Austria 2016 report

Technical Information
Name of Party: 
Austria
Date of ratification: 
18/12/2006
Organization(s) or entity(es) responsible for the preparation of the report: 
Austrian Federal Chancellery
Austrian Federal Ministry for Europe, Integration and Foreign Affairs
Austrian Commission for UNESCO / Point of Contact
Officially designated Point of Contact: 
Title: 
Ms
First Name: 
Yvonne
Family Name: 
Gimpel
Organization: 
Austrian Commission for UNESCO
Mailing Address: 
Universitätsstraße 5/12 A - 1010 Vienna Austria
Telephone: 
+43 / 1 / 526 13 01 - 18
Fax: 
+43 / 1 / 526 13 01 - 20
E-mail: 
gimpel@unesco.at
Name of stakeholders, including civil society organizations, involved in the preparation of the report: 
Describe the multi-stakeholder consultation process established for the preparation of this report: 

In preparation of the report, the Point of Contact conducted a stock-taking exercise in 2015 in order to identify cultural policies and measures introduced or substantially modified in the reporting period 2012–2016. Federal Ministries and governments of the Laender (federal provinces) were actively addressed (including face-to-face meetings) and invited to contribute to this exercise. The stock-taking report identified more than 120 measures at federal, province and municipal level and served as a basis for the further preparatory process.Early 2016, the Advisory Committee on Cultural Diversity met and decided on a provisional list of measures to be presented in the report. This Committee, established at the Austrian National Commission, is composed of:

  • representatives of Federal Ministries, including the Federal Chancellery, responsible i.a. for arts and culture, media and information society, the Federal Ministry for European, Integration and Foreign Affairs, and the Federal Ministry for Science, Research and Economy,
  • representatives of the provincial governments of the Laender,
  • independent experts in the field of cultural policy research, and culture professionals (acting as a link to the civil society working group on the Convention).

The Point of Contact was tasked with implementing this decision and prepared a preliminary draft.To ensure involvement of civil society in the preparation of the report, a workshop was organized at the beginning of April 2016 (list of participants see chapter “civil society”). The workshop allowed to provide background information on content and purpose of and follow-up to the reporting exercise as well as time and space for face-to-face exchange between civil society representatives to discuss the chapter on civil society, comment on the preliminary draft, and propose additional measures to be presented in the final report. These proposals were incorporated in the draft.Based on this draft the final report was prepared by the Federal Chancellery and the Federal Ministry for Europe, Integration and Foreign Affairs.

Executive Summary
Please summarize in max 3500 characters the main achievements and challenges in implementing the Convention and the outlook for the future. Please note this is not an introduction to the report or an annotated table of contents.: 
A key achievement by the Convention in Austria was to strengthen the understanding and awareness for the cross-cutting nature of cultural policies and the corresponding need for integrated policy approaches. Both aspects have been further consolidated during the reporting period. This is reflected in terms of continued cooperation between different ministries and governmental tiers when developing and implementing measures addressing the different stages of the cultural value chain of adapting relevant regulatory frameworks (e.g. tax law), as well as in terms of increased interagency awareness for the potential impact of policies in other fields on the cultural sector/cultural policy space (e.g. inter-ministerial coordination in areas like international trade and sustainable development) and the potential contribution of culture to achieve other policy objectives. Whilst these developments cannot be reduced solely to the impact of the Convention, it is noteworthy that the Convention is particularly visible when more interagency coordination is required or called for. Hence the Convention serves as an underlying monitoring mechanism and assessment tool for the governance of culture and catalyst for its further development (rather than as an isolated basis for the introduction of individual measures). Thus, monitoring the concrete impact of the Convention and demonstrating concrete achievements remains a challenge, as policy changes are the result of a multitude of factors and developments. Likewise, ensuring sustained interest in the Convention and its implementation among all stakeholders, while avoiding too high expectations, which cannot be met in the short run, often poses a challenge and needs continued communication and capacity-building efforts.
Overview of cultural policy context
Parties shall describe the key objectives and priorities of their current cultural policy and the impact the Convention has had in their formulation or reformulation. They will also report on the opportunities and challenges to promote the diversity of cultural expressions in a digital environment.: 

The general cultural policy objectives in Austria can be organised in three categories:

  • basic cultural needs: freedom of art and artistic expression, pluralism, quality, innovation, creativity, identity, internationalisation, stimulating general conditions for artists and possibilities for them to flourish, digitalization;
  • transparency, promotion, competition, efficiency, public-private co-operation, flexibility, decentralisation, planning (three- to five-year funding contracts), service orientation, evaluation; and
  • socio-political objectives: participation, integration, equality, social security, representation, and understanding the economic effects of the cultural sector.

The Work Programme of the Austrian Federal Government 2013–2018 reflects these objectives. The key objectives/working priorities for the current legislative period are:

  • to secure art and culture in Austria long term,through the political commitment to public funding of art and culture and to artistic freedom, to cultural diversity, and to gender equality ;
  • to promote contemporary art,through the creation of long-term financial parameters for artists, festivals and cultural institutions and support for the development of contemporary artistic creation;
  • to develop cultural education,through measures enabling all people to access art and culture regardless of their social circumstances or position in society, and promotion of cultural participation as well as the opening-up of society;
  • to ensure fair pay for creative work,through the formulation an overall strategy regarding intellectual property and improving the income situation of artists;
  • to raise Austria’s visibility internationally as a country of art and culture,through measures strengthening and further developing Austria’s reputation and international positioning as a country of art and culture, including measures to increase the mobility of artists and bolster cultural exchange at a European and global level;
  • to ensure access to knowledge and information,through an innovative media policy in the print, TV, and online area as well as the independence and diversity of the Austrian media – which are key to the democratic culture but need safeguarding not least in the light of the fundamental transformation taking place in the media world, brought about by digitalization and economic change.

Even though there is no direct mentioning of the UNESCO-Convention in the Work Programme, and linking individual measures directly to the Convention is difficult, the Convention nurtures the overall cultural policy discussion. This is reflected i.a. in a stronger emphasis on transversal policy approaches, involving different governmental departments and tiers in the development and implementation of policies (e.g. tax policies or social security regulations), and in an understanding of cultural policy, which addresses the whole culture value chain – ranging from arts education for children, over production and marketing structures, to audience development.With regard to the digital environment key areas of activities include: adapting the relevant legislation (e.g. authors’ rights), extending the funding schemes and cultural infrastructure to take digital creation, production and distribution into account (e.g. media policy, in particular regarding public service broadcasting), and enabling art and culture institutions to make use of the digital possibilities (e.g. e-libraries).

Has the Convention been integrated into the policy development process in any of the following ways?: 
a) It is (or has been) the basis for changing one or more policies?: 
Yes
How: 
To implement the Convention in the context of Austria’s federal Artists-in-Residence programme the AIR programme has been restructured in 2013. Based on the Convention it is now, for example, open to artists from all over the world working in one of the eligible artistic disciplines.  However, in most cases the introduction or revision of individual policies and measures cannot be directly linked to implementing the Convention.
b) It is (or has been) a tool to promote policy discussion?: 
Yes
How: 

In some cases the Convention serves as a vital tool to introduce the cultural dimension into policy discussions in other fields and linking those developments to the goals and objectives of the Convention – raising awareness for the impact of policies and measures in other domains on (the value chain of) cultural expressions and/or highlighting the contribution of art and culture to other policy objectives and creating synergies with them.For example, the Convention served as a tool for linking art, culture and creativity to development objectives and measures in rural as well as urban areas. Similarly, an inter-ministerial working process was initiated to ensure that cultural measures and their impact are taken into due account in the national monitoring process of the implementation of the Sustainable Development Goals.For example, the Convention stimulated discussions on legal frameworks and administrative practices on artists’ mobility and visas between representatives of different ministries as well as civil society stakeholders, including i.a. a workshop on the topic by the Austrian Federal Chancellery in 2012, the launch of the online information-portal artist-mobility.at in 2012, a civil society workshop by the Point of Contact in 2014 as well as inter-ministerial round of talks.Within the “core field” of cultural policy the Convention promotes a debate on (direct and indirect financial) support measures and how these measures should be designed to ensure that a diversity of artistic and cultural contents is provided by public cultural institutions, as well as non-profit, independent and private cultural institutions.

c) It is (or has been) a reference for ongoing policy development?: 
Yes
How: 

Most frequently the Convention serves as a reference framework to advocate for art and culture, ensure that the dual nature of cultural expressions is taken into due account and promote an enabling environment for a diversity of cultural expressions. Hence the Convention is of particular relevance in inter-ministerial negotiation processes, e.g. in the field of trade, competition, tax legislation, and finance.Furthermore, the principles and goals of the Convention are also communicated in Austria’s bi- and multilateral cultural relations, with about thirteen bilateral agreements and documents (including programmes, working programmes, protocols on working programmes and Memoranda of Understanding on co-operation in the field of culture) explicitly mentioning the Convention.

❭ CULTURAL POLICIES AND MEASURES

2014 Amendment of the Law on Fixed Book Prices

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • protection of books as cultural assets in a changing – now increasingly digital – environment by adjusting the legal framework, specifically the federal law in which Austria’s fixed book price agreement is codified.
  • ensuring diversity in book distribution and counteracting monopolistic market structures between authors, publishers and readers – thus contributing to a stronger value chain and enabling not only authors, but also publishers and booksellers, to make a living from their work.
c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
legislative
c.3. the main feature of the measure: 

In principle, the Federal Law on the Obligation to Sell Books at a Fixed Price stipulates that minimum retail prices for German-language books published, imported or sold in Austria must be fixed. This pricing system aims to create comparable conditions for competition among publishers, distributors and retailers. The rationale behind this is that without the fixed minimum pricing system for imported German-language books, there would be a drop in the prices of books targeted at the general public which would cause the loss of profit margins achieved as a result of the sale of that type of book. As a result of such a loss, it would not be possible to finance the production and marketing of more demanding but economically less attractive works, and small booksellers which normally offer a wide choice of books of that type would be driven out of the market by the large booksellers, which sell primarily commercial goods. Hence, the law strives to encourage the production of books and a diversity of titles at regulated prices as well as the diversity of bookshops.When this law was passed in 2000, e-commerce in books was of very little relevance. The share of books sold online made up just 1 percent. By now, the situation has fundamentally changed. In order to guarantee that the law still serves its main purpose of protecting books as a matter of overriding public interest, the government made the following modifications – which have been recognised as compatible with Union law by the European Court of Justice:

  • explicit inclusion of e-books in the law’s scope of application,
  • a very broad definition of e-books, given the rapidly changing technological means of distributing texts in digital forms, that covers in particular every form typically offered by publishers, and
  • the elimination of the exception for cross-border electronic trade.

With this, foreign and domestic online retailers are put on an equal footing and legal certainty has been created by rendering irrelevant the question as to whether an online activity can be classified as cross-border or not.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 

The law should have a positive structural effect on the book market, in particular by:

  • encouraging a diversity of physical and online booksellers by creating more comparable conditions of competition between the different market players, irrespective of their size
  • supporting a diversity of publishers and encouraging them to invest in a diversity of titles and new authors (original German-speaking literary creations as well as translations into German) by rendering them more independent through the fixed pricing system. Thus, authors should also benefit from this environment.
  • creating incentives for publishers to use e-books to contribute to a broad range of new publications and available book content
  • providing legal certainty regarding the law’s scope of application
f.2 Financial resources allocated to implement the measure: 

No data available

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

Creative Industries Voucher (Kreativwirtschaftsscheck)

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • increase the innovative capacity of SMEs by integrating creative services
  • stimulate cross-sectoral cooperation between the creative industries and other economic sectors as well as achieve spill-over effects
  • strengthen the creative industries
c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
financial
c.3. the main feature of the measure: 

The Creative Industries Voucher is issued in the form of a grant of up to EUR 5,000 that enables existing small and medium-sized enterprises from all sectors to use creative services to implement innovative projects. Any SME with its headquarters or a project office in Austria can apply for a voucher to be used for services offered by the creative industries (design, architecture, multimedia/games, fashion, music, audio-visual and film production, the media and publishing sectors, graphics, the advertising sector, and the art market) for purposes such as developing, creating, implementing or bringing to market innovative products, innovative services, or innovative processes. Funding is up to 100 % of eligible project costs. Each year, up to 300 vouchers are issued on a first-come, first-served basis. The small amount of the voucher and its easy accessibility and simple application procedures clearly correspond to a need among the intended target group, as shown by the enormous demand (in 2013: 300 applications in the first 10 days, 932 after 14 days).The programme has been operative since 2013. It was preceded by VINCI (Vouchers in Creative Industries), a pilot project in the Austrian region of Salzburg co-financed by the European Commission (within the framework of the European Creative Industries Alliance) and the Austrian Federal Ministry of Science, Research and Economy. Following evaluation of the VINCI project, the Creative Industries Voucher (Kreativwirtschaftsscheck) was rolled out with funding from the Ministry of Science, Research and Economy.The Creative Industries Voucher complements the funding scheme impulse of the evolve programme, which supports innovation within the creative industries (see Austrian QPR 2012). 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 
  • the development of innovative activities by SMEs applying/using the Creative Industries Voucher (creative industries as driver of innovation in other economic sectors)
  • and the stimulation of lasting collaborations between SMEs and creative service providers through:
    • an increase in the number of projects, leading to follow-up collaborations with the creative service providers in the context of the grant (subsequent applications by SMEs with the same provider);
    • an increase in the number of projects, leading to follow-up collaborations with other creative service providers in the context of the grant (subsequent applications by SMEs with different providers than in their previous applications)
    • an increase in the number of projects, leading to sustainable collaboration between SMEs and creative service providers after use of the funds provided.
f.2 Financial resources allocated to implement the measure: 

Total value of vouchers issued: EUR 1.5 million per year until 2015; EUR 1.1 million from 2016 onwards

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
Yes
i.1 At what level the evaluation was conducted?: 
National
i.2 What were the main conclusions?: 
  • This funding instrument is well suited for encouraging SMEs to use services of the creative industries in a sustainable way and trigger subsequent collaborations (“transforming moment” of the creative industries);
  • On both sides, that of the SMEs and that of the creative service providers, it is primarily young micro-entrepreneurs who are involved.
i.3 Which indicators were used to determine impact?: 

Indicators included, i.a.:

  • the number of projects, leading to follow-up collaborations with the creative service providers in the context of the grant (subsequent applications by SMEs with the same provider);
  • the number of projects, leading to follow-up collaborations with other creative service providers in the context of the grant (subsequent applications by SMEs with different providers than in their previous applications);
  • the number of projects, leading to sustainable collaboration between SMEs and creative service providers after use of the funds provided.
❭ CULTURAL POLICIES AND MEASURES

Sponsorship and funding programmes of the Federal International Cultural Policy

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • support international visibility of new Austrian musical and cinematographic works, in particular those of young creative talents
  • provide spaces for presentation, encounters and networking for young artists abroad,enabling them to develop markets and audiences for their work abroad and promote themselves internationally
  • draw more attention to the fact that Austrian music creation – beyond the traditional – is as vibrant, modern and culturally diverse as ever
c. What is: 
c.1. the scope of the measure: 
International
c.2. the nature of the measure: 
financial
c.3. the main feature of the measure: 

The sponsorship and funding programmes of the Austrian Federal Ministry for Europe, Integration and Foreign Affairs support Austria’s international cultural policy network (29 Austrian Cultural Fora, 64 Austria Libraries, 8 Austria Institutes, and 88 embassies and consulate-generals) in presenting a new generation of Austrian artists through artistic expertise as well as logistical and financial support.The Austrian Short Film Exhibition was launched in 2012/2013 in cooperation of the Federal Ministry for Europe, Integration and Foreign Affairs and the Austrian Film Academy. Through the abovementioned network, exceptional Austrian short films are screened worldwide at film festivals, universities, schools, and the Austrian Cultural Fora. The exhibition includes a wide range of short feature films, documentaries, animated movies, experimental film formats, and music clips – formats that typically present the first audio-visual expressions of young filmmakers. The selection of the films is done by the Austrian Film Academy.NASOM – New Austrian Sound of Music is a long-term sponsorship programme initiated by the Federal Ministry for Europe, Integration and Foreign Affairs, which strives to help promising young talents find opportunities to perform abroad. Selected artists/groups/ensembles receive support for their performances abroad for a period of two years, backed by the above mentioned worldwide network of embassies, Cultural Fora, and consulates. Every two years, a new group of emerging young musicians from the genres of classical music, jazz, pop, new music, and new folk music/world music is selected for NASOM sponsorship. Selection takes place in cooperation with mica – music austria (music information center Austria) and Austrian performing arts universities.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 
  • an increase in and support of the circulation and number of screenings of Austrian short films as well as performances and tours of Austrian musicians abroad
  • assistance to young talents in starting international careers via the creation of international presentation- and networking opportunities
f.2 Financial resources allocated to implement the measure: 

No data available

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
Yes
i.1 At what level the evaluation was conducted?: 
National
i.2 What were the main conclusions?: 

An identifiable annual increase in the number of film screenings/ music performances through the network. In 2015, for example, NASOM supported 166 concert tours in 55 countries and 233 performances; this constitutes an increase of +53% over 2013 and +31% over 2014; To date, the Austrian Short Film Exhibition has been screened in 130 film screenings in 21 countries. 

i.3 Which indicators were used to determine impact?: 
  • the number of involved artists
  • the number of film screenings / music performances
  • the number of locations of film screenings / music performances
❭ CULTURAL POLICIES AND MEASURES

e-Library Initiatives: Online lending of e-Media at Public Libraries

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • adapt public libraries to the digital field through
  • supporting and expanding their collections to also encompass varied offerings of digital cultural resources such as e-books, e-papers, e-audio and e-videos;
  • ensuring free and easy access to digital cultural resources, in particular also in rural areas, by introducing new online-lending modalities and targeting new audiences.
c. What is: 
c.1. the scope of the measure: 
Local
Regional
c.2. the nature of the measure: 
regulatory
financial
c.3. the main feature of the measure: 

Austria has a comprehensive network of libraries: 1,062 municipalities have them. Hence, libraries play a key role in in the provision of literature and culture. Granting free and direct access to varied offerings of books, magazines and digital media for children, adolescents and adults, they enable people to use media which they cannot afford or to which they have not previously been introduced – regardless of the person’s social, economic or cultural background. To facilitate the transition of public libraries to the digital age, several initiatives have been launched that also strive to reach out to new user groups.Lower Austria’s initiative NOE-BOOK.AT: Launched in 2013, this initiative enables users to borrow e-media such as e-books, e-audio and e-videos from around 190 participating public libraries in Lower Austria via the central online portal www.noe-book.at. Registered users can borrow and download up to 6 e-media items simultaneously for free to their own digital devices (PC, e-reader, tablet, mp3 player or smartphone) vie the online portal or the designated app.Similar initiatives have been launched by other Laender (federal provinces). An example is Tyrol’s 2015 launch of the portal www.onleihe.at/tirol, which enables all holders of a valid library card from one of the participating 85 Tyrolian public libraries or the University and Regional Library of Tyrol to borrow digital resources online 24/7. Given the alpine topography of Tyrol, this e-library is considered an important tool to provide quick and easy access to literature even outside the province’s urban areas.In addition to these online lending services, it should be noted that public libraries are also themselves information, communication and technology centres. They grant access to new information and communication technologies and provide assistance to users who would otherwise be barred from these technical developments.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 
  • an increase and bundling of public libraries’ digital media resources, i.a. via common online platforms and lending modalities
  • an increase in the number of active users, in particular in rural and remote areas
  • attraction of new audiences / reading groups
f.2 Financial resources allocated to implement the measure: 

For the above mentioned examples

  • Lower Austria: EUR 120,000 for the launch of the project; EUR 100,000 in the subsequent years;
  • Tyrol: EUR 205,000    
h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
Yes
i.1 At what level the evaluation was conducted?: 
Regional
i.2 What were the main conclusions?: 

To date, the online portal noe-book.at in Lower Austria can boast more than 6,000 active users who have borrowed a total of over 50,000 media items. The expectation that these digital offering would appeal in particular to youth and male users has not been confirmed. On the contrary: over 75 % of all users are female, and this online lending tool is also surprisingly successful among older users, with most users being between 41 and 50 years old, followed by users from the 51–60 and 31–40 age groups.  

i.3 Which indicators were used to determine impact?: 
  • the number of available digital items
  • the number of participating libraries
  • the number of active users borrowing digital items
❭ CULTURAL POLICIES AND MEASURES

Creation of the Service Agency “Creative Spaces”

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • revitalisation of neglected urban spaces in the City of Vienna
  • encouragement of a favourable environment for artists, scientists and creative entrepreneurs by facilitating the search for flexible and affordable (temporary) working spaces
c. What is: 
c.1. the scope of the measure: 
Regional
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 

With its establishment of the service agency “creative spaces”, the City of Vienna strives to bridge the missing link between owners of vacant buildings, rooms, and other not-used premises and creative entrepreneurs and artists searching for inexpensive spaces in which to work.This agency aims to facilitate temporary use of vacant urban spaces by artists, cultural workers, science workers, creative entrepreneurs, and start-ups from the creative industries. The idea is for vacant spaces to be rented out to these stakeholders on favourable terms for a previously agreed-upon period.In practice, the service agency functions as central information and communication hub between the different stakeholders,

  • providing targeted communication and comprehensive consultancy services to assist potential owners and users of vacant urban spaces in their search, and conceptualization of projects to use vacant spaces;
  • promoting and coordinating networking and cooperation between the relevant stakeholders on the issue of temporary use, including public bodies of the City of Vienna active in areas such as urban planning, finance, and economic development, the Economic Chamber and the Chamber of Labour, and interest groups representing the creative industries and cultural associations;
  • creating synergies with existing offerings in Vienna such as the Areal Renewal Offices, the project “lively streets and places”, and the project “one time – several times”.
  • pursuing communication and public relations activities to enhance awareness of the potential benefits of vacant spaces’ temporary use to the concerned stakeholders, including the resident population.

Following a public procurement procedure, the agency has been in operation since 2016. It was preceded by a study commissioned by the City of Vienna on “Perspectives on Vacant Spaces”. This initiative is a joint project of the municipal departments responsible for financial affairs, economic affairs, urban development, transport, cultural affairs, and science.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 
  • an increase in the number of temporarily used urban spaces by artists and creative entrepreneurs
  • creation of sustainable cooperation platforms for temporary uses
  • increased awareness of the benefits of temporary uses
f.2 Financial resources allocated to implement the measure: 

At the time being the initiative is set up for three years with a budget of EUR 450,000, provided jointly by the municipal departments for financing and economy, for urban development and transport, and for culture of the City of Vienna.

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

PPP between the national VoD-platform FLIMMIT and the ORF (Austria’s public service broadcaster)

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • development of a strategy for domestic audio-visual content distribution via video-on-demand, covering both cinematographic and television content
  • diversification of the legally available online offerings of audio-visual content and enabling long-term exploitation of audio-visual content through innovative business models
  • development of new audiences for domestic and European audio-visual content online
c. What is: 
c.1. the scope of the measure: 
National
International
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 

The Austrian video-on-demand platform FLIMMIT, active predominantly in the German speaking countries, aims to develop a sustainable digital business model for diversified domestic and European audio-visual content and currently offers more than 6,000 feature films, children’s and family movies, documentaries, TV shows, and theatre and opera productions, most of which are of European and/or Austrian origin. The VoD shop and subscription services are available on PC, laptop and MAC, on mobile devices via iOS & Android apps, on televisions via a smart TV app, via Google Chromecast and Apple AirPlay, and via HbbTV for cable, satellite and terrestrial transmission.Flimmit has received multiple awards for its innovative business ideas (e.g. Red Herring, Audiovisual Media Days, ICT Finance Market Place, European Semantic Conference, etc.).As a consequence, 2014 saw Austrian public service broadcaster ORF conclude a public-private-partnership agreement with FILMMIT, joining forces to expand its online offerings even further. Concrete measures include:

  • presentation of weekly collections that mix well-known with less-well-known audio-visual titles on a thematic basis
  • clearance of rights for archive collections, aiming to once again make these works available to the public
  • prioritising certain topics such as MyFrenchFilmFestival, which presents selected French films worldwide through online platforms
  • cooperation with other national VoD-platforms under the aegis of EuroVoD, which promotes cross-border exchange of A/V content
  • promoting Austrian films, with collections and continuous thematic film-pools as a regular priority; including cooperation with the Austrian Film Academy and Austrian film festivals such as Diagonale in order to promote domestic filmmaking even further
  • developing innovative exploitation models to further sensitize the public for the digital offerings, including the availability of Austrian TV series on FLIMMIT before their regular broadcasts on ORF stations and the availability of feature films on FLIMMIT parallel to their cinematographic release
d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 
  • establishment of a viable home-grown online platform that supplies a diversity of domestic and European audio-visual content
  • creation of long-term digital exploitation models and hence revenue streams for filmmakers and other licence holders
  • attraction of new audiences for domestic and European audio-visual content
  • assurance of interoperability and compatibility of formats for users
f.2 Financial resources allocated to implement the measure: 

The establishment, operation and development of the platform was funded by various sources, including in particular funding by the Creative Europe/MEDIA Programme, as well as support by the Federal Ministry for Transport, Innovation and Technology, by the Austrian Research Promotion Agency, by “departure”, the Creative Industries Agency of the City of Vienna, and by the Federal Ministry responsible for Culture.In 2014 the Austrian public service broadcaster ORF concluded via its subsidiaries ORS comm and ORF Enterprise a public-private-partnership agreement with FILMMIT (25,1% of the shares). Since May 2016 ORS comm together with ORF Enterprise are the majority shareholders, holding approximately 96% of the shares of FLIMMIT.

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

Expansion of tax incentives for donations to art and culture (“package of laws governing donations and charity”, 2015)

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • Stimulate private funding and donations to bodies serving Austrian art and culture through artistic activity
  • and therewith extend and diversify their potential funding sources
c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
legislative
c.3. the main feature of the measure: 

Until the end of 2015, donations to bodies listed explicitly in the Austrian Income Tax Act (e.g. Austrian National Library, Austrian Film Institute) were tax-deductible. At the initiative of the Federal Chancellery, responsible i.a. for the arts and culture, new tax incentives for private arts and culture funding have been elaborated in cooperation with the leading Federal Ministry of Science, Research and Economy, which holds primary authority. With the package of laws governing donations and charity passed in 2015 and in force since 1 January 2016, the tax-deductibility of contributions (financial and in-kind) has been extended to all non-profit bodies that:

  • conduct artistic activities serving Austrian arts and culture generally accessible to the public (e.g. a theatre organisation that mounts performances or a regional association organising a music festival)
  • have had their eligibility for funding confirmed by public authorities (which means: they receive public funding at least every two years from the federal or regional (Laender) level or from the City of Vienna, and are listed in the publicly accessible “Transparency Online-Portal” on subsidies);

Beneficiary bodies need to obtain a certificate on their eligibility for tax-deductible donations from the Federal Ministry of Finance. All approved beneficiary bodies are open to inspection by potential donors in a public online register, administered by the Federal Ministry of Finance.For the calendar year of 2016, the law provides for the retroactive deductibility of donations to approved beneficiary bodies in the field of art and culture.Further the package of laws governing donations and charity amended the Federal Foundation and Fund Act, aiming to stimulate more funds given to and by foundations for charitable and public purposes. The new regulation eases the administrative burden to set up foundations and funds for charitable/public purposes and enables them to become part of the tax-deductible framework.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 
  • an increase in donations as a funding source for arts and culture organisations thanks to tax incentives
  • general target (no separate indicator for the arts and culture) for the evaluation 2020: increase of the average volume of annual donations over the 2016–2020 period with growth rates similar to those reached during 2010–2013 (2010: EUR 460 million; 2011: EUR 490 m.; 2012: EUR 500 m.; 2013: EUR 550 m.) 
f.2 Financial resources allocated to implement the measure: 

No data available

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

2015 Amendment of the Austrian Copyright Act

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • further adapt current copyright legislation to technological developments / the digital environment
  • enhance legal certainty for authors, retailers of storage media, and users of copyright-protected works
  • improve the income situation of artists and publishers i.a. by ensuring that remuneration for private copying levies applies to all relevant storage media
c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
legislative
c.3. the main feature of the measure: 

The 2015 amendment extends the application of the “blank tape levy” to any kind of storage media, including all data storage devices like notebooks, tablets and smartphones. This modification is in response to the current Austrian legal situation, which allows the reproduction of protected works for personal and private use (right of private copying), as long as the copyright holder receives fair remuneration in return.In practice, all storage media are charged at certain rates that are paid to and redistributed by the collecting societies. This means that part of the retail price of notebooks, tablets, desktop-PCs, mp3-players, SD memory cards, external hard drives, USB sticks, smartphones, TV recorders, etc. goes to the collecting societies. As with the traditional blank tape levy, half of the income goes to a fund to support social and cultural projects, while the other half of the amount is distributed among the rights holders.The amendment provides legal certainty by making clear that the right to remuneration for private copying also covers digital storage media. This puts the artist in an improved and more stable income situation.Moreover, the amendment defines clear criteria for determining rates, aiming to facilitate negotiations on the level of remuneration: the levy must not exceed six percent of the typical price level. It also introduces a ceiling of EUR 29 million per year for all collected levies, including levies on reprography fees, for the period of 2016–2019. Furthermore, it is ensured that artists actually receive the collected money.Additionally, this amendment establishes stricter transparency rules for collecting societies, including annual reports on the extent and use of the revenues collected through the storage media levy by the collecting societies’ supervisory authorities. Further changes brought about by the amendment that entered force on 1 October 2015 include regulations on the right to subsequent exploitation by science and publishers as well as clear rules regarding digital inter-library loans.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 
  • decrease in lawsuits on remuneration claims
  • provision of legal certainty via consensual determination of remuneration rates
  • improvement of artists’ income situation
f.2 Financial resources allocated to implement the measure: 

No data available

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
No
i. Has the implementation of the measure been evaluated?: 
No
❭ INTERNATIONAL CULTURAL COOPERATION

International Network for Dance and Performance Austria (INTPA)

Context of the measure: 
INTERNATIONAL CULTURAL COOPERATION
b. Key objectives of the measure: 
  • promotion of Austrian artistic creation’s internationalisation in the field of contemporary dance and performances
c. What is: 
c.1. the scope of the measure: 
International
c.2. the nature of the measure: 
financial
c.3. the main feature of the measure: 

The “International Net for Dance and Performance Austria” is a joint initiative of Tanzquartier Wien, the Federal Ministry for Europe, Integration and Foreign Affairs, and the Arts and Culture Division of the Federal Chancellery. It supports Europe-based event organizers, with a particular focus on event-organizers in the Danube and Black Sea regions, in guest performances. Pro rata funding is provided for events that showcase artistic productions of choreographers/performers working in Austria. The rationale behind this initiative is to support and promote Austrian artists and their accomplishments in contemporary dance and performance abroad, being aware of the differing standards with regard to minimum wages for artists. Through the network, European event organizers are encouraged to cooperate with Austrian artists and enabled to provide adequate incentives for them to participate. The network’s support also aims to mitigate the risk for event organizers associated with presenting artists and productions that are not yet known in the respective countries.Covered expenses of the pro rata funding for event organizers (between 25% and 50%) apply to artists’ fees and rehearsal fees, technical and programme management aspects of the respective productions, and travel expenses and accommodation costs of the artists or performance groups. Cost estimates must conform to the minimum fee structure.In addition to the support of individual guest performances, two festivals or serial performance projects receive funding each year. In line with this programme’s priorities, one will take place in a western European country while the other is to be organized in the Danube and Black Sea regions.In order to further promote Austrian artists and the Austrian art scene, a supporting programme is offered at selected festivals that includes workshops conducted by the visiting Austrian artists or performance groups. The design and implementation of this supporting programme is developed jointly between Tanzquartier Wien and the local event organizer.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 
  • an increase in the number of international performances and presentations by Austria-based dance ensembles, performers and choreographers in other European countries
  • assurance of minimum wages for artists performing abroad
f.2 Financial resources allocated to implement the measure: 

Funding: EUR 150,000 per year, provided jointly by the Arts and Culture Division of the Federal Chancellery and the Ministry for Europe, Integration and Foreign Affairs;

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
Yes
i.1 At what level the evaluation was conducted?: 
International
i.2 What were the main conclusions?: 

In 2015, INTPA supported the realization of 26 guest performances as well as two focus events abroad, presenting artistic productions created in Austria. Overall 62 events were supported, with an average audience attendance rate of 77%. At 26 event organizers in 16 countries 23 artists/performance groups – involving in total 173 artists and four guest speakers – were supported.

❭ INTERNATIONAL CULTURAL COOPERATION

“Culture International” focus by the Regional Government of Styria

Context of the measure: 
INTERNATIONAL CULTURAL COOPERATION
b. Key objectives of the measure: 
  • acceleration of Styria’s internationalisation as a cultural location
  • creation of a sustainable network encompassing artists, cultural institutions and experts at the regional, national, and international levels and promotion of cross-border artistic collaborations
c. What is: 
c.1. the scope of the measure: 
Regional
International
c.2. the nature of the measure: 
financial
institutional
c.3. the main feature of the measure: 

In 2013, the Cultural Department of the Styrian Regional Government defined “Culture International” as a core area of its activities, bundling existing initiatives and developing new ones. Support schemes include residencies, scholarships and networking events for Styrian artists abroad (Studio scholarships abroad since 2012, Film scholarships abroad since 2013, Brussels Artist-in-Europe scholarships since 2014, and ART Styria cultural networking and showcase events since 2014), calls for cross-border art and culture projects, residency scholarships for international artists, an advice centre for culture-related funding within the EU, and the establishment of the Thematic Coordination Point on Culture of the Alps-Adriatic Alliance. Selected projects:Cross-border art and culture projects: Since 2014, an annual call supports cross-border art and culture projects that aim to explore sustainable two-way relationships within the common cultural area of Southeast Europe. Each call adopts a specific annual theme. In 2016, the call was dedicated to the theme of “migration”.Styria-Artists-in-Residence Scholarships (St.A.i.R): Each year, 20 international scholarships support artists who come to live and work in Graz in cooperation with local cultural initiatives. A permanent link with the independent art scene creates a lasting network between international and Styrian artists.Alps-Adriatic Alliance – coordinating art and cultural themes: When it was founded in 2013, Styria assumed responsibility for coordinating themes in the areas of art and culture. The objective is to establish and develop a cultural network in the Alps-Adriatic region for contemporary art and culture on all levels of cooperation, between public, private and non-governmental institutions. This includes support for both the development and realisation of projects as well as the “Thematic Coordination Point on Culture”, a communication platform and service centre for artists and cultural associations who seek to become active at the international level.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 
  • acceptance of the new bundle of activities among the target audience (number of applications)
  • an increase in the participation of Styrian artists and cultural experts in international art and culture projects (number of realized projects as well as participation at international events)
  • stimulation and support of lasting contacts and networks among the stakeholders (follow-up collaborations/projects)
  • an increase in (transnational) visibility of art’s potential in exploring societal issues and contributing to public discourse
f.2 Financial resources allocated to implement the measure: 

Funding: approx. EUR 500,000 per year

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
Have you taken or supported initiatives involving civil society in activities: 
Promote the objectives of the convention through awareness raising and other activities: 
Yes
Please explain how: 

In general, promoting the Convention is not considered as an end in itself but as a means to raise awareness for and stimulate debate on particular objectives and related policy issues. Hence awareness raising activities are usually tied the specific policy issues and target groups, the Convention serving as a basis and catalyst for exchange and building links between stakeholders.For example, the Convention serves as the central point of reference to promote awareness and advocate for the specificity and genuine value of cultural goods and services, which must therefore not be treated as having solely commercial value. This is of particular relevance in negotiation processes with representatives of other policy fields like competition or trade policy. Building on the results of workshops and formal or informal consultations with civil society representatives, the Art and Culture Division of the Federal Chancellery regularly joins forces with civil society stakeholders aiming to ensure the dual nature of cultural expressions is taken into due consideration, e.g. in the negotiations on the so-called EU Block Exemption Regulations on State Aid in the field of EU competition law or negotiations on free trade and economic partnership agreements.Awareness raising activities for the Convention itself and its objectives are, most of the time, tied to specific occasions. For example, the World Day for Cultural Diversity for Dialogue and Development and the 10th anniversary of the Convention served as an excellent opportunity to involve and cooperate with civil society stakeholders to reach a wider public via public discussions, cultural events, and targeted media relations.

Collect data and share and exchange information on measures adopted at local and international level: 
Yes
Please explain how: 

The Austrian Working Group on Cultural Diversity (ARGE) is the central dialogue forum to ensure active involvement of civil society representatives in the implementation and monitoring of the implementation process in Austria. Around 50 leading personalities representing the different cultural sectors in Austria are members of the ARGE, including individual experts, artists and culture professionals as well as representatives of associations, unions, academic institutions, training facilities and collecting societies. Representatives of the relevant federal ministries as well as the Laender participate at the meetings. The ARGE meets at least twice a year and provides a unique forum for continuous dialogue and exchange between representatives of civil society and the public authorities on matters relating to the Convention. Fields of activities: (1) sharing and exchange of information, (2) providing expertise and know-how on cultural policy development to public authorities, (3) organizing awareness-raising activities (4) monitoring the implementation process as well as developing concrete proposals on how to further this implementation process. Hence sharing and exchange of information on measures adopted at local and international levels constitutes an integral part of all deliberations at ARGE meetings.With regard to data collection it should be noted, that many studies, analyses and surveys commissioned by public authorities would not be possible without the contribution and cooperation of civil society representatives – they point out the need for data in specific sectors, contribute as experts to the study / survey design and data analysis, and facilitate data collection through activating their networks and spreading the information. Examples i.a.: the “Fair Pay” Survey 2014 on the financial situation of autonomous cultural initiatives and associations, the Austrian Creative Industries Reports 2013 and 2015, and the Feasibility Study on Active Labour Market Policy for Artists 2012.

Provide spaces where ideas of civil societies can be heard and discussed while developing policies: 
Yes
Please explain how: 

Besides the ARGE different models to ensure involvement of civil society in the elaboration and implementation of specific cultural policies have been established. Examples:Since 2011, the Federal Chancellery organizes a series of workshops, each workshop dedicated to a specific up-coming cultural policy issue at EU level. The workshops aim to facilitate a high-quality professional exchange as well as networking between participants (including representatives of civil society and public authorities) via participatory working methods. A key element of all workshops is the presentation of meaningful good practices from Austrian and other European countries, therewith contributing also to cross-border knowledge-sharing. The presentations, inputs and results are published online. To date fifteen workshops have been conducted, many in cooperation with civil society organizations. Examples of workshop topics, i.a.: financing instruments for the cultural and creative industries; culture and EU rules on state aid, development of indicators for measuring the impact of cross-border cultural projects; and cross-border mobility of artists;Since 2013, the City of Vienna hosts regular cultural policy discussions with key stakeholders of the arts and culture sector. The objectives of this discussion series, named “Wien denkt weiter” (Vienna thinks one step further) are twofold: Firstly, to identify and discuss existing challenges and problems from various perspectives; secondly, to inform the further political decision-making. The discussions are hosted by the City Councillor for Culture. The invitation policy varies according to the discussed topic (e.g. for the discussion on “film and film distribution” distributors, producers, cinema operators, festival organizers, representatives of interest groups and video-on-demand platforms were invited). Particular attention is payed to ensure diversity among the participants, regarding for example ethnic background, age or the stage of career development.

Implement Operational Guidelines: 
Yes
Please explain how: 

In addition to the above/below mentioned examples, activities include i.a. involving/nominating civil society representatives of the cultural sector to participate in expert meetings and working groups in the implementation of the EU Work Plan on Culture (2015–2018).Furthermore, it should be noted, that the activities of many civil society organizations and stakeholders of the cultural sectors active in areas covered by the Convention/the Operational Guidelines (including i.a. awareness-raising, information sharing, training, capacity-building, and networking activities as well as cooperation projects with international partners) receive public financial support to pursue their activities.

Other: 
Please explain how: 

Creating synergies with existing UNESCO networks and activities in other programme areas and linking them explicitly also to the Convention constitutes a priority of the activities of the Point of Contact – striving to contribute to raising awareness for the objectives the Convention in cooperation with civil society. These activities include, for example:

  • active involvement of civil society representatives in preparing the Austrian reply to the questionnaire on the implementation of the UNESCO Recommendation on the Status of the Artist,
  • cooperating with the Austrian Creative Cities,
  • granting patronage to events and initiatives promoting the objectives of the Convention by the Austrian Commission for UNESCO,
  • cooperating with civil society stakeholders on the occasion of related World Days / International Days (e.g. World Radio Day, World Book and Copyright Day, International Jazz Day),
  • cooperating with the UNESCO associated schools in Austria (e.g. the annual conference 2016 will be dedicated to “arts education and cultural diversity”), and
  • integrating the cultural dimension in the programme of the Austrian Commission for UNESCO awarding innovative projects in the field of “Education for Sustainable Development” (2005–2014).

With regard to active involvement of the youth, members of the Youth Expert Panel of the Austrian Commission for UNESCO were invited to participate and contribute to the meetings of the Working Group on Cultural Diversity as well as the Expert Committee on Cultural Diversity – striving to ensure that the view of youth is represented in the discussions and decisions. Furthermore, the Commission produced a poster, highlighting the importance of cultural expressions and arts education, which was distributed to all schools in Austria, and supported the first “Action Day on Arts Education in Schools” in Austria 2016 (resulting in development of about 370 school projects from all different artistic disciplines in cooperation with artists and arts institutions).

Is Civil Society contributing to this report?: 
Yes
Name of the Organization(s): 
Association Culture for Children
Association of Austrian Artists, Künstlerhaus
Austrian Association for independent and autonomous cultural work
Austrian Association of Authors
Austrian Association of Independent Theatre
Austrian Cultural Council
Austrian Filmmakers Association
Austrian Music Council
Austrian World Music Association
Austrian Zimbabwe Friendship Association
EDUCULT – Institute for Cultural Policy and Management
EU XXL film. Forum for European Film
kulturen in bewegung / VIDC (Vienna Institute for International Dialogue and Cooperation)
KunstSozialRaum (ArtSocialSpace) Brunnenpassage
österreichische kulturdokumentation. Internationals archiv für kulturanalysen
as well as independent experts / culture professionals

Contribution from Civil Society

This section is to be completed with information provided by civil society: 
Has the civil society taken initiatives to: 
Promote the principle and the objectives of the Convention locally and internationally: 
Yes
Please explain how: 

The promotion of a diversity of cultural expressions constitutes the declared basis of action and driving force of most civil society activities in the field of arts and culture – in particular of representatives of cultural initiatives and institutions and of interest groups of artists and creators.The most prominent example of activities, with a strong explicit link to the Convention in the reporting period, is the organization of civil society seminars, workshops and forums to raise awareness for the specificity of art and culture in the context of free trade negotiations: Since 2013 civil society stakeholders follow closely the ongoing free trade negotiations and organize activities to raise awareness for possible overlaps and potential conflicts between free trade agreements and the principles of the Convention. The objective is ensuring that the dual nature of cultural goods and services is recognized in these agreements and states remain free to adopt and implement cultural policies. Teaming up with civil society organizations active in other areas, like environmental and consumer organizations, an intense public debate was initiated, which also – for the first time on a wider public scale – took note of the cultural dimension and raised considerable attention for the Convention.

Promote ratification of the Convention and its implementation by governements: 
Yes
Please explain how: 

Building on the work of the Working Group on Cultural Diversity (ARGE) and the Expertenklausur (Expert Meetings, see below) civil society organizations frequently refer to the Convention as an additional reference to underpin their work.Areas of work supporting the implementation of the Convention include i.a.:

  • Strengthening the status of holders of authors’ rights and related rights (creation of an authors’ rights contract law),
  • Ensuring media diversity (providers/content), in particular through public-service broadcasting,
  • Safeguarding the social and financial situation of artists and culture professionals (e.g. social security, unemployment insurance, and tax issues),
  • Promoting cross-border mobility of artists, in particular visa requests by artists, culture professionals and other practitioners from developing countries
  • Arts education in schools
  • Cultural statistics

 

Bring the concerns of citizens, associations and enterprises to public authorities, including vulnerable groups: 
Yes
Please explain how: 

The representation of the different interest groups in the cultural sector – creators, producers, distributors, disseminators, audience, etc. – is based on an established system of interest groups, associations, unions and chambers (Chamber of Labour, Chamber of Economy), networks and NGOs, which exist for almost all artistic disciplines and branches of the creative industries. Furthermore, additional networks and interest groups which focus on cross-cutting issues, for example the situation of women artists and culture professionals, have been established. A wide range of actions is employed to bring their concerns to public authorities, including meetings with politicians and public authorities, contributions to consultations and expert reviews in the legislative procedures, position papers, open letters, petitions, expert-meetings with representatives of public bodies, public discussions and events, artistic interventions, media relations work, etc. A new, transversal focus of many civil society organizations is dedicated to the inclusion of refugees, displaced persons and asylum seekers through culture-related projects. Exemplary activities to promote their active participation in cultural activities are initiated by large cultural institutions (e.g. free entrance for refugees and their accompanying persons to the Kunsthistorisches Museum Wien, opening of rehearsals of the Wiener Musikverein for asylum seekers, free theatre training for juvenile refugees by the Burgtheater Wien, free instrumental lessons for juvenile refugees by the University of Music and Performing Arts Vienna) as well as by initiatives of the independent sectors, e.g. the theatre performance with refugees “Schutzbefohlene performen Jelineks Schutzbefohlene” by the artists collective “Die Schweigende Mehrheit” or film workshops for unaccompanied minor refugees at the Traiskirchen refugee camp in cooperation with the film festival This Human World.

Contribute to the achievement of greater transparency and accountability and accountability in the cultural governance: 
Yes
Please explain how: 

Contributing to transparency and accountability of political processes constitutes an integral part of civil society organizations’ activities, in particular associations, interest groups and unions of artists and creators. As mentioned above, activities include, i.a.:

  • preparing opinions, comments and recommendations on content and procedures of cultural policy making in consultation with their members/member associations;
  • participating in consultation mechanisms, expert reviews and public hearings (e.g. on legislative proposals in parliamentary proceedings), in advisory bodies, working groups and working meetings (e.g. advisory bodies for the different artistic disciplines of the Federal Chancellery, Working Group and Advisory Committee on Cultural Diversity), in participatory working formats or public discussion events (e.g. development of cultural development plans and strategies);
  • collecting, processing and distributing information (e.g. via publishing opinions, comments, minutes, summaries, analyses, documentations, etc. online, in newsletters and/or periodicals); and therewith
  • monitoring, assessing and documenting political processes and developments
Monitor policy and programme implementation on measures to protect and promote diversity of cultural expression: 
Yes
Please explain how: 

The central forum for monitoring the implementation of the UNESCO-Convention is the annual “Expertenklausur Kulturelle Vielfalt” (Expert Meetings on Cultural Diversity). Organized by the Point of Contact a pool of committed artists and culture professionals, academics active in the field of cultural policy research, and representatives of civil society organizations and interest groups meet for a one to two-day session to evaluate the progress made in implementing the Convention in the previous year. The meetings enable civil society stakeholders to concentrate the body of available information and data by the numerous civil society stakeholders at one place, review it from the perspective of the Convention and draw up recommendations on key areas and activities for the further implementation of the Convention in Austria. The objective of these meetings is to give political weight to the concerns of artists and cultural professionals through public comments. The results of the meetings are published (concluding communiqué) and submitted to the relevant political decision-makers. The meetings are realized with support from the Arts and Culture Division of the Federal Chancellery.

Build capacities in domains linked to the Convention and carrying out data collection: 
Yes
Please explain how: 

Examples of concrete actions include:

  • Produce gender statistics on public film fundingIn 2016 the Austrian association for women in the audio-visual industry FC Gloria presented sex-disaggregated data regarding public film funding allocated to filmmakers (directors, producers and writers) by the main Austrian film funding bodies, the Austrian Film Institute and the Vienna Film Fund, in the period from 2011–2015;
  • Conduct a survey on the social situation of filmmakers in AustriaThe survey, published in 2016, provides detailed data on the characteristics, socio-demographic structure, employment status, social security and income situation, education and training, mobility and networking and the role of cultural and social support schemes of Austrian filmmakers. The survey, commissioned by VDFS (Collecting Society of Filmmakers) in cooperation with the Austrian Filmmakers Association, its member associations, and the Austrian Directors Association, aims to inform policy makers by providing in-depth data and data analysis.
  • Collect basic data on the framework conditions of independent and autonomous art and cultural initiatives in Austria, 2013 and 2014The Austrian Association for independent and autonomous cultural work and its member organizations initiated the first data collection focusing on local and regional independent / autonomous art and culture initiatives in Austria in order to supplement the picture on the Austrian cultural sector. Inspired by this initiative the Federal Chancellery conducts a pilot project for data on publicly funded local and regional cultural initiatives and centres in the official culture statistics in 2016.
  • Organize exchange sessions with key stakeholders in the film sectorSince 2012, the association EU XXL film in cooperation with the Association of Austrian Filmmakers organizes “jour fixes” aiming to promote exchange of know-how and expertise between film professionals, strengthen their professional capacities, present good practices (from Austria and abroad) and discuss current market developments.
  •  
Create innovative partnerships with the public and private sectors and with civil society of other regions of the worlds: 
Yes
Please explain how: 

Examples of concrete actions include:

  • cooperation of Austrian community radio stations with radio professionals from the Tonga minority in the border region of Zambia/Zimbabwe, including the production of the radio programming series “Radio Mwabonwa in 2015 – extended Teamwork on Tour”, produced in cooperation between Freies Radio Salzkammergut (Free Radio Salzkammergut) and “Zongwe FM”, including study visits of the colleagues from the Tonga in Austria. This programme was awardedthe Adult Education Austrian Radio Award in 2016.
  • partnership between the Austrian NGO “kulturen in bewegung” (culture on the move) with various cultural stakeholders in Uganda, including the Ndere Troupe, Amadinda Uganda and the Bayimba Cultural Foundation. “kulturen in bewegung” encourages and facilitates mutual visits and guest performances by Austrian and Ugandan musicians, performers and dancers; provides support and expertise in the search for funding, organizes networking meetings for Ugandan artists in Austria with for example, cultural policy stakeholders and funders, provides technical assistance (e.g. training of a team of sound-, light-, and stage technicians) ,and organizes events for the visiting Ugandan artists (e.g. workshops and concert tour for Amadinda Uganda 2015).
  • in the field of literature, for example, the Mandelbaum Verlag (a Vienna-based independent publisher) supports collaborations between Austrian and African authors by a bilingual series of publications, dedicated to various aspects of cultural creation and cultural life in African metropolises. Each publication is conceptualized and authored in cooperation of Austrian and African art and culture professionals, and presented in the presence of authors in Austria

Furthermore, it should be noted, that the Austrian Working Group on Cultural Diversity is an active member of the European Coalitions for Cultural Diversity and the International Federation of Coalitions for Cultural Diversity.

Challenges encountered or foreseen to implement the Convention: 
raising awareness, knowledge and understanding for the Convention
show concrete benefits and tangible results of working with the Convention
ensuring stable and predictable administrative, organizational and financial resources (planning security)
ensuring involvement of civil society and representatives of the cultural sector in all relevant policy fora (cultural mainstreaming)
strengthening non-profit, independent and autonomous cultural institutions
Solutions found or envisaged: 
pursued public relations work and awareness-raising activities, linking them to particular thematic aspects of the Convention
pursued strategic partnerships with stakeholders active in other policy fields (e.g. volunteer work, environmental and social issues, development cooperation, etc.)
collection, analysis and dissemination of information, good practices, etc.
Activities planned for next 4 years to implement the Convention: 
Supporting attachment provided by the Civil Society: 
AttachmentSize
File Name of stakeholders_Austria35.66 KB
Describe main results achieved in implementing the Convention: 

In 2016 both the Convention as a reference framework for cultural policy making and a structured and continuous dialogue of governmental bodies and civil society in the Austrian Working Group of Cultural Diversity (ARGE) are well established in Austria.National level:During the last four years thematic fields such as social conditions for artists, tailor-made financial instruments for artists and cultural institutions, gender equality, access to cultural institutions, cultural education and cultural infrastructure have been processed with reference to the Convention. Moreover, the understanding of the role of culture has increased in various other political fields and aspects of life. Arts and culture are understood as central elements for regional and urban development and contribute significantly to economic growth. The interaction of local and regional culture and sustainable tourism is widely recognized. Examples for these developments are given in Chapter 2 (measures). Furthermore, the Convention has increased political awareness in sensitive areas such as international trade (e.g. TTIP) and sustainable development (e.g. national implementation of the 2030 Agenda for sustainable development).International level:Regular voluntary contributions to the International Fund for Cultural Diversity have been established. Austria is a member of the Intergovernmental Committee 2013 -2017.

Challenges encountered or foreseen to implement the Convention : 

On the one hand a decreasing interest for the Convention can be observed as a result of high expectations. On the other hand migration and diversity shape society more than ever. In this respect the Convention gives a clear answer proposing culture as the key for openness, empathy, dialogue and respect. This aspect of the Convention needs to be emphasized nationally and internationally in order to face challenges in social cohesion, integration, radicalization and stigmatization.

Solutions found or envisaged to overcome those challenges: 

To experience and to express arts and culture is a basic human need and supports the development of a critical general public. This right to culture needs to be communicated widely. In terms of cultural mainstreaming cultural policy making needs to focus on raising awareness for the fundamental role arts and culture play in society on local, regional and global levels. As a place where meaning is questioned and produced, culture plays a key role when it comes to issues of cohesion and integration. Stable funding is considered as a basic requirement.

Steps planned for the next 4 years: 

The government of Austria is planning to support initiatives and projects that promote the cultural participation of migrants, to open cultural institutions and to strengthen intercultural competences, e.g. expansion of the pilot project “growing:together – arts and integration” by the Federal Chancellery.Furthermore, it is determined to enhance the production of contemporary arts, e.g. by providing three-year funding contracts and increasing funding for independent cultural institutions and artists.Finally, by a reform of press subsidies the diversity of quality of the Austrian media will be strengthened and the digital developments will be taken into account.

1. Economy and Finance: 
1.1. Total Flows of Cultural Goods and Services: 
1.1.a Cultural Goods: 
Total exports in cultural goods: 
USD: 
573240372.12
Year: 
2014
Source: 
Statistics Austria, Cultural Statistics
Total imports in cultural goods: 
USD: 
1073469046.40
Year: 
2014
Source: 
Statistics Austria, Cultural Statistics
1.1.b Cultural Services: 
Total exports in cultural services: 
USD: 
Year: 
Source: 
Total imports in cultural services: 
USD: 
Year: 
Source: 
1.2 Contribution of cultural activities Gross Domestic Product: 
Total GDP: 
USD: 
364722988.80
Year: 
2013
Source: 
Statistics Austria, National Accounts
USD: 
6 802 451.20
Year: 
2013
Source: 
Statistics Austria, Cultural Statistics
Which methodology was used to calculate the share of culture in total GDP?: 

Gross value added of the cultural sector as a percentage of GDP

1.3. Government expenditure on culture: 
Total government expenditure: 
USD: 
196913001.60
Year: 
2015
Source: 
Statistics Austria, Expenditure of general government by function (COFOG), consolidated
Share of culture in government expenditure: 
USD: 
2094278.40
Year: 
2015
Source: 
Statistics Austria, Expenditure of general government by function (COFOG), consolidated
2. Books: 
(a) Number of published titles: 
Num: 
8,553
Year: 
2014
Source: 
Statistics Austria, Cultural Statistics
(b) Number of publishing companies: 
Total all companies: 
Num: 
353
Year: 
2013
Source: 
Statistics Austria, Structural Business Survey
Small Size Companies: 
Num: 
312
Year: 
2013
Source: 
Statistics Austria, Structural Business Survey
Medium Size: 
Num: 
32
Year: 
2013
Source: 
Statistics Austria, Structural Business Survey
Large Size: 
Num: 
9
Year: 
2013
Source: 
Statistics Austria, Structural Business Survey
(c) Bookshops and sales: 
Bookstore chains: 
Num: 
0
Sales, USD: 
Year: 
Source: 
Independent Book stores: 
Num: 
450
Sales, USD: 
776065.20
Year: 
2013
Source: 
Statistics Austria, Structural Business Survey
Book stores in other retail: 
Num: 
Sales, USD: 
Year: 
Source: 
Online Retailers (labels): 
Num: 
Sales, USD: 
Year: 
Source: 
(d) Translation flows: 
Number of published translations: 
Num: 
Year: 
Source: 
3. Music: 
(a) Production / Number of albums produced: 
Physical Format: 
Num: 
Year: 
Source: 
Digital Format: 
Num: 
Year: 
Source: 
Independent Format: 
Num: 
Year: 
Source: 
Majors: 
Num: 
Year: 
Source: 
(b) Sales / Total number of recorded music sales: 
Physical Format: 
Num: 
Year: 
Source: 
Digital Format: 
Num: 
Year: 
Source: 
4. Media: 
(a) Broadcasting audience and share: 
Year: 
2015
Source: 
AGTT/Teletest
Programmes: 
Programme type: 
ORF 2
Type of ownership: 
Public
Type of access: 
Free
Audience share: 
21.00
Programme type: 
ORF eins
Type of ownership: 
Public
Type of access: 
Free
Audience share: 
12.00
Programme type: 
PRO7
Type of ownership: 
Private
Type of access: 
Free
Audience share: 
5.00
Programme type: 
RTL
Type of ownership: 
Private
Type of access: 
Free
Audience share: 
5.00
Programme type: 
SAT.1
Type of ownership: 
Private
Type of access: 
Free
Audience share: 
5.00
Programme type: 
ZDF
Type of ownership: 
Public
Type of access: 
Free
Audience share: 
4.00
Programme type: 
VOX
Type of ownership: 
Private
Type of access: 
Free
Audience share: 
4.00
Programme type: 
ARD
Type of ownership: 
Public
Type of access: 
Free
Audience share: 
3.00
Programme type: 
PULS 4
Type of ownership: 
Private
Type of access: 
Free
Audience share: 
3.00
Programme type: 
ATV
Type of ownership: 
Private
Type of access: 
Free
Audience share: 
3.00
(b) Broadcasting media organizations: 
Year: 
Source: 
Ownership: 
Public: 
Radio channels: 
0
Television channels: 
0
Both radio & television channels: 
1
Total: 
1
Private: 
Radio channels: 
55
Television channels: 
54
Both radio & television channels: 
0
Total: 
109
Community: 
Radio channels: 
14
Television channels: 
3
Both radio & television channels: 
0
Total: 
17
Not specified: 
Radio channels: 
3
Television channels: 
0
Both radio & television channels: 
0
Total: 
3
Total: 
Radio channels: 
72
Television channels: 
57
Both radio & television channels: 
1
Total: 
130
(c) Newspapers: 
Year: 
2016
Source: 
Austrian Newspaper Association
Publishing format - printed: 
Free Only: 
Daily newspapers: 
3
Non-daily newspapers: 
32
Total: 
35
Paid Only: 
Daily newspapers: 
13
Non-daily newspapers: 
36
Total: 
49
Both Free and Paid: 
Daily newspapers: 
16
Non-daily newspapers: 
68
Total: 
84
Publishing format - both printed and online: 
Free Only: 
Daily newspapers: 
Non-daily newspapers: 
Total: 
0
Paid Only: 
Daily newspapers: 
Non-daily newspapers: 
Total: 
0
Both Free and Paid: 
Daily newspapers: 
Non-daily newspapers: 
Total: 
0
Total: 
Daily newspapers: 
32
Non-daily newspapers: 
136
Total: 
168
5. Connectivity, infrastructure, access: 
Number of mobile phone subscribers per 1000 inhabitants: 
Num: 
1,526
Year: 
2014
Source: 
Number of households with Internet access at home: 
Num: 
2,830,400
Year: 
2015
Source: 
Statistics Austria, European survey on ICT usage in households
Number of individuals using the Internet: 
Num: 
5,486,200
Year: 
2015
Source: 
Statistics Austria, European survey on ICT usage in households
6. Cultural Participation: 
Percentage of people participating in cultural activities at least one time during the last 12 months: 
Activity (in %): 
Cinema: 
Female: 
48.00
Male: 
47.00
Total: 
95.00
Theatre: 
Female: 
49.00
Male: 
56.00
Total: 
105.00
Dance (including ballet): 
Female: 
Male: 
0.00
Total: 
0.00
Live concert/musical performance: 
Female: 
Male: 
Total: 
0.00
Exhibition: 
Female: 
43.00
Male: 
45.00
Total: 
88.00
TOTAL: 
Female: 
140.00
Male: 
148.00
Total: 
288.00
Is there any available data on the reasons for the non participation in cultural events?: 
No
Main reasons for non-participation (in %): 
Too Expensive: 
Female: 
Male: 
Total: 
Lack of Interest: 
Female: 
Male: 
Total: 
Lack of time: 
Female: 
Male: 
Total: 
Lack of information: 
Female: 
Male: 
Total: 
Too far away: 
Female: 
Male: 
Total: 
Other: 
Female: 
Male: 
Total: 
7. Additional clarifications: 

Calculated at the EUR/USD conversion rate applicable on 10 June 2016 (EUR 1 = USD 1,1296);re 2.c "independent book stores": Number of enterprises in the NACE-category 'Retail sale of books in specialized stores're 3. "music": data on the Austrian music market (i.a. on revenue streams and market shares) is available online:  http://www.ifpi.at/?section=inhalt&inhaltid=9; Given the complex, cross-border licensing practice, there is no data available on the number of produced albums recorded by a central body. Concerning the number of recorded music sales further specifications would be needed (e.g. definition of digital format - single tracks, albums, jingles, online-streaming services, etc.)re 4.a "type of ownership": includes TV channels owned by German media organizations (e.g. the channels ZDF and ARD by the German public service broadcaster)re 4.b "number of domestic media organizations providing private television channels": the number of 54 media organizations is composed of different categories: 5 private organizations providing a full-time programme (ATV, Puls 4, Servus TV, gotv - specialized on music-videos, and Ö24 TV - available via cable networks and internet); 6 regional tv-programmes with a programme of 5-8 hours a day; and 43 weekly magazines, with about 20-90 minutes programme a week, broadcasted in continuous loop in regional or local cable networks; However, there are 165 officially registered media organizations providing a TV-programme in Austria. The further 111 registered TV broadcasters include info-channels by cable network operators, weather cameras broadcast in local cable networks of tourist regions, and some registered satellite-TV-programmes, serving exclusively promotional purposes. re 5. "Number of individuals using the Internet": Individuals of 16 to 74 years using the internet in the last 12 monthsre 6. "cultural participation":  Source: EU-SILCre 6. "theatre":  All kinds of live performances togetherre 6. "total": Including sports events

Additional Annexes (if any): 
Title: 
Mr
First Name: 
Stephan
Family Name: 
Vavrik
Organization: 
Federal Ministry for Europe, Integration and Foreign Affairs
Position: 
Ambassador, Head of Department for multilateral cultural policy