Internship offer: project manager

As part of the LOJIQ – Les Offices jeunesse internationaux du Québec internship program, the International Federation of Coalitions for Cultural Diversity is recruiting an intern to work as a project manager. This internship will take place from April 26 to July 16, 2021, at a rate of 35 hours per week.

Internship Environment

The International Federation of Coalitions for Cultural Diversity (IFCCD) is dedicated to coordinating civil society efforts to implement the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions.


The intern will be responsible for writing a report on civil society participation in the promotion and protection of the diversity of cultural expressions in Asia for the IFCCD. This report is to guide the organization in determining the role that the IFCCD can play in the region to meet the needs of civil society. While part of the project will be based on document analysis, it will primarily be a survey of individuals identified as part of this project. The successful candidate will be required to speak directly with several individuals from different cultures to conduct the survey.

Participant Profile

Eligibility Criteria
– Be between the ages of 18 and 35
– Canadian citizen or permanent resident
– Have a valid Quebec health insurance card (RAMQ)
– Have completed their studies or all the courses in their academic program and have only the internship to complete before graduation
– Be unemployed or underemployed (hold a part-time job in a field not related to their training)
– Self-employed persons are also eligible

Desired profile
– Have recently obtained or be about to obtain a master’s degree in political science, sociology, communications, international relations, Asian studies or any other field relevant to the mandate
– Be rigorous, curious and have a good analytical mind
– Be flexible and able to meet deadlines
– Be able to work in a team
– Be transparent and have a constructive approach
– Be very autonomous due to the telecommuting context
– Fluency in oral and written French
– Knowledge of an Asian language (an asset)


Financial support from LOJIQ
– A per diem of $350 per week for 12 weeks
– Civil liability insurance coverage

Financial support from the IFCCD
– An allowance of $3,000

Application deadline: April 5, 2021



Video of the conference “The Diversity of Cultural Expressions in Latin America: Current and Future Challenges”

On the occasion of the 15th anniversary of UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, the Federation organized on October 20 an online conference on the current and future challenges for the diversity of cultural expressions in Latin America.

This conference was held within the framework of ResiliArt, a global movement initiated by UNESCO to strengthen the resilience of artists & cultural professionals in the face of the enormous challenges posed by the current health crisis.

Watch the video

Video of the event “Culture: An Accelerator Under-Used?”

The partners of the #Culture2030Goal campaign are today releasing a video underlining why – and how – culture should be integrated into both short-term post-pandemic recovery strategies, and long-term development strategies. The video features highlights from the campaign’s event “Culture – An Accelerator Under-Used? Realising the Potential of Culture for Short-term and Long-term Sustainable Development” held on 13 July 2020 as part of the United Nations High Level Political Forum 2020 (HLPF2020), which brought together high-level representatives from the United Nations and its agencies, and major culture networks.



2020 Cultural Diversity Prize

Since 2011, the French Coalition for Cultural Diversity has been awarding an annual prize to an association or initiative whose aim is to promote access to culture and to highlight cultural diversity in all its forms: music, theatre, circus, cinema, plastic arts… All disciplines are eligible.

This year, the prize is celebrating its 10th edition in a difficult context.

The members of the French Coalition have therefore decided to award two prizes, each endowed with €5,000.

Applications can be submitted online using the form available HERE until 25 September 2020.

The applications will be examined by a jury composed of cultural organizations members of the French Coalition and the names of the winning organizations will be published on the Coalition’s website in autumn 2020.

See the conditions and eligibility criteria for the 2020 Prize.

Videos of the 6th IFCCD Congress

The 6th IFCCD Congress was held in Lomé, Togo, from October 9 to 11, 2019.

It was divided into a pan-African conference and a general assembly of the International Federation of Coalitions for Cultural Diversity (IFCCD), and brought together 85 participants from 28 countries, including 16 African countries, for three days.

The speakers presented their actions and discussed pan-African and international issues in seven panels, each of which was the subject of an online summary.

Read the reports


Panel videos can be viewed online:

Opening Day 1 





Panel 1 : The implementation of the 2005 Convention in the African region

>>> Read the article : The implementation of the 2005 Convention in the African region



Panel 2 : Public policies for culture

>>> Read the article : Public policies for culture




Panel 3 : Civil society participation in public policy development

>>> Read the article : Civil society participation in public policy development




Panel 4 : Addressing the major challenges for the diversity of cultural expressions

>>> Read the article : Addressing the major challenges for the diversity of cultural expressions



Opening Day 2





Panel 5 : Civil society challenges elsewhere in the world

>>> Read the article : Civil society challenges elsewhere in the world




Panels 6 and 7 : The challenges for cultural diversity on the Internet / Facing the challenges of the future through innovation

>>> Read the article : The new realities of the globalized market for the dissemination of digital cultural content and the challenges for cultural diversity on the Internet

>>> Read the article : Facing the challenges of the future through innovation


With the support of the International Organisation of La Francophonie, the Union Économique et Monétaire Ouest Africaine (UEMOA), the Togolese Coalition for Cultural Diversity, the French Coalition for Cultural Diversity, the Coalition for the Diversity of Cultural Expressions (Canada), the Austrian Coalition for Cultural Diversity, the Government of Togo, the Government of Canada, the Government of Quebec, the National Commission of the Francophonie in Togo.



Support for the cultural sector is growing around the world… unevenly

We quickly realized that the cultural sector was going to suffer enormously from the Covid-19 pandemic. A multitude of shows, performances, festivals, film shoots, book fairs and other cultural events were cancelled, and many cultural spaces, bookstores, cinemas and museums closed their doors.

All over the world, initiatives from artists, civil society organizations, funding agencies and businesses have emerged, followed in several countries by announcements of support for the cultural sector.

The IFCCD initially hesitated to take stock of these initiatives, as others have begun work and the situation is evolving rapidly. The IFCCD is doing so today primarily to support its members who want their governments to put in place measures to support artists, creators, professionals and organizations in the cultural sector. The analysis is therefore limited to countries where the IFCCD has members or partners.

While not perfect, this brief overview shows that support measures are rare outside of the world’s richest countries. In some countries there are even declines. This is a situation of great concern for the diversity of cultural expressions, both locally and internationally, and it risks further deepening global inequalities in the circulation of cultural goods and services. In many countries, cultural policies were already weak or even absent. Greater reliance may need to be placed on solidarity and community networks to provide some support to the cultural sector in these countries, but also on the role that organizations such as UNESCO can and should play internationally.


Culture in times of pandemic: a remedy that needs to be taken care of

On April 22, UNESCO organized the first virtual meeting of Ministers of Culture. The meeting lasted more than seven hours and gave the floor to 130 ministers from all continents. The IFCCD team attended the meeting and was thus able to improve its monitoring of measures in support of the cultural sector, but also to identify a number of global issues and opportunities for culture in times of pandemic.

  1. Recognition of the importance of culture

Most ministers stressed the invaluable contribution of culture in helping people through the crisis. Several of them illustrated the social function of culture or associated culture with a right:

  • Culture and art are powerful tools of struggle that can help us overcome the common challenge (Jordan)
  • The right to culture is not a luxury, it is a pillar for our economies and for the achievement of sustainable development goals (Germany)
  • We experiment therapy through art, book, smile (Armenia)
  • Culture is the foundation of society (Netherlands)
  • Culture is a process of humanization, with a restorative power. The pandemic is frightening, culture will be able to save us, while waiting for a vaccine (Argentina)
  • Culture is a means of communication and protection against stress. Cross-cutting public policies are needed to make culture a human right (Panama)
  • Culture is a form of resistance (Bahrain)
  • Culture is a common good, a right for citizens. It has a role of social cohesion. The crisis shows that culture can be a lifeline. Its contribution to physical and mental well-being must be recognized (Spain)

Several ministers stressed the contribution of culture to sustainable development and even to the objectives for 2030 (Greece, Lebanon, Spain, Costa Rica, Germany), while others, such as Cuba and Azerbaijan, see this crisis as an opportunity for the revival of artistic creation and a broad extension of artistic and cultural practices in society through digital dissemination and communication.

  1. An important mobilization for culture

Despite the inequalities between the various countries, support for the cultural sector is very significant. The measures most often used are the adjustment of contributions and dues, deferral of obligations (social security contributions, taxes), the granting of wage subsidies and loans, the conduct of surveys and impact analyses, the establishment of emergency funds and even food assistance.

Mali sees in the current crisis, despite its disastrous consequences, an opportunity to align the cultural policies of African countries with the objectives of the Charter for the Cultural Renaissance of Africa: “any African cultural policy must necessarily enable peoples to flourish in order to assume greater responsibility for their own development”. Other countries, such as Jamaica, are trying to encourage the transition of their informal economy to the formal economy, which would better protect artists and creators. Elsewhere, cultural sponsorship appears to be a realistic source of income for the cultural sector.

Among the many measures enumerated by Peru, some are targeted at indigenous peoples, particularly in the Amazon, to isolate them from the pandemic while giving them access to culture. The recommendations produced had been translated into 20 languages, a measure similar to that implemented in Mexico, where health manuals had been translated into 60 languages.

Large parts of the cultural sector, particularly heritage sites, festivals and museums, depend on tourism, which has a major impact on attendance and attendance. If the crisis is affecting the cultural sector even in countries where there are no reported cases, such as Lesotho or the Cook Islands, it is because tourism has been completely devastated by the pandemic. Indeed, several ministers placed more emphasis on this sector than on the cultural sector. Some countries want to focus on domestic tourism, but not everyone can do that. Others, such as Kazakhstan, where the national tourism agency organizes virtual tours of the country, are relying on digital technology to remain an attractive destination.

  1. Towards an explosion of platforms and online offerings?

It seems that in all regions of the world, dozens of platforms are being created with the support of governments and public institutions. Many measures have been put in place to provide virtual access to museums, libraries, heritage sites and galleries, while other platforms provide access to cultural expressions.

In Azerbaijan, for example, the measures adopted have made it possible to redirect 80% of cultural activities towards the Internet, including dissemination on social media. After the crisis, one of the challenges will be to ensure that culture is not confined to the virtual sphere. For the Minister of Bahrain, the opportunity must be seized to promote virtual reality, archaeological discoveries, access to intangible heritage and online music.

  1. The pandemic is likely to increase global inequalities

Audrey Azoulay, the Director-General of UNESCO, stressed this at the very beginning of the meeting: inequalities, which are already significant, are likely to increase even further as a result of the pandemic.

The minister from Dominica said her country is barely recovering from the consequences of Hurricane Maria, which caused a 226% drop in GDP. Other countries, such as Mozambique, which was hit by two cyclones last year, or Lesotho, would like to develop an online content offer that respects copyright, but would need help from international partners.

The vital need to accelerate the digital transition highlights digital divides that will aggravate inequalities between countries, but also within territories. The Chilean minister pointed out that several communities in her country do not have access to the Internet and this is the case in many countries. Several other countries reported a lack of training and technical skills and the difficulties encountered by more vulnerable groups (migrants, indigenous people, women).

  1. A call for international cooperation

Many countries have called for substantial international support. The Sudanese minister explained that developing countries already allocate few resources to culture in normal times. Currently, the fight against the virus is taking up all the space. The Chadian minister referred to the “competition of emergencies” in his country which, like others in the Sahel, is caught up in the problems of terrorism.

There were fewer responses. Germany stands out for the development of partnerships in Africa and the Middle East for cultural projects and the development of digital platforms by the Goethe Institute. His Minister added that no country faced the challenges alone and that these approaches were a source of learning for them. For his part, the Minister of San Marino proposed that cooperation between states be made more concrete by encouraging the circulation of works of art.

  1. A call to make Web giants pay

In her introduction, Audrey Azoulay suggested integrating platforms that disseminate cultural expressions via the Internet into cultural policies and funding mechanisms. However, relatively few ministers referred to this type of measure.

The ministers of Canada and Quebec were the only ones to make this call so clearly. The Canadian minister wants to adopt measures to ensure that all players contribute to national cultural ecosystems. The Quebec minister wants multinational companies to contribute to the system, particularly by promoting the discoverability of content, and for creators to reap a better share of the benefits.

Ministers from Lebanon and Belgium stressed the importance of intellectual property rights and fair remuneration of artists on online platforms.

  1. What role for UNESCO?

The Algerian minister stressed that culture has become one of the rare areas of collaboration between States and that UNESCO’s role is to foster exchanges, set up international mutual assistance mechanisms and develop digital platforms to promote access to heritage and culture.

The Minister of the United Arab Emirates, for her part, proposed that UNESCO develop a model for the protection of intellectual property in the context of the digital transition.

Finally, others called on UNESCO to document the impacts of Covid-19 on culture.

What prospects for the diversity of cultural expressions?

Very important issues were raised during this long meeting and UNESCO’s efforts to support a global space for exchange and reflection are to be applauded.  The ResiliArt initiative is very relevant in this regard and the IFCCD is very pleased to collaborate with UNESCO in organizing a second debate on May 14.

This discussion highlights at least two urgent needs to support a revival of cultural activities that is sustainable, more equitable and ensures a diversity of expressions. First, that of rethinking cultural cooperation at a time when the health crisis is putting pressure on already scarce resources in this field and when restrictions on mobility could last for a long time. Secondly, that of guaranteeing the contribution of the giants of the Web to cultural ecosystems in order to generate new sources of income and enhance local cultural expressions.

Ensuring culture fulfills its potential in responding to the Covid-19 pandemic

With the world faced with the COVID-19 pandemic today and the need to rebuild our societies tomorrow, culture should be at the heart of the response. Culture brings inspiration, comfort and hope into people’s lives. To harness this potential, the Culture 2030 Goal movement, in the context of its engagement in the United Nations 2030 Agenda, calls on UN agencies, governments and all other stakeholders to act.


Message from the IFCCD President

Dear IFCCD members and friends,

All over the world people’s daily lives have changed dramatically during the last weeks and days and so has the colorful landscape of the diversity of cultural expressions we have known until recently. In many countries not only freedom of movement is restricted, but all cultural venues are closed, film production is at a standstill, concerts and plays can only be enjoyed over the internet, if at all. And everywhere artists, creators and cultural workers were among the first to suffer from economical distress because we are no longer allowed to create and perform as we used to. This puts enormous pressure not only on professional organizations in the cultural field, but also on the zillions of cultural associations which in many countries are at the base of the cultural life of people.

Our duty as protectors and promoters of the diversity of cultural expressions will be to do everything possible and to lobby governments to make sure that our precious cultural diversity can be saved over to the post-crisis period. We all know how easy it is to close down an orchestra, a theatre or dance company, a film production company etc., but how much long and hard work it takes to (re-)build them. In some countries governments have announced enormous packages to save the economy, but not always do they include or find the right measures for the needs of the creative industries, and even less for the artists and performers – often self-employed. Here professional organizations can help, both directly and by lobbying for public and/or private help (funds).

The IFCCD secretariat remains functional, with both Nathalie Guay and Céline de Dianous working from home. This year’s major project was supposed to take the form of a serie of gatherings in Latin America. Obviously, we will need to rethink this and be creative about what we can do in the current context to develop our action and our network in this region.

I invite you to send us information on the situation in your respective countries and the support that your governments are giving, or not, to the cultural sector, actions that you or other civil society organizations have taken, proposals, etc. Our friends at the UCLG have put together a very interesting resource page. We are in communication with them and other international association to share on our current situation and eventually engage in common initiatives. We will keep you inform of any development in this regard.

In times with omnipresent border closures and immigration restrictions, we are called to solidarity not only with all artists in our own countries but also with those in the rest of the world, and we should do everything in our power to re-establish and improve the free movement of artists and cultural goods and services, as well as the free flow of expressions and ideas, when the actual crisis will be over. That is why emergency powers or surveillance technologies that are being implemented in many countries need to be monitored.

The virus will be beaten, but in order to remedy its broad implications, all of us will be needed. Essentially, the diversity of cultural expressions is within us, in our brains, guts and soul, and there we need to nurse and cultivate it, even if we can’t express it to the outside world for a while. That is why we have to take care to stay physically and psychologically healthy during potentially long weeks of lockdown.

Very best wishes to all of you, stay healthy!

Beat Santschi and Nathalie Guay

Facing the challenges of the future through innovation

The last panel of the Regional Conference “Pan-African Perspectives for the Protection and Promotion of the Diversity of Cultural Expressions” (9 and 10 October 2019) focused on innovative civil society initiatives to meet the challenges of the future. It brought together Brenda Uphopho (Women in the Arts) and Violet Maila (Music in Africa).

  • Brenda Uphopho presented the Women in the Arts Festival, a group of the same name that she co-founded in 2015. The first edition of the festival took place from November 15 to 17, 2018.

Women in the arts (WIA) is a collective of women who work in the creative industries of fashion, theatre, literature, film, music, dance, and who share common ideas. The group met for the first time in March 2015 at the Lagos Theatre Festival in Nigeria, and the number of its members has grown to more than 250 women.

The WIA Festival presents women’s performances, conferences, networking activities aimed at increasing women’s participation and financial empowerment in the cultural sector. The WIA festival focuses on networking, artistic performance and discussions. It takes place in the context of the Lagos Fringe (next edition from 19 to 24 November 2019), which gives it a showcase. One of its main objectives is to change the perspectives for women.

Brenda Uphopho explained that government funding was very insufficient and that a lot of time had to be spent seeking private funds to carry out cultural projects. She deplored difficult economic conditions but also a major corruption problem in Nigeria. She explained that in the 1990s and 2000s, young people, especially women, had to learn on the job. There was no mentoring for young girls, no training. It is in this context that Nollywood has developed, a film industry that is now self-financing.

One of the objectives of the WIA collective is precisely to create a mentoring system to strengthen women’s capacities. The first edition of the festival provided an opportunity to organize advocacy activities against gender-based violence and the various forms of harassment to which women are subjected. Brenda Uphopho explained that the regulations on sexual harassment have been updated in Lagos but that there is still a lot of work to be done on this issue. The festival also focused on women’s participation in the electoral process, particularly in villages. Several sketches and performances were presented on the gender issue. These sketches will be translated in November 2019 and there will be a comic strip adaptation.  There is also a comic book project planned for November 2019.

Presentation by Mrs Uphopho

  • Violet Maila then spoke about Music in Africa, a web portal for information and exchange dedicated to the African music sector.

Music In Africa is a non-profit initiative that aims to support the African music sector by promoting knowledge exchange and creating opportunities and capacities for those who work in the sector. The Music In Africa portal is owned and managed by the Music In Africa Foundation, established in 2013 and headquartered in Johannesburg, South Africa. Thanks to its network of contributors, the platform offers a unique range of useful and quality content on the sector. Music in Africa allows artists, creators, music professionals, fans, etc. to

  1. Deepen your knowledge of the African music scene;
  2. Discover and listen to the music of the continent;
  3. Find actors of the music scene in Africa;
  4. Create a profile and promote your work;
  5. Exchange information about the African music scene with other users;
  6. Access self-help aids and tools;
  7. Contribute to a complete and reliable source of information.

Violet Maila also spoke about other projects carried out by the Music in Africa Foundation through partnerships: the EPK platform, for artists who wish to perform at the Sauti za Busara festival in Zanzibar, or the Music in Africa conference for collaborations, exchanges and showcases (ACCESS), which is held in a different African city each year and allows artists to show their work beyond their country.

Like other speakers, Violet Maila stressed the importance of data collection and sharing. She also stressed the need to create partnerships on the continent and to speak collectively. She finally explained that, even if the case of South Africa is unique in Africa, with a State that plays a real role as a cultural promoter, it is essential for African civil society to highlight the importance of its work and to mobilize to have policies adopted to support culture.

Presentation by Mrs Maila


With the support of the International Organisation of La Francophonie, the Union Économique et Monétaire Ouest Africaine (UEMOA), the Togolese Coalition for Cultural Diversity, the French Coalition for Cultural Diversity, the Coalition for the Diversity of Cultural Expressions (Canada), the Austrian Coalition for Cultural Diversity, the Government of Togo, the Government of Canada, the Government of Quebec, the National Commission of the Francophonie in Togo.



The new realities of the globalized market for the dissemination of digital cultural content and the challenges for cultural diversity on the Internet

As part of the Regional Conference “Pan-African Perspectives for the Protection and Promotion of the Diversity of Cultural Expressions” (October 9 and 10, 2019), Destiny Tchéhouali, Professor in the Department of Communications at the Université du Québec à Montréal (UQAM), presented at a conference the realities of the dissemination of digital cultural content and the challenges for cultural diversity on the Internet.

The exchange of cultural goods and services has increased with the advent of digital technologies. Their rapid development has significantly changed the way cultural goods and services are accessed and consumed around the world. Several studies have examined the subject over the past five years (2018 report on the state of the digital Francophonie, study “Towards a diversified network culture”, UNESCO report on digital technology, etc.) but too few of them focus on Africa. There are very few indicators and data on consumption and usage in ACP countries (Africa, Asia-Pacific and the Caribbean) for online cultural content. In its Study on the economic and artistic challenges and benefits of the online dissemination and distribution of ACP cultural content (European Commission, 2016-2017), Destiny Tchéhouali noted significant disparities between the countries of the North and the South in terms of the dissemination and distribution of digital cultural content. Platforms have made it possible to widen access to certain cultural content, they are increasingly positioning themselves in local markets, but they control, influence and guide our choices. There is a form of dictatorship of algorithms: “If it is free, you are the product”.

The digital divide between the world’s regions can lead to a cultural divide. Today, 4 billion people still live without the Internet, 60% of them in Africa. Destiny Tchéhouali mentioned several challenges for the diversity of online cultural expressions in the region:

  1. Policy and regulatory challenges. The cultural policies of the ACP countries are not adapted. Policies to support cultural industries focus on supply and not demand. These policies should take into account considerations on the distribution and distribution of digital content;
  2. Technological challenges. There is often a lack of infrastructure and a lack of an overall strategy to develop access to online content;
  3. The lack of professionalism in the cultural sector

Destiny Tchéhouali also mentioned the challenges of accessibility and discoverability of local and national content, which concern all regions of the world. Digital innovation actors are trying to impose their leadership on traditional cultural actors. There is a gap between the logic of recommending cultural content and the effective presence, accessibility and discoverability of our content on the Web. Instead of promoting the diversity of online cultural expressions, algorithms tend to impose their dictatorship and lock us into tastes. Consideration must be given to a way to regulate GAFAs, as is being done by the European Union, which has adopted directives to this effect. The challenge is also to innovate at the local level. Several platforms have already emerged in Africa: Afrostream, for example, which has been very successful for three years, or Musik Bi, an innovative platform in Senegal. In the future, efforts could focus on the development of shared alternative platforms.

Presentation by Mr Tchéhouali (in French)


With the support of the International Organisation of La Francophonie, the Union Économique et Monétaire Ouest Africaine (UEMOA), the Togolese Coalition for Cultural Diversity, the French Coalition for Cultural Diversity, the Coalition for the Diversity of Cultural Expressions (Canada), the Austrian Coalition for Cultural Diversity, the Government of Togo, the Government of Canada, the Government of Quebec, the National Commission of the Francophonie in Togo.



Civil society challenges elsewhere in the world: discussion with representatives of coalitions for cultural diversity

The second day of the Regional Conference “Pan-African Perspectives for the Protection and Promotion of the Diversity of Cultural Expressions” (9 and 10 October 2019) began with a round table discussion on the challenges faced by civil society outside Africa. It brought together several representatives of coalitions for cultural diversity: Guillaume Prieur (French Coalition), Jérôme Payette (Canadian Coalition), Alejandra Diaz (Paraguayan Coalition), Ray Argall (Australian Coalition).

At the European level, coalitions have been mobilized by the issue of the diversity of cultural expressions in the digital environment with several European directives:

  1. The Copyright Directive, including a section on value transfer and a second section on the transparency triangle;
  2. The Audiovisual Media Services Directive (AVMSD).

The objective of these directives is to regulate digital platforms in favour of creation, to integrate them into the creative economy. The next step, which will be crucial, is the transposition of directives in the Member States. In the future, beyond the regulations obtained, it is also necessary to move towards a regulation of algorithms and artificial intelligence, the objective being to prevent a standardization of cultural creation.

In Canada, the CDCE focuses on two main issues: maintaining the cultural exemption in free trade agreements (obtained during the renegotiation of NAFTA, renamed ACEUM) and the application of Canadian cultural policies in the digital environment. The CDCE produced a brief in January 2019 as part of the review of Canada’s Broadcasting and Telecommunications Acts. There was also significant involvement of CDCE members in the campaign for the October 21, 2019 federal election. The CDCE has also closely followed what has happened in Europe regarding copyright and the AVMS Directive. The CDCE regularly works with researchers, academics, the UNESCO Chair, UQAM. There is a willingness to develop work with the research community on the impacts of artificial intelligence on culture.

At the Paraguayan level, the priority is to reorganize and strengthen the space of confluence between the different artistic sectors. With the new National Secretariat for Culture, there have been changes. In particular, a round table for the performing arts was organised for the first time. Others followed for music, theatre, books, and there is a national cultural plan that is beginning to be discussed. From a broader perspective, South America is facing the wave of the orange economy. Neoliberalism dominates and the economic policies of the countries are similar, with significant budget cuts for culture. The former coalitions of Argentina and Brazil have been weakened by the general dismantling of cultural resources and plans. In Chile, the Chilean coalition succeeded in getting a law passed that ratifies the celebration of the Day of Cultural Diversity on October 20. The Chilean coalition is also working on the preparation of a workshop for officials from the various ministries of the Chilean government to raise awareness of aspects of the 2005 Convention.

There are many organisations very active in the region but it faces significant political challenges and the issue of human rights is a major problem in some countries. China has become a global giant, like the United States, and it is a threat to the diversity of cultural expressions, especially for the smallest territories in the region. The Australian coalition has exchanges with New Zealand and South Korea, including copyright and royalty collection. The defence of copyright is a priority issue for the Australian coalition, which is also interested in the presence and enhancement of local content online, but also in the contribution of platforms and the telecommunications sector to the financing of artistic creation. Among the actions that mobilized civil society, Ray Argall mentioned the “Why make it Australian” campaign to defend the Australian audiovisual industry.


With the support of the International Organisation of La Francophonie, the Union Économique et Monétaire Ouest Africaine (UEMOA), the Togolese Coalition for Cultural Diversity, the French Coalition for Cultural Diversity, the Coalition for the Diversity of Cultural Expressions (Canada), the Austrian Coalition for Cultural Diversity, the Government of Togo, the Government of Canada, the Government of Quebec, the National Commission of the Francophonie in Togo.



Addressing the major challenges for the diversity of cultural expressions

The fourth panel of the Regional Conference “Pan-African Perspectives for the Protection and Promotion of the Diversity of Cultural Expressions” (October 9 and 10, 2019) focused on the current and future challenges for the diversity of cultural expressions. It brought together Samuel Sangwa (CISAC), Ivana Otasevic (UNESCO Chair on the Diversity of Cultural Expressions), Edith Katiji (Zimbabwe Musicians’ Union), Luc Yatchokeu (REPAC).

He first recalled the role of copyright collecting societies in remunerating and recognizing creators, and then presented CISAC and its work in Africa. With 37 copyright societies in 31 countries, CISAC is present throughout the continent, from Algeria to South Africa and Togo. CISAC produces an annual global collection report each year. In 2017, out of €9 billion raised worldwide, Africa’s share was only 75 million, or 0.8% of the total. Samuel Sangwa deplored the fact that African creators are not remunerated at the level of the exploitation of their works. He listed the major challenges to the growth of clinics in Africa:

  1. The resistance of users: lack of knowledge of copyright, deliberate refusal of the principle of payment of the fee;
  2. The operational efficiency of collective management organizations: licensing of users, territorial networking, management of digital exploitation rights;
  3. The obsolete, inadequate or inadequate legislative frameworks.

He also pointed out that only eight African countries are now able to collect the private copying levy. Samuel Sangwa then listed the challenges and priority campaigns for CISAC:

  1. The transfer of value on platforms;
  2. The resale right for creators of artistic works (visual arts and crafts);
  3. The right to fair remuneration for authors of audiovisual works

He presented the “Copyright Friendly” label, launched in Cape Verde, which can be awarded to festivals, organizations and events that respect copyright. Finally, he argued that the notion of copyright has always been part of African culture and called for respect for the rights of creators, in Africa as elsewhere in the world.

Presentation by Mr Sangwa (in French)

  • In a second presentation, Ivana Otasevic, coordinator of the UNESCO Chair on the Diversity of Cultural Expressions, presented the Guide on Cultural Clauses in Trade Agreements, by Véronique Guèvremont (Chairholder) and Ivan Bernier (Professor Emeritus of the Faculty of Law of Laval University).

The Chair’s guide meets several objectives:

  1. Raise awareness among States about the possible implications of trade negotiations for the culture sector;
  2. Assist States in developing their capacities so that they can choose the appropriate cultural clauses to preserve their sovereign right to intervene in favour of culture;
  3. Present the best practices that have been developed by some States over the past 15 years;
  4. Inspire new initiatives to protect and promote cultural diversity in trade agreements (particularly in the area of digital trade).

This guide offers an approach inspired by State practice. It is based on a comparative study of 99 free trade agreements concluded since the adoption of the 2005 Convention. The Chair identified the most relevant cultural clauses in these agreements and made recommendations. The guide is structured in four steps. First, it invites States (and civil society organizations that use the guide to lobby their States) to become familiar with their own cultural sector, to understand the mechanisms of free trade and their potential impact on the cultural sector, and to develop a knowledge of existing cultural clauses and trade instruments. In a second step, the guide makes recommendations concerning the preparation for the negotiation of a new trade agreement containing cultural clauses. Thirdly, it gives indications on the main chapters of the agreement for the incorporation of cultural clauses. It highlights the importance of defining exactly what we want to protect and paying particular attention to electronic commerce. The last step of the guide concerns the monitoring of the negotiated free trade agreement and the implementation of cultural clauses.

Presentation by Mrs Otasevic (in French)

  • Édith Katiji, President of the Zimbabwe Musicians’ Union, then addressed a third major challenge for the diversity of cultural expressions: that of women’s participation and conditions in the cultural sector.

Three main things affect women in the cultural spheres:

  1. The defined, imposed and expected roles of women;
  2. A work environment that is often dangerous for them;
  3. Their exclusion from participation in the cultural economy.

Édith Katiji was a member of an all-women music group that performed throughout Zimbabwe. She noted many prejudices about their performance. Some expected them to play one type of music and not another, reserved for men, others had similar expectations regarding the lyrics. There were also prejudices related to their presence on stage, many expected them to dance in a way that was considered “feminine”.

Edith Katiji then referred to the many cases of women facing all kinds of abuse – emotional, physical, sexual – in the workplace. She deplored cases of discrimination, sexist attitudes and general contempt that discourage women from continuing to work in the cultural sector. Women are easily victims of sexist behaviour and even sexual exploitation. Sexual favours may be required from artists in exchange for a promotion or exhibition of their work. The cultural and creative industries are most often led by men and most decisions are therefore made exclusively by them. This creates a situation where women are excluded from any advantageous decisions.

Moreover, much of the exclusion of women does not occur in the open. Men may decide that female interpreters have no place in a particular event. In other cases, they consider that the type of audience expected is not suitable for a female performer. Some male promoters may also consider that the type of music played by a woman is unsuitable for certain audiences. Faced with these obstacles, women often turn to private organizations to perform. But there is little public attention paid to private events and women are therefore most often excluded from the media space. Without this media coverage, they are less visible and earn less. Some use social media to promote themselves, but this does not have the same impact because traditional media are still dominant on the continent (in Zimbabwe, radio is the first broadcasting channel).

Edith Katiji concluded her presentation by calling on African societies to review their history and consider how to achieve gender balance in the cultural sector and in all spheres of society.

Presentation by Mrs Katiji

  • Luc Yatchokeu, coordinator of the Regroupement des Professionnels des Arts et Culture d’Afrique Centrale (REPAC), presented the Art Connect Africa project.

A platform for cultural cooperation and exchange, Art Connect Africa (www.artconnectafrica.com) was designed to encourage and develop cultural relations between North Africa and sub-Saharan Africa. At the origin of the project, there is a desire on the part of cultural actors in North Africa and sub-Saharan Africa to get closer and strengthen exchanges between the two regions. Cultural actors are concerned to present through the arts a united Africa, which a few years ago appeared as two different continents.

The platform brings together several different actors: artists, professionals, festivals, professional organizations, places of cultural expression, media, cultural institutions. It concerns all artistic disciplines: music, performing arts, visual arts, sculpture, literature, cinema, architecture. Luc Yatchokeu reviewed how the project was developed with, on the one hand, the creation of a digital platform (website and application), and, on the other hand, the establishment and animation of a pan-African programme to support cooperation and exchange initiatives.

The expected results are diverse: building an artistic community, sharing information on ongoing collaborations and opportunities, supporting projects, producing statistics, strengthening cooperation and exchanges, exploring new markets.

Presentation by Mr Yatchokeu (in French)


With the support of the International Organisation of La Francophonie, the Union Économique et Monétaire Ouest Africaine (UEMOA), the Togolese Coalition for Cultural Diversity, the French Coalition for Cultural Diversity, the Coalition for the Diversity of Cultural Expressions (Canada), the Austrian Coalition for Cultural Diversity, the Government of Togo, the Government of Canada, the Government of Quebec, the National Commission of the Francophonie in Togo.



Open letter to President Sebastián Piñera

Open letter from cultural workers, artists and organizations in the sector in Chile grouped in Artistic and Cultural Cabildo (forum).

As cultural organizations, we reject and condemn the repeated human rights violations committed by State agents, which have affected the community that expresses itself in a legitimate and authentic way. Unfortunately, among the thousands of people affected, there are several artists and cultural workers.

Since Friday, October 18, we have seen an unexplainable number of human rights violations increase day by day during social demonstrations, in a country that is democratic. To date, the National Institute of Human Rights (Instituto Nacional de Derechos Humanos) has recorded 964 gunshot wounds, 222 eye injuries, 384 court cases, including 273 for torture, 66 for sexual violence and 6 for murder, among other very serious crimes committed by State agents. Citizens have witnessed countless excesses and abuses in the use of force during the mobilizations.

Faced with this, we can only wonder what kind of police officers we have who can go so far as to attack their own fellow citizens? What can justify the use of torture? What is being taught to Carabineros (riflemen – Chilean military police institution) so they proceed with those absolutely unjustified beatings of children, adolescents and older adults?

In whose hands are we? Nothing in what we have seen is pointing to cases of individual excesses, but rather to a coordinated action on the part of law enforcement authorities. 

In response to these serious facts, the organizations that convened the Artistic and Cultural Cabildo, and by mandate of the latter, demand the immediate cessation of human rights violations by the Carabineros and a structural reform of this institution that seems to have normalized violence. We demand the resignation of General Mario Rozas, who is directly responsible for these facts and who has not acknowledged the evidence that Chile and the world have unfortunately witnessed: human rights are being violated in our country.

Artists and cultural workers have been and will always be concerned about the defence of human rights, and this time we will continue to demand, by all means at our disposal, that they be respected.


Cabildo’s organizers : Sindicato de Actores, SIDARTE / Unión Nacional de Artistas, UNA / RED Nacional DanzaSur / Asociación Nacional de Trabajadores y Trabajadoras del Ministerio de las Culturas, las Artes y el Patrimonio, AFUCAP / Arte Asociado Contemporáneo, ACA / Asociación de Cantantes Líricos de Chile, ACLICH / Asociación Nacional de Diseñadores Escénicas / ADTRES / Asociación Nacional de trabajadores del Patrimonio / ANATRAP / Coalición Chilena para la Diversidad Cultural / Sindicato del Cine, SINTECI / El Circo del Mundo


Civil society participation in public policy development

The third panel of the Regional Conference “Pan-African Perspectives for the Protection and Promotion of the Diversity of Cultural Expressions” (9 and 10 October 2019) focused on the participation of civil society in the development of public policies in Africa. It brought together Annie Ngo Njock Njock Njock (CODEC), Mohamed Diakité (Malian Coalition for Cultural Diversity), Josh Nyapimbi (Nhimbe Trust), Malik Chaoui (GTPCA), Daves Guzha (Arterial Network).

Their analysis was based on a questionnaire submitted in both countries to civil society cultural organizations. On the basis of the replies to this questionnaire, some meetings, and a review of existing documentation on this subject (in particular, in Mali, the framework document defining the country’s cultural policy), Annie Ngo Njock Njock and Mohamed Diakité showed that, in both countries, there is a real involvement of civil society in the adoption of cultural policies. However, this involvement is still low and could be much higher. There are many expectations on the part of civil society actors towards the government for better consideration of their concerns and better involvement in public policy making processes. There is a general impression that initiatives in favour of culture most often remain at the level of actors, locally, but that they have difficulty accessing the political level.

– In Mali, cultural policy is multiannual and the Ministry of Culture opted for a participatory approach. The contribution of cultural actors has been taken into account. However, some actors are more involved than others.

– In Cameroon, there is a special allocation account to support the arts and culture sector, but this remains insufficient (out of a budget of 4 billion CFA francs for culture, only 1 billion goes to artists and professionals in the sector). There are also laws, implementing decrees, copyright collective societies, but the latter often have funding and management problems. 

Presentation by Mrs Ngo Njock Njock and Mr Diakité (in French)

  • Josh Nyapimbi, Director General of the Nhimbe Trust, then shared his experience and thoughts on the drafting of the quadrennial periodic reports on the implementation of UNESCO’s Convention on the Protection and Promotion of the Diversity of Cultural Expressions.

It is not always easy to implement the 2005 Convention in some countries; nor is it easy to report on what has been implemented. This was explained by Josh Nyapimbi in his presentation, which focused on the challenges of writing the quadrennial reports provided by countries. Several difficulties are to be noted:

  1. There is a governance problem in some countries with a lack of civil society trust in governments and vice versa. There is also a division between Western and non-Western countries, both politically and economically. The money available to African civil society often comes from external aid, which is not the case in other parts of the world.
  2. It is difficult to assess the exchange of cultural goods and services in the absence of data. Data is the new global gold and is increasingly being privatized. In the absence of publicly available data, it will no longer be possible to have a realistic picture of what is happening in the field.
  3. The integration of culture into sustainable development objectives is an important issue. The challenge of climate change is central, but not all members of civil society have the same priorities in this area. Again, there are differences between regions.
  4. The promotion of human rights and freedoms is also a major challenge. We must account for what is happening in terms of artistic freedom. But this is not always easy because critical issues are censored by states.

Josh Nyapimbi said he was in favour of a “shadow report”. He explained that the reports submitted to UNESCO are far from reflecting reality and that it would therefore be essential to have a report on what is actually happening in the countries.

*In the Lomé Declaration on the Protection and Promotion of the Diversity of Cultural Expressions, participants at the regional conference, and in particular organizations from countries of the South, called for the need to prepare alternative reports.

Almost sixty years after its independence, Algeria still does not have a cultural policy. The members of the GTPCA decided to fill this gap by drafting a policy themselves. Taking into consideration all the dimensions related to the cultural sector, some 100 artists, writers, cultural activists, journalists and students undertook a consultation process in 2011, which led to the publication in 2013 of a “Cultural Policy for Algeria”, published online on the GTPCA website. Consisting of clear principles and concrete recommendations, this e-participatory project aims to provide Algeria with a policy that will allow the development of the arts and culture.

Malik Chaoui also mentioned other activities of the GTPCA:

  1. Six training workshops that were organized to strengthen the capacities and skills of cultural actors;
  2. The next Forum on Culture, which will make it possible to make a precise assessment of the Algerian cultural sector and will give rise to a report by the GTPCA;
  3. The creation of a cultural map of Algeria (www.culturemap-dz.org) launched in 2015 to identify the places, links and resources available, promote local talents, enable networking of actors and facilitate their mobility. The database of this platform is continuously updated and each person can register and share information freely.

Malik Chaoui then spoke about the cultural context in Algeria. The culture budget fell by 8% between 2017 and 2018, from the equivalent of $145 million in 2017 to $132.7 million in 2018. The sector has lost 70% of its public funding in recent years. The 2005 Convention was not ratified until 2015. Since February 2019, the country has experienced major demonstrations against corruption. There is a real call for cultural renewal and a willingness to have a new cultural policy.

Presentation by Mr Chaoui (in French)

  • Daves Guzha, President of Arterial Network, presented Arterial’s experience with the African Union and the case of the African Continental Free Trade Agreement.

An Action Plan on Cultural and Creative Industries in Africa was adopted in Dakar in 1992 and updated in 2008. In October 2018, Arterial Network was approached by the African Union to update this action plan for the creative industries. The objective is to align this action plan with the challenges of the 21st century (copyright, digital issues, etc.). This plan is supposed to be a roadmap for civil society, but Daves Guzha found that of all the organizations present at the Congress, only two have heard of its existence. In January 2019, many requests were sent to individual African countries for data; most countries provided these data but others never responded. This roadmap will define priorities for the next ten years and Daves Guzha deplored the lack of response from some countries. From November 6 to 9, 2019, the Arterial Network team will meet to finalize this action plan. The document will then be shared with all governments and submitted for adoption in February 2020, at the 13th session of the Intergovernmental Committee for the Protection and Promotion of the Diversity of Cultural Expressions. Daves Guzha explained that this plan was developed by cultural professionals who conducted a broad analysis. He welcomed the fact that, for the first time, Arterial Network had succeeded in establishing a link between civil society and the African Union.

Daves Guzha then spoke about the African Continental Free Trade Agreement (AfCFTA) that was negotiated by the African Union. It entered into force in May 2019 and defines the African Continental Free Trade Area. Two months ago, artists and creators met in Kigali. There is a willingness on the part of some groups to accelerate the implementation of the agreement in relation to the technology and creativity sectors. Arterial Network will launch a call in the coming weeks to analyse the trade agreement. In each region (five in total) an expert will examine the clauses of the agreement and the issues it raises. When asked about the cultural exemption clauses and the scope of the agreement on the diversity of cultural expressions, Daves Guzha said he would share information and contextualization with the IFCCD secretariat.

Arterial Network is also working with the African Union on Africa Day on May 20. Several artists will be invited by Arterial and the African Union on this occasion. Daves Guzha also presented Artwatch Africa, another Arterial Network project that will be launched on November 25, 2019. This is a new approach that aims to encourage dialogue between artists and with those who develop cultural policies.


With the support of the International Organisation of La Francophonie, the Union Économique et Monétaire Ouest Africaine (UEMOA), the Togolese Coalition for Cultural Diversity, the French Coalition for Cultural Diversity, the Coalition for the Diversity of Cultural Expressions (Canada), the Austrian Coalition for Cultural Diversity, the Government of Togo, the Government of Canada, the Government of Quebec, the National Commission of the Francophonie in Togo.



Public policies for culture

The second panel of the Regional Conference “Pan-African Perspectives for the Protection and Promotion of the Diversity of Cultural Expressions” (9 and 10 October 2019) focused on African public policies in favour of culture. Invited for this panel were Donikpo Kone (UEMOA), and Komi N’kegbe Foga Tublu (CELTHO – UNA).

Created on 10 January 1994 in Dakar, the West African Economic and Monetary Union (UEMOA, from its name in French) brings together eight African States: Benin, Burkina Faso, Côte d’Ivoire, Guinea-Bissau, Mali, Niger, Senegal and Togo. The UEMOA cultural sector mobilizes a large part of the regional population but still makes a small contribution to the economy of the area. Several reasons explain this paradox: the predominance of the informal sector, the lack of professionalism in the sector, the absence of verifiable indicators to measure the social and economic impact of culture, the scarcity of financial resources. Donikpo Kone also pointed out the lack of leadership for the sector and the lack of promotion for cultural resources.

UEMOA adopted a common cultural development policy in October 2013 and a Regional Cultural Development Programme (PRDC-UEMOA) in September 2014. The overall objective of this programme is to contribute to the enhancement of culture as a source of wealth creation and influence for UEMOA. Specifically, the PDC-UEMOA aims to develop a structured and attractive regional market for cultural goods and services and to improve the visibility of UEMOA’s cultural expressions. The expected results are as follows:

  1. Better protection of literary and artistic property;
  2. Cultural enterprises that provide jobs and generate income;
  3. A structured and productive regional market for cultural goods and services;
  4. A better circulation of cultural actors, goods and services within the Union;
  5. Cultural goods and services labelled and further promoted in the sub-region and at the international level;
  6. The inclusion of culture in national development strategies;
  7. A cultural information system is operational.

Regarding the promotion of cultural diversity, Donikpo Kone stressed UEMOA’s involvement in the drafting of regulations and support for cultural and artistic events. He also mentioned the establishment of a regional information system on culture (SIRC) and the development of a mechanism to promote cultural enterprises. Asked about the presence and visibility of the diversity of cultural expressions online, he explained that the SIRC platform would promote the visibility of cultural content but that it implied a responsibility on the part of countries to share information and data. Regarding the high cost of the Internet in WAEMU countries, he indicated that several departments of the organization are currently working on this issue.

Presentation by Mr Kone (in French)

He explained that the African Union does not have its own cultural policy but that it has provided itself with tools and institutions. Among these tools, the Charter for African Cultural Renaissance was adopted in 2006, and its ratification is ongoing. Komi N’kegbe Foga Tublu deplored the slowness of the ratification process but announced that the quota had just been reached for the Charter to officially enter into force. He also mentioned Agenda 2063, a strategic framework for achieving Africa’s objective of inclusive and sustainable development, which has a cultural heritage, creative arts and enterprise component. The African Union has also set up various bodies and institutions: a culture division in Addis Ababa, CELHTO in Niamey, the African Academy of Languages in Bamako. CELHTO’s main objective is to contribute to the continent’s cultural influence, to support the development of cultural industries in Africa and to support civil society approaches. CELHTO develops several programs:

  1. A scanning program;
  2. A collection program;
  3. A program of research and valorisation of results;
  4. A support programme for cultural civil society: capacity building, support for cultural encounters, support for the mobility of artists.


With the support of the International Organisation of La Francophonie, the Union Économique et Monétaire Ouest Africaine (UEMOA), the Togolese Coalition for Cultural Diversity, the French Coalition for Cultural Diversity, the Coalition for the Diversity of Cultural Expressions (Canada), the Austrian Coalition for Cultural Diversity, the Government of Togo, the Government of Canada, the Government of Quebec, the National Commission of the Francophonie in Togo.



The implementation of the 2005 Convention in the African region

The first panel of the Regional Conference “Pan-African Perspectives for the Protection and Promotion of the Diversity of Cultural Expressions” (October 9 and 10, 2019) focused on the implementation of the 2005 Convention in the African region. It brought together Michel Saba (CERAV), Marie Isabelle Ba (OIF) and Kodjo Cyriaque Noussouglo (Togolese Coalition for Cultural Diversity, IFCCD).

  • Michel Saba, General Delegate of the Regional Centre for the Living Arts in Africa (CERAV), presented the bodies of CERAV/Africa and its various missions in relation to the 2005 Convention.

Nearly fifteen African States benefit from the support of CERAV, which aims in particular to support the implementation of the 2005 Convention. Michel Saba highlighted the essential role of national coalitions in the ratification processes (46 African States have ratified the Convention to date) and their mobilization in the implementation of policies promoting the diversity of cultural expressions. At CERAV level, a first regional workshop on the 2005 Convention was held in Niamey in August 2017. The organization is also involved in the production of quadrennial reports that report on what is being done at the country level to meet the commitments made under the Convention. Michel Saba returned to the difficulties encountered in translating the Convention into public policies and the importance of civil society expertise. He called for better organisation and more dialogue between stakeholders. In the coming years, CERAV plans to develop a resource centre on the 2005 Convention and to set up a digital platform for exchange between civil society organisations. Several events will also be organized around the Convention: celebration of the World Day for the Diversity of Cultural Expressions, organization of workshops to share experiences, organization of a symposium on the mobility of artists.

  • Marie Isabelle Ba, attached to the “Language Policies and Cultural Development Strategies” programme of the “French Language, Culture and Diversity” Department of the International Organisation of La Francophonie (OIF), then returned to the role of the OIF in the adoption of the 2005 Convention and its implementation today.

After a presentation of OIF’s areas of intervention and priorities (setting up exchanges, supporting States, structuring civil society, etc.), Marie Isabelle Ba detailed the seven points of OIF’s contribution to the implementation of the 2005 Convention in the African region:

  1. Strengthening public policies (launch in 2010 of a pilot project to support cultural policies and industries);
  2. Measures to support the creation of and access to culture (worldwide network of CLAC reading and cultural activities centres);
  3. Participation of civil society;
  4. Integration of culture into sustainable development;
  5. Cooperation for development (MASA, Prix des 5 continents, Fonds de soutien à la circulation du spectacle vivant et des arts visuels, “En scène ! “, ” Limited Edition ” and ” Images ” programs, FESPACO in Ouagadougou, Vues d’Afrique in Montreal);
  6. Exchange, analysis and dissemination of information (mapping of cultural enterprises and industries);
  7. International consultation and coordination (complementarity with other actors in international cooperation: WIPO, UNESCO, Islamic Educational, Scientific and Cultural Organization, WAEMU, ACP).

When asked about the selection criteria for projects financed by OIF, Marie Isabelle Ba explained that they were chosen according to their objectives and sustainability. Four African countries were assisted in 2010 and four others are currently being assisted.

Presentation by Mrs Ba (in French)

  • The third speaker on the panel, Kodjo Cyriaque Noussouglo, President of the Togolese Coalition for Cultural Diversity and Vice-President of the IFCCD, presented the concerns of African civil society regarding the protection and promotion of the diversity of cultural expressions on the continent.

Kodjo Cyriaque Noussouglo began his speech with the following observation: despite the dynamism and abundance of cultural activities in Africa, the majority of cultural actors have the impression that nothing is being done. The cultural sector is dominated, protection and promotion measures are lacking and there are significant problems in terms of economic and human resources. Calling for a rapid improvement of the legal and institutional environment, he explained that sectoral funds for culture do not solve the problems related to structural challenges: the challenge of cultural decentralization, the challenge of financing, the challenge of capacity building, the challenge of measuring and the challenge of raising awareness of the issues surrounding the diversity of cultural expressions. Kodjo Cyriaque Noussouglo then went back over the different chapters of the 2005 Convention. He stressed that the Convention recognizes the important contribution of artists and stressed that States must respect their commitments, ensure that the diversity of cultural expressions is valued and protected and enable artists to live better from their art. When asked about the structuring of cultural industries in Africa and their capacity to create wealth, he confirmed the existence of developed and dynamic cultural sectors, books, visual arts, music, cinema, but deplored a lack of investment in innovative policies to support these industries and enable them to participate more broadly in the countries’ economies.*

*For data on the contribution of the cultural and creative sectors to the world economy by sector and region, see the study “Cultural Times: The first Global Map of Cultural and Creative Industries”.


With the support of the International Organisation of La Francophonie, the Union Économique et Monétaire Ouest Africaine (UEMOA), the Togolese Coalition for Cultural Diversity, the French Coalition for Cultural Diversity, the Coalition for the Diversity of Cultural Expressions (Canada), the Austrian Coalition for Cultural Diversity, the Government of Togo, the Government of Canada, the Government of Quebec, the National Commission of the Francophonie in Togo.



2019 Cultural Diversity Prize

This year, the French Coalition for Cultural Diversity decided to honour the filmmaker and president of the Cinémathèque française Costa-Gavras to pay special tribute to his ongoing commitment to the protection and promotion of creativity and cultural diversity.

It also rewards the Clowns Sans Frontières association, for the support provided through live shows all over the world to populations affected by humanitarian crises or in situations of great precariousness, primarily children.


6th IFCCD Congress: Election of a new Board of Directors and new officers

At the 6th Congress of the International Federation of Coalitions for Cultural Diversity (IFCCD), IFCCD members elected a new Board of Directors for the next four years. These newly elected representatives then appointed the new IFCCD officers.

The composition of the IFCCD Board of Directors is as follows:

  • Beat Santschi, President
  • Mane Nett, Vice President, Americas
  • Kodjo Cyriaque Noussouglo, Vice President, Africa
  • Ray Argall, Vice President, Asia Pacific
  • Mahamadou Adamou, Treasurer
  • Guillaume Prieur, Secretary
  • Holly Aylett, Administrator

The IFCCD management team is completed by Nathalie Guay, Secretary General.

At the General Assembly, delegates identified priorities and discussed action plans for the coming years. The IFCCD will work over the next three years on trade agreements, the diversity of online cultural expressions, the mobility of artists and data on the diversity of cultural expressions. It will also mobilize to renew interest in the 2005 Convention and will continue to monitor the Convention by ensuring the participation of civil society.

The next IFCCD Congress will be held in 2022-2023. The place and date will be announced in 2021.

Call for applications for the 2019 Cultural Diversity Prize

Since 2011, the French Coalition for Cultural Diversity has awarded an annual prize to an association or initiative whose aim is to promote access to culture and enhance cultural diversity in all its forms: music, theatre, circus, cinema, the visual arts… All disciplines are eligible.

The prize is endowed with 5,000€.

Applications are submitted online using the form available HERE until 21 September 2019.

The applications will be examined by a jury composed of cultural organisations that are members of the French Coalition and the name of the winning organisation will be published on the Coalition’s website in autumn 2019.

See the conditions of participation and eligibility criteria.


The European Parliament said YES to copyright

The European Coalitions for Cultural Diversity (ECCD) wholeheartedly welcome the adoption of the Copyright Directive in the Digital Single Market by the European Parliament.

After years of debates and heated campaigns, MEPs adopted yesterday a critical piece of legislation that aims at adapting the copyright to the digital world. The directive, when implemented in Member States, will ensure that creators, including authors, artists and creative workers can earn a fair living from their creative work in the digital age.

The ECCD thanks MEPs for endorsing this text that is so essential for underpinning cultural diversity and that goes to the very heart and soul of EU cultural creation.

Quote :
Carole Tongue, Chair of the European Coalitions says : « Creators will be able to enjoy a fairer share of the internet’s huge revenues and thus create more diverse works for all of us. We now look forward to the directive’s implementation in each and every Member State of the EU ».

Press contact International : Laure Gicquel – contact@europeancoalitions.eu

Job offer: Video maker

Audiovisual production project: Cultural clauses in trade agreements

The organization:

The Canadian Coalition for the Diversity of Cultural Expressions (CDCE) is a non-profit organization that has been the voice of Canada’s cultural community for the past twenty years. Its main mission is to protect and promote the diversity of cultural expressions, both nationally and internationally.

The CDCE brings together 30 organizations representing the entire cultural chain, from creation to dissemination, in the fields of film, television, music, books, new media and the performing arts.

The CDCE works mainly to ensure that cultural goods and services are excluded from trade negotiations and that the diversity of cultural expressions is present in the digital environment.

The CDCE monitors the implementation of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions adopted at UNESCO in 2005 and acts to give it full force of application at the national level.

At the international level, the CDCE provides the secretariat of the International Federation of Coalitions for Cultural Diversity (IFCCD), which is made up of some thirty coalitions operating on five continents.

The project:

The project consists of three filmed interviews and a final video which, using the best extracts from the interviews, should make civil society aware of the importance of cultural clauses in trade agreements and equip it in its representations to governments engaged in trade negotiations.


– Three separate 15-20 minute interviews, each serving as the basis for a separate video

– A 5-minute main video with excerpts from each interview

– Subtitling in French for interviews in English, in English for interviews in French

– Conducting the interview = 3 possibilities:

by a representative of the CDCE, dialogue format, two people filmed
by a CDCE representative, questions cut off during editing, only the interviewee is filmed
by the video director, questions cut off during the editing, only the interviewee is filmed

Target audiences

The final video is to be used by IFCCD members, cultural communities and civil society in general, on all continents and in a wider number of countries, to raise awareness among society of the need to protect culture in free trade agreements. It must give cultural associations and organizations the tools and arguments to challenge their governments to take into account the importance of protecting national and local culture when negotiating free trade agreements.

Interview Locations

In Montreal, and possibly Quebec City and Ottawa, depending on the availability of stakeholders.


– Application until March 15

– Meeting with the CDCE team

– Conduct of the three interviews between 18 and 28 March

– Assembly from 28 March to 15 April

– First version issued on April 15

– Final version on April 18


To be defined with the CDEC team according to the budget allocated to the project.

The production will be the subject of an audiovisual production contract (transfer of copyright) between the director and CDEC.

CDEC will make non-commercial use of the videos.


The videos will be broadcast online on all CDEC and IFCCD networks. The terms of the broadcast will be specified in the production contract.


Application until March 15

Send a CV and examples of achievements to the following address: