Appendix 6 - International Music Council

5. Governmental projects, civil organizations and international organizations must
finance the creation of compilations concerned with culture and diversity.
6. Regional music must be presented through the tourist spaces; it is, not just in festivals
and massive performances, but in hotels, restaurants and other similar spaces.
7. A plebiscite must be demanded by governments before they sign a Free Trade
Agreement. Concerning music, national music councils and international
organizations belonging to IMC/UNESCO would be interested in propagating the
information about its status to musical, artistic, and intellectual communities, and to
general public.
8. The International Music Council (IMC/UNESCO) might offer its best support to its
permanent programs like the Regional Radio Rostra (Arab, Asian, African, Caribbean
and Latin American ones), because they are effective forums about musical diversity
in the world.
9. To extract from or not include in Free Trade Agreements the clauses concerning
culture and copyright. The reason why they shouldn’t be included is because
“Culture” -as it is treated by markets and free trade agreements and when there is an
unequal development among member countries- becomes advantageous to the
interests of the rich parties, which impose their dominance. Therefore, the challenge
is to repair mistakes from the past and avoid its repetition.
CONCLUSION
The geographical environment and the diverse and slow becoming of history, together
with beliefs, costumes, moral wealth, way of living, tradition, religious practices and
artistic expression is what constitutes Culture, and as a result it produces the unequivocal
identity of each one of the countries that exist in our world. The time and processes taken
for every human community to be the dwelling of distinctive cultural expressions can be
counted in centuries and millennia.
A deficient educational level in scholar contents; the globally misunderstood concept of
culture, confused and mistakenly interpreted and mixed with what actually is
commercialized entertainment and show business (both supported in recent years by the
media industry), kills in the audience the effort of thinking and discriminating instead of
demanding what is important to real Culture, so they become conformist to a
standardization of values.
The so called “Cultural Industry” is an activity of great commercial interests and
relatively recent. Theodor Adorno and Max Horkeheimer were the first to use this
definition; the possible esthetic and artistic content of this concept is still under
discussion and argument. These philosophers talk about the media industry as definers of
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