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1 UNESCO East Asian Forum on Cultural Diversity 유네스코 동아시아 문화다양성 포럼 June 2005 Tower Hotel, Seoul, Republic of Korea UNESCO Korean National Commission for UNESCO Korea Culture and Tourism Policy Institute

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3 CONTENTS Basic Information Papers General Information / 7 Programme / 9 List of Participants / 13 Country Report Guidelines / 19 Introduction Cultural Diversity and UNESCO / 25 _ Ms. Beatrice KALDUN Keynote Presentation Cultural Diversity and its Implementation / 33 From Principle to Policy-Applicability of the UNESCO Declaration on Cultural Diversity into Cultural Policy" _ Mr. Olu ALAKE SESSION I Understanding of the Declaration I-1. Session Introduction / 49 _ Ms. Beatrice KALDUN I-2. Country Report : China / 51 _ Mr. LI Jiangang I-3. Country Report : Republic of Korea 1 Cultural Diversity and Cultural Policy in Korea / 59 1 문화다양성과 한국의 문화정책 / 63 _ Mr. PARK Jong-taek 2 Applying the Concept of Cultural Diversity to the Korean Context / 67 2 문화다양성 개념의 한국적 적용 / 81 _ Dr. RYOO Jeung-ah I-4. Country Report : Mongolia / 99 _ Prof. TOGOOCH Dorjdagva 3

4 SESSION II Application of the Declaration s Principles II-1. Cultural Diversity and Development : Japan / 105 _ Prof. KONO Toshiyuki II-2. Cultural Diversity and Cultural Goods and Service : Korea Economic Approach and Policy Direction / 111 문화다양성과 문화상품 서비스: 경제학적 이해와 정책방향 / 121 _ Dr. YOON Yong-joong II-3. Cultural Diversity and Cultural Rights : Korea Cultural Rights: a Crisis and Challenge in Global Era / 131 글로벌 시대 문화적 권리의 위기와 도전 / 143 _ Dr. LEE Dong-yeun II-4. Cultural Diversity in the Information Society : China / 157 _ Mr. QUE Xiaohua II-5. Cultural Diversity and Creativity : Mongolia / 163 _ Mr. BATMUNKH Norov II-6. [Group Discussion] Cultural Diversity Programming Lens / 167 _ Ms. Vanessa ACHILLES SESSION III [Panel Discussion] Cultural Diversity and Regional Cooperation in East Asia III-1. Prof. XIE Zheping _ Center for UNESCO Studies at Renmin University of China / 185 III-2. Mr. HUH Kwon _ Korean National Commission for UNESCO / 188 III-3. Ms. LUVSANJALBUU Munkhzul _ Mongolian National Commission for UNECO / 191 III-4. Dr. KWAK Sook-hee _ Asia-Pacific Centre of Education for International Understanding / 195 III-5. Ms. OHNUKI Misako / Asia/Pacific Cultural Centre for UNESCO / 205 III-6. Ms. SON Kyung-nyun / Executive Agency for Cultural Cities / 211 4

5 BASIC INFORMATION 1. General Information 2. Programme 3. List of Participants 4. Country Report Guidelines 5

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7 GENERAL INFORMATION 1. Background As early as 1945, UNESCO called for the defense of the fruitful diversity of cultures, a concept which has since grown continuously in importance for the organisation. Worldwide there exist over 5,000 ethnicities and 6,000 languages, and research shows that almost no country is entirely homogenous linguistically, ethnically or religiously. In addition to pre-existing diversity, during the latter half of the 20th century, the world has witnessed ever-increasing levels of migration. Globally there are now around 175 million persons living outside their country of birth. Throughout the same period and at an ever-faster rate, the world has been experiencing globalisation. Progress in communication and transport technology has had an effect not only on our geographical perception of the world, but also on world culture. The effects of globalisation on culture have been and will continue to present themselves as both opportunities and threats. The threat is apparent on the international level where more economically powerful nations dominate other countries culturally, and also within countries where one social group or ethnicity overshadows others. New ways of thinking, increased population movement and the mounting effects of globalisation have fostered continuous development in UNESCO s stance on the diversity of cultures, which was consolidated in the unanimous adoption in 2001 of the Universal Declaration on Cultural Diversity. The Declaration established a new standard-setting instrument to fortify the organization s conviction that respect for cultural diversity and intercultural dialogue is one of the securest guarantees of development and peace. The regional forum will thus provide an opportunity for the various participants to exchange ideas and opinions and to discuss the Declaration with the goal of improved understanding of its contents and intent. Through initial discussion on the Declaration s twelve Articles and subsequent in-depth dialogue on the twenty main lines of the Action Plan for implementing the Declaration as well as the sharing of case studies under the main themes of the Convention, it is hoped that the countries present will gain a detailed and practical understanding of the Declaration and its implementation. Discussion will then focus on the application of the Declaration s beliefs and principles on the cluster countries public circles. The aims are to instigate change in the applicable policies that affect all levels and all aspects of society within the cluster countries, and to help the cluster countries promote and endorse cultural diversity in all public circles. The goal is to encourage and uphold cultural pluralism as an end to cultural conflict. 7

8 2. Expected Outcome Consolidation of participants understanding and interpretation of the Declaration. Deepened understanding of the main lines of the Action Plan for the implementation of the Declaration. An appreciation of the relevance of the contents and beliefs of the Declaration to each of the cluster countries. A fuller awareness of the applicability of the Declaration to all public circles and all aspects of society in each of the participating countries. The formulation of multi-level, country-specific plans for the implementation of policy reform as relevant to the principles of the Declaration. The formulation of multi-level, country-specific plans for the implementation of policy reform as relevant to the principles of the Declaration. 3. Organizers UNESCO Office Beijing Korean National Commission for UNESCO Korea Culture & Tourism Policy Institute 4. Date and Venue Date : June 2005 Venue: Seoul, Republic of Korea 5. Participants Government officials from the relevant departments of all cluster countries (DPR Korea, Japan, Mongolia, China and Republic of Korea) were invited to attend along with representatives from all areas of the public sector. Officials from UNESCO and international expert also attend as resource persons. 8

9 PROGRAMME 27 June 2005 (Mon) Venue: Rex Room, Tower Hotel 09:00-09:30 Registration 09:30-10:00 Opening Musical Performance Opening Address by Dr. LEE Samuel (Secretary-General, Korean National Commission for UNESCO) Welcoming Address by Dr. LEE Yong-wook (President, Korea Culture & Tourism Policy Institute) Congratulatory Remarks by Ms. Beatrice KALDUN (Programme Specialist for Culture, UNESCO-Beijing) 10:00-10:20 Group Photo and Break 10:20-11:00 Introduction Cultural Diversity and UNESCO Ms. Beatrice KALDUN 11:00-12:00 Keynote Presentation Cultural Diversity and its Implementation Mr. Olu ALAKE (Head of Community Partnerships and Programmes, Commission for Racial Equality in U.K) Discussion 12:00-13:40 Luncheon hosted by the President of the KCTPI 13:40-15:10 SESSION I : Understanding of the Declaration - The Present State of Cultural Diversity in East Asia Moderated by Prof. LEE Keun-Gwan (Dept. of Law, Seoul National University, R. of Korea) I-1. Session Introduction - Principles enshrined in the Universal Declaration Ms. Beatrice KALDUN 9

10 15:10-15:30 Break I-2. Country Report: China Mr. LI Jiangang (Director, Bureau for External Cultural Relations, Ministry of Culture, China) I-3. Country Report: Republic of Korea Mr. PARK Jong-taek (Deputy Director, International Cultural Cooperation Division, Ministry of Culture and Tourism, R. of Korea) Dr. RYOO Jeung-ah (Chief Researcher, Korean Culture and Tourism Policy Institute, R. of Korea) 15:30-17:00 SESSION I (Continued) I-4. Country Report: Mongolia Prof. TOGOOCH Dorjdagva (Dept. of Philosophy, National University of Mongolia) [Discussion] Prof. HAN Geon-soo (Dept. of Cultural Anthropology, Kangwon Nat l University, R. of Korea) Prof. KIM Hyoo-jong (Dean, Graduate School of Culture and Arts Management, Chugye University of the Arts, R. of Korea) General Discussion 19:00-20:30 Dinner hosted by Secretary-General of the KNCU 28 June 2005 (Tue) Venue: Rex Room, Tower Hotel 09:00-10:20 SESSION II : Application of the Declaration s Principles 10:20-10:40 Break Moderated by Prof. KIM Moon-hwan (Dept. of Aesthetics, Seoul National University, R. of Korea) Session Introduction Ideas for Implementation of the Declaration Ms. Beatrice KALDUN II-1. Cultural Diversity and Development Prof. KONO Toshiyuki (Professor of Law, Kyushu University, Japan) II-2. Cultural Diversity and Cultural Goods and Service Dr. YOON Yong-joong (Analyst, National Assembly Budget Office, R. of Korea) Discussion 10

11 10:40-12:00 SESSION II (Continued) 12:00-13:30 Lunch II-3. Cultural Diversity and Cultural Rights Dr. LEE Dong-yeun (Director, Research Center for Culture and Society, Cultural Action, R. of Korea) II-4. Cultural Diversity in the Information Society Dr. QUE Xiaohua (Advisor for Cultural Policy, Bureau for External Cultural Relations, Ministry of Culture, China) II-5. Cultural Diversity and Creativity Mr. BATMUNKH Norov (Director, Dept. of Culture, Ministry of Education Culture and Science, Mongolia) 13:30-15:30 SESSION II : [Group Discussion] 15:30-15:50 Break II-7. Cultural Diversity Programming Lense Moderated by Ms. Vanessa ACHILLES (Consultant, UNESCO- Bangkok) Introductory Presentation Group Discussions Discussion Result Presentations 15:50-18:00 SESSION III : [Panel Discussion] Cultural Diversity and Regional Cooperation in East Asia Moderated by Mr. Olu ALAKE III-1. Prof. XIE Zheping (Researcher, Center for UNESCO Studies at Renmin University of China) III-2. Mr. HUH Kwon (Head, Culture Team, Korean National Commission for UNESCO) III-3. Ms. LUVSANJALBUU Munkhzul (Culture Program Specialist, Mongolian National Commission for UNESCO) III-4. Dr. KWAK Sook-hee (Training and Education, Asia-Pacific Centre of Education for International Understanding (APCEIU)) III-5. Ms. OHNUKI Misako (Director of Culture Division, Asia/Pacific Cultural Centre for UNESCO (ACCU)) III-6. Ms. SON Kyung-nyun (Director, Urban Research & Int l Cooperation Team, Executive Agency for Culture Cities in Korea) Discussion 11

12 29 June 2005 (Wed) Venue: Rose Room, Tower Hotel 09:30-10:30 Final Discussion and Adoption of the Recommendation 10:30-10:50 Closing 12

13 LIST OF PARTICIPANTS Participants CHINA Mr. LI Jiangang Director Bureau for External Cultural Relations, Ministry of Culture 10 Chaoyangmen North Street, Beijing P. R. China T F / Lijiangang@culturalink.gov.cn Mr. QUE Xiaohua Advisor for Cultural Policy Bureau for External Cultural Relations, Ministry of Culture 10 Chaoyangmen North Street, Beijing P. R. China T F / Quexiaohua@culturalink.gov.cn Prof.(Ms) XIE Zheping Researcher Center for UNESCO Studies at RUC Rm 207, East Library Building, Renmin University of China (RUC) No.59 Zhongguancun Dajie, Beijing P. R. China T F zpxie@ruc.edu.cn JAPAN Prof.(Mr.) KONO Toshiyuki Professor of Law Kyushu University Faculty of Law 23, Fukuoka, Japan T F konoto@law.kyushu-u.ac.jp Ms. OHNUKI Misako Director Culture Division Asia/Pacific Cultural Centre for UNESCO (ACCU) No.6 Fukuromachi, Shinjuku-ku, Tokyo Japan T F ohnuki@accu.or.jp Web. 13

14 MONGOLIA Dr.(Mr.) BATMUNKH Norov Director Department of Culture, Ministry of Education, Culture and Science Government Bldg III Baga Toiruu-44, Ulaanbaatar Mongolia T F / Web. Prof.(Mr.) TOGOOCH Dorjdagva Department of Philosophy National University of Mongolia Ulaanbaatar 46/337 Mongolia T F C Ms. LUVSANJALBUU Munkhzul Culture Program Specialist Mongolian National Commission for UNESCO Government Building 11 Post office 38, Ulaanbaatar Mongolia T F / REPUBLIC OF KOREA Presenters Mr. PARK Jong-taek Deputy Director International Cultural Cooperation Division Ministry of Culture and Tourism 82-1, Sejongno Jongno-gu, Seoul R. of Korea T F Dr.(Ms.) RYOO Jeung-ah Chief Researcher Korea Culture & Tourism Policy Institute #827, Banghwa 3-dong Gangseo-gu, Seoul R. of Korea T F C

15 Dr.(Mr.) YOON Yong-joong Analyst National Assembly Budget Office KITC B/D 18F, Yeouido-dong 27-1 Yeongdengpo-gu, Seoul R. of Korea T F C Dr.(Mr.) LEE Dong-yeun Director Research Center for Culture and Society, Cultural Action Professor Dept. of Korean Arts Korean National University of Arts , Kyun-young Apt., Noryangjin-dong Dongjak-gu, Seoul R. of Korea T F C / Dr.(Ms.) KWAK Sook-hee Head Training and Education Team Asia-Pacific Centre of Education for International Understanding (APCEIU) Unesco House n Myeongdong-2ga Jung-gu, Seoul R. of Korea T F C / Ms. SON Kyung-nyun Director Urban Research & International Cooperation Team Executive Agency for Culture Cities Ministry of Culture and Tourism 1-57 Sejong-no Jongno-gu, Seoul R. of Korea T F C Moderators Prof.(Mr.) LEE Keun-Gwan Assistant Professor, Dept. of Law Seoul National University Hyun-dai Apt., Apgujeong-dong Gangnam-gu, Seoul R. of Korea T

16 F C Prof.(Mr.) KIM Moon-hwan Chairperson Culture Committee, KNCU Department of Aesthetics Seoul National University San 56-1, Sillim-dong Gwanak-gu, Seoul R. of Korea T F C Discussants Prof.(Mr.) HAN Geon-soo Dept. of Cultural Anthropology Kangwon National University 192-1, Hyoja2-dong Chunchon, Kwangwon-Do R. of Korea T C Prof.(Mr.) KIM Hyoo-jong Dean, Graduate School of Culture and Arts Management Chugye University of the Arts 190-1, Buk Ahyeon-dong, Seoul R. of Korea T F C Participants Dr.(Ms.) LEE Soo-yeon Director Dept of Society and Culture Korean Women s Development Institute Bulkwang-dong Eunpyung-gu, Seoul R. of Korea T Lsy4026@kwdi.re.kr Mr. LEE Eon-yong Assistant Director Urban Research & International Cooperation Team Executive Agency for Culture Cities Ministry of Culture and Tourism 1-57 Sejong-no Jongno-gu, Seoul R. of Korea T F eonyong8@mct.go.kr 16

17 Resource person Mr. Olu ALAKE Head Community Partnerships & Programmes Commission for Racial Equality 220A Rush Green Road Romford Essex England RM7 0LA, London England T C / UNESCO Ms. Beatrice KALDUN Programme Specialist for Culture UNESCO Office Beijing Waijiaogongyu Jianguomenwai Compound Beijing, P.R. China T (ext 131) F Web. Ms. Vanessa ACHILLES Consultant for the Culture Unit UNESCO, Regional Office of the Advisor for Culture in Asia and the Pacific 920 Sukhumwit Rd. Prakanong Bangkok, Thailand T (ext. 514) F Web. KNCU Dr. (Mr.) Samuel LEE Secretary-General Korean National Commission for UNESCO UNESCO House 8 th floor Myeongdong-2ga Jung-gu, Seoul R. of Korea T F Mr. LEE Seung-hwan Assistant Secretary-General . shlee@unesco.or.kr Mr. HUH Kwon Head, Culture Team . khuh@unesco.or.kr 17

18 Ms. LEE Sun-kyung Programme Specialist, Culture Team . Mr. KIM Kwi-bae Programme Specialist, Culture Team . Ms. Diana Hyekyung PARK Programme Officer, Culture Team . KCTPI Dr.(Mr.) LEE Yong-wook President Korean Culture & Tourism Policy Institute #827, Banghwa 3-dong, Gangseo-gu, Seoul R. of Korea T F Dr.(Ms.) RYOO Jeung-ah Chief Researcher . Dr.(Ms.) HONG Ki-won Chief Researcher . Dr.(Mr.) PARK Jo-won Chief Researcher . Dr.(Ms.) CHAE Ji-young Chief Researcher . 18

19 COUNTRY REPORT GUIDELINES These guidelines are to assist participants in the preparation of their Country Report(Session I), which is a report on the national status of Cultural Diversity, as implied by the Declaration. UNESCO Universal Declaration on Cultural Diversity Identity, Diversity and Pluralism Article 1. Cultural Diversity: the Common Heritage of Humanity Article 2. From Cultural Diversity to Cultural Pluralism Article 3. Cultural Diversity as a Factor in Development Questions: 1. Please state the general definition(s) of Cultural Diversity in your country, and, if it exists, its embodiment in governmental policy(ies). 2. Which areas have been/should be identified in your country to promote the concept of Cultural Diversity? 3. How does your country see its policies on cultural diversity contributing to national development? Cultural Diversity and Human Rights Article 4. Human Rights as Guarantees of Cultural Diversity Questions: 4. What is the situation in your country in protecting the rights of persons belonging to minorities and those of indigenous peoples? 5. How does your country make efforts to defend the rights of persons belonging to minorities and those of indigenous peoples, and what are the difficulties in doing that? 6. Please identify the policies, measures and programmes to protect the rights of minorities and indigenous peoples in your country. Article 5. Cultural Rights as an Enabling Environment for Cultural Diversity Questions: 7. What is the situation in your country in protecting the cultural rights implied in Article 5 : language diversity, access to quality education for cultural identity, and participation in cultural life? 8. How does your country make efforts to ensure cultural rights, and what are the difficulties in doing that, with respect to language diversity, access to quality education for cultural identity and participation in cultural life? 19

20 9. Please identify the policies, measures, and programmes that protect cultural rights, including those that specifically take into account differences of region, gender and social class. Article 6. Towards Access for all to Cultural Diversity Questions: 10. What is the situation in your country in protecting the accessibility of cultural diversity implied in Article 6 : freedom of expression, media pluralism, multilingualism, equal access to art and to scientific and technological knowledge, access to the means of expression and dissemination? 11. How does your country make an effort to ensure access for all to cultural diversity and what are the difficulties in doing that, with respect to freedom of expression, media pluralism, multilingualism, equal access to art and to scientific and technological knowledge, access to the means of expression and dissemination? 12. Please identify the policies, measures and programmes that protect access for all to cultural diversity in your country. Cultural Diversity and Creativity Article 7. Cultural Heritage as the Wellspring of Creativity Article 8. Cultural Goods and Services: Commodities of a Unique Kind Article 9. Cultural Policies as Catalysts of Creativity Questions: 13. What is the situation in your country in recognizing and protecting the rights of authors and artists? 14. Please identify the policies, measures and programmes that protect the rights of authors and artists in your country. 15. What is the situation in your country in recognizing the specificity of cultural goods and services and in promoting their related industries? 16. Please identify the policies, measures and programmes in which your country encourages the production and dissemination of diversified cultural goods and services locally and globally. Cultural Diversity and International Solidarity Article 10. Strengthening Capacities for Creation and Dissemination Worldwide Question: 17. How does your country make an effort to promote international and regional (at the East Asian level) exchange of cultural goods and services or cultural exchanges and how do those efforts contribute to cultural development and international solidarity? 20

21 Article 11. Building Partnerships Between the Public Sector, the Private Sector and Civil Society Questions: 18. How does your country build partnerships between the public sector, the private sector and civil society to promote cultural diversity? What is the extent of these networks and do they include the existence of an information database? 19. Please provide us with examples of successful partnerships. Article 12. The Role of UNESCO Question: 20. What role should UNESCO play to promote the cultural diversity at a national, regional and international level? 21

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23 INTRODUCTION Cultural Diversity and UNESCO 유네스코와 문화다양성 23

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25 Introduction Cultural Diversity and UNESCO Beatrice KALDUN Programme Specialist for Culture UNESCO Office Beijing Office of the Representative to DPR Korea Japan, Mongolia, PR of China and Republic of Korea It s an honour to be here with you all to discuss cultural diversity and the role UNESCO has in preserving, protecting and promoting it within the world today. I want to first take a little time to introduce cultural diversity, followed by a short appraisal of UNESCO s work historically in this field before addressing the continually changing situation we are currently faced with in terms of the opportunities, challenges and threats that our ever evolving planet provides, and how we at UNESCO are working to meet these challenges. In a world of over 5,000 differing ethnicities and 6,000 languages the most obvious point to make is that cultural diversity is an undeniable fact that extends to all corners of the globe permeating and influencing everything from what we eat and drink to the books we read to perhaps most importantly the window through which we view and perceive the world. With such a multitude of communities and languages comes a rich blend of beliefs, values, traditions and practices all worthy of the same respect and equal platform. Thus cultural diversity provides a fountain of knowledge and creativity we can all draw from. Not only is cultural diversity prevalent between countries but also within them and further contributing to this heterogeneity is the growing number of people trading the country of their birth to reside abroad. (Latest figures list the number of migrants having doubled since the 70 s with presently around 175 million residing away from the country of their birth International Migration Report 2002 of the UN Department of Economic and Social Affairs. Set against this background UNESCO today works to promote international cooperation among its 191 Member States and 6 Associate Members in the fields of education, science, culture and communication. We aim to provide a forum for the dissemination and sharing of ideas and knowledge underpinned by a respect for shared values, rights and cultural differences, an approach that has taken on added significance in the wake of increased world terrorism. It has long been UNESCO s belief that respecting and safeguarding culture is a matter of human rights and that, in turn, respect of certain fundamental freedoms is a prerequisite to the health and vitality of cultural diversity. Such fundamental freedoms include: Freedom of thought, conscience and religion Freedom of opinion and expression Freedom to participate in the cultural life of one s choice 25

26 Looking back on UNESCO s approach to cultural diversity, both in theory and in practice one can see how the attitudes to cultural diversity and the understanding of its importance have evolved in response to our ever changing world. In the study UNESCO and the issue of Cultural Diversity Review and Strategy collated by UNESCO s Division of Cultural Politics and Intercultural Dialogue, UNESCO s evolution in this field is grouped into 4 broad overlapping periods, which may not be all inclusive, but are considered useful in suggesting some theoretical trends and practical implications of UNESCO s approach to cultural diversity in the past, with a view to reinforcing and refining efforts in the present and future. Firstly in the aftermath of the Second World War UNESCO s focus was aimed primarily on advancing education and knowledge as the keys to peace and this was underlined by the coining of the now famous UNESCO maxim wars begin in the minds of men. Ever since its founding UNESCO has traded on the belief that aiding reconstruction in devastated countries and publishing new findings in the field of science were not enough. It was necessary, through education, social and natural science, culture and communications, to work towards a far higher ambition: to build peace in the minds of men. From this it followed that through the cultivation of knowledge, ignorance, the root cause of suspicion, mistrust and war among people, could be overcome. The study adjudges that at this time culture had yet to become politicized. The second period, marked by a proliferation of newly independent nations, (is categorized Culture and Politics ) and signified the movement of the culture debate into the political arena. Indeed the unique cultural heritage and customs of these new countries was placed at the forefront of the justification for their independence. Culture had thus quickly become a political issue. The third period ( Culture and Development ) is viewed largely as an extension of the second as the idea of culture as a political power took hold. Countries such as those newly independent and those developing, were, through their cultural heritage, provided with the means by which to move forward autonomously. Finally under the fourth period, Culture and Democracy, we see a move to foster improved understanding and tolerance not just between societies but also within them. Focus has been placed on intra-societal problems, especially in urban centers and on the (theoretical and practical) issue of minority rights, and the co-existence of diverse cultural communities. These periods have not directly replaced one another over time per se but rather have added to an overall discourse and reflect changing attitudes and perceptions to cultural diversity in response to changes in the world. However it should also be noted that while UNESCO has moved forward and made great progress in the post half of the last century, and despite certain changes, the continuity in its mandate and mission are unmistakable. In the world today we are faced with new challenges, none bigger than those posed by globalization. Globalization should not just be thought of in terms of the increase to worldwide circulations of information and ideas. Economically speaking it entails an increase in capital flow, transnational investment and international trade, thereby integrating all countries into a single giant world market. 26

27 This new communications driven world market has brought about a radical change not only in the economic and technological order, but also in our attitudes and perceptions of the world, both geographically and culturally. It has permeated all facets of life and cultural diversity is no exception. Indeed this new dimension requires a redefinition of the types of actions and strategies to be established in order to preserve and promote cultural diversity. So what are the challenges? The main challenge is to accentuate the positives engendered by globalization which has served to create the conditions for renewed dialogue among cultures, and to offer unprecedented potential in terms of expression and innovation. Taking advantage of these new possibilities being offered by globalization and regulating them are vital actions so that all cultures may achieve full recognition, without undergoing exclusion in an emergent global economy. Tempering the enthusiasm generated by these potentials is the risk of marginalization to the most vulnerable countries. Here at UNESCO we believe culture in general, and cultural diversity in particular, is facing three significant challenges: Firstly, as already stated, globalization, in its powerful extension of market principles, and by highlighting the culture of economically powerful nations, has created new forms of inequality, thereby fostering cultural conflict rather than cultural pluralism. The threat is evident on the international stage where the larger economic powerhouses dominate smaller less prosperous nations culturally, and it is also clear to see within countries where one ethnic or social group overshadows others. Secondly, States are increasingly unable to handle on their own the cross-border flow of ideas, images and resources that affect cultural development. Finally, the growing divide in literacy (digital and conventional) have made the cultural debates and resources an increasingly elitist monopoly, divorced from the capabilities and interests of more than half the world s population who are now in danger of cultural and economical exclusion. Indeed the UNESCO Director General, on World Day for Cultural Diversity for Dialogue and Development this year, referring to the growing threat to cultural diversity, succinctly observed that the digital divide, manifested in the great disparity of access to information and communications networks, lack of training in use of new technologies and unequal capacities for creative work and dissemination there of, only accentuates that vulnerability. A glance at a few statistics serves to underline the present state of cultural diversity and (the magnitude) of the task and effort needed by us all to redress the balance: The approximately 6,000 languages that exist in the world do not all have the same number of speakers: only 4% of the languages are used by 96% of the world population. 50% of the world languages are in danger of extinction. 90% of the world s languages are not represented on the internet. Some 5 countries monopolize the world cultural industries trade. In the field of cinema, for instance, 88 countries out of 185 in the world have had their own film production. Thus the situation is outlined and the challenges are set. I will now turn attention to the role UNESCO is fulfilling presently as we strive to adapt and develop our approach to 27

28 best take advantage of the potentials offered, and to counter the threats posed, by globalization in the world today. As a look at UNESCO s history establishes, the need to study and to handle situations of cultural pluralism on every societal level has remained a vital and indispensable focus for the Organization s activities. This attention to cultural pluralism ensures that UNESCO remains proactive and relevant in the most pressing of international relations today. In its efforts to harness the possibilities arising from the slipstream of globalization, UNESCO highlights the necessity to protect tangible and intangible heritage in its plural aspects as well as the diversity of contemporary intellectual and artistic creation. With regard to tangible heritage here in North East Asia, the region is blessed with a history stretching back many thousands of years and thus is rich in tangible heritage sites. Sadly, the forces of time, the elements, natural disasters, war, social upheaval, and now rapid economic growth threaten many of the physical treasures left to this region and the world. UNESCO programmes in this area seek to identify, highlight, study, stabilize, preserve, and sometimes restore these tangible monuments of the past. A further channel through which UNESCO has sought to redress the cultural diversity imbalance is the UNESCO World Heritage Convention, adopted by the General Conference of UNESCO on 16 November 1972 in response to increasing threats to sites of cultural and natural heritage, especially in countries that have neither the financial nor the technical and scientific resources they need to mitigate the dangers. The listing of World Heritage sites has had a hugely positive impact on many of the smaller or less prosperous nations of the world, bringing, as it does, much needed international assistance that goes a long way to securing the site s future preservation. It also provides a focal point for national pride with worldwide exposure, and of course the influx of tourism. More recently the World Heritage Committee, seeking to assist with efforts to provide improved parity in cultural diversity throughout the world, has given greater attention to the protection of non-monumental cultural heritage and to the interface between culture and the environment through the preservation of cultural landscapes. The UNESCO World Heritage Centre, which serves as the international secretariat for the World Heritage Committee and Convention, is developing a global strategy with the aim of enhancing representation on the World Heritage List. The aim is to ensure that the cultures of peoples who have no monumental architectural heritage but are represented in other equally important and impressive ways such as cultural landscapes are also placed on the List and afforded international protection. This relatively new direction for the World Heritage Convention is particularly important here in the Asia and Pacific region where so much of the land has been uniquely transformed by human cultural activity and where so many of the these sites are now under threat from development and tourism. North East Asia is further afforded a wealth of variety in the way intangible heritage manifests itself, from oral traditions, performing arts, customs and rituals, to festivals, clothing, crafts and food. Through the existence and transmission of this intangible cultural heritage, a group or community provide themselves with a sense of identity and commonality. UNESCO is committed to preserving these aspects of culture in addition to the more tangible properties. Indicative of this commitment was the adoption in October 2003 by Member States of the Convention for the Safeguarding of the Intangible Cultural Heritage. This Convention assigns a place of pride and recognition in its own right to intangible cultural heritage and is set to fill an important gap in the set of UNESCO international legal instruments that aim at the protection and safeguarding of our heritage. 28

29 Cultural goods thus defined are not mere consumer goods; they express a vision of the world and the most complete identity of individuals and peoples. Particular attention is paid, therefore, to the commercial exploitation of cultural goods, which are also symbols of identity. This means taking copyright into consideration and remaining vigilant to the respect of intellectual property and the constitution of new global markets. It is equally important, in the view of UNESCO, that the development of new technologies should not weaken cultural diversity. In this regard, UNESCO insists on the need to promote pluralism of media, linguistic diversity and the presence of local contents in cyberspace. One specific area concentrated on by UNESCO in recent years with regard to the commercial exploitation of cultural goods has been the problem of the international trade in illicit cultural items. The 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property was intended to greatly reduce this. However, for some time it was a great concern that the majority of States where cultural objects were traded or collected, were not party to this Convention. UNESCO has made a major effort over recent years to persuade these States to join these Conventions, and that effort has paid rich dividends. As a part of UNESCO s efforts to improve and enhance mutual understanding of cultural diversity within Asia, UNESCO is developing the creation and growth of networks such as the Asia Pacific Performing Arts Network (APPAN) a unique network of artists, practitioners, scholars and professionals, young and old, who engage in the protection, enhancement and revitalization of traditional and contemporary creativity through research, exchange, education and networking. UNESCO Office Beijing is also entrusted by the UNESCO Director General to organize such events as the UNESCO Children s Performing Arts Festival in East Asia. First held in 2001, and this year to be held in Macao, China, this festival has become an eagerly anticipated annual event alternately held in one of our cluster countries in East Asia, providing a basis for cooperation and cultural exchange among the children representing China, the Democratic People s Republic of Korea, Japan, Mongolia, and the Republic of Korea. Through the experience of sharing both traditional and contemporary songs and dances a wonderful opportunity is afforded for the development of intercultural understanding and mutual respect among the participating children. Now I would like to reflect briefly on what has been the biggest step forward for UNESCO in recent times and the main reason we are gathered here, the 2001 adoption of the UNESCO Declaration on Cultural Diversity. We will be looking in depth at the Declaration over the course of this forum but let me stress that the impact it has made has provided renewed impetus in our common goal of the healthy worldwide development of cultural diversity and the ultimate goal of peace. The Declaration broadly aims to channel diversity towards constructive pluralism through the creation of state and societal mechanisms to promote harmonious interaction between cultures. To achieve this goal, both the State and civil society have an important role to play by promoting equality and inclusiveness, allowing individuals to enjoy the security of individual and plural identities within an accepted social and democratic framework. Effectively the main contribution of the Declaration has been to offer UNESCO and the international community at large its own roadmap towards a more culturally plural, more culturally informed, and more culturally prosperous world. In preparation to this Forum, you all had opportunity to read or study the Declaration, but let us briefly look at the Declaration as a common background for our forthcoming discussions. 29

30 The Declaration consists of 12 articles grouped under four main headings: Identity, Diversity and Pluralism; Cultural Diversity and Human Rights; Cultural Diversity and Creativity; Cultural Diversity and International Solidarity. To implement the Declaration an accompanying action plan lists 20 steps to assist in the achievement of the Declaration s objectives. [followed by a brief walk through the forum programme] A tangible outcome of the forum will be a set of recommendations (draft title: Seoul 2005 Recommendations on Cultural Diversity). We will provide you with a draft version that each one of you can and should reflect upon during the forum. We will collect your comments and inputs in the afternoon of 28 June, finalize the Recommendations and expect to adopt the recommendations in the morning of 29 June in accordance with the forum programme. It is in our hands to achieve what the Declaration sets out and I sincerely hope and believe that events such as these can make a real impact in the direction and focus we require to implement the strategies set forth. Thank you all very much for your time. 30

31 KEYNOTE PRESENTATION Cultural Diversity and its Implementation 문화다양성의 정책화 방안 31

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33 Keynote Presentation FROM PRINCIPLE TO POLICY APPLICABILITY OF THE UNESCO DECLARATION ON CULTURAL DIVERSITY INTO CULTURAL POLICY A presentation to UNESCO East Asian Cultural Diversity Forum (27-29 June 2005, R. of Korea) By Olu Alake (Head of Community Partnerships and Programmes, Commission for Racial Equality, United Kingdom) June

34 1. INTRODUCTION When the wise women and men who wrote the Universal Declaration of Cultural Diversity completed their paper, I am not sure if the scene we currently have is one they actually envisaged an English-born Nigerian-raised man invited to discuss the applicability of cultural diversity policy into the practice of East Asian countries, using the United Kingdom s experiences as a reference point? Ladies and gentlemen, this, is diversity in action! It is indeed a pleasure to be here with you today. My particular thanks to Ms Sunkyung Lee for making the initial contact a few weeks ago through our esteemed mutual friend Naseem Khan, who was on the European steering group which fed directly into the UNESCO Declaration. This is my first visit to South Korea, and even from the little I have seen in the last 24 hours, it shall certainly not be my last time in this beautiful country. I am humbled to have been invited to this gathering to share with you some of the experiences that the UK and England in particular has obtained from its long and often turbulent history of engagement with cultural diversity, both as abstract concept and also as practical everyday living reality. I have to say that even though I have delivered several similar presentations in countries as diverse as Sweden and Croatia in Europe and Trinidad in the Caribbean, this is the first time I have been listed anywhere as an Expert. Several of my friends and colleagues shall be having a lot of fun at my expense with that one for a very long time to come, so thank you for this UNESCO East Asia! While I do not see how anyone can really claim to be an expert on cultural diversity, I will immediately flag that what I am most certainly not is an expert on East Asian cultures. That is why you my esteemed friends are here. What I can hopefully bring is the benefit of my experience and suggestions of how you might want or need to focus the general principles of CD into your own national and organisational contexts. Cultural Diversity is a complex and difficult subject or a simple matter of fact and circumstance. How you view it will largely be a function of where you need to or are able to locate yourself within the context of any particular discussion. In this presentation, which I hope to get through in about half an hour, leaving us adequate time for discussion thereafter, I will look at some of the practical difficulties that we have had in England with Cultural Diversity. A lot of what I say will be particular to our own peculiar social and political circumstances, but there will be transferable lessons for any country new to this area of work. I will also be referring to some case studies at various points in the presentation most of these examples are all deliberately derived from a particular cultural organisation in the UK, namely the Arts Council England. The reason for doing this is threefold: one, so that you can see how much effort one organisation can put into trying to make a policy real and tangible, yet still not get it totally right all the time, two, because I used to be Head of Cultural Diversity at Arts Council England and am quite familiar with the examples, and three, because being the arts, they always have some good pictures I can use in my presentation to distract you intermittently from the sound of my voice! GENERAL CONCEPT OF CD The first challenge that you will face in implementing a cultural diversity policy is defining what you actually mean by Cultural Diversity. There is a deliberate vagueness in the Declaration itself on what CD actually is. While a definition of culture is readily given very early in the Declaration 1, no such attempt was made to define CD itself. The convenient implication is that a semantic interpretation could most logically be appropriated when referring to it in this context, CD is the fact of a plurality of culture and cultural expressions in a given environment. 1 Culture being regarded as the set of distinctive spiritual, material, intellectual and emotional features of society or a social group, and that it encompasses, in addition to art and literature, lifestyles, ways of living together, value systems, traditions and beliefs. 34

35 However, this is not always the case. Within the supporting articles to the Declaration and implicit within the mainlines of the action plan, could be discerned other interpretations of CD. These would include such as the diversity of cultural products (Articles 7 to 9), the diversity of internation-states (Articles 10 to 12), and a more sociological interpretation of cultural diversity as differentiated human groupings. Even in the UK, there is no universally-accepted or sanctioned definition of CD. In fact, in everyday parlance now, CD is a euphemism for race and ethnicity. To say that you are a culturally diverse society to them would mean that there are various people from several Diasporic groupings within that defined space. In fact, there has been a more specific further drilling-down of the definition by other bodies for example, in its Cultural Diversity Action Plan 1998, Arts Council England defined cultural diversity as referring to African, Caribbean, Asian and Chinese Arts. This definition is understandable within the context of the instrumental policy to which it was referring the challenge the Council faced was how to engage with artists of these marginalised ethnic minority communities, who had been unrecognised, unfunded, underrespected and misunderstood because of their deemed cultural (actually racial) differences to the white majority population. As a result of this new-found concern by the Arts Council to address these communities, a naming continuum was developed they were called ethnic minorities communities arts, then ethnic arts, then Black arts, then Black and Asian arts, African/Caribbean and Asian arts, and then, culturally diverse arts. Now ACE define CD as, meaning the full range and diversity of the culture of this country. In some cases the focus will be on race and ethnic background and in others on disability, for example. Now, where the first definition was too specific, for instrumental purposes, this new one was probably too wide! However you look at it, CD became a signifier for the otherness of those communities as identified by the White majority population. Does it matter what you call it? Yes, it does. Swift language changes or inconsistent usage of definitional meanings will result in real and perceived confusion of the agenda and will make reaching whatever end-point has been identified infinitely more difficult. It has been widely accepted now and was fairly obvious to many from the outset, that for all its merits, the Declaration fell far short of being able to provide any real protection for cultural diversity in this era of accelerated globalisation. A direct response to this has been the current consideration for a more binding instrument on the Diversity of Cultural Contents and Artistic Expressions. This separation in itself will provide some more clarity on what we actually mean by cultural diversity in the Declaration, as there would be a clear separation between whatever definition is agreed on, and the diversity of cultural content and artistic expression. LESSON: CALL IT WHAT YOU WANT IT TO BE, AND BE CONSISTENT IN ITS USAGE. For the rest of my presentation, and being very cognisant of the varying ways in which you might be interpreting or defining CD as countries, I will refer to it in the loosest possible terms and alert you to any specific usages as they occur. 2. THE DECLARATION IN PRACTICE: I hinted above that the Declaration itself falls short of being an effective instrumental policy in some very important ways. There is however, very strong merit in the Articles as conceptual starting points, and there is much scope for developing activities, partnerships and programmes from them, which can have meaningful and sustainable impact on the cultural well-being and development of the various peoples in our countries. Going through each Article, one can readily find practical examples of several activities that are already in existence in other member states. I will highlight a few of them as case studies. The first three Articles are framed under the broad principle of Identity, Diversity and Pluralism. Article 1 is particularly significant in its reference to cultural diversity as the common heritage of humanity. This is important because when most people are asked about their culture, and 35

36 specifically where their culture comes from, many have no answers. It is rare for anyone to see their culture as being derived from or even majorly influenced by other cultures. This is not overly surprising in today s globalised and increasingly Americanised McWorld, where people s focus is now more on the individual than the society. Recognising that there is an innate common heritage of cultural diversity for all people is a means of ensuring that in small but significant ways, the tide of cultural individualisation can be stemmed in the hearts and minds of many people. We have already mentioned the problem of definition of culture and cultural diversity specifically. Added to the problem of definition is the associated problem of application, as the concept is applied to so many different things and to so many different groups of humans all at the same time, that this impacts its understanding. It simultaneously makes all people the same and yet it makes groups of them different from one another. As if these two problems were not enough, there are also the difficulties associated with the different types of culture as it comes in different forms or versions. Humans learn different versions of their culture(s). There is the problem of culture being taught and learned as truth, as the most correct or right way to believe and behavethe basis on which people judge the beliefs and practices of other groups of people and their cultures. And lastly, culture as something that all members of all groups learn and share, does not appear to apply in the complex and diverse nation-state context. All of these things become pronounced in the complex societies characterized by cultural diversity, and they produce their own special challenges. To address these challenges, various attempts have been made to inform, educate and celebrate the diversity of the many cultures that together make up the rich fabric of contemporary British (at least in the urban areas) societies. In the 1980s especially, in the thrall of the policy response of multiculturalism (the conceptual precursor to cultural diversity), there was a plethora of activity, mainly supported by sympathetic local government authorities, to have multicultural festivals and shows and concerts. This resulted in what has come to be rather disparagingly known as the Steelbands, saris and samosas phenomenon, as these were the ubiquitous cultural symbols mobilised to show how right on or politically correct the organising body was. While there is nothing wrong with these symbolic elements per se, they fell into disrepute as a collective representation, because they did not offer anything other than a celebratory moment. As good and exciting as some of these events were (and I recall going to some multicultural gatherings in packed football stadia crowds of over 50,000!), they are empty vessels by themselves, unless they are forming a part of a programme of activity that seeks to seriously challenge and engage the hearts and minds of the people. LESSON: DO NOT ENGAGE IN ONE-OFF CULTURAL DIVERSITY ACTIVITIES. CASE STUDY: THE REPECT FESTIVAL IN LONDON Rise, formerly the Respect festival, is London's top free music and dance festival, celebrating the capital's diversity and promoting anti-racism in a day-long festival Headline acts in the last 5 years have included international and homegrown stars from the worlds of music, dance and comedy. Events take place across the capital, in boroughs, parks and community centres. They encompass: Festivals and outdoor events Exhibitions - to include winning entries in photography competition Music and theatre Film Special events Rise is organised by the Mayor of London in association with the National Assembly Against Racism (NAAR) and SERTUC, the South East Region of the TUC. This festival is a part of the Mayor s overall cultural strategy. 36