Why we need European cultural policies: the impact of EU ...

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Gradual development and introduction of new measures of media policy were also partly inspiredby the jurisprudence and rulings of the European courts. Similarly, changes happening as aconsequence of enforcing regulations in other policy fields, such as for example competitionrules, are also evolving and it is only after enforcement and implementation of the acquiscommunautaire that it will be possible to monitor and assess properly the possible impact onculture and cultural policies.The questionnaire resultsThe first part of the questionnaire aimed to gather information about respondents’ overallassessment of the impact of the enlargement.The first question asked, `How do you assess the impact of the EU enlargement on culturalpolicies?’ (An accompanying letter explained the context of the questionnaire.)This required individual assessment, as it was clear that there was no data or surveys to informtheir responses. The responses were quite varied. Most of the respondents thought that theimpact of the EU enlargement on cultural policies was rather important; some believed that it wasvery important; two respondents believed that it was not important.This range of responses underlines the complexity of the state of European cultural policy,described in earlier chapters. Respondents’ views depended on whether they believe there wasa cultural component to the enlargement. It is evident that in the first period after the accession,changes in cultural policy were not so important, or at least were not yet visible.The second question asked respondents whether, `… the cultural policies of your country beenreformed as a consequence of the accession to the EU to a greater or lesser extent than otherpublic policies?’As anticipated, respondents said almost unanimously that cultural policies had been reformed toa lesser extent then other public policies. One respondent commented that the concept, òtherpublic policies’ was too broad and prevented them from answering.The next two questions asked if, `cultural workers and artists’ [in the respondent’s country hadbeen] `mostly in favour, indifferent to or against the accession?’; and whether there had, `beendebates and discussions among artists and cultural workers about the impact of the accessionon culture?’. If there had indeed been debates, the questionnaire asked, àround which topics didthey focus?’.The answers showed some interesting discrepancies. Most respondents thought that, in general,cultural workers and artists in their respective countries had been in favour of the accession. Atthe same time, most believed that cultural workers and artists had not been adequately informedabout the impact of the accession on cultural policies.46Part 2 The impact of EU enlargement: results of the survey of researchers and policy-makers
Ì don’t think that cultural workers and artists have been adequately informedabout the possible positive and negative impacts of accession on cultural policiesin my country. However some action was taken to inform and prepare culturalworkers for the new situation after accession...’(Poland)Ì believe that cultural operators have been informed by means of publications inall kinds of media, seminars, conferences and public discussions. However thisinformation is usually targeted at giving clear information about EU cultural policy,Latvia’s role, obligations and rights as EU member-state in EU cultural forum,development of Latvia’s and EU cultural policies. This information includes alsoaspects of accession impact. Specific information about positive and negativeimpacts of accession has been delivered at the time of accession and beforeaccession to EU.’(Latvia)`The cultural sector did not undergo any significant reform since 1989 and,therefore, it is hardly possible to talk about cultural policy here. Consequently, ourcultural workers and artists are almost completely occupied with the catastrophicnational situation and the necessity to survive, so the impact of EU accession onthe cultural policies was not an issue at all.’(Slovakia)Ì do not believe that anybody seriously analyzed all the impacts. The analyseshad been, according to my knowledge, concentrated on the legislative aspects ofthe accession/harmonization.’(Slovakia)`The impacts of the EU enlargement on national cultural policy are, I believe,mostly indirect and in the long run very important. However, the direct andimmediate consequences are very hard to grasp. The debate that there was onthe EU enlargement did not concern much with cultural policies and the closest itcame to that issue was when issues related to national identity were discussed.’(Estonia)Ìronically, yes. Since even senior administrators and experts have no consensualviews about the impacts of accession on cultural policies, various information theyprovided was adequate to their level of knowledge.’(Hungary)The overwhelming support by cultural workers and artists for the accession to the EU, eventhough they may not have been well-informed about what it might bring, has to be seen in the lightGeneral assessment47
Page 1 and 2: Why we need European cultural polic
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Page 6 and 7: Prologue When I decided to research
Page 8 and 9: If I had the opportunity of startin
Page 10 and 11: Measures directly referring to cult
Page 12 and 13: obstacles encountered during the pe
Page 14 and 15: Part 1Theconceptualframe ofthe stud
Page 16 and 17: argument referred to identifying ex
Page 18 and 19: Gray called for comparative researc
Page 20 and 21: The Council of Europe and comparati
Page 22 and 23: a broader understanding of culture,
Page 24 and 25: The first one is a `macro’ dimens
Page 26 and 27: Part 2European Union,culture andcul
Page 28 and 29: narrow sense - still remains exclud
Page 30 and 31: Niedobitek (see page 29) drew atten
Page 32 and 33: Even though the author thought that
Page 34 and 35: In spring 2005 two founding members
Page 36 and 37: I am focussing more on the technica
Page 38 and 39: while enlargement negotiations were
Page 40 and 41: ights.56 Since the mid-1990s, the E
Page 42 and 43: This included information about Cha
Page 46 and 47: of the background presented earlier
Page 48 and 49: Èventually, a solution was found,
Page 50 and 51: In regard to other taxes, opinions
Page 52 and 53: meet the recently introduced regula
Page 54 and 55: introduces the possibility of makin
Page 56 and 57: One of the recommendations in the F
Page 58 and 59: IPR legislation into line with Worl
Page 60 and 61: Preliminary assessmentof the impact
Page 62 and 63: Changes in taxation policies were n
Page 64 and 65: policy areas and the ensuing transf
Page 66 and 67: Part 3What willthe futurebring?68 P
Page 68 and 69: Manuel Barroso, President of the Eu
Page 70 and 71: has been embraced by the European m
Page 73 and 74: Instead of a conclusionThe aim of t
Page 75 and 76: 1 The French term acquis communauta
Page 77 and 78: 14 When deciding on the methodology
Page 79 and 80: 30 OJ C 336, 19/12/1992.31 1st Repo
Page 81 and 82: 45 After the signing and entry into
Page 83 and 84: 65 See Annex 1 for a copy of theque
Page 85 and 86: 81 32001G0731(01) Council Resolutio
Page 87 and 88: culture, which needs to be exempt f
Page 89 and 90: Aubry P, (2000)The `Television with
Page 91 and 92: Draus F, (2001)Èst-Ouest, le dit e
Page 93 and 94: Futo P, Cuculić J, et al (2002)Met
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Laher L, (2001)Trapped in the notio
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Puchala D J, (1971)Òf blind men, e
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Weidenfeld W, Wessels W, (1997)Euro
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2. In your opinion, have the cultur
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13. Have there been any changes in
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Annex 3List of CPRA jury membersMil
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Political Economy Cultural Economic
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Annex 4GlossaryAcquis communautaire
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Cultural marketsA term used to desc
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Third countriesEU documents sometim
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Author: Nina ObuljenEditor: Janet H
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