investing in culture in the central asian republics -...
TRANSCRIPT
Investing in Culture
in the Central Asian Republics
International Conference:
Tashkent 8 - 12 September 1997
Studies and Reports of the Section of Cultural Research and Management - No 10 Etudes et rapports de la SBction de recherche culturelie et gestion - No 10
UNESCO, CLT/CPD/CRM, 1, rue Miollis, F-75352 Paris Cedex 15, Tel: +33 (0)I 45 68 43 31, Fax: +33 (0)l 45 68 55 91 E-mail: [email protected]
CLT/CPDICRM/99/004
Investing in Culture
in the Central Asian Republics
International Conference:
Tashkent 8 - 12 September 1997
CLT-99fWWO
INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
OPENING ADDRESS BY MR. FRANCIS J. CHILDE, CO-ORDMATOR UNESCO WORLD DECADE FOR CULTURAL DEVELOPMENT...... 11
KEYNOTE SPEECHES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
FINANCING HERITAGE M A DECENTRALIZED SETTING: THE DUTCH EXAMPLE BY MR. FRANS SHOUTEN, NATIONAL INSTITUTE FOR TOURISM STUDIES, THE NETHERLANDS . . . . . . . . . . . . . . . . . . . . . . . . . 19
MOBILIZING RESOURCES FOR CULTURE BY MR. MICHIHIRO WATANABE, SHOWA UNIVERSITY OF MUSIC, JAPAN ._....................................................... 29
CONTRIBUTIONS OF PARTICIPATING COUNTRIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
KAZAKHSTAN: INVESTWC R\I CULTURE BY MR. M.KH. BALTABAEV, NATIONAL SCIENTIFIC CENTRE FOR CULTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
KYRGYZ REPUBLIC: RESULTS OF THE NATIONAL CASE STUDY BY MR. ERMEK ABDUKARIMOV, MINISTRY FOR EDUCATION, SCIENCE AND CULTURE ._.................................. 53
TADJIKISTAN: INVESTING IN CULTURE BY Ms. GULJON MIRZAEVA AND Ms. BARNO KHASHIMOVA, MINISTRY OF CULTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
TURKMENISTAN: INVESTING R\I CULTURE BY Ms. ATAEVA O.M. AND Ms. ROJOKOVA T.N., MINISTRIES OF CULTURE AND ECONOMICS/FINANCE......... 70
UZBEKISTAN: INVESTING IN CULTURE BY MR. BAKHADIR ABDURAKHIMOV, MINISTRY OF CULTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
RECOMMENDATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
LIST OF PARTICIPANTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........ 91
Introduction
7
Investing in Culture in the Central Asian Republics International Conference, Tashkent 8 - 12 September 1997
The international conference entitled “Investing in Culture in the Central Asian
Republics” was held from 8 to 12 September 1997 in Tashkent. Organized by UNESCO in
co-operation with the Uzbekistan Ministry of Culture, the Uzbekistan National Commission
for UNESCO, the International Fund “Golden Heritage”, and the Academy of Arts of
Uzbekistan, the Conference was attended altogether by some 30 specialists: 8 participants
from Uzbekistan, Turkmenistan, Kyrgyzstan, and Tadjikistan; 3 experts from Western
Europe, Japan, and North America; representatives of UNESCO; and 13 representatives of
governmental and non-governmental organizations. The Conference was opened by addresses
from the Director of the International Fund Golden Heritage, Mr. Barry Lane and Mr. Francis
Childe of UNESCO, Mr. Alisher Ikramov of the Uzbekistan National Commission for
UNESCO, and Mr. Stuart Gibson, Technical Advisor to the Conference.
The Conference considered the issue of financing culture and cultural policy in Central
Asia and the needs of artists and cultural specialists in the region. The Conference’s primary
working format was round-table discussions, which followed presentations of Country Papers
by four of the five Central Asian Republics. The Country Papers drafted in advance of the
Conference detailed the current state of financing culture and the changes, which have
evolved over the past five years in the countries of the region. In addition, some of the country
papers also proposed recommendations for future joint activities for the countries in the
Region.
The intention of the Conference was to allow the countries in the region to gather and
share ideas on the Conference theme in open round-table discussions, and to identify areas for
possible future joint work; the latter to be concretized in the form of specific
recommendations. The Conference produced some 14 such recommendations.
From comments made by the participants at the close of the Conference and from
correspondence received by UNESCO after the Conference, it is clear that the participants
9
found the Conference a productive forum for exchanging ideas and formulating possible joint
future work. They also encouraged UNESCO and other organizations, to pro-actively pursue a
follow-up to the Conference.
As a follow-up to the Conference some of the recommendations will be expanded into
detailed projects (objectives, resources required, resources available, time frames, etc.).
Participating countries and other organizations will be invited to identify those projects in
which they wish to participate and the resources they can contribute to the projects. Efforts
will then be made to locate additional resources as required. The Uzbekistan National
Commission for UNESCO has indicated that it is seriously interested in at least one such
project.
Opening Address
By Mr. FRANCIS J. CHILDE, Co-ordinator World Decade for Cultural Development
Mr. Minister, Mr. Chairman of the UNESCO National Commission,
Excellencies, Honorable Delegates and Distinguished Guests, Ladies and Gentlemen:
Before beginning my remarks, I would like to thank our Host Government, and in
particular the Ministry of Culture and the Uzbekistan National Commission for UNESCO, for
organizing this international conference on so timely a subject as investing in culture in the
Central Asian Republics during the period of transition to a market economy.
UNESCO welcomes this initiative and, on behalf of the Director-General of
UNESCO, I would like to salute both the organizers and the participants from our host
country Uzbekistan, Kazakhstan, Kirghisistan, Tadjikistan, and Turkmenistan, as well as the
guest experts from Europe and Japan, for their commitment in facing this important challenge.
The role of culture in development
Throughout today’s world, as economic development gathers momentum everywhere,
traditional cultures and their associated values risk being overwhelmed in the scramble for
short-term monetary gain. In this rush, perhaps we need to pause to remind ourselves that by
“culture” we mean the accumulated long-term social wealth and wisdom of a society. While
enriching ourselves financially, we must beware not to impoverish ourselves spiritually,
socially, or culturally.
It is important, then, not to lose sight of the fact that cultural factors are an integral part
of balanced and sustainable development. Without due regard to the historical, cultural and
social context of a community neither social nor economic development strategies are
sustainable. The very fact that we are meeting together here in this room today testifies to this
11
reality. The past decade has borne historical witness to the poverty and short life-span of
economic and political ideologies which turn their back on their own societies’ cultural roots.
The central role of culture is universally acknowledged in the very definition of
civilization. In fact, history is full of examples of the collapse of financially rich, but
culturally bankrupt societies. Therefore, whatever the difficulties of our present economic
circumstances, we cannot, indeed must not, accept that the quality or integrity of our cultures
be diminished.
Safeguarding the cultural heritage and with it the indigenous knowledge of traditional
cultures is a priority in UNESCO’s vision of social development.
But how are we to accomplish this in a world where there is a dramatic decrease in the
capital for investment in culture; a world in which central governments - be they socialist or
free market oriented - simply do not have at their disposal the same resources as even ten
years ago?
The new socio-economic order
Let us come now to the situation at hand. In most of the former socialist countries,
cultural policies and the mechanisms for investing in culture are being re-defined. Under the
former socialist model, the state defined cultural policy and used this policy to promote the
state’s political and social ideology. Financing of culture was centralized, and artistic and
cultural activity was viewed as a professional activity at the service of the state and society,
and was elevated to a special social and financial position. Indeed, under the former
communist regimes, while freedom of expression was extremely limited, nearly all cultural
activities were entirely sponsored by the state, and government investment in the culture
sector was both generous and assured. Now, however, public sector investment in culture has
been drastically slashed, while new approaches to investing in culture, and sources of revenue,
have not yet evolved.
Having been the recipient of the government’s financial largesse in the past, the culture
sector now finds itself financially distressed. In many of the former socialist countries, the
12
legal and fiscal structures necessary for the culture sector to operate effectively in a market-
oriented economy are inadequate or non-existent. The situation is exacerbated by many
governments’ preoccupation with infrastructure problems, the decline in discretionary income
upon which the sector must now increasingly depend, and the culture sector’s inexperience in
promoting its interests to government, the private sector, and the population at large.
The private commercial sector could be a possible alternate source of financial support
today, however in most former socialist Republics it is not yet strong enough to offer it. And
where the commercial sector could support culture, there are few, if any, fiscal incentives,
such as tax exemptions, to encourage it to do so, none or very little experience in assessing
requests from cultural organizations, and no tradition for such support.
The same can be said for private, not-for-profit organizations for culture and the arts
(NGO’s - Non Governmental Organizations), which are largely as yet non-existent or only in
their infancy in most of Central Asia.
For better or for worse, culture finds itself subject to the same market forces as other
sectors of social and economic life: supply is regulated by demand, while competition
enforces the law of “survival of the fittest”. The problem is that market forces favour short-
term gains, while investment in culture, is, by its very nature, a slow-maturing investment
with long-term yields.
Clearly, in Central Asia as throughout the former Communist block, we are in need of
new sources and new strategies for financing culture. But ideas are nothing without the skills
to make use of them. Together with new sources and new strategies, artists and the directors
of cultural institutions will need new management and entrepreneurial skills that will enable
them to promote their institutions and keep them financially sound. This, along with new
approaches to cultural policy, is crucial to making a new approach to investing in culture.
In many other regions of the world, a portion of the culture sector’s financing comes
from sources other than direct contributions from government budgets (Ministry of Culture,
provincial authorities, and local governments). In these cases, supplemental financing often
comes from the private sector. For example, in the United States, and to a lesser extent in
13
Japan and Great Britain, a substantial amount of financing of culture comes from the private
sector (individuals, business, and foundations) and from profit-making commercial cultural
activities such as museum gift shops, restaurants, and art publications. This is often
accomplished through fundraising and tax incentives. In fact, many European countries,
where there is a strong tradition of public support for culture both on the national and regional
level, are also re-evaluating their approaches to the funding of culture. They have begun to
encourage more participation from the private sector. Most of the approaches to private sector
financing of culture are at present unknown in the Central Asian Republics.
Moreover, the legislative basis on which these types of activities depend, so well
known in Europe and North America, has yet to be adopted here in the region.
During the debates of UNESCO’s twenty-eighth General Conference, in October of
1996, representatives of a number of Member States of the former socialist countries,
including those from the Central Asian Republics, spoke of the urgent need for help in
defining new approaches to financing the culture sector in the countries in transition to a
market economy. This was reinforced by the General Conference’s adoption of Resolution
3.1, which called on the Director-General to initiate a selected number of new projects, inter
alia, on the theme of “Investing in Culture”. UNESCO is in a unique position to have a
substantive positive impact, through the mobilization of relatively modest means, in a kind of
transfer and adaptation of know-how in financing culture in a free market economy.
In this context, and within the framework of the World Decade for Cultural
Development, a first expert meeting was convened here in Tashkent one year ago. In addition
to reviewing existing cultural policies and programmes, that first expert meeting sought to
better understand the socio-cultural milieu in which the economies of the Central Asian
Republics function, and the implications this has on formulating cultural funding policies and
programs. Also during that expert meeting, the methodological framework for undertaking a
series of national case studies was defined. These detailed case studies, undertaken over the
past year in each of the five Central Asian Republics, assess the current and evolving situation
relating to the funding of culture and the development and deployment of cultural policy in
each of the Central Asian Republics.
14
The results of the case studies will be examined during our International Conference
over the next few days. We hope to be able to draw on the findings of the case studies, as well
as your own intimate knowledge of the culture sector and cultural policy, to draw parallels
and define differences between the five Central Asian Republics, parallels and differences
between models for financing culture in the Central Asian Republics and the culture sectors of
Europe, Asia, and North America, and define possible follow-up activities and mechanisms
for on-going cooperation. In addition to the five Central Asian Republics, this International
Conference has in attendance world-renowned international experts and representatives of
other countries, engaged in the financing of culture. In this context, this Conference could be
valuable for not only identifying new approaches to funding culture, but methods for
assessing different cultural approaches and integrating them into effective and novel policies
destined specifically for the Central Asian Republics.
My colleague, Mr. Stuart Gibson, has worked with the Member States who are
participating in this conference as well as with others, which are in similar circumstances. He
has developed several models for financing, which he will be presenting to this conference
and which I am sure we will find useful as a base from which to begin our discussions. We
will also examine in depth the research, which you have undertaken in the framework of your
national case studies over the last year or so, as well as to hear presentations from our guest
experts from other parts of the globe.
Mr. Minister, Mr. Chairman, Distinguished Delegates and Guests,
I would now like to conclude my remarks by once again thanking you all for coming,
and by paying tribute to the Uzbekistan National Commission for UNESCO, and especially to
the Secretary-General Mr. Alisher lkramov, for all the effort he and his very competent staff
have put into this project over the past year, and into organizing this Conference which we are
inaugurating today. To all of you, who have made our coming together here possible, on
behalf of UNESCO, I say ‘Thank you’.
15
Keynote Speeches
17
Financing heritage in a decentralized setting: the Dutch example
By Mr. FRANS SCHOUTEN, National Institute for Tourism Studies, The Netherlands
The role of the central government in The Netherlands is less centralized as in other
European countries, and more as a facilitator of private initiatives of the citizens. Private
initiative and the role of Associations and Foundations are very characteristic of almost any
activity carried out in the Dutch society, There is a strong feeling that private foundations
supported by government are a better vehicle for activities than direct steering from a central
level. So the field of heritage institutions in general is scattered with a myriad of organizations
on local, regional, provincial, and national level. The advantage is a strong personal
involvement of those active in these foundations and associations. The obvious disadvantage
is a fragmentation of the field and a general lack of co-ordination. This problem is often dealt
with by national organizations working with the common interest of a certain group of
institutions, e.g. the national and provincial Associations of Museums, the -Association for
Organizations of Monument Care, etc.
This emphasis on the private sector is the prevailing trend in The Netherlands, and is
reflected in the preference for foundations. The national and regional authorities are
withdrawing from direct influence at the public domain. Everywhere we can see the tendency
at government level to give more space for private initiative and less interference from policy
makers on the national and local level. Deregulation, decentralization and privatization are the
key words in the public sector. Also in the field of culture - including heritage and museums -
this tendency is becoming even more obvious. This development meets with a much older
principle of cultural policy that is of government detachment. This has been implemented in
various ways since Thorbecke, an influential nineteenth century Dutch liberal statesman. The
present interpretation of his principles is that the central government draws the outlines for the
policy, after due consideration of what these outlines must contain.
19
It is not so much that authorities are withdrawing altogether from this sector, because
there will always be some kind of link to government policy also because of subsidies, but the
emphasis is shifting. Implementation is left to the institutions, which are, in the principle,
independent foundations.
The National Museums are in this respect a perfect case study. Though officially they
belong to the -central government, their raison d’etre lies in society. Consequently they are
faced with a dual allegiance, and their problem is that in many cases the interests of the
museum profession and the central government do not coincide, which can cause strenuous
situations.
Another result of National Museums being part of central government is that the
Minister can be held politically responsible for any incident occurring in any National
Museum, which is fundamentally wrong. It has also been observed that central government
house-rules make quick, decisive action of National Museums on the cultural market
extremely difficult. As a result of these considerations the state owned heritage sites and
museums are being privatized in their operations. The collections and the sites and
monuments themselves are still owned by the central government, but the management is
much more free to operate in its own way in the form of a private foundation, making their
own priorities and setting their own scheme for improving their product.
The old situation with the national museums in The Netherlands was like in the
scheme below:
Ministry of Interior
Collections budgeting
General policy of National museums
b The Museum
20
The museums had to deal with three ministries for different aspects of their
functioning. In the end of the process all the earned income of tickets, cards and catalogues
went straight into the cash operations of the ministry of finance. In that system it does not
matter to a museum director whether he/she had 1000 or 100.000 visitors a year, no extra
budget was generated. So a real incentive to improve the performance of the museum was not
available.
After the privatization the situation is dramatically different, although the collections
are still owned by the state. The museums apart from general museum policies to be expressed
by the ministry of culture are fully independent in its operation and its own money earning
activities. In these circumstances it is of vital importance for any museum or heritage
attraction to raise the level of its income. The successful operation of all its functions depends
much more on the ability to raise funds and to find alternative sources of income. Of course
subsidies by government agencies in the exploitation of the museum are still a very important
part of the budget, in particular with regard to the (state or community owned) care of the
collections. But other ways of financing are becoming increasingly more important.
The situation in the United Kingdom is very much alike, and is shown in the following
scheme:
Foundation & museumbord
The Museum: staff, building, budget, marketing, priorities & investment
4
21
This tendency is also apparent in other museums. A recent survey of the Provincial
museums shows that though the volume of grants from local authorities has hardly changed
over the last years, the actual budget of the museums shows an increase due to a greater effort
to gain money through fund raising, sales, extension of services, and the renting out of space
in the museum for receptions, dinners and even weddings.
Alongside the ongoing deregulation of heritage policy and the increasing importance
of foundations that comes with it, there is another shift of emphasis apparent in The
Netherlands. Currently the attention is focusing more on the care of collections, due to a
report from the Netherlands Court of Audit in 1988 in which a great neglect of museum
collections was mentioned. In 1990 the government decided to implement a “Delta-plan” to
deal with overdue maintenance in the collections and museum buildings within a short period
of time.
Part of this operation was the assessment of the museum collections in terms of the
value of the stored objects related to the theme and tasks of the specific museum. The
collections were rated A (of prime interest), B (of secondary interest, but worthwhile
keeping), and C (to be disposed). Of the latter category dispossession not necessarily would
mean to get rid of them, but trying to find out what kind of other, specialized of local
collection would be interested to obtain the object. In the policy document on the accessibility
and conservation of museum heritage, ‘Opting for Quality’ presented in the Lower House on
2 1 December 1990, the minister set the conditions thus:
The disposal of museum objects may only occur once it has been established further to
cataloguing and selection that these objects are of less importance in relation to the museum’s
goals. Disposal should be appropriate to the collection policy of the museum, which should be
co-ordinated with that of other museums to prevent either overlaps or lacunae becoming
prevalent. Disposal shall only be permitted once it has been clearly established that neither an
exchange nor a permanent loan is possible. Any revenues from sales should always be used
for the purpose of acquisition, i.e. to improve the quality of the collection.
22
Another trend in the heritage field becomes apparent, closely linked with the process
of deregulation. Institutions are more and more focusing on their core functions and try to
reduce their fixed financial commitments as much as possible. Every aspect of the museum
profession is increasingly carried out as a form of subcontracted labour. We encounter guest-
curators employed on a fixed term contract to work on a specific part of a collection, or
preparing an exhibition, for which the museum does not want or can employ a regular curator.
In some museums there are volunteer curators, young graduates who try to get some
experience this way and build on their CV. Indoor exhibition designers or -constructors are
rare nowadays, specialized firms are contracted to do the job. Even functions that until
recently were considered to be part of the core function of the museum, like education
departments are in some cases put aside in subcontracted activities. This tendency is highly
influenced by the insecurity of the new financing policies, which make it more difficult to
take grants forever for granted, and the uncertainty of depending partly on the generation of
other sources of income.
The difference between public interest and operating in a market-orientated policy is
illustrated by an interesting change in the policies of both national and local authorities in
recent years. There has been a shift from culture, specifically museums and heritage, as a
merit good to a commodity in economic development. Traditionally public expenditure on
culture was defended with the assumption of the Enlightenment: as being good for the
education and well being of the population. Financial resources were made available to ensure
that everyone has an equal opportunity to have access to these cultural resources, and the
emphasis was strongly upon a policy of dissemination of this merit good to obtain an optimal
participation. The key word today is no longer “participation” but “marketing”. Cultural
activities and resources like museums and monuments are now seen as key elements in the
promotion of cities, the image building of an area, as promotional assets in the competition
among local authorities to attract enterprises, new inhabitants and tourists as sources of
income.
Museums as seen from the side of cultural tourism
Culture always played an important role in tourism; the Grand Tour is the obvious
example. But also on a less impressive scale culture has been one of the determining factors in
23
the choice of travel destinations. With the increase of mass tourism it looked as if this
dominant role of culture was outmaneuvered. Nevertheless was the consumption of cultural
aspects one of the elements of tourist behaviour, although it does no longer act as a trendsetter
does. The developments in recent years however show an increase in the interest for culture
and cultures as an element in the decision making process for destinations, as well for long as
for short holidays and recreational day-trips. In international tourism, it is precisely cultural
variety and a rich heritage, in which one destination can be distinctive from other destinations.
The tourist and leisure market is still unfolding towards its full potential. The consumer is
increasingly looking for activities and products that provide the opportunity to do different
things than other people do. There is a growing interest in what is generally referred to as
“heritage tourism” or “cultural tourism”. It is a segment in the market with an enormous
potential. In the Netherlands it is estimated by Coopers & Lybrandt that some 50 percent of all
tourism could be categorized as driven by the wish to encounter heritage and culture. Heritage
is drawing great numbers of visitors and is developing as one of the pillars of the tourism
industry and an economic factor of importance in a country or a region.
There have been recently quite a few publications on the growing demand for heritage
attractions (Martin & Mason, 1995). The increase of leisure time of elderly people, a general
higher level of education which generates more demand for cultural attractions, the growing
market for more frequent short holidays and the ever increasing mobility are aspects of the
demand side. The emphasis in these publications is mostly on the demand and to a lesser
extent on the supply-side.
If the publications look into the supply-side, their emphasis is on the ever-increasing
number of visitors puts some pressure on the resources. On some places, the National Trust
has adopted a policy of even discouraging visitors to come to certain sites in order to
safeguard the resources. The trust has to protect its properties as well as to provide access to
visitors. These dual objectives can be rather conflicting. In some famous places like Venice
(Norwich, 1991) and Oxford (Glasson, 1994) tourism and day-trippers have become such an
annoyance that local people are deserting their own town, leaving it to the invaders. In other
cases attractions had to be closed because of over-using the resources, like the tomb of
Tutanchamon which cannot cope with the 25 litres of perspiration per day. Or take the
Acropolis, worn out by hundreds of thousands of visitors per year.
24
Apart from the threats - which only apply for a limited number of famous museums
and sites - it looks like if there is the idea that the supply-side is sufficiently developed and
that there is no need for improvement. The majority of cultural and historic attractions are
however rather under-utilized than over-utilized. There is an enormous amount of interesting
historic towns, museums, monuments, castles, fortifications, cultural event, churches and
temples, etc. that hardly realizes their touristic potential. History does not pop up
spontaneously from the historical reminders of the past. It has to be recreated. Most museums
and heritage sites are characterized by a cognitive, cerebral and chronological approach
instead of a narrative, emotional and thematic approach, which also takes into account the
frame of reference of the visitor. The most important blockages for participation are a lack of
sense of place and sense of time and the unavailability of the stories behind the physical
remains of the past. In the development of visitor attractions a good concept is of prime
importance. Canadian Heritage starts any development on a site with the question “What is
the spirit of this place?’ and secondly “How can we get this across to our visitors?” It may
sound rather vague, but it is nevertheless the prime task of an attraction to communicate these
questions.
In the world of museums leisure and tourism are still a rather suspect issues. Most
professionals in this field prefer to ignore the impact of the increasing demand on leisure time.
They prefer to see their customers as lovers and connoisseurs of art and history and treat them
accordingly. Recently two publications in the United Kingdom from the Museums & Galleries
Commission focussed on this issue: ‘Quality of Service in Museums and Galleries, Customer
Care in Museum, Guidelines on Implementation’ and -jointly with the English Tourist Board
- ‘Museums and Tourism, Mutual Benefit’. Heritage is increasingly becoming big business.
Those who make the profit in this business are generally not the heritage professionals, but
rather the tour operators using the enormous amount of heritage attractions all over the world
almost for free. They take tourists from one place to another, often without much
understanding or explanation of the physical remains of the past they are looking at.
In the last decades there has been an enormous increase in the attendance figures of
museums, so there does not seem to be a problem. But a closer looks at the statistics shows us
that the amount of visits has been growing, not so much the amount of visitors (De Haan,
25
1997). In other words: the frequent users use more frequently, but new audiences are hardly
reached. For large groups museums are still regarded as “not for our kind of people”. There
are many reasons for this misconception among the public. For one thing they have to learn
that learning is done by people who are curious, who wonder about the world around them,
and not by people who might be intimidated by our so-called education displays.
A lot of the communication in interpretation centres and museums is not inviting but
just pedantic. Gradually this attitude is changing. But there is still a gap between the way most
of the heritage professionals see their core-product and their visitors and the way their
customers evaluate the services provided. In terms of quality management: the critical quality
features of the visitors do not match with the actual product delivered. In most cases the
assessment of the heritage attraction is not based upon the scientific correctness of the core
product, but on how effective the site or the exhibition is in raising curiosity, appealing to
fantasy, and in providing a challenge. Besides from items as: how clean are the toilets, how
easy to park the car, the choice of items in the shop, and the quality of the catering. If the visit
is not providing such a kind of experience we will be faced much longer with a very common
phenomenon in museums: museum fatigue. One of the first research projects on museums was
Melton’s 1933 investigation in which he discovered - or rather first described - this well
known feeling. This sensation, that you have a cotton-wool head, leaden legs and painful feet,
is an experience with which we are all familiar. Museum fatigue leads to a specific behaviour
amongst museum visitors: the longer they stay in a museum, the faster they move towards the
exit; and the greater the length of time visitors spend in the galleries, the less attention they
pay to the displays. In most cases the world represented by museums is not the world as
perceived by the general public. It is a world structured by scientific laws, by taxonomy, and
by a division in periods which is not at all common ground for the lay person. Museum
professionals tend to forget that what is obvious for them is not clear to anyone else. Curators - who spend their lifetimes reading books - consider words and letters the only medium to
transfer an idea. But the age of television has brought into being a generation for whom
reading is a secondary means of collecting information. Their learning is primarily focused on
visual impact and they are used to receiving very well staged images. For those used to
looking at large amounts of TV and films, the staging in museums is not only poor, but often
absolutely incomprehensible (Schouten, 1993). The communication in museums is rather
conventional: everyone is presumed to start from the same point and to undergo the same
26
knowledge enhancing experience at the same pace. Thus the visitor plays the passive role and
the museum the active role. Access to museums is highly structured, predetermined and
controlled by the staff so as to be “correct”, “understandable”, and “educational” (Ames,
1985). It is common in museums and heritage sites to presume that the visitors come to learn
something in. However this is not their prime concern, although they still insist on saying so
in all the visitor surveys. However, a number of recent studies about the public demonstrate
that they do not learn a great deal (Miles, 1986). They come to entertain themselves with a
little seasoning of education.
Another neglected fact is that one of the most important reasons to visit museums is
the opportunity for social interaction. Research done by Paulette McManus (1987) in the
Natural History Museum and the Science Museum in London shows very clearly that a visit to
an exhibition is a social occasion. Visitors hardly ever come alone, they present themselves in
small groups as a family, a group of friends, etc. Visiting the displays is a mean to interact
with each other.
The cornerstone of any policy on visitor care in museum - and heritage management is
first of all pleasure, it contains what I would like to call the UIVIOUE-experience, which
stands for (Schouten, 1995): Uncommon, it should be out of the ordinary; Novelty, it should
to be a new experience; Inspirational, it should stimulate and be provocative; Quality, it
should be customer orientated; Understanding, it should lead to refining of cognition;
Emotions, it should lead to involvement.
The visitor must be challenged by our communication, his or her fantasy must be
activated, and there must be a sense of discovery around the place, which actuates the
willingness to undergo new experiences and information. A massive series of modern aids and
techniques are available for the heritage professional to lift his or her place out of the ordinary
and into the attention of the modern leisure seeker. But even more important than the
technology is the approach of the presented theme and items from the perspective of the lay
person instead of the professional colleges. Such an attitude may help to make museums and
heritage sites a better place to stay for the enjoyment of the visitors, and to give museums the
place in the leisure industry they deserve based on their rich resources.
27
In his article “Story technology” Bob Rogers (1996) indicates that the experience of a
“story” is the central element for the development of attractions and the guideline for concept
development. Too often the “message” is placed on the foreground of the communication. He
quotes an old saying among authors of film-scripts that states: “If you want to send a message,
call the telegraph company”. Rogers points out that attractions have to be based on the wish to
realize a “Change of Hearts” with the visitor. The “story” is more than making information
available, it is about the possibility that Milton Freeman stated back in the fifties already that
interpretation is not the same as the provision of information, but a revelation based on
information. The facts are a mean to an end, not an end in themselves.
Literature:
Ames Michael (1985), “De-schooling the Museum: a Proposal to Increase Public Access to the Museum and Their Resources”, Museum 145: 25-3 1.
De Haan, Jos (1996, Het gedeelde erfgoed, SCP, Rijsijk.
Glasson, John (1994): Oxford: a Heritage City Under Pressure, in: Tourism Management, vol. 15, no. 2.
McManus, Paulette (1987), Communication With and Between Visitors to a Science Museum. Ph.D. dissertation, Univ. of London.
Miles, Roger (1986), “Museum Audiences”, Museum Management and Curatorship, 5 No. 1: 73-80.
Museums & Galleries Commission (1994), Quality of Service in Museums and Galleries, Customer Care in Museums Guidelines on Implementation, London.
Norwich, John (1991): Tourist Pollution, the Future’s Most Pervasive Problem, in: Museum Management and Curatorship, vol. 10,45-52.
Rogers, Bob (1996): Story Technology, in: TILE’96 Conference Proceedings, Maastricht.
Runyard, S. (1993), Museums and Tourism Mutual Benefit, Museums & Galleries Commission with Co- operation of the English Tourist Board, London.
Schouten, Frans (1993), “The Future of Museums”, Museum Management and Curatorship, 12: 381-386.
Schouten, Frans (1995), “Improving Visitor Care in Heritage Attractions”. Tourism Management, 16, NO. 4: 25926 1.
28
Mobilizing Resources for Culture
By Mr. MICHIHIRO WATANABE, Dean of Department of Music and Arts Administration, Showa University of Music in Atsugi, Japan
It is a great honor and privilege for me to speak at this gathering of people who are
playing a vital role in enhancing cultural activities in Central Asia.
Cultural expansion in Asia
I believe that the initiative has come at the right moment and at the right place.
The timing is right because the arts and culture in Asia are entering an era of renewal and
development. Today, many of us in this region share the feeling that we stand at the dawn of a
new era, and that the most exciting breakthrough will occur not in the area of economy but in
culture, rather an expanding concept of what it means to be human in full. You cannot travel
about this part of the world today without finding that in many cities and villages, there are
plans afoot to do something new with their cultural life; to build a cultural centre, create a
theatrical group, revive traditional dance and music, introduce new TV-channels, or just to
enjoy fruits of creative works. In addition, the emergence of newly independent Central Asian
republics, with their eminent cultural achievements and new regional consciousness, will help
people in Asia to work even closer in developing regional identity on the basis of diversity.
The place is right because it is held in Central Asian Republics, which is seeking a
new cultural awareness and identity as Asian nations. People in Asia struggled for a long time
to free themselves from the complexes - feelings of a paralyzing degree of inferiority
complex in arts and culture that were forced upon us by European powers. Now, we have
regained confidence in our creative abilities and are ready to show the world how much we
can contribute to the world in creating what is fresh and original, towards the new paths to
happiness and new ways for salvation. The initiatives taken by the Republic of Uzbekistan
and UNESCO in organizing this gathering, is an example that encourages and inspires all of
us in Asia who have been aspiring for the establishment of a more creative society.
29
Limited public resources
Today, I should like to discuss with you ways to secure resources for creative
activities. It goes without saying that infusion of sufficient funds is indispensable in order for
creative pursuits to keep up with the growing demands among people for more culture. Until
recently, contribution by the government was the major, if not, only, source of financing
artistic and cultural programs in many countries. General prosperity in many parts of the
world allowed increased public spending for culture in many of the high-income countries in
1970’s and 80’s. Today, however, most governments including those of the richest nations, are
facing severe budgetary constriction. The spreading idea of a “little government” which
emphasizes the shifting of decision making powers and resources from central governments to
local authorities and to the private sector has made it even more difficult for governments to
increase their cultural budgeting. Except for a few countries like Canada and Japan, which
continue to increase their cultural budgeting, most countries are now experiencing stagnation
or even a decrease in their cultural budget, which has to compete with other economic and
social sectors. Under the circumstances, it is unrealistic to expect a substantial increase in the
government spending for culture in the years to come. We must therefore seek alternative
resources to launch new programs.
The situation is far more serious in such countries like the former socialist countries,
where cultural infrastructure, regulatory frameworks and funding mechanisms have collapsed.
In poorer countries in Asia and Africa, gross under-funding of the cultural sector remains
chronic, as we all know.
As a result, there seems to be a prevailing feeling of pessimism among cultural policy
planners and practitioners about the possibility of finding resources to promote creative
activities in a pace that keeps up with the growing demands of people everywhere for more
culture. However, I remain fairly optimistic. In a discussion paper entitled “Mobilizing
Resources for Creative Activities” which I am preparing for UNESCO on the occasion of the
International Conference on Cultural Development to be held at Stockholm in April next year,
I insist that arts and culture have a fair chance of finding a larger resource. I will now explain
the reasons for my optimism.
30
Mixing of government funds
In the face of the diminishing governments’ funds, many national or central
governments are attempting to shift the larger share of cultural spending to regional and
municipal governments. For example, in Japan, the cultural budget of the Agency for Cultural
Affairs, the cultural arm of the Government of Japan has only doubled in the last ten years
whereas that of the prefectural and municipal governments have nearly tripled in the same
period. As a result, local governments now spend about twelve times more money on culture
than the National Government.
Such localization of funding must, in my view, be further encouraged because, aside
from utilizing untapped resources, it brings about the shifting of more responsibility and
decision making powers to lower levels of government which is better equipped to use the
fund in a manner as close to the people’s needs as possible. It also encourages local diversity
in cultural development. This shifting of financial responsibility, however, cannot be the
panacea because most of the lower levels of government are also facing similar financial
difficulties that confront central governments.
Raising private funds
Since it is becoming apparent that combined efforts by different levels of government
are not sufficient to meet the growing demand for money in the cultural sector, there is a
widespread tendency to look for additional sources of funding in the private sector. In order to
encourage private giving, many countries follow the example of the United States where
special tax deductible status is accorded to non-profit Organizations to encourage private
giving. As the result, cultural support by corporations, foundations and individuals have been
increasing everywhere.
Although private contribution is proving to be the most promising new source for
cultural funding, private giving has given rise to false hopes in some cases. In the United
Kingdom and the United States, the increase in private funding actually led to marked
reduction in state spending. One way of avoiding this trade-off is the introduction of a
matching fund system whereby private donations are matched by public funds. But again,
31
private giving may increase total funds available for culture only if the public sector is also
willing to maintain its level of cultural financing.
Actually, governments attempting to shift larger shares of spending to the private
sector discovered that the private donors are not willing to make up for reduced public sector
spending. Apparently, neither businesses nor individuals will make a voluntary contribution in
sufficient amounts so long as their role is limited to supplementary support of government
programs that continue to be controlled by a cultural bureaucracy. The full privatization of
cultural activities including facilities and institutions, and entrusting of their management to
the private sector, seems to be the only way to attract private money in a sufficient amount.
The governments that have traditionally made major financial contributions for artists
and arts organizations often oppose such shifting of public responsibility to the private sector.
They remain skeptical of privatization, in particular, its danger of encouraging art that is less
demanding, less risky and driven by commercial impulse while discouraging less popular and
less commercially viable projects. It is true that the usual economic forces drive for the
highest financial returns and quantitative outputs. It is also true that new or difficult works do
not immediately set off a public response and attract an audience too small to be financially
self-reliant. This shows that, as is the case of some education and social projects, not all
cultural programmes are suited for private sponsorship or can be expected to survive in a
market economy. Apparently, government funding is likely needed at least for certain cultural
programmes for many years to come in most countries.
But this does not preclude the possibility of introducing private management in some
aspects of cultural endeavours. Private management usually does better than public .
management in running cultural programmes in the fields where there already are enough
demands, for examples, spectacular arts events and festivals that have emerged in many
countries in recent years, and more popular forms of creative activity. Actually, privatization
means the acceptance of conscious or unconscious opposition to the state-endorsed,
subsidized main stream arts and socially accepted life-style. In a democratic system, it is the
responsibility of the government not to favour particular forms of expression but respond, at
least as far as it does not endanger their cultural integrity, to the full range of cultural activities
32
in their society. Privatization, from this viewpoint, is actually one of the surest indicators of
democratization in cultural policy.
Alternative resources
This general stagnation in the funding levels by the governments, and limited success
in raising private funds, led many to look for supplementary means of financing cultural
programs.
The simplest way to stretch available funds is to increase entrance fees of cultural
institutions and facilities. Although there are signs that the public is willing to pay more for
cultural products, increases in admission prices in theatres and concerts alone can hardly cope
with rising costs unless the price is set at an astronomical amount, which would make many of
the performing arts inaccessible to the majority of people. One way of avoiding this is the
introduction of a system of widening the gap between lower and higher admission prices as
shown by the example of some museums where the visitors are asked to pay an admission but
its amount is let to his/her own discretion, resulting in payment equitable to one’s own
economic status.
Another alternative resource is the various forms of levies. In some countries like
France and Italy, filmmakers get the funds from additional levies on cinema tickets. In other
countries like Australia and Switzerland, newly introduced Pay-TV has to give a part of its
profit for the production of feature films, special television and radio programs, music
production, etc. Norway induced in 1948 a law whereby 3 percent of every sale of works of
arts is collected into a fund for Norwegian artists. Levies on construction costs like the ‘Arts
for Public Places’ scheme adopted by many countries or the ‘Federal Art Project’ (FAP) of the
United States, connect the construction of public building with the commissioning or
purchasing of works of arts.
These levies have an advantage of exploiting untapped resources and their possible
introduction should be explored by all means. Nevertheless, the idea of earrnarked revenue -
as represented by these special levies - goes contrary to the general practice of contemporary
taxation prevailing in many countries in which the raising of tax and the spending of it are
33
kept separate. Actually, it will be diffkult to obtain a sufficient support of parliamentary
members and financial officers to make cultural budgets beyond the reach of the annual
scrutiny by parliament and of the government’s fiscal policy. It seems that the special levies
are applicable only in special circumstances, i. e., where the revenue is used to remedy the
damage caused by a certain activity on which the levy is charged.
Revenues from lotteries and gambling can also be used to support creative
programmes as is being done in many countries. Aside from the dubiousness of associating
arts and culture with gambling, such money brings about sensitive and very basic political
questions. In most cases, it is largely the low-income population that buys lotteries and does
gambling, whereas many of those who appreciate creative works come from a more affluent
stratum of society. Thus, there is a real danger of using poor man’s money to support the
pleasure of the rich unless these sources are used primarily to support cultural activities of
people at large, rather than that of a privileged majority.
One of the possible levies is more or less directly connected with copyright legislation.
According to the normal procedures of copyright distribution, the copyright revenue is
distributed to the individual authors who created the works. However, there has been a
growing tendency in recent years to put copyright incomes to special funds for social benefits.
One example is the compensation that consumers pay to the copyright collecting societies for
the use of blank tapes and videos to make up the potential loss of royalty by private copying
of the original tapes and videos. In Japan and some other countries, new legislation requires
part of such levies is to be used for public purposes to be decided by the collecting societies.
Loans/advances
In the arts field, as is everywhere else, economic independence can be attainable only
when certain preliminary funds to survive the initial stage of the programmes are available.
For example, long-term projects require money to sustain creators until they produce income.
Similarly, expensive projects like a larger theatre production, need a large sum of funds that
can only be recovered at a successful long ran. In such cases, the need for credit programmes
is obvious. The problem is that, artists and arts organizations, in most cases, do not possess
‘securities’ to satisfy traditional banking institutions, and as a result, they get no loan at all, or
34
if they get it, not at ‘reasonable’ rates of interest. The establishment of a public loans system
like the Arts Foundation in Hungary, which renders advance payments for creative works in
the forrn of interest-free loans, or the National Funds for the Arts in Argentina, which carries
out a wide range of operations through credits and loans aimed at the financing of creative
activities, may be a good answer to this particular need.
The loan systems have a definite advantage over subsidy or donation in a market driven
economy, in which arts organizations and individual artists are expected to perform
reasonably well economically. The loans encourage effective management of the funds and
eventual financial independence while subsidy and donation tend to develop reliance on such
assistance on the side of the recipient. It goes without saying that the loans systems must be
accompanied by a thorough information service for the borrowers on the market situation,
accounting and general management techniques to prevent default.
Tourism as a source of cultural funding
Another logical place where we seek funds for culture is tourism. This ever-
developing field of industry heavily relies on culture. The arts and arts institutions such as
theatres and museums, and the cultural heritage both tangible (cultural remains, artefacts etc.)
and intangible (dance, music, festivals, foods, life-styles etc.), attract more tourists and make
them stay longer. Crafts and other local products make tourists spend more. But the benefit
can be mutual; tourism brings about more audience and wider recognition of the artists and
their works.
One way of using tourism money for culture is a levy on tourists, or preferably,
voluntary payments to be paid by the tourists or by the tourism industry. Tourists may be
asked to make voluntary contributions for the restoration and protection of cultural heritage
they see or the development of local culture they appreciate. This scheme can be more
acceptable to the tourists if it is related to international preservation efforts like that of
UNESCO’s World Heritage Programmes, whereby the visitors of these sites may be requested
to donate a certain amount of money to an international funds which will be distributed among
the listed sites according to the degree of their needs.
35
From support to investment
It appears that all the combined efforts by public and private’ sectors mentioned above
cannot sustain ever-expanding creative activities in the years to come. Unprecedented
amounts of money will be needed to finance grossly enlarged activities in arts and culture if
the creative needs, not of the few, but of all people, must be met. And it is investment, both
public and private, and commercial funds that can supply enough capital in this all out
endeavour.
In this regard, the chance of attracting large investment in creative activities seems to
be far larger than it was a decade ago. This is so because arts and culture are becoming a large
industry itself in many richer societies. The arts are by nature labour intensive and contribute
to economic well being through job creation. In addition to the gate money, every dollar spent
on the arts generates more dollars through restaurant, hotel, retail, transportation etc. A
comparative study on cultural policies of the United States and Japan conducted by UCLA
recently found that sales in the arts industry in the United States was US$ 3 14 billion in 1990
and US$ 155 billion in Japan in 199 1. This and many other arguments indicating importance
of culture in economy are often accused of depending on very wide definitions of culture and
over optimistic assumptions about multiplier effects. These accusations are often valid,
particularly in the absence of convincing statistics and commonly acceptable methodology to
analyze them. Nevertheless, there seems to be good reasons to believe that the role of culture
in economic development will become far more important in the future than it is now.
Actually, there is an increasing demand for more relined, distinctive, high-value added
products and services in richer countries. In a saturated economy, which prevails in this part
of the world where basic needs are almost met, preferences of consumers are becoming more
diversified and discriminating. In these markets, it is quality backed by a high degree of
creativity that makes it possible to produce sellable commodities, and for that, artistic creation
is as indispensable to the economy as science and technology are. Far from being an appendix
to the economy, arts and culture are proving that they are one of the essential factors in
economic development just as technology and science are.
36
Up to now, our economy is characterized by the mass production of cheap
commodities that only create more rubbish and its mindless consumption. With the rising
demand for more creative and high quality merchandises, demands for the improvement of the
general aesthetic level of society, and with it, furtherance of arts and culture as a basis for
industrial development will likely increase further in the future.
But it is the development in media that will sustain a steady inflow of investment in
creative activities. Now, multimedia technology is leading such realities as 500 channels. The
sheer amount of money that is required to produce media programs to fill up these multi-
channels, will open up a new and God-sent opportunity for all forms of creative expressions.
The Ministry of International Trade and Industry of Japan predicts that 62 percent of the
estimated US$ 550 billion in sales of multimedia industries in 2015, will be produced by
software and only 38 percent by hardware. And it is arts and entertainment that constitutes a
major part of TV programs. In Japan and the United State, they represent 65 percent of the
broadcasting hours, far larger than reporting, sports and education programmes combined.
Media industries thus ultimately hearken back to arts and entertainment.
With the advent of multimedia and increased demand for arts and entertainment
programmes, the arts industry is expected to be one of the largest industries in many countries.
Management of the creative industry
In order for creative industries to attract more investment, it must achieve a maximum
degree of efficiency. The fact is that there are still many artists in the world who see this
diffusion of business concepts in creative fields as a threat to the dignity of their profession.
Yet, we must realize that the market economy system is the trend accepted by most of the
countries in the world today and the arts alone can not remain aloof from it if they want more
resources. After all, it would be strange indeed to insist that creators should not receive
enough money to sustain one’s own livelihood as a rightful gain for their service to humanity,
but instead, rely on government subsidies and charitable contributions.
As well trained management is essential in the development of any industry, training
of management personnel and entrusting of the running of programs and organizations to
37
them, is the sine qua non of the development of arts and culture in the prevailing market
economy. They are the experts who are capable of defining their goals and objectives more
precisely, marketing their products more effectively, and make their endeavours more
accountable by introducing methods of performance measurement and efficiency evaluation.
Governments and higher education institutions in the world will hopefully accelerate the
training of the management experts in this field. Without such trained manpower, creative
industry will never attract major investment, as investors will regard the industry as one that
lacks expertise in management and is therefore a high-risk field.
Broadening of the creative basis
In continuing our efforts to mobilize resources for creative activities, we must bear in
mind that society will be willing to put enough resources in creation only when it involves
people from all wakes of life. Unfortunately, there still is an undeniable tendency in cultural
policies in many countries to give priority to what is called “high arts” or “pure arts” that
represents the culture of economically and educationally privileged groups in big cities while
denying or belittling creative values of more humble forms of creative activity such as
entertainment, commercial, folk and popular arts, that represent the cultures of the majority.
There is a real danger that people, in particular youth, minority groups and local population,
who are becoming increasingly aware of the values of their own indigenous culture, will
develop hostile feeling against such imposition of culture external to their life style and
values.
Similarly, cultural policy everywhere is mainly concerned with creation by
professional artists while dismissing the creative contribution of people at large as
insignificant or insincere. This ignores the fact that creation is in no way a monopoly of the
professionals. On the contrary, it is a dimension of life to be found in man’s estate
everywhere. Everybody has a striving for creativity that only waits to be awakened. It is true
that professional artists usually represent the highest creative talent in our time. But this does
not constitute any justification to social closure of creative activity. Creation should be the
endeavour for all, of all and by all.
38
In order to mobilize all resources of the society to achieve great creative rebirth, we
must reinstate into the creative cause all the forms of creation including entertainment, crafts,
community arts, popular arts, minority arts, commercial arts and last but not the least,
production of all high quality merchandises. The reunion of all forms of creation, and it alone,
will enable us to mobilize the whole population to the march towards a creative society. Then,
and only then, will society be ready to invest a major part of the available fund in creation.
Thank you.
39
Contributions
of Participating Countries
41
Investing in Culture in the Republic of Kazakhstan*
By Mr. MKH. BALTABAEV, Director of the National Scientific Centre for Culture
Dear Ladies and Gentlemen,
I would like to express my gratitude to the organizers of this seminar for giving me an
opportunity to participate in the discussion of very important and common issue related: the
development of culture and its investment in this difficult economic period.
The Republic of Kazakhstan is located in the central part of the Eurasian continent.
Being the seventh largest country in the world, Kazakhstan stretches 3000 km from the West
to the East and 1600 km from the North to the South, and has a territory of about 2.7 million
km2, that is more than the whole territory of Western Europe. The country borders with Russia
in the West, North-West and North, with the Republics of Uzbekistan, Turkmenistan and
Kyrgyzstan in the South and South-West, and with the People’s Republic of China in the
South-East and East.
The population of the country is more than 17 million people and it has a multi-ethnic
composition. The Kazakhs being the largest ethnic group form 41% of the population, the
second largest ethnic group is Russians with 36% of the population. Germans and Ukranians
compose about 5% of the population respectively. All together, there are representatives of
more than 100 nationalities inhabiting the country. From the very beginning, the Republic of
Kazakhstan undertook measures to prevent inter-ethnic conflicts by including in its
Constitution the principles of secularism, equal citizen rights for all nationalities and a
prohibition against discrimination. Kazakh is the official language and Russian is the language
of inter-ethnic communication.
Since the end of 1991, the Republic of Kazakhstan is an independent and sovereign
democratic state which, being a member of Commonwealth of Independent States, has its own
43
independent Central Bank, its currency and monetary policy. The Republic of Kazakhstan is
administratively divided in 19 regions and 233 districts but this territorial division is under
reconsideration at the moment. The city of Almaty is situated in the South-Eastern part of the
country and is the administrative and business centre, while the capital Akmola has a more
central location.
The economic reforms of the country include the privatization of state enterprises
within certain programmes or individual projects.
The law and relevant decrees have been adopted in order to stimulate and protect
direct foreign investments. It is planed to create free economic zones and to invest in joint
ventures of a certain dimension.
Of course, the reforms are designed for a long period and we can not expect immediate
results from them, in particular in the social sphere including culture. I think that the other
republics of Central Asia are in a similar situation.
Nevertheless, I would like to point out the well-known truth that the attitude of the
state towards culture is an index of its democracy and civilization.
The state policy of Kazakhstan in the field of culture is based on the following
ideological paradigms:
1. Free access and active participation in the creation of cultural values.
2. An opportunity to make free choice in cultural orientation.
3. Integrity of the cultural development and tolerance of ethnic-cultures;
4. The adequacy of forming legislation in the field of culture with international standards.
5. Balanced combination of principles of state and public financing.
The authors of various economic concepts and initiatives suppose that the “Golden
key” of economy resolves all problems of culture at the same time. Economic freedom,
*This text is a preliminary version of the Kazakh country assessment drawn up in 1996 which unfortunately could not be presented at the Tashkent Conference.
44
however, gives a possibility but does not guarantee the development of a civilized cultural
society.
This is particularly true for Kazakhstan right now, where economic difficulties trigger
political speculations of nationalistic feelings. In such a situation, I believe, culture may
become an ideological instrument for national renaissance and a solution for inter-ethnic
conflicts.
Therefore, the main short-term task of the state in the field of culture is the
preservation of cultural heritage, securing the material-technical base of cultural
establishments and ensuring the interest and access of a consuming audience. To achieve the
latter is particularly difficult at the present time.
In conditions of a relative homogenous social structure and equality of income, the
access to cultural wealth and services for the consumers was not determined by the financial
position of the people but by possibilities of infrastructure, regional and other peculiarities.
Today, with the dramatic stratification of the society taking place, the main problem is
not satisfying the assortment of different cultural demands but the accessibility of cultural
wealth for the different stratums of the population.
During the last year, every fifth family in Kazakhstan could not spend even one Tenge
on its cultural leisure.
On an average, a Kazakh citizen living in an urban area spends 3 Tenge per year for
the satisfaction of his/her cultural demands, while a villager spends only 60 Tiyins.
The representatives of an emerging middle class who have enough financial income do
not spend their money for the satisfaction of their cultural demands. Their income is
distributed like the following: 11% for goods; 10% for savings; 3% for the paying off of
debts; 2% for gifts and 1% for deposits in Banks and Trust Funds.
45
Thus, the situation is paradox: the traditional group of consumers does not have
resources for the satisfaction of their cultural demands, while representatives of a forming
group of entrepreneurs do not have clearly shaped culturally-valuable orientations and
demands.
To introduce into practice the notion of the commodities basket of minimum cultural
production and services is socially and economically justified in these conditions. The
Ministry for Cultural Affairs assigned the Republican Scientific Center for Culture on this
work.
The consumer’s basket of cultural production and services, proposed by us, provides
conditions for the cultural reproduction of the society which is an important issue and should
therefore be taken into consideration by the planning bodies of the state when defining the
minimal rate of wages and other state-guaranteed compensations and payments.
It is possible to define an index of accessibility based on the calculations of the
consumer’s basket of cultural products and services.
The index of accessibility of cultural productions and services:
- firstly, serves as an orientation for the elaboration of indicative plans for socio-economic
development;
- secondly, characterizes the level of socio-economic development of separate regions and
the country as a whole;
- thirdly, defines the level of socio-cultural development.
Thus, for instance, an average salary in Kazakhstan, according to the data of the State
Statistic Committee, on the 1st of January 1996 was equal to 3572.7 Tenge, the consumer’s
basket (that is the necessary food products) equaled 2130 Tenge, and the inflation-rate was
160.3. Incomes increased 11 times. Cultural products and services by our calculations were at
2148 Tenge, and taking into account an average cost of public utilities - 1000 Tenge, the
index of accessibility in the country would be of 0,046. This is an unacceptable rate, and
attempts undertaken only by the Ministry for Cultural Affairs in order to rise the index of
accessibility are not sufficient.
46
I think, and my colleagues will support me, in such a situation it is impossible to
handle the problem without state regulation of the cultural sphere. At present time, this
regulation is confined with three directions like in other developed countries, in particular:
- in the field of legislation;
- in the field of financing and taxation;
- in the field of personnel policy.
The state regulation of financing in Kazakhstan, like in other republics of the former
USSR, implied just the distribution and aimed at the support of existing infrastructure without
taking into account the peculiarities of the regions or a market economy system. Today, with
the share of state financing being drastically reduced, such a policy will not work out and may
even have negative consequences.
In the last year, the number of libraries and clubs in comparison with 1995 were
reduced by 10,8% and 5,4% respectively. The situation is particularly critical in the
Semipalatisk region where 45% of libraries and 32% of clubs had to be closed.
The Government is concerned about this situation but it should be recognized that the
old infrastructure of the cultural sector was not always appropriate to the real cultural
demands of the population.
Our Ministry and the Republican Scientific Centre for Culture are working on the
creation of a cultural infrastructure more adaptable to market economy.
It is obvious, however, that it is necessary to preserve museums, theatres, libraries and
clubs which have a potential and may provide the minimum level of cultural services.
Under these circumstances, we do not refuse state budget financing but try to make it
available for clearly defined targets, From the state budget, extended to the needs of the
cultural sector, the following should be financed:
47
- objects and structures with the national significance. These are, primarily, the National
Opera and Drama Theatres, the Orchestra of Traditional Instruments “Kurmangazy” and
the State Museum;
infrastructures of the cultural sector in the zones of remote rural areas, for instance, the
regions of Kysylorda or Semipalanisk;
training and re-training of the personnel in the cultural sector and improving qualifications
of rare specializations such as restaurateurs, tuners, military conductors as well as
managers and market specialists;
special cultural services for people deprived of social roots, handicapped people, children,
students and the lower classes of the society;
scientific research, concrete socio-cultural programmes and the conducting of qualified
expertise.
The principle of multi-channel financing seems more appropriate for other aspects of
the cultural infrastructure as there is a possibility of modeling and “pouring” capital into the
socially most significant programmes and profitable projects. For the effective accumulation
of resources in local budgets and direct investment, it is feasible to set up a bank for socio-
cultural initiatives as one of the acting levels of financial regulation for the development of the
cultural sphere.
With the purpose of attracting additional sources of finance, it would be rational to put
into practice a flexible taxation model for activities in the field of culture. Different countries
in the world practice efficiently such models, which stimulate creative activities, rise the
income rate of creative people and attract the flow of capital from commercial structures to
cultural spheres.
The financial mechanism of the developing industry of leisure and entertainment is the
attraction of non-governmental financing sources, the formation of additional funds,
accumulation of resources from different origins including the redistribution of state funds
allocated to the regional budgets. Such corporate attempts and financial pluralism are more
acceptable in terms of efficiency and provide high motivations for culture-creating subjects.
48
Dear Ladies and Gentlemen! Dear Colleagues! Our cultural reality needs competent
and creative specialists who can make prognoses and decisions while being capable of clearly
analyzing different scenarios.
Five higher educational institutions and 39 specialized Secondary Education
Establishments are responsible for the training of specialists for the cultural sector in our
country. About 1500 people are trained in areas such as music, theatre or fine arts. In the past,
this amount of specialists met the demands of the cultural sector.
According to our research data more than half of the graduated specialists in Kazakhstan
do not seek jobs not because of a lower status or the lack of social guarantee, but due to the
lack of demand for their skills in the labour market. The reason for this, first of all, is the
unbalance between the amount of specialists in creative professions on the supply-side (45%
of total number of graduates) and the capacity of the specific niche of infrastructure (7.2% of
total number of people engaged in cultural sector). Annual over-production of, creative
specialists by 37.8% led to the oversatization of the labour market and consequently to
structural unemployment.
At the same time the niche of specialists with market orientation in the sphere of
culture faces a sharp deficit in qualified specialists.
The elimination of the unbalance seems to be quite easy: the re-orientation of non-
employed specialists of the cultural sector to the so called market niche.
However, a sociological research among specialists of the cultural sector on their
psychological and professional readiness for new economic realities showed that only 38% of
them have enough information and psychological readiness for the market; 43% of them have
psychological willingness but do not have any experience or knowledge, and 13% of them
absolutely do not accept the penetration of business and entrepreneur-ship in the cultural
sphere.
49
8.9 % of respondents do not link their business activity to the profile of cultural
establishments as there is the lack of mobility of cultural infrastructure, which is not adequate
to new economic realities.
The presented data confirms that the formation of a cultural services market should be
started with reforms of the supply system for personnel working in the cultural sector. For that
purpose the following objectives should be fulfilled:
- the development of a post-graduate education infrastructure appropriate to the world
standards and capable to provide rapid improvement of professionalism and competence
in the cultural sphere;
- continuity of education among the different levels of senior managers with an orientation
to management and marketing;
- international co-operation in the field of training, re-training and probation for the
different categories of specialists.
These reforms are crucial and require appropriate financing.
Among the different traditional channels of financing such as the national state budget,
local budgets, foreign investments, sponsorship and patronage, different forms of privately
financed education and funds of engagement, we face a chronicle resource-deficit for the
training of specialists with new qualifications due to the traditional linear mechanisms of
distribution.
The model of financing provoked by the logic of a market economy, leads to the
refusal of the resources’ diversification and a more intensive use of separate traditional
channels for the financing of personnel priorities taking into consideration-the assessment of
current and future demands.
Priorities for state financing are elite cultures such as for example opera or ballet and
the according educational structures for training specialists in these areas.
50
Educational structures for the training of specialists according to regional demands and
existing infrastructure, is financed out of local budgets. This should be added to the resources
of regional funds and be co-ordinated accordingly.
Foreign investment is needed for educational programmes and the training of
specialists for the entertainment industry.
Financing the training of specialists within the area of national culture requires certain
principles to be respected and precise criteria for the competitive selection of applicants as
well as the integrity of financial sources. At the same time, an institute of sponsorship is
needed for the allocation of resources.
The contract system for privately financed education could be considered as a way for
the attraction of additional resources to educational structures under the guarantee of the
quality of education and demands for specialists.
The task of the state is to provide a higher status for the specialists of the cultural
sector, special social guarantee and better conditions and encouragement for activities.
Only then it will be possible to obtain a certain amount of specialists with creative and
innovative thinking who can achieve the reforms required within the cultural sphere, and thus
create real possibilities for development.
It is difficult today to speak on the perspectives for 3-5 years. I will outline some
aspects of the development of the cultural sector.
Libraries.
Libraries as social institutes should have new priorities which need appropriate
changes both in the functioning of the library system and in its organizational structure. The
main goal and basic criteria for their efficiency is the implementation of the principle of
accessibility for library resources. This requires the transition from a policy of accumulation
to the active use of funds on the basis of wide accessibility which should be achieved through
51
computerization of the library management on a national level. The technological unity of the
library system is carried out by the joint endeavors of such establishments as the Ministry for
Cultural Affairs, the Committees for Culture, Education and local administrations. This will
not, obviously, solve another problem related to the literature supply of libraries. The system
of centralized library-supply by preliminary orders, practised and established during several
decades, will not function in the market economy system.
A possible option is the introduction of privileges in literature supply through book-
trading channels and inter-library subscription, including international exchange. Moreover,
the decentralization and de-monopolization of the book-publishing business create new
opportunities for the interaction of libraries with publishing houses and book trading
structures.
Clubs. Clubs shall look for own resources to become a subject of the market
infrastructure. In this regard, every establishment with a cultural leisure profile should assume
more responsibility and a greater role in the developing industry of entertainment.
Museums. With the purpose of strengthening the functional activity of museums and
improving the content of their services, it is necessary to elaborate a concept of Museum
management in the Republic of Kazakhstan.
Theatres. I will not elaborate on the creative content of the theatre activity.
I think we should work out the main-economic levers in order to encourage the work
of the theatres on a new level, responding to higher moral-spiritual values. In this context, the
last theatre festival in Gezkzgan showed that theatres possess enough creative potential and
possibilities.
Generally speaking, cultural peculiarities do not distort the integrity of universal
values unifying the peoples of Kazakhstan. On the contrary, cultural peculiarities make them
more creative and wealthy in content.
Thank you for your attention.
52
Investing in Culture: Results of the National Case Study in the Kyrgyz Republic
By Mr. EFWEK ABDUKARIMOV, Head of Department of International Relations, Ministry for Education, Science and Culture of the Kyrgyz Republic
The economic reforms undertaken in the Kyrgyz Republic, such as the introduction of
market principles to the national economic system and hand over of the leverages of direct
economic management to the economic institutions, including non-manufacturing spheres,
require new approaches and new thinking.
Reforms of economic mechanisms in the spheres of culture and arts require the
solution of three inter-related issues:
(1) Preservation of the cultural heritage of ancestors;
(2) Creation and optimization of a new financial pattern for the economic functioning of the
cultural sector while keeping on effective budgetary subsidies;
(3) Creation of conditions for the further creative activity of the artists, training of specialists
and use of cultural sites in order to meet public demands for the creation of social welfare.
The cultural sector (including TV/video studios) has a sophisticated complex of
objects which include: theatres, libraries, museums, parks, clubs (including clubs in rural
areas and auto-clubs), cinema halls, cinema facilities, cinema workshops, cinema studios,
concert organizations, education establishments, etc. The total number of cultural sites and
objects is over 3000 where nearly 20.000 people are employed and provide services there.
Cultural institutions are under deferent government departments: theatres, libraries,
parks, museums and clubs belong to the Ministry for Cultural Affairs; objects and facilities of
the cinema industry are under the State enterprise ‘Kyrgyz Kino’; publishing and printing
houses are mainly under the State enterprise ‘Akil’ while some of them belong to various
companies and public organizations.
53
An analysis of the statistic indexes on activities of the cultural sector institutions for
the last ten years indicate their dramatic fall: for instance, attendance of theatres decreased by
four times, attendance of cinemas decreased by more than 10 times, attendance of libraries
and museums by 2 times, subscription for books and journals in public libraries decreased by
almost three times, and there is a tendency of reduction within the number of objects of
cultural institutions and arts.
At present, many cultural institutions are trying to rise the cost of their services, and
some institutions have to change their spheres of activity, render their premises for renting and
make revenues by providing such services.
Substantial part of financing the objects of the cultural sector now is covered by
budget resources (state, regional and local - more than 80 percent) and the remaining part is
financed by the funds generated upon providing services for the population, renting the
premises, etc.
The state enterprise ‘Kyrgyz Kino’ functions on the base of complete self-reliance.
The state budget is donating funds only to the production of films made by state order. Also
some budgetary resources are available for the Association ‘Kyrqyzkinovideoprocat’ for
purchasing films.
Limited budgetary resources urge decision-makers to consider and search new sources
of finances for the preservation and functioning of the cultural institutions.
The number of unresolved problems is increasing in the Kyrgyz Republic due to the
under-financing of the cultural sector, which caused contradictions between social
significance of the sector and its real potential as solution of contemporary issues of society.
Actually, the budget allocations should be increased twice in order to meet demands of
the cultural sector for financial resources. For example, although the Ministry of Cultural
Affairs requested from the government 82,6 mln. Soms in 1996, the state budget allocated
only 38,5 min. Soms out of which 2 mln. Soms should be spent for grants and fellowships by
54
the programme ‘Madaniyat’. Thus, the requested 46,l mln. Soms were not allocated to the
Ministry.
The total share of spending for cultural programmes constituted 1,8 percent of the state
budget, but according to the “Law on Culture” (provision # 44) at least 3 percent of the budget
should be allocated to the cultural sector.
State resources are mainly spent to pay salaries, to make transfers to the Social Fund
and to cover the costs related with the maintenance of buildings, e.g. heating, electricity,
telecommunications, etc.
Miserable 10 to 20 thousand Soms were allocated to undertake various activities
including theatre-performing and tour activities, renewal of facilities and costumes,
purchasing of new music equipment, etc. However, during the whole year, due to the deficit,
the Ministry of Finance actually is not extending funding for these items.
As a result, if in 1990-1991 about 35 plays were staged in theatre-performing
institutions, in 1993-l 996 an average 1 play was staged annually.
Virtually, tour-travel activities are totally paralyzed: if 600.000 people in rural areas
were serviced in 1991, artists could provide services for only 8 1.800 people in 1996.
Construction of cultural sites has not been undertaken for the last 5 years.
The Ministry for Cultural Affairs, as a reaction to the budget constrains, undertook
substantial work in 1996 in searching extra-budgetary sources of revenue and attraction of
sponsors.
The total amount of revenue generated by the Ministry for Cultural Affairs from extra-
budgetary sources was over 3 mln. Soms.
It is planed to cover 5,7 mln. Soms of the costs of cultural sector for by the resources
generated by the Ministry.
55
“Domestic travel expenses”, e.g. tour-travelling activities of theatre-performing institutions
“International travel expenses”,
472.000 Soms
e.g. tours of the Kyrgyz Academic Drama Theatre to Ufa and Kazan by respectively
invitation of the Ministries of Culture of Bashkarstan and Tatarstan 289.000 Soms
“Purchase of equipment and facilities” 2 338.800 Soms
to improve the material-technical potential of cultural institutions, e.g. furniture, vehicles, music equipment, instruments etc.
“Payment for usage of water, electricity, heating and telephone” because of the dramatic increase of costs for such services (water usage by 8 times, electricity by 2,3 times, heating by 2 times) 2 334.300 Soms
“Other purchases and services”, including the Programme ‘Madaniyal’: 24,9 mln. Soms (requested 25,8 mln. Soms, extended 900.000 Soms)
Conducting centralized measures of the Ministry apart from the Madaniyat-Programme (requested 1,8 mln. Soms, approved 1,0 mln. Soms)
“Staging new performances by theatre-performing institutions”
2 7243.400 Soms
3,8 mln. Soms
0,8 mln. Soms
“Renovation activity” (requested 25,6 mln. Soms, extended 2,2 mln. Soms)
Total requested in 1997
23,5 mln. Soms
The project of the preliminary state budget was considered in the Commission for
Social Issues and the Commission for Financial-Budgetary Issues at Jogorku Keneshi.
Furthermore, the project of budget with new amendments was discussed in the sessions of the
low Chamber.
After the approval of the budget by this Chamber of Jogorku Keneshi, the President of
the Kyrgyz Republic signed the document. Eventually, the budget obtained the status of Law
of the Kyrgyz Republic.
Due to the structural reorganization the government institutions by initiative of the
kyrgyz President in December 1996, the Ministry of Education and Sciences and Ministry for
Cultural Affairs were merged into a single institution. At present, the kyrgyz Ministry for
Education, Science and Culture is functioning as a government institution responsible for its
field of competence. Consequently, the former Ministry of Cultural Affairs lost its status of
56
juridical personality, financial independence and its regional and local subdivisions. The staff
was reduced for 30 percent.
The budget of those two ministries merged into a common budget. Dynamics of
resource allocations for the cultural sector, in the condition of common budget, is difficult to
trace in comparison with previous years.
Thank you very much for your attention.
57
Investing in Culture in Tadjikistan By Mrs. GULJON MIRZAEVA, Deputy Minister of Culture of the Republic of Tadjikistan;
and Mrs. BARN0 KHASHIMOVA, Head of Statistics Department, Ministry of Culture and Information of the Republic of Tadjikistan
Dear Ladies and Gentlemen,
Dear Participants and Guests of the Sub-regional Seminar,
Six years ago an important landmark took place in our ancient land and it determined
the historical destiny of all the Tadjiks and the peoples of Tadjikistan, and opened new
perspectives for their lives. On 9 September 1991 an independent liberal state appeared on the
political map of the world.
The Tadjiks being one of the old nations, contributed, along with other nations, to the
formation of the human civilization. There were a number of Tadjiks who made great
contributions to the development of the world’s science and culture. After the collapse of the
Great Samanids State they were deprived from having statehood for the last millennium,
Therefore the 9 of September 1997 is a particularly special day for us as it is not only
the date of independence but also the day of restoring historical justice.
There are opinions according to which Tadjikistan obtained independence easily
without any difficulties. It is true that we achieved formal independence easily. But a bloody
civil war started in 1992 and is not still resolved. The question on the future of Tadjikistan as
an independent entity is not answered yet. There is a real danger of becoming a toy for
mercenary politicians.
Throughout the history of humanity the Tadjiks were witnesses of such threats. But
now, for the first time after the collapse of Great Samanids State, we have again a chance to
restore our nationhood and become a merit member of the world community.
58
Of course there are figures which may show human and socio-economic casualties in
the country. It is not a secret that thousands of people became the victims of the war.
The war damage was equal to about 7 billion US-dollars and this figure is rising day
by day. But it is impossible to calculate human casualties and the loss of human moral
relations.
The unstable political and economic situation influenced also the activity of cultural
institutions.
Many theatres and other institutions of the cultural sector are facing enormous
difficulties due to the shortage of state subsidies.
The cultural sector, as any other sphere, should be reformed in the transition to the
market economy. Many artists and people working in this sphere are becoming a part of the
population living in poverty.
Thus, Tadjikistan became independent in September 1991. Because of the political
instability and economic crises caused by civil war, the reform process in Tadjikistan has been
started later. The situation has stabilized since a peace agreement has been signed by the
Government of Tadjikistan and the leader of the united Tadjik opposition Said Abdullo Nuri
on 27 June 1997 in Moscow. The Government therefor got a chance to concentrate its
attention on the development and implementation of an economic reform programme for
1995-2000.
Since 1995 till early 1996, there was a period of economic, social and cultural reforms.
A new managing structure of the cultural sector was formed. The Ministry for Cultural Affairs
arid Information supervises not only theatres, concert organizations, libraries and specialized
education institutions, but also publishing and printing houses, rural, municipal and district
newspapers, national magazines, TV, radio and cinema organizations. These organizations are
subject to the jurisdiction of the Ministry of Culture and Information. Recently, the newly
created tour-concert association Tadjikbazmoro was added to the structure of this ministry.
59
The administrative structure of this ministry has a multi-level character: it consists of
national, regional, city and district levels. During the last six years no dynamic changes took
place in the subjects of culture under supervision of the Ministry. At the moment, the Ministry
of Culture supervises 15 theatres, 38 museums, 1418 libraries, 1120 clubs, 47 parks of culture
and 110 educational organizations.
It is important to notice that the cultural history of our people is deeply routed in the
ancient times. The best pieces of evidence of aforementioned are monuments of history and
culture located on the Tadjik territory, which represent an outstanding part of the world
culture.
Nowadays, the territory of Tadjikistan accounts more than 6.000 monuments of history
and culture. There are 1124 monuments under protection of the government, and this number
includes 130 monuments of architecture, 873 monuments of archeology, 121 historic-
revolutionary monuments, 46 archeological and architectural monuments as well as the 5
historical cities Dushanbe, Hudjang, Gissar, Ura-tube and Pedjikent which are all classified as
objects of world importance.
The archeological monuments consist in the Sarazm-city from 11.000 years BC. in
Pendjikent, the city of Tahti Sangin also from 11 .OOO years BC. and located in the Kanibodom
regions where among other sites the remains of the temple of the Ox River’s God, formerly
called Wahsh-river, were discovered. The city of Pendjikent clearly reflects the culture and
traditions of the ancient Sogd, and represents an outstanding archeological-architectural site.
Monuments such as the capital of medieval Hutal-Hulbuk (IX-XI centuries) in the Voseiks
region or the masterpieces of ancient and medieval architecture Hazrati Shoh in Chorkuh are
unique - the second for example is the only wooden mausoleum of the Samanids epoch in
Central Asia. Furthermore, there are the multi-level castle Chilhudja from the 7* century in
the Shahristan region and the double dome mausoleum Hodja Mashad (IX-XII centuries) in
the Shartutrsk region with complex brick ornaments. Not to forget the formidable mausoleum
Hodja Nahshuron (XII-XIV centuries) located in the Pendjikent region, the monuments of
archeology and architecture of mountainous Badahshan or Yamchun Castle and Kahkaha
Castle, both from 11 .OOO BC. located in the Ishkashimsk region. The Vomar Castle of the
60
medieval epoch that was discovered in the Rushan region as well as altars of pagans is located
in the Roshtkalin region.
Architectural complexes like Sarimazor in Ura-tube and Shaikh Musleddin in Hodjand
impress with its uniqueness and the residential buildings from the XVIII-XX centuries
discovered near these sites represent the achievements of the middle ages. There are beautiful
architectural complexes in Chorkuh like Khazrati Shoh and Navgelim in Isphara. The
architectural complex Gissa from the Middle Ages occupies a special place among
architectural ensembles that fairly become a site of world significance and it is one of the
places mostly visited by tourists.
Moving monuments of culture such as archeological, ethnographic and
anthropological findings, paintings, ornament manuscripts, woodcarvings and other types of
expressive and applied arts are regarded as great treasures of not only the Tadjiks but also all
humanity. All these artistic treasures are kept in museums, archives of institutions under the
Academy of Science as well as beyond the borders of Tadjikistan, for example in Moscow
and St. Petersburg.
Besides that, architectural complexes located in the bordering countries of
Afghanistan, Iran, Uzbekistan, Kyrgyzstan as well as in the cities of Balh, Horosan, Bukhara,
Samarkand, Termez, Isfagan etc. belong to the cultural heritage of the Tadjik nation.
The building of the Academic Theatre of Opera and Ballet is in fact one of the most
beautiful and unique sites of the capital Dushanbe. The existence of a symphonic orchestra as
well as a chorus and ballet groups reflect the determination of our country to build a civilized
society. The civil war, which took place in our country, left its impact on the future state of
this building as well as on activities of its artistic groups.
Firstly, the fire emergency system was heavily damaged and does not provide safety or
efficient action in case of a fire.
Secondly, there is urgent need for repairing works on the reservoir for additional water
supply *
61
The theatre has not been heated for six or seven years, which caused internal
destruction of the building. Strong measures in order to provide the theatre with autonomic
heating device are required and might cost about 10-l 1 .OOO US-dollars.
Many specialists of symphonic orchestra, chorus and ballet had to leave their jobs
because of the low salaries.
The ensemble of the Opera might also be dismissed in the nearest future. It is
important to introduce a contract employment-system, which requires an enormous amount of
funds - about 50 million Rubbles.
All these projects cost about 70-80.000 US-dollar. The National Library Firdausi is the
main library of the country and includes a universal book storage as well as a co-ordination
centre of scientific research and methodological works in the field of library management. It
plays a substantial role in the development of the Tadjik national culture and in the formation
of a Tadjik intelligentsia. In 1989, the library was assigned to carry out sociological services
on the national level. The number of books in the library accounts about 3 million volumes.
Annually, 30.000 readers are attended in the library. The library also provides other services
to the readers.
There is active research on the issues such as “Dynamics of reading and demand in
public libraries” and “Rational placement and use of library resources” carried out by the staff
of the library.
The library also has close links to scientific institutions in the country and keeps and
develops relations in book-exchange both within the country and abroad. At present, the
library has 64 major partner libraries in 26 countries of the world.
It has more than 17.000 volumes of the most ancient and rarest written monuments,
oriental manuscripts and books. In order to enhance its role as a modem national library and
to render prompt services to the readers we have to provide the library with at least 200
62
computers, printers, TV sets, loud speakers, recording equipment e. g. video cameras, video
players etc.
The work of libraries on the registration and accounting of books, periodicals,
methodological and scientific materials, photocopying of books and access to video materials
would be more efficient if the library was computerized.
In 1996, a new TV educational programme was introduced. The main purpose of this
programme is to broadcast information designed to rise the feeling of respect within the
population, particularly the youth, to law, history, the older generation etc. This editorial also
regularly prepares educational programmes for the learning of English, Arab and Tadjik
languages. TV programmes on the issues of religion, medicine and family life are also
produced by the members of this editorial board. Series on the history of the Samanids State
are also broadcasted with the logo of this editorial.
It would be feasible to provide technical support to this editorial. The provisional
agreement on this matter was made with Mr. Martin Hadlow, UNESCO Regional
Communication Adviser to Central Asia. The amount of technical support is about 40.000
US-dollars.
In accordance with the presidential decree the 1100th anniversary of the Samanids
State will be widely celebrated in 1999. The national TV and Radio Company is planing to
prepare a series of programmes on this occasion.
Moreover, it is planned to produce two films on this occasion and the scenarios for
those films are being completed now. It would be feasible if UNESCO sponsored those films.
The approximate budget of each project is 15.000 US-dollars.
93 percent of the land in Tadjikistan is mountainous area and therefore it is impossible
to broadcast programmes to the whole territory of the country by ground transmitters. That is
why over one million inhabitants of the country can not watch programmes of Tadjik TV.
This deprives their rights to get access to information and be aware of events taking place in
the country.
63
In January 1997, a satellite digital channel started functioning and enabled to cover
100 percent of the territory in the country. However, financial difficulties do not allow us to
pay for the services provided by the national satellite TV Besides, we lack resources for
developing ground digital transmitters and receivers.
At present, only the population of the city of Khorog can watch the programmes of
this Satellite TV system. We have not yet paid for the equipment of the digital transmission
provided by Telecom Technology Ltd. Company.
In this respect, we would like to request the introduction of the Satellite digital system
for the broadcasting of the National TV programmes. This project costs about 640.000 US-
dollars.
Considering the present economic and political situation in the country the state
remains the main sponsor and donor in the cultural sector. Accordingly, the setting of
priorities within the cultural and ideological processes as well as the designing of projects and
their implementation are carried out by the state. It is difficult to rely on commercial or public
organizations at the present stage of economic reforms. Therefore, the state supports the
cultural sector by all available means while creating necessary conditions for its protection
and development.
Concerning the funding of the cultural sector, there are three main sources:
1. State donation (state budgetary allocations),
2. Revenues generated by own activities,
3. Revenues generated by the renting of premises and providing services within the
competence of the cultural sector.
In this structure, the state donations remain the main source of funding.
At present, libraries, museums, the TV and Radio Company, educational institutions,
theatre-performing organizations, publishing houses, newspapers and journals are financed by
the state budget.
64
The share of expenditure for cultural activities in 1995 was equal to 2,7 percent of the
state budget, and in 1996 and 1997 respectively 1,7 percent and 3 percent of the budgetary
resources will be spent in the cultural sector.
It is necessary to note that 64,4 percent of the cultural budget is spent to cover the
expenditure of the TV and Radio Company but because of the deficit in budget the Ministry
of Finance does not give authorization to transfer a sufficient amount of money.
Revenues generated by own activities and extra-budgetary resources form a miserable
amount of funds, accordingly all expenditures of cultural institutions are covered out of
budget donations. The share of the cultural institutions’ expenditures formed 105 percent of
the total budget of the cultural sector and 0,003 percent of the state budget in 1995, and
accordingly 10,6 percent and 0,002 percent in 1996. It is planed to allocate 221 million
Rubbles and about 395.000 US-dollars in 1997 to maintain cultural institutions like theatre-
performing organizations, libraries, museums, monuments of history and culture etc. This sum
constitutes 8,3 percent of the total budget of the cultural sector and 0,003 percent of the state
budget.
Publishing activity and distribution of printed materials
Changes, which took place in all the different aspects of life in Tadjikistan, were
reflected in the state of the publishing industry of the country. Transition of the publishing
industry to market economy took place along with democratization, the creation of a new
legislative basis, which 1 iberalized the publishing industry from ideological, administrative
and other restrictions. With the adoption of the Tadjik Law on Press, censorship of the press
was abolished and that enabled publishers to enlarge thematically the scale of literature and
offer readers books of national and foreign authors which were not allowed for publication
ever before.
Granting publishing rights and licenses significantly widened the opportunities of
publishers and increased the number of publishing organizations as well as leading to the
appearance of non-governmental alternative publishers specialized in publishing primarily
65
commercial literature. Commercial interests of publishers are higher than the cultural,
educational and scientific needs of society and that increases the deficit in socially significant
literature such as children-oriented, scientific and technical types of literature.
This is a piece of evidence that the provision of people with books is decreasing and
besides that, the opportunity for realizing the cultural and scientific potential of the country is
getting damaged because the commercialization leads to the reduction of scientific literature
and publications. Publishing activities should become a means for realizing the educational
function of literature and at the same time as result of the whole cultural and scientific
process.
The rise of the paper-prices limits the opportunities of the publishing industry, in
particular the production of low cost, good quality children-oriented literature. In comparison
to 1990, in 1996 the publishing of children’s literature had fallen by 99,5 percent. The situation
is difficult since the share of children’s literature consists in 12 percent of the whole book
production. For comparison: in developed countries, the share of children-oriented books
consists in round about 60 percent of the book publishing industry production. Significant
decrease in the publishing of children-oriented literature leads to the outflow of qualified
specialists and talented authors.
While establishing the budget in 1996, the government included donations to the
publishing house Maorif that is specialized in book publishing for secondary education. The
amount for covering publishing expenditures equaled 43 million Rubbles or 0,0007 percent of
the budget, and in 1997 donations constituted 75 million Rubbles equal to 0,0008 percent of
the budget.
There is a demand of 3,5 Million textbooks for secondary schools. But because of non-
sufficient financing, shortage of paper and other printing materials, regular rises of paper
prices and printing materials, the publishing house Maorif is not capable to produce even 25-
30 percent of the planned production.
66
It is important to notice that in order to fulfil1 a plan on publishing for 1998-1999,
1000 tons of paper, 243 .OOO tons of cardboard and other materials are needed. Unfortunately,
with two more books to be published this year, the material on stock will be used up.
For the implementation of international treaties, there were plans for the distribution of
books in the Tadjik language schools in Uzbekistan, Kyrgyzstan and Kazakhstan, but because
of financial difficulties of the Republican Association for Literature Trade, it is very difficult
to arrange the supply of those books on time. Many organizations selling textbooks are not
able to pay back their debts and this creates serious problems for the publishers.
The Ministry of Culture and Information has close relations to the Ministry of
Education in the field of publishing and distribution of books, and besides that, these
ministries work together on the preparation of textbooks and publishing plans of particular
books. Many questions of mutual interest are solved in sessions of the inter-ministerial
council. There is always consensus on issues such as the publishing of textbooks for schools,
the improvement of the textbook contents according to the general conception of national
schools and according to the governmental policy.
Cinema Industry
It is a widely shared point of view that the level of culture is determined by market.
Generally this might be true in a sense that movies absorb and reflect the whole diversity of
the culture of a particular nation. Of course, there could be an objection against the definition
of the market as a reflection of “the culture of a particular nation”, since one might say that
market, nowadays, is internationally structured, with its developed institutions of information,
advertisement, sociological and statistic research. This is correct, but nevertheless, every
country, every nation defines its conception of market according to its own culture.
We can be sure to say that our country does not just have cotton, aluminum, gold,
uranium and other row materials, but nevertheless it has a rich culture. For example, Tadjik
movies represent our cultural value. In the international cinema market, the Tadjik movies are
very highly rated and for instance, the movie “Bratan” by B. Khudoinazarov received nine
awards in different international cinema festivals.
67
Other movies also received awards in different international festivals. The Western
market is based on scientific principles and it takes into account the ratings of movies. That is
why the Tadjik movies enjoy high demand in that market. But absence of the culture of
market - that is in particular the absence of qualified personnel, necessary equipment,
advertisement services etc . - constrains our possibilities in exporting high quality goods.
The experience of developed countries shows that the ability to sell this kind of goods
gives advantage if this sale is undertaken by the state. Despite the complicated socio-
economic and political situation, the government of Tadjikistan managed to allocate, in 1995,
a sum of 1 million Rubbles for the production of documentary films and, in 1996, a sum of
2.8 mln. Rubbles and, in 1997, 26 million Rubbles, which constituted respectively 0,002
percent, 0,003 percent, and 0,010 percent of the total cultural budget. The average cost of
production of one movie, according to current prices, is equal to 500.000-1.000.000 US-
dollars.
Concluding, we would like to underline several important points concerning the
improvement of investing in culture in Tadjikistan. Despite the consequences of the civil war
and struggles during economic transition, for the last six years we have been continuously
moving ahead towards building a new society. The modem political, economic, social and
moral aspects of life in our society are changing dynamically year after year.
The agreement on peace and reconciliation in Tadjikistan, signed on 27 January 1997
by the President Imomali Rakhmonov and the leader of the United Tadjik Opposition Forces
Said Abdullo Nuri was the turning point in restoring peace in Tadjikistan. After the conflict
which devastated the country for five years and became one of the tragic periods in the history
of Tadjik nation, the long awaited day of hope and wisdom finally came to the land of
Tadjikistan.
In spite of the economic stabilization in Tadjikistan, the situation still remains
complicated and theatre-performing organizations, libraries, museums, monuments of history
and culture and other institutions of culture are in a very poor state.
68
That is why we are determined to deal with the issues of attracting foreign investments
into the cultural sector of Tadjikistan on a more serious level.
Taking into account the aforementioned considerations and the difficult economic
situation in Tadjikistan, we request UNESCO to assist in questions of attracting foreign
investments into the cultural sector of Tadjikistan.
Thank you very much for your attention.
69
Investing in Culture in Turkmenistan By Ms. ATAEVA O.M., Head of the Planning Division, Ministry of Cultural Affairs
and Ms. ROJKOVA. T.N., Senior Specialist of the Department for Social Development, Ministry of Economics and Finance of Turkmenistan
Holding a meeting of experts on the questions of investment in culture in the Central
Asian countries shows the great interest of UNESCO in the issue of development of the
cultures of these countries. Unknown to the world in the past, these countries, today became
full-fledged members of the United Nations. Nowadays, these countries try to find their own
ways of development of their cultures. From the first days of independence of Turkmenistan,
the leadership of the country and personally the President Saparmurad Niyazov paid special
attention to the matters of cultural development. The government takes responsibility for
preservation, development and popularization of spiritual values for the aesthetic and moral
education of the young population and upgrading their cultural potential. All citizens of
Turkmenistan enjoy rights for usage of cultural achievements.
This right is guaranteed through the provision of access to the huge heritage of
national and world culture, resting in the umber of governmental and public funds, through
the development and placement of cultural and educational organizations all over the country,
through development of television and radio, as well as distribution of published materials,
through granting free access to libraries, and last but not least, through the development of
cultural exchange with foreign countries.
Many events in the field of music in the cultural life of the country became noticeable
in and out of the country. For example the international contest of piano-students of Central
Asian and Kazhak specialized music schools ‘Nura Halmedov’, the contest of pop and folk
singers of Turkish language countries ‘Shahsenem invites friends’ and many others.
The names of talented composers like Nura Halmedov and Chara Nurymov represent
an important part of Turkmen and world culture. These two bright personalities were able to
70
depict in their creative activities artistic and historical events, which took place both in the
East and West. In this regard, the first international contest ‘Nura Halmamedov’ in the capital
of Turkmenistan with the participation of musicians from the Central Asian countries and
Kazakhstan was held as successfully as famous international contests in remembrance of P. I.
Chaikovski, F. Shalyapin or M. I. Glinka.
With the beginning realization of the program for national revival under the careful
attention of President Saparmurad Niyazov to the questions of cultural development,
Turkmenistan’s theatre and music groups today have the opportunity to receive high
appreciation in international festivals and contests. Turkmenistan artists have been touring
successfully in countries like Canada, England, Belgium, Poland, Turkey and many others.
Theatres represent through their performance abroad Turkmenistan’s arts and ideas of
peace and friendship. Annual music contests and festivals take place during re-established
ancient holidays. The theatre festival ‘Raduga’ for example or the children’s festival ‘Singing
Birds’ encourage the education of the young generation and help to find new talents. All
aforementioned events are financed out of the governmental budget. Artistic groups were
given wide opportunities for the realization of their potential. Full freedom in rehearsing the
repertoire and the opportunity for self-realization enable these collectives to create valuable
masterpieces.
Turkmenistan’s people are inheritors of the very ancient world civilizations such as
Parfyn, Seldjuk and others. Through centuries of their history - full of dramatic triumphs and
tragedies - the Turkmen obtained a great spiritual potential while preserving their national
identity.
The complex program for the restoration of the Kuna-Urgench monuments is being
elaborated jointly with specialists from Turkey and Turkmenistan in order to guarantee an
effective realization of the state policy on protection and restoration of historical and cultural
monuments. This action is carried out under the auspices of UN and in September of this year
a special commission should start its work. The protocols of implementation have been
developed and signed. Funds of about 350.000 US-dollars will be provided out of the state
budget and Turkey contributes with another 300.000. The restoration within the fiarneworks
71
of these programs will be carried out at the Museum of Turabek-hanum, the Minaret Kutlug
Timur and the mausoleum Nadhim Etdin Kubra. Furthermore, the funds will be available for
the construction of the Dash-Mosque-museum and archeological research as well as the
creation of a tourist infrastructure including hotel complexes, cafes, parking area, etc.
A Similar program is being prepared for places along the Great Silk Road like Merv,
including the restoration of the Sultana-Sanjar monument, the complex of Kiz-Kala, and the
mausoleum of Ashab or for archeological studies near Giyaur-Kala.
The celebration of the 2500 anniversary of the ancient Merv is being prepared; the
restoration of the monuments has been going on for several years now.
The works on the restoration of the Old Nissa monuments, including conservation and
development of the territory around them, are being undertaken. Of course, the inclusion of all
these cities into the network of international tourism requires not just works on restoration and
research but implies large investments in the construction of hotels or camps together with the
tourist company ‘Turkmensayhat’. This necessity is reflected in the governmental program on
development of tourism in Turkmenistan till 2002.
The government of Turkmenistan has been investing large amounts of the budgetary
resources into the reconstruction of cultural centres. The Turkish Company ‘Uchgen’ is
currently completing the construction of the new National Museum of Turkmenistan, which
costs 38 mln. US-dollars covered out of the state budget. Moreover, the government of
Turkmenistan invested largely in the construction of the Palace of Congress, which includes
the Palace of Arts with a Grand Hall of 3000 seats. This construction is undertaken by the
French company ‘Buique’ and will be completed in two years.
The share in the national budget for financing cultural institutions has increased during
the last years. Thus, if in 1995, 1.7 billion manats were spend on culture, by 1997 the
spending for cultural affairs had increased to 10,8 billion manats.
There are national and local budgetary allocations for cultural institutions. In its turn,
the national budget is divided between different ministries and institutions including the
72
Ministry for Cultural Affairs, the National TV and Radio Company, the Committee for
Printing and the Ministry of Education. The share of cultural spending in the state budget
consists of 57,6 billion manats this year: 47 billion manats (81.6 percent) out of the national
budget and 10.6 billion mar-rats (18.4 percent) out of local budgets.
The Ministry for Cultural Affairs of Turkmenistan provides, out of its own budget,
funds for three universities, 22 secondary education institutions, several specialized music
boarding schools, a methodological centre, a centre for children and teenagers, 3 libraries, 5
museums, 11 historical-cultural parks, as well as 11 theatre-performing institutions. Cultural
institutions located in the provinces are financed by local budgets.
The Ministry of Culture authorized local authorities to provide local cultural
institutions with resources for construction, renovation and maintenance of buildings. Special
sub-divisions for the management and finance of cultural institutions have been created in the
provinces of Turkmenistan and in Ashgabad City.
The budgetary funding of cultural institutions is the main factor, which determines the
implementation of the cultural policy.
The mechanism of financing is carried out by the following order in accordance with
the different levels of cultural management.
1. Mejlis, where MPs approve the project of budget prepared by the Ministry of Economics
and Finance in accordance with proposals of several ministries and institutions and presented
by the Government.
2. Financial institutions (ministries, regional and district financial departments) present the
final figures to the ministries and certain institutions. The ministries divide the budget
resources and present final figures to the attention of national departments; district and
municipal departments for culture distribute allocated resources to particular institutions
taking into account the existing norms.
Normative and general indexes of cultural development are used to prepare the
cultural budget. There are norms for material and technical provision as well as instructions
concerning for example the payment of labor, norms of staff and other posts or the legal base.
73
Many instructions and norms were elaborated in 80s; therefore the Ministry is working on the
development of new normative documents.
At present, a new ‘Act on Theatre-performing Institutions’ and their funding by the
state is being developed and is expected to promote further growth of the theatre and music
arts in Turkmenistan. Great attention is paid to the support of independent groups, artists,
directors, painters, and musicians as well as the improvement of the material-technical base of
theatre-performing institutions.
Substantial work concerning the training of highly qualified specialists in the cultural
sector is carried out in Turkmenistan.
Educational institutions under the Ministry for Culture are financed in accordance with
the following scheme:
1.
2.
3.
Specialized national secondary boarding schools are financed by the centralized state
budget, while regional or district music arts schools are provided with resources by
local budgets.
Specialized secondary education institutions are financed by national and local
budgets.
Higher education establishments, the Turkmenistan national Conservatory, the State
Arts Academy and the Turkmenistan State Culture Institute are financed by the state
budget.
In accordance with present realities, the list of specialists trained at the universities
within the system of the Ministry for Culture is being reconsidered. New specialisations are
being introduced, such as ‘Computerization of library systems’, ‘Museum management and
protection of cultural monuments’, ‘Design’, ‘Computer graphics’. At the same time, the
training in specializations such as ‘Bakhshi’, ‘Traditional instruments’ and ‘National Arts’
help us preserve our national cultural identity, its origins and traditions.
There are currently 1644 students at the universities and secondary schools under the
Ministry for Culture. Highly qualified specialists such as prominent composers, musicians and
74
artists are involved in the education process in order to provide qualified training for young
people. The training is conducted in groups as well as individual training with potential
singers, composers, dancers and artists. 675 professors and teachers are working at
universities and secondary schools under the Ministry for Cultural Affairs in accordance with
the requirements for a differential approach to training of specialists. If in 1996 2 billion
manats were allocated from the national budget to the expenses of the education institutions
under the Ministry for Cultural Affairs, in 1997 that sum was increased up to 6,9 billion
manats.
The education budget is drafted according to the requests of institutions. The Ministry
for Cultural Affairs presents all requests concerning the budget of artistic education. The
project of the budget is prepared according to the number of students enrolled to higher and
secondary education institutions, the number of students studying and the staff working there.
Approved norms concerning payment for labor, scholarships, foods, purchasing of materials,
facilities, equipment and renovation are taken into consideration when finalizing the budget
for expenditures.
I would like to express once again gratitude to UNESCO and organizers of this
seminar for their attention to the nations of the Central Asian Region. I also propose to create
a permanently working commission which could study the cultural sector of these countries,
surnmarize the results and recommend new forms of working in the field of financing of
culture. We hope that the meetings of that commission will be held in Turkmenistan too and it
will support the development of national culture.
75
Investing in Culture in Uzbekistan
By Mr. BAKHADIR ABDURAKHIMOV, Deputy Minister of Culture
Dear Ladies and Gentlemen,
Honorable Participants and Guests,
Uzbekistan achieved independence 6 years ago. Independence opened wide
perspectives for the development of our economy and for the revival of our national culture.
In Uzbekistan, the state considers the course of preservation and cultural development
at the moment. Recognizing the acuteness and importance of this issue, UNESCO and the
Government of Uzbekistan jointly organized a Sub-regional Seminar on “Investing in Culture
in Central Asian Countries” last year in Tashkent. A year passed since that even; and now it is
time to ask questions on what substantial changes have been made in the Ministry for Cultural
Affairs of Uzbekistan (MCAU) in order to improve its financial position.
A priority for the MCAU during the last year was a subsequent shifting of some sub-
divisions to the status of private funding in order to generate funds from extra-budgetary
resources including investments from the private sector and foreign sponsorships. However, it
should be admitted, that the major source of funding still remains the state budgetary
allocations.
The present National Policy for Culture Programme mainly focuses on the following
aspects:
1) Paying attention to the highly important aspects of cultural life. Certain measures and
events are playing a substantial role in shaping the cultural policy. These measures are linked
to major historical landmarks - such as the Navrouz holiday for example -, preparation of
76
which involves an active approach and efforts for the development and revival of all forms of
traditional as well as modem national culture.
These measures are totally financed out of the state budget and provide functioning of
the cultural potential (such as dancing, folklore, etc.) of the country at the level of today’s
requirements.
2) The second direction of the National Policy for Culture Programme considers a partial
change of the financing structure of some sub-divisions of the Ministry of Culture with the
purpose of their re-orientation to market economy. Recent changes in the MCAU system now
require great efforts in order to replace former models of funding.
The Academy of Arts (AA) emanated as an independent cultural body from MCAU. It
was established on the base of the former Research Institute of Fine Arts, the National
Institute of Arts and Design named after Kamaliddin Bekhzod, the Lycee of Fine and Applied
Arts and the Department of Arts Exhibition.
It is expected that the AA will get funding from different sources and the state budget
will cover just a part of their expenditure.
By presidential decree, issued on January 1997, the AA and its sub-divisions are
exempted from state taxation for 5 years. That means that the mechanism of the transition to
market economy is a created norm in the country.
Certainly, there is a range of problems in front the AA will have to face in the period
of transition. We need to establish a legal framework and gain an administrative knowledge to
insure the survival of the AA in the conditions of a “mixed” market economy.
The provision of external support for artists is not practiced in Uzbekistan. Presently,
the private sector is not strong enough and not yet capable to support the great number of
young and promising artists. However, there is a need for extra-budgetary financial support by
international funds and non-governmental organizations in order to provide financial
assistance to the AA while meeting its needs.
77
The Government considers as one of the optional ways to improve the financial status
of the AA sub-divisions the setting up of representatives in different parts of the country and
abroad.
This primarily requires manufacturing competitive products and highly artistic works
with their further export abroad, and secondly, precise elaboration of the norms of payment
for creative activities. All these measures should somehow solve the problem of self-
financing.
Uzbekistan is a country in transition. The changes of the financing system structures
including the cultural sector are taking place in accordance with our own approaches.
The theatre-performing arts in Uzbekistan are making new approaches to support their
financial self-reliance after the adoption of its new economic programme. Despite the
existence of some institutions which are not profitable, attempts are being made to privatize
some cultural objects. However, the activity in the sphere of culture is mainly based on the act
on the status of theatre-performing institutions as state establishments. A few theatre-
performing collectives and associations undertook some serious steps in order to elaborate
new forms of financing concert associations following the experience of “Uzbekano” and
“Uzbefiaks” which are working on the same principles. The activity of “Uzbekano”, which
gained some experience, needs to be analyzed concerning its approaches. One should take into
account cultural particularities and traditions of each its regional sub-divisions.
The Uzbek Theatre Association is on the stage of formation and the main problem
here is to define more precisely the role of the state in terms of supporting the theatre-
performing arts as well as developing different forms of funding theatres on regional levels.
How and on what level the cultural authorities should assist with permanent financial support
and which forms of self-financing are acceptable at present - these are important tasks to
solve. There is a need to learn from the experience of states, which passed through similar
stages in the process of the formation of theatre-performing arts.
78
One of the forms of self-financing is sponsorship. At present, economic conditions of
theatres, when every contribution is valuable, sponsorship presents a particular interest.
Existing experience on sponsorship has shown that small and regional (provincial and
district) theatre-collectives are not getting enough attention. The best example for
aforementioned is the co-operation and assistance of foreign companies to the Academic
Theatre “Naboi”. It is obvious that businessmen make donations with the purpose to publicize
their own companies and products. Sometimes, several well-known theatre-collectives such as
Ilhom and the “Young Spectators Theatre” use their name and prestige to get foreign
sponsorship assistance.
Other theatre-collectives are looking for the source of extra-budgetary resources but
they do not always get positive responses. The factor hindering such investment is present
laws on taxation, which do not promote sponsorship assistance.
The state provides subsidies to specialized cultural projects in Uzbekistan. The
International Music Festival “Shark Taronalari” could be included into the list of such
projects. Having organized major cultural holidays like “Navrouz”, “Mustakillik” and the
Anniversary of Amir Temur, we have gained an experience how to organize and get funds for
such wide-scale measures. The International Music Festival “Shark Taronalari” which took
place in Samarkand under UNESCO auspices with the participation of representatives from
all continents was an indication of the growing prestige of music culture in Uzbekistan. It
stimulates cultural pluralism as well as reviving traditional ethnic and folklore roots.
However, the organizing of such major long-term event faces difficulties in getting extra-
budgetary funds and foreign sponsorship. State budgetary allocations covered the main part of
organizational expenditures of the festival. All organizational activities have been done by the
MCAU. Specialized comities, comprising professional specialists, elaborated programmes,
recommendations and calculated the amount of sums extended to each activity. The Music
Festival obtained favorable comments from local authorities although they also had to cover a
part of expenditures. This fact proves once more that they give priority to holding such major
cultural events.
79
While preparing the International Music Festival “Shark Taronalari”, it was proposed
to create an association of sponsorship for the festival which could include concerned sides of
both Uzbekistan and other countries. The amount of their financial assistance is not great in
comparison with state subsidies. This assures the necessity to institutionalize dealing with
sponsorships, which could more effectively support arts by voluntary donations.
In Uzbekistan, we are elaborating documents concerning policies in the field of
museums. The National Committee of Uzbekistan (NCU) for ICOM was created and started
its functioning. In the 88* Session of the Executive Board of ICOM, the creation of NCU for
ICOM was approved. Uzbekistan Museums have exhibits of exceptional importance reflecting
the development of the world civilization. We have to learn how to attract foreign investments
to improve the exhibitions in these museums. The experience of the Amir Temur museum
shows the correctness of this priority. But the main question - that is the provision of
additional subsides - is not solved yet. The first step undertaken by offering additional
payment for staff of museums and libraries as well as organizing moving exhibitions proved
to be insufficient. The elaboration and implementation of mutually accepted agreements on
co-operation between museums, artists and consumers as well as the government should be
regarded as priority measures. All these should increase non-state subsidies with the
assistance of organizations and firms dealing with private business in the cultural sector.
The celebration of the 2500 anniversary of the cities of Bukhara and Khiva should be a
major national action. The Government allocated substantial resources for the preparation of
those events. The works related to the restoration and conservation of historical sites, squires
and communication systems costs billions of sums. The restoration of culturally unique
historical cities promotes the development of cultural tourism. The interdependence of
tourism and other spheres of culture is increasing. If during the soviet regime cultural tourism
was one of the ways to generate foreign exchange, it is now regarded as contribution to the
financial support of Uzbekistan culture.
International organizations including UNESCO pay special attention to investments in
the field of tourism and the restoration of cultural monuments at Bukhara, Samarkand, Khiva
and Kohand. Most of the historical buildings in these cities are regarded as treasures of the
world’s civilization.
80
International investors have announced their readiness for all possible forms of
financing the restoration works of historical-cultural zones in these cities with the purpose of
developing a cultural industry. In particularly, the Agakhan Fund contributed twice by
subsidizing the project design for the restoration of important cultural sites in Samarkand and
Bukhara. In accordance with the agreement between UNESCO and MCAU 42.000 US-dollars
were paid to the restoration of the Chor-Minor Medrassa in 1997. By the initiatives of
UNESCO, a programme to attract foreign investors to the projects of restoration of eminent
architectural monuments in Uzbekistan has been designed. However, these efforts were not
enough to resolve the present challenges. On the one hand, we achieved certain successes.
State authorities and local administrations undertook serious steps trying to tackle these
problems. The disbursed resources covered just part of the activities. There is still hope to get
international assistance since these activities have been well publicized internationally.
Tourism is regarded as a part of the Economic Development Programme. One of the
initiatives of the MCAU is to establish coherence between tourism policy and the Economic
Development Programme as well as the popularization of cultural programmes. At the present
stage, tourism industry has a tendency of dynamic growth if provided with good services in
historical cities. An obvious factor of getting additional financial resources is increasing the
effectiveness. Searching and providing investments as well as marketing of projects in the
field of culture will also promote the improvement of cultural services.
The next problem, which is faced by the sector of culture in Uzbekistan, is the
shortage of specialists with knowledge on modem management. They should be aware of
effective ways in managing the cultural sector during the transitional period. The experience
of several countries indicate that well-trained managers express their interest to new ideas and
technologies, are capable to mobilize resources, can take risks and have the desire to
overcome financial difficulties. Under the present conditions such knowledge has crucial
importance. In particular, there is a great need for managers in provincial and regional
institutions of culture because they lack well-trained managers capable to solve the problems
of a new economy.
There is a need for help from UNESCO in training highly qualified managers for
81
cultural institutions, as well as conducting educational seminars to train working managers of
cultural institutions with the methods and strategies appropriate in the new context.
Concluding my speech, I would like to stress that in this paper I focussed not only on
the problems challenging MCAU in the period of transition, but also on the achievements of
the last years. These achievements are real and merit appreciation.
The role of the state should be especially mentioned when we talk on reliable funding
of not only cultural events and performances but also supporting people involved in the sphere
of culture in general.
In particular, the presidential decree on “Measures for supporting and stimulating
further development of theatre and music arts in Uzbekistan” from on 20 October 1995
provides monthly allowances for cultural activities.
Other presidential decrees such as “On improvement of music education, activity of
educational institutions of culture and arts in the Republic of Uzbekistan” of 31 December
1997 and “On the development of national dance and hagiographic arts in Uzbekistan” of 8
January 1997 create, along with material support from the state budget, new prerequisites for
a qualified reorganization of the cultural sphere in Uzbekistan. The purpose of these acts is to
adapt cultural institutions to the new conditions of the market economy and to search new
ways of getting additional investments.
The meeting of experts in culture from the Central Asian countries should become a
regular forum for the exchange of experiences, sharing of ideas on achievements and
difficulties and analyzing the work done during the last year.
Results of these meetings should be included in the final documents of the Seminar.
This paper just highlighted urgent problems of investing in culture in Uzbekistan.
Most likely, in order to implement effectively our tasks, it is necessary to work out
programme documents, which should be flexible and precisely shaped, and should cover all
spheres of culture.
82
Following important criteria should be respected in designing the above mentioned
documents: details of targeting goals; existence of available means; sizes of foreign
investments and dates of their implementation.
These documents, presented to the consideration of potential investors or other
concerned sides create substantial possibilities to achieve success.
Other aspects of the cultural sector where the assistance of UNESCO would be
appreciated are the following:
1. Elaboration and implementation of a programme “Promotion of Partnership between
business circles and the cultural sphere in the countries of Central Asia”;
2. Financing and creation of special departments for training managers of the cultural sector at
universities;
3. Working out legal documents concerning the privatization of cultural objects in the
country;
4. Attracting foreign investment for the restoration works of architectural monuments in
historical cities of Uzbekistan.
Thank you for your attention.
83
Recommendations
85
Recommendations
Recognizing the valuable support given by the UNESCO and the World Decade for
Cultural Development, the Ministry of Culture of Uzbekistan, the Uzbekistan National
Commission for UNESCO, the International Fund “Golden Heritage” and the Academy of
Arts of Uzbekistan in implementing the Conference; the Conference makes the following
Recommendations to Member States:
1. Recommends that the five Central Asian Republics draft and adopt legislation
defining the status, rights, and obligations of non-profit organizations in the field of culture;
and further recommends that this legislation define the tax exempt status of such organizations
and the requirements for public accountability for all revenues received from all sources;
2. Recommends that the five Central Asian Republics take appropriate measures to
promote business support for culture. Such measures should include the dissemination of
information, the introduction of a tax system beneficial to business support for culture, and the
establishment of an association which could develop and support co-operation between
businesses and cultural organizations and promote corporate sponsorship philosophies;
3. Recommends that the five Central Asian Republics develop cultural tourism by
improving their national cultural infrastructures such as museums, cultural sites, and theatres;
and by utilising as far as possible indigenous and local assets including monuments,
traditional and folk music, dance and crafts, and festivals; and further develop the availability
of local accommodations (“bed and breakfasts” and “home stays”), with the aim of the five
Central Asian Republics attracting more tourists and also increasing the length of the stay of
these tourists;
4. Recommends investment by the five Central Asian Republics in the development
of cultural industries, considering the fact that culture, by providing employment, income, a
87
sense of identity and pride, is an important national asset in aiding the development of a
country, and is also an important incentive for developing cultural tourism;
5. Recommends that the five Central Asian Republics actively develop and deploy
training programmes, including international and domestic fellowship programmes, for
cultural administrators and arts managers with an aim to improve their managerial, financial,
and marketing skills; and thus make the culture sector more adaptive to the emerging market
economy; and further recommends that the five Central Asian Republics strengthen ties
between educational institutions and practitioners engaging in similar training programmes in
the region and internationally;
6. Recommends that the five Central Asian Republics develop locally produced media
programmes such that they can participate in global cultural dialogue. Making full use of new
information and computer technologies, it is further recommended that the five Central Asian
Republics form a sub-regional cultural information network;
7. Recommends that the five Central Asian Republics co-operate with UNESCO in
the collection of statistical data in the field of culture; and further collect additional data not
included in UNESCO surveys, such as data relating to performances, visitor attendance,
tourist arrivals, and tourist itineraries; with an aim to support cultural policy development, and
appropriate decision-making with regard to the allocation of funds and other forms of cultural
development, including cultural tourism;
8. Recommends that the five Central Asian Republics co-operate in the creation and
production of an anthology of Central Asian cultures from ancient times to the present;
9. Recommends that the five Central Asian Republics stimulate debate on the findings
of the World Commission Report on Culture and Development, Our Creative Diversity, and
the dissemination and popularisation of this document in the mass media;
10. Recommends that the five Central Asian Republics stimulate the creation of
national committees for the International Music Council, the International Council of
Traditional Music, the International Theatre Institute, the International Council of Museums,
88
the International Council of Monuments and Sites and the International Council on
Conservation and Restoration of Monuments in order to develop international co-operation in
the field of culture.
Recommendations To UNESCO and the National Commissions:
Considering the recommendations made by this international conference to the five
Central Asian Republic Member States,
1. Recommends that UNESCO collects pertinent examples of existing legislation,
including tax legislation, from countries outside Central Asia relating to the status, rights, and
obligations of non-profit organizations and/or relating to business and private sponsorship of
culture; translates these documents into Russian and distributes them through the National
Commissions for UNESCO to the five Central Asian Republics;
2. Recommends that UNESCO supports the five Central Asian Republics in the
development of their cultural tourism, particularly as regards cultural heritage sites and living
cultural traditions, in a holistic approach that involves the local communities as custodians of
these sites and traditions;
3. Recommends that UNESCO continues its work in support of the development of
appropriate cultural policies for the five Central Asian Republics and the region;
4. Recommends that UNESCO supports the Central Asian Republics in the prepa-
ration of the documentation of cultural heritage sites for inclusion in the World Heritage List.
89
List of Participants
91
List of Participants
1. Mr. Barry Lane Head of UNESCO Office in Uzbekistan, UNESCO Regional Cultural Adviser for Central Asian countries
11, Kodiry st., Tashkent, Uzbekistan Tel.: (7+3712) 41.80.92/41.80.20 E-mail: [email protected]
2. Mr. Francis Childe UNESCO Co-ordinator for the World Decade for Cultural Development - CLT
1, rue Miollis, 750 15, Paris, France Tel.: (33+1) 45.68.43.08 Fax: (33+1) 45.68.55.91
3. Mr. Stuart Gibson Consultant and Technical Advisor to UNESCO
17, quai de la Mame, 94340, Joinville le Pont, Paris Tel.: (33+1) 48.83.25.46 Fax: (33+1) 48.83.08.09
4. Mr. Michihiro Watanabe Dean, Department of Music and Arts Administration
Showa University of Music, Atsugi, Kanagawa - Ken, Japan Tel.:(81+3) 462.45.10.55 Fax:(81+3) 33.04.93.79 E-mail: [email protected]
5. Mr. Frans Schouten Netherlands Institute of Tourism and Transport Studies
PO Box 393 1,480O DX, Breda, The Netherlands Tel.:(3 1+76) 530.22.03 Fax:(3 1 +76) 530.22.95 E-mail: [email protected]
6. Mr. Murat Baltabaev Director of the Scientific Centre for Cultural Studies of the Republic of Kazakhstan
15, Dostuk st., Almaty, Kazakhstan Tel.:(7+3272) 61.72.55
7. Mr. Tursumet Khalbaev Chairman, Kazakh Cultural National Centre in Uzbekistan
44, Navoi St. Tashkent, Uzbekistan Tel.: (7+3712) 42.06.86,49.03.15
93
8. Mr. Ermek Abdukarimov Chief of the Department for Foreign Relations of the Ministry for Education; Science and Culture,
Editor-in-Chief ‘Culture of Kyrgystan’ Journal 205, Abdumomunov St. Kishkek, Kyrgyzstan Tel.:(7+3312) 22.89.13 Fax:(7+33 12) 22.86.04 / 22.86.01
9. Mr. Munduzbek Tentimishev
Deputy Chief of the Division of Non Governmental Organizations of the Kyrgyz Republic, House of Government, Bishkek, Kyrgyzstan,
Tel.: (7+33 12) 21.04.06
10. Mrs. Guidjan Mirzaeva Deputy Minister of Culture of the Republic of Tadjikistan
34, Rudaki St. Dushanbe, Tadjikistan Tel.:(7+3772) 21.04.06
11. Mrs. Barno Khashimova Chief of Statistics Department; Ministry for Culture and Information of the Republic of Tadjikistan
34, Rudaki St. Dushanbe, Tadjikistan Tel.:(7+3772) 21.43.32
12. Mrs. Ataeva O.M. Head of Department of Planning of the Ministry of Culture of Turkmenistan
14, Pushkin St., Ashgabat, Turkmenistan Tel.:(7+3632) 35.35.07/37.11.20
13. Mrs. Rojkova T.M. Senior Specialist, Department for the Development of Social Sector, Ministry of Economy and Finance of Turkmenistan
2, Nurberdi Pomma St., Ashgabat, Turkmenistan Tel.:(7+3632) 5 1.20.01/5 1.17.37
14. Mr. Bkhodir Abdurakhimov
Deputy Minister for Cultural Affairs of the Republic of Uzbekistan
30 Navoi St. Tashkent, Uzbekistan Tel.:(7+v712) 144.29.48 Fax.:(7+3712) 144.18.30
15. Mr. Alisher Ikramov Secretary General of the National Commission of the Republic of Uzbekistan for UNESCO
54, Buyuk Ipak Yuli St., 700137, Tashkent, Uzbekistan Tel.:(7+3712) 67.05.61 Fax:(7+3712) 67.05.38 E-mail:[email protected]
94
16. Mr. Akbar Khakimov Senior Scientific Secretary of the Academy of Arts of Uzbekistan
Tel:(7+3712) 139.46.75
17. Mrs. Shirin Karimova Head of the Department of International Affairs, Ministry for Cultural Affairs of the Republic of Uzbekistan
30 Navoi St., Tashkent, Uzbekistan Tel.:(7+3712) 144.22.81 Fax:(7+3712) 144.18.30
List of Observers
1. Mr. Umarov N.
2. Mr. Yunusov R.
3. Mr. Abdullaev R. Chairperson of the Union of Composers of Uzbekistan
4. Mr. Ibrohimova N. Director of the State Museum of Arts of the Republic of Uzbekistan
5. Mr. Khabibullaev N.
6. Mr. Razzakov N.
7. Mr. Yuidashev G.
8. Mr. Grishkovich P.
9. Mrs. Akhmedova A.
10. Mr. Vinaykin P.
11. Mr. Khodjaeva L.
12. Mr. Tkachenko K.
13. Mrs. Robova T.
Director of the National Library named after A. Navoy of 0 the Republic of Uzbekistan
Rector of the State Conservatory named after M. Ashrafi of the Republic of Uzbekistan
Director of the State Museum of the History of Temurids of the Republic of Uzbekistan
Academy of Arts of the Republic of Uzbekistan
Academy of Arts of the Republic of Uzbekistan
Academy of Arts of the Republic of Uzbekistan
Academy of Arts of the Republic of Uzbekistan
Academy of Arts of the Republic of Uzbekistan
Academy of Arts of the Republic of Uzbekistan
Academy of Arts of the Republic of Uzbekistan
Academy of Arts of the Republic of Uzbekistan
95