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

14 When deciding on the methodology andscope of research, authors used methodologyfrom other public policies: that is, education,higher education, science and research andenvironment, developed in early 1980s withinthe Organization for Economic Cooperationand Development (OECD) (d’Angelo andVespérini 1999).15 The Council of Europe brief was forreviews of national cultural policy.16 Cooperation with the Council of Europeis explicitly mentioned in the paragraph 3of the Article 128 of the Maastricht Treatythat became Article 151 in the Treaty ofAmsterdam.17 The Treaty of Rome in which theEuropean Economic Community was set upand signed by six states: Belgium, France,Italy, Luxembourg, The Netherlands andThe Federal Republic of Germany[West Germany].18 In 1973 Denmark, Ireland and UK joined,followed by Greece in 1981, Spain andPortugal in 1986 and Austria, Finland andSweden in 1995. The biggest enlargementoccurred in 2004 with ten new membercountries joining: Cyprus [Greek part], CzechRepublic, Estonia, Hungary, Latvia, Lithuania,Malta, Poland, Slovakia and Slovenia.19 Methodology used for this type ofresearch includes, for example, cost-benefitanalysis, SWOT analysis, and others. Someof these methods could also be applied to theresearch of culture; cost-benefit analysis ofenlargement, for example, could be useful towork out what will happen with the openingof the cultural markets and their integrationinto a common market. It could show theweaknesses as well as the strengths and thecompetitive potential of domestic culturalindustries compared to European ones,and especially cultural goods and servicesdistributed by global cultural conglomerates.It is most probably still too early for thistype of research and it would also demandadequate cultural statistics and indicators thatare not available at the moment.20 Puchala likens analysts of Europeanintegration to a group of blind men who,while only touching the animal, are tryingto describe the elephant. As each of themcan touch only one part of the elephant, onewill describe the elephant as a tall animalbecause he touched the trunk, and the otherwill think that the elephant is in fact flatbecause he touched its ear. Even thoughtheir individual impressions are wrong, eachhas enough `evidence’ to discuss the realappearance of the elephant and is thereforesceptical about the facts presented by otherparticipants in the discussion (Puchala 1971).21 In the introduction to Cultural policyin Croatia: national report. published byStrasbourg: Council for CulturalCo-operation, Katunarić and Cvjetic˘ aninregretted that it was difficult to recognizetoday’s cultural sector as a descendant ofthe creative cultural environment of the ageof Romanticism: `Throughout 20th centurydevelopment important sections of cultureNotes79