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Cultural diversity

Cultural diversity is the quality of diverse or different cultures, as opposed to monoculture. It has a variety of meanings in different contexts, sometimes applying to cultural products like art works in museums or entertainment available online, and sometimes applying to the variety of human cultures or traditions in a specific region, or in the world as a whole. It can also refer to the inclusion of different cultural perspectives in an organization or society.

37th General Assembly of UNESCO in 2013, Paris

Cultural diversity can be affected by political factors such as censorship or the protection of the rights of artists, and by economic factors such as free trade or protectionism in the market for cultural goods. Since the middle of the 20th century, there has been a concerted international effort to protect cultural diversity, involving the United Nations Educational, Scientific and Cultural Organization (UNESCO) and its member states. This involves action at international, national, and local levels. Cultural diversity can also be promoted by individual citizens in the ways they choose to express or experience culture.

Characteristics edit

 
Harmony Day is dedicated to celebrating Australia's cultural diversity.

Cultural diversity can take several meanings:[1]

  • A balance to be achieved: thus, the idea of defence of cultural diversity through the promotion of actions in favour of "cultural minorities" said to be disadvantaged
  • Preservation of "cultural minorities" thought to be endangered
  • "Cultural protection" or "cultural exception" defends the social vision of culture against its commercialization. The cultural exception highlights the specificity of cultural products and services, including special recognition of cultural expressions by the European Union in its Declaration on Cultural Diversity. In this context, the objective is to defend against what is seen as a "commodification"—considered harmful to a "disadvantaged" culture—supporting its development through grants, promotion operations, etc., also known as "cultural protectionism"
  • This defence may also refer to incorporating "cultural rights" provisions, conducted unsuccessfully in the early 1990s in Europe, into a layer of human rights.

In the context of national and international efforts to promote or preserve cultural diversity, the term applies to five overlapping domains:

  • economic: the availability of diverse cultural goods or services,
  • artistic: the variety of artistic genres and styles that coexist,
  • participatory: the participation of diverse ethnic groups in a nation's culture,
  • heritage: the diversity of cultural traditions that are represented in heritage institutions such as museums, and
  • multicultural: the variety of ethnic groups and their traditions that are visible in a country.

Of these five, the economic meaning has come to dominate in international negotiations. Nations have principally looked to protect cultural diversity by strengthening the ability of their domestic cultural industries to sell goods or services.[2] Since the 1990s, UNESCO has mainly used "cultural diversity" for the international aspects of diversity, preferring the term "cultural pluralism" for diversity within a country.[3]

Governments and international bodies use "cultural diversity" in both a broad and a narrow sense. The broad meaning takes its inspiration from anthropology.[4] It includes lifestyles, value systems, traditions, and beliefs in addition to creative works. It emphasises an ongoing process of interaction and dialogue between cultures.[5][6] This meaning has been promoted to the international community by UNESCO, since the 2001 Universal Declaration on Cultural Diversity. In practice, governments use a narrower, more traditional, meaning that focuses on the economic domain mentioned above.[7]

In the international legal context, cultural diversity has been described as analogous to biodiversity.[8] The General Conference of UNESCO took this position in 2001, asserting in Article 1 of the Universal Declaration on Cultural Diversity that "...cultural diversity is as necessary for humankind as biodiversity is for nature."[9]

Quantification edit

 
Countries ranked by ethnic and cultural diversity level[10]

Cultural diversity is difficult to quantify. One aspect of cultural diversity is measured by counting the number of languages spoken in a region or in the world as a whole. By this measure, the world's cultural diversity is rapidly declining. Research carried out in the 1990s by David Crystal suggested that at that time, on average, one language was falling into disuse every two weeks. He calculated that if that rate of the language death were to continue, then by the year 2100, more than 90% of the languages currently spoken in the world will have gone extinct.[11]

In 2003, James Fearon of Stanford University published, in the Journal of Economic Growth, a list of countries based on the diversity of ethnicities, languages, and religions.[10]

International legal context edit

At the international level, the notion of cultural diversity has been defended by UNESCO since its founding in 1945, through a succession of declarations and legal instruments.[12]

Many of the international legal agreements addressing cultural diversity were focused on intellectual property rights, and thus on tangible cultural expressions that can be bought or sold.[13] The World Heritage List, established in 1972 by UNESCO, mainly listed architectural features and monuments.[14] In the late 20th century, the diplomatic community recognised a need to protect intangible cultural heritage: the traditions, social structures, and skills that support creative expression.[13] International efforts to define and protect this aspect of culture began with the 1989 UNESCO Recommendation on the Safeguarding of Traditional Culture and Folklore. UNESCO's Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity began in 2001, highlighting specific masterpieces to promote the responsibility of nations to protect intangible cultural heritage.[13] Further proclamations were added in 2003 and 2005, bringing the total number of masterpieces to ninety.[15] In 2001, UNESCO also hosted expert meetings to create a definition of intangible cultural heritage and a more legally binding treaty to protect it, resulting in the Convention for the Safeguarding of the Intangible Cultural Heritage. This was passed in 2003 and came into force in 2006. One result of this convention was the 2008 creation of UNESCO Representative List of Intangible Heritage, which incorporated the masterpieces from the 2001, 2003, and 2005 proclamations.[13]

The first international instrument enshrining the value of cultural diversity and intercultural dialogue was the UNESCO Universal Declaration on Cultural Diversity, adopted unanimously in 2001.[9] It calls on nations and institutions to work together for the preservation of culture in all its forms, and for policies that help to share ideas across cultures and inspire new forms of creativity. UNESCO no longer interpreted "culture" in terms of artistic masterpieces. With the Universal Declaration, it adopted a more expansive understanding based on anthropology. This defined cultural diversity as "the set of distinctive spiritual, material, intellectual, and emotional features of society or a social group", including lifestyles, value systems, traditions, and beliefs.[16] The twelve articles of the Universal Declaration were published with an action plan for ways to promote cultural diversity. This action plan connected cultural diversity explicitly to human rights including freedom of expression, freedom of movement, and protection of indigenous knowledge.[16] The declaration identifies cultural diversity as a source of innovation and creativity, as well as a driver of both economic development and personal development.[17][18] UNESCO made a submission to a 2002 UN report on Human Rights and Cultural Diversity, quoting part of the declaration to emphasise that cultural diversity must not be used to infringe the rights of minorities and that cultural diversity requires the protection of individual freedoms.[19]

Citing the Universal Declaration, the United Nations General Assembly established the World Day for Cultural Diversity for Dialogue and Development in December 2002. This continues to be celebrated on May 21 each year.[20]

The Convention for the Safeguarding of the Intangible Cultural Heritage drew attention to increasing cultural homogenization by economic globalization and motivated UNESCO to negotiate a treaty protecting cultural diversity.[13] The resulting Convention on the Protection and Promotion of the Diversity of Cultural Expressions (the "2005 Convention") was adopted in October 2005.[21] This was the first international treaty to establish rights and obligations specifically relating to culture.[22] The convention defines cultural diversity as referring to the many ways in which cultures find expression. These expressions are passed on within and among groups and societies.[23] The convention builds on the 2001 declaration by naming linguistic diversity as a fundamental part of cultural diversity and stating that cultural diversity depends on the free flow of ideas.[24] To date, 151 signatory states, as well as the European Union, have registered their ratification of the convention, or a legally equivalent process.[25]

The 2005 Convention created an International Fund for Cultural Diversity (IFCD), funded by voluntary contributions. This makes funding available to developing countries that are parties to the convention for specific activities that develop their cultural policies and cultural industries. As of April 2023, UNESCO reports that 140 projects in 69 developing countries have been carried out with funding from the IFCD.[26]

Factors edit

Cultural policy scholar Johnathan Vickery has observed that cultural diversity, like biological diversity, is continually under threat from various factors. These threats often come from other cultural expressions, as when imported entertainment undermines interest in a nation's own culture. Other examples he mentions include religious revivals and modern Western education systems.[27] Factors that promote a country's cultural diversity include migration and a nation's openness to discussing and celebrating cultural differences (which is itself an aspect of culture).[28]

The actions of governments, international bodies, and civil society (meaning non-governmental and cultural sector organisations) can promote or restrict cultural diversity. As part of the international effort to promote and preserve cultural diversity, the 2005 Convention established processes to monitor progress towards a favourable environment, including global reports every few years and national reports from individual states.

Globalization and mass media edit

With the onset of globalization, traditional nation-states have been placed under enormous pressure.[29] With the development of technology, information and capital are transcending geographical boundaries and reshaping the relationships between the marketplace, states, and citizens. In particular, the growth of the mass media industry has largely impacted individuals and societies across the globe. Although beneficial in some ways, this increased accessibility has the capacity to negatively affect a society's individuality. With information being so easily distributed throughout the world, cultural meanings, values, and tastes run the risk of becoming homogenized. As a result, the strength of the identity of individuals and societies may begin to weaken.

Artistic freedom edit

Artistic freedom, as defined by the 2005 Convention, includes the freedom of artists to work without government interference, and also the freedom of citizens to access diverse cultural content.[30] Governments can repress these freedoms through censorship or surveillance of artists, or can choose to actively protect artists and their free expression. According to the 2017 and 2022 global reports, attacks against artists — including prosecution, imprisonment, or even killing — have increased in recent years.[30][31] In 2020, 978 cases were reported around the world, compared to 771 in 2019 and 673 in 2018. Musicians are the most threatened group, especially rap musicians, whose lyrics tend to be provocative and politically challenging.[30] While online services have provided new ways for artists to distribute images, music, and video to large audiences, they have brought their own threats to freedom in the form of censorship, surveillance, and trolling.[30] The 2022 global report found that some countries had repealed laws restricting free expression, including blasphemy and defamation laws, but that in practice artistic freedom was not being better monitored or protected.[31]

Mobility of artists and cultural professionals edit

 
Average number of countries accessible without visas passport-holders Global North and Global South. 2017 (source: Henley Passport Index)

Mobility restrictions present challenges to professionals in the cultural and creative industries, specifically to those from the Global South.[32] Artists and cultural professionals need to travel to perform to new audiences or to attend a residency or to engage in networking. Their ability to do so depends on their country of origin; the holder of a German passport can travel to 176 countries without a visa while for an Afghan passport the number of countries is 24.[32] Travel restrictions, including difficulties in obtaining visas, often impede artists from the Global South to participate in art biennales or film festivals, even when invited to receive an award or to promote their works.[33] The 2022 global report found that, despite governments and civil society organisations taking this inequality more seriously, concrete improvements are lacking. Thus, the ability of artists from the Global South to reach audiences in the Global North "remains extremely weak".[34]

Governance of culture edit

As well as protecting free expression and free movement, governments can promote cultural diversity by recognising and enforcing the rights of artists. The working conditions of artists are affected by their rights to organise labor unions, to workplace safety, and to social security protections for times when their work does not produce income. These economic and social rights are formally recognised by the International Covenant on Economic, Social and Cultural Rights passed by the UN in 1966 and by the 1980 Recommendation concerning the Status of the Artist adopted by UNESCO in 1980.[30] Social security in particular allows a more diverse range of citizens to take part in artistic activities, because without it, financially insecure people are discouraged from working in a field with unstable income.[30]

Gender equality in cultural and creative industries edit

 
Proportion of female artists in ten recent global biennales, 2017 (source: BOP Consulting)

A gender gap persists worldwide concerning equal pay, access to funding and prices charged for creative works. Consequently, women remain under-represented in key creative roles and are outnumbered in decision-making positions.[30][35] As of 2018, women made up only 34% of Ministers for Culture (compared to 24% in 2005) and only 31% of national arts program directors. Generally, women are better represented in specific cultural fields such as arts education and training (60%), book publishing and press (54%), audiovisual and interactive media (26%), as well as design and creative services (33%).[36] The 2022 global report found that cultural industries were increasingly making gender equality a priority, but that actual progress was slow. Though 48.1% of the work in cultural and entertainment sectors is done by women, the report concluded that they are still under-represented in leadership positions, get less public funding, and get less recognition for their work.[37]

Trade and investment in cultural goods and services edit

Between 2015 and 2017, at least eight bilateral and regional free trade agreements have introduced cultural clauses or list of commitments that promote the objectives and principles of the 2005 Convention. Despite the lack of the promotion of the objectives and principles of the 2005 Convention with regard to the negotiation of mega-regional partnership agreements, some parties to the Trans Pacific Partnership (TTP) have succeeded in introducing cultural reservations to protect and promote the diversity of cultural expressions.[30]

Cultural platforms edit

Organisations that promote access to culture can reflect diversity in what they choose to host or to exclude. Google Arts and Culture and Europeana are among the platforms who state a commitment to promoting cultural diversity. For Google Arts and Culture, diversity implies "working with communities that have historically been left out of the mainstream cultural narrative" while Europeana acknowledges that "stories told with/by cultural heritage items have not historically been representative of the population, and so we strive to share lesser-told stories from underrepresented communities."[38][39]

Individual choices edit

Individual citizens can experience and promote cultural diversity through their own choices, including the choice to share their own culture. The "Do One Thing for Diversity and Inclusion" campaign has been run annually since 2011 by the United Nations Alliance of Civilizations (UNAOC) as a way to commemorate the World Day for Cultural Diversity. It encourages people to explore the music, literature, art, and traditions of unfamiliar cultures and to share their own culture with strangers.[40][41]

The American lawyer Juliette Passer describes the UNESCO Universal Declaration on Cultural Diversity as prompting each individual to consider their own and others' diverse identities:

"We need social and educational experiences plus reflection on the experience to go beyond reliance on stereotypes. The more we interact with diverse others and mindfully reflect on the experience, the more we can improve our competency with differences."[9]

National and local initiatives edit

In September 2002, the city of Porto Alegre in Brazil organized a world meeting for culture, bringing together mayors and technical directors of culture from different cities of the world, with observers from civil society.[42] The cities of Porto Alegre and Barcelona have proposed the drafting of a reference document for the development of local cultural policies, inspired by Agenda 21, created in 1992 for the environment. The Culture 21 was thus designed with the aim of including cultural diversity at the local level. The document was approved on May 8, 2004 during the first edition of the Universal Forum of Cultures in Barcelona.[43][verification needed]

See also edit

Sources edit

  This article incorporates text from a free content work. Licensed under CC BY-SA 3.0 IGO (license statement/permission). Text taken from Glossary of key terms related to intellectual property and genetic resources, traditional knowledge and traditional cultural expressions.​, WIPO.

References edit

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External links edit

  • UNESCO: Diversity of Cultural Expressions

cultural, diversity, quality, diverse, different, cultures, opposed, monoculture, variety, meanings, different, contexts, sometimes, applying, cultural, products, like, works, museums, entertainment, available, online, sometimes, applying, variety, human, cult. Cultural diversity is the quality of diverse or different cultures as opposed to monoculture It has a variety of meanings in different contexts sometimes applying to cultural products like art works in museums or entertainment available online and sometimes applying to the variety of human cultures or traditions in a specific region or in the world as a whole It can also refer to the inclusion of different cultural perspectives in an organization or society 37th General Assembly of UNESCO in 2013 ParisCultural diversity can be affected by political factors such as censorship or the protection of the rights of artists and by economic factors such as free trade or protectionism in the market for cultural goods Since the middle of the 20th century there has been a concerted international effort to protect cultural diversity involving the United Nations Educational Scientific and Cultural Organization UNESCO and its member states This involves action at international national and local levels Cultural diversity can also be promoted by individual citizens in the ways they choose to express or experience culture Contents 1 Characteristics 2 Quantification 3 International legal context 4 Factors 4 1 Globalization and mass media 4 2 Artistic freedom 4 3 Mobility of artists and cultural professionals 4 4 Governance of culture 4 5 Gender equality in cultural and creative industries 4 6 Trade and investment in cultural goods and services 4 7 Cultural platforms 4 8 Individual choices 5 National and local initiatives 6 See also 7 Sources 8 References 9 External linksCharacteristics edit nbsp Harmony Day is dedicated to celebrating Australia s cultural diversity Cultural diversity can take several meanings 1 A balance to be achieved thus the idea of defence of cultural diversity through the promotion of actions in favour of cultural minorities said to be disadvantaged Preservation of cultural minorities thought to be endangered Cultural protection or cultural exception defends the social vision of culture against its commercialization The cultural exception highlights the specificity of cultural products and services including special recognition of cultural expressions by the European Union in its Declaration on Cultural Diversity In this context the objective is to defend against what is seen as a commodification considered harmful to a disadvantaged culture supporting its development through grants promotion operations etc also known as cultural protectionism This defence may also refer to incorporating cultural rights provisions conducted unsuccessfully in the early 1990s in Europe into a layer of human rights In the context of national and international efforts to promote or preserve cultural diversity the term applies to five overlapping domains economic the availability of diverse cultural goods or services artistic the variety of artistic genres and styles that coexist participatory the participation of diverse ethnic groups in a nation s culture heritage the diversity of cultural traditions that are represented in heritage institutions such as museums and multicultural the variety of ethnic groups and their traditions that are visible in a country Of these five the economic meaning has come to dominate in international negotiations Nations have principally looked to protect cultural diversity by strengthening the ability of their domestic cultural industries to sell goods or services 2 Since the 1990s UNESCO has mainly used cultural diversity for the international aspects of diversity preferring the term cultural pluralism for diversity within a country 3 Governments and international bodies use cultural diversity in both a broad and a narrow sense The broad meaning takes its inspiration from anthropology 4 It includes lifestyles value systems traditions and beliefs in addition to creative works It emphasises an ongoing process of interaction and dialogue between cultures 5 6 This meaning has been promoted to the international community by UNESCO since the 2001 Universal Declaration on Cultural Diversity In practice governments use a narrower more traditional meaning that focuses on the economic domain mentioned above 7 In the international legal context cultural diversity has been described as analogous to biodiversity 8 The General Conference of UNESCO took this position in 2001 asserting in Article 1 of the Universal Declaration on Cultural Diversity that cultural diversity is as necessary for humankind as biodiversity is for nature 9 Quantification edit nbsp Countries ranked by ethnic and cultural diversity level 10 Cultural diversity is difficult to quantify One aspect of cultural diversity is measured by counting the number of languages spoken in a region or in the world as a whole By this measure the world s cultural diversity is rapidly declining Research carried out in the 1990s by David Crystal suggested that at that time on average one language was falling into disuse every two weeks He calculated that if that rate of the language death were to continue then by the year 2100 more than 90 of the languages currently spoken in the world will have gone extinct 11 In 2003 James Fearon of Stanford University published in the Journal of Economic Growth a list of countries based on the diversity of ethnicities languages and religions 10 International legal context editAt the international level the notion of cultural diversity has been defended by UNESCO since its founding in 1945 through a succession of declarations and legal instruments 12 Many of the international legal agreements addressing cultural diversity were focused on intellectual property rights and thus on tangible cultural expressions that can be bought or sold 13 The World Heritage List established in 1972 by UNESCO mainly listed architectural features and monuments 14 In the late 20th century the diplomatic community recognised a need to protect intangible cultural heritage the traditions social structures and skills that support creative expression 13 International efforts to define and protect this aspect of culture began with the 1989 UNESCO Recommendation on the Safeguarding of Traditional Culture and Folklore UNESCO s Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity began in 2001 highlighting specific masterpieces to promote the responsibility of nations to protect intangible cultural heritage 13 Further proclamations were added in 2003 and 2005 bringing the total number of masterpieces to ninety 15 In 2001 UNESCO also hosted expert meetings to create a definition of intangible cultural heritage and a more legally binding treaty to protect it resulting in the Convention for the Safeguarding of the Intangible Cultural Heritage This was passed in 2003 and came into force in 2006 One result of this convention was the 2008 creation of UNESCO Representative List of Intangible Heritage which incorporated the masterpieces from the 2001 2003 and 2005 proclamations 13 The first international instrument enshrining the value of cultural diversity and intercultural dialogue was the UNESCO Universal Declaration on Cultural Diversity adopted unanimously in 2001 9 It calls on nations and institutions to work together for the preservation of culture in all its forms and for policies that help to share ideas across cultures and inspire new forms of creativity UNESCO no longer interpreted culture in terms of artistic masterpieces With the Universal Declaration it adopted a more expansive understanding based on anthropology This defined cultural diversity as the set of distinctive spiritual material intellectual and emotional features of society or a social group including lifestyles value systems traditions and beliefs 16 The twelve articles of the Universal Declaration were published with an action plan for ways to promote cultural diversity This action plan connected cultural diversity explicitly to human rights including freedom of expression freedom of movement and protection of indigenous knowledge 16 The declaration identifies cultural diversity as a source of innovation and creativity as well as a driver of both economic development and personal development 17 18 UNESCO made a submission to a 2002 UN report on Human Rights and Cultural Diversity quoting part of the declaration to emphasise that cultural diversity must not be used to infringe the rights of minorities and that cultural diversity requires the protection of individual freedoms 19 Citing the Universal Declaration the United Nations General Assembly established the World Day for Cultural Diversity for Dialogue and Development in December 2002 This continues to be celebrated on May 21 each year 20 The Convention for the Safeguarding of the Intangible Cultural Heritage drew attention to increasing cultural homogenization by economic globalization and motivated UNESCO to negotiate a treaty protecting cultural diversity 13 The resulting Convention on the Protection and Promotion of the Diversity of Cultural Expressions the 2005 Convention was adopted in October 2005 21 This was the first international treaty to establish rights and obligations specifically relating to culture 22 The convention defines cultural diversity as referring to the many ways in which cultures find expression These expressions are passed on within and among groups and societies 23 The convention builds on the 2001 declaration by naming linguistic diversity as a fundamental part of cultural diversity and stating that cultural diversity depends on the free flow of ideas 24 To date 151 signatory states as well as the European Union have registered their ratification of the convention or a legally equivalent process 25 The 2005 Convention created an International Fund for Cultural Diversity IFCD funded by voluntary contributions This makes funding available to developing countries that are parties to the convention for specific activities that develop their cultural policies and cultural industries As of April 2023 UNESCO reports that 140 projects in 69 developing countries have been carried out with funding from the IFCD 26 Factors editCultural policy scholar Johnathan Vickery has observed that cultural diversity like biological diversity is continually under threat from various factors These threats often come from other cultural expressions as when imported entertainment undermines interest in a nation s own culture Other examples he mentions include religious revivals and modern Western education systems 27 Factors that promote a country s cultural diversity include migration and a nation s openness to discussing and celebrating cultural differences which is itself an aspect of culture 28 The actions of governments international bodies and civil society meaning non governmental and cultural sector organisations can promote or restrict cultural diversity As part of the international effort to promote and preserve cultural diversity the 2005 Convention established processes to monitor progress towards a favourable environment including global reports every few years and national reports from individual states Globalization and mass media edit With the onset of globalization traditional nation states have been placed under enormous pressure 29 With the development of technology information and capital are transcending geographical boundaries and reshaping the relationships between the marketplace states and citizens In particular the growth of the mass media industry has largely impacted individuals and societies across the globe Although beneficial in some ways this increased accessibility has the capacity to negatively affect a society s individuality With information being so easily distributed throughout the world cultural meanings values and tastes run the risk of becoming homogenized As a result the strength of the identity of individuals and societies may begin to weaken Artistic freedom edit Artistic freedom as defined by the 2005 Convention includes the freedom of artists to work without government interference and also the freedom of citizens to access diverse cultural content 30 Governments can repress these freedoms through censorship or surveillance of artists or can choose to actively protect artists and their free expression According to the 2017 and 2022 global reports attacks against artists including prosecution imprisonment or even killing have increased in recent years 30 31 In 2020 978 cases were reported around the world compared to 771 in 2019 and 673 in 2018 Musicians are the most threatened group especially rap musicians whose lyrics tend to be provocative and politically challenging 30 While online services have provided new ways for artists to distribute images music and video to large audiences they have brought their own threats to freedom in the form of censorship surveillance and trolling 30 The 2022 global report found that some countries had repealed laws restricting free expression including blasphemy and defamation laws but that in practice artistic freedom was not being better monitored or protected 31 Mobility of artists and cultural professionals edit nbsp Average number of countries accessible without visas passport holders Global North and Global South 2017 source Henley Passport Index Mobility restrictions present challenges to professionals in the cultural and creative industries specifically to those from the Global South 32 Artists and cultural professionals need to travel to perform to new audiences or to attend a residency or to engage in networking Their ability to do so depends on their country of origin the holder of a German passport can travel to 176 countries without a visa while for an Afghan passport the number of countries is 24 32 Travel restrictions including difficulties in obtaining visas often impede artists from the Global South to participate in art biennales or film festivals even when invited to receive an award or to promote their works 33 The 2022 global report found that despite governments and civil society organisations taking this inequality more seriously concrete improvements are lacking Thus the ability of artists from the Global South to reach audiences in the Global North remains extremely weak 34 Governance of culture edit As well as protecting free expression and free movement governments can promote cultural diversity by recognising and enforcing the rights of artists The working conditions of artists are affected by their rights to organise labor unions to workplace safety and to social security protections for times when their work does not produce income These economic and social rights are formally recognised by the International Covenant on Economic Social and Cultural Rights passed by the UN in 1966 and by the 1980 Recommendation concerning the Status of the Artist adopted by UNESCO in 1980 30 Social security in particular allows a more diverse range of citizens to take part in artistic activities because without it financially insecure people are discouraged from working in a field with unstable income 30 Gender equality in cultural and creative industries edit nbsp Proportion of female artists in ten recent global biennales 2017 source BOP Consulting A gender gap persists worldwide concerning equal pay access to funding and prices charged for creative works Consequently women remain under represented in key creative roles and are outnumbered in decision making positions 30 35 As of 2018 women made up only 34 of Ministers for Culture compared to 24 in 2005 and only 31 of national arts program directors Generally women are better represented in specific cultural fields such as arts education and training 60 book publishing and press 54 audiovisual and interactive media 26 as well as design and creative services 33 36 The 2022 global report found that cultural industries were increasingly making gender equality a priority but that actual progress was slow Though 48 1 of the work in cultural and entertainment sectors is done by women the report concluded that they are still under represented in leadership positions get less public funding and get less recognition for their work 37 Trade and investment in cultural goods and services edit Between 2015 and 2017 at least eight bilateral and regional free trade agreements have introduced cultural clauses or list of commitments that promote the objectives and principles of the 2005 Convention Despite the lack of the promotion of the objectives and principles of the 2005 Convention with regard to the negotiation of mega regional partnership agreements some parties to the Trans Pacific Partnership TTP have succeeded in introducing cultural reservations to protect and promote the diversity of cultural expressions 30 Cultural platforms edit Organisations that promote access to culture can reflect diversity in what they choose to host or to exclude Google Arts and Culture and Europeana are among the platforms who state a commitment to promoting cultural diversity For Google Arts and Culture diversity implies working with communities that have historically been left out of the mainstream cultural narrative while Europeana acknowledges that stories told with by cultural heritage items have not historically been representative of the population and so we strive to share lesser told stories from underrepresented communities 38 39 Individual choices edit Individual citizens can experience and promote cultural diversity through their own choices including the choice to share their own culture The Do One Thing for Diversity and Inclusion campaign has been run annually since 2011 by the United Nations Alliance of Civilizations UNAOC as a way to commemorate the World Day for Cultural Diversity It encourages people to explore the music literature art and traditions of unfamiliar cultures and to share their own culture with strangers 40 41 The American lawyer Juliette Passer describes the UNESCO Universal Declaration on Cultural Diversity as prompting each individual to consider their own and others diverse identities We need social and educational experiences plus reflection on the experience to go beyond reliance on stereotypes The more we interact with diverse others and mindfully reflect on the experience the more we can improve our competency with differences 9 National and local initiatives editIn September 2002 the city of Porto Alegre in Brazil organized a world meeting for culture bringing together mayors and technical directors of culture from different cities of the world with observers from civil society 42 The cities of Porto Alegre and Barcelona have proposed the drafting of a reference document for the development of local cultural policies inspired by Agenda 21 created in 1992 for the environment The Culture 21 was thus designed with the aim of including cultural diversity at the local level The document was approved on May 8 2004 during the first edition of the Universal Forum of Cultures in Barcelona 43 verification needed See also editCriticism of multiculturalism Cross cultural communication Cultural agility Cultural Diversity Award UNESCO Cultural safety Foundation for Endangered Languages Heritage Day South Africa Intercultural dialogue Intercultural relations Melting pot Mondialogo Multiculturalism Social cohesion Social integration SubcultureSources edit nbsp This article incorporates text from a free content work Licensed under CC BY SA 3 0 IGO license statement permission Text taken from Glossary of key terms related to intellectual property and genetic resources traditional knowledge and traditional cultural expressions WIPO References edit Last Kathryn 2007 Cultural Pluralism and the Return of Cultural Heritage In Tierney Stephen ed Accommodating cultural diversity Applied legal philosophy Aldershot Ashgate p 126 ISBN 978 0 7546 2603 9 De Beukelaer Christiaan Pyykkonen Miikka 2015 Confusing Culture Polysemous Diversity Culture and Cultural Diversity in and after the Convention In Beukelaer Christiaan Pyykkonen Miikka Singh J P eds Globalization culture and development the UNESCO Convention on Cultural Diversity Houndmills Basingstoke Hampshire Palgrave Macmillan pp 24 26 ISBN 978 1 137 39763 8 Saouma Galia Isar Yudhishthir Raj 2015 Cultural Diversity at UNESCO A Trajectory In Beukelaer Christiaan Pyykkonen Miikka Singh J P eds Globalization culture and development the UNESCO Convention on Cultural Diversity Houndmills Basingstoke Hampshire Palgrave Macmillan p 61 ISBN 978 1 137 39763 8 Stamatopoulou Elsa 2007 Cultural Rights in International Law Article 27 of the Universal Declaration of Human Rights and Beyond Leiden BRILL pp 77 79 ISBN 978 90 04 15752 1 Garner Ben 2011 Globalisation Cultural Diversity and the Search for a New Global Ethics In Garner Ben Pavlenko Sonia Shaheen Salma Wolanski Alison eds Cultural and Ethical Turns Interdisciplinary Reflections on Culture Politics and Ethics PDF Oxford Inter Disciplinary Press pp 26 27 OCLC 1289758860 Archived PDF from the original on 2023 04 19 Retrieved 2023 05 22 Adubra Edem 2009 Keynote address International Journal of African Renaissance Studies Multi Inter and Transdisciplinarity 4 1 96 101 doi 10 1080 18186870903102048 ISSN 1818 6874 S2CID 214653220 Archived from the original on 2023 04 22 Retrieved 2023 05 22 De Beukelaer Christiaan Pyykkonen Miikka 2015 Confusing Culture Polysemous Diversity Culture and Cultural Diversity in and after the Convention In Beukelaer Christiaan Pyykkonen Miikka Singh J P eds Globalization culture and development the UNESCO Convention on Cultural Diversity Houndmills Basingstoke Hampshire Palgrave Macmillan p 17 ISBN 978 1 137 39763 8 Universal Declaration on Cultural Diversity Article 1 a b c Passer Juliette Autumn 2020 Did You Know That There Is the Universal Declaration on Cultural Diversity And Why You Should Care International In House Counsel Journal 13 53 6811 6812 SSRN 4012212 a b Fearon James 2003 Ethnic and Cultural Diversity by Country Journal of Economic Growth 8 2 195 222 doi 10 1023 A 1024419522867 S2CID 152680631 Crystal David 2007 Language death Canto Canto ed 7 printing ed Cambridge Cambridge Univ Press ISBN 978 0 521 01271 3 Schaefer Richard T 2008 Encyclopedia of race ethnicity and society Vol 1 Los Angeles California Sage publications p 558 ISBN 978 1 4129 2694 2 a b c d e Francioni Francesco 2012 The Evolving Framework for the Protection of Cultural Heritage in International Law In Borelli Silvia Lenzerini Federico eds Cultural Heritage Cultural Rights Cultural Diversity New Developments in International Law BRILL pp 21 24 ISBN 978 90 04 22838 2 Leask Anna 2006 World Heritage Site Designation In Leask Anna Fyall Alan eds Managing World Heritage Sites Butterworth Heinemann p 11 ISBN 978 0 7506 6546 9 The Samba of Roda and the Ramlila proclaimed Masterpieces of the Oral and Intangible Heritage of Humanity United Nations Educational Scientific and Cultural Organization 25 November 2005 Archived from the original on 7 July 2014 a b Stamatopoulou Elsa 2007 Cultural Rights in International Law Article 27 of the Universal Declaration of Human Rights and Beyond Leiden BRILL pp 77 79 ISBN 978 90 04 15752 1 Jones Graham Chirino Chace Bernardita Wright Justin 2020 Cultural diversity drives innovation empowering teams for success International Journal of Innovation Science 12 3 323 343 doi 10 1108 IJIS 04 2020 0042 Universal Declaration of Cultural Diversity Office of the United Nations High Commissioner of Human Rights Archived from the original on 2022 05 04 Retrieved 2022 05 04 Stamatopoulou Elsa 2007 Cultural Rights in International Law Article 27 of the Universal Declaration of Human Rights and Beyond Leiden BRILL p 72 ISBN 978 90 04 15752 1 World Day for Cultural Diversity for Dialogue and Development United Nations Archived from the original on 2022 05 19 Retrieved 2022 05 20 Graber Christoph Beat 1 September 2006 The New UNESCO Convention on Cultural Diversity A Counterbalance to the WTO 1 Journal of International Economic Law 9 3 553 574 doi 10 1093 jiel jgl018 ISSN 1464 3758 Aylett Holly July 2010 An international instrument for international cultural policy The challenge of UNESCO s Convention on the Protection and Promotion of the Diversity of Cultural Expressions 2005 International Journal of Cultural Studies 13 4 364 doi 10 1177 1367877910369975 ISSN 1367 8779 The Convention on the Protection and Promotion of the Diversity of Cultural Expressions Diversity of Cultural Expressions 2018 02 15 Archived from the original on 2021 08 15 Retrieved 2021 08 27 UNESCO 2009 Investing in Cultural Diversity and Intercultural Dialogue UNESCO p 30 ISBN 978 92 3 104077 1 Convention on the Protection and Promotion of the Diversity of Cultural Expressions UNESCO Retrieved 15 May 2023 What is the IFCD UNESCO Archived from the original on 25 April 2023 Retrieved 25 April 2023 Vickery Johnathan 19 January 2016 Book Review Globalization Culture and Development The UNESCO Convention on Cultural Diversity edited by Christiaan De Beukelaer Miikka Pyykkonen and J P Singh LSE Review of Books Retrieved 2023 08 04 Fairclough Norman April 1999 Global Capitalism and Critical Awareness of Language Language Awareness 8 2 76 doi 10 1080 09658419908667119 ISSN 0965 8416 Cavanagh John Mander Jerry 10 October 2004 Alternatives to Economic Globalization A Better World Is Possible Berrett Koehler Publishers ISBN 978 1 60509 409 0 via Google Books a b c d e f g h Whyatt Sara 2017 Promoting the freedom to imagine and create Re shaping cultural policies advancing creativity for development UNESCO pp 210 211 223 ISBN 978 92 3 100256 4 a b Whyatt Sara 2022 Safeguarding the freedom to create Re shaping policies for creativity addressing culture as a global public good UNESCO pp 263 264 ISBN 978 92 3 100503 9 a b L UNESCO soutient la mobilite des artistes en Tunesie in French News Press 14 December 2017 Archived from the original on 14 December 2017 Retrieved 2 November 2018 El Bennaoui Khadija 2017 Surviving the paradoxes of mobility Re shaping cultural policies advancing creativity for development UNESCO pp 108 109 ISBN 978 92 3 100256 4 Sekhar Anupama 2022 Re imagining mobility for artists and cultural professionals Re shaping policies for creativity addressing culture as a global public good UNESCO p 143 ISBN 978 92 3 100503 9 UNESCO Director General Launches Global Report Re shaping Cultural Policies Public 15 December 2017 Retrieved 2 November 2018 Launch of Global Culture Report at Meeting of UNESCO s Convention on the Diversity of Cultural Expressions Modern Diplomacy 8 December 2017 Archived from the original on 18 September 2020 Retrieved 31 October 2018 Villarroya Planas Anna 2022 Gender equality one step forward two steps back Re shaping policies for creativity addressing culture as a global public good UNESCO p 241 ISBN 978 92 3 100503 9 Sood Amit 2021 Harnessing technology to explore humanity s culture UNESCO The Universal Declaration on Cultural Diversity Marking the 20th Anniversary London Khalili Foundation p 105 ISBN 978 1 3999 1149 8 Verwayen Harry 2021 Sharing and promoting Europe s cultural diversity online UNESCO The Universal Declaration on Cultural Diversity Marking the 20th Anniversary London Khalili Foundation pp 108 109 ISBN 978 1 3999 1149 8 Goff Patricia M September 2015 Public diplomacy at the global level The Alliance of Civilizations as a community of practice Cooperation and Conflict 50 3 412 doi 10 1177 0010836715574915 ISSN 0010 8367 S2CID 143306286 United Nations Alliance of Civilizations 2012 Do One Thing for Diversity and Inclusion United Nations Retrieved 2023 04 14 Duxbury Nancy Cullen Catherine Pascual Jordi 2012 Cities Culture and Sustainable Development In Anheier Helmut K Isar Yudhishthir Raj Holscher Michael eds Cities cultural policy and governance The cultures and globalization series 1 publ ed Los Angeles California Sage p 80 ISBN 978 1 4462 0123 7 Duxbury Nancy Jeannotte Sharon 2013 Global Cultural Governance Policy In Young Greg Stevenson Deborah eds The Ashgate Research Companion to Planning and Culture PDF London Ashgate External links editUNESCO Diversity of Cultural Expressions Retrieved from https en wikipedia org w index php title Cultural diversity amp oldid 1185267900, wikipedia, wiki, book, books, library,

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