and trends cultural in african member states -...

World Conference on Cultural Policies

Mexico City, 26 July-6 August 1982

Situation and trends in Cultural Policy in African Member States

CLT/82/MONDIACULT/REF. l/AFR

CLT-82/MONDIACULT/REF.l/’AFR PARIS, 21 June 1982 Original: English/French

UNITE11 NATl.ONS EDUCATIONAL, SCIENTIFIC ANE CULTURAL ORGANIZATION

WORLD CONFERENCE ON CULTURAL POLICIES

(Mexico City, 26 July-6 August 1982)

SITUATION AND TRENDS IN CULTURAL 1OLICY IN AFRICAN MEMBER STATES

SUMMARY

I This document, on sub-Saharan Africa, was prepared on the basis of the replies to questionnaire CC/CD/D36/145 Annex (which is attached) received from a number of Member States. Some data on cultural policies were taken from other official sources. There are similar documents on Latin America and the Caribbean, Asia and the Paci.fic, the

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I Arab States and Europe.

These files contain country profiles and are preceded by an analysis of the situation and trends in cultural policy throughout the world in the 1980s.

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TABLE OF CONTENTS

Page

I . INTRODUCTION . . . . . . . . . . . . . . (iii) I1 . LIST OF ENTRIES . . . 1

1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 16 . 17 . 18 . 19 . 20 . 21 . 22 . 23 . 24 . 25 . 26 . 27 . 28 .

. . . . . . . . . . . . . . 1

CapeVerde . . . . . . . . . . . . . 10 Chad . . . . . . . . . . . . . . . 13 The Congo . . . . . . . . . . . . . 15 Ethiopia . . . . . . . . . . . . . . 20 Gabon . . . . . . . . . . . . . . . 25 Ghana . . . . . . . . . . . . . . . 28 Guinea . . . . . . . . . . . . . . 32 Ivory Coast . . . . . . . . . . . . . 35 Kenya . . . . . . . . . . . . . . . 39 Liberia . . . . . . . . . . . . . . 42 Madagascar . . . . . . . . . . . . . 46 Malawi . . . . . . . . . . . . . . 53 Mali . . . . . . . . . . . . . . . 57 Mauritius . . . . . . . . . . . . . 67 Niger . . . . . . . . . . . . . . . 69 Nigeria . . . . . . . . . . . . . . 71 Rwanda . . . . . . . . . . . . . . 76 Senegal . . . . . . . . . . . . . . 79 Sierra Leone . . . . . . . . . . . . 87 Togo . . . . . . . . . . . . . . . 90 Uganda . . . . . . . . . . . . . . 93 United Republic of Cameroon . . . . . . . 98 United Republic of Tanzania . . . . . . . 103 Upper Volta . . . . . . . . . . . . . 106 Zaire . . . . . . . . . . . . . . . 114 Zambia . . . . . . . . . . . . . . 118

Angola Benin . . . . . . . . . . . . . . . 5

III.ANNEX . . . . . . . . . . . . . . . . 123

Questionnaire on the administrative structures of cultural policy in Member States

I. INTRODUCTION

I. SOURCES OF INFORMATION

1. In preparation for the World Conference on Cultural Policies, due to be held in Mexico City from 26 July to 5 August 1982, Unesco's Clearing House and Research Centre for Cultural Development sent out a questionnaire(1) to all Member States in July 1981 for the purpose of compiling a reference document on the present situation and trends with regard to cultural policies in Member States.

The questionnaire consisted of eleven groups of questions relating to:

I. 11.

111 IV. V. VI. VII. VIII. IX. X. XI.

The general direction of cultural policy Administrative structures of cultural policy A. Public or semi-public bodies B. Non-governmental cultural institutions Preservation and development of the cultural heritage Aid to artistic and literary creation Cultural education, dissemination and animation Arts teaching Training of personnel for cultural action Cultural industries Financing and planning of culture Legislation and research in the field'of cultural development External cultural policy

2. This document is based on the replies received up to January 1982 from a number of Member States. In the case of countries which had not replied by then, other sources of material have been used, including the replies* to the questionnaire (CC/CD/CP/900) on the implementation of cultural policies, sent out in October 1980, those to the letter (CC/CD/CP/?35) on cultural legislation sent out in July 1981, the monographs published by Unesco in the 'Studies and documents on cultural policies' series, some of which were issued some while ago and could profitably be updated, the country profiles prepared on the occasion of various intergovernmental conferences on cultural policies organized by Unesco in Europe, Asia, Africa, and Latin America and the Carib- bean,(2) and by ALECSO for the Arab states (November 1981), together with various documents published on the initiative of Member States, reports of expert missions, periodicals and so forth in the possession of Unesco's Clearing House and Research Centre for Cultural Development.

All these provide a large body of important information, although it is sometimes incomplete and may even be aut of date owing to changes in the cultural policies of Member States.

(1) Questionnaire on +,the administrative structures of cultural policies in Member States of Unesco (CC/CD/DOC/145 Ann.).

(2) Eurocult (Helsinki, June 1972)--Asiacult (Yogyakarta, 1973)--Africacult (Accra, October-November 1975)--Americacult (Bogota', January 1978).

3. The purpose of this synopsis is to clarify the situation and trends with regard to cultural policies in the early 1980s. The task is obviously a difficult one because, as already indicated, the sources of information are by no means uniform but also because political systems, historical backgrounds, social and cultural traditions and administrative systems differ widely. There can be no discussion or cultural policy without reference to the socio- economic and socio-political circumstances of which that policy is the reflec- tion and the product. Few replies to the basic questionnaire, however, bring up this point. Furthermore, the information gathered relates only to the institutional aspects, which are often merely the 'surface of things' and have little to do with underlying cultural life. Something else lacking is an evaluation of the programmed activities, since the material received often merely states the aims pursued and does not report on the results achieved.

4. by no means exhaustive of:

An attempt will nevertheless be made to present a summary picture, albeit

the present situation with regard to cultural policies as reflected in the material gathered;

the likely future trends of these policies on the threshold of the 1980s.

11. SITUATION WITH REGARD TO CULTURAL POLICIES

5. In reply to the question on the general direction of cultural policy, practically no country states that it does not seek to pursue any form of cultural action. Even federal or decentralized countries now accept the idea of a national cultural policy, at least in the sense of a general direction or a trend as regards government measures. This general trend is frequently expressed in the constitution of the state, if only from the angle of the right to education or the need to promote a genuine national culture freed from colonial influences or foreign domination. Other basic texts in this respect are statements made by heads of state or ministers, the policy lines of the government party concerned, general or specific laws and regulations, and so forth.

According to the political system of the country concerned, its ideological background or the situation with regard to its economic development, the emphasis regarding major cultural policy objectives varies from one state to another. The industrialized countries attach major importance to full development of the human personality, to cultural democracy, to the democratization of culture through initial and lifelong education, to improvement of the status of artists, to freedom of creation and research, to assistance for cultural minorities and disadvantaged groups, to the aesthetic education of children and young people, to protection of the artistic heritage, and to decentralization and cultural participation. The developing countries are concerned, in addition, with economic development, enhanced appreciation of their own cultures, with special reference to their national languages, mass literacy teaching, the role of intellectuals in cultural promotion work, the development of cultural activities among young people , recognition of the interest of minority cultures and, above all, the recording and development of folk customs, traditions and arts regarded as expressing their identity and the authenticity of the country's distinctive culture. The socialist countries also place emphasis on the need for mass education with a view to producing a new type of person.

6. There ha.s been a spectacular tendency on the part of the public authorities, especially in the 1970s, to set up government departments in charge of culture or to add to the responsibilities of existing departments (generally 'education but also youth and sports, tourism, scientific research, etc.) by

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extending their purview to include cultural affairs. In many cases, the Min- istry of Culture has been established by separating it off from the Ministry of Education. In states organized on the British pattern, there is no ministry but an independent arts council.

Many countries report that cultural activities are looked after by a host of different departments, which may be concerned with buildings and equipment, the environment, information or communication, education, health, etc, Exter- nal cultural relations are generally tho concern of the Ministry for Foreign Affairs. Interdepartmental co-ordination then becomes an acute problem.

Lastly, it may be noted that the government is often assisted in its work by general or specific advisory councils which enable experts to have a hand in the framing of cultural policy.

7. An increasingly topical watchword is decentralization. In countries with a federal structure, cultural affairs are mainly handled at regional or provincial level. But centralized countries are also tending t~ delegate powers in this respect to regional and local bodies, with the assistance of advisory councils.

8. With regard to cultural action among the peopl.e, Member States are divided between socialistic countries which recognize only public bodies and other countries which have public bodies coexisting with a sector made up of private associations. In some Asian and African countries, religious bodies play an important part. The major cultural organizaticns almost everywhere are: universities and academies; drama, dance, music and other art groups; cultural associations of amateurs or for aesthetic education; artists' and writers' unions; cultural and socio-cultural centres; social organizations of workers, peasants, women, young people and others. These bodies nay or may not be associated with decisions concerning cultural matters.

9. The implementation of cultural policy is based on a number of instruments showing varying degrees cf sophistication in different countries.

The main instrument is, of course, a u e t for cultural purposes, which is seldom worked out and designated as such. This budget may come under one or more ministries and, in the most advanced countries, there may be separate regional and local budgets. Depending on the type of political system, cultural funds may be drawn solely from public sources and allotted only to public bodies, or may be divided between a public sector and a private sector In some countries, the bulk of expenditure on culture comes from the private sector, particularly foundations, or is simply governed by market laws (cultural industries). In most cases, however, cultural funds are provided out of public tax revenues and are spenc in the form either of direct outlays by state agencies or of subsidies to the private sector. Assistance for cultural activities is sometimes provided from the product of special levies (taxes on admission tickets or on gambling) or by way of tax exemptions.

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10. There is a certain trend towards rationalization in cultural expenditure, particularly in the planned-economy countries and in the industrialized countries, through integration of the cultural field into national planning. In various European countries which do not include culture in plans extending over several years, the general or sectoral trends are reflected either in periodic reports by the Ministry of Culture on the status of cultural policy, or in detailed studies, accompanied by practical recommendations, carried out by experts.

11. Research in the field of cultural development should be the necessary corollary of any rationalization of public decision-making in this area. While - some countries, particularly the most advanced, have long since evolved

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instruments for analysing cultural development (statistics, studies of cultural expenditure and budgets, sectoral studies and research, etc.) and Unesco has launched a number of regional undertakings to promote such research, it has to be recognized that most Member States fall short in this respect for want of financial resources and experts. A number of developing countries, however, do have a system of national statistics.

Research in the field of culture is generally carried out by universities and research institutes and concerns such items as modern and traditional arts, history, language, etc.

12. Legislation in the field of cultural development is another instrument of cultural policy, even if it has not everywhere gone as far as might be wished. The most advanced countries are faced with the dual problem of co-ordinating laws and regulations and simplifying legislation.

13. Reference must also be made to the problem of the training of personnel for cultural development. This is a new idea which needs to be promoted, even though there are a number of national or subregional training centres for cultural activities organizers and administrators (such as CRAC in Lorn&, CTC in Kingston, CLACDEC in Caracas and IFAC in Tunis), as well as national or regional training and refresher seminars.

Most existing training schemes are sectoral, being concerned with the theatre, music, the visual arts, archives, museums, libraries, etc. In the case of many developing countries, such training is carried out abroad (in the USSR, in France or in Italy, for example) or is provided by foreign instructors under bilateral or international co-operation arrangements.

14. The scope of cultural policy is not delimited in the same way in each state. Whether such policy is applied by one government department or by several, however, five major responsibilities are likely to be assigned to it:

preservation and effective presentation of the cultural heritage;

aid for creative work and creative artists, and their training;

artistic and cultural education and promotion work;

management of cultural industries;

cultural co-operation.

15. Concerns with respect to the cultural heritage obviously vary from one country to another; some have much cultural property, some relatively little, produced over varying periods of time in their history. In countries with long-standing civilizations, such cultural property constitutes both a 'sacred' and a costly heritage. Unesco has accordingly launched conservation programmes at the major sites of a number of countries. In most Member States, the work of looking after the various components of the national heritage-- whether they be material ob j ects (buildings , sites , books , archives , films , objets d'art, etc.) or orally transmitted arts and traditions (music, songs, dances, tales, customs, etc.)--which involves presenting them to best advantage, in some cases seeking them out, and investigating them in detail, is in the hands of national and sometimes regional and local institutions such as museums, libraries, archives services, universities and research institutes, specialized groups concerned with music, drama, folklore, handicrafts, and so forth. There is generally appropriate legislation to protect sites and safeguard such property against theft, pillaging and illicit export. Unesco has played an important part in promoting such legislative action. The heavy cost of this conservation work is often borne by the state budget, or by certain foundations or out of specific funds.

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16. Aid for creative work and creative artists has not been developed to the same extent in all countries, partly because the notion of 'artistic creation' has still to emerge in some developing countries. While the industrialized countries have all established a variety of systems of aid for artists, covering such items as social security (under a special scheme for artists or as part of the general system), financial assistance (fellowships or grants to enable them to work or to travel abroad, life annuities, assistance for the first play or exhibition), assistance in kind (rental of studios and workshops, free provision of equipment) , the commissioning or purchase of works by the public authorities, prizes, and so on, the less advanced countries confine themselves to more collective measures with less individual impact, such as: subsidies to artists' and writers' unions; publication of literary works; organization of national or international exhibitions, and of festivals, public competitions and prizes; study grants for art students, etc. Further- more, in nearly all the countries in the world, the role of the state, is to provide by law for the protection of literary and artistic property and to set up facilities for the training of creative artists by way of art institutes, opportunities to study abroad, the establishment of arts institutions for the training of actors, musicians, choreographers, dancers, and so forth.

17. Cultural education and promotion work are the core of any form of cultural action designed to cater for the people at large, as most Member States explicitly desire to do. Such cultural promotion work tends to take three forms, which are often complementary:

Firstly, the promotion of literacy and school education, extended in many countries by adult education, with the use of audio-visual aids; aesthetic education is not everywhere included in such basic education but is making marked progress.

Secondly, the work of arts institutions responsible for disseminating culture, which still too often cater only for educated audiences in major cities. They include theatres, operas, orchestras, dance companies, museums, libraries , cinemas and art galleries. A growing concern for democratization and decentralization of the arts is nevertheless to be noted, and many countries have taken steps to'make cultural facilities available over wider areas and to a greater variety of people , by establishing decentralized cultural clubs and cultural centres, rural community centres, festivals, travelling exhibitions, touring theatrical and musical performances, travelling cinemas, travelling libraries and museums, 'cultural caravans' and so on.

The third factor conducive to cultural development among the people at large lies in the extension of socio-cultural promotion work which is designed, besides spreading a knowledge of the arts and educating people in them, to encourage personal creativity, active participation and the assump- tion of responsibility. For this purpose, the resources of the arts are used to foster individual and collective self-fulfilment by way of amateur groups, choirs, theatrical companies, use of radio and television, and local information, the chief target populations being certain groups in underdevelopment situations, such as country people, workers, women, cultural minorities, handicapped persons and the elderly. Various public but more especially private institutions assist in this socio-cultural promotion work, including youth centres, clubs for workers and farmers, co-operatives, schemes for students to work in the country, and children's centres.

18. An active system of cultural industries (production of books, records, cassettes and video-cassettes, the film industry, production of auditory and audio-visual receivers, radio and television systems) is principally a feature of the industrialized countries. In the socialist countries, such items are entirely state-controlled, while in the market-economy countries they fall within the private industrial sector, with the state shouldering only the

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radio and television sector (though there may also be private channels) and a sector publishing books and records of a high cultural standard, and providing support for high-quality or educational films. Some developing countries have established a state radio or television service, in some cases with the assistance of industrialized countries for the training of technicians and systems operation; are endeavouring to set up a national film industry; and have established state agencies for book-publication, for the press and for documentation purposes.

19. With regard to cultural co-operation, there is no country that does not attribute special importance to cultural exchanges, primarily by means of a number of bilateral and multilateral agreements conducive alike to an acquaintance with foreign cultures and to better knowledge of a country's own national culture by others. All countries, moreover, refer to Unesco's interest in this cultural co-operation and the importance of the part played by the Organization therein, and many are concerned with such co-operation at the regional or subregional level through various organizations which may be either general (OAU for the African countries, the Arab League, OAS for some American countries, ASEAN for some Asian countries, the Council of Europe, etc.) or specialized (ALECSO for the Arab countries, Inter-American Council for Education, Science and Culture, Andre's Bello Convention for the Andean States, African Cultural Institute, etc.). Emphasis is also placed on the importance of the work of non-governmental organizations specializing in museums, archives, libraries, theatre, music, cinema, radio and television,. etc. For more practical purposes, such co-operation takes numerous forms including: exchanges of artists, exhibitions, films, shows, information and documentation; international festivals; establishment of cultural centres abroad; provision of experts and teachers; technical and financial assistance; co-production of films; training fellowships abroad; international congresses and conferences, etc.

111. TRENDS WITH REGARD TO CULTURAL POLICY

20. Is it legitimate, in the early 1980s, to speak of worldwide progress in cultural development? It is difficult to answer this question in the absence of any precise evaluation of the results of the policies applied in each country. The Mexico City Conference might launch research into ways of making cultural policies more effective in the difficult economic situation at present faced by all countries.

Overall, it may be said that the need to implement a cultural policy is universally appreciated and that more or less substantial resources, both structural and financial, have been made available for the purpose. But it must immediately be added that cultural development is dependent on the general economic situation and that any economic curbs or delays have a marked impact in the cultural field. The difficulty experienced by most developing countries in achieving their economic take-off is now compounded by the economic crisis which has been affecting -all the industrialized countries for some years past. This dampening down of national budgets comes at a time when the need for cultural development is gaining general recognition and when the past action taken by states in the sphere of culture has brought about an unprecedented development of local micro-community measures to promote cultural life, coupled with increasing numbers of groups of amateur and professional artists, a growing desire to preserve the various components of. the cultural heritage, increased decentralization of cultural activities, larger numbers of cultural installations and facilities, more and more public measures designed to improve the social status of the artist, increasing arts education for the people at large, more training of cultural workers, greater regard for the human environment, enhanced importance of cultural industries in people's

cultural life and increasing international cultural co-operation--all likewise on an unprecedented scale.

21. The situation in which those responsible for cultural policies in all states find themselves is consequently extremely difficult , since they are faced with increased demand in all sectors just when the means of meeting that demand are dramatically or seriously curtailed. It is no mere chance that the 'cultural dimension of development' is to be the keynote of the decade now beginning. This means not only that cyltural projects must be worked into a difficult economic context but also that cultural projects must be directed to serving development and that the attitudes of those who lead and organize cultural life, who have probably paid too little heed to this necessity, must be changed.

22. All states need to try to look ahead in cultural matters if this daunting situation is to be overcome. It is important both to avoid disappointing the hopes nourished by cultural works with regard to the development of their sector, and to revise cultural policy objectives so as to fit them into the scheme of overall development. This implies changes in priorities, attitudes and administrative practices and an imaginative approach to cultural policies. This in turn necessitates reshaping a more consistent and integrated policy on the part of government departments, redeploying financial resources for culture towards priority sectors by means of real cultural 'town and country planning', designed to reduce inequalities as between town and country, large town and small town, educated subculture and popular subculture, cultural majority and cultural ethnic minorities, and so forth, making culture an area of job creation through training schemes4 particularly for the young, making positive use of cultural industries for the purposes of the democratization of culture, and opposing a consumer culture in favour of a creative culture that will help everyone to find his or her place in the environment and to become an active agent of development.

23. The years ahead should be devoted, so far as culture is concerned, to four lines of priority action, to which international, regional, subregional and national organizations, whether governmental or non-governmental, should address their efforts for the following purposes:

To develop applied research on the dimensions of cultural development and ensure the training of the agents of such development. Only if competence and careful thought are given pride of place will it be possible to set cultural policies on a suitable course.

To accentuate the trend towards decentralization of cultural responsibilities to the people immediately concerned on the spot, and towards consultation and co-ordination among the various organizations in charge of culture. The French example of the Fonds d'intervention culturelle interministgriel (FIC) is interesting in more than one respect, since this agency allows of co-ordination among the various ministries responsible for particular aspects of cultural life (education, youth and sport, environment, agriculture, social affairs, etc.); co-operation with regional, departmental and local communities, with private organizations and with the different social constituencies concerned; the pooling of the funds available to all these parties for innovatory and experimental activities;.and the seeking out of new resources or funding not otherwise in great demand. It is only through concerted action that the cultural dimension of development can in practice take shape, since it implies allowing for the interactions which exist between economic life and all the sectors of the life of society, including those which are most decisive for the welfare of the individual and of communities: education, scientific and technological research, social action, the environment, the media and cultural action.

(c) To achieve better planning of the available resources. This is the corollary to the preceding item, but it is not enough, in a period of crisis, to co-ordinate the resources of the various government departments; it is also important to make all their budgetary choices mutually consistent, with particular reference to those in charge of cultural development. When the resources available are limited, they must be allocated to priority tasks, particularly those making both for economic development and for cultural development. In an increasing number of countries, it is coming to be realized that the cultural sector can be a source of jobs and of economic wealth. Without going so far as to set culture a purely economic purpose, a distinction can be made between cultural activities which directly or indirectly encourage growth and those which are unpro- ductive. The cultural sector may have a function in the training of individuals to fit them better for their lives as discriminating consumers and active citizens, instead of being regarded simply as a source of prestige or as satisfying minority needs.

(d) To make use of the positive contributions of technological development (audio-visual facilities, information technology) for the purposes of the cultural advancement of the people at large.

These four requirements provide a framework for the thinking which might be undertaken during the 1980s in all forums and at all levels.

CLT-82/MONDIACULT/REF.l/AFR

11. LIST OF ENTRIES

ANGOLA

I. GENERAL DIRECTION OF CULTURAL POLICY

1. The first extraordinary Congress of the MPLA-Labour Party defined the basic objectives of cultural policy for the period 1981-1985 as follows:

to strive vigorously to overcome all forms of colonial alienation and other vestiges of the past which dominate people's thinking and social behaviour and impede the establishment of national unity and new, socialist, relations of production;

to work towards the gradual development of musics dance , theatre , cinema, the visual arts, museology and all forms of mass culture as pre-conditions for the building of a new type of national, scientific and diversified culture;

to give special attention to traditional culture, art, the material cultural heritage and history (with its traditions, documents and monuments) as pre-existing forms of culture;

to give special attention to the conducting of surveys, the compila- tion of inventories, registration, conservation and research as a basis for the creation, dissemination and universalization of a new type of culture;

to continue to carry out scientific studies of the national languages and to use them in teaching and as a medium of communication and cultural expression;

to expedite the drawing up of a law on the protection of national monuments.

11. ADMINISTRATIVE STRUCTURES OF CULTURAL POLICY

A. Public or semi-public bodies

1. The Office of the Secretary of State for Culture is the body responsible for supervising, implementing and monitoring the main lines of cultural policy laid down by the MPLA-Labour Party and the Government of the People's Republic of Angola.

This body concerned with cultural administration is directed by a Sec- retary of State responsible for co-ordinating and supervising all matters specifically relating to his office.

The structure of the Office of the Secretary of State for Culture is as follows :

Central supporting and advisory bodies

Advisory Board (restricted and enlarged membership) Department of the Plan Department of International Exchanges Technical Department

CLT-82/MONDIRCULT/REF.l/AFR - page 2 Executive bodies

National Directorate of Universal Access to Culture National Directorate of Art National Directorate of the Cultural Heritage National. Book and Record Institute National Intellectual Property Institute Angolan Film Institute Natfonal Department of Libraries National Department of Budget Administration and Management National Centre for Historical Documentation and Research National Library Provincial Delegations Municipal Delegations

3. In addition to the Office of the Secretary of State for Culture, other bodies are responsible for certain sectoral aspects of culture. These include the National Union of Angolan Workers and the Angolan Women's Organization.

4. Co-ordination and co-operation between the various sectors of cultural life are ensured as follows:

at central level: by the central departments of the Office of the Secretary of State for Culture, located in the capital of the country;

at regional (provincial) level: by the regional delegations of the Office of the Secretary of State for Culture, located in the capital cities of the regions;

at local or municipal level: by the municipal and communal delegations of the Office of the Secretary of State for Culture, located in the muni- cipalities or communes.

B. Non-governmental cultural institutions

1. The National Association for Education, Culture and Social Communication of the National Union of Angolan Workers, as a non-governmental institution, acts as a focal point for all cultural activities.

2. Co-ordination and co-operation between the aforementioned body and the Office of the Secretary of State for Culture are ensured through the Office of the Secretary of the Central Committee of the MPLA-Labour Party responsible for ideological questions.

111. PRESERVATION AND DEVELOPMENT OF THE CULTURAL HERITAGE

The specialized bodies responsible for the preservation and development of the cultural heritage are as follow:

the National Directorate of the Cultural Heritage, responsible for museums, monuments, sites, works of art and archaeological sites;

the National Directorate of Art, responsible for folk arts and traditions;

the National Centre for Historical Documentation and Research, responsible for archives;

the National Department of Libraries, respcnsible for libraries.

CLT-82/PlONDIACULT/REF.l/AFR - page 3

IV. AID TO ARTISTIC -AND LITERARY CREATION

By virtue of the social structure of the country and of the political orientation of the governing bodies, artists constitute a specific profession and benefit from social protection, as provided for by the laws in force.

In addition, the Party, through its governmental and mass structures, awards prizes, scholarships and study tour grants with a view to the (re) development of artistic activities. Three bodies play a fundamental role here:

the Angolan Writers' Union (UEA) the Artists' National Union (UNAP) the Composers' National Union (TJXAC).

V CULTURAL EDUCATION, DISSEMINATION AXD ANIMATION

The National Directorate of Universal Access to Culture has the role of organizing cultural activities and providing cultural. training for the people.

One of the objectives of the People's Cultural Centres is to make widely known, in a creative and artistic formp the ideology ana basic policy lines of the MPLA-Labour Party by establishing effective links between ideological objectives and the masses and by developing artistic, literary, political scientific, technical and ideological activities calculated to afford the people wider access to culture in order to raise their revolutioaary consciousness and provide them with a source of spiritual enrichment.

VI. ARTS TEACHING

There is no body specialiy responsible for the teaching of art. In addition to crash courses organized by the Office of the Secretary of Stare fGr Culture, there are plans to organize regular courses of training, which would be recognized by the Minisrry of Education, for key personnel in the various fields of art.

VII. TRAINING OF PERSONNEL FOR CULTUKAI. ACTION

The establishment of a central body specializing in the training of personnel for cultural action is currently being considered.

VIII. CULTURAL INDUSTRIES

Cultural industries fall within the public sector. Thus the Angolan Film Institute (IAC) and the National Fi.lm Laboratory (LSC) have the responsibility of organizing and developing all forms and all aspects of the film industry.

IX. FINANCING AND PLANNING OF CULTURE

The Department of the Plan is mainly responsible for planning, programming and supervising the work of the National Council on Culture, while the National Department of Budget Administration and Management supervises the preparation of the budgets of the Executive Office of the Secretary cf State and of the Office of the Secretary of State for Culcure and its departments, in accordance with the procedures and time-limits laid down by the Ministry of Finance.

CLT-82/MONDIACULT/REF.l/AFR - page 4

X. LEGISLATION AND RESEARCH IN THE FIELD OF CULTURAL DEVELOPMENT

1. A decree issued by the Presidency of the Republic (No. 80-76, published in the official Gazette, 'Diario da Republica', of 11 October 1976) defines the components of the 'historico-cultural heritage' of the Angolan people as follows :

Historical documents: archaeological and palaeontological items and collections; edifices, sites, statues and buildings listed as historical monuments; works of art or popular handicrafts; written, graphic and photographic documents; items of clothing or decoration, furniture, objects; weapons and trophies of war, flags, official symbols; books and rare bibliographic items.

Documents of cultural value: national or foreign works of art or popular handicrafts; works of visual art of foreign or national origin; manuscripts of literary works; zoological, botanical, oceanographic, geological and technological items or collections.

2. The body responsible for making inventories of the historico-cultural heritage, classifying and preserving it, as well as determining the ways in which it may be used, is the Directorate of Museum Services.

3. Research is co-ordinated by the Cultural Council, established by a decision of the Secretary of State for Culture, dated 3 August 1981.

XI. EXTERNAL CULTURAL POLICY

1. Guided by the spirit of understanding and mutual respect which should govern relations with all peoples, cultural co-operation is given practical expression through the signing of bilateral and international agreements. The People's Republic of Angola has thus signed cultural co-operation agreements with African, European and Asian countries. At the multilateral level, it has become a Member State of Unesco and has established a National Commission for Unesco, an ICOM National Committee, an ICOMOS National Committee and the Angolan Association for the Environment.

The People's Republic of Angola has observer status with the African Cul- tural Institute (ACI), the International Association for the Development of Documentation, Libraries and Archives in Africa, the Agency for Cultural and Technical Co-operation (AGECOOP) and the International Federation of Film Archives.

2. The People's Republic of Angola is aware of the need to work towards the establishment of a society in which cultural identity serves as a basis for innovations conducive to the full expression of individual and collective c r ea t iv i t y .

The Ministry of External Relations and the Office of the Secretary of State for Culture are the bodies responsible for regional and subregional cultural integration.

3. Cultural action abroad takes the form of the promotion of art exhibitions and the organization of group travel and regular symposia. Steps are also taken to make national cultural values internationally known.

All these activities are the responsibility of the Ministry of External Relations and the Office of the Secretary of State for Culture.


BENIN


The policy statement of 30 November 1972 defines the new direction of cultural policy in the People's Republic of Benin. It assigns to the nation as a whole responsibility for:

'reinstating our national languages;

rehabilitating our culture by adapting it to the needs of the working people;

ensuring the development of popular culture by organizing mass literacy teaching in our national languages, thus making an essential contribution to our development'.



The formulation and implementation of cultural policy in the People's Rep- ublic of Benin are the responsibility of the Ministry of Literacy and Popular Culture. The function of this Ministry, established on 12 February 1980, is, at the national level and at the level of local communities, to direct and supervise:

all literacy and post-literacy activities;

all cultural activities in the field of literature, drama, choreography, visual arts and oral tradition in general; the building or restoration of museums and monuments and their preservation; the restoration and protection of historical and archaeological sites; the building and maintenance of public libraries and national archives.

The Ministry of Literacy and Popular Culture comprises the following:

1. Executive Office

2. Five Technical Directorates

General Directorate of the Ministry Directorate of Studies and Planning Directorate of Financial and Administrative Affairs

Directorate of Literacy and Rural

Directorate of Popular Culture Directorate of the National Library Directorate of National Archives Directorate of Museums, Monuments and

Newspapers

Sites

3. A public enterprise Beninese Office for the Arts (OBEA)

These directorates are decentralized. They have offices in the provinces and districts. These offices are responsible for the technical backstopping and organization of cultural activities in the provinces and districts.


In addition to the Ministry of Literacy and Popular Culture, the following ministries are active in certain cultural sectors:

the Ministry of Information and Propaganda (M.I.P.), responsible for the press and cinemas;

the Ministry of Tourism, Handicrafts and Leisure, responsible for tourism and the promotion of craft and leisure activities;

all the ministries of education.

The central body responsible for co-operation and co-ordination is the Ministry of Planning, Statistics and Economic Analysis.

The body responsible for ensuring co-operation and co-ordination for cultural activities is the Beninese National Commission for Unesco.


(a) Non-governmental associations:

Beninese Critics' and Writers' Association; African Cultural Society - Benin section; National Union of Traditional Song-writers and Singers;

(b) the National Arts Council; the National Committee on Literacy and Rural Newspapers.

Each advisory body periodically holds consultative meetings in order to plan programmes of activities and prepare for their implementation.


In the People's Republic of Benin the following governmental institutions are responsible for the preservation and development of the national cultural heritage:

the Directorate of Museums, Monuments and Sites; the Directorate of National Archives; the Directorate of the National Library; the National Council on Linguistics (C.N.L.); the Directorate of Literacy and Rural Newspapers.

A central workshop for the restoration of museum exhibits is in the process of being set up. Part of the equipment provided by Unesco is already available; once the rest has been received, work will be able to get effectively under way. This central workshop comes under the Directorate of Museums, Monuments and Sites.

National support has been enlisted for the building of the premises.

IV. AID TO ARTISTIC AND LITERARY CREATION

No system of aid for artists and writers yet exists. Steps are being taken to set up a Copyright Office in Benin.

Festivals are periodically held at which prizes are awarded. Furthermore, study tours and cultural exchanges are organized for groups of artists and writers.


V. CULTURAL EDUCATION, DISSEMINATION AND ANIMATION

Young People's Cultural Clubs, Cultural Centres, Companies for the Manage- ment of Centres €or the Performing Arts (SECS), public libraries and museums contribute to the cultural advancement and training of the public.

VI. ARTS TEACHING

The establishment of an arts institute at national level is planned.

VII. TRAINING OF PERSONNEL FOR CULTURAL ACTION

The National University of Benin (CEFAP) provides a three-year course of training for archivists, librarians and documentalists following the secondary- school leaving certificate.


Cultural industries are distributed between two sectors:

Public sector

ONEPI (National Publishing and Printing Office); OBECI (Beninese Film Office), responsible for the production and

ORTB (Beninese Radio and Television Broadcasting Office); SONAPAL (National Paper and Book Company), responsible for the

distribution of films;

distribution and sale of books and paper.

Private sector

SATEL (African Electronics Company), which manufactures records; all private printing works; private bookshops.


1. The financing of culture is ensured partly through the national investment and production programme.

2. There is not, strictly speaking, any special system for aiding handicrafts, cultural associations, cultural centres or cultural clubs.

3. Cultural development is encouraged nationally by means of exemption from customs duty granted by the Ministry of Literacy and Popular Culture for any purchase of equipment abroad.

4. The structure of the Ministry of Literacy and Popular Culture includes a central directorate responsible for the planning of cultural activities, namely, the Directorate of Studies and Planning. This Directorate has the task of studying and planning existing cultural activities and those scheduled for the future.

Mention should be made of the national state plan, which encompasses all aspects of cultural life, in particular, culture and the arts, festivals, museums, monuments and sites, national archives, the national library and mass literacy teaching.



1. cultural heritage.

Laws have been passed concerning the preservation and conservation of the

Ordinance 75-80 lays down the procedures for legal deposit with the National Library.

Other ordinances define the conditions for deposit with the National Archives and lay down museum regulations.

2. The bodies responsible for research and documentation are:

the library of the National Commission for Unesco; the National Library; the National Institute for Educational Training and Research (INFRE).

Our country does not yet have a body specializing in research and documentation for cultural development.

However, the co-ordination of cultural studies and research is ensured at the subregional level by the Regional Centre for Cultural Action (CRAC) in Lome' (Togo) and at the regional level by the African Cultural Institute (ACI) in Dakar (Senegal).

There exists at national level, within the Ministry of Literacy and Popular Culture, a Technical Directorate responsible for the promotion of culture. Nevertheless, we can state that the combined efforts of the Directorate of Studies and Planning and the Directorate of Popular Culture are focused upon the co-ordination of research and the development of cultural action.


Generally speaking, our country engages in cultural co-operation through the programme of cultural and technical co-operation existing between Benin and countries with which it has friendly relations, as well as governmental and non-governmental institutions and organizations.

To this end cultural and technical co-operation agreements have been signed between the People's Republic of Benin and its various partners. They concern the fields of science, technology, education and culture.

The People's Republic of Benin has signed co-operation agreements with a number of African countries. It is a member of the African Cultural Institute (ACI) and the Agency for Cultural and Technical Co-operation (AGECOOP).

This co-operation takes the following forms:

at the bilateral level, exchanges of men of letters and artists, exchanges of experience between expert missions and financial and material assistance;

at the multilateral level, the People's Republic of Benin is a member of Unesco, OMMSA, the International Federation of Libraries and Archives and the World Tourism Organization.

The public body responsible for cultural co-operation is the Ministry of Literacy and Popular Culture.


Our country has adopted a national cultural policy which is in line with the recommendations contained in the Cultural Charter for Africa drawn up under the auspices of the OAU, which Benin ratified by Decree No. 81-236 of 10 August 1981.


CAPE VERDE


Among the various characteristics of the cultural phenomenon in Cape Verde, mention may be made of two: one is crystallized in the process of national liberation, defined as an 'act and factor of culture' (Amilcar Cabral) , and the other finds expression in the process of national recon- struction. They are not dissociable one from the other and both their permanent and intermittent features are dialectically linked.

One of the documents which, at the present time, affords us the greatest insight into Cape Verdean culture as an expression of political and national sovereignty is that which defines the basic principles of the government's cultural policy. Prepared by the Ministry of Education and Culture and dated September 1978, this document is entitled 'Cultural policy and education in Cape Verde' and sets out the following basic principles.

'The purposes of cultural and educational action are:

to restore the cultural personality of our people;

to pursue the democratization of culture to its ultimate conclusion;

to promote such measures as will create the conditions for increasingly broad access by the masses to culture and their participation in cultural creation;

to promote the visual arts and craft activities, to encourage scientific research and the publication and distribution of books and records and to establish and give impetus to cultural centres.'



1. The General Directorate of Culture, which is the most recently established department of the Ministry of Culture, is responsible for putting cultural policy into effect.

The Directorate has the following staff:

one Director-General; three technicians; one documentalist (no administrative personnel).

Its anticipated structure is as follows:

Directorate of visual arts, performing arts, cinema, ethnology and music, which will incorporate the Department of visual arts, performing arts and cinema and the Department of ethnology and music;

Directorate of oral tradition, historical research, literature and libraries, taking in the Department of oral tradition and historical research and the Department of literature and libraries.

CLT-82/MONDIACULT/KEF.l/AFR - page 11

4. The task of cultural decentralization has not yet been started. The recently established General Directorate of Culture has not had time to establish organic politico-cultural relations with the regions.

E. Non-governmental cultural institutions

The organizations which, possessing responsibilities in the cultural sector, will be playing a fundamental role in the implementation of cultural policy are as follows:

the Amilcar Cabral African Youth Association (JAAC); the Cape Verde National Workers' Union; the Women's Organization; the National Co-operatives Institute; the Cape Verdean Solidarity Institute.

111. PRESERVATION AND DEVELOPMENT OF THE CULTURAL HERlTAGE

The need to compile an inventory of traditional values is deeply felt by the country's cultural pclicy-makers. The General Directorate of Culture has taken a first step in this direction by preparing an 'Outline guide to the study and stimulation of Cape Verdean culture'.

In addition, at the institutional level, a Commission for the Defence of the Heritage was sept up in December 1978. Its function is to 'promote the restoration, rehabilitation, defence and preservation of national monuments and other items of the country's artistic and cultural heritage'. To achieve this, the national Commission gj-ves assistance to and co-ordinates the cantonal commissions.

There exists no museum, either public or private.

V. CULTURAL EDUCATION , DISSEMINATION AND ANIMATION

A project exists to set up.a visual arts workshop designed essentially to provide social and educational activities for the young.

As part of the same concern with cultural stimulation (in respect of broadcasting), a project to set up radio listeners' clubs for group listening and discussion is being considered.

VIIL. CULTURAL INDUSTRIES

Radio, newspapers and the cinema are the responsibility of the General Directorate of Information, incorporated into the Prime Minister's Cabinet.

A Portuguese firm holds a monopoly on film distribution.


The Ministry of Education and Culture receives approximately 19 per cent of the state's general budget. Some 1.5 per cent of the ministry's budget is allocated to cultural and sports activities.



1. In 1976 the Cape Verdean Book Institute was set up (legislative decree No. 104/76), the main functions of which are as follows:

to put into practice the national book policy laid down by the government;

to publicize and promote the publication of scientific studies resulting from the work carried out by state and other bodies concerning Cape Verde;

to encourage and publicize the literary and artistic output of Cape Verde;

to promote studies and surveys and the organization of symposia, conferences and other activities necessary for the achievement of its aims.

2. are scattered. There is, however, a Technical and Scientific Documentation Centre which is attached to the Office of the Secretary of State for the Plan and Co-operation. This Centre issues a bulletin and possesses a reading and reference room.

Documentation services have not yet been organized. The country's archives


CHAD


1. The purpose of the cultural policy of Chad is to promote awareness among the people of their cultural and artistic values, to restore and rehabilitate those values, to redefine the culture of Chad with due regard for the problems of the twentieth century, to react generally against the contempt shown towards the artistic, cultural and moral values of the black peoples and to assert the cultural personality of Chad in the face of foreign cultures. In short, the object of the cultural policy of Chad is to rehabilitate cultural traditions and safeguard the cultural heritage.

Among the legislative texts concerning cultural policy, mention may be made of Law 14-60 of 2 November 1960 relating to the protection of the movable and immovable cultural heritage of the Republic of Chad.



1. Education, Culture, Youth and Sport is responsible, in association with the units and services of the ministerial departments concerned, for organizing and co-ordinating all cultural activities in the country.

The Directorate of Culture and Civic Guidance of the Ministry of National


1. Non-governmental cultural institutions include the traditional culture centres, religious associations and scout centres.

2. Co-ordination and co-operation with these non-governmental institutions are ensured by the Directorate of Culture and Civic Guidance which supervises their activities, helps to bring them into line with the state's cultural policy and assists them in the preparation of certain large-scale cultural events. In addition, the Directorate of Culture and Civic Guidance is in contact with existing cu!-tural centres.


The cultural training of adults and the young is the responsibility of the cultural centres. Plans are under way to establish a regional cultural centre in each prefecture and a local cultural centre in each sub-prefecture and administrative division.

VI. ARTS TEACHING

The bodies responsible for arts teaching are the Craft Centre and the School of Applied Arts. The Centre, which is attached to the Ministry of Infor- mation, Tourism, Handicrafts, Parks and Wildlife Reserves, trains pupils in leather work, bookbinding, gilding and sculpture.

Out-of-school activities provided for in the programme of the Ministry of National Education include exhibitions, ballets and theatre performances organized by the Directorate of Culture and Civic Guidance, in addition to the museum visits scheduled at all levels of education.

CLT-s2/MONDIACULT/REF.l/AFR - page 14


External cultural co-operation is ensured:

(a) bilaterally, with the Federal Republic of Germany, Saudi Arabia, France, Iraq, Jordan, Kuwait, Libya, Qatar, Egypt, USSR;

(b) multilaterally, through such international organizations as Unesco, WIPO, OAU, ACI and the Agency for Cultural and Technical Co-operation.

Lastly, Chad takes part in major international cultural meetings, such as the Festival of Black Arts, the Quebec festival and various exhibitions of works of art.


THE CONGO


1. A number of legislative texts relating to cultural policy have been pro- niulgated by the Congolese Government. These texts contain laws , decrees and decisions. The basic law on cultural action is Law No. 32-65 of 12 August 1965. It was supplemented by Decree No. 68-45 of February 1868.

2. cerning the cultural rights of persons and groups.

No research is being conducted in the People's Republic of the Congo con-



A number of political and state institutions are responsible, at national level, for formulating and implementing cultural policies. These are:

The National Council for Culture and the Arts. This body meets once a year under the chairmanship of the member of the Political Bureau responsible for education. It issues guidelines on cultural programmes and co-ordinates the activities of the Ministry of Culture as well as those of mass organizations (the Revolutionary Union of Congolese Women, the Union of Congolese Socialist Youth, the Congolese Trade Union Confederation and the National Union of Congolese Writers and Artists).

The Ministry of Culture and the Arts. This body is responsible for giving effect, at governmental level, to the basic lines of cultural policy formulated by the political authorities (in the event, the Political Bureau).

Mass organizations. The Revolutionary Union of Congolese Women (URFC); the Union of Congolese Socialist Youth (UJSC); the Congolese Trade Union Confedera- tion (CSC); and the National Union of Congolese Writers and Artists (UNEAC).

Each of these organizational units comprises in its structure a department responsible for cultural affairs.

Furthermore, the mass organizations are administered and supervised by the Party: they are financed, on the one hand, by Party subventions and, on the other, by income derived from members' contributions.

The technical services of the Ministry of Culture and the Arts, like the workers', young people's, women's and artists' cultural institutions, are represented in the regions and communes and at the national level.


The Congolese Association for Friendship between Peoples (ACAP) is an institution which falls in this category.


In the People's Republic of the Congo there exists a group of national bodies attached to the Ministry of Culture and the Arts which are responsible


for the management and preservation of the national cultural heritage. These are as follows:

the Directorate of the Historical Heritage and Literary ana Artistic Property, comprising:

the Museums Service;

the Sites and Monuments Service;

the Literary and Artistic Property Service;

the Directorate of Library, Archive and Documentation Services, comprising:

the Library Service;

the Archive Service;

the Documentation Service.

These directorates are placed under the supervision of the General Directorate of Cultural Affairs and are subsidized by the Congolese state.

Another body, not under state control, responsible for the preservation of the cultural heritage, is the Organization of Museums, Monuments and Sites in Africa (OMMSA), which receives contributions from Member States.


There is a system of social aid for artists and writers in the People's Republic of the Congo. The Ministry of Culture and the Arts sets aside for this system a percentage of the allocation for 'cultural promotion', which is a state subsidy granted to the Ministry of Culture.

The conditions governing the granting of aid to Congolese writers and artists are defined in ministerial Decree No. 3501 of 1977.

In addition, the Ministry of Culture has established a number of national awards for meritorious work by artists and writers in the following fields: literature, poetry, drama, music, song.


A number of public and private national institutions are responsible for the promotion of culture in the People's Republic of the Congo. These include municipal libraries, cinemas and training centres.

The cultural centres also provide cultural stimulation through their influence on those who avail themselves of their services.

VI. ARTS TEACHING

Within the national education system a number of structures make provision for arts teaching. These include:


the School of Fine Arts (CEBA);

the National Institute for Educational Research and Action (INRAP).

Nevertheless, these initiatives cannot conceal the fact that arts teaching 'has a very minor place in the education system, which does not provide for any specialized arts teaching'.


The Ministries of Culture and the Arts, Information and Education provide in their programmes of action for the organization of seminars with a view to the crash training of cultural workers.

More advanced training is provided in schools and centres, most of which are located in Europe and in the socialist countries of the Eastern bloc.

There exists in Togo an internatlonal school founded and operated by the African Cultural Institute (ACI), which is called the Regional Centre for Cul- tural Action (CRAC). It trains cultural activities organizers and cultural advisers for Member States of the Institute. The Congo has sent some of its nationals there.

Cultural development personnel are responsible for organizing cultural activities in the communes and regions of the country (organizers' section) or for acting as cultural advisers to ministerial departments and embassies (advisers' section).


Cultural industries in the Congo f2ll within both the public and the private sectors.

Public sector:

the Congolese Record Company (SOCODI);

the National Office of People's Bookshops (ONLP);

the National Film Office (ONACI);

the State Press.

Private sector:

bookshops;

printing works.


1. In the Congo there are no institutions with exclusive responsibility for financing cultural development.

2. In the People's Republic of the Congo there is no system of permanent aid for handicrafts or cultural associations. The state does, however, grant


subventions, in the form of allocations for operating costs, to a number of institutions such as:

the Poto-Pot0 School of Painting;

the Congolese Arts and Crafts Workshop (MAAC);

the Centre for Training and Research in Dramatic Art (CFRAD).

Under the Five-Year Plan (1982-1986), the Poto-Pot0 School of Painting and the School of Fine Arts each receive a budgetary allocation which serves to finance them.

3. Although no fiscal measures have been taken in favour of culture as a whole, the state has made provision for artists (musicians in particular) to be exempt from customs duty on imported promotional equipment (musical instruments, records, etc.).

4. Cultural projects are included in general development plans. This is true of the Five-Year Plan (1982-1986) which provides for the financing of certain socio-cultural sectors in order to stimulate their growth.

In addition, the Ministry of Culture, the Arts and Scientific Research has an organized system of cultural planning. This overall planning system does not preclude forward-looking sectoral operations.


2. A number of institutions are responsible in the Congo both for scientific research and for making the structural arrangements needed to ensure that it is effectively carried out:

the university within which surveys, memoranda and the like are prepared. An exemplary case is the Faculty of Literature, where successful research has been conducted on the promotion of Congolese languages and the development of oral tradition;

the Ministry of Culture and the Arts: the General Directorate of Cultural Affairs, which forms part of this ministry, comprises a number of services whose main role focuses on research in the fields of drama and music. These are :

the Centre for Training and Research in Dramatic Art (CFRAD); and

the Service of Music and Folklore.

The studies undertaken by the university and the Ministry of Culture are kept under review and summarized by the Research Centre on Documentation for Oral Tradition and the Development of African Languages (CERDOTOLA), which co- ordinates research for countries of the central African subregion.

At the regional level, the African Cultural Institute is responsible for co-ordinating the research work undertaken in Member States. Its headquarters are in Dakar.

As regards documentation, a documentation service and an archive service exists at the national level. Both these services are supervised by the General Directorate of Cultural Affairs.



Bilateral co-operation: the Congo has signed co-operation agreements with a large number of countries. These bear chiefly on programmes for the exchange of theatre companies, the works of writers, cultural property and works of art.

Multilateral co-operation: the international organizations with which the People's Republic of the Congo has relations of this kind are many: Unesco, WIPO, OMMSA, ICOM, CERDOTOLA, CREPLA, etc.

The national public bodies responsible for all such co-operation are:

the Ministry of Foreign Affairs;

the Ministry of Co-operation;

the Ministry of Culture and the Arts;

the Congolese National Commission for Unesco.

2. The Congo's participation in subregional cultural integration takes the form of a number of measures taken to give effect to particular cultural strategies:

membership of the Congo in regional and subregional cultural bodies;

participation in co-operation and cultural exchange programmes with states of the region or subregion;

invitations sent to Ministers of Culture and to technicians on the occasion of major national cultural meetings;

government support for cultural projects devised and proposed by international organizations.

3. The cultural action taken by the Congolese public authorities abroad basically takes the form of cultural activities enabling nationals living in other countries as well as citizens of those countries to be acquainted with the many aspects of Congolese culture. These activities include art exhibitions, the dispatch of lecturers and theatre companies, etc.

The bodies responsible for these cultural activities are:

the Ministry of Culture and the Arts;

the Ministry of Co-operation;

the Ministry of Foreign Affairs;

the embassy of the country concerned;

the Congolese Embassy in the country concerned.


ETHIOPIA


1. ment's Declaration of 20 December 1964 and reaffirmed in the cultural direc- tives contained in the 1981-1982 resolution of the Central Committee of the Commission Organizing the Party of the Workers of Ethiopia (COPWE).

Ethiopia's cultural policy was defined in the provisional military govern-

This policy takes into account both the varied and manifold forms of culture in the country and the need to give special attention to a11 national cultures.

Ethiopia's cultural policy can be considered to have two basic aims: on the one hand, the protection and development of the nation's cultural heritage and, on the other, the creation of the conditions necessary for the full development of the country's various cultural activities.



1. The body responsible for the whole of cultural policy is the Ministry of Culture and Sports, established in 1964.

2. At the provincial level, regional offices have been set up representing the Ministry of Culture and Sports which are responsible for federal cultural policies.

3. Ethiopia's administrative structures include, in addition to the above- mentioned bodies, bodies which, while assuming their own specific responsibilities, also perform cultural functions. These include the Ministry of Education, the Ministry of Foreign Affairs, the Ministry of Information and National Guidance, the National Revolutionary Development Campaign and the Senior Planning Council (NRDC-SPC), the Institute of Ethiopian Studies and the School of Dramatic Art (established under the auspices of the University of Addis Ababa) .

4. The machinery for interstructural co-ordination and co-operation in the field of culture is provided by NRDC-SPC in respect of interministerial and interdepartmental co-operation. At the regional level, the regional offices of the Ministry of Culture and Sports ensure liaison between the Ministry and other regional bodies; at the local level, in most cases the City-Dwellers' Associations ensure liaison between governmental bodies and the local population.


1. In this category of cultural institutions it is the professional and mass organizations that play an important role, either at national level or at regional level. Of these organizations the following deserve special mention:

the City-Dwellers' Associations;

the Peasant Associations;

the Workers' Trade Unions;


the Ethiopan Writers' Association;

the Ethiopian Musicians' Association;

the Ethiopian Artists' Union.

2. Non-governmental cultural institutions generally enjoy specific autonomy. Nevertheless, as a result of the requirements of a cultural policy slanted towards co-operation and co-ordination, links exist between the governmental and the non-governmental cultural bodies in the form of a number of political structures, including the Commission Organizing the Party of the Workers of Ethiopia.

111. PRESERTJATION AND DEVELOPMENT OF THE CULTURAL HERITAGE

Various specialized bodies are responsible for a whole series of cultural activities designed to ensure the preservation of the cultural hericage.

Thus the Centre for the Study and Preservation of the Cultural Heritage is responsible not only for the preservation of the cultural heritage but also for museum administration and development.

The Centre comprises five divisions and several sections which are responsible for a number of specialized cultural fields: preservation of historical monuments and sites, museums, and research in academic disciplines such as history, archaeology, sociology and ethnography.

In addition, other bodies such as the National Library and the Archives Department are responsible for documentation in general and for the organization and rationalization of the archive system.

The economic resources of these bodies are provided either by the government (under the annual budget appropriations) or by UNDP and Unesco in the case of a number of specialized projects.


There is not, strictly speaking, any system of social aid for artists and writers. Nevertheless, the government has taken a number of measures to protect and stimulate certain aspects of cultural life.

The Declaration of 1974 provides an incentive to artistic and literary creation. It has been followed up by the development of the infrastructures necessary for all cultural activities: study and travel grants, provision of equipment, offices, premisesp etc.


Mention should be made, in the context of a policy centred on the establishment of structures for mass stimulation, of the setting up of reading- rooms (3,000), as well as thirteen branches of the Ethiopian National Library.

These institutions, besides pursuing their specific aims, play an important role in connection with the national literature programme, chiefly with regard to adult education.


On the same subject of cultural activities, special mention should also be made of the role played by mass organizations (establishment of amateur art groups) , cinema, theatre and the various art schools, including the Cultural Centre of the University of Addis Ababa.

VI. ARTS TEACHING

In a number of schools in Ethiopia the arts are taught up to higher level. These include:

the School of Music, providing secondary education and teaching both clas- sical music and traditional music. Pupils can specialize in the playing of traditional and/or modern musical instruments. Basic training in traditional dancing is also provided;

the Drama School of the National Theatre, providing a one-year course of training centred on the theoretical and practical aspects of stagecraft;

the Department of Dramatic Art of the University of Addis Ababa where the theoretical level of the teaching provided is higher than in any other school in Addis Ababa and leads to a university degree.


This training is provided at several levels, the most usual being a university level course enabling students not only to receive general training but also to specialize in all fields relating to culture or cultural action. These studies are often supplemented by practical research work in order to provide students with a better understanding of overall cultural problems.

I

More recently and on a smaller scale, the Government of Ethiopia has, under bilateral and multilateral aid arrangements, promoted the training of personnel for cultural action in teaching centres abroad. Aspects covered are many; theatre administration, museum curatorship, the restoration of sites and monuments, etc.


All cultural industries fall within the public sector.

In some cases, such as cinema, radio and television, the government finances these industries by means of an annual budget.

Some cinemas and theatres are, however, self-financing.


1. The Ethiopian state plays a leading role in the financing and planning of culture. But a number of cultural activities--amateur arts, reading-rooms--can be directed and financed by mass organizations.

4. The main objectives of the General Cultural Development Plan are to safeguard and develop the national cultural heritage and to create the conditions for the development of artistic activities.

CLT-82/MONDIACVLT/REF.l/AFR - page 23

A ten-year plan for the development of culture which takes into account the country's degree of socio-economic development has been put into effect and is expected to produce results fairly rapidly. An increase in the budget allocation for culture to an annual rate of 20-25 per cent is also planned.


Cultural legislation is embodied in the proclamation of the Ministry of Culture and Sport, part of which reads as follows:

'Every effort must be made to achieve higher standards in music, the arts, literature and the cinena with a view to the building of a stronger socialist state;

Steps must be taken to encourage the recording of scientific texts and the preservation of the country's cultural heritage.'

2. The bodies responsible for research and/or documentation in the field of cultural development are:

the University of Addis Ababa, P.O. Box 1176 A.A., Ethiepia;

the Ethiopian Language Academy, P.O. Box 1907 A.A., Ethiopia;

the Centre for the Study and Preservation of the Cultural Heritage, Ministry of Culture, P.O. Box 1007 A.A., Ethiopia;

the National Library and the National Archives, P.O. Box 1907 A.A., Ethiopia.

XI

1.

EXTERNAL CULTURAL POLICY

Bilateral cultural co-oDeration:

Agreements and protocols:

Africa : 4

Europe : 10

Asia: 4

Ame r i ca : 1

Multilateral cultural co-operation:

Unesco

UNDP

EACROTANAL (Eastern African Centre for Research on Oral Tradition and National Languages)

ICOMOS (International Council of Monuments and Sites)

ACI (African Cultural Institute)


OMMSA (Organization of Museums, Monuments and Sites in Africa)

IFLA (International Federation of Library Associations and Institutions)

ICA (International Council on Archives)

The bodies responsible (at national level) are: the Ministry of Culture and Sport, the Ministry of Education, the Ethiopian Language Academy and the National Commission for Unesco.

2. ties, including those of EACROTONAL and ACI. The bodies responsible are the same as those referred to above.

Ethiopia takes an active part in regional and subregional cultural activi-

Efforts are being made to strengthen cultural activities at the regional and subregional levels. Ethiopia has accordingly participated in a large number of festivals, conferences, fairs and seminars with encouraging results.

3. Cultural activities undertaken abroad include, folklore events, book promotion, exhibitions of photography and ethnography, film festivals, etc.

The bodies responsible for these activities are: the Ministry of Culture and Sports, the Ministry of Information and National Guidance and the Ministry of Foreign Affairs.


GABON


1. of policy statements made by members of the Gabonese Government which can use- fully be quoted here.

The objectives of Gabon's cultural policy are clearly set out in a number

'Our country is steeped in an authentic African culture (. . .) I consider it to be in the national interest to seek to identify our cultural values and I give my unconditional support to all those who are bent on preserving the originality and personality of the Gabonese people' (President Bongo).

'This concern with preserving our identity does not mean, however, that we exclude all that does not originate from ourselves. We do not refuse to adjust to the modern world. Moreover, the Gabonese people have given evidence of a rare facility in assimilating the best that science and technology has to offer in our century.

This simply means that in a world that is perpetually changing under the influence of technology we must safeguard the spiritual values bequeathed to us by our ancestors and preserve our cultural heritage.

Gabonese culture should be defined in such a way as to see what distin- guishes it from foreign cultures and what it offers in the way of universal values. Among the cultures of the modern world there are some that are trying to smother those of the technologically less advanced and less structured nations; we, the Gabonese, consequently need to be able to define ourselves culturally so as to guard against being depersonalized by the phenomenon of acculturation' (M.P. Owono-Nguema, Secretary of State for Culture and the Arts).

The main lines of Gabon's cultural policy were set out in Decree No. 391/PR/MJSCA/CAB of 16 March 1969.


The Office of the Secretary of State for Culture and the Arts (set up in 1973) comprises:

the Secretariat-General, chiefly responsible for co-ordinating the various directorates, which serves as a source of technical advice for the Minister. It publishes a fortnightly newsletter in which views can be exchanged between cultural clubs and cultural centres and between ministerial services and the Gabonese or foreign public;

the Department of Culture, which has the following functions:

to promote cultural, arts and folklore events;

to administer the subventions granted to cultural groups;

to organize the collection of items forming part of the national cultural herirage ;

to organize international exchanges;


to study ways of promoting socio-cultural activities and to take steps to provide technical supervision for their implementation;

to help to preserve works of art and to establish youth clubs and cultural clubs, as well as cultural centres.

The following structures have been set up in order to give effect to this policy :

1. National Language Laboratory;

2. African library and documentation service;

3. Cultural clubs and cultural centres;

the Department of National Arts and Museums, which comprises:

1. the Museum Service--one museum of traditional arts and four regional museums are under construction;

2. the National Schools of Arts and Crafts;

3. the Traditional Musicology Service;

4. an audio-visual service;

the Directorate of the National Theatre, which comprises:

1. the Central Office;

2. the Service for Arts Promotion and Inspection;

3. the Service for Theatre Promotion;

4. regional theatre companies;

5. a permanent theatre company.

Information services and the Party assist the Office of the Secretary of State for Culture and the Arts in its work:

the Office of the Secretary of State for Information, responsible for disseminating cultural policy. The government avails itself systematically of all the mass media;

the Gabonese Democratic Party and its specialized organs: the Women's Union of the Gabonese Democratic Party and the Youth Union of the Gabonese Democratic Party. One of the means of action adopted by the Party is the organization of exhibitions, festivals and competitions, arranged jointly with the ministerial authorities. Since 1972 the two unions have supported the government's cultural policy by establishing cultural groups, theatre companies and ballet companies which perform on official occasions.

Mention should also be made of the co-operation existing between the bodies referred to and the Ministry of Youth and Sport and the Ministry of Tourism, responsible for the national parks , mainly reflected in the complementary nature of their respective cultural activities.



The Gffice of the Secretary for Information performs a role of prime importance in regard to popular education and the organization of cultural activities. Culture also has a very important place in radio and television broadcasting.

VI. ARTS TEACHING

There exists a School of Arts and Crafts which is attached to the Office of the Secretary of State for Culture and the Arts.


International cultural co-operation is achieved mainly through inter- African bodies (ACI) or international agencies (Agency for Cultural and Tech- nical Co-operation, Unesco). Events (cultural weeks, for instance) are also organized from time to time under the bilateral agreements concluded with friendly states (Senegal, Ivory Coast, etc.).

Cultural activities abroad are carried out by cultural advisers attached to embassies and are aimed both at nationals (exploration of the possibilities of courses or periods of training, etc.) and at foreigners (dissemination of Gabonese culture abroad) e

The Ministry of Tourism is seeking to develop cultural relations with other countries, as is the Ministry of Youth and Sport.


GHANA


1. The general direction of cultural policy is defined by the Arts Council of Ghana Act 1957, amended by the Act of 1959 and by Decree No. 232 of 1968 under the seal of the then Military Government of the National Liberation Council.

2. The law upholds the right of persons and groups to culture. Initiative of communities is encouraged in the preservation of traditional cultural values. Such initiatives are made public through festivals in the villages and towns. The Arts Council of Ghana encourages planning that focuses on regional peculiarities.



1. The Ministry of Culture and Sports is entirely responsible for state cultural policy. Its main organ for cultural promotion is the Arts Council of Ghana. The activities of the Council may be classified under the following headings :

(a) preservation and enrichment of art and culture;

(b) dissemination of art and culture;

(c) maintenance and improvement of standards; fostering of the growth of new developments.

The functions of the Council also include: provision and development of cultural facilities; promotion of cultural relations with foreign countries.

(a) To meet the cultural requirements of the people, the following associations have recently been established: the National Music Association; the National Association of Craftsmen; the National Association of Artists; the National Association of Writers and Poets; the National Association of Dance; the National Association of Drama.

(b) The associations operate on national, regional and district levels so as to involve as large a section of the population as possible. At these levels each association draws closely on local advice and strength and provides encouragement for the expression of local initiative. The resources of each region are satisfactorily assessed and assembled and this enables the interest of the region to be effectively represented when national cultural programmes are being drawn up. At the district level, a special effort is made to create a favourable environment which will bring to light new talents and to equip the young for creative self-expression in creative activities.

As these national associations mature with the years, their influence will grow. The Arts Council, the pivotal body of cultural administration, will contribute a good deal to effective unified control.

(c) The Arts Council of Ghana has plans to establish a cultural centre at each regional capital and three cultural centres are already in existence: the Arts Centre, Accra; the National Cultural Centre, Kumasi; the Cultural Centre, Tamale. The following bodies also receive annual subventions from the Arts


Council: the School of Music and Drama, Legon; the Drama Studio; the National Symphony Orchestra; the Ghana Dance Ensemble; the Arts Council Folkloric Company.

3. A number of modern cultural institutions have been established in Ghana for the preservation, promotion and dissemination of culture, and others are being planned. Notable amongst national cultural institutions are: the Ghana Broadcasting Corporation, including a Film Production Department, a Music Division and an Entertainment Section; the Ghana Library Board; the National Archives of Ghana; the Museums and Monuments Board; the Ghana Film Corporation; the Ghana Publishing Corporation.

4. The Ministry of Culture and Sports takes care of the Library Board, Archives and the Museums and Monuments Board. Other ministries concerned with cultural development are:

the Ministry of Foreign Affairs has a cultural division dealing with international cultural agreements;

the Ministry of Information is in charge of press, broadcasting, television and films;

the Ministry of Agriculture takes care of parks and gardens, landscaping and environmental control;

the Ministry of Trade and Tourism provides cultural activities for the entertainment of tourists.

There is no formal body responsible for co-ordination and co-operation. The Arts Council could, when the need arises, intervene but cannot enforce compli- ance with its wishes.


1. There are several clubs, societies and groups which play an active role in cultural affairs. Notable and completely independent is the Musicians Union. There are also groups and societies nursed and sponsored by churches, like the singing bands and choral groups and church drama group. These operate at national and regional levels.

2. co-operation.

The Arts Council of Ghana provides the necessary form of co-ordination and


Specialized organization at national level are responsible for the preservation of the cultural heritage--the National Archives, the National Library Board, Museums and Monuments Board, the Department of Archaeology--University of Ghana, the Institute of African Studies. These are government-sponsored bodies that are servicing research and/or restoration centres on the cultural heritage.


The Arts Council of Ghana is charged with the responsibility of financing artistic and literary creations.


VI. ART TEACHING

A Department of Art in the Ministry of Education is responsible for the teaching of art in schools.

The Arts Council, through its local representatives, takes care of the arts, generally in the form of extracurricular activities.

Organized visits are arranged to museums, exhibitions, etc. The Library Service caters for boys and girls and there are special school broadcasts and television programmes. Children's drama in schools culminates in an Annual Children's Drama Festival. The Workers College caters for adults who wish to continue their education. Evening classes are organized in all urban areas and those who cannot attend classes take correspondence courses.

The University of Cape Coast, the Specialists Teacher Training College and the Advance Teacher Training College maintain vigorous art departments for the training of teachers. The University of Science and Technology has a Faculty of Art which comprises the following departments: Painting and General Art Studies; Sculpture and Ceramics; Design; Textiles; Gold and Silversmithing; Art Education; Pre-Degree Studies. The five-year course leads to the award of the Bachelor of Science (Art) degree.


Training of cultural development personnel is undertaken by the Ghana Ins- titute of Management and Personnel Administration (GIMPA). Specialists in cultural activities and organizers are trained by the Institute of African Studies which also organize seminars and symposia.

There are many technical schools and institutes for radio, television and film. A National Film and Television Institute (NAFTI) with higher institution status enjoys full public support. The Ghana Film Industry Corporation (GFIC) also enjoys full government support.


The GFIC has a number of cinema houses. Radio and television broadcast is handled by the Ghana Broadcasting Corporation (GBC). The Ghana Publishing Cor- poration handles government publication and book publishing. In addition a great number of private publishing houses exist for book production and records.

Government provides initial financing for the Corporation and where necessary tides them over, but they are supposed to generate funds for financing programmes.


1. The Arts Council of Ghana operates two kinds of cultural exchange programmes:

(a) Ghana/African countries cultural exchange programmes;

(b) Ghana/non-African countries cultural exchange programmes.


2. The exchanges involve works as well as persons. Dance troupes go abroad to perform and works of art are sent out for exhibition. There are also arrangements for recruiting staff for secondary schools from the United Kingdom as well as from the Commonwealth countries, such as Canada and Australia.

Mention must be made of the United States Peace Corps which operates in schools and colleges.

3. As a member of the Organization of African Unity (OAU), Ghana co-operates in carrying out cultural programmes initiated or supported by the OAU. As these matters involve international relations, they are dealt with in co-operation with the Ministry of Education, Culture and Sports and the Ministry of Foreign Affairs.

GUINEA


1. The main document offering a comprehensive picture of Guinean cultural policy is the final report adopted at the close of the National Conference on the Systematization and Launching of the Socialist Cultural Revolution, which was held in Kankan in August 1968.

2. The right of persons and groups to culture is not a problem in Guinea.



1. The bodies responsible for cultural policy at the national level are:

the Ministries of Education and Culture;

the Cultural Commission of the Central Committee of the Party.

Their financial resources are provided from the national budget and the Party's budget.

3. At the level of the administrative regions (provinces) and the CGRs (prefectures) there are public services such as the Academy Inspectorate, the Regional Directorate of Education and Culture and the Federal Cultural Com- mission of the Party.

4. The above-mentioned services also have the role of ensuring co-ordination between the various cultural sectors.

Co-ordination at the central level: Cultural Commission of the Central Commit tee ;

Co-ordination at the regional level: Federal Cultural Commission of the Party and Regional Directorate of Education and Culture;

Co-ordination at the local level: Cultural Commission of the Party Sect ion.


The specialized bodies responsible for the preservation of the cultural heritage are:

the National Institute for Research and Documentation of Guinea;

the National Museum;

the National Library.

These are state institutions established and maintained under the national development budget.


They are responsible for collecting, restoring and preserving works of art and studying them.


Artists and writers receive appropriations under the general budget and benefit from social security in the same way as salaried workers employed by the state.

The state of Guinea, through the Ministry of Youth, Arts and Sport, in collaboration with the Cultural Commission of the Central Committee, finances artistic and literary creation by awarding prizes, fellowships and study tour grants and by providing materials, etc.


In the Revolutionary People's Republic of Guinea all the permanent institutions of the Party, at national, regional and local levels, as well as the universities, are responsible for promoting cultural action and popular education.

At the national level, the Central Revolutionary Authority (PRC) organizes and finances arts competitions between groups from the various regions and universities in the country.

At the regional level, the PRR (Regional Revolutionary Authority) also organizes and finances arts competitions between groups from the various local- ities within its geopolitical purview.

At the local level, activities of this kind are financed from the funds of the local Party cell.

VI. ARTS TEACHING

At present there are no bodies in Guinea particularly responsible for arts teaching, but measures are being planned to remedy this state of affairs.


Training for this kind of personnel is provided by the State Party officials responsible for preparing the arts groups and cultural groups for the various national and regional competitions.


Cultural industries come exclusively within the public sector. All the bodies involved in this kind of activity are established and financed by the state of Guinea; their personnel form part of the civil service.


1. There are no bodies in the Revolutionary People's Republic of Guinea exclusively responsible for financing cultural development.

2. There is a ministry responsible for craft activities.

CLT-S2/MONDIACULT/REF. l/AFR - Page 34

4. There is no specifically cultural planning. Nevertheless, the national development budget makes provision for cultural activities.


2. There are several bodies in Guinea responsible for research and documentation. These are as follows:

the National Institute for Research and Documentation of Guinea (INRDG);

the National Institute of Education (IPN);

the Language Academy;

the National Book Institute;

the National Library;

the Research Department of the Ministry of Higher Education and Scientific Re search ;

the Research Department of the Ministry of Pre-University Education and Literacy ;

the Research Department of the Ministry of Middle Technical Education and Vocational Training;

the Polytechnic Institute of Conakry;

the Polytechnic Institute of Kankan.

3. The public bodies responsible for the co-ordination of research are the Academy Inspectorates and the responsible ministerial departments.


Cultural co-operation as practised by the Revolutionary People's Republic of Guinea consists in:

making available to countries in the region Guinean voluntary workers (mostly teachers);

signing a large number of bilateral cultural agreements with countries outside the region.

The public bodies responsible for these agreements are:

the Office of the General Commissioner for Youth, Arts and Sport;

the National Youth Committee of the African Democratic Revolution;

the Ministry of Education;

the National Grants Commission.


IVORY COAST


1. The cultural policy of the state of the Ivory Coast is expressed in two basic forms: in governmental formulations of policy and in legislative texts relating specifically to cultural matters.

Thus the Development Plan whose strategy to some extent crystallizes the overall policy options assigns importance to culture in accordance with the following main lines of emphasis:

the safeguarding of traditions that do not run counter to progress;

the organization of cultural activities;

the aissemination of culture;

the protection, preservation and enrichment of the historical heritage.

Relevant legislative texts include:

the Decree of 25 August 1973 concerning the protection of natural monuments and sites which are of historical or scientific interest or noteworthy for their natural beauty or connection with legend;

Decree No. 72-746 of 24 November 1973 concerning the organization of youth and physical education associations;

legislative provisions concerning the organization of art schools.

11. ADMINISTRATLVE STRUCTURES OF CULTURAL POLICY


The Office of the Secretary of State for Cultural Affairs, established on i December 1971 and placed under the supervision of the Ministry of National Education, is responsible in particular for:

formal, non-formal and vocational arts training;

encouraging artistic and literary creation;

promoting, organizing, co-ordinating and disseminating public and private cultural activities throughout the country;

organizing national cultural events;

international exchanges;

the preservation and enrichment of the national historical and archaeological heritage;

the protection of sites;

maintaining and encouraging folk traditions.

cLT-82/MONDIACULT/REF.l/AFR - Page 36

I t c omp rise s :

a Directorate of the Arts and Literature, responsible for:

the Service of Libraries and Publications;

the National Library;

the National Arts Institute. This Institute, which serves both as a training centre and as a cultural centre, was established in 1964 to perform a large number of functions. It includes:

a national school of fine arts;

a music teachers' training college;

a national conservatoire of music and dance;

a photography department;

a technical service;

a Directorate of Cultural Events, which comprises:

a Service for Cultural Activities and Exchanges, to which are attached the Service of Cultural Associations and Exchanges and the Service of Socio-Cultural Clubs;

a Service of Performing Arts and Exhibitions, to which are attached the national ballet, the national theatre and the national orchestra;

a Directorate of Museums and Folk Traditions, to which are attached:

the Service for the Protection of Sites, the Historical Heritage and Archaeology;

the Service of Museums and Folk Traditions, one of whose first achievements was the modernization of the national museum of Abidjan.

4. The various public bodies responsible for cultural activities at the national and regional levels do co-operate and co-ordinate their work to some extent. In particular, collaboration has been established between the Ministry of Information and the Office of the Secretary of State for Cultural Affairs in order to give fresh impetus to radio and television broadcasting.

3. Other services co-operate with the Office of the Secretary of State in a number of specific cultural activities: the Service for the Protection of Sites; the Institute of History, Art and Archaeology of the University of Abidjan; the Institute of Applied Linguistics; the Centre for Applied Lin- guistics of the University of Abidjan.


The following non-governmental institutions play a significant part in cultural affairs at the national and regional levels:

the Ivory Coast Writers' Association, which seeks to promote Ivory Coast literature. It is self-financing (subscriptions);


the National Theatre Federation, which seeks to promote the theatre. It receives a state subsidy;

the National Traditional Dance Federation, which seeks to preserve and disseminate traditional dances. Receipts from its performances enable it to be self-supporting;

the National Union of Ivory Coast Musicians, which seeks to promote the music of the Ivory Coast. It supports itself from subscriptions.

These institutions co-operate with one another but also with the corres- ponding technical services of the Office of the Secretary of State.


The functions of the Abidjan National Library include that of preserving the written cultural heritage.


The main basis for cultural promotion and education is provided by the following institutions:

the National Arts Institute;

the National Dance and Folklore Ensemble;

the International Festival of Contemporary African Art, established in 1973;

the many exhibitions of the traditional works of art produced by various ethnic groups.

Furthermore, five cultural centres were established in 1973 and assigned the function of spreading culture to the villages of the region in which they are located.

VI. ARTS TEACHING

The National Arts Institute, besides having a promotional role, is also a centre for arts and drama training.


Impetus is given to the cultural centres by professional cultural workers who receive vocational training at the national level.


1. fields, mention can be made of those referred to in section I of this profile.

Among the legislative texts specifically relating to the various cultural

cLT-82/MONDIACULT/REF.l/AFR - page 38


In collaboration with the other African countries, the cultural policy of the Ivory Coast consists in exchanges of performing artists and graphic artists and, especially, in encouraging African countries to take part in the festival of contemporary art which is held every year in Abidjan.

Co-operation with countries in other continents consists, in particular, in the organization of exhibitions of traditional Ivory Coast arts in countries that have signed co-operation agreements with the Ivory Coast.

The Ivory Coast has signed bilateral co-operation agreements with several countries.

Public bodies responsible: the Service of Performing Arts and Exhibitions and the Service of Cultural Activities and Exchanges.


KENYA


1. For practical purposes, a list of the objectives of cultural policy can be drawn up from a circular issued in 1972. These are as follows:

to promote self-awareness and the development of human values;

to promote cultural solidarity and a sense of common destiny in Kenya's heterogeneous population;

to bridge the development gap between rural and urban areas;

to enable everyone to participate freely in the cultural life of Kenyan communi t ie s ;

to ensure that quality in cultural terms is not unduly subordinated to quantitative considerations;

CO reconcile Kenya's cultural heterogeneity with scientific views;

to facilitate contacts between intellectuals and the common people;

to provide art patronage without chauvinism or authoritarian dictation;

to help people to appreciate the creative works of Kenyan artists;

to link Kenyan culture effectively with Kenya's socio-economic development ;

to involve national cultural values in all aspects of national development;

to provide adequate institutions and services for the. propagation of all forms of creative art;

to formulate a cultural policy which is in keeping with universal humanism and contributes thereto.

Among the legislative texts relating to cultural policy, mention can be made of the preservation of objects of archaeological and palaeontological interest Ordinance (Chapter 215 of the Laws of Kenya, 1962 edition).



1. There are cultural departments in the various government ministries.

4. In 1972 the government decided to set up a national body to co-ordinate cultural activities, the National Council of Arts and Culture. This body is responsible, in particular, for sponsoring cultural activities both in and outside Kenya, especially exhibitions and festivals at national, provincial and district level, to advise the government on all matters of cultural policy and to sponsor and organize training courses on cultural activities, including folklore, traditional music, drama and the fine arts.


Generally speaking, the Council will have the task of stimulating public interest in cultural activities and ensuring that they are given due importance in national social and economic development plans.

Each province is represented on the Council on the same footing as the University, the Kenya Culture Centre, etc.


1. Non-governmental bodies include the Kenya Culture Centre, under foreign management and administration. This Centre organizes theatre performances and art exhibitions but does little to promote national culture.


The Development Plan for 1970-1974 recognized the role of museums: 'They must present to the public a variety of educational opportunities, and they must also engage in scientific research which will support their educational programme'.


Radio is the most powerful medium of communication and culture in Kenya. A typical weekly programme of the General Service of the Voice of Kenya includes four hours' broadcasting devoted to adult education.

VI. ARTS TEACHING

Arts teaching is provided in primary and secondary schools; it is also included in the curricula of teacher-training colleges. The various university departments incorporate certain aspects of local culture in their teaching and research programmes.


Although the First Development Plan contained no provision for culture, the cultural programme included in the Second Plan (1970-1974) was designed to ensure 'the realization of national unity and cohesion and the creation of national pride and a sense of identity among Kenyans'.

The long-term programme lays down the following objectives, to be achieved before the end of the Third Development Plan (1974-1978):

strengthening the work programme of the National Council of Arts and Cul- ture and starting branches in each province to ensure success in: (a) organizing and developing groups for music and dance, drama and art; (b) organizing training courses on comparative traditional and modern music, drama, fine art and so on; (c) organizing district, provincial and national festivals and sponsoring cultural activities outside Kenya; (d) advising the government on cultural policy; (e) studying and recommending modifications to the Kenya Culture Centre Act;

establishing a national culture centre in Nairobi and one provincial cultural centre in each province, each incorporating a suitably equipped theatre and cafeteria;


providing mobile cultural units for rural areas pending the construction of the provincial cultural centres, and, once these centres are in operation, providing a mobile theatre unit to service districts.


2. The University Institute of African Studies, founded in the 1960s, was made responsible for research on musicology, linguistics, literature, history, ethnology, traditional arts, handicrafts and systems of beliefs. It is also engaged in cultural studies in all the provinces. The Institute of African Studies and Kenyatta University College conduct basic research on African music .


LIBERIA


1. State intervention in the cultural field is a fairly recent phenomenon, and yet the Constitution of Liberia assigns major importance to culture. Although it contains no mention of 'culture', it implicitly provides for the free and untrammelled development of culture, as well as the right of the people to benefit therefrom in their own ways. Article 1 of the Constitution, entitled 'Declaration of rights', states that 'The end of the institution, maintenance and administration of government is to secure the existence of the body politic, to protect it, and to furnish the individuals who comprise it with the power of enjoying in safety and tranquillity their natural rights, and the blessings of life; and whenever these great objects are not obtained, the people have a right to alter the government and to take measures necessary for their safety, prosperity and happiness'.

The main objectives of cultural policy in Liberia are as follows:

(a) to permit individual and national fulfilment in a strong, stable and progressive state;

(b) to build a modern state in which there is freedom from want, ignorance and disease, but in which traditional values and the national soul are nevertheless developed, refined and preserved in perpetuity;

(c) to preserve Liberia's freedom and assist all peoples still under the yoke of oppression to achieve freedom and independence.

Among the legislative texts relating to cultural policy, mention can be made of the act of 10 March 1952, amended on 1 June 1962, aimed at establishing an office to compile and preserve all relevant information about the folklore, mores and customary laws of the various ethnic and linguistic groups.

2. The right of all tribal and ethnic groups to the free development and protection of their cultural identity is one of the major principles of Liberian national life.


1. The Ministry of Information, Cultural Affairs and Tourism comprises a Bureau of Culture, established in 1963. It is responsible for implementing Liberia's cultural policy.

The 1963 Act defines the functions of the Bureau of Culture as follows: 'The Chief of the Bureau of Culture shall be appointed by the President upon the advice and consent of the Senate. It shall be his duty to plan and initiate programmes in Liberia for the production, improvement and popularization of Liberia's indigenous arts and handicrafts; to execute programmes for the preservation of the folklore, mores and indigenous culture of the nation; to operate the National Cultural Centre and the Ethnographical Museum'. This Act clearly makes a distinction between culture and folklore and reflects a major advance in public awareness of the importance of culture in Liberian life.

The Bureau's activities are based on the National Cultural Centre.


3. Other bodies serving cultural ends include the National Cultural Centre, designed to present an overall picture of tribal life, customs and traditions. Representatives of every tribe live and work in the Centre, practising and helping each other to improve their music, dances and arts and crafts. The aims of the Centre are as follows: to project the cultural image of the country; to encourage and improve indigenous arts and crafts; to provide a base for the National Cultural Troupe; to provide an outlet for Liberian arts and crafts; and to preserve the country's traditional- art forms.


Other cultural associations include:

the Liberian Authors' Society, set up to promote Liberian literature;

the Press Union of Liberia, set up to help ensure and maintain high standards in the press and to protect the rights of journalists;

the Liberian Research Association, set up to co-ordinate information on research, to improve research opportunities and to present findings.

Mention may also be made of the Liberian Historical Association, the Literary Club of Liberia and the Liberia Arts and Crafts Association, the objectives of which are as follows:

to uphold, protect and promote the arts and crafts of Liberia an.d the world as a whole;

to encourage the arts and crafts among interested persons or groups through training, exhibitions, sales and other activities;

to enhance the professional status and personal self-development of its members and interested individuals or groups;

to associate and seek membership and cordial relationships with other accredited organizations, local or international, which foster the aforesaid objectives in the interest of arts and crafts.


Liberia possesses six museums, two public , one semi-public, and three private.

The National Museum which is under the responsibility of the Ministry of Information, Cultural Affairs and Tourism, is headed by a director whose tasks are as follows:

(a) to collect, preserve and, as far as possible, arrange for public exhibition, a11 historical and traditional art objects and monuments in the country;

(b) to take all lawful measures necessary to protect historical monuments and to prevent the export from Liberia or destruction or damaging of rare art objects.

Archives--Article 3, Section 3, of the Constitution provides that the Secretary of State shall keep the records of the state and all the records and papers of the legislative body, and all other public records and documents

CLT-82/MONDIACULT/REF.l/AFR - page 44 not belonging to any other department. The National Archives and Records Service is consequently located in the Office of the Secretary of State and is headed by a director appointed by the President.

The law provides for the establishment in Monrovia, the capital of Liberia, of a central government archives repository, known as the Central National Archives.


The Literary Clubs of Liberia Inc. has established the 'Blyden Award', bestowed each year upon a Liberian who has achieved distinction in the literary field,


The National Cultural Centre and the various mass media provide cultural education for adults.

VI. ARTS TEACHING

The most noteworthy phenonemon in recent years is the awakening of interest in cultural matters demonstrated by institutions of education. Under the impetus of one school--the Tubman High School--a large number of educational institutions have taken up cultural activities. Art is an optional subject in many schools.

Reference should also be made to the Sande School which trains female dancers who form the nucleus of the National Cultural Troupe.


The Liberian Government possesses a radio station and a television station which are administered by the Liberian Broadcasting Corporation (ELBC) .

Most of the funds needed to operate the radio and television service come out of advertising revenue, supplemented by an annual state subsidy.

Cinemas are mostly in private hands. Most of the films shown are imported.


2. The Liberian Research Association was established in 1967 in order to: (a) co-ordinate information on research; (b) improve research opportunities; and (c) present findings.

It draws on all university fields of humanistic and scientific study and publishes a periodical entitled 'Liberian Studies'.



Liberia has concluded cultural agreements with several countries with a view to fostering mutual understanding and co-operation. Under these agreements Liberians receive training abroad and exchanges are arranged in the field of the graphic and performing arts.

A few student exchange programmes also exist between Liberia and the United States of America. The Ministry of Education assumes responsibility for the exchange of students between Liberia and the Ivory Coast.


MADAGASCAR


1. Cultural policy has been the subject of governmental declarations and legislative texts drawn up by the Malagasy authorities:

Charter of the Malagasy Socialist Revolution (Boky Mena):

'Now, independence, the recovery of national wealth, the recovery of the attributes of sovereignty, independent economic development, etc. . . . all that will be devoid of meaning unless we affirm our Malagasy personality and culture, the essential ingredients of which are our language and history' (Boky Mena, p. 71).

'The "Malagasification" of education means the harmonization of the content and methods of education with the imperatives of the revolution, that is, the building of a truly Malagasy socialist state. It is a difficult undertaking and must be carried out progressively, especially as regards the language of instruction and the organization of different types of education.

Concerning the language of instruction, the studies under way aimed at developing a "common Malagasy" language and promoting its widespread everyday use will be continued and expanded.

We will devote particular attention to this task, which requires the concerted efforts of the different regions of our country. And it is our feeling that much depends on the contribution of the older generation, the custodians of the purity of the language of our ancestors . . .' (Boky Mena, p. 78.

I. . . we are already giving priority to our national language, and we must accelerate the systematization, modernization and enrichment of Malagasy, availing ourselves of all the dialects, for the purpose of making it an efficient instrument for the development of Malagasy identity and for the mastering of all technical and scientific disciplines' (Boky Mena, p. 79).

'Thus, in order to bring about a radical change, the Malagasy revolution relies on the mass media for stimulating and mobilizing public awareness and enhancing the value of all the Malagasy people's achievements (technical, scient.ific, artistic, literary, philosophical . . .)' (Boky Mena, p. 83).

'To acquire . . . a truly national character, information and, in particular, broadcasting should: . . . contribute to the development of the Malagasy personality; foster the discovery and promotion of our cultural and artistic heritage and a better understanding of our ways and customs and of the riches of our folklore. We cannot allow priceless treasures to be relegated to the mere status of historical relics. They must be disclosed, given a new life and offered to each generation as a legacy of which it can justifiably be proud while at the same time discovering in it the hallmark of its own identity within the community of mankind . . .' (Boky Mena, pp. 67-88).

I. . . A special effort will be made to rescue from neglect and improve traditional musical instruments, establish a record company,


produce films and organize a national artistic company composed of the best representatives of all our regions' (Boky Mena, p. 88).

The Constitution of the Democratic Republic of Madagascar

Part I1 - Fundamental Rights and Duties Article 41 - All citizens have a right to education. The state shall

assure this right by the organization of basic education.

The state shall organize and supervise instruction. It shall assure the equal access of everyone to education, to professional training, and to culture, with no restriction other than the individual's aptitude.

The state and the community shall co-operate in the training and education of children.

2. Studies on the right of groups and individuals to culture deal, by and large, with the following themes:

'Malagasification';

development of 'common Malagasy' as a language of widespread everyday use, ensuring the access of everyone to culture;

the affirmation of the Malagasy personality and culture;

traditional values and history based on oral traditions.



The following public bodies have direct responsibility for cultural policy :

The Supreme Council of the Revolution

Article 57 - The Supreme Council of the Revolution shall assist the President of the Republic in the conception, orientation and supervision of the general policy of the state.

The Ministry of Revolutionary Culture and Art

Article 1 - The Ministry of Revolutionary Culture and Art puts into effect state policy in the field of culture and art.

Article 2 - The Ministry of Revolutionary Culture and Art is organized as follows :

1. Cabinet of the Minister

three technical advisers

one inspector

private secretariat


2.

3.

4.

5.

6.

General Secretariat

Administrative and Financial Service

Documentation, Studies and Legal Service

International Relations Service

Service of Cultural and Artistic Facilities

Provincial Services of Revolutionary Culture and Art in Antananarivo, Antsiranana, Fianarantsoa, Mahajanga, Toamasina, To liary

Secretariat

Directorate of Culture

Service for the Preservation of the National Heritage

Library Service

Cultural Promotion Service

Directorate of Arts

Service of Handicrafts and the Visual Arts

Service of Musical Arts

Service of Dramatic Art

Directorate of Extension Work in Culture and the Arts

Service of Promotion and Education

Publication Service

Service of Audio-visual Extension Work

Subsidiary Bodies

Malagasy Copyright Office

National Publishing House

Vocational Training Centre for Culture and Art

National schools or centres for culture and art

National Conservatoire (fine arts, music, etc.)

National Arts Company, etc.

Cultural centres

Malagasy Academy: Section of Arts and Literature


Article 3 - The Secretary-General of the Ministry of Revolutionary Culture and Art assists the Minister in the discharge of his duties. He thus has authority over the Directors and Heads of Service and subsidiary bodies.

3. Other bodies are also in charge of certain cultural sectors:

The Ministry of Basic and Secondary Education. It is responsible for the Malagasification of education, for adapting the curricula of schoo1.s of basic education, secondary schools and lycges to the socio-cultural realities of the country.

The Ministry of Higher Education and Sci.entific Research. It comprises several departments offering instruction in Malagasy language, history and civilization and conducting cultural research in the same fields:

Department of Malagasy Literature

Department of History

Centre of Art and Archaeology

Centre for the Study of Customs

University Library

The Tzimbazaza National Research Centre

National Centre of Pharmaceutical Research (Malagasy pharmacopoeia).

Bodies attached to the central government:

The National Archives

The Malagasy Research Academy and its Museum of Natural History.

The decentralized communities, representing the central revolutionary authority, ensure, at the regional level, the conduct of various branches of state activities, including socio-cultural activities.

4. All cultural activities directed by these various public bodies are centred around the basic objectives of the state's cultural policy as defined in the Charter of the Malagasy Socialist Revolution. Co-operation and co-ordination between these diverse cultural activities find expression in:

the joint organization of exhibitions, seminars, symposia, studies, etc.;

at the regional level, co-operation between the Provincial Services of the Ministry of Revolutionary Culture and Art, the decentralized services of other ministries and the decentralized communities in organizing cultural events, establishing community libraries, celebrating ritual festivals, etc.


Several institutions in the Malagasy Republic fall into this category , including:


the Malagasy Cultural Centre for the Protection of the Authentic Malagasy Cultural Heritage;

the Association of Archivists, Librarians, Documentalists and Museologists for Promoting the Preservation of Cultural Property, Books and Archives ;

Young Christian cultural associations in the various parishes.


Several bodies are responsible for the preservation of the cultural heritage :

the National Archives

the National Library

the University Library

the libraries of the decentralized communities

the Museum of the Queen's Palace

the Tsimbazaza Ethnographic Museum

the Natural History Museum of the Malagasy Academy

the Museum of Art and Archaeology

the Art and Archaeology Centre.

These bodies also are engaged in extensive research on the cultural heritage.

The following bodies can also be mentioned:

the Tzimbazaza Research Centre

the Centre for Studies and Customs

the Directorate of Culture--Service of Cultural Promotion

the Directorate of Arts.


Aid to artistic and literary creation consists mainly of the following:

grants to artists and wirters;

study grants;

competitions with prizes:

literary competitions;

drawing competitions;

CLT-82/MONDIACULT/REF.L/AFR - page 51

revolutionary song competitions;

musical instrument-making competitions.


The following public or private institutions have responsibility for promoting cultural action and training:

within the Ministry of Revolutionary Culture and Art:

the Service of Promotion and Education

the Service of Audio-visual Extension Work

the Publications Service of the Directorate of Extension Work

the Cultural Promotion Service of the Directorate of Culture;

within the Ministry of Information:

Malagasy Radio and Television.

VI. ARTS TEACHING

The following bodies, in particular, are responsible for arts education:

the National Music Teaching Centre

the School of Applied Arts: painting, sculpture, drawing, etc.


Like other public bodies, the Ministry of Revolutionary Culture and Art has an annual (operating) budget to cover the cost of its programme of cultural activities within the framework of the cultural development plan.


1. Legislation dealing with specific aspects of culture:

Ordinance No. 73-050 of 7 .September 1973 concerning the safeguarding , protection and preservation of cultural property.

3. The Directorate of Culture and, Preservation of the National Heritage research. It co-ordinates all research


Bilaterally: In accordance with Madagascar has cultural relations with etc. It has signed cultural agreements

in particular, its Service for the is the public body responsible for in the country.

its diversified the countries of providing for:

external policy, Africa, Asia, Europe,


the exchange of artists, art exhibitions, musical performances, publications, etc.;

technical or financial assistance;

the awarding of study and travel grants.

Multilaterally: By Ordinance No. 76-038 of 10 November 1976, ratifying the Cultural Charter for Africa, Madagascar confirmed its attachment to that Charter. The Republic is also a member of worldwide cultural organizations.

At the subregional level, Madagascar is a member of EACROTANAL (Eastern African Centre for Research on Oral Tradition and National African Languages).


MALAWI


1. There is a whole body of legislation concerning culture which throws light on the cultural policy of the state and Government of Ma.lawi. Reference is made to the following laws relating to:

Antiquities (1965) National Archives (1975) Publishing (1947) National publications (1968) Museums Radio Book marketing Censorship and regulation of public entertainment (1949)

2. General research has been carried out on the right of individuals and groups to culture.



1. Responsibility for state cultural policy in the Republic of Malawi is vested in the Ministry of Education and Culture. It was established on 1 July 1981 and works in conjunction with other ministries having cultural responsibilities, such as the Ministry of Health and Culture and the Ministry of Local Government.

In view of the fact that the Ministry of Education was only recently established, the various cultural sectors are still in a formative stage.

3. There are other bodies responsible for specific aspects of cultural policy, among them, the following:

Arts Group of Malawi National Beauty Contest Committee Monuments Advisory Council Museums Council Malawi Congress Party National Celebrations Council University of Malawi National Archives Advisory Council

4. bodies responsible for the activities of the cultural sectors:

There is co-operation and some co-ordination between the various public

at the national level: Malawi Congress Party Arts Group of Malawi National Beauty Contest Committee National Celebrations Council National Library Service Malawi Broadcasting Corporation

at the regional level: Regional Beauty Contest Committee Community Centres Malawi Congress Party


at the local level: Community Centres Malawi Congress Party Village Committees

The Ministry of Education and Culture co-ordinates cultural programmes and activities in collaboration with:

The Ministry of Housing and Community Development The Office of the President and Cabinet The Ministry of Local Government The Ministry of Youth and Sports The Ministry of Trade and Industry The Tourism Department


The following institutions can be mentioned:

Malawi Export Promotion Council (Zomba) Music Society of Blantyre Lions Club of Blantyre Malawi Export Promotion Council (Blantyre)

These are classed as charitable organizations and are financed by the funds derived from their activities.


Several organizations are responsible for the preservation of the cultural heritage:

The Department of Archives The Museums of Malawi The Department of Antiquities The Department of Cultural Affairs The Office of Natural and Forestry Resources

The University of Malawi plays an important role as a centre of research on the cultural heritage.


The Government of Malawi has developed a system of social assistance for artists and writers, and several bodies are involved in it: the Catholic Secretariat of Malawi, the Centre for Social Research and the Senate Committee for Research and Publications of the University of Malawi.

Other associations provide indirect support for various artistic activities by awarding prizes or publicizing them.


The Ministry of Education and Culture, Museums, the Library of Malawi, the Departments of Archives and Antiquities, secondary schools and the Uni- versity of Malawi are responsible for promoting cultural action and for stimulating the cultural interests of the Malawian people.


VI. ARTS TEACHING

Art is taught at the three levels of the educational system (primary, secondary and university); specialized arts instruction is also given in secondary schools and in the University of Malawi.


The training of cultural development personnel is entrusted to such institutions as the Department of Antiquities, the Department of Archives and the University of Malawi. In some cases, foreigners have been hired to meet local needs.

Radio Malawi has also sent technicians to other countries for training as producers of cultural programmes.


All such industries are financed in part by the state. There is also a private publishing sector: the Likuni Press, the Monfort Press, Blantyre Printers and Hetherwick Press.


3. A number of fiscal measures have been taken in favour of culture. For instance, the budget for antiquities has been increased.

4. The Plan incorporates a number of cultural measures involving the National Museum, the Library, cultural sites, etc.


1. A number of special laws relating to the cultural heritage, museums, publishing houses , the theatre, cinema and radio have been promulgated in Malawi.

2. Several bodies are responsible for establishing the machinery for implementing a policy of cultural research. The University, the Departments of Archives and Antiquities and the museums are involved in this effort.

3. The National Research Council, the National Archives of Malawi and the Department of Antiquities are responsible for co-ordinating research.


1. There is regular cultural co-operation between Malawi and the other countries of the region in the form of the exchange of cultural events, music, dance and theatre groups.

The Ministry of Education and Culture is responsible for making such co-operative arrangements.

2. Malawi participates in subregional and regional cultural events (symposia, festivals, etc.).


The following bodies are responsible for such participation:

The Ministry of Education and Culture The National Celebrations Council The Malawi Congress Party The Office of the President and Cabinet The Ministry of External Affairs The Malawi Exports Promotion Council

CLT-82/MONDIACULT/REF.l/AFR - page 57 MALI


1. As soon as Mali gained independence on 22 September 1960, a cultural policy for the country was clearly defined and has remained virtually un- changed since then. It was officially endorsed by the Party in the resolutions of the Constitutional Congress of the Democratic Union of the Malian People (UDPM) and is set out as follows:

'Culture has its source in the people itself, with all its capacity for self-creation and transformation of the environment. Culture is the sum total of all the material and spiritual assets, works of art and science, knowledge, skills, ways of life, ways of thought, behaviour and attitudes accumulated by the people.

Culture should be defined as a driving force, as a creative activity, indeed as a factor of development, national cohesion and national unity.

We must:

record the essential elements of our culture, our languages, folklore, ancient customs, philosophies, religions, beliefs, etc.;

enrich our culture by integrating in it elements from outside, in so far as this does not in any way affect the authenticity of our culture;

encourage research in the fields of oral and written traditions, and archaeological excavation;

recuperate from other countries all material which was part of the specific heritage of our civilization (written documents, and works of literature and art plundered by the colonial powers);

our culture will be a mass culture, hence the urgent need to enable the mass of the population to gain access to culture, education and instruction;

we shall use the national languages as vehicles for scientific and technological thought and as languages of civilization and communication, hence :

(a) literacy for the people, using national languages;

(b) production in national languages of scientific, technical and literary works;

(c) the gradual introduction of national languages into teaching:

cultural and artistic activities must be the authentic expression of our personality;

the theatre must contribute to the education of the people;

the cinema must.be decolonized, popularized and made more specifically Malian;

the organization of cultural activities must be intensified'.

2. and is defined in the following texts:

General research on the right of persons and groups to culture does exist

Order No. 77-46/CMLN of 12 July 1977 establishing the regulations governing literary and artistic property in the Republic of Mali;

Order No. 78-49/CMLN of 27 November 1978 establishing a Malian Copyright Office;

Decree No. 355/PG-RM of 4 December 1978 on the organization of the Malian Copyright Office.

The Malian Copyright Office deals with all questions of copyright in all creative fields in Mali.



1. National Department of Arts and Culture (DNAC), established in 1976.

Legal status: Public body.

Position: Sports, Arts and Culture.

It is one of the three National Departments of the Ministry of

Internal structure: It is composed of divisions, which in turn are divided into sections, related services and autonomous units.

Powers and functions: These are defined in Order No. 76-10/CMLN of 29 January 1976, as follows:

to stimulate artistic and literary creation;

to protect and safeguard the cultural heritage;

to ensure the dissemination of the cultural heritage and of new cultural creations and make them accessible to as wide a public as possible;

to train those who will be responsible for that dissemination.

Source of funds: National Budget and sometimes outside subventions for specific projects.

Intervention in the activities of other public bodies and in those of the private sector is on a consultative and technical basis.

2. Mali does not have a federal system of government.

3. Other public or semi-public bodies:

The Ministry of National Education;

The Ministry of Information and Telecommunications and its technical departments;

The Ministry of Sports, Arts and Culture has regional departments of youth, sports, arts and culture, which have the same powers as the central.body at regional level.

CLT-82/MONDIACULT/REF.l/AFR - page 59 4. Regional departments co-ordinate cultural activities in the seven administrative regions of Mali. They are focused round the Ministry of Cul- ture, which centralizes decision-making, programmes and monitoring.

These departments co-operate directly with the border regions of the neighbouring countries (exchanges of folk groups, organization of artistic and cultural weeks, youth workshops, etc.) and are answerable to the Ministry. Each region is left free to organize its activities according to its own particular needs.


Malian Association of Librarians, Archivists and Documentalists (AMBAD)

Mali Writers' Association (AEM)

Cultural Heritage Commission (local level)

Club of the Friends of the Medina (Kayes)

Association of the Friends of Djenng

All these institutions are, technically, attached to the Ministry of Culture.

Status: These are voluntary, non-profit-making associations.

Aims: The AMBAD and AEM are involved in the promotion of libraries, archives, documentation centres and writers.

The Friends of the Medina (old town) are seeking to re-create working life as it existed at the time of the Fort and make the region into an animated economically viable area.

The Friends of Djennk seek to restore to the town the brilliant cultural and artistic life of its heyday.

Activities: Their activities are varied: lectures, seminars, organizations of cultural days and other fund-raising events.

Source of funds: State subventions and fund-raising events.

Importance: Their contribution to the state is by no means negligible.

2. Co-ordination and co-operation between these non-governmental institutions and the government authorities

The National Department of Arts and Culture (DNAC) is responsible for this co-ordination, monitoring implementation plans and programmes and being available for consultation on all technical questions.


The specialized organizations responsible for the preservation of the cultural heritage are the divisions and services attached to the National Department of Arts and Culture and public services financed from the national budget :

CLT-82/MONDIACULT/REF.l/AFR - page 60 The Cultural Heritage Division is responsible for:

safeguarding all forms of national culture, sites, monuments, famous places, art objects, etc.;

organizing the general collection of all objects and documents connected with art, culture and history;

recording the different forms of expression of the Malian people which have preserved elements of their original structure;

promoting the creation of museographic institutions;

promoting reading by setting up libraries;

promoting the creation of archives services;

contributing to the promotion of traditional cultural associations.

The Institute of Human Sciences is responsible for:

developing research in the human sciences;

training scientific workers;

applying the human sciences to the various fields of national activity.

The National Museum is responsible for:

collecting, classifying, conserving and making use of all historical and archaeological documents;

assisting in education and scientific research;

participating in the education of the public.

The National Archives are responsible for:

promoting archives policies;

establishing a nationwide list of all archives deposits worthy of interest and arranging for their supervision and use;

ensuring training and information for archivists;

managing the national archives.

The National Arts Institute is responsible for:

training middle-level staff in all fields of art (music, painting, drama, crafts) and in the organizing of cultural and social activities;

providing preparation for the teaching of art and music in the basic schools and lycQes;

helping to promote Malian modern art which, without renouncing tradition, tends to follow the main contemporary art trends in Africa and the rest of the world;

CLT-82/MONDIACULT/REF.l/AFR - page 61 providing vocational training for young artists on the basis of the techniques of applied arts used in Mali.

The Ahmed Baba Centre for Historical Documentation and Research (CEDRAB) is responsible for collecting, preserving and using Arabic texts concerning the history of Africa.

The Malian Copyright Office (BMDA) is responsible for promoting and defending the professional, material and moral interests of authors of literary and artistic works and their assignees and establishing between them and the users of their works the relations necessary for the protection of their rights.

The Department of Arts and Literature is responsible for:

stimulating artistic and literary creation with a view to asserting an authentic national cultural identity;

managing the national arts groups (National Instrumental Ensemble, National Drama Group, etc.);

promoting the publication of artistic and literary works;

organizing cultural events;

formulating and clarifying cinematographic legislation.

Centres of research 03 the cultural heritage. These are the Institute of Human Sciences and the Ahmed Baba Centre for Historical Documentation and Research.

Organizations responsible for restoring the cultural heritage. These are the National Museum, the National Archives and the National Library.


There is a system of social aid for artists, directed by the National Department of Arts and Culture.

Systems and organizations involved in financing artistic and literary creation

There are a number of prizes:

The Prize for Visual Arts and the Prize for Craftwork, established in Decree No. 2114/MJSAC-CAB of 30 May 1979. Their purpose is:

to stimulate creativity in the arts and crafts;

to discover and encourage young talent;

to promote the dissemination of works of art both inside and outside the national territory;

to contribute to the dissemination of Malian art and the promotion of the artist and the craftsman.

CLT-82/MONDIACULT/REF.l/AFR - page 62 The following prizes are worth 500,000 Malian francs:

The Prize for Literature in National Languages The Prize for Literature in French The Prize for Literature in Arabic.

These are instituted in Decree No. 2115/MJSAC-CAB of 30 May 1979.

Their purpose is:

to promote literature in the national languages, which is one of the surest ways of disseminating Malian culture;

to define and preserve the positive values of our traditional literature;

to encourage the emergence of an authentic contemporary national literature;

to achieve wider dissemination of our culture.

Value of prizes:

for our national languages:

first prize second prize third prize

for the French language for the Arabic language

250,000 MF 150,000 MF 100,000 MF

500,000 MF 500,000 MF


At the regional level there are Regional Offices of Arts and Literature and Offices for the Cultural Heritage.

At local level we have youth activities organizers. These are attached to local branches of the Ministry of Sports, Arts and Culture.

As government agencies they are responsible for the promotion of cultural activities among the local populations and are financed out of the national budget.

VI. ARTS TEACHING

We have the National Arts Institute (INA), which is responsible for the training of instructors in the arts and for research in this field.

Functions: systematic, theoretical and practical courses in schools, lectures, talks, debates, examinations, presentation of dissertations, workshops, travel, excursions, study courses, etc.

What position does arts teaching occupy in the curricula of the national education system?

Primary school: It is limited to initiation to the arts and consists mainly of drawing and singing classes.


Secondary school: It does not have a particularly important place in the curriculum at this level either. One hour of drawing and one hour of music (rudiments of music, etc.) per week.

Higher education: Arts education is provided only through the Studies Abroad system (Cuba-France) for graduates of the INA.


This training is provided at the INA but does not for the moment include courses for radio and television planners and technicians.

The curricula of the National Arts Institute are quite full and, in addition to courses on general culture, include:

Arts Section: painting, music and drama;

Crafts Section: jewellery, leather-work, sculpture, weaving, shoe-making, carpentry and metal-work;

Cultural Activities Section: artistic and cultural expression and sports;

Pedagogy and Arts Research Section: this section is organized by the teachers and staff of the Institute.


Public sector: The National Centre for Film Production (CNPC)

the Film Library; the Mali Press (EDIM); the National Cinematographic Office of Mali (OCINAM); the written press.

Private sector:

private film producers; private printers and publishers.


The Mali Five-Year Development Plan for 1981-1985 includes, in addition to the regular subventions for cultural activities, the building of:

the House of Culture at Bamako; the Higher Arts Institute; the Crafts Village; the National Library; the National Archives; the Museum of the Sahel at Gao; the National Sports Institute; the Pioneers' House at Bamako.



Bodies responsible for research and/or documentation in the field of cultural development:

Research: the National Arts Institute and the Institute of Human Sciences.

Documentation: the National Library; the National Archives; the National Museum.

Co-ordination is ensured by the Ministry of Culture.


1. Cultural co-operation

(a) With other countries in the region

Bilateral co-operation

Cultural co-operation in Mali consists in intensifying efforts to develop the effective and fruitful co-operation which existed in ancient times between the countries of the region in cultural, artistic, sporting, social, scientific, technical and youth activities.

It consists in encouraging mutual assistance so as to strengthen traditional friendships and community of purpose, with a view to individual and overall development and the eradication of the effects of underdevelopment.

It is formally expressed in bilateral cultural agreements which are implemented in the annual or biennial cultural implementation plans and programmes. Exchanges of persons prominent in the cultural field, of artists and research workers, the granting of fellowships, the organization of further education courses, and foreign visits by administrative staff, including senior officials, with a view to increasing their knowledge of the various systems, are all elements of this bilateral co-operation.

Multilateral co-oDeration

Cultural co-operation at this level consists in taking concerted action to co-ordinate our cultural programmes with a view to harmonious overall development in which each country's specific characteristics and contribution makes it possible to take joint action involving sectors which are vital to our future. Such action concerns the promotion of national cultures and languages, education, scientific co-operation and social development.

It (Unesco, Organiza

takes the form of participation in world cultural organizations the Agency for Cultural and Technical Co-operation (AGECOOP), the

tion of the Islamic Conference (scientific and cultural branches)); regional organizations (the cultural bodies of OAU, ECOWAS and CEAO) and subregional organizations (OMVS, Organization of Saharan States).


(b) With countries outside the region

Bilateral co-operation

This co-operation consists in establishing cultural agreements for the purpose of providing aid, subventions and technical assistance to create, develop and consolidate friendly relations and mutual understanding between the peoples of Mali and other countries, for their common welfare.

After independence, the Republic of Mali, having opted at the time for a socialist programme of development, established close co-operative relations with the progressive countries of the world, particularly with the USSR and the People's Democracies, both in its defence policy and in its policy for the protection of national culture.

Multilateral co-operation

Cultural co-operation has been a keystone of national independence policy. It must involve pride in one's culture, recognition that it is dis- tinct from other cultures and the firm belief that this distinctiveness is a valuable contribution to world culture.

Cultural co-operation consists in developing friendly relations with other countries on the basis of the principles of international law, in particular the principles of respect for the sovereignty of states and non- interference in the internal affairs of other states, and on the basis of international solidarity for the preservation of world peace.

Public bodies responsible for cultural co-operation and their fields of competence

These are: the Ministry of Sports, Arts and Culture, which is responsible for elaborating and implementing national cultural policy.

The Ministry of Foreign Affairs and International Co-operation, through its Division for Cultural and Social Co-operation, which is responsible for negotiating and monitoring the implementation of cultural co-operation agreements.

The National Union of Malian Youth (UNJM), which is responsible for the political aspects of culture.

2. Regional or subregional cultural integration

Mali fosters cultural integration by contributing in all possible ways to the establishment of a new cultural order in Africa, and scrupulously observes the Cultural Charter for Africa.

At subregional level, the Republic of Mali has recognized, along with the other members of the Organization of Saharan States, that it is essential to combine their efforts in order to solve the problems of development.

With a view to more effective mobilization and qualification of human rsources, which remain the true and reliable forces for development, joint action has been undertaken in the fields of education, youth, sports, arts and culture, communication, labour and health.

From the archaeological, prehistorical, historical and spiritual stand- points, the Saharan countries concerned share a common cultural heritage. This common background greatly facilitates cultural co-operation efforts. Thus


cultural events of all kinds (festivals, symposia, cultural weeks and seasons) are as important an opportunity as scientific research for mutual assistance and mutually beneficial exchanges of all kinds. Mali is convinced of the need to integrate all these development programmes.

Bodies responsible for participation and their fields of competence

These are: the Ministry of Sports, Arts and Culture for all activities connected with these fields.

The Ministry of National Education for problems of education, scientific research, applied technology, national languages, functional literacy.

The Ministries of Public Health and Social Affairs, Labour and the Civil Service for all matters connected with their functions.

CLT-82/MONDIACULT/FBF. 1/AFR - page 67

MAURITIUS


1. The basic principles of Mauritian cultural policy are contained in the Constitution of Mauritius, which recognizes the need to maintain unity amidst diversity in keeping with the country's cultural reality. This policy is based on the concept of 'Mauritianity' which, like that of Africanism, finds expression in the principle of unity in diversity and recognizes, in turn, the richly diversified nature of art. For, 'such is the diversity of the ethnic groups that comprise the Mauritian population, that Mauritius derives its cultural heritage at once from Europe, Africa and Asia. Thus, Mauritian art finds simultaneous expression in Creole folklore, the sega inherited from Africa, as well as Indian, French and Chinese folklore. The Creole patois exists side by side with French, English and Eastern languages, primarily Hindi--all this, is in atmosphere of mutual respect for and appreciation of each other's ancestral cultures'.

Since the country became independent in 1968, there has been a growing national awareness among the population, which has led to a constant search for a Mauritian identity and common values, the aim being to strike a balance between Eastern and Western influences.

Among the laws relating to cultural policy, the ordinance concerning ancient monuments (Chapter 282, 16 March 1944) may be mentioned.


1. The Ministry of Education and Cultural Affairs, working in collaboration with other ministries, is responsible for cultural policy.

3. Notwithstanding the fact that in Mauritius cultural policy is the responsibility of the Ministry of Education and Cultural Affairs, other ministries are also involved to some extent in this field as, for example, the Ministry of Youth and Sport, the Ministry of Information, the Ministry of Regional Administration, the Ministry of Planning and Economic Development and the Ministry of Foreign Affairs.

The Ministry of Youth and Sport is especially active in the cultural field. Among other things, it is responsible for organizing young people and their activities and the registration of youth clubs. The Ministry's programme of activities clearly shows that the authorities are above all interested in strengthening national unity, in organizing festivals of the dramatic arts for young people, etc. , the major objective being the democratization -of culture and sport, ensuring the widest. possible participation of youth in these fields .

The Ministry of Information and Broadcasting and the Ministry of Com- munications are engaged in a concerted effort to ensure that Mauritius is kept fully up to date with both national and international affairs. The development of the mass media has proven indispensable for the dissemination of science, education and culture.

The National Commission for Unesco also plays an important role in the cultural field: it advises the ministries and other institutions concerned; it arranges for missions of experts; it assists in the implementation of Unesco programmes.



The first libraries (public and private) were established at the beginning of the nineteenth century: municipal libraries, the Library of the Research Institute on the Sugar Industry. Most libraries are located in urban areas, but steps are being taken to set them up in rural areas too. A Council of Librarians has been created to co-ordinate the various libraries of the island.

The Archive Service is the oldest established service not only on the island, but also in the Southern Hemisphere. The Mauritian Archive Service, which was placed under the responsibility of the Ministry of Education and Cultural Affairs in 1957, is extremely important; it protects public archives, makes them available to researchers and collects all documents of public interest. It publishes bibliographies regularly and participates in the organization of exhibitions on historical and cultural themes.

The Ministry of Works is responsible for the upkeep of monuments, the aim being to make Mauritians more acutely aware of their history.

The Museum of Port-Louis is the largest museum on the island; it is over 100 years old. The government is making a concerted effort to enhance the educational potential of museums and add to their collections.

VI. ARTS TEACHING

Art has become an almost compulsory subject in schools, which are encouraged by the authorities to place as much emphasis as possible on aesthetic education. The promotion of manual training in schools opens up bright prospects for the handicraft arts.


2. Mauritius has no traditional handicrafts. The various.ethnic groups continue to practise the same type of crafts as their forefathers did in the countries from which they came, using local materials; thus, Mauritian handicrafts still show the influence of Eastern, African and European art. Local crafts (using vacoa leaves, raffia, rattan, vetiver and aloe fibres) are encouraged by the Bureau of Light Industry, which is responsible to the Min- istry of Education and Cultural Affairs and the Government Tourist Office.

Various voluntary organizations associate themselves with the government's efforts to provide young people with the necessary training with a view to increasing the quantity and quality of their production and establishing centres for the exhibition and sale of their work.


Mauritius has bilateral cultural arrangements with Egypt, France, India, Senegal and the Union of Soviet Socialist Republics. At the multilateral level, Mauritius is a member of Unesco, ACI, OCAM, OAU, AGECOOP, the Common- wealth and other organizations. The Ministry of Education and Cultural Affairs is responsible for co-operation policy.


NIGER


1. is as important to restore to the people, through the education of the young, the cultural authority and initiative that is theirs, as it is to draw the Westernized elite closer to the life of the people'.

Niger cultural policy adheres to the basic pragmatic principle that 'it




The following bodies are responsible for the cultural sectors:

the Service of Cultural Affairs of the Presidential Secretariat of State for Youth and Sport, which is, in particular, responsible for young people's cultural clubs, out-of-school youth activities and the National Arts Company;

the Ministry of Foreign Affairs and Co-operation, which includes a Directorate of International Organizations and Cultural Affairs and is responsible for international cultural exchanges.

Mention should also be made of the role of the Culture Committee of the National Commission for Unesco, which is attached to the Ministry of National Education.

Apart from the Islamic Committees and the Committees of Out-of-School Youth, other institutions play a cultural role at the national level.

Co-ordination and co-operation between non-governmental institutions is ensured by either the tutelary authority (the Presidential Secretariat of State for Youth and Sport) or by a co-ordinator appointed as Islamic Adviser to the Chief of State who supervises the Islamic Committees.

The following bodies should also be mentioned: the National Museum, the Niger Humanities Research Centre, the Association of Radio Clubs, the Literacy Service of Niger Film-Makers, the Niger Association for the Advancement of the Blind, the Niger Writers' Association, the National Tourist Office, the National Arts Company, etc.

111. PRESEKVATION AND DEVELOPMENT OF THE CULTURAL HERITAGE

The Niger National Museum, established in 1959, is particularly important in this field of activity. Responsible to the Ministry of National Education, the Museum seeks to provide a comprehensive picture of the traditional ways of life of all the ethnic groups that make up the country and to preserve traditional techniques whose disappearance would detract from the country's cultural heritage; in so doing, it seeks to emphasize the value of craft work and thus attract young people to this form of production.



A People's University providing cultural training for adults has been established in Niger.

VI. ARTS TEACHING

There are no structures especially responsible for arts teaching in the country's national education system.


4. The country's general development plan lays down some guidelines for the following cultural sectors: folklore, theatre, dance and song.


The Niger Humanities Research Centre (CNRSH): In 1960, the governmen: asked that research be carried out along two main lines: basic studies on the major ethnic groups and investigation of significant human problems related to development projects.

The Centre has four departments, dealing with archaeology, history, linguistics and the economy.

Since its founding, the CNRSH has produced recordings of historical, literary and religious texts, including a Zarma translation of the Koran together with a commentary, and has collected and reproduced ancient manuscripts in Arabic and Ajami (some 2,000 manuscripts).

The CNRSH produces its own publications and takes an active part in Unesco's General History of Africa project, in efforts to preserve and improve the presentation of cave drawings and in important work in the field of applied linguistics. Within that context, it was one of the driving forces behind the creation of the Regional Centre for Research and Docu- mentation on Oral Traditions in Niamey, which, in 1975, became the OAU's Centre for Linguistic and Historical Studies by Oral Tradition.

The CNRSH was affiliated to the University of Niamey by Decree No. 74-123/PCMS/MEN/JS of 4 June 1974, under the name of the Humanities Re- search Institute (IRSH).

.XI. EXTERNAL CULTURAL POLICY

Niger's cultural co-operation is based on a number of cultural agreements. Bilaterally, Niger has signed such agreements with a number of Afri- can and non-African countries. Multilaterally, Niger participates in the activities of ACI, OAMPI, the Agency for Cultural and Technical Co-operation and the OAU Centre for Linguistic and Historical Studies by Oral Tradition.

The Ministry of Foreign Affairs and Co-operation is responsible for international cultural co-operation.

Niger carries out cultural action abroad through participation in exhibitions and through the activities of the National Arts Company. Niger takes part in the Festival of Black African Arts.

CLT-sZ/MONDIACULT/REF.l/AFR - page 71 NIGERIA


1. Both the Federal and State Governments of Nigeria have at different times in the past years passed laws formally establishing councils for the promotion and development of Nigerian National Culture. Some of these laws have been passed to strengthen and broaden the existing basis for the promotion of various aspects of Nigerian cultural life. These are essentially in the areas covering the museums and monuments, cinema (National Film Corporation and the National Film Distribution Company) Television--The Nigerian Television Authority and the Federal Radio Corporation of Nigeria.

2. The Nigerian Constitution gives special consideration to the rights of the people of Nigeria to develop their culture. The governments of the federation are therefore bound by the provisions of the Nigerian Constitution to promote and effectively apply national culture as an instrument towards the promotion of national identity and unity. Communities and groups interested in developing their local cultures are usually given all necessary forms of financial and material assistance.



1. There are two public bodies set up for the formulation and execution of government cultural policy at the central (federal) level. The Federal Department of Culture is responsible for the formulation of national and international cultural policy, while the National Council for Arts and Culture is responsible for co-ordinating cultural action of government internally. In other words, the Federal Department of Culture formulates and executes cultural policies at a higher level and the National Council for Arts and Culture takes care of co-ordination at grass-roots level which involves interaction with the state and local government councils for cultural development.

1 MINISTRY OF CULTURE . . . . . e . . . . . . . . . i

Federal Department of Culture forms part of the Ministry of Culture

Professional and Administrative Department of Government at Federal level formulation and execution

Responsible for all external cultural relations

. . . . . . . . . . . . . . i

! National Council for Arts I

1 and Culture 1 Set up by Act of the Nacional Assembly

Headed by the Board and an Executive Secretary

Board membership made up of state, institutional and traditional representatives


'. National Library of Nigeria I I

Relates to NCAC and all national cultural organizations in terms of offering financial support and promotion

Provides necessary leadership to international cultural organizations in Nigeria

Empowered to encourage and develop all aspects of Nigerian cultures

Funded by the Federal Government

Interacts with private and public organizations/sectors

Wholly funded by Federal Government

2. The Administration of Culture is on the concurrent Legislative List (Sche- dule) of the Nigerian Constitution. This means that the promotion and development of culture is the exclusive responsibility of each State Government in Nigeria. This, however, does not rule out the possibility of states approaching the Federal Government for financial, administrative and material support which is usually given after due consideration. State or provincial authorities all have established state arts councils set up by law.

These councils are vested with the responsibility for developing, admin- istering and promoting state cultural policy.

3. Yes. At the federal level Nigeria has other bodies in the cultural sectors and these are the:

(a) National Commission for Museums and Monuments;

(b) National Library of Nigeria;

(c) Centre for Black and African Arts and Civilization;

(d) National Gallery of Modern Art;

(e) Federal Radio Corporation of Nigeria;

(f) Nigerian Television Authority;

(g) Film Corporation of Nigeria.

All these bodies are statutory bodies set up by Acts of the National Assembly of Nigeria. They interact in the activities of other public bodies and in those of private bodies.

Federal Government of Nigeria

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I Centre of BAAC 1 Board of CBAAC

Director NLN Director of CBAAC

Deputy Directors NLN


1 ; Federal Government of Nigeria 1 \

f Federal Radio Corp. National Commission for

\ Museums and Monuments of Nigeria

I

N ig er ian Television Author it y 1

i i I I 1

Board of FRCN Board of NCMM Board of NTA

Director-General FRCN Director-General NCMM Director-General NTA

Regional Directors Departmental Directors Zonal Directors NTA

N.B. Financial Sources: Federal Government of Nigeria and Revenue generated by individual agencies.

4. Yes. At the national level, the Federal Ministry of Social Development, Youth, Sports and Culture ensures that there is co-operation and co-ordination among the various bodies at the national, state and local government levels. Similar organizations at state levels are responsible for co-ordination and co-operation of functions within their areas of jurisdiction.


1. Within the federal capital, almost all ,cultural groups are represented. These groups set up their cultural organization in order to promote specifically their cultural well-being and to ensure that ethnic cultural promotion and identity are not disregarded. Thus, cultural relations with the state of origin or hometown is maintained and identity of the group is guaranteed. At state level cultural groups organize themselves and ensure the participation of all members at all levels. There are too many of these groups in Nigeria to contemplate naming them. Some of these groups however manage to have their organizations registered either as cultural development societies with state authorities or simply inform government bodies of their existence. The groups are generally private, but receive financial support at different intervals from governments if found to be well organized and active; otherwise, no special funding is arranged by the government. No subsidies are usually given except when found essential for the development of such a cultural discipline or group.

2. Co-ordination and co-operation is frequent between these groups and government. This happens through the artistic use or application of these groups by the Department of Culture, the National Council for Arts and Culture and other agencies at federal, state arts councils or local levels.

The system operates through registration of these institutions with the authorities who then invite them for performances as and when necessary.


The Federal Government of Nigeria has specialized organizations at the national level for the preservation of the cultural heritage. These are held in various national institutions such as the National Archive, the National Library, the National Museum and in the universities. Both the universities and specialized agencies are responsible for research for the restoration of


national heritage. These agencies are basically federal agencies (there are a few state agencies) and are wholly financed by the Federal Government of Nigeria.

IV. AID TO ARTISTIC AND LIBRARY CREATION

There is a special aid system referred to as Fund for the Assistance to Arts and Drama set up by the Federal Government in the past ten years. The purpose of this fund is to give assistance to artists in the provision of fellowships, study grants for travels and purchase of research materials. Researchers and artists are given necessary support to ensure the realization of their (the artists) national objectives in the field of culture. Apart from this, there are other forms of financial support available to artists and writers.


Cultural centres and universities are Federal Government agencies in Nigeria specifically charged with the responsibility for cultural education, dissemination and animation of Nigerian culture. They receive state grants annually as required by law.

VI. ARTS TEACHING

This is the responsibility of the country's teaching institutions. The teaching of arts is an integral part of the curriculum which permeates the entire educational system.


Seminars, workshops and induction courses are usually arranged on national and regional levels to enhance the professional quality of culture planners and administrators. The training of specialists at higher levels is usually done on the job and in specialized institutions abroad especially in the technical and programming sectors.


The cultural industries do have a.public and a private sector. Radio and television broadcasting is a state monopoly, the rest belong to the private sector. These areas seem to be properly managed by the private sector with little or no intervention from the state. Financing is provided by the private sector.


1. Banks very occasionally give financial support to the financing of culture. There are no special arrangements with banks or foundations for this purpose. The federal and state governments are basically responsible for the financing of culture in Nigeria.

2. There are no systems for aiding handicrafts, cultural associations, cultural centres or cultural clubs, except special arrangements for the handicapped.


3. Special fiscal measures have been taken in the country in favour of culture; it is a government responsibility.

4. The country has a general development plan, which provides for the construction of cultural centres and for national festivals and literary festivals organized by the federal and state agencies of culture.


1. There is special cultural legislation in the different cultural fields (the cultural heritage, museums, publishing, theatre, cinema, television, radio, etc.).

2. The country has bodies responsible for research and/or dacumentation in the field of cultural development. They are the cultural departments and the universities.

3. The country has a body or public service responsible for the co-ordination of research and/or documentation in the field of cultural development: the Federal Department of Culture.


1. Nigeria has signed a number of cultural co-operation agreements with African and non-African countries:

(a) African (regional)

(b) European and America.

These agreements are both multi- and bilateral. The Federal Department of Culture is the co-ordinating agency for these agreements.

2. This is presently seen as an essential aspect of Nigerian foreign policy. The Federal Government of Nigeria has just embarked on the possibility of achieving subregional integration through ECOWAS (Economic Community of West African States).

3. The government of the country does undertake specific cultural activities abroad, through exchanges of artists, exhibitions, information materials, books, etc. Exchanges are regarded to be reciprocal and should serve the interest of the sending and receiving states in the various areas of cultural activities.

All cultural agencies are participants and co-ordination is usually the responsibility of the Federal Department of Culture.


RWANDA


1. There are laws in Rwanda that touch on the principles of state cultural policy as, for example, the 1966 Education Law, the Statute of the National University of Rwanda, the Five-Year Plan for Economic, Social and Cultural Development.

Regulations are also in force, such as the Manifesto of the National Revolutionary Movement for Development (MRDN) and the presidential decrees relating to the establishment of the Rwandese Academy of Culture (1971), the National Ballet of Rwanda (1974), the Rwandese National Commission for Unesco (1975), the National Archives Service (1979) and the Ministry of Higher Education and Scientific Research (1981).


The Central Committee of the MRDN has a Commission on Educational, Cultural and Scientific Affairs and a Ministry of Higher Education and Scientific Research, which has a General Directorate of Culture and Fine Arts.

The General Directorate of Culture and Fine Arts is responsible for:

the co-ordination of research carried out by public and private bodies;

relations with the Rwandese Academy of Culture and cultural promotion bodies;

cultural documentation and information;

supporting the activities of the National Library, the prefectorial libraries, the National Museum and the National Theatre;

supervision and co-ordination of the Secretariat of the National Commission for Unesco;

promoting the operations of the National Cultural Centres;

relations with other ministerial departments involved in cultural matt er s.

The Directorate for the Promotion and Preservation of the Cultural and Artistic Heritage is responsible for:

all matters concerning copyright;

the establishment of a national cultural information system.

4. The Office of the President of the Republic has a Department of Educational and Cultural Affairs, which is responsible for the co-ordination of the bodies referred to above.


1. Religious bodies (Christian and Islamic) and some accredited diplomatic missions which have cultural centres play a very important cultural role in Rwanda.



The country has a National Archives Service attached to the Office of the President; a Rwandese Service of Tourism and National Parks responsible for the protection of monuments and sites; a National Institute of Scientific Research responsible for archaeological and ethnographic research and research on the cultural heritage as a whole. This Institute also supervises the National Museum.

All these institutions are state supported.


The Rwandese Republic does not have special funds or foundations which support artists and writers in their creative activities, but cultural bodies often take the initiative in organizing competitions especially in the fields of music, literature and the theatre.


Strictly speaking, there are no special institutions engaged in such activities, apart from the few cultural centres mentioned above, and most secondary and higher educational establishments which organize their own cultural activities.

At the same time, however, there are some folklore groups that are in the process of becoming centres for promoting cultural action,

VI. ARTS TEACHING

The country has only one secondary school which specializes in art. It provides instruction mainly in the visual and graphic arts; there is no specialized artistic education as such.


The Rwandese Republic does not yet have any agencies, courses or seminars to train cultural development personnel.


Apart from a few distribution networks, there are practically no cultural industries in Rwanda today.


2. The Ministry of the Economy and Trade has a Directorate of Handicrafts which promotes handicrafts at the national level, but there are no special arrangements for financing cultural associations, centres or clubs.

4. Up to now, the Development Plan has not included any special provisions €or cultural matters. However, the Ministry of Higher Education and Scientific Research has asked that the following cultural objectives be incorporated in the new Five-Year Plan of Economic, Social and Cultural Development (1982-1986) :


preservation and protection of the cultural heritage; study and development of the cultural heritage; circulation and dissemination of culture; intellectual creativity; cultural training; cultural co-operation; guidance and co-ordination of cultural action.


1. Rwanda has no special legislation covering the different cultural fields.

2. It has no bodies responsible for research and/or documentation in the field of cultural development.

3. The Ministry of Higher Education and Scientific Research is responsible for co-ordinating cultural development. Its role is, however, theoretical in so far as the structures and infrastructure of scientific research have yet to be established.


1. Rwanda has signed bilateral cultural co-operation agreements with several African and non-African countries.

Multilaterally, the country is a member of several bodies engaged in cultural co-operation, such as Unesco, the Agency for Cultural and Technical Co-operation, etc. It has ratified the Cultural Charter for Africa and signed a cultural co-operation agreement as a Member State of the Economic Community of the Great Lakes Countries (CEPGL), the headquarters of which are located in Rwanda.

The Ministry of Foreign Affairs and Co-operation and other ministries concerned with the subject-matter of the agreement are responsible for external cultural co-operation.

2. Through its cultural policy and notably in the liguistic field--African languages, Rwanda indirectly fosters cultural integration in its subregion, but this cannot be interpreted as evidence of a global integration strategy.

3. embassies and by sending special cultural missions and arts groups (the National Ballet and others) to different countries. The diverse aspects of Rwandese culture (art objects, handicrafts) are also represented at international fairs.

The Rwandese Government undertakes cultural activities abroad through its

The following bodies are responsible for these cultural undertakings:

the Ministry of Foreign Affairs and Co-operation; the Ministry of Higher Education and Scientific Research; the Ministry of Youth and Sport; the Ministry of the Economy and Trade.


SENEGAL


1. The cultural policy of Senegal and the bodies responsible for carrying it out are set forth in various laws and regulations, in particular Decree 76.1021 of 14 October 1976, which states that:

'. . . . . the Minister of Culture is responsible for the government's cultural policy, which rests upon the following principles:

cultural development as the basis for the economic and social development of the nation;

the need to promote cultural development;

the provision of assistance and support for cultural and artistic act iv i t ie s ;

cultural decentralization and the provision of amenities in the regions ;

international cultural co-operation with a view to the establishment of a fruitful dialogue between civilizations;

the integration of science and technology into the cultural heritage of the nation;

the planning of cultural activities both within the country and abroad'

2. Well before Senegal gained independence as a sovereign state, research had begun on the right of individuals and groups to culture, in order to base the claim for independence on the country's own culture, which could not be assimilated to that of the colonial power. Once independence had been acquired, it continued in order to promote Senegalese identity, which could only be achieved within and through a specifically Senegalese culture.



1. The Ministry of Culture is responsible for promoting the cultural policy of the Government of Senegal at three different levels:

(a) it decides on the content of the policy and then implements it or supervises its implementation;

(b) it assists all the other sectors to implement that part of the cultural policy which affects their own activities, by providing technical, professional, material and financial aid and assistance;

(c) it supports artistic creativity and the cultural promotion of individuals and groups.

2. Senegal is a united republic and thus the regions have no specific authority for cultural policy. However, as the administrative system for both people and property (material and spiritual) rests on the principles of


decentralization and devolution, each region and each local area has a duty to promote the cultural development of the different groups which live in it and to propose to the government ways in which this could be achieved.

3. Other ministries are also active in the cultural field: these include the Ministries of National Education, of Adult Education, Youth and Sport and of Human Development.

(a) The Ministry of National Education attempts to integrate cultural policy into the educational systems, particularly through the use of the national languages as the principal medium between the child and the outside world, and it is successful in this attempt.

(b) The Ministry of Adult Education, Youth and Sport encourages the revival of the traditional games and sports, particularly by providing support for their seasonal organization, at the beginning or end of the winter, and for periodic contests between villages, on the initiative of the people concerned.

(c) The Secretariat of State for Human Development combines the attempt to introduce modern means and methods of performing domestic tasks with the safeguarding and consolidation of the social structures of the communities into which these innovations are being introduced.

The aim is to free women of drudgery and in so doing provide them with free time for leisure activities.

4. At the national level the Organizing Committee for the National Week or Fortnight of Youth and Culture is a body which co-ordinates the activities of the two ministries of Culture and of Adult Education, Youth and Sport.

This same committee has branches throughout the country in the form of regional, departmental and local (district) organizing committees for the Week or Fortnight of Youth and Culture.


The main examples are:

The Lgopold Sgdar SENGHOR National Foundation, known as ' the Foundation' whose purpose is to promote African culture, and especially African Negro culture. It is independently financed: its funds come from members' contributions and from gifts or bequests from a wide range of sources.

The Senegalese Writers' Association: subsidized unconditionally by the state.

The Senegalese Artists' Association (ARTPLASEN) which also receives state subsidies and whose members may approach the government individually to obtain assistance for a specific project.

The Professional Actors' Association.

The Club Nation et Dkveloppement which is supported entirely by financial contributions from its members.


All these bodies are empowered to organize activities throughout the country and also abroad.

They are governed by the Senegalese Code of Civil and Commercial Obligations and Decree No. 76040 of 16 January 1976.


Five bodies share responsibility for the preservation and development of Senegal's cultural heritage:

The Department of the Historical and Ethnographic Heritage, which consists of two divisions:

the Division of Historic Monuments and Sites which is responsible for listing, classifying, protecting and restoring historic monuments and sites and also sites of natural beauty;

the Division of the Artistic Heritage of the State, which administers the whole of the state's artistic and cultural heritage. Its role is to identify, classify and safeguard this heritage and arrange for it to be displayed so that people will be able to view, enjoy and study it.

The Senegalese Cultural Archives which collects, classifies and stores sound recordings of outstanding value, representative of the autochthonous civilization and ranging from oral literature to examples of traditional technology. Drawing upon this rich store of knowledge it organizes both occasional and permanent exhibitions, lectures, film shows and also systematic courses of study.

The Centre for the Study of Civilizations, whose main purpose is to study and disseminate examples of the oral civilization of Senegal and, secondarily, to collect them.

The Senegalese National Archives, which collects and conserves official information and documents about events in Senegal and maintains an extremely comprehensive collection on the colonial and pre-colonial history of Senegal and of French-speaking Africa.

The Institut Fondamental d'hfrique Noire (IFAN) carries out basic theoretical and applied research which covers the whole area of the natural sciences, the social sciences, etc., and including in the latter the study of cultural problems.

The Library of the Saint-Louis Research and Documentation Centre, which is devoted to the study of the social sciences, contains collections which are rare in Africa.

The Department of Public Reading Libraries: a body responsible for establishing libraries in the administrative centres of the regions, departments, local districts and communes.

The National Library, which is now being planned, will hold a copy of everything which has been, is and will be published in Senegal.

CLT-82/MONDIACULT/REF.l/AFR - page 82 IV. AID TO ARTISTIC AND LITERARY CREATION

A Special Fund, forming part of the Senegalese Public Treasury Account, and called the 'Aid Fund for Artists and Cultural Development', provides aid for artists, writers, film-makers, drama associations and dance groups. It does this directly, by arranging performances of their creative works, or indirectly, by subsidizing the material resources and the services which they need if they are to do this themselves. In addition, with the backing of a state guarantee, credit organizations may loan them the funds and services needed for artistic creation. The state also helps individual creative artists to develop their talents by providing aid for the installation of workshops and for publishing, and, for the benefit of organized groups, by providing premises and resources. \

It also offers fellowships to young self-taught artists for proficiency courses held in its own general training schools, and fellowships for the further training of established artists, either by drawing upon its own resources, or through the intermediary of international bodies (African Cultural Institute, Unesco, Agency for Cultural and Technical Co-operation, etc.) or countries with which it maintains cultural co-operation.


In Senegal, each of the eight (8) regions has an African cultural centre. The epithet 'African' clearly states these institutions' purpose, which mainly consists in promoting a form of cultural development which is in harmony with the true nature of our society, rooted in the values of our own civilizations, but open to fruitful contacts with the outside world. In practice, the cultural centre acts not only as a home for all forms of autochthonous cultural expression, but also as a relay station for innovations and modern ideas. But it should be clearly understood that the cultural centre is not the place where a model of civilization is created which must then be followed by the people. Its role is principally to draw on the basic values of the area in which it is situated, values which are essentially African, and then to suggest ways and means by which African culture may be made the ciment which holds our development together.

VI. ARTS TEACHING

Teaching in the arts is provided at the primary-school level by teachers whose general training includes arts education (in the plastic arts and music), which forms one of the subjects for their final qualifying examination (to gain a teaching diploma).

At the secondary-school level arts teaching (in the plastic arts and music) is provided by masters and teachers specially trained for this task and who have the same status as their counterparts in general education.

Specialized arts teaching is provided in two higher educational establishments: the National Conservatory of Music, Dance and Dramatic Arts and the National School of Fine Arts, which train professionals who set themselves up on their own account at the end of their training.

The Ecole Normale Superieure d'Education Artistique (Higher Training College for Arts Education) trains teachers.

CLT-82/MONDIACULT/REF. 1/AF'R - page 83 Arts teaching in schools (at the primary and secondary levels) is an

integral part of the national educational system, but is supervised by an Inspector of Arts Teaching, who comes under the Ministry of Culture.

In higher education a Special Diploma in Aesthetics has just been established, which counts towards a Master of Philosophy degree.


The personnel responsible for cultural activities include:

(a) The advisers on cultural affairs: senior officials, recruited at the graduate level through competitive examinations. They are responsible for planning or organizing cultural activities an? serve in the regions as cultural advisers to the governors and directors of the Regional Cultural Centres, or in the central services of the Ministry of Culture. They are trained at the Regional Centre for Cultural Action in Lorn6 (Togo) an establishment training cultural action personnel for the member countries of the African Cultural Institute (ACI).

(b) The organizers of cultural activities: trained in a specialized section of the National Conservatory of Music, Dance and Dramatic Arts. They are recruited from amongst those who have passed the baccalaurgat and are intended for work in the field, and they therefore serve mainly in cultural centres and institutions concerned with research , collection or exhibition (Cultural Archives, Centre for the Study of Civilizations, etc.) and in the centres attached to the lyc&es.

Museum staff:

They are generally trained abroad, in France, Belgium, Nigeria (Jos) or the United States of America:

(a) museologists: recruited at the graduate level;

(b) museographers: recruited at the level of the baccalaurgat;

(c) museum technicians: recruited from among those holding the 'brevet' or any other diploma awarded at the end of the first stage of secondary education;

(d) museum attendants: recruited from those with a school-leaving certificate at the primary-school level.

VIII. RADIO AND TELEVISION STAFF

They are trained at the Centre for the Study of Information Sciences and Techniques (CESTI) which awards a diploma in written, radio and television news coverage. Their functions and privileges are set out in a Journalists' Convention.

N.B. Personnel for cultural action and museum staff may, after their initial training, apply for training fellowships to study audio-visual techniques and sciences with a view to using them in the organization of cultural activities.

CLT-82/MONDIACULT/REF.l/AFR - page 84 IX. THE MAIN CULTURAL INDUSTRIES IN SENEGAL ARE:

The Nouvelles Editions Africaines, a publishing company in part publicly owned (Senegal and the Ivory Coast) and partly privately owned.

The Golden-Baobab, a recording company which is wholly privately owned.

The Decorative Arts Manufacturing Company, situated at Thies, is concerned with the manufacture of tapestries and more recently with some of the other decorative arts. It is a publicly owned industrial and trading e s tab 1 is hmen t .

The Socikti? Industrielle de Distribution d'Exploitation Cinematographique, a semi-public company.

Radio and television, grouped together in one public administrative corporation, the Off ice de Radiodif fusion--Television du S'enkgal.

The Soci;?t& S6nkgalaise de Promotion de l'hrtisanat (Senegalese Corporation for the Promotion of Craftwork).

These bodies are expected to balance their budgets and finance their own activities. However , should the need arise, they can receive state subsidies so as to allow them to deal with the difficulties encountered by any body whose main purpose is to serve the public.

X. (1) Two public funds, called the Aid Fund for Artists and Cultural Development and the Aid Fund for Sport and Adult Education, exist respectively, as their names indicate, to promote artistic and cultural creativity, adult education and the development of sport. In addition to these funds, there exists the Leopold Sedar SENGHOR Foundation which is entirely devoted to cultural development. The Lgopold SCdar SENGHOR Foundation is a private body whose resources come partly from state subsidies and partly from voluntary contributions from its members and from gifts or bequests, made without prior conditions contrary to its statutes, received from all kinds of sources (states, public or private bodies, corporations .and individuals).

(2) Craftwork in Senegal receives considerable state aid through the Senegalese Company for the Promotion of Arts and Crafts which provides facilities in all the regions (the village Craft Centre) and makes available loans for equipment and working capital for every craftsman who sets himself up in these village centres. Funds obtained by the company from banks established in Senegal, or from other backers, are loaned out at two to three per cent below the rate of interest at which they were obtained.

The cultural associations are assisted through the Aid Fund for Artists and Cultural Development.

(3) There are certain fiscal measures which operate in favour of the arts:

exemption from certain import duties on cultural goods and materials intended for the manufacture of cultural products on a non-commercial basis, and on books, written for the general public or specialists, etc.

CLT-82/MONDIACULT/FtEF. 1/AFR - page 85

XI. LEGISLATION AND RESEARCH IN THE FIELD OF CULTURAL DEVELOPMENT

(1) There are specific laws covering each field of culture:

(a) the cultural heritage and museums: Law 71.12 of 25 January 1971 and its implementing Decree No. 73.746 of 8 August 1973 and Law No. 65036 of 19 May 1965;

(b) theatre: a national association called the National Popular Theatre Federation is responsible for promoting and developing all forms of 'modern' and 'traditional' theatrical activities, which are original and authentically African;

(c) cinema: the Film Bureau, Decree No. 76.1021 of 14 October 1976, Article IVY paragraph 4. The Corporation for Film Importing and Distribution (SIDEC) Law No. 74.12 of 2 April 1974, granting the state a monopoly in the importing and distribution of films. Statutes of SIDEC, registered under Law No. 692/1 of 14 January 1974.

Office de Radiodiffusion-Television du Se'nggal (ORTS). Law No. 73-51 of 4 December 1973.

Implementing Decree No. 74.94 of 23 January 1974.

(2) The Ministry of Culture (Cabinet) has a documentation centre for cultural development. Research in this field is carried out by the various departments of this ministry, each one working within its own particular area. The documentation service catalogues and conserves for future use all the basic documents relating to the organization and implementation of Senegal's programme of cultural development and all texts which contain the results of studies and of collective or individual thinking on a specific cultural problem.

The Research and Documentation Centre of Senegal, situated at Saint-Louis, performs the same tasks, but on a much larger scale. In particular, it handles more 'pre-independence' documents.

(3) In the cultural field, the Ministry of Culture is also responsible for co-ordinating and promoting studies on cultural development. The Secretariat of State for Scientific Research supervises all forms of research and documentation, especially with regard to 'standardization', classification, the establishment of references, etc.

XII. EXTERNAL CULTURAL POLICY

Senegal's external cultural policy is concerned, on the one hand, to defend and illustrate African culture--principally that of black people--and on the other, to seek out and assert those values common to African civilization and black people.

(1) (a) Senegal maintains close cultural links with the French- English- and Portuguese-speaking countries of the West African region, through agreements for cultural co-operation which form part of the agreements for general co-operation.

This co-operation is inspired and constantly renewed by protocols for cultural exchanges, which are as a general rule brought up to date every two years at the meetings of the various joint commissions for co-operation,


which are the natural instruments of Senegal's external cultural policy towards other African and non-African countries. In the particular case of the countries of the West African region, Senegal has initiated a project for cultural co-operation through the West African Economic Community (CEAO).

This project, if it is ratified by the Member States of CEAO, will help not only to consolidate existing bilateral and multilateral co-operation, but also to integrate and harmonize these countries' cultural policies.

(b) There exist similar forms of co-operation with the countries situated outside the region.

(2) Senegal's participation in the attempt to achieve subregional and regional cultural integration follows from the situation outlined above. Examples of its cultural achievements are shown in all the countries with which it maintains cultural links and it in turn receives examples of theirs. This takes the form of Senegalese Cultural Weeks abroad and the holding of Cultural Weeks by other countries in Senegal; of providing a welcome for specific cultural events--art exhibitions for example--and showing Senegalese achievements abroad in a similar way: the Daniel Sorano National Theatre tours the world and the exhibition of Contemporary Senegalese Art will soon have visited all the continents of the world. Senegal participates in specialized agreements concerning cultural goods and services, sets up and carries out with other countries cultural projects such as the Senegalese-Ivory Coast publishing company called the Nouvelles Editions Africaines (NEA--Dakar- Abidjan) and the Regional Book Development Centre for Africa South of the Sahara (CREPLA--Yaound&Cameroon), etc., takes initiatives to encourage integration, such as the draft cultural co-operation agreement between the member countries of CEAO, and offers places to nationals from other countries in Senegalese schools to train personnel for cultural action, etc.

(3) The government is responsible for catering for the cultural needs of Senegalese nationals abroad; in the country where emigration from Senegal is highest--France--Senegal provides a varied range of cultural activities (dramatic, musical, artistic, cinematographic, etc.), at the Maison d'Afrique in Paris and also in the regional capitals, principally for the benefit of its own nationals, but more generally for all Africans. Furthermore, it nearly always responds favourably when its nationals make a special request, either by sending professional groups linked to the state, or by giving assistance for visits by other cultural groups. For the rest, wherever there is a large Senegalese community, in addition to the diplomatic representatives there is a cultural adviser whose main task is to assess the cultural needs of Senegalese citizens and to satisfy these needs, in so far as he is able.

One body within the Ministry of Culture, the National Commission for the Exhibition of Senegalese Art Abroad, is principally concerned with the distribution of Senegalese artistic and cultural products abroad (paintings, sculptures, tapestries, etc.). The Daniel Sorano National Theatre, by means of tours which may last up to two years, demonstrates in theatres throughout the world the vitality of Senegalese culture.

The body responsible for this policy is again the Ministry of Culture.


SIERRA LEONE


No governmental declarations on cultural policy as a whole have been made. However, in his annual address, in 1976, the President said the following: 'my government realizes the significance of culture as a unifying force in the process of national development and continues to place great emphasis on cultural development'.



Four or five ministries, including the Ministry of Tourism and Cultural Affairs, are directly involved in cultural development:

The Ministry of Tourism and Cultural Affairs (established in 1973) is responsible for tourism, the Hotels and Tourist Board, cultural affairs, monuments and relics, the Sierra Leone Dance Troupe, museums, clubs and recreational activities. The Ministry has a Department of Cultural Affairs and a Department of Tourism, each headed by a director.

The Director of Culture is entrusted with the following duties:

to recruit, train, direct and present the Sierra Leone National Dance Troupe at home and abroad;

to maintain discipline and seek the general welfare of the members of the Troupe;

to be responsible to the Permanent Secretary for the general administration, programme planning and the presentation of draft estimates for and in respect of the Troupe;

to seek and negotiate local and overseas contracts in respect of the performance of the Troupe for approval by the Minister of Tourism and Cultural Affairs;

to advise the Permanent Secretary on such cultural matters as may be ref erred to him;

to advise on, plan and co-ordinate the performances of visiting foreign cultural groups sponsored by the government through the ministry;

to study, correlate and reflect the various cultural partners of the country in the performance of the Troupe.

The Ministry of Information and Broadcasting (established in 1958) has three departments: Governmental Information Services, Sierra Leone Broadcasting Service/TV and the Government Printing Department. The first two perform cultural functions.

The Ministry of Education, Social Welfare and Rural Development, apart from the obvious role it plays in the educational field, also has cultural or related responsibilities. It is in charge of arts education and the superintendency of libraries.

CLT-82/MONDIACULT/REF.l/AFR - page 88 The Ministry of Agriculture and Natural Resources includes a department

responsible for the protection of flora and fauna, headed by the Chief Conservator of Forests.


Apart from state institutions having cultural responsibilities, there are private institutions of local or national importance which assist in the trans- mission of culture:

the Provincial Literature Bureau and Bunumbu Press, which has done important work in the field of adult literacy;

the Kenema Show and Trade Fair: it has been held since 1949 to encourage producers to grow more cash crops, especially cacao beans (it was originally called the Cacao Show). Although in recent years the Show has taken on a more markedly commercial character, it is still accompanied by cultural events, especially of a local nature. All the same, it is predominantly commercial in character;

the Tabule Experimental Theatre: founded in 1968, it is one of the two main drama groups and brings together amateur actors. It stages on average four plays a year;

Gbakada Tiata: this theatre group was formed in 1969 but did not become operational until 1974;

the African Cultural Centre (established in 1976) publishes a cultural journal and has a periodicals/reading room for the public; it also has a printing press and a publications branch--the Sierra Leone Publishing Company.

111. PRESENTATION AND DEVELOPMENT OF THE CULTURAL HERITAGE

Monuments and relics: in 1946 an ordinance was passed 'to provide for the preservation of Ancient, Historical and Natural Monuments, Relics and other objects of Archaeological, Ethnographical, Historical or other Scientific Interest'. This ordinance set up the Monuments and Relics Commission as a corporate body. One of the most important changes introduced by an amendment to the ordinance adopted in 1967 was that the Commission was empowered 'to acquire, maintain and administer the Sierra Leone Museum . . . and all things immovable thereunto pertaining . . .'. Following the ministerial reorganization in 1973, monuments, relics and museums were made the responsibility of the Ministry of Tourism and Cultural Affairs.

The Sierra Leone National Museum was established in the colonial period thanks to the efforts of two Governors. In 1967 the Monuments and Relics (Amendment) Act established the museum's legal status.

The Public Archives: a Public Archives Act was passed in 1965 and the archives are now housed in the Archives Repository of Fourah Bay College. Government grants to the public archives were Le 21740 under the 1974/1975 estimates, Le 23,000 in 1975/1976 and the same figure in 1976/1977.


VI. ARTS TEACHING

The Arts Education Division was set up in 1974 and an administrator was appointed to head the programme of national art education. The Division is responsible for developing and promoting cultural education at all levels of the educational system through courses in music, dance, dramatic art, visual *

arts, folklore, literature and handicrafts.


2. The Art Education Association of Sierra Leone (AEASL) is primarily concerned with encouraging and promoting research and creativity in the field of art and protecting the cultural heritage. It receives an annual subsidy from the ministry to support its various activities. The association has four regional branches (in the three provinces and the western region).


While cultural agreements are the responsibility of the Ministry of Foreign Affairs, they are in fact negotiated by the Ministry of Tourism and Cultural Affairs. Agreements have been concluded with many countries, among them, the Union of Soviet Socialist Republics, United Kingdom, United States of America and Brazil.


TOGO


1. the Union of the Togolese People.

Togolese cultural policy is comprehensively set forth in the Programme of

The main laws covering cultural policy are the following:

Decree No. 67-121 of 30 May 1967, establishing the Office of the High Commissioner for Youth, Sport and Culture;

Decree No. 72-159 of 7 July 1972, establishing the Directorates of the Services of the Ministry of Youth, Sport, Culture and Scientific Research;

Decree No. 73-87 of 26 March 1973, establishing the Togolese National Theatre ;

Decree No. 74-71 of 8 April 1974, establishing the Togolese National Museum.

2. culture.

No general research is done in Togo on the right of persons and groups to



1. A High Commission for Youth, Sport and Culture is attached to the Office of the President of the Republic. It is responsible for all matters relating to the participation of young people in productive, physical, sports and cultural activities.

A Directorate of Culture is attached to the Ministry of Youth, Sport and Scientific Research. It is responsible for all cultural matters, especially those concerned with the theatrical arts (folk dancing and singing), music, visual arts, handicrafts, museums, national languages and literatures, religions, costume, etc.

4. The Ministry of Youth, Sport and Culture works in co-operation with several ministries:

the Ministry of National Education and Scientific Research;

the Ministry of Social Affairs;

the Ministry of the Interior;

the Ministry of Foreign Affairs and Co-operation;

and does so through interministerial commissions for the implementation of its activities.


In Togo, Christian Associations are very active in two cultural fields: choral ensembles and theatre groups.


Ethnic associations are also active in the traditional and popular arts fields e

The state grants no subsidies to these associations.


Togo has a National Museum which is under the aegis of the Ministry of Youth, Sport and Culture; a National Library, under the aegis of the Ministry of National Education and Scientific Research and a National Archive, under the same authority.

All are state bodies, organizationally and financially dependent on their respective ministry.


Decree No. 8/MJSC/CAB, instituting a literary prize, affirms:

Article 1 - An annual literary award, named the President Eyadema Prize, is established;

Article 2 - The aim and purpose of the President Eyadema Prize is: to encourage the creation of literary works;

to encourage the best authors;

to reward the best works.

Another Decree, No. 9/MJSC/DAC, instituting an arts prize, contains the following provisions:

Article 1 - An annual arts award, named the President Eyadema Prize, is established;

Article 2 - The aim and purpose of the President Eyadema Prize is: to stimulate the creation of artisic works (music, painting, drawing, sculpture, etc.);

to encourage the best artists;

to reward the best works.


The chief town of every prefecture has a community centre that functions as a cultural centre. Such centres are organizationally and financially responsible to the Ministry of Youth, Sport and Culture or to the Ministry of Social Affairs.

VI. ARTS TEACHING

Art courses are an integral part of Togolese educational curricula. Special courses are offered only in the field of music and come under the aegis of the Ministry of Youth, Sport and Culture.

CLT-82/MONDIACULT/REF.l/AFR - page 92 VII. TRAINING OF PERSONNEL FOR CULTURAL ACTION

Togo has a National Training Centre for Personnel engaged in cultural work.

Cultural administrators are appointed by the Regional Centre for Cultural Action (CRAC), which is responsible to the African Cultural Institute (ACI), whose headquarters are located in Togo.


Togo has only a record publishing company, which has semi-public status and runs its own financial affairs.


The Fourth National Development Plan includes large appropriations for the building of a National Open-Air Museum, an Arts Centre, a National Institute of Music and Dance and cinemas.


2. The Documentation Division of the Directorate of Cultural Affairs has responsibility for research.

3. Research is co-ordinated by the Directorate of Cultural Affairs.


Togo has cultural co-operation agreements with several African and non-African countries.

Bilaterally, it is often involved in cultural exchanges--ballets, music, art exhibitions, etc.

Multilaterally , Togo participates in Pan-African festivals and also in cultural events organized in some European countries. The Ministry of Youth, Sport and Culture is reponsible for external cultural policy.


UGANDA


1. There is an Act of Parliament establishing the Department of Culture. This Act charges the department with the responsibility of preserving, promoting and developing of culture in Uganda. There is a Monuments and Sites Act providing for protection of monuments and sites.

2. There is a National Research Council co-ordinating all research in the country. This Council has among others a Cultural Research Committee. The government supports and encourages this by organizing and sponsoring cultural festivals from local to national level. These festivals depict and highlight various aspects of traditional life of the different ethnic groups.


A. Public and semi-public bodies

1. of Culture responsible for all cultural affairs.

There is a Ministry of Culture and Community Development with a Department

MINISTER

-1 DEPUTY MINISTER

PERMANENT SECRETARY 1 UNDER SECRETARY

CULTURE DEPAR ENT DEPARTMENT OF COMMUNITY DEVELOPMENT r PRINCIPAL CULTUqE OFFICER

SENIOR CULTURE OFFICER I CULTURE OFFICER

Title

Department of Culture:

set up by Act of Parliament in 1966 but started functioning in 1968;

a government department;

to organize, direct all aspects of culture in the country;

government financed;


2.

3.

4.

1.

it co-ordinates, registers and assists activities of private cultural groups and associations.

Ours is a centralized system of government.

(i) Department of Music, Dance and Drama--Makerere University, does training: a university department;

(ii) Nsamizi Institute of Social Development: headed by principal and lecturers;

(iii) Ministry of Information: recording and broadcasting;

(iv) Adult Education and Cultural Centre: Mengo (Heart Beat of Africa Troupe).

All are government financed.

Yes, at all levels: interdepartmental/institutional.


(i) Uganda Linguistic and Authors Association, c/o Makerere University, P.O. Box 7062, Kampala;

(ii) Uganda Theatrical Groups' Association, c/o National Theatre, P.O. Box 3187, Kampala;

(iii) Uganda Association of Choral Singing, c/o P.O. Box 7136, Kampala.

All the bodies are run by Executive Committees comprising of Chairman, Secretary, Treasurer and Committee members. They get their funds from annual subscriptions, membership, donations and from functions.

2. There is some co-operation, based on individual initiative rather than institutionalized.


National and local museums: government financed serving as educational and preservation centres.

Monuments and sites: Department 0.f Antiquities--preserving sites.

Nommo Gallery: National Art Gallery. It is semi-autonomous. Unites all artists, organizes seminars and workshops.

Public Libraries Board: has regional and local branches. Gets government financing donations. Operates library services in the country.


There is no social aid for artists and writers. The National Theatre awards prizes annually to the best actor/actress, best script and best production. During cultural festivals, prizes are awarded to outstanding art is t s.



Adult Education and Cultural Centre: government aided. It trains dancers and musicians, dramatists for national dance troupe.

National Cultural Centre and Theatre: semi-autonomous promotes the performing and fine arts. Gets government subvention and box office collections.

VI. ARTS TEACHING

Music, dance and drama: Makerere University.

Fine art: Makerere University plus national teacher's college, schools.

Technical education: technical schools and institutions. Very high position for art/crafts in primary schools and fine art at secondary schools. At higher institutions it broadens to cover all major aspects.

Music, dance and drama are at a very low ebb at all levels. There is no specialized arts training in lower classes but is given special attention at higher levels.


There are no specialized institutions for training of personnel in cultural action. The serving staff are recruited from various institutions of learning who have studied subjects related to cultural discipline, but with no special bias towards working in culture in particular as cultural animators.

VII. CULTURAL INDUSTRIES

Not as yet.


1. Not as yet.

2. They are given moral and technical support.

3. Not as yet. The annual budget provides for cultural activities.

4. (i) Adult Education and Cultural Centre

needs expansion, to enable it cater for more people equipping it so that it can competently handle research preservation, documentation, publication and dissemination of cultural materials;

to avail stage and studio equipment for theatrical work;

residential complex for artists and staff.

CLT-82/MONDIACULT/REF.l/AFR - page 96 (ii) Cultural villages

to portray traditional modes of life in various communities; to include all aspects of life. These need to be constructed, equipped and maintained.

(iii) Administration

to link field activities with headquarters, there should be regional administrators to co-ordinate activities and supervise programmes. There should also be ample grass-roots staff to support them. This would ensure effective execution of cultural policy especially in research and preservation. At the headquarters a commissioner for culture and his deputy, then directors for research;

this budgeting is done by the senior staff at the headquarters of the Ministry.


1. There is a legislation covering the protection of museums, sites and monuments.

2.

3.

XI.

1.

2.

Not as yet.

There is a public service.

EXTERNAL CULTURAL POLICY

(a) We have cultural agreements and co-operation within the region with some countries.

(b) Cultural agreements exist with some countries outside the region. We are also members of:

(i) Eastern African Centre for Research on Oral Tradition and African National Languages (EACROTANAL) ;

(ii) Pan African Cultural Council (PACC);

(iii) members of African Cultural Institute (ACI) Eastern African Region;

government ministries and institutions are responsible for this ;

successful to a large extent.

In the pipeline.


3. Yes.

Games and sports

Music, dance and drama for the benefit of nationals and to spread our culture and identity:

National Council of Sports; Department of Culture

Games and sports, music, dance and drama.


UNITED REPUBLIC OF CAMEROON


1. The institutional framework of Cameroonian cultural policy was outlined for the first time by the Congress of the Cameroonian National Union (UNC), held at Garoua in March 1969, and that policy was given further definition at the first session of the Council for Higher Education and Scientific and Technical Research and of the National Council for Cultural Affairs, in December 1974, and at the Second Ordinary Congress of the Cameroonian National Union, in February 1975.

The resolution on cultural policy and action recommends:

(a) that the Cameroonian cultural and artistic movement be politically committed to the ideals defined by the Cameroon National Union Party, so as to serve as an instrument for forming and con- solidating national consciousness and unity, and as a factor making for individual and national liberation and promotion;

(b) that pluriculturalism and bilingualism be respected as factors both enriching and determinant of national unity;

(c) that cultural policy and economic and social policy be brought into line in the five-year plans, with a view to a radical mobilization of the people at large for more efficient economic development;

(d) that all fetichistic, superstitious or retrograde attitudes about natural forces be discarded, so that beliefs are not used as a . pretext or an excuse for evading the responsibilities imposed by our country's social and economic development;

(e) that a systematic inventory be compiled of our cultural and artistic heritage both within Cameroon and abroad, and that adequate means be provided for this purpose;

(f) that national languages be adopted;

(g) that an institutional framework for artists and writers be established.

Requests the government to:

(a) be doubly vigilant in regard to all modes of life or aspects of culture resulting in alienation;

(b) introduce traditional culture into school and university circles;

(c) organize cultural and artistic events as often as possible;

(d) train special key personnel for cultural promotion.

As regards cultural activities, the resolution recommends:

(a) the foundation of a National Institute of Culture and Art for training artists and the necessary cultural key personnel, at all levels and in all branches, and for research on artistic matters;


(b) the stepping up and systematization of adult education, in order to raise the cultural level of the people at large, so that they may be able to contribute to the diffusion of our cultural and artistic values--such education to be inculcated both at school and through national and provincial cultural and artistic events as well as the mass communication media, particularly the radio, press and cinema;

(c) the decentralization of cultural activities, so that all the provinces of the republic may participate in the country's cultural renewal ;

(d) the development of inter-provincial cultural exchanges.

The resolution also recommends the promotion and recognition of the value of the various forms of art and culture (painting, sculpture, architecture, theatre, music, choreography, cinema, etc.), particularly by:

establishing art galleries;

introducing a form of architecture which is in harmony with the environment and reflects the aesthetic taste and the aspirations of the Cameroonian community;

creating a national theatre company and a national orchestra;

launching and developing the National Dance Company which has already been formed;

evolving a Cameroonian cinematographic industry that will endeavour primarily to reflect our real national conditions and aspirations.

It recommends that the government take all necessary steps to encourage artists, particularly by:

establishing a national directory in which every cultural work will be entered ;

encouraging the creative spirit in art and literature;

promoting artists and placing them in the general production circuit by according priority, other things being equal, to their works in the construction and decoration of public and private buildings;

the protection of artists' rights by the state;

creating special prizes;

awarding honorary distinctions.

It also recommends the increasing of contacts between Cameroonian and foreign artists, as well as cultural exchanges, not only with other continents but also, and especially, with African states.

Among the laws and regulations relating to cultural policy, the following may be mentioned:

Federal Law No. 63-22 of 19 June 1963, instituting the protection of historical or artistic monuments, objects and sites;


Law No. 57-298 of 11 March 1957 on literary and artistic property;

Decree No. 71-DF-360 of 29 July 1971 ratifying the Convention concerning the action to be taken to ban and prevent the illicit import, export and transfer of ownership of cultural property;

Circular No. 43 of 16 April 1974 concerning copyright protection in Cameroon;

Circular Letter No. 13 of 4 May 1974, instituting the protection of works of art in Cameroon.



1. Decree No. 72/425, dated 28 August 1972, established the Ministry of Information and Culture, which has a Department of Cultural Affairs which is therefore today the state's chief instrument for cultural promotion. Its functions are described in Section V of the Decree as follows:

Concerning the Department of Cultural Affairs:

Article 31: Under the authority of a Director, assisted by a Deputy- Director, the Department of Cultural Affair& shall be responsible for implementing and promoting the national cultural policy.

In this capacity, its duties shall be:

to prepare an inventory of our cultural, artistic and literary heritage, and to ensure its protection, conservation, enrichment, promotion and dissemination;

to promote research in all the fields in which the national culture finds expression, either by setting up audio-visual,archives, or by organizing surveys and studies likely to facilitate the understanding, dissemination and integration into modern life of the elements of our cultural heritage;

to encourage the urge to create in the artistic, literary and technical fields ;

to provide for the illustration, by appropriate means, of the national cultural values, and for cultural promotion among the peoples at all 1 eve Is ;

to promote the artistic and literary influence of Cameroon in foreign countries (exhibitions, lectures, tours of theatrical and folklore companies, festivals and cultural weeks, etc.);

to publicize the artistic and literary heritage of foreign and African countries in Cameroon by means of tours, shows, exhibitions, museums, libraries, cultural weeks, etc.;

to maintain liaison with other cultural organizations--foreign or international;

Article 36: The Conservation Service, placed under the authority of a Chief of Service, possibly assisted by a Deputy Chief, is responsible:


for the organization and administration of public museums;

for the supervision of museums and of public and private collections and galleries;

for the protection and conservation of sites, vestiges, monuments, objects and works of artistic or historical interest;

for organizing, co-ordinating and supervising archaeological and pre- historic excavations and work-sites;

for classifying the cultural assets belonging to the national heritage, and providing for their protection by appropriate legislation.

The Conservation Service comprises two bureaux:

the Technical Equipment Management and Control Bureau;

the Technical Equipment Maintenance Bureau.

3. Among other public bodies responsible for cultural action at the sectoral level, mention should be made of the Ministry of Youth and Sports and the National Committee on Youth and Adult Education.

E. Non-governmental cultural institutions

The Association of Cameroonian Poets and Writers.


The Federal Linguistic and Cultural Centre, established by Decree No. 62-DF-108 of 31 March 1962, serves as a centre for the preservation and dissemination of national cultures.


The El Hadj Ahmadou Ahidjo Prize (for artistic, literary and scientific work) aims to encourage Cameroonian youth to engage in creative work and research.


The cultural centres, the oldest Cameroonian institutions of the colonial administration responsible .for the preservation and development of certain aspects of culture, provide a place for people to come together to read, learn about and engage in all sorts of artistic and creative activities. The government views them as constituting a network of dynamic elements of civilization, fostering the development of cultural models for the national community and the lifelong education of the citizens of the country.

VI. ARTS TEACHING

The National Institute of Culture and Art is responsible for training artists and cultural workers at all levels.



The Federal Linguistic and Cultural Centre (mentioned earlier) is also responsible for research in the cultural field.


Cameroon's international cultural co-operation is moving ahead on the basis of bilateral agreements with the countries of Africa and Europe, and with inter-African and international agencies. Cameroon also participates in many exhibitions abroad, such as the Exhibition of Negro Art at the Dakar Festival and the exhibition at the Algiers Festival. It organizes a biennial book fair, in which all countries take part.


UNITED REPUBLIC OF TANZANIA


1. As early as 1962, President Nyerere declared: 'I believe that culture is the essence and spirit of any nation' and, in 1965, Prime Minister Kawawa stressed anew the role of culture: 'The main objective of national culture is the development of Tanzanian nationalism and personality through the promotion of our own cultural activities...'

The backbone of Tanzanian cultural policy may be summarized in the following major points:

a selective revival of traditions and customs;

promotion and preservation of the cultural heritage;

Tanzanian culture as an instrument of national development and unity;

development of local cultures into a single national culture;

the contribution of Tanzanian culture to the development of mankind and the contribution of other cultures to Tanzanian development;

the overhauling of the educational system and the adoption of Swahili as the language of instruction.

Among legislative texts concerning cultural policy mention can be made of Law No. 10 of 1964 on antiquities.


1. The promotion of cultural activities and the implementation of cultural policy are the responsibility of the Division of National Culture, which is part of the Ministry of National Education and is headed by the Minister of Community Development and National Culture.

The Ministry exercises authority at four levels: (a) it formulates long-term cultural deelopment policy; (b) it acts as the spokesman for culture during the preparation of five-year plans; (c) it takes the initiative in the development of annual plans; (d) it supervises and assesses cultural activity programmes.

3. Between 1962 and 1973, a number of cultural bodies were established and others restructured, among them: the National Film Censorship Office; the National Stadium; the National Museum; the National Archives; the Anti- quities Department (attached to the National Museum).

Other new bodies, directly responsible to the Minister's Office have also been created: the National Festivals and State Celebrations Off ice; the Department of Swahili Language and Literature; the Department of Tradi- tional Music; the Department of Dramatic Art; the Department of Sports and Games; the Antiquities Department; the National Sports Council; the National Swahili Council; cultural committees; the National Culture Council; the University of Dar es Salaam.

CLT-82/MONDIACULT/REF.l/AFR - page 104 111. PRESERVATION AND DEVELOPMENT OF THE CULTURAL HERITAGE

Except for the University, all the newly established bodies mentioned above are directly responsible to the Commissioner for Culture. They are mainly concerned with carrying out studies on the cultural heritage of the United Republic of Tanzania and ensuring its preservation, promotion and presentation.


In its efforts to promote cultural activities throughout the country, the government relies on cultural committees at the village, district, regional and national levels; these committees are made up, in the main, of representatives of TANU (Tanganyikan Arican National Union), NUTA (National Union of Tanzania) and UWT (Union of Women of Tanzania), of the appropriate ministries and of local authorities.

These centres are the backbone of cultural action, staging theatrical and artistic performances, organizing song contests and contributing to the implementation of cultural policy and the strengthening of cultural values.

Some of these centres are managed by other ministries than the Ministry of Culture; still others are administered by churches, secondary education establishments, the university, associations, etc. Liaison between cultural centres and the Division of Culture is ensured by cultural representatives and leaders.

The libraries provide facilities for adult education of all kinds, from the promotion of literacy through story-telling to poetry, theatre and drama, art exhibitions, the study of traditional arts and literature, self- improvement, and for learning new ideas and new ways of working together. As 96 per cent of the population live in rural areas, a great deal of attention is attached to school libraries (the government intends to establish a Service of Mobile School Libraries) and mobile libraries.


Various projects for the implementation of cultural policy were included in five-year development plans (1964-1969 and 1969-1974) and funds were earmarked to finance them.

The state allocates over 25 per cent of its budget to the University of Dar es Salaam, the Institute of Adult Education, the churches and to the educational institutions of various levels which come under the Ministry of National Education and Culture. This fact is evidence of the government's firm belief in the decisive role played by education in the cultural training of present and future generations.


The Culture Division is responsible for bilateral cultural agreements. Such agreements provide for the mutually beneficial exchange of information on ways of life and various aspects of human knowledge.

Between 1962 and 1973 the country used these agreements to foster Afri- can unity, which obviously calls for increased familiarity with each other's

CLT-82/MONDIACULT/REF.l/AFR - page 105 customs and traditions, and current political, social and economic activities. Each party agrees to:

1.

2.

3.

4.

5.

6.

7.

establish on its territory an African Information Centre;

supply to the other copies of its government publications, local newspapers, information material and such materials on national, leaders as the parties agree are appropriate;

arrange lectures and familiarize its citizens with the culture and activities of the other party;

discuss proposals for exchanging civil servants, sharing experiences and otherwise familiarizing themselves with the operations of each other's governments;

exchange visits and performances of artists and theatre groups;

discuss proposals for teaching each other's national languages;

discuss proposals for other contacts and exchanges so as to strengthen the bonds of African unity.

Under this policy, the United Republic of Tanzania has also signed cultural exchange agreements with nations outside Africa.


UPPER VOLTA


1. Though there is no law laying down the general direction of national cultural policy, governmental decisions or declarations have been issued that concern state cultural policy.

In his Policy Statement of 1 May 1981, Colonel Saye Zerbo, the head of 'A state, stressed the importance of cultural development for his country:

Nation is, in the main, identified and defined by its culture'.

We will accordingly spare no effort to develop that sector.

Moreover, our country has a Pan-African role to play in this domain inasmuch as it is the headquarters of bodies that promote one of the most important fields of modern art--the cinema. We are firmly committed to the support of such bodies in their noble struggle to rehabilitate African man and his culture.

At the strictly national level, our efforts will be directed towards reorganizing our museums and actively supporting handicrafts and literary and artistic creativity.

As far as is possible, we shall organize cultural weeks which will provide an opportunity for artists in all fields to express themselves in a spirit of healthy emulation, the final goal being the reassertion of the value of our cultural heritage.

Within the framework of the country's priorities, the role of culture consists in:

stepping up the process of national unity;

ensuring wide access to and the spread of the cultural heritage;

promoting the creation of works of art.

Among the laws relating to cultural policy, mention can be made of De- cree 74/23O/PRES/JSC of ll July, governing the Entry and Exit of Artistic and Cultural Groups to and from the Upper Volta.



1. The Ministry of Education in charge of Culture, under the authority of the Minister assisted by the Secretary-General (see Organization Chart).

The General Directorate of Cultural Affairs (established in 1976), which comprises the following Directorates:

Directorate of Museums, Sites and Monuments;

Directorate of Cultural Promotion;

National Centre of Handicraft Art.


Role and Functions

The General Dlrectorate of Cultural Affairs is responsible for:

proposing to the government overall policy recommendations;

proposing measures for defining, at every stage of development planning, the cultural aims of development and the means of achieving them;

implementing the government's cultural policy;

promoting and enhancing the national cultural potential;

ensuring the training, protection and advancement of artists.

The Directorate of Museums, Sites and Monuments is responsible for organizing museums and protecting sites and monuments.

The Directorate of Cultural Promotion is responsible for promoting culture in all its forms, and in particular organizing cultural exchanges, protecting cultural works and their authors, developing public libraries and encouraging the publication and dissemination of books.

The National Centre of Handicraft Art is responsible for drawing up lists of the country's best craftsmen and classifying them in an effort to improve the quality of their work, and it is also responsible for marketing handicraft work.

2. Other ministries are responsible for one or more cultural sectors:

The Ministry of Higher Education with the Research Institute on the Social Sciences and the Humanities (IRSSH), which conduct research in the fields of sociology, linguistics, ethnology, ethno-musicology and oral literature.

The Ministry of Tourism and the Environment, which promotes knowledge about the traditions, sites and monuments of Upper Volta.

The Ministry of Rural Development with the offices for the Development of the Volta Valleys (AVV); one section is especially concerned with socio-cultural promotion.

The Secretariat of State for Information, whose Radio and Television division (RTV) plays a very important role in disseminating information about the cultural heritage in the national languages.

Public or semi-public bodies

(Legal status--Finances--Programme)

(a) Youth and Culture Community Centres (MJC).

(b) The CIDC CIPROFILM.

4. The Interministerial Cultural Co-ordination Committee was established in 1974 but has been able to operate only sporadically. The same holds true for the project for the establishment of a National Arts Council, which was intended to bring together the cultural areas in all development sectors.

CLT-82/MONDIACULT/REF.l/AFR - page 108 B. Non-governmental cultural institutions

1. role :

Over 20 youth movements and associations play an important cultural

Ballet and Theatre

The New Generation Friendly Society

The Brotherhood Group

The Radio Group

S,oweto

Volta Theatre Lovers (ATV)

The Kouledafrou Troupe

Traditional Music and Dance

The Farafina Group

The Fada Troupe

The Ti’ebglg Troupe

The Koudougou Red Cavalrymen

The Larlg Naba Troupe

The Naba Sanoum Choral Society

The Ganzourgou Troupe

Modern Music Bands

Harmony

Super-Volta

Kombeba

Leopards

Dafra Star

Afro Soul System

The Syrnpathics

2. No co-ordination.


At the local level, the Directorate of Museums, Sites and Monuments is responsible for the collection, preservation and restoration of the cultural and natural heritage.


The National Centre of Scientific and Technological Research (CNRST) collects sound archive materials.

The Directorate of Functional and Selective Literacy (DAFS), in co- operation with the National Languages Commission, publishes documents in Moare, Fulani, Diula, Gulmacema, Dagari and Kasena.

The University Laboratory of Oral Tradition (LUTO) acts as a Centre of In-Depth Research on the Cultural Heritage. The Research Institute on Natural Substances (IRSN) collaborates with the CNRST and the Ouagadougou Polytechnic Institute in research on pharmacopoeia and traditional medicine.

These bodies are mainly financed by the state or by foreign aid (Unesco-AGECOOP).


The Art and Literature Prize (in 1975, the value of the prize was 75,000 Frs. CFA; in 1977--600,000 Frs. CFA; in 1980--250,000 Frs. CFA).

The Festival of Traditional Ensembles receives a subsidy of 250,000 Frs. CFA (it previously received 600,000 Frs. CFA).

The School of Music receives a subsidy of 250,000 Frs. CFA (it previously received 1,000,000 Frs. CFA) .

The annual Dodo Festival organized by the Ouagadougou Youth and Culture Community Centre is a very popular event.

There is a delegation of SACEM (Socigti! des Auteurs, Compositeurs et Editeurs de Musique) in Upper Volta and a Copyright Bureau is in the process of establishment.

Financing of Artistic and Literary Creation

The budget of the Ministry of National Education and Culture (General Directorate of Cultural Affairs) includes a chapter for aid'and support to Cultural Promotion amounting to 2,100,000 Frs. CFA, for the purpose of encouraging, developing and subsidizing music, folklore and amateur theatre groups.


For the moment, the Youth and Culture Community Centres, which are under the aegis of the Ministry of Youth, Sport and the Arts, are the only public institutions responsible for promoting cultural action in urban areas and sub-Prefectures.

VI. ARTS TEACHING

The programmes of the Ministry of National Education and Culture laid down in the framework of the educational reform provide for arts teaching, but they are not yet operational.


An embryonic school of music, enjoying a modest annual subsidy of 250,000 Frs. CFA, has existed in Upper Volta for the past two years; it is expected soon to have some impact on the curricula of the new school.

There are no other special art courses.


Central or regional agency for courses or seminars for the training of cultural development personnel and its programme:

At the regional level, the Regional Centre for Cultural Action (CRAC) in Lom6 (Togo) ensures the training of cultural action advisers and, in particular, leaders.

CRAC is affiliated to the African Cultural Institute (ACI), which is engaged in the training of personnel qualified to manage national cultures.

Sector 1:

Sector 2:

Sector 3:

Sector 4:

Sector 5:

Sector 1:

Sector 2:

Sector 3:

Sector 4:

Sector 5:

CRAC PROGRAMMES

The African Cultural Field--Basic Knowledge

Modes and Techniques of Oral, Written and Artistic Expression

Communication Phenomena and their Use in Cultural Action

Information, Documentation and Research Methods

Administration--Management and Execution of Cultural Policy

TRAINING PROGRAMME FOR CULTURAL ACTION ADVISERS

The African Cultural Field

The State's Role in Cultural Development

Cultural Action Media

Practical Methods of Cultural Action

Administrative Management of Cultural Activities

Mention can also be made of the following:

The Centre for the Training of Museum Technicians and Comparable Per- sonnel in Niamey (Niger).

MUDRA-Africa, for research on choreography as an expression of cultural identity . The 'Universit; des Mutants' (Dakar) , which conducts research on integrated approaches to endogenous development modules through the promotion of dialogue between civilizations.


VIIT. CULTURAL INDUSTRIES

No publishing house. Only two private printing presses (Les Presses Africaines at Ouagadougou and Editions de la Savane at Bobo-Dioulasso). All the country's cinemas have been nationalized and are operated by SONAVOCI (Volta National Cinema Company). Ouagadougou is the site of the Panafrican Film Festival (PESPACO). CINAFRIC, an important (private) film-making concern and a springboard for young and gifted practitioners of the Seventh Art, opened its doors in 1981.


1. tural development.

The country has no banks or public or private funds for financing cul-

2. The sole support for handicrafts, cultural associations and community cultural centres is that provided by the state in the form of/subsidies; it also subsidizes administrative bodies and guilds (e.g. Socigte des Ecrivains Voltaiques) .

Very occasionally, organizations like the Agency for Cultural and Tech- nical Go-operation grant subsidies.

3. No special fiscal measures have been adopted in favour of culture.

X. LEGISLATION AND RESEARCH LN THE FIELD OF CULTURAL DEVELOPMENT

1. As regards special cultural legislation in the different cultural fields, a law on the protection of copyright and of related rights will shortly be promulgated.

2. Bodies responsible for research and/or documentation in the field of cultural development:

Name and address:

The National Centre for Scientific and Technological Research (CNRST) (Ministry of Higher Education and Scientific Research Ouagadougou).

The University Laboratory of Oral Tradition (LUTO) (Ouagadougou University).

The Association for Research on Oral Tradition (ARTO) (Ouagadougou University).

The National Languages Commission (CNRST) (Ouagadougou).

Since 1980, the General Directorate of Cultural Affairs has taken steps to co-ordinate the programmes of the various research sectors.


Co-operation and cultural exchange

(a) Upper Volta has cultural relations with a number of African and non- African countries. In addition to being a member of several African organizations, such as the Organization of African Unity (OAU),


the Union of National Radio and Television Organizations of Africa (URTNA), and the Panafrican Film-Makers Federation (FEPACI), the Upper Volta, despite its limited resources, takes an active part in congresses, seminars and training courses in the cultural field both in and outside Africa.

Cultural exchanges with these countries take a variety of forms, including film weeks , exhibitions , the exchange of experts , music and theatre groups, etc.

The following bodies are responsible for such cultural co-operation: the Ministry of National Education and Culture and the Service of Cul- tural and Technical Co-operation within the Ministry of Foreign Affairs and Co-operation, which is responsible for the outline agreements and protocols of co-operation agreements.

In conclusion, it can be said that, even though there is no provision the methodical evaluation of cultural action, the activities undertaken

do meet the expectations of the people, the only problem being the dearth of resources needed fully to implement them.


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ZAIRE

I. GENERAL DIRECTION OF CULTUML POLICY

1. Zaire's cultural policy is founded on mobutism, the doctrine of the people's revolutionary movement (MPR). In order to solve its social, political, economic and cultural problems, Zaire must draw on its own ancestral values with a view to authentic, harmonious development. 'The revolution we are conducting in our country is based on what we call authenticity. For us Zairians, authenticity consists in becoming aware of our personality, of our own values, and basing our action on premises deriving from national realities so that action becomes truly our own and efficacious (. . .>. In the socio-cultural sphere, we have upgraded our culture by urging that our young people be trained and educated in such a way that they can assimilate their own culture in order better to understand foreign culture' (extract from a speech made by President Mobutu in the presence of the Emperor of Ethiopia on 7 October 1972).

Accordingly, cultural policy is guided by certain principles keyed in particular to the important role to be played by the state in aiding artistic creation, the protection of the cultural heritage and the promotion of cultural values. The state is concerned with fostering cultural unity and, to that end, with increasing the number of opportunities for developing the nation's cultural awareness. Thus, the first major cultural festival in 1974 brought together representatives of all classes of the population, belonging to all the various regions and ethnic groups in the country.

Among the legislative texts relating to cultural policy, mention may be made of legislative decree 71-016 of 15 March 1971, concerning the protection of cultural property.


For historical reasons the bodies responsible for cultural development are not grouped together within a single administrative unit. It is necessary to distinguish between those bodies that form part of the Department of Culture and the Arts and those belonging to other departments, particularly the Department of National Guidance and National Education.

The Department of Culture and the Arts

The general function of this department is the preservation, promotion and dissemination of culture. In addition to the Office of the State Commissioner for Culture and the Arts, it comprises a General Directorate and two other Directorates. The Office of the State Commissioner is a political body, responsible both for formulating general policy in regard to all cultural activities and for implementing the cultural policies decided upon by the higher authorities of the MPR. At the level of the administrative services, the Director-General co-ordinates the execution of these policies. He provides a link between the administrative bodies and the Office of the State Commissioner, which he assists in its task of policy formulation.

Furthermore, the Department of Culture carries out cultural activities through the following three bodies: The Zaire National Theatre, the National Ballet and the 'Loloke' publishing house.

CLT-82/MONDIACULT/REF.l/AFR - page 115 The Regional Divisions of Culture and the Arts

In order to meet the cultural needs of the peoples of the interior, cultural action in the regions has been administratively decentralized. A Division of Culture and the Arts, responsible to the General Directorate, operates in each region. These Divisions have particularly important responsibilities in the villages, which are the true custodians of authentic African culture.

In addition to these public institutions there exist several organizations specializing in different fields and bringing together research workers in those fields, which assist the authorities in their efforts to promote Zairian culture. These are as follows: the National Association of Zairian Artists, established in 1974; the Zairian Writers' Union, founded in 1972; the International Association of Literary Critics (Zaire branch) , 1974; the National Society of Linguists of Zaire, 1974; the Zairian Film- Makers' Organization, 1972; the Zairian Association of Archivists, Libra- rians and Documentalists; the Society of Zairian Historians; the National Society of Publishers, Composers and Authors, 1969; and the Mobutu Sese Seko Fund for the Protection of Zairian Artists and Writers, 1972.


The National Museum Institute (IMN), based in Kinshasa, is attached to the Presidency of the Republic. Its function is to preserve the cultural heritage of Zaire.

It has the following responsibilities: to ensure the protect.ion of works of art, monuments and objects which, from the point of view of history, art or science, it is in the public interest to preserve, together with archaeological sites; to administer museums belonging to the state. In addition, it has the task of inspecting permanent private collections, open to the public, of works of artistic, historical or archaeological interest in order to compile inventories of the items they contain and ensure their material preservation.

The IMN is also responsible for the protection of movable and immovable cultural property.

The organization chart of the IMN covers three categories of national museum :

first category: the Kinshasa National Museum;

second category: the Lumumbashi museum, already in existence, and the Kananga museum, yet to be established;

third category: on the one hand, the museums already existing in Kananga and Mbandaka, and, on the other, those yet to be established in Bukuvu and Goma.

Since. its inception the IMN has been engaged in intense activity with a view to safeguarding the ancestral cultural heritage of Zaire, including that dating back to the colonial period, together with oral tradition.

At the present time its most urgent task is to define the stratigraphic and chronological framework of archaeology in Zaire.

CLT-82/MONDIACULT/REF.l/AFR - page 116 In the musicological field, the National Museum Institute has four main

aims: to record traditional music on magnetic tape; to make a thorough study of that music; to build up a collection of recordings, on magnetic tape and records, of modern Zairian music; to study that music.

The Institute is also concerned with the training of Zairians in order more rapidly to carry out its programmes of collection and research. The Institute consequently organizes courses for research workers in order to provide them with practical knowledge.

In practical terms, the Institute seeks to carry out its programme by sending a large number of missions into the interior of the country. Through these missions hundreds of art objects are collected and recordings are made.


The Mobuto Sese Seko Fund has been established by the President of the Republic to provide all artists and writers with sickness and old age pen- sion benefits,

The establishment of SONECA reflects the same kind of concern. This is a co-operative society of authors, composers and publishers under the administrative control of the Department of Culture and the Arts. This co-operative collects royalties on intellectual works from the users of those works and divides the sums thus obtained among the persons concerned.

As regards the visual and theatrical arts, the state subsidizes institutions providing training for future artists and performers.

In order to help artists to market their products in more rational ways, the Department of Culture and the Arts is going t6 establish an Art Sales Agency which will have branches in the country's main urban centres.


Major importance is assigned to the organization of cultural activities in the Mobutist revolution. They are integrated into all the MPR's activities, at all levels: regions, subregions, zones and communities. Thus the MPR regards the annual cultural festival as a potential source of civics instruction.

VI. ARTS TEACHING

In Zaire arts teaching today is provided from secondary to university level. Three schools providing education in the arts are in operation, in Lumumbashi, Kananga and Kinshasa.

In addition to these three schools, several institutes and centres of technical education contribute to the training of the young, particularly the Gombe Institute of Arts and Crafts in Kinshasa and the Training Centre for the Disabled.

CLT-82/MONDIACULT/REF.l/AFR - page 117 X. LEGISLATION AND RESEARCH IN THE FIELD OF CULTURAL DEVELOPMENT

1. Ordinance No. 69-064 of 6 December 1969 relates to the establishment of a National Society of Publishers, Composers and Authors (SONECA).

Ordinance No. 72-022 of 28 March 1972 relates to the establishment of the Mobuto Sese Seko Fund.

Ordinance No. 70-089 relates to the establishment of the National Museum Institute (11 March 1970).

2. Set up in August 1967, the National Office for Research and Development is a state body entrusted with the function of developing, guiding and supervising scientific research and reviewing the current state of science for the benefit of the Executive Council.

The studies conducted by this Office on various aspects of national life provide the public authorities with assistance in working out overall political strategy.

The Office publishes a cultural journal entitled 'Cultures au Zaire et en Afrique'.


The state encourages exhibitions of Zairian works abroad. The Arts Service of the Department of Culture estimates that 25 art exhibitions were held abroad between 1960 and 1974. Zairian artists participate in cultural events--the World Festival of Culture in Guinea and the First Pan-African Youth Festival in Tunis.

CLT-82/MONDIACULT/REF.l/AFR - page 118 ZAMBIA

GENERAL DIRECTION OF CULTURAL POLICY

Equality and respect for the cultures of all ethnic groups in Zambia.

Cultural development plays an important role in the development of Zambia it must be integrated into the nation's social and economic development plans.

The primary aim of cultural action is to instil a national consciousness into the various ethnic groups that constitute Zambia.

Every cultural action shall complement the national philosophy of humanism.

Guidelines for Zambian artists

1. As the role and place of artists in Zambia are paramount to the development of Zambian culture, they shall, within the philosophy of humanism, recognize the interdependence between individual creation and the wishes of Zambian society.

2. The Zambian artist, aware of traditional concepts of art, shall bear in mind that complete freedom of creation and expression does not mean absence of commitment to the political ideology and aspirations of the nation.

Culture and mass participation

Elitist culture shall be discouraged and institutions and an infrastructure will be created which will encourage a large participation in culture by all the people of Zambia.

Cultural diversity and nationhood

(i) Though cultural action programmes shall be designed to facilitate the preservation of the old cultural heritage of all the ethnic groups in Zambia, more emphassis will be placed on practical projects aimed at maximizing the development of present-day cultural activity among the broadest strata of the Zambian population in both the rural and urban areas.

(ii) While it is essential for ethnic cultures in each region of Zambia to develop a sense of awareness and self-recovery, the main concern of cultural development shall be to encourage mutual enrichment between the cultures which make up the country.

Cultural ceremonies

(i) The Party and its government will continue to support the revival of ethnic, historical and cultural ceremonies which are used to assert collec- tively an ethnic personality and it will be stressed that the revival of the pre-colonial cultural heritage not only enables the Zambian people to re- discover their history but also enables ' each ethnic group to exhibit pre- colonial knowledge and skills, which when adequately developed, can help rehabilitate our science, technology and arts.

(ii) However, priority in the promotion of this cultural heritage will be placed on the willingness of each ethnic group or cultural region to liaise with the rest of Zambia and to reject strongly any tendency to keep itself to itself.


Decentralization of cultural activity

(i) In conformity with the decentralization of administrative political structure, cultural activities and resources, including decisions governi-ng cultural projects will also be decentralized.

(ii) In this decentralization, emphasis will be laid on projects of a national nature aimed at encouraging greater interregional exchange programmes such as festivals, workshops and seminars.

AID TO ARTISTIC AND LITERARY CREATION

The Party and its government, recognizing the important role being played by voluntary arts and cultural organizations and associations in the development of culture in the country shall complement their efforts by providing annual grants to organize workshops, festivals, seminars and other activities.

National Fund for the Arts

(i) The Party and its government recognizes that the tremendous development taking place in the arts and culture in the country, demands the construction of adequate facilities and the provision of funds to individual artists, arts organizations and cultural institutions.

(ii) Although the Party and its government should continue to provide financial assistance to arts and cultural organizations and associations through annual grants, financial houses and foundations in the country should be requested to finance the arts.

(iii) 1.n order to make sure that financial assistance is distributed equally and according to the needs of individual artists and arts organizations in rural areas, a National Fund for the Arts should be established.

(iv) Organizations which have begun to sponsor individual artists and arts organizations shall continue to do so, but it will now be necessary for the Board of Directors of the Fund to know the organizations that are sponsoring them

(v) be responsible for the following:

A body of directors appointed by the Minister of State for Culture shall

1. Soliciting funds for individual artists and arts organizations inside and outside the country for scholarships, grants and materials necessary in the promotion of the arts in the country.

2. In order for the public to know what arts and cultural projects need funding, the Board will, in conjunction with the Zambia Cultural Services, produce a comprehensive list of such projects annually.

3. Undertaking fund-raising projects for the construction of a national cultural centre in Lusaka.

4. Processing funding requests from individual artists and arts organizations.

Cultural infrastructure

Due to the absence of a cultural infrastructure, it is difficult to implement effectively development and promotional cultural projects.

CLT-82/MONDIACULT/REF. 1/AFR - page 120

Therefore, the construction of cultural centres at ward, district, provincial and national levels should be the priority in our cultural policy and the following steps should be undertaken in this venture:

1.

2.

3.

4.

Construction of the national cultural centre

A national cultural centre should be built in Lusaka under the third national development plan budgetary allocation and from public fund- raising projects.

Nationalization of theatres

Theatres built with public funds, government grants, mining grants and grants from international foundations and agencies should be nationalized and put into the hands of District Cultural Committees who will administer the facilities.

Construction of cultural villages

The government will continue to provide funds to Zambia Cultural Services for the construction of Provincial Cultural Villages like the Maramba, Kabwata and Masala Villages.

School and college halls

Funds will be provided annually to schools and colleges to be put at the disposal of section and ward cultural groups.

ARTS TEACHING

Integrated cultural studies

Education reforms when fully implemented are expected to create a national education with emphasis on quality rather than quantity. Our education system will therefore be expected to provide a better knowledge of the distinctive cultural values of the people of the country. Therefore, a comprehensive cultural studies programme covering the whole spectrum of formal education becomes the corner-stone of national cultural rehabilitation.

TRAINING OF PERSONNEL FOR CULTURAL ACTION

The Party and its government recognizes the fact that without a carefully trained specialized personnel in the various sectors responsible for the development, preservation, promotion and administration of Zambian culture, this cultural policy cannot be adequately implemented.

The foregoing considerations and points demonstrate the urgency for definite training programmes for specialized personnel in cultural development . National arts institute

In view of the need for trained manpower in cultural development, promotion and preservation, a national arts institute shall be established and will be affiliated to the University of Zambia.


National cultural week

Recognizing that all cultural actions at ward, district, provincial and national levels, need a systematic promotion campaign if our cultural policy is to enable a11 our people to recover their identity, and restore our cultural values. A national cultural week will be introduced in the month of August, and such weeks will be the culmination of cultural activities each year. They will feature not only performances, but demonstrators, seminars, workshops, debates using the existing cultural institutions and all the available mass media facilities.

Cultural troupes

There shall be:

(i) four small national dance troupes;

(ii) one such national dance troupe will be the proposed national dance company which will be outside the control of the Zambia Cultural Services, and self-employed in nature. This company will be responsible for international engagements, be based in Lusaka and tour extensively throughout the country;

(iii) a National Dance Troupe at Masala Village which would be responsible for all engagements in the Copperbelt Province, internal, district and provincial tours;

(iv) a troupe based irl Lusaka to meet the needs of all official engagements and provincial and district tours, and week-end performances in Lusaka;

(v) a permanent troupe at Maramba Cultural Village to meet all the tourist demands in that province.

Zambian languages

In view of the expected role of Zambian languages in education, national communications and promotion, preservation and development of Zambian culture, the Party and its government shall establish under the auspices of the Zambia Cultural Services, a Zambian languages institute to study systematically and influence the development of all major Zambian languages.

Films distribution and role of the proposed committee

The proposed national film committee shall be empowered to:

(a) Liaise with film distributors and owners of cinemas so that films brought into the country can include a wide variety of African films and films produced in East European countries and Asia. The committee could stipulate the number of times per year a cinema house must show an African film.

(b) Liaise with the Censorship Board on the classification of films.

(c) Review the possibility of setting up a Zambian Film Company with the support of the government. The Company should pioneer the production of Zambian commercial films.


Other cultural institutions

In order to end the fragmentation of cultural activities and in order to allow more room for closer collaboration and harmonization of policies on the development, preservation and promotion of culture, the following institutions which have been responsible for the preservation of Zambian culture shall be the responsibility of the Ministry of Education and Culture:

(i) National Monuments and Sites Commission

(ii) National Museums

(iii) National Art Gallery

General administration

The administrative structure shall be as follows:

(i) The Head of Zambia Cultural Services shall occupy the post of Director-General, so that all the heads of other cultural institutions to be under the auspices of the Ministry of Education and Culture can retain their title of Director and their present posts.

(ii) The other heads of cultural institutions shall be referred to as directors of the following divisions:

(a) Museums Division

(b) Monuments and Sites Division

(c) Arts

(d) Research and Documentation.

CLT-~~/MONDIACULT/REF. 1/AFR - page 12 3 ANNEX

111. QUESTIONNAIRE ON THE ADMINISTRATIVE STRUCTURES OF CULTURAL POLICIES IN MEMBER STATES OF UNESCO

Preliminary notes

1. The purpose of this questionnaire is to assemble the fullest possible documentation on the administrative structures which serve as a support or a framework for cultural action. This information will be used for the preparation of a reference document to be presented at the World Conference on Cultural Policies. It will then be passed to Unesco's Clearing House and Research Centre for Cultural Development for subsequent updating and utilization.

A questionnaire (CC/CD/CP/900) on the implementation of cultural policies was sent to you in October 1980. A limited number of countries (about 54) replied. The data so collected was aimed to undertake an overall evaluation of what has been accomplished during the decade 1970-1980 in the field of cultural development, cultural policies and cultural co-operation. This data will be used in the above-mentioned document.

Moreover, a letter (CC/CD/DOC/135) concerning the cultcral legislation has just been addressed to you. The specific and detailed information that you will send to us in reply to this letter, will be taken into account, with regard to item X(1).

2. In view of these aims, it is recommended that replies be accompanied by any available texts and documents which might help to clarify or supplement the information supplied. If there are any bibliographical references, a list of them should also be appended.

3. The questionnaire consists of eleven groups of questions relating to the following :

I. 11.

111. IV . V. VI. VII. VIII. IX . X. XI.

The general direction of cultural policy Administrative structures of cultural policy A. Public or semi-public bodies B. Non-governmental cultural institutions Preservation and development of the cultural heritage Aid to artistic and literary creation Cultural education, dissemination and animation Arts teaching Training of personnel for cultural action Cultcral industries Financing and planning of culture Legislation and research in the field of cultural development External cultural policy

It ends with a request for any other relevant information (see Remarks), and an annex containing a non-exhaustive list of the cultural fields covered by the questionnaire.

4. Replies to the questionnaire should show what has been done in each country and in all spheres of cultural action to encourage the full development of cultural life.

5. It should be noted that as this questionnaire is concerned only with the administrative structures of cultural action, it does not claim to embrace all the facets of cultural life. The non-exhaustive list contained in the annex should be of assistance in replying to the questionnaire.

CLT-82/MONDIACULT/REF. 1/AFR - page 124

6. In view of the nature of the information requested, correspondents are advised to set out their replies to the questionnaire in order in which the questions occur and to mention the reference number of each question.

7. I should be grateful to you if you could send your reply to this questionnaire, with the accompanying material, before 30 November 1981, to the following address:

Clearing House and Research Centre for Cultural Development Division of Cultural Development Unesco 7, place de Fontenoy 75700 PARIS, France


I. THE GENERAL DIRECTION OF CULTURAL POLICY

1. Does your country have laws or regulations relating to a state cultural policy or failing that, have any governmental decisions or declarations been made on the subject? If so, what are they? (Indicate whether special cultural legislation covers such fields as cultural heritage, museums, publishing, theatre, cinema, television, radio, etc.)

2. Does general research exist in your country on the right of persons and groups to culture? In particular, what place is given to the initiative of communities living their traditional cultural values?



1. Does your country have a public body (ministry, council, commission or the like) responsible at the central or federal level for the whole or a significant part of state cultural policy?

(If so, please provide an organization chart and give, inter alia: its official title, the date it was set up, its legal status and the position it occupies in the overall organization of government, its internal structure, its powers and the source of the funds available to it: also, where appropriate, state whether it intervenes in the activities of other public bodies and in those of the private sector. )

2. If your country has a federal system of government, what role is the competence of the provincial authorities to play in cultural affairs?

3. Apart from the public body mentioned above, are there other public or semi-public bodies at the central, federal, regional, provincial or local level responsible for one or more cultural sectors?

(If so, please provide an organization chart and indicate the name of each such body, if possible with its legal status and the position it occupies in the overall organization of government, its internal structure, its powers and the source of the funds available to it; also where appropriate, state whether it intervenes in the activities of other public bodies and in those of the private sector. )

4. In your country, is there any form of co-ordination and co-operation between the various public bodies responsible for one or more particular cultural sectors:

at the national (federal) level?

at the regional (provincial) level?

at the local level?

between regional (provincial) and local bodies and the national (federal) government authorities?

What organs are responsible for such co-ordination and co-operation?

CLT-82/MONDIACULT/FEF. 1/AFR - page 126

How does this system of co-ordination and co-operation function?


1. In your country, what are the main non-governmental institutions (or associations, foundations, trade unions, groups, works committees, etc.) which play a significant part in cultural affairs:

at the national (federal) level?

at the regional (provincial) or local level?

abroad?

(As far as possible, for each institution mentioned give its name and address, legal status, aims, internal structure, activities, source of funds, any aid it receives from the state--equipment, subsidies, seconded staff, etc.--and relative importance.)

2. In your country, is there any form of co-ordination and co-operation between these non-governmental institutions and government authorities? If so,

what organs are responsible for such co-ordination and co-operation?

how does this system of co-ordination and co-operation function?


Do specialized organizations exist in your country at national or regional level, which are responsible for the preservation of the cultural heritage, whether written (archives, libraries), monuments, sites, archaeology, works of art (museums) , the oral heritage (popular arts and traditions, ethnology)? Are there specialized centres of research on the cultural heritage? Are there organizations for restoring this heritage?

If so,

what is their status, what are their attributes, what are the financial means at their disposal?


Is there a system of social aid for artists and writers? Who directs it?

Are there methods and organizations for financing artistic and literary creation (prizes, fellowships, study travel, purchase of materials, availability of workshops, public orders, private patrons, etc.)?


Are there any special public or private institutions at the national or regional level, such as cultural centres, people's universities, etc., responsible for promoting cultural action and for popular cultural education? If so,

CLT-82/MONDIACULT/REF. 1/AFR - page 12 7

what is their status, what are their powers, what are their financial re sources?

VI. ARTS TEACHING

In your country's national education system, are there any structures especially responsible for arts teaching? If so,

what are their powers and how do they function?

what position does art teaching occupy in the curricula of the national education system (primary, secondary, higher)?

is there any specialized arts teaching?


Does your country have at the national or regional level agencies, courses or seminars for the training of cultural development personnel:

training of planners and administrators;

training of specialists in cultural activities, and more particularly of cultural activities organizers;

training of technicians in different sectors such as radio, television, etc.?

Indicate their status and responsibilities and describe the training programmes in question.


Do cultural industries (books, records, cinema, radio/television) have a public and a private sector?

What is the status of public organizations and their method of financing?


1.

2.

3.

4.

Are there in your country any banks or private or public funds exclusively for the financing of cultural development; any banks or funds with special sections or arrangements for this purpose; foundations or other systems of financing? What is their status? What are their powers? What are their financial resources?

Are there any systems for aiding handicrafts, cultural associations, etc.?

Have any special fiscal measures been taken in your country in favour of culture?

If your country has a general development plan, does it include forecasts or guidance on cultural matters (state what aspects of culture are covered and describe the chief measures planned, as well as budget forecasting machinery)?


If culture is the object of specific planning, indicate the main objectives, the bodies responsible for such planning and the aspects of culture covered.


1. Does special cultural legislation exist in the different cultural fields (cultural heritage, museums, publishing, theatre, cinema, television, radio, etc.)?

2. Does your country have any bodies responsible for research and/or documentation in the field of cultural development (universities, colleges, institutes, foundations, research centres, etc.)? (Indicate their status, names and addresses, and the senior officers.) If possible attach an account of the principal research so far conducted.

Describe, where appropriate, how such study and research activities are co-ordinated at the subregional and regional levels.

3. Does your country have a body or public service responsible for the co-ordination of research and/or documentation in the field of cultural development?


What cultural co-operation does your country have:

(a) with the other countries of your region;

(b) with countries outside the region:

bilaterally (cultural agreements, special cultural aid to certain states, etc.);

multilaterally (participation in worldwide or regional or subregional cultural organizations)?

What public bodies are responsible for this? What are their fields of competence?

To what extent does your country participate in subregional or regional cultural integration? What are the agencies responsible for such participation? What are their fields of competence? What steps have been taken or are envisaged by your country to achieve subregional or regional cultural integration?

Does your government undertake specific cultural activities abroad and %n what form:

for the benefit of its own nationals?

to spread your country's culture and make it known in other countries?

What bodies are responsible for this?

What are their fields of competence?


REMARKS

(Please state, in particular, whether there are one or more aspects of cultural policy in your country which have not been covered by the above questionnaire. If so, please give the relevant information.)

NON-EXHAUSTIVE LIST OF CULTURAL FIELDS COVERED BY THIS SURVEY

Literature

legal protection of writers

financing arrangements

literary patronage (prizes, scholarships, financial and fiscal assistance)

facilities for the preservation and dissemination of literary works:

public or private cultural publJcations bookshops literary exhibitions and commemorative events writers' associations and/or unions

Reading

status of major lnstitutions and libraries


material facilities

training of specialists

organization of activities

Cultural heritage

works of art (inventory, protection)

historic monuments (protection, upkeep, conservation, restoration)

sites, parks, natural landscapes (protection, upkeep)

archaeological excavations

general classification of the cultural heritage

Museums

status of major institutions


material. facilities

training of specialists

organization of activities

CLT-82/M0NDIACULT/FEFe 1/AFR - page 130

iv) Visual arts (painting, sculpture, architecture, graphic arts, industrial design)

legislation

training and protection of artists


assistance for creative work

material facilities

exhibitions

artists' associations and/or unions.