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

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meet the recently introduced regulations on state aid. This would represent a positive incentiveand bring much needed transparency in film industry financing. However, it was likely to provokenegative reactions from film directors and producers, because for many decades a direct statesubsidy was almost the only source of funding for feature films. This is a typical example ofindirect impact on cultural policy, in which the indirect influence of harmonization of laws insome other policy area – in this instance, state aid – has been changing the environment forcultural production.Status of the artist:free movement of people, social securityAn overview of existing literature as well as insights picked up from various conference reportsand the activities of networks and professional organizations has shown that the questions offree movement of people and social security regulations have been debated mostly in the contextof enhancing artists’ mobility in the cultural sector. Audéoud made a clear distinction betweenòbstacles’ and `hindrances’ to the mobility of artists (Audéoud 2002). According to the resultsof his study there are comparatively few rules and practices preventing cultural workers and theirproducts from moving around the Community area which can be said to constitute real obstaclesto the freedom of movement.More numerous, however, are the shortcomings or other constraints which hamper or are adisincentive to mobility, without actually constituting an obstacle (Audéoud ibid). Audéoud’sresearch showed that numerous obstacles existed already among òld’ member states, and that allkinds of artists and cultural workers from the new member states have had to deal with additionalrestrictions to opportunities for their nationals to obtain work in the EU.The questionnaire yielded a range of responses when it asked, `Can artists and cultural workersfrom your country freely obtain work in other EU countries without any restrictions?’.`The issue is complex. On one side artists and cultural workers through workgrants and scholarships, may work and study abroad. What’s more, there is apossibility, except getting money for journeys, to get a residency status.On the other side, some countries have restricted the possibility for Polishcitizens to obtain work in their country for the future few years (this appliesto all professions).’(Poland)54Part 2 The impact of EU enlargement: results of the survey of researchers and policy-makers
Generally, respondents believed that free employment in other EU countries was not specificallyconnected with the cultural sector.`Most of the EU countries do not yet want to open their labour market fully topeople from new EU member states. These issues do not seem to be particularlydiscussed in the cultural sector.’(Slovakia)Some noted that various support schemes, numerous travel grants and other forms of support formobility were made available, and this indirectly helped to `break down’ some barriers. Severalrespondents however emphasized that it was difficult to respond to this question, as they werenot aware of any reliable data.In 2001, the Council of the European Union adopted a resolution on exchange of informationand experience concerning conditions for professional artists in the context ofEU enlargement.81 Such resolutions are not legally binding and this one has not had muchrelevance outside of the cultural sector. Recommendations from this resolution were mostlyincorporated in the Union’s policies through funding programmes, Culture 2000 in particular.The questionnaire next asked whether there had been, àny recent changes in the socialsecurity regulations relating to artists?’. Again there was a range of responses with severalcomments about changes that have indeed occurred, but not necessarily as a consequence ofthe enlargement.`Because of the harmonization with the acquis communautaire, the rules limitingsocial security benefits for only Slovenian citizens (artists) have been abolished.All artists who are EU citizens are now entitled to receive the same benefits.’(Slovenia)`Since 2005 it is not any more obligatory for freelancers to pay the social securityand pension levy, of course with all the consequences. But not as a result fromaccession to the EU.’(Slovakia)À new law on creative workers (passed November, 2004) as a social securitymeasure, it provides support for creative work, which can be paid in an amountcorresponding to the minimum wage for a person who is member of one of thecreative artists’ unions and who has no other income. The support can be paidduring a period of six months and it can be renewed by the same person onlyafter two years have passed from the end of the previous support period. Thesupport will be administered through the unions and they receive for this purposea fixed sum, which is dependent on their number of members. The same law alsoStatus of the artist: free movement of people, social security55
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 44 and 45: Gradual development and introductio
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 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
Page 95 and 96: Laher L, (2001)Trapped in the notio
Page 97 and 98: Puchala D J, (1971)Òf blind men, e
Page 99 and 100: Weidenfeld W, Wessels W, (1997)Euro
Page 101 and 102: 2. In your opinion, have the cultur
Page 103 and 104:
13. Have there been any changes in
Page 105 and 106:
Annex 3List of CPRA jury membersMil
Page 107 and 108:
Political Economy Cultural Economic
Page 109 and 110:
Annex 4GlossaryAcquis communautaire
Page 111 and 112:
Cultural marketsA term used to desc
Page 113 and 114:
Third countriesEU documents sometim
Page 115:
Author: Nina ObuljenEditor: Janet H
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