Kulturudvalget 2015-16, Udenrigsudvalget 2015-16
KUU Alm.del Bilag 132, URU Alm.del Bilag 167
Offentligt
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CULTURE AND DEVELOPMENT: INTERNATIONAL EXPERIENCE
AND PERSPECTIVES
PRESENTATION BY
CECILIA MAGNUSSON LJUNGMAN,
FOLKETINGET,
30 MARS 2016
Honourable Members of Parliament, fellow speakers in the panel, ladies and gentlemen…
I am an independent evaluator of development assistance. I have had the privilege of evaluating a
wide range of different sectors over a period of 20 years. Culture and development is one area I
work in and I remain engaged in this area, because I have seen the unique and important results it
can achieve on the ground.
I would like to share with you the experience and perspectives of other countries working in the
field of culture and development.
SLIDE 2
Among donor governments, culture is seen to have a role in
three aspects
of development
assistance:
First, Culture can contribute to socio economic growth through investments in the creative
industries. The UN estimates that the World trade of creative goods and services totalled US$
600 billion in 2011.
Secondly, culture is seen as having a role in fostering peace- and bridge-building. This is nothing
new. Culture was the foundation of the bridge-building among the Nordic countries that led to
the close cooperation we enjoy today. Since then, culture has played a role in the peace processes
of for example, the former Yugoslavia.
Third, culture has an important role in efforts to promote democratic development, good
governance and human rights. A strong and well-functioning democracy depends on a vibrant
and independent culture sector to voice social, political and moral concerns.
There are studies and reports that provide evidence of the role of culture in all three of these
areas.
SLIDE 3
So how do countries work with culture in developing countries?
SLIDE 4
This roughly depends on what kind of country they are. The large and post-colonial countries,
and here I mean the USAs, Great Britains, Spains and Frances of the world, put
cultural
diplomacy
at the fore. In this work, national institutes (like the Göthe Institute, British Council,
etc) are central. Their main mission is to promote their national culture and their language. While
they may support exchange & dialogue among peoples, the main aim is not reducing poverty in
developing countries.
 URU, Alm.del - 2015-16 - Bilag 167: Oplæg fra Kulturudvalgets og Udenrigsudvalgets fælles høring om kultur og udvikling
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When this group of countries do support culture as part of their development effort, they tend to
be ad hoc.
SLIDE 5
Another important type of donor are the larger foundations such as Ford Foundation, Soros’s
Open Society Foundation and the Prince Claus Fund. These tend to have progressive strategies
that focus on creativity and free expression. Civil society and dialogue tend to be central
components of their culture support.
SLIDE 6
A third group of donors are what are often termed the like-minded donors. They are smaller
countries with a commitment to poverty reduction and free expression. Denmark is included in
this group. Leading up to the mid-2000s, this group was relatively active in the culture and
development arena. For example, Sweden played a leading role with an average of 225 million
kronor a year for its culture programme. Switzerland set a goal of dedicating 1% of its
development budget to culture. Norway developed a comprehensive strategy and Denmark
continued to expand its work in the area.
SLIDE 7
Today the situation is different. The Swiss have not met their 1% goal. Because of institutional
reform and economic downturn Swedish Sida drastically reduced its cultural commitments in
2007. It has however expressed new ambitions in this area, but the process is on hold for the
moment. The Dutch and Norwegians have held low profiles.
Meanwhile Denmark burst to the forefront in 2013 with its innovative strategy. Its well-grounded
and refreshing approach served as an inspiration for national institutes and cultural funds in
Europe. UNESCO has been very interested in the Danish approach and the UN Secretary General
mentioned Denmark in reports. The pending closure of CKU is thus of course greatly regretted
by many in the culture and development community. It will be missed.
SLIDE 8
But there are also positive developments going on. Some of the national institutes are starting to
recognise the benefits of a southern perspective, like the one applied by CKU. A few are being
given a larger role in the
country’s
development work. An example is the British Council which
has established a culture and development entity.
Second, the developments in the Middle East are creating a genuine understanding of the
importance of both culture and freedom of expression. Inter-cultural communication and
dialogue are higher on the agenda. The concept of Inclusion is becoming central and seen as
critical to reverse negative trends towards radicalisation.
And while cultural aspects make a very
minor
appearance in the
new
UN Sustainable
Development Goals, at least there is
some
recognition of them compared to the 2015 millennium
goals.
SLIDE 9
But there are quite a few challenges ahead. First, the mainstream development community
generally fail to embrace the role of culture in development. Why? For a start, culture is a
complex concept. It is hard to define. Second, the most important results from cultural
 URU, Alm.del - 2015-16 - Bilag 167: Oplæg fra Kulturudvalgets og Udenrigsudvalgets fælles høring om kultur og udvikling
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programmes involves changing attitudes and social transformation. This takes time. Third, results
achieved can be difficult to measure (but not impossible). Fourth, paradoxically it is a
disadvantage that effective cultural projects
do not cost
much
–
because this makes the
administration of the support relatively
more
expensive.
Another challenge that looms ahead is that of
rising cultural relativism.
As China plays an
increasingly large role on the world stage and in developing countries in particular, its influence
will increase. Its so-called
“human rights with Chinese characters”
in which freedom of
expression is overlooked, may inspire certain leaders of the developing world.
SLIDE 10
What are the needs ahead?
First, there is a need for leadership with vision in the sector. Denmark will leave behind a
vacuum by closing CKU.
Second, there is a need for greater championing of freedom of expression through culture – this
is a prerequisite for democratic development (through critical thinking) and socioeconomic
growth (through creativity and innovation). Cultural freedom, diversity, the voices of the
excluded AND democratic culture itself need to be promoted.
SLIDE 11
Third, there is a need to support
peace
and bridge-building
within
countries,
among
people and
between
regions. This includes supporting dialogue to find common ground and promote mutual
understanding. It also means support to culture in conflict areas – from documenting what war is
doing to society; to arts and cultural activities for trauma & reconciliation.
Fourth, there is a need for resources. While there are quite a lot of small sums available from
different donors here and there, long-term support has become practically non-existent as has
predictable funding.
SLIDE 12
These needs that I mention assume that supporting culture in developing countries is worth it.
But can it make a difference? Does it matter? I would like to answer that by reading one of many
quotes I have gathered from the ground level. This one is from a young Palestinian man.
SLIDE 13
“I used to be one of the
violent
people. I was
dangerous.
Before, my
gun
did the talking.
Now
theatre
has given me
another
way to talk. Power is not all in your muscles. I can write, perform
and I have power
within
myself. Before I did not know how to speak out and I was afraid. I can
now reach people with my messages. I make society better by teaching
children
to think,
imagine, express themselves and act. When I had a gun, I was afraid to die. Now I am not afraid
because now I can
touch
people's hearts.”