generation and job creation, including at the community level, thus<br />
improving living conditions, fostering community-based economic growth, and contribute to<br />
empowering individuals. What is extremely important is that Culture allows for economic<br />
growth with equality and social cohesion.<br />
The weight of Culture<br />
Some figures:<br />
Cultural and creative industries represent one of the most rapidly expanding<br />
sectors in the global economy, with an average growth rate of 13.9 % in Africa, 11.9 %<br />
in South America, 17.6 % in the Middle East, 9.7 % in Asia, 6.9 % in Oceania,<br />
and 4.3 % in North and Central America , exceeding the rate of growth in service<br />
industries and manufacturing.<br />
Here again, the MDG-F Culture and Development Joint Programme implemented in<br />
Cambodia, provides ample evidence of how economic empowerment can be promoted<br />
through culture:<br />
There was an improved commercialisation of local cultural products and services in<br />
domestic and international markets through mentorship programmes in handicraft production<br />
which was provided to 63 beneficiary producer groups. This aimed at encouraging design<br />
creativity. Moreover, legal training courses were organised for producer groups to promote<br />
better understanding of related legislation for the commercialisation of cultural products, and<br />
4 baseline studies and surveys were conducted to identify potential handicraft markets and<br />
assess their tourism potential. Cultural infrastructure was developed and an Indigenous<br />
Handicraft Exhibition held at the National Museum to promote indigenous culture and<br />
improve the market space of indigenous vendors. Handicrafts sales increased, on average, by<br />
33% (approximately 50 USD), and women – as producers – own the revenue entirely
4. Culture is key to Environmental Sustainability<br />
- Protection of cultural and biological diversity and natural heritage is key to<br />
sustainable development.<br />
- Supporting traditional systems of environmental protection and resource<br />
management can contribute to increased sustainability of fragile ecosystems and<br />
preservation of biodiversity.<br />
In a context of rapid environmental change, adaptive strategies take on an<br />
urgent new importance. Here are some proven actions that culture and<br />
development projects can implement:<br />
(i)<br />
(ii)<br />
(iii)<br />
(iv)<br />
(v)<br />
Promoting traditional knowledge in environmental conservation<br />
Revitalizing culinary traditions and promoting the consumption of native<br />
ingredients, thereby both promoting environmental sustainability and food<br />
security.<br />
Safeguarding natural cultural heritage (here again, the 1972 World Heritage<br />
Convention works hard to do precisely that )<br />
Promoting and raising public awareness on natural heritage conservation<br />
Fostering education in environmental sustainability (e.g. curriculum on land<br />
use planning<br />
For this fourth axe, my example focuses on the importance of revitalising culinary<br />
traditions both in terms of environmental sustainability and in terms of food security. This<br />
has been particularly noticeable in Latin America.<br />
Sustainable socio-economic development can be fostered through greater food security,<br />
nutritional health and livelihoods of local families, the use of eco-friendly practices, the<br />
promotion and safeguarding of cultural diversity, and community and women’s<br />
empowerment. This can be done following innovative approaches to reviving culinary<br />
traditions in view of tackling the drop in consumption of native foods. Accordingly, culinary<br />
traditions are seen as going beyond the preparation of dishes; they are envisaged as<br />
community-based processes (involving agronomists, nutritionists, anthropologists etc.)<br />
incorporating various dimensions: culture (transmission of traditional knowledge,<br />
safeguarding of cultural heritage), health (consumption of varied ingredients), economics<br />
(traditional dishes are produced locally, thereby reducing production costs and enabling<br />
families to sell their dishes and excess crops) and environment (sustainable use of local<br />
crops).
Ladies and Gentlemen, in conclusion, it is clear, I hope, that the need to integrate Culture<br />
into the development agenda stems from a strong demand on the ground. This demand is now<br />
recognized at the global level. UNESCO is working hard both on the ground, and at the<br />
institutional political level to sensitize decision and policy makers as we move ahead in<br />
forming the future international development agenda. We continue to awareness raise and<br />
provide solid evidence about the impact that culture can have on development. Yet it is also<br />
important for policy and decision-makers to realize that often, the impact that culture has on<br />
the ground cannot always be measured immediately, but rather more in the medium to long<br />
term. Yet the impact is there. I am sure that Mr Van der Pol’s presentation which will follow<br />
mine, will touch upon this important issue, and I look forward to hearing from him on this.<br />
Be that as it may, today, taking stock of the MDG experience, it is clear that, when<br />
moving ahead, the international community cannot fail to include Culture as a key element of<br />
its Post-2015 development agenda. That is why, meetings such as this one, and Korea’s<br />
support for UNESCO’s advocacy on the role of Culture for sustainable development are so<br />
important. Thank you very much for your attention.<br />
* *
Presentation<br />
Culture and Development: A UNESCO-UIS Statistical Perspective<br />
Hendrik van der Pol<br />
Director, UNESCO Institute of Statistics<br />
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2<br />
Presentation Outline<br />
UNESCO Institute for Statistics<br />
1. Culture as a driver of development<br />
2. UNESCO-UIS statistical initiatives<br />
UNESCO Culture for Development Indicator Suite<br />
2009 UNESCO FCS<br />
Project Survey on cultural employment
1<br />
Culture as a Driver of Development<br />
UNESCO Institute for Statistics<br />
Favourable context<br />
Difficulties in quantifying culture’s contribution is leading to its<br />
marginalisation in development strategies (1.7% of ODA) however;<br />
The importance of culture for development and to the MDGs recognized by<br />
the international community (UN GA resolutions 65/1 and 65/166, 2010;<br />
UNSG Report)<br />
Growing donor recognition of role of culture for development (AECID,<br />
EU-ACP doubling of funds to culture and development…)<br />
New key elements available: critical mass of operational projects<br />
(MDG-Achievement Fund for Culture); new data on culture & development;<br />
growing momentum around statistics on culture (e.g. UIS cultural<br />
employment statistics, MoU with World Bank)<br />
4<br />
Culture as a Driver of Economic Growth<br />
UNESCO Institute for Statistics<br />
Measuring contribution of culture to the local and<br />
national economy<br />
In Germany, enterprise from cultural and creative industries<br />
accounted for 7.4% in value added to the overall economy in 2009<br />
(Sondermann, 2009)<br />
In United Kingdom, creative industries contributed 2.9% of the<br />
UK’s Gross Value Added in 2009 (DCMS, 2011)<br />
The direct contribution to the economy is $7.8 billion, or<br />
approximately 6% of the GDP of the Greater Montréal region in<br />
2008<br />
Cultural and creative sectors already account for up to 4.5% of GDP<br />
in the European Union
5<br />
UNESCO-UIS Statistical Initiatives<br />
UNESCO Institute for Statistics<br />
UNESCO Culture and<br />
Development Indicators Suite<br />
UNESCO FCS : strategy to<br />
enhance cultural statistics<br />
UIS Global Survey on Cultural<br />
employment<br />
6<br />
UNESCO Culture and Development Suite<br />
UNESCO Institute for Statistics<br />
Research and advocacy initiative to establish 10-15 indicators<br />
assessing the contributions of culture to national<br />
development;<br />
Added value: first tool that raises awareness of how culture<br />
supports the achievement of development goals, including<br />
the MDGs;<br />
Generates new knowledge on culture and development<br />
through an original methodology that allows a cross-analysis<br />
of key policy dimensions;<br />
Country-led approach is building awareness and capacity at<br />
national level on culture and development links.
7<br />
UNESCO Culture and Development Suite:<br />
Objectives<br />
UNESCO Institute for Statistics<br />
Highlight culture’s contributions to national development.<br />
Demonstrate how culture:<br />
contributes to economic growth, social cohesion and resilience<br />
enlarges people’s choices and<br />
helps individuals and communities to adapt to change<br />
Promote an inclusive vision of sustainable development<br />
Contribute to the implementation of Article 13 of the 2005<br />
Convention (Integration of Culture in Sustainable<br />
Development)<br />
Offer a tool to help stakeholders reposition culture into<br />
national strategies and plans.<br />
8<br />
UNESCO Culture and Development Suite:<br />
Sub-dimensions<br />
UNESCO Institute for Statistics
9<br />
2009 UNESCO FCS<br />
UNESCO Institute for Statistics<br />
The purpose of the 2009<br />
UNESCO Framework for<br />
Cultural Statistics (FCS) is to<br />
provide concepts and<br />
definitions to guide the<br />
production of comparable<br />
statistics, as well as to<br />
support the development of<br />
indicators and analytical<br />
research in the culture<br />
sector.<br />
10<br />
What is the 2009 UNESCO FCS?<br />
UNESCO Institute for Statistics<br />
conceptual model for defining culture for statistical<br />
purposes<br />
tool for organizing cultural statistics internationally<br />
and nationally<br />
methodology to support the production of<br />
harmonized data and indicators<br />
classification instrument<br />
taxonomies of industries, goods, services and occupations<br />
international standard classifications
11<br />
FCS Cultural Domains<br />
CULTURAL DOMAINS<br />
RELATED DOMAINS<br />
UNESCO Institute for Statistics<br />
A. CULTURAL<br />
and NATURAL<br />
HERITAGE<br />
- Museums (also<br />
virtual)<br />
- Archeological<br />
and Historical<br />
Places<br />
- Cultural<br />
Landscapes<br />
- Natural Heritage<br />
B.<br />
PERFORMANCE<br />
and<br />
CELEBRATION<br />
- Performing Arts<br />
-Music<br />
- Festivals, Fairs<br />
and Feasts<br />
C. VISUAL ARTS<br />
and CRAFTS<br />
- Fine Arts<br />
- Photography<br />
- Crafts<br />
D. BOOKS and<br />
PRESS<br />
-Books<br />
- Newspaper and<br />
Magazine<br />
- Other printed<br />
matter<br />
- Library (also<br />
virtual)<br />
- Book Fairs<br />
E. AUDIO-VISUAL<br />
and<br />
INTERACTIVE<br />
MEDIA<br />
- Film and Video<br />
- TV and Radio<br />
(also Internet live<br />
streaming)<br />
- Internet<br />
podcasting<br />
- Video Games<br />
(also Online)<br />
F. DESIGN and<br />
CREATIVE<br />
SERVICES<br />
- Fashion Design<br />
- Graphic Design<br />
- Interior Design<br />
- Landscape<br />
Design<br />
- Architectural<br />
Services<br />
- Advertising<br />
Services<br />
G. TOURISM<br />
- Charter travel<br />
and tourist<br />
services<br />
- Hospitality and<br />
accommodation<br />
H. SPORTS and<br />
RECREATION<br />
- Sports<br />
- Physical fitness<br />
and well being<br />
- Amusement<br />
and Theme<br />
Parks<br />
- Gambling<br />
INTANGIBLE CULTURAL HERITAGE<br />
(oral traditions and expressions, rituals, languages, social practices)<br />
INTANGIBLE CULTURAL<br />
HERITAGE<br />
EDUCATION and TRAINING<br />
EDUCATION and TRAINING<br />
ARCHIVING and PRESERVING<br />
ARCHIVING and PRESERVING<br />
EQUIPMENT and SUPPORTING MATERIALS<br />
EQUIPMENT and SUPPORTING<br />
MATERIALS<br />
12<br />
2009 UNESCO FCS: A Work in Progress<br />
UNESCO Institute for Statistics<br />
Further development of specific themes<br />
Module on cultural participation<br />
Module on economic contribution of culture<br />
Global Statistics and Indicators<br />
Cinema Industry Statistics (UIS Global Survey)<br />
Cultural Employment (UIS Global Survey)<br />
Methodological Work<br />
Festival statistics conceptual framework<br />
Measuring cultural diversity
13<br />
UIS Technical Assistance<br />
in Cultural Statistics Worldwide<br />
UNESCO Institute for Statistics<br />
14<br />
UNESCO Institute for Statistics<br />
2009 UNESCO FCS:<br />
Already Having an Impact!<br />
<br />
<br />
FCS basis of Bosnia and Herzegovina Gap Analysis and<br />
MDG-Achievement Fund Country Plan for developing<br />
cultural statistics<br />
National or regional frameworks for cultural statistics<br />
with concordance to the FCS<br />
EUROSTAT 2011 Framework<br />
Canada 2011 Framework<br />
China: Framework for cultural industries<br />
Kenya: Mapping Exercise of Kenya’s Creative Cultural<br />
Industries
15<br />
UNESCO Institute for Statistics<br />
2009 UNESCO FCS:<br />
Already Having an Impact!<br />
<br />
<br />
<br />
<br />
Chile: developing a culture statistics information<br />
system designed around the UNESCO FCS domain<br />
structure<br />
Burkina Faso published its 2010 cultural statistics<br />
report according to UNESCO FCS domains<br />
Use of UNESCO FCS coding methodology<br />
<br />
<br />
<br />
Seychelles: to analyse cultural data extracted from Census<br />
Thailand: to extract data for project on Creative Industries<br />
Qatar: to extract cultural data from various data sources<br />
Columbia and Brazil: linking culture satellite accounts<br />
to FCS coding methodology<br />
16<br />
Implementing a Global Survey of Cultural<br />
Employment<br />
UNESCO Institute for Statistics<br />
Objectives:<br />
Implement a Global Survey of Cultural Employment<br />
Statistics<br />
Establish a database of internationally comparable<br />
cultural employment data, statistics and indicators<br />
Produce policy relevant and timely analysis
17<br />
Culture Sector: Source of Employment<br />
UNESCO Institute for Statistics<br />
Factor of growth for the local and national<br />
economy<br />
In United Kingdom, 5.14% are employed in either the<br />
Creative Industries or in a creative role in another<br />
industry as total employment IN 2009. (DCMS, 2011)<br />
In 2008 in the metropolitan region of Montréal, there<br />
were 96,910 direct jobs in this sector for an annual<br />
growth of 4.6% over a ten-year period, or almost three<br />
times the total average of the labour market, which is<br />
1.7% over the same period<br />
18<br />
Purpose of Work<br />
UNESCO Institute for Statistics<br />
Understand the contribution of culture to economic<br />
and social development<br />
Produce data on cultural employment for evidence<br />
based policy formulation<br />
Generate comparable data on cultural employment<br />
worldwide<br />
Support comparative research
19<br />
Primary Sources of Cultural Employment<br />
Statistics<br />
UNESCO Institute for Statistics<br />
Labor force and household employment<br />
surveys<br />
Population censuses<br />
Special surveys dedicated to cultural employment<br />
Administrative sources<br />
Sources<br />
targeted<br />
Industrial, service, commercial and agriculture surveys and<br />
censuses<br />
Living standard measurement surveys<br />
Private sources<br />
20<br />
Potential Indicators<br />
UNESCO Institute for Statistics<br />
Weight of Culture<br />
Gender<br />
Age<br />
Education and Training<br />
Geographical area<br />
Occupational Status<br />
Work time<br />
Job Stability<br />
Side jobs<br />
Unemployment<br />
-% of labour force holding a cultural job<br />
-% of labour force holding a cultural job by type of occupation<br />
-% of cultural employment in total employment<br />
-% of labour force holding a cultural job by sex<br />
-% of labour force holding a cultural job by age<br />
-% of labour force holding a cultural job with a graduate degree<br />
-% of labour force holding a cultural job by geographical area<br />
(urban/rural)<br />
-% of labour force holding a cultural job by type by professional<br />
status: employers and self-employed<br />
-% of population of salaried workers holding a cultural job<br />
-% of full-time employees holding a cultural job part time/full time<br />
-% of permanent employees holding a cultural job<br />
- % of temporary employees holding a cultural job<br />
-% of cultural workers holding more than one job<br />
% of unemployed population whose last job was cultural
21<br />
Next Steps<br />
UNESCO Institute for Statistics<br />
Pilot survey (2013)<br />
Test data collection method and assess response burden<br />
on countries<br />
Methodology (2013)<br />
Establish methods for estimating values for partial culture<br />
codes<br />
Develop appropriate cross-tabulation procedures<br />
22<br />
UNESCO Institute for Statistics<br />
Examples of Cultural Employment<br />
Data and Indicators
23<br />
Case Study: Direct Cultural Occupations<br />
in Montreal in 2008<br />
UNESCO Institute for Statistics<br />
FCS DOMAINS<br />
Cultural Sub-sectors<br />
% cultural<br />
Number of % cultural subsector<br />
total<br />
jobs / total<br />
jobs<br />
employment<br />
A: HERITAGE Heritage institutions 4,000 4.1% 0.2%<br />
B: PERFORMANCE & Performing arts companies 6,500 6.7% 0.3%<br />
CELEBRATION Sound recording industries 2,100 2.2% 0.1%<br />
C. VISUAL ARTS &<br />
CRAFTS<br />
D. BOOKS & PRESS<br />
E. AUDIOVISUAL &<br />
INTERACTIVE MEDIA<br />
F. DESIGN & CREATIVE<br />
SERVICES<br />
H. SPORTS &<br />
RECREATION<br />
EQUIPMENT &<br />
SUPPORTING<br />
MATERIALS<br />
Artists, authors and<br />
independent performers 11,200 11.6% 0.6%<br />
Publishing (except over the Internet) 6,600 6.8% 0.3%<br />
Book, newspaper and music stores 3,800 3.9% 0.2%<br />
Other information services 2,400 2.5% 0.1%<br />
Film and video industries 13,400 13.9% 0.7%<br />
Radio and television broadcasting 7,600 7.9% 0.4%<br />
Event promoters (broadcasters) 2,900 3.0% 0.2%<br />
Interactive games 3,600 3.7% 0.2%<br />
Pay and specialty television 400 0.4% 0.0%<br />
Publishing, radio broadcasting and television on the Internet 210 0.2% 0.0%<br />
Specialized design services 11,400 11.8% 0.6%<br />
Advertising and related services 11,790 12.2% 0.6%<br />
Architects and landscape architects 2,500 2.6% 0.1%<br />
Agents and representatives of artists, athletes and other public personalities<br />
650 0.7% 0.0%<br />
Cable television distribution and other activities for distributing television<br />
programs<br />
5,600 5.8% 0.3%<br />
CULTURAL SECTOR TOTAL 96,650 5.1%<br />
TOTAL OF ALL INDUSTRIES 1,900,100<br />
NOT FCS DOMAINS Satellite telecommunications 260 0.3% 0.0%<br />
24<br />
Employment by Domains<br />
UNESCO Institute for Statistics<br />
Domain<br />
F:<br />
Architect<br />
ure<br />
France - 2007<br />
Domain<br />
D: Press,<br />
Edition,<br />
library<br />
Domain<br />
A:<br />
Heritage<br />
40%<br />
30%<br />
20%<br />
10%<br />
0%<br />
Domain<br />
E: Radio,<br />
Televisio<br />
n,<br />
Cinema,<br />
Video<br />
Domain<br />
B:<br />
Performa<br />
nce,<br />
artistics<br />
activities<br />
Cultural Heritage<br />
Singapore - 2009<br />
40% Visual Arts<br />
30%<br />
20%<br />
10%<br />
0%<br />
Performing Arts<br />
Book Publishing<br />
and Sales<br />
Source: Ministère de la Culture et de la<br />
Communication<br />
Source: Ministry of Information, Communications<br />
and the Arts of Singapore
25<br />
Socio Demographic Characteristics of Cultural<br />
Workers in USA in 2003-2005<br />
UNESCO Institute for Statistics<br />
Number in<br />
group<br />
% female<br />
%<br />
minority<br />
Median<br />
age<br />
Percent<br />
under 35<br />
% with<br />
bachelor'<br />
s degree<br />
or higher<br />
%<br />
enrolled<br />
in school<br />
Civilian labor force 144 898 471 46.4 30.4 40 36.9 27.9 11.7<br />
Professional, related occupations 28 415 796 56.1 24 42 31.9 65.3 12.5<br />
All artists 1 999 474 45.9 19.9 40 35 54.5 8<br />
Actors 39 717 45.1 23.4 35 49.9 58.6 11.9<br />
Announcers 55 817 22.4 24.4 35 49.4 30.9 12.2<br />
Architects 198 498 22.2 19.1 43 26.6 89.5 4.6<br />
Fine artists, art directors, animators 216 996 47.4 15.8 44 25.7 51.2 5.8<br />
Dancers, choreographers 25 651 75.9 40.1 26 80.8 14.4 15.1<br />
Designers 779 359 54.9 20.3 40 37 46.2 7.9<br />
Entertainers, performers 41 128 45.1 25.1 35 49.8 32.6 14<br />
Musicians 169 647 36.1 27 45 28.7 46.3 9.4<br />
Photographers 147 389 42.8 20.5 39 42 37.2 13.1<br />
Producers, directors 139 996 35.3 20.1 38 39 69.3 5.2<br />
Writers, authors 185 276 54.9 10.8 44 26.8 83.1 7.3
Final Roundtable<br />
Measures to Mainstream Culture in Implementing Sustainable Development Goals<br />
<br />
Choe, Jun-ho<br />
Professor of Theatrical Studies, Korean National University of Arts<br />
My question is for Ms. Patchett. Culture and finance can often come into conflict. When<br />
we see culture become a contributor to the economy, it changes, resulting in a dissolve of the<br />
culture. Cultural development and exchange can often be in different time frames. At times it<br />
is processed in mismatched circumstances. Culture and arts allow us to find the different<br />
value systems existing in this world…. I am a theatrical artist. The theater is all about the<br />
decisions made by others. Even if the main character’s act is influenced by his partner, and<br />
the act itself cannot be seen without the lights. As such, in a play, collaboration and harmony<br />
is necessary. In producing a theatrical play, we learn to be productive while maintaining<br />
peace and harmony in the process. Such analogy can be applied in the process of<br />
development, where the experience of art and education seeks to respect the culture and<br />
values of one another through a co-learning encounter, rather than dominating one culture by<br />
another. As such, culture in the framework of international development cooperation can be<br />
promoted by creating opportunities to meet and share among each other.<br />
Panel of 30 Experts<br />
Goo, Moon Mo<br />
Professor of Media Contents, Halla University<br />
Specializing in economics, I am seeking to promote policies that hinge upon cultural<br />
aspects. I support what has been presented by of Professor Yoo and Professor Kwak. The<br />
question of whether Korea’s experience of overcoming poverty will inspire Korean people to<br />
support the ‘cultural ODA’ was brought up. I believe that economic development is brought<br />
forth as a result of culture, rather than culture being a means to economic development. If we<br />
must consider the economic aspects of a community’s culture, it must have a direct<br />
connection to the lives of its residents. The idea of passing on traditional cooking methods in<br />
developing countries is indeed significant, as shown through Ms.Patchett’s presentation.<br />
Korea also has cultural activities of this sort, but if it is to be approached in terms of<br />
economics, it can cause social conflicts arising from competition between regional<br />
communities, rather than social cohesion. This is why cultural development schemes should
e directly connected to the lives of individuals, which will naturally yield economic profit<br />
for the community.<br />
This leads to my question. In the past, UNESCO has introduced a corporate approach to<br />
cultural entrepreneurship. In Korea, we look to the role of regional social enterprise in<br />
tackling this issue, with added benefit of promoting communication and creating jobs in the<br />
region. What is UNESCO’s stance on the possibility of applying the said method in<br />
developing countries?<br />
The next question is directed toward Mr. Van der Pol. When government agencies are<br />
allocated a budget, it is often difficult to quantify the value of culture into a monetary sum.<br />
For instance, Hallyu’s(the Korean Wave, Korean culture exported abroad) contribution to<br />
promoting Korea’s national reputation cannot be measured in terms of financial profit. Thus,<br />
we are in need of a standard economic model to be commonly applied in various countries<br />
around the world. Also, when discussing the importance of culture, we are required to present<br />
statistical data regarding the import/export of culture. I wonder whether UNESCO is working<br />
on such issues as well.<br />
Among the Panel of Experts, Suh Jinsuk, Director of Gallery Loop on the need for<br />
preliminary studies to be implemented on the topic of Culture ODA and cultural diversity,<br />
prior to the exchange of culture and initiation of projects.<br />
Hendrik Van der Pol<br />
Director of the UNESCO Institute for Statistics<br />
Can the uniqueness of culture be captured? In a sense in can never be captured. What is<br />
important is the quality aspect of culture. At least we could try find some dimension so that<br />
we could try to measure the quality, For instance, Rembrandt and Van Gogh are both famous<br />
but each has unique style. How can we compare these two? You might think of the number of<br />
visitors, the price and other qualities. You could get different ways to get the idea about the<br />
quality. You will never capture the uniqueness but at least there is something to compare.<br />
The second question was whether the frame of the cultural statistic is applicable for every<br />
country. In principle, it should be because we have asked all the countries worldwide to give<br />
us comments on it. We also asked them whether their cultural expressions are captured. And<br />
we are trying to capture as much as possible. Of course, in principle it is applicable but that<br />
does not mean that for each country every sector is going to have the same relevance. Some<br />
will get more importance than the others.
There was also a question about the export and import of cultural expressions. We did<br />
publish an analysis of trade in cultural products and services few years ago. There are several<br />
expressions of cultural goods that do cross borders. So that is indeed possible. You can also<br />
think about the development in the sense of tourism. For instance, in Bhutan, tourism is the<br />
second largest export market. Tourism is basically grounded on their cultural expressions,<br />
their festivals, their religion symbols and others. There are several ways to export cultural<br />
products and sometimes consumers comes to your country … but anyway some kind of<br />
crossing borders is there.<br />
As for answer to why Korea is indicated as no training area in the map in my presentation,<br />
well, it is not that because we pick on Korea or don’t want to come here but somehow we<br />
have not been invited or there was no interest or whatever…<br />
Lynne Patchett<br />
Chief of Staff, UNESCO Culture Sector<br />
The first question picked up on the potential tension between emphasis on economic<br />
progress/development and culture, perhaps the incompatibility between the two. We cannot<br />
ignore that there is an economic side of culture but that is not the only one. We are looking at<br />
development at a broader sense. Our definition of culture set out in the 2001 UNESCO<br />
declaration of cultural diversity defines culture in a very broad sense. It’s something related<br />
to the heart of human identity, and as a means of enriching human existence, building social<br />
cohesion, respects, and promoting these values. That is the heart of various cultural<br />
conventions. We can’t ignore the economic part, and sometimes this is the aspect of the UN’s<br />
focus, but we have to keep the broad approach. For instance, UNESCO promotes this idea in<br />
initiatives such as ‘Dream Centers’, where young people in post-disaster/post-conflict<br />
countries are exposed to arts and express themselves (their emotions) through arts … I want<br />
to reassure that UNESCO promotes this broader definition of culture.<br />
Regarding the issue on culture and human rights, the 2001 declaration mentions very<br />
clearly that all cultures have something to contribute as long as it is compatible with universal<br />
values that UN advocates. UNESCO works at international level with other governments to<br />
promote human rights and to change attitudes. We also try to work at community levels,<br />
trying to develop alternatives, but I acknowledge that this is a very sensitive issue. We are not<br />
a funding agency per se, but we work with donor countries to provide financial and technical<br />
assistance.<br />
Considering the platform for cultural exchange, I think the UN is the platform, where
countries from all over the world come and share. Within UNESCO, we have a certain<br />
number of projects seeking to help countries to develop cultural policies. For instance, the EU<br />
gave a million Euros to UNESCO to set up an expert facility that has gone to 13 different<br />
developing countries so that they can help develop cultural policies. Moreover, there are<br />
smaller funds to be used for countries to make cultural policies and cultural centers. These<br />
projects show very promising results. bout questioning on working with regional enterprises,<br />
UNESCO works generally with at national level rather than regional bodies, but working at<br />
regional level sounds like a good idea too.<br />
David Throsby<br />
Professor of Economics, Macquarie University<br />
A question about the platform was raised and I agree with Lynn Patchett that UNESCO in a<br />
way does provide that linkage between producers and consumers. Also in the context of<br />
statistics or statistical platform or database for the consumers and producers, I just think that<br />
the statistics that the UNESCO institute of statistics collects on the production of cultural<br />
products and the demand and consumption of the products give us a picture of why and<br />
which exchange takes place.<br />
On the question about the Australian experience in ODA and sensitivity to cultural<br />
identities and the culture of the countries receiving the idea, we don’t really have very many<br />
projects that directly involves cultural identity…but we provided a lot of technical assistance<br />
for agricultural development in our region’s developing countries (Southeast Asia and Pacific<br />
regions) in the context of cultural environment and context in which agricultural practice<br />
happens. So there are many examples of the ways in which the technical assistance has been<br />
tailored to meet a particular circumstance wherever, in Indonesia, Malaysia, Fiji and even in<br />
African countries. The question of sensitivity to culture of indigenous people is something<br />
which is particularly important. I do have a research project on-going at this moment which<br />
deals with indigenous people in Australia - the way in which our economy provides both<br />
cultural and economic empowerment to remote communities. The remote communities are<br />
really remote and small but their visual arts are promoted as a form of tourism at cultural<br />
centers and sold on international market providing a solid and strong economic empowerment.<br />
I am involved in investigating our economy that is absolutely sensitive to the indigenous<br />
culture which is very unique and subtle in Australia. It is something which we have to be<br />
absolutely clear about in terms of dealing with the aboriginal people. For example, we do<br />
survey of aboriginal artists but that can’t be done in the same way as doing survey of artists in
the main land of Australia where you can just have interviews and ask questions. How and<br />
when questions are asked and framed is very carefully calibrated for these cultural conditions.<br />
Finally, in relation to the issue of the possible conflict between economics and culture in<br />
the areas we’ve been talking about, I’ve talking very positively about the fact that these<br />
conflicts should not be seen as conflicts but that they can actually move together. The<br />
emphasis on the economic contribution of culture is really just a way I think in some respect<br />
of international agenda of getting culture on the table. It is often the way in which you can<br />
persuade ministers of finance and other hard-headed people that culture is important because<br />
of potentials for economic contributions. It is actually the cultural contents and artistic<br />
cultural contenst that is really what’s important about culture. The potential for economic<br />
contributions is instrumentally useful in achieving the sorts of things that the MDGs are<br />
going after. As a part of the agenda, the nuances or strategies may be necessary in order to<br />
advance the cause of culture on the table in the review of MDGs.<br />
Kwak, Jae Sung<br />
Professor at the Graduate School of Pan-Pacific International Studies<br />
I have reconsidered what Professor Koo’s remark on regional culture. I agree that in<br />
smaller countries with large market capacity, such as Korea, taking an economic approach<br />
without proper funding to promotion of regional cultural events without applying the laws of<br />
the market may risk a distortion of the cause.<br />
However, this same logic may not apply to the developing nations. When taking an<br />
economic approach without proper funding, the market is unlikely to survive. This is because<br />
in order for the market to be intact, a vertical integration is needed beginning from the basic<br />
infrastructure. Without such conditions, even if a country possesses a significant cultural<br />
heritage, it will not bring forth economic benefit. Thus, to a certain degree, funds should be<br />
provided from the ODA. After a while, market logic can be applied.<br />
I hope Korea takes on the role of a catalyst to provide an advanced framework for ODA.<br />
Our ODA is actually not feasible. We do not owe anything to others since we were never a<br />
colonialist nation nor a regional hegemony. Our ODA is out of good faith. The reason why<br />
our ODA does not have a set direction is because we are not obligated to help anyone. Our<br />
ODA is based on a shared understanding or one another. To achieve this goal, we must stop<br />
sending technicians without a field specialist Such change should be initiated among the<br />
program developers.
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Kang, Kyunghwan Director General of the Heritage Policy Bureau of the Cultural Heritage<br />
Administration of Korea (CHA). Since joining the CHA in 1998, Kang has served as the Deputy<br />
Director of the Heritage Planning Division, Director of the International Affairs Division, Director of<br />
the Heritage Promotion Division, and Director of the Conservation Policy Division. His interests<br />
include cultural heritage policies, sustainability, and community involvement. He received his B.A. in<br />
Public Administration from Korea University, M.A. in Heritage Preservation from Georgia State<br />
University, and Ph.D. in Engineering from Mokwon University.<br />
Kang, Juhong Section Chief of the Development Cooperation Planning Division of the Prime<br />
Minister's Office. He is in charge of coordinating, planning, evaluating and directing international<br />
development cooperation policies. Prior to his current position, he served at the Ministry of<br />
Information and Communication and the Financial Supervisory Commission. He studied political<br />
science at Seoul National University and received his M.A. and Ph.D. in political science from Yonsei<br />
University. He is currently developing a Korean ODA (Official Development Assistance) model and<br />
researching ODA evaluation methods.<br />
Kwak, Jae SungProfessor of the Graduate School of Pan-Pacific International Studies (GSP) at<br />
Kyung Hee University. He is an expert in multilateral development cooperation, the political economy<br />
and international relations of Latin America, and Knowledge Sharing of the Korean Experience with<br />
Developing Countries. He served as a Consultant for the Inter-American Development Bank (IDB)<br />
and has worked with various institutions including the Asian Development Bank (ADB) and the<br />
United Nations Economic Commission for Latin America and the Caribbean (UN ECLAC). Kwak<br />
received his B.A. in Hispanic Studies from Seoul National University, his M.A. in Latin American<br />
Studies, and Ph.D. in International Politics, both from the University of Liverpool.<br />
Goo, Moon MoProfessor of Media Contents at Halla University. His main area of research is<br />
cultural economics. He was the President of the Korea Association for Cultural Economics and a juror<br />
for the cultural industrial district judges at the Ministry of Culture, Sports and Tourism. He has<br />
authored numerous policy reports concerning cultural content and creative industries. He received his<br />
B.A. in English literature and M.A. in Economics from Korea University, and his Ph.D. in Economics<br />
from the Iowa State University.<br />
Ki, YangHead of the Exhibition Division at the National Folk Museum of Korea. His research<br />
interests include exhibitions, community museums, and the utilization of intangible cultural heritage.<br />
Since joining the National Folk Museum of Korea in 1992, he has planned various exhibitions such as
The Reflections on the 20th Century and Visions of the 21st Century, Han River: Running Through<br />
Korea, and most recently in 2012, the special exhibition, Arirang. Ki majored and received his Ph.D.<br />
in Architecture at Hongik University.<br />
Kim, Eun KyungResearch Fellow and the Chief of the International Development Cooperation<br />
team at the Korean Women's Development Institute. Her areas of expertise include women’s policy,<br />
and gender and development. She is a lecturer for the KDI School of Public Policy and Management<br />
and the KOICA training program. Kim's publications include Analysis on the Governance of Women's<br />
Policy, Analysis on the Gender and Development Programs of Korean NGOs, and Case Analysis on<br />
Women's Participation in Rural Development of Korea and Indonesia. Kim received her Ph.D. in<br />
political science from Yonsei University.<br />
Kim, ChulwonProfessor of Convention Management and the Dean of the College of Hotel and<br />
Tourism Management at Kyung Hee University. His interests include cultural tourism, leisure and<br />
health tourism, and international tourism policy. He has served various positions including the Editorin-Chief<br />
of the UNWTO Asia Pacific Newsletter, the representative of Korea and consultant for the<br />
OECD Tourism Committee and the G-20 summit events. Kim received his M.A. in Economics at<br />
Yonsei University, M.B.A. from the School of Business and Public Management at George<br />
Washington University, and Ph.D. from the Department of Recreation, Park and Tourism Sciences<br />
from Texas A&M University.<br />
Nho, Myung Woo Professor of Sociology at Ajou University. He is an expert in the field of<br />
Cultural Sociology. His publications include Homo Ludens: Dreaming of a Playing Human, Walter<br />
Benjamin: Modernity and the City, and Ambiguous World. He has written numerous treatises,<br />
including Ethnography and Cultural Studies Methodology, Cultural Competitiveness Analysis of<br />
Major OECD Countries, and Research on Cultural Impact Assessment Legislation. He received his<br />
B.A. and M.A. in Sociology from Sogang University, and his Ph.D. from Free University of Berlin.<br />
La, Do-Sam Researcher at the Department of Future and Social Policy Research of the Seoul<br />
Institute. La served as visiting scholar in Environmental Planning Institute at Seoul National<br />
University and as Director in the Culture Research Center of the Seoul Development Institute. His<br />
research interests are Cultural Policy and Urban Culture. La has written numerous works including<br />
publications such as The Study of Major Cities’ Cultural Strategies and Seoul's Culturenomics,<br />
Creating Villages by Utilizing Art, and Culture Cities and Cultural Strategies. He received his Ph.D.<br />
in journalism from Chung-Ang University.<br />
Ryoo, Jeung-Ah Director of the Division of Convergence Research at the Korea Culture &<br />
Tourism Institute. She received her Ph.D. in Social Anthropology and French Ethnology from L'Ecole
des Hautes Etudes en Science Sociale (EHESS) in France. She is a member of the National Creative<br />
Regional Development Committee. Her research topics include regional festivals, regional culture,<br />
cultural diversity, and gender-sensitive cultural policy. Her recent publications include Anthropology<br />
of Festival, Festival and Culture, Harmony of Cultural and Economic Values in Festivals, and<br />
Regional Revitalization by Means of Cultural Contents.<br />
Park, Kyung TaeProfessor of the College of Social Science at Sungkonghoe University. He is<br />
involved in the area of minority studies and has written on related fields. His publications include<br />
State's Actions and Minorities' Reactions (2006), Ethnic Minorities in Korea: Migrant Workers,<br />
Ethnic Chinese, and Biracial People (2008), and How to View Them: Korean's Perspective on<br />
Migrant Workers in Masuk Furniture-Factory Complex (2011). He received his B.A. in Sociology at<br />
Yonsei University, and his M.A. and Ph.D. in Sociology at the University of Texas at Austin.<br />
Park, Yang-WooChair of the Department of Cultural Policy and Management of the Graduate<br />
School of Arts at Chung-Ang University. Park has worked with the Korean Ministry of Culture,<br />
Sports and Tourism for 27 years before retiring as the Vice Minister in 2008. Park served as the Vice<br />
President of Chung-Ang University, Chairman of Gwangju Asia Content & Entertainment Fair 2012,<br />
Chairman of Korea Movie and Video Industry Association, Chairman of the Policy Evaluation on the<br />
Ministry of Culture, Sports and Tourism of Korea, and President of Korean Academic Society of Arts<br />
Management.<br />
Byun, OungResearch Professor at the Korea University Graduate School of International Studies.<br />
Byun served as a managing professor for the CAMPUS Asia Program at Korea University and<br />
participated in the KIEP GPAS Europe-Africa association as an assistant administrator. He received<br />
his B.A. in Philosophy from Korea University, M.A. in Political Science from Institut d'Etudes<br />
Politiques de Paris (IEP de Paris, Sciences Po) and Ph.D. in International Relations History from the<br />
Ecole Normale Superieure (ENS)-Ecole des Hautes Etudes en Sciences Sociales (EHESS).<br />
Suh, JinsukJinsuk Suh is the Director of Gallery Loop. Established in 1999, Gallery Loop is the<br />
first alternative art space in Korea that discovers and supports young Korean artists. Since 2004, Suh<br />
has coordinated the Move on Asia Video Art Festival, opening worldwide Asian art exhibitions. Since<br />
2010, Suh has been focused on developing a new discourse of Asian art through the A3 Asia Art<br />
Award and the Asia Art Forum. He has worked to make Korean art widely known by participating in<br />
international biennale events such as the 2010 Liverpool Biennale, and conducting projects with<br />
institutions such as Kunsthalle Düsseldorf, central Istanbul, and Casa Asia.<br />
Son, Kyungnyun General Director of the Culture and Arts Bureau at the Bucheon Cultural<br />
Foundation. She served as the General Director of Cultural City Planning and Managing Bureau in the
Executive Agency for Culture Cities at the Ministry of Culture and Tourism. Her recent publications<br />
include New Urban Policies in the Low Growth Era - A Better City, Happier Citizens (2011) and A<br />
Research of Seoul Youth Creative Index (2012). Son received her B.A. in Sociology from Korea<br />
University and M.A. in Arts Management from City University, where she finished her coursework as<br />
a Ph.D. from the Department of Cultural Policy & Management.<br />
Oh, Myung-SeokProfessor of Anthropology at Seoul National University. His fields of expertise<br />
include Economic Anthropology, Historical Anthropology and Southeast Asian regional studies. He<br />
has held the positions of Director for the Center for Social Science, Vice President for the Korean<br />
Association of Cultural Anthropology, and the President for the Korean Association of Southeast Asia.<br />
His publications include Custom and Cultures in the World (2005) and Regionalism and Ethnic<br />
Conflict in Southeast Asia (2004). Oh received his B.A. and M.A. from Seoul National University and<br />
received his Ph.D. in Anthropology from Monash University in Australia.<br />
Ryu, Seoung-hoAssociate Professor and Department Chair of Visual Culture at Kangwon National<br />
University, and an Adjunct Professor at the Graduate School of Culture Technology, KAIST. Ryu<br />
wrote several books, including Are You “Social”?: Social Media changing Humanity, Cultural<br />
Content in the Digital Age, Cultural City: New Paradigm for Regional Development, and A Week in<br />
Petite Paris. He has published many papers in the field of cultural content and cultural cities. He is<br />
also the Editor-in-Chief of the Journal of Culture and Economy as well as the Chairman of the<br />
Creative City Forum.<br />
Yoon, Keum-jinDirector of the Korea Foundation Cultural Center. During her 24-year career,<br />
Yoon has overseen various programs, especially in the area of cultural exchange. During 2004-2005,<br />
she launched a project that facilitated mutual cultural understanding and enhanced cultural diversity,<br />
which led to the establishment of the Korea Foundation Cultural Center. Yoon received her B.A. and<br />
M.A. in Linguistics at Ewha Womans University, and her Ph.D. at the Graduate School of Culture,<br />
Arts and Design at Dankook University.<br />
Lee, Sun-chul Professor of Cultural Content at Yong In University. He is the CEO of<br />
PotatoBlossom Studio, a project group for local community networking. He served as Planning<br />
Director at Kim Duk-Soo SamulNori, the most well-known Korean traditional percussion group, and<br />
CEO of Polimedia, an arts managing group affiliated with a theater and a record company. As a<br />
creative planner, educator and a cultural consultant, Lee is involved in diverse training programs,<br />
researches, and consultations, working close with the Korea Rural Corporation and the Ministry of<br />
Culture, Sports and Tourism. Lee received his B.A. in Sociology from Yonsei University and his M.A.<br />
in Culture Management from City University in London.
Lee, O YoungDistinguished Honorary Professor of the Ewha Academy for Advanced Studies. Lee<br />
is a renowned literary critic and a Doctor of Korean literature who received his B.A. and M.A. from<br />
the College of Liberal Arts at Seoul National University. He was the first to be appointed Minister of<br />
Culture in Korea. Lee has served as a Professor at the College of Liberal Arts at Ewha Womans<br />
University from 1966 to 1989. Lee is widely known in Korea for his articles, essays and critical<br />
writings that cover a vast range of topics. He has also contributed to a number of major daily<br />
newspapers with countless outstanding columns and editorials. Noteworthy publications include In<br />
This Earth and That Wind (2008) and Smaller is Better (2008).<br />
Lee, Won Jae President of the Hankyoreh Economic Research Institute. Lee served as Chief<br />
Researcher for the Samsung Economic Research Institute (SERI) and as an economics journalist for<br />
Hankyoreh Newspaper. Noteworthy publications include Economics in Wonderland (2012), Korean<br />
Economy, Kill the Korean Economic Hyena (2007) and The Discovery of Strategic Ethics<br />
Management (2005). Lee is an active writer and lecturer on corporate social responsibility and social<br />
enterprise. He majored in Economics in Yonsei University and received his M.B.A. from the MIT<br />
Sloan School of Management.<br />
Lee, Tae JooProfessor of Cultural Anthropology at Hansung University. His areas of expertise<br />
include development studies and Official Development Assistance (ODA) policies. He has extensive<br />
field experience in Asia, the South Pacific Islands, and Africa. In 2007 he was appointed the Chair of<br />
the ODA Watch. He is the President of the Re-shaping Development Institute (ReDI). He is a policy<br />
advisor to various institutes, including the Ministry of Foreign Affairs and Trade, well as a member of<br />
the High-Level Development Cooperation Committee in Korea. Lee received his B.A. in<br />
Anthropology and Political Science, M.A. in Cultural Anthropology, and Ph.D. in Anthropology from<br />
Seoul National University.<br />
Chang, Eun-JooProfessor of the College of Law at Youngsan University. He is the Executive<br />
Editor of ‘Citizen & World.' Recent publications include From Survival to Dignity (2007), The<br />
Philosophy of Human Rights (2010), and The Transformation of Politics (2012). Published articles<br />
include Confucian Modernity and Modern Identity (2007) and The Democratic-Republican<br />
Reconstruction of the Korean Progressive-Liberal Tradition (2012). He received his Ph.D. at Johan<br />
Wolfgang Goethe University, Germany.<br />
Jung, Jae-walPresident of Korea Arts Management Service, a non-profit organization specializing<br />
in the research and consultation of cultural arts and the supervision of international cultural,<br />
performing, and visual arts businesses. Prior to his current presidency, Jung was a culture journalist at<br />
the Joongang Daily and the General Manager of LG Arts Center. Notable publications include Map of
the World’s Intellectuals (2002). He is affiliated with diverse committees, including the Korea Theatre<br />
Critics, the Korean Society of Arts and Cultural Management, and the Korea Ballet Association.<br />
Chung, Jeong-SookFellow at the Culture and Arts Policy Research Division at Korea Culture and<br />
Tourism Institute. Chung's areas of expertise include local culture, cultural exchange, and culture<br />
ODA (Official Development Assistance). She served as a panelist for the East Asia Forum, Research<br />
Fellow for the Korea Institute for Future Strategies, and as an expert adviser to the Presidential<br />
Committee on the Northeast Asian Cooperation Initiative. Publications include Culture ODA<br />
Development Research, Basic Research for Asian Culture City Implementation, and Culture and Arts<br />
Policy for an Aging Society. Chung received her B.A. in English Literature and her M.A. and Ph.D. in<br />
Political Science at Ewha Womans University.<br />
Choe, JunhoProfessor at the Theatrical Studies Department at the School of Drama of Korean<br />
National University of Arts (KNUA). He is currently an Executive Committee Member at the Korean<br />
Arts Management Service, and Counselor of the Ministry of Culture for the Promotion of Korean<br />
Wave in Arts. Previously, he served as the Director of the Korean Cultural Center in Paris, the Artistic<br />
Director of Seoul Arts Center, and the General Counselor for the Korean National Theatre. Choe<br />
received his B.A. and M.A. in French Language and Literature at Sung Kyun Kwan University and<br />
his Ph.D. in Theatrical Studies from the Institute of Theatrical Studies at the University of Paris III<br />
(Sorbonne Nouvelle).<br />
Choi, Hyuck JinDirector of Infrastructure Development at the Korea Social Enterprise Promotion<br />
Agency (KSEPA). Established in 2010, KSEPA is a public institution under the Ministry of<br />
Employment and Labor that supports the establishment and operation of social enterprises. Choi<br />
served around 10 years at the Wonju Health and Social Care Cooperative as the Deputy Secretary<br />
General for Planning and Executive Director, among other positions. He also served in various<br />
positions such as the Vice Chairman of the Board at the Wonju Health and Social Care Cooperative,<br />
and as the Director of the Gangwon-Wonju province at the Social Enterprise Regional Support<br />
Agency. He received his B.A. in Political Science at Sogang University.<br />
Heo, Injung Chairman of the Board at the Arts & Community Network and the President of<br />
Chosun Ilbo's A Better Future. The Arts & Community Network is a non-profit organization that<br />
enables culture sharing via invigorating the corporate social responsibility activities of companies<br />
through consulting. After 10 years at Chosun Ilbo as a journalist, Heo served the CJ Group as the CSR<br />
Section Chief and the CJ Sharing Foundation as Executive Secretary. She received her B.A. and M.A.<br />
in Journalism and Broadcasting from Seoul National University and studied Arts and Culture<br />
Management at Hongik University.
Hong, Jin-wookSection Head of the Public Foreign Policy Bureau at the Ministry of Foreign<br />
Affairs and Trade. Since joining the Ministry in 1994 Hong served various positions such as the First<br />
Secretary at the Korean Embassy in Belgium and Mission to European Union, and as a Counselor at<br />
the Embassy of the Republic of Korea in New Zealand. He has also worked in the Executive Office of<br />
the President prior to his current position. He received his B.A. in Economics at Seoul National<br />
University and his M.A. in International Relations at University of California in San Francisco.<br />
Hwang, Won-GyuProfessor of International Economics and the Dean of the College of Social<br />
Sciences at Gangneung-Wonju National University. He was the President of the Korea Association of<br />
International Development and Cooperation (KAIDEC) and a member of various government<br />
committees such as the National Committee for International Development Cooperation. He also<br />
acted as policy advisor to several developing countries such as Rwanda, Cambodia, Bulgaria, and<br />
Uzbekistan. Prior to joining the University, he worked for the Korea Development Institute as a senior<br />
economist. He received his Ph.D. in Economics from the University of Texas in Austin, USA under<br />
the Fulbright Scholarship.
Hong, Jin-wookSection Head of the Public Foreign Policy Bureau at the Ministry of Foreign<br />
Affairs and Trade. Since joining the Ministry in 1994 Hong served various positions such as the First<br />
Secretary at the Korean Embassy in Belgium and Mission to European Union, and as a Counselor at<br />
the Embassy of the Republic of Korea in New Zealand. He has also worked in the Executive Office of<br />
the President prior to his current position. He received his B.A. in Economics at Seoul National<br />
University and his M.A. in International Relations at University of California in San Francisco.<br />
Hwang, Won-GyuProfessor of International Economics and the Dean of the College of Social<br />
Sciences at Gangneung-Wonju National University. He was the President of the Korea Association of<br />
International Development and Cooperation (KAIDEC) and a member of various government<br />
committees such as the National Committee for International Development Cooperation. He also<br />
acted as policy advisor to several developing countries such as Rwanda, Cambodia, Bulgaria, and<br />
Uzbekistan. Prior to joining the University, he worked for the Korea Development Institute as a senior<br />
economist. He received his Ph.D. in Economics from the University of Texas in Austin, USA under<br />
the Fulbright Scholarship.
Hong, Jin-wookSection Head of the Public Foreign Policy Bureau at the Ministry of Foreign<br />
Affairs and Trade. Since joining the Ministry in 1994 Hong served various positions such as the First<br />
Secretary at the Korean Embassy in Belgium and Mission to European Union, and as a Counselor at<br />
the Embassy of the Republic of Korea in New Zealand. He has also worked in the Executive Office of<br />
the President prior to his current position. He received his B.A. in Economics at Seoul National<br />
University and his M.A. in International Relations at University of California in San Francisco.<br />
Hwang, Won-GyuProfessor of International Economics and the Dean of the College of Social<br />
Sciences at Gangneung-Wonju National University. He was the President of the Korea Association of<br />
International Development and Cooperation (KAIDEC) and a member of various government<br />
committees such as the National Committee for International Development Cooperation. He also<br />
acted as policy advisor to several developing countries such as Rwanda, Cambodia, Bulgaria, and<br />
Uzbekistan. Prior to joining the University, he worked for the Korea Development Institute as a senior<br />
economist. He received his Ph.D. in Economics from the University of Texas in Austin, USA under<br />
the Fulbright Scholarship.
David Throsby<br />
Macquarie University<br />
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David Throsby is Distinguished Professor of Economics at Macquarie University in Sydney,<br />
Australia. He is internationally recognized for his work and publications on the economics of<br />
art and culture. His current research interests include the economic circumstances of artists,<br />
the significance of culture in economic development, heritage economics, the creative<br />
economy, and the relationship between economic and cultural policy. He has been a frequent<br />
consultant for international organizations including UNESCO, UNCTAD, OECD, and the<br />
World Bank. His book, Economics and Culture (Cambridge University Press, 2001), has been<br />
translated into seven languages. His latest book, The Economics of Cultural Policy<br />
(Cambridge University Press), was published in 2010. He co-edited Beyond Price: Value in<br />
Culture, Economics and the Arts (Cambridge University Press, 2008) with Michael Hutter,<br />
and he is currently working on the second volume of Handbook of the Economics of Art and<br />
Culture (Elsevier/North Holland), co-edited with Victor Ginsburgh.<br />
Lynne Patchett<br />
UNESCO Culture Sector
Lynne Patchett was appointed Chief of Executive Office, UNESCO Culture Sector in<br />
November 2010. The Culture Sector focuses on promoting the role of culture for sustainable<br />
development and social cohesion; recognizing and promoting cultural diversity; and<br />
conserving culture in its various forms. Her previous responsibilities included working at the<br />
UNESCO Office of the Director-General, serving under both Irina Bokova and Koïchiro<br />
Matsuura, and the World Heritage Centre. Prior to joining UNESCO in 2001, her<br />
professional experience included working as a civil servant in the United Kingdom – dealing<br />
with a wide range of issues including local government reform, tourism, and media policy.<br />
Earlier in her career, she was a teacher at the Natural History Museum and at a number of<br />
inner city schools in London. She was born and brought up in Sheffield, UK and was<br />
educated at the Goldsmiths College, University of London and Rutgers University.<br />
Hendrik Van der Pol<br />
UNESCO Institute for Statistics<br />
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Hendrik van der Pol, born in the Netherlands, has a degree in human geography and a<br />
doctorate in demography. He has collected and analyzed data from censuses, surveys, and<br />
registration systems in Africa, Asia, Latin America, and South Eastern Europe for the past 30<br />
years. This provided him with a valuable multicultural experience, as well as an in-depth<br />
knowledge in using quantitative methods in policy development, especially in developing<br />
countries. He was the Director of SNV, a Dutch development organization, in Albania (1993-<br />
1997) and Bolivia (1997-2000). In 2000 – 2004 he was a representative of the United Nations<br />
Population Fund (UNFPA) in Guatemala, where he was involved in the Guatemala 2002<br />
population and housing census. In 2004 – 2006, he was the UNFPA representative in India<br />
and Bhutan and managed the seven offices of the organization. Since April 2006, he has been<br />
working as the Director of the UNESCO Institute for Statistics in Montreal. He has written on<br />
various subjects such as population statistics, demography, migration, and reproductive health.<br />
He is a member of the International Union for the Scientific Study of Population and the<br />
Canadian Cultural Observatory Advisory Council.
Lynne Patchett was appointed Chief of Executive Office, UNESCO Culture Sector in<br />
November 2010. The Culture Sector focuses on promoting the role of culture for sustainable<br />
development and social cohesion; recognizing and promoting cultural diversity; and<br />
conserving culture in its various forms. Her previous responsibilities included working at the<br />
UNESCO Office of the Director-General, serving under both Irina Bokova and Koïchiro<br />
Matsuura, and the World Heritage Centre. Prior to joining UNESCO in 2001, her<br />
professional experience included working as a civil servant in the United Kingdom – dealing<br />
with a wide range of issues including local government reform, tourism, and media policy.<br />
Earlier in her career, she was a teacher at the Natural History Museum and at a number of<br />
inner city schools in London. She was born and brought up in Sheffield, UK and was<br />
educated at the Goldsmiths College, University of London and Rutgers University.<br />
Hendrik Van der Pol<br />
UNESCO Institute for Statistics<br />
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<br />
<br />
Hendrik van der Pol, born in the Netherlands, has a degree in human geography and a<br />
doctorate in demography. He has collected and analyzed data from censuses, surveys, and<br />
registration systems in Africa, Asia, Latin America, and South Eastern Europe for the past 30<br />
years. This provided him with a valuable multicultural experience, as well as an in-depth<br />
knowledge in using quantitative methods in policy development, especially in developing<br />
countries. He was the Director of SNV, a Dutch development organization, in Albania (1993-<br />
1997) and Bolivia (1997-2000). In 2000 – 2004 he was a representative of the United Nations<br />
Population Fund (UNFPA) in Guatemala, where he was involved in the Guatemala 2002<br />
population and housing census. In 2004 – 2006, he was the UNFPA representative in India<br />
and Bhutan and managed the seven offices of the organization. Since April 2006, he has been<br />
working as the Director of the UNESCO Institute for Statistics in Montreal. He has written on<br />
various subjects such as population statistics, demography, migration, and reproductive health.<br />
He is a member of the International Union for the Scientific Study of Population and the<br />
Canadian Cultural Observatory Advisory Council.
Opening Remarks<br />
Our world has already shifted to an era of soft power, where is based not on military or economic<br />
power but the power of culture, knowledge and information. The value and importance of culture and<br />
its close ties with development cannot be overemphasized. Along with diverse official documents<br />
from the UN and UNESCO, the Rio+20 Summit that closed last June made it clear that 'culture,<br />
cultural diversity, cultural heritage and cultural tourism play a significant role in achieving sustainable<br />
development'.<br />
Starting this year, the Korean National Commission for UNESCO and the Ministry of Culture,<br />
Sports, and Tourism in Korea hosted Culture and Development Roundtables in order to gather the<br />
opinions of domestic scholars in line with such global trends and contribute to the agenda setting at an<br />
international level. To this end, a panel of 30 experts consisting of scholars from various fields and<br />
experts from the private and public sectors was organized, with the 1st and 2nd roundtables in June<br />
and September, respectively.<br />
This international symposium, the 3rd and the last roundtable for this year, held under the theme of<br />
'Strengthening the Role of Culture in the Post-MDGs Framework', will serve as a unique venue of<br />
experiencing cutting edge discussions around the post-development goals. Keynote speech given by<br />
Professor David Throsby, a renowned scholar in cultural economics, and presentations delivered by<br />
Hendrik van der Pol, director of UNESCO Institute for Statistics (UIS) and Lynne Patchett, Chief of<br />
Executive Office, UNESCO Culture Sector, will enlighten all the participants with valuable insights<br />
and in-depth discussions. Furthermore, a research presentation delivered by a Korean research team<br />
led by a panel of experts and the following panel discussions will provide a precious opportunity to<br />
devise action plans to implement the particular agenda at home and abroad.<br />
Korea has necessary capabilities as well as potentials for contributing to the discussions of the<br />
global community regarding culture and development. By joining OECD DAC in 2010, Korea<br />
transformed from an aid recipient to a donor for the first time in the world. Korea’s achievement of<br />
both industrialization and democratization presents unique lessons for developing countries. In<br />
addition, Korea has grown to be a cultural powerhouse especially in the field of cultural contents and<br />
arts education. I believe these evidences support the claim that Korea is optimally positioned to reflect<br />
on the past development processes from a cultural perspective, as well as present alternative models<br />
of international development cooperation.<br />
Once again, I would like to extend my heartfelt thanks to Choe Kwang-shik, Minister of Culture,<br />
Sports and Tourism, and the staff members for gathering opinions and disseminating the agenda of<br />
culture and development across the society. My special thanks also go to Professor David Throsby,<br />
Director Hendrik van der Pol and Madame Lynne Patchett who traveled a long distance in order to<br />
provide experts and the audience in Korea with new perspectives based on their rich insights and<br />
enthusiasm in culture and development. I would also like to express my sincerest gratitude to a panel<br />
of 30 experts who laid the groundwork for discussions regarding culture and development this year..<br />
Min Dong-Seok<br />
Secretary-General of Korean National Commission for UNESCO
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Congratulatory Message<br />
It is my pleasure to join you in celebrating the 3rd Culture and Development Roundtable. We have<br />
gathered here today for an in-depth discussion on the culture and development agenda with our<br />
distinguished participants: Professor David Throsby from the Department of Economics at Macquarie<br />
University; Lynne Patchett, Chief of Executive Office, UNESCO Culture Sector; Hendrik van der Pol,<br />
Director of UNESCO Institute for Statistics; our panel of experts from various fields who led the first<br />
and second roundtables; and the representatives of the Korean National Commission for UNESCO.<br />
In its Universal Declaration on Cultural Diversity (2001) and the Convention on the Protection and<br />
Promotion of the Diversity of Cultural Expressions (2005), UNESCO emphasized that "culture is a<br />
prerequisite for sustainable development." Furthermore, the “Culture and Development” agenda that<br />
was adopted as a resolution at the 66 th UN General Assembly in 2011 called for increased research,<br />
sharing of information, policy development, and cooperation at the national and regional levels to<br />
assess the impact of culture on sustainable development. Also, it proposed a UN Conference on<br />
Culture and Development to be held in the near future, around 2015.<br />
Accordingly, the Korean Ministry of Culture, Sports and Tourism and the Korean National<br />
Commission for UNESCO have come together to organize the "2012 Roundtable Series on Culture<br />
and Development." Thirty experts from related fields were brought together to elaborate a more<br />
specific agenda to link culture and sustainable development. Organizers hope for Korea to take the<br />
lead in establishing a new paradigm for social development; one that incorporates culture into the<br />
preexisting model centered on economic growth.<br />
I believe that today's roundtable on Strengthening the Role of Culture in the Post-MDGs<br />
Framework will provide a valuable forum for reviewing items discussed in past sessions. Moreover,<br />
the discussions among our distinguished guests, including Professor Throsby, who is internationally<br />
renowned for his research and publications on the economics of art and culture, and UNESCO’s panel<br />
of cultural experts will no doubt be a meaningful experience that will aid Korea in formulating<br />
strategies to lead the culture and development agenda in the international community.<br />
Korea has experienced a number of milestones. The "Miracle of Han River" marked the rapid<br />
transformation of Korea from a struggling, aid-receiving economy under Japanese colonial rule, to a<br />
donor of aid, the first of its kind in the world. Korea has come a long way since then and is now<br />
emerging as a cultural powerhouse. The unique and local traditional culture thrives alongside state-ofthe-art<br />
modern science and technology, making Korea a country abundant in cultural assets. Such a<br />
distinct characteristic will greatly help Korea in leading discussions on culture and development.<br />
I would like to thank Min Dong Seok, Secretary-General of the Korean National Commission for<br />
UNESCO, the cosponsor of this program, and other representatives responsible for organizing and<br />
preparing this event. The 3rd Culture and Development Roundtable will give us the strength and<br />
vision to design a new future and a new world. Last of all, I would like to express my gratitude to the<br />
thirty members of The Expert Panel, each representing various private, public and academic fields, for<br />
their continuous participation in the roundtable.<br />
Choi Kwang Shik,<br />
Minister of Culture, Sports and Tourism
2012 Culture and Development Roundtable at a Glance (Final Report)<br />
© 2012 Korean National Commission for UNESCO<br />
All rights Reserved.<br />
ISBN | 978-89-94307-36-7<br />
KNCU DocCode | CL/2012/RP
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