Spain 2016 report

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Technical Information
Name of Party: 
Spain
Date of ratification: 
18/12/2006
Organization(s) or entity(es) responsible for the preparation of the report: 
Ministry of Education, Culture and Sports
Officially designated Point of Contact: 
Title: 
Ms
First Name: 
Pilar
Family Name: 
Torre Villaverde
Organization: 
Ministry of Education, Culture and Sports
Mailing Address: 
Plaza del Rey, nº 1 28004 Madrid
Telephone: 
34917017199
Fax: 
E-mail: 
pilar.torre@mecd.es
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: 

A survey has been drafted, including two distinct formats, one aimed at public authorities and the other at civil society.The first has been distributed: directly to all Ministerial Department and Sections at the Offices of the Secretary of State for Culture; through the General Sub-Offices for Communication with Autonomous Communities at the Offices of the Secretary of State for Culture it has reached the Autonomous Communities; and through the Spanish Federation for Municipalities and Provinces it has reached local bodies.To civil society it has been disseminated through the Spanish National Commission for Cooperation with UNESCO.

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.: 
The period covered by this report (2012-2015) exactly coincides with the whole legislative period in Spain. Two documents have guided the cultural Policy at the national and international level: the General Strategic Plan 2012-2015 of the Secretary of State for Culture and the IV Master Plan of the Spanish Cooperation. The latter’s scope is broader but culture is part of it in different fields. It considers culture as a key factor in development and has a sensitive approach towards cultural diversity regarding the development tools for evaluation.There has been no break in the policy of supporting arts in all different scopes and stages required to create, disseminate, and offer to the public the product of these creations. The particular nature of the activities and cultural goods and services allows to set up mechanisms to keep them far from being subject to market economy laws, which is deemed essential for the development of a free, plural, aware and fair society.Moreover, the reality of immigration in Spain, which only in recent years has been reversed due to a deep economic crisis, has made necessary to recognize a multicultural reality, so cultural diversity is no longer a concept restricted to experts. In all areas, plans have been designed to allow this profusion of languages and cultures to give way to mutual enrichment. Just to mention a couple of examples, the new Organic Law for the Improvement of Educational Quality, in 2013, makes express reference to “interculturalism”; there is also a Guide for Diversity Management in Professional Environments prepared by the Ministry of Employment and Social Security.In this period of time, particular attention has been paid to all matters related to new technologies. In the Secretary of State for Culture different measures have been set up  to take advantage of these tools, and make available to citizens, information regarding heritage, books, internal processes in order to improve transparency and so on, and likewise, new lines of support have been created to aid to modernizing professional sectors. At the multilateral international level, Spain participates in the working group to set up an Ibero-American Digital Cultural Agenda, which is one of the priorities of the Ibero-American Cultural Space. The challenge in this area, for Spain, is to safeguard intellectual property rights: contents piracy is a highly serious problem that has been tackled with legal measures which unfortunately have proved to be insufficient to stop this practice.In conclusion, work must go on to gain a better knowledge of the Convention on the Diversity of Cultural Expressions (CDC); however, the task is being fulfilled: there are university courses and programs, seminars, action guides, etc., and the policies are largely adapted to the Convention provisions.
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 model of State adopted by the Spanish Constitution, which dates from 1978, is an original structure which combines a regional and a federal model, and is called a “State of Autonomies”. The distribution of powers between the Autonomous Communities (there are seventeen of them, in addition to the Autonomous Cities of Ceuta and Melilla) and the State is set out in the Constitution itself: culture is a decentralized matter, in its broadest terms conferred to the territorial entities, over which the State, however, continues to hold broad powers.The Spanish Constitution expressly protects cultural and linguistic plurality.In this context, cultural policies are established at the various instances. The Autonomous Communities, with their broad powers, have their own laws and action programs. All of these agree on highlighting the importance of cultural diversity, integration and respect for the various linguistic realities.The local administration is the one which invests the most in culture. A part of the municipalities, particularly the largest ones, are adhered to the Culture Commission of the worldwide association United Cities and Local Governments (UCLG). In the framework of this network, they have adopted the Agenda 21 for Culture, which aims to “promote culture as the fourth pillar of sustainable development”.The State cultural policy, during this quadrennium, which has coincided with the term of a legislature, has been based on a document prepared in its initial months, the General Strategic Plan 2012-2015 of the State Secretariat for Culture. It is focused on "guaranteing the right of access to culture; contributing to supporting citizens and favoring social cohesion; encourage the participation and leading role of civil society in supporting and promoting culture; facilitate the creation, innovation and production of knowledge and promote culture online, safeguarding intellectual property rights".Annual Operating Plans have been set up for compliance with these objectives, as have mechanisms for evaluation and monitoring.At the level of international cooperation, the basis are established in the IV Master Plan of the Spanish Cooperation (2013-2016), which sees culture as being twofold: as a transversal priority and as a specific sector of cooperation. The sector framework document is the Spanish Cooperation Culture and Development Strategy, largely inspired by the 2005 CDC. Both of these documents conduct the Spanish cooperation as a whole.The most active debate in recent years is, undoubtedly, al forms of digital comminication. In 2013 the Spanish Digital Agenda was presented, the product of the work of a number of agents involved, led by two Ministries.Along the same lines, the State Secretariat for Culture organized the V Ibero-American Conference on Culture in 2013, under the topic "Digital Culture. Internet Culture". In this way, common ground was sought where deliberation could take place betwen those in charge of cultural policies and civil society representatives participating in political debates, as well as entrepreneurs, creators, philosophers and a broad spectrum of professionals.Their conclusions have given rise to subsequent works in the Ibero-American sphere, including the first approach to an Ibero-American Cultural Agenda, which transversally affects all IBER cultural matters and programs.

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: 
The cultural policies' objectives included in the General Strategic Plan 2012-2015 for the State Secretariat for Culture mainly coincide with those listed in article 1 of the 2005 Convention. Moreover, paragraph g) of this same article 1 forms the basis for the existence of the national support systems which are describer further on in section 1, "Cultural Policies and Measures".The five General Objectives of the General Strategic Plan are:1.- Establish a State policy which will guarantee the right of access to culture, and will contribute to supponrting citizens and favoring social cohesion.2.- Through transparency, reinforce instruments for communication and cultural cooperation between the publc administrations and other institutions to promote the efficient and rational use of cultural resources.3.- Promote culture as an essential elemtn of the external projection of the "MARCA ESPAÑA" (brand España).4.- Encourage the participation and leading role of civil society in supporting and promoting culture.5.- Facilitate the creation, innovation and production of knowledge and promote cultureonline, safeguarding intellectual property rights.
b) It is (or has been) a tool to promote policy discussion?: 
Yes
How: 

In a multilateral level, the 2005 Convention (and the 2001 Universal Declaration on Cultural Diversity) were the basis of the Ibero-American Cultural Chart, adopted in 2006. Its main objectives can be summed up in three imperatives, namely: to affirm the value of culture for human development, to promote and protect cultural diversity and to strengthen the Iberoamerican-Cultural Space.This document have given risen the subsequent works in the Ibero-American sphere, for the developement of a Ibero-american Cultural Space.  

c) It is (or has been) a reference for ongoing policy development?: 
No
How: 
❭ CULTURAL POLICIES AND MEASURES

Support of Diversity in the Performing Arts and Music

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measures: 

The performing arts (theatre, dance and circus) and music are considered to be strategic sectors in which the State needs to act in order to allow for creation, production and dissemination, and from the citizen’s perspective, access. Without an active policy of support, these artistic manifestations would be non-existent, or would be limited to the most commercial productions.The main objectives carried out are:- To promote, protect and disseminate these areas.- To make them known abroad.- To co-ordinate communication among the Autonomous Communities in these matters.The INAEM works in two broad areas: Creation and direct promotion areaThis includes the artistic creation, exhibition or documentary and technical centres that report to the INAEM, plus an area for seminars and small conferences: the Castillo de Magalia Palace.Support area for public and private entities, companies and artistic groupsThis is managed through the administrative units: artistic production, exhibition and training centres that are part of the State Secretariat for Culture.It develops promotion and exhibition policy, both in Spain and abroad, for the performing arts and music.It works in continuous collaboration with the Autonomous Communities, the Ministry of Foreign Affairs and other departments at the State Secretariat for Culture.A “Map of Spanish Musical Heritage” has been prepared, which in its second edition, in 2015, has included a section on intangible heritage, in an aim to collaborate in the conservation, protection and promotion of the diversity of cultural expressions. Support is also given to folkloric manifestations, through state associations, and a grant (CIOOF-Spain) is awarded annually for studies of folkloric music traditions and dance.

c. What is: 
c.1. the scope of the measure: 
National
International
c.2. the nature of the measure: 
regulatory
financial
institutional
c.3. the main feature of the measure: 

The agency in charge of introducing policies is the NATIONAL INSTITUTE FOR PERFORMING ARTS AND MUSIC (INAEM), an autonomous agency under the Ministry of Education, Culture and Sports, acting through three channels:-direct project management, that includes, on the one hand, direct creation and promotion of programmes related to the promotion, protection and dissemination of music, dance, theatre and the circus from its central services; on the other hand, the management of certain units (among which is the National Auditorium of Music and National Music Dissemination Centre, the National Centre for Dramatic Arts, the National Classical Theatre Centre, the Spanish National Ballet, the National Dance Company, the National Orchestra and Choir, the Centre for Performing Arts Technologies, and several theatres).-collaboration with other public and private institutions: co-operation with public and private entities both in specific projects and through its permanent activities.-subsidies: granting of subsidies for production projects, exhibitions and tours both in the public and private sector.In 2014 a program called PLATEA was begun, fruit of the collaboration with the Spanish Federation of Municipalities and Provinces, and is managed annually. It objective is that of mobility of performing arts events throughout the national territory.An experts' commitee prepares an annual catalogue of events, and the municipalities may request these events under certain conditions.The INAEM also issues calls for annual aid for dance, opera and music, and for theatre and circus, and the beneficiaries are selected through a public competitive process. Both calls make express mention of the UNESCO 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions as one of the principles for their existence. Its express objectives, in addition to those related to the creation, production, and dissemination of performing arts at both the national and international level, are extended to facilitate citizen access and the creation of new audiences. 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The results expected, in addition to those related to the creation, production, and dissemination of performing arts at both the national and international level, are extended to facilitate citizen access and the creation of new audiences. In the sphere of spectator education and awareness, special emphasis is placed on young people, in an aim not only to create future audiences, but also creators and professionals. 

f.2 Financial resources allocated to implement the measure: 

86 000 000 €

g. Name of NGOs and/or private companies engaged in the implementation of the measure, if any: 
Type of Involvement: 

The STATE COUNCIL FOR PERFORMING ARTS AND MUSIC is a collegiate body representing professionals of the sector, through associations and federations, and the autonomous community and local public administrations. The principal aim of the Council is to give a voice to creators, artists, authors or performers, and to coordinate state policies in this matter. In addition, it allows for the exchange of opinions and makes it possible to channel petitions and proposals of the sector in relation to the General State Administration.

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
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
International
i.2 What were the main conclusions?: 

PLATEA is evaluated every year.  In 2014, its first year, 1,290 events were held, attended by 190 090 spectators. The initial experience was assessed as highly favorable, and it was highlighted that the program has contributed to “the gradual professionalization of public area management, has managed to maintain certain standards of programming quality throughout the territory, which was not homogeneous until now, and has managed to take stable, quality programming to areas throughout the national territory ”. In 2015 there were 155 municipalities adhered to the program, which included over 600 different events. The qualitative evaluation appreciates that PLATEA creates networks, and with rational organization establishes a catalogue of events, controls their movements, and facilitates to the town councils –whose budgets are highly reduced- a supply of quality performing arts and music events, and lastly and most importantly, makes it possible to maintain all the stages of artistic manifestations, from creation to exhibition, as well as offer these to the public.

❭ CULTURAL POLICIES AND MEASURES

Plan for the Promotion of the Cultural and Creative Industries

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measures: 

            -Support not-for-profit companies and entities to allow them to compete in a global market           -           Cooperate with structures and institutions to promote collaboration, partnership, integration, alliances and network creation..           Improve business training and contribute to professionalizing the cultural and creative sector..           Foster the incorporation of technology into CCI activities, and the transversal effects of creativity and cultural innovation on the economy..           Increase social participation and public recognition of the sector..           Encourage respect for intellectual property, analyzing and proposing measures to evaluate these types of assets..           Modernize, strengthen and optimize the operation of the publishing sector..           Enrich the quality of the works publishers offer, allowing for the publication of works which are not profitable on the market..           Modernize bookshops and increase their cultural relevance.In addition to aid through public tender in regard to projects, through the Audiovisual Reciprocal Guarantee finance is provided for the cost of furnishing guarantees to finance projects.

c. What is: 
c.1. the scope of the measure: 
National
International
c.2. the nature of the measure: 
regulatory
financial
institutional
c.3. the main feature of the measure: 

Annually, a Plan for the Promotion of the Cultural and Creative Industries (CCI) is prepared, which sets out the various strategies for this sector, which, in principle, focus on the promotion of innovation and entrepreneurship, technological and digital development, market development and internationalization, the need for the multidisciplinary and business training of the CCI professionals, funds provision and support in attracting investment, and the creation of a framework favoring the appreciation of intellectual property.The action lines are as following:Action line to improve training and promote creativity: in the field of training, which is a key to the success of cultural industries, aid is offered for training Ibero-American culture professionals. There are also three types of grant: “FormARTE” Grants for training and specialisation in cultural institutions, Culturex Grants for practical training in cultural management for young Spanish nationals abroad in cultural institutions and in Spanish embassies and consulates, and Fullbright Grants for further artistic study and cultural management in the United States of America.Support line for the digitisation of content and the development, consolidation and internationalisation of cultural and creative industries: this support line includes aid for capital investment to increase the number of legally digitised cultural content on the Internet and to promote the modernisation and innovation of cultural and creative industries, the ICO – Cultural Industries funding line, and aid for the cost of guarantees for Cultural Industries.Included in this line is the training programme for entrepreneurs and businesses active in the field of culture, jointly developed by the INCYDE Foundation (Chamber of Commerce) and the Secretary of State for Culture.Support Line for non-profit organizations:  aid for cultural action and promotion as well as cultural tourism promotion is established for foundations and associations.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The promotion of innovation and entrepreneurship, technological and digital development, market development and internationalization,  multidisciplinary and business training of the CCI professionals, funds provision and support in attracting investment, and the creation of a framework favoring the appreciation of intellectual property.

f.2 Financial resources allocated to implement the measure: 

Budget 2015Grants:6,759,000 €.Furnishing guarantees : 260 000 €Loans:11 000 000 €Scholarships: 992 000 €

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
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
International
❭ CULTURAL POLICIES AND MEASURES

Integral Plan to Encourage Reading

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measures: 

The objectives of this plan are: to know the population reading habits in order to plan public reading policies better; create social awareness in regard to the importance of reading; encourage, in collaboration with the competent administrations, the accessibility and suitable stocking of public libraries and school libraries; carry out and help carry out activities to promote reading in various environments; and attend to groups (immigrants, senior citizens, the handicapped, or prison inmates) which have difficulties in accessing books and in reading, supported by initiatives of NGOs and other public and private institutions.

c. What is: 
c.1. the scope of the measure: 
Local
Regional
National
c.2. the nature of the measure: 
regulatory
financial
institutional
c.3. the main feature of the measure: 

Included in the Strategic Plan (2012-2015) of the State Secretariat for Culture, the plan is based on the postulates of the 2007 Law on Reading, Books and Libraries, which states that “the plans to encourage reading shall consider reading as a basic tool for the exercise of the right to education and culture, in the framework of the information society, and shall underscore the general interest reading has in the daily life of society, through encouragement of the reading habit”.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The activities being carried out to attain these objectives are: the María Moliner Annual Campaign –a campaign to encourage reading in municipalities of under 50,000 inhabitants-, which awards the best projects or activities carried out by municipal public libraries; aid to encourage reading and Spanish literature, aimed at not-for-profit entities presenting projects to encourage reading; activities in secondary education, and a National Award for the Encouragement of Reading, awarded annually to institutions or entities carrying out an important task in this regard. This is in conjunction with other actions, such as periodical awareness campaigns in mass media.Other tools are used, such as the Book and Reading Observatory, for the permanent analysis of the situation of books, reading and libraries as a whole. With the deployment of the new technologies, there is an added need for the continual monitoring of changes in the book sector and of their repercussions on the reading processes, as well as for the analysis of the library system and proposals for its improvement.  Another valuable resource is the website www.leer.es, a product of the collaboration between the areas of education and culture, aimed primarily at activities for children and young people.

f.2 Financial resources allocated to implement the measure: 

00

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

Internationalization of Spanish Culture through Artist and Artistic Production Mobility and the Encouragement of Creation

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measures: 

It is developed by AC/E.AC/E (Acción Cutural Española / Spain's Public Agency for Cultural Action) brings an open and global approach to the organisation of projects, ensuring they can circulate fluently from the local to the regional and international sphere through this network of national and international collaborating institutions. Support for Spanish artists within and beyond our borders From heritage to emerging art, from cinema to photography, from science to history and from architecture to town planning, AC/E’s projects explore the most diverse aspects of Spain’s contribution to universal culture while also updating it with the most recent contributions from our creators. AC/E consolidates and supports the international presence of our emerging artists at international events, while fostering and strengthening networking between international creators and programmers. International programme of projects involving designers, scientists and creators AC/E takes overseas scientific and technological projects of cutting-edge sectors of our cultural and creative industry – industries of growing importance in Spain’s and Europe’s economy and whose internationalisation AC/E supportsIt promotes the mobility of works, productions, artists, creators, agents and cultural professionals through a program of aid to mobility.This support to the Spanish cultural sector is provided in the traditional environments and in the new production and distribution modalities of the creative industries. Priority is given to those proposals of the creative sector which are less consolidated and more in need of external projection, and are characterized as best reflecting the contemporaneousness, creativity and plurality of today’s Spanish culture.

c. What is: 
c.1. the scope of the measure: 
International
c.2. the nature of the measure: 
financial
institutional
c.3. the main feature of the measure: 

The PICE (Program for Internacionalization of Spanish Culture), in its modality for Mobility, is aimed at providing incentives to benchmark foreign cultural organisations and institutions – both public and private – to encourage them to feature Spanish artists and culture professionals and creators in overseas programmes in order to enhance the international visibility, mobility and recognition of these artists, professionals and creators, especially emerging.With its grants the Programme facilitates the internationalisation of Spain’s creative and culture sector by fostering its transnational circulation through the presence of its creators and professionals in overseas activities generated and promoted by these foreign organisations and institutions by means of their programmes of events, festivals, exhibitions, tours, etc. The purpose of the PICE, in its modality for Visitors, is to facilitate the presence in Spain of prestigious influencers, agents, professionals and programmers in the fields of art and culture, so that they can enjoy a first-hand experience of the Spanish cultural and creative sector in its different areas and establish direct and personal relations. Visits will preferably take place within the framework of sectorial and specific events held in Spain, in order to build up links with creators, artists and professionals from the cultural and creative sector in Spain with an eye to reaching agreements for programmes and collaborations abroad. By means of these grants for foreign visitors to Spain, the programme encourages the internationalisation of the Spanish creative sector and is complemented ex post by the other programme modality, mobility grants, which is an incentive for Spanish artists, professionals and creators to travel abroad to develop the above-mentioned agreements. 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The general purpose is to have a flexible and effective instrument for projecting an image of Spain as a talented country that is innovative and dynamic in its artistic production and proud of its legacy. Culture, language and historic and contemporary heritage are essential components of Spain’s image.AC/E brings an open and global approach to the organisation of projects, ensuring they can circulate fluently from the local to the regional and international sphere through this network of national and international collaborating institutions. Support for Spanish artists within and beyond Spanish borders, from heritage to emerging art, from cinema to photography, from science to history and from architecture to town planning, AC/E’s projects explore the most diverse aspects of Spain’s contribution to universal culture while also updating it with the most recent contributions from Spanish creators. AC/E consolidates and supports the international presence of our emerging artists at international events, while fostering and strengthening networking between international creators and programmers. International programme of projects involving designers, scientists and creators AC/E takes overseas scientific an scientific and technological projects of cutting-edge sectors of our cultural and creative industry – industries of growing importance in Spain’s and Europe’s economy and whose internationalisation AC/E supports.

f.2 Financial resources allocated to implement the measure: 

 2015 Figures.- Grants for visitors, 297 226€- Mobility grants: 667 924€

g. Name of NGOs and/or private companies engaged in the implementation of the measure, if any: 
Type of Involvement: 

External advisors specialized in the respective matters are used in granting this aid. They constitue the "Advisory Commitee of the Program"

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
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?: 
Yes
i.1 At what level the evaluation was conducted?: 
National
International
i.2 What were the main conclusions?: 

The program is evaluated yearly, and the evaluation results are made public. The study is carried out by the Research and Social Studies Unit of the University of Comillas. It is based in surveys to applicants, participants and institutions. It has a section of "recommendations", which is the basis of changes in the program that are implemented every year.As of 2015, the main figures are: 965 150€ allocated, from which 667 924 to Movility grants and 297 226€ to Visitors.Mobilities were made to 51 different countries, in 503 institutions.In visitors program, they were 160 profesionals in 155 Spanish institutions.  

❭ CULTURAL POLICIES AND MEASURES

Support of the Film Industry and Film Culture

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measures: 

The current law in relation to cinematography (Cinema Law of 1997, amended by Royal Decree-Law of 2015), states in its preamble its “absolute adaptation to the guiding objectives and principles of the Convention on the Protection and Promotion of Diversity of Cultural Expressions of the UNESCO”. It regulates support measures for creation and development, production, distribution, conservation and promotion, in addition to other aspects, such as access to credit, use of new technologies and external promotion.Cinematographic and the audiovisual arts are generally consiered to be substantive elements of cultural identity and diversity, in their twofold nature of creative manifestation and artistic expression, all in line with the provisions of article 6 of the 2005 Convention.The key objectives of the measures are:- To develop the creation, to increase the production and to promote the distribution of Spanish audiovisual products.- To achieve a sufficient proportion of internal market that allows the maintenance of the whole industry of Spanish cinema.- To improve the level of competence of companies and to encourage the application of new technologies.- To enhance the outreach of cinematography and audiovisual Arts Spanish.- To safeguard and promote Spanish film heritage. 

c. What is: 
c.1. the scope of the measure: 
National
International
c.2. the nature of the measure: 
financial
institutional
c.3. the main feature of the measure: 

ICAA's main activity is the design of cinematographic policy. To this end, various lines of aid are launched: grants for the amortization of films, for the production of short films and feature films, for the distribution of feature films and a series of European or Ibero-American short films, for the participation of Spanish films in film festivals and the holding of film festivals in Spain. These competences extend throughout Spanish territory, regardless of whether or not the Autonomous Communities have their own actions which include specific lines of aid. The international dimension is met in a twofold manner: on the one hand, distribution aid makes it possible to achieve a balance in film origin, which otherwise could very possibly be dominated by the US industry. Although the recipients are Spanish distributors, the producers or rights holders participate in the benefits. Thanks to this policy, in 2014 (latest published data), of all the films exhibited in cinemas, 56.63% had their origin in the European Union. The other focus of attention is that of international co-productions, encouraged especially through coproduction and partnership agreements between the agencies in charge of cinematographic policies, both bilaterally as well as in multilateral forums. In 2014, in Spain, 216 feature films were produced, 42 of which were international co-productions.The aforesaid measures were originally not established for compliance with the 2005 CDC; however, the latter was indeed taken very much into account in the various amendments. In the latest regulatory amendment, in 2015, a “Cultural Certificate” has been incorporated, issued by the Institute of Cinematography itself, and is a requisite to be able to obtain aid. In granting the certificate, it is taken into account that the film either “allows for a better knowledge of cultural, social, religious, ethnic, philosophical or anthropological diversity, or that it “is aimed specifically at children or young people 

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 results expected coincide with the above mentioned "Key objectives of the measure", developped through the described lines of aid and two other instruments. The first one is an indirect line of aid, through an agreement with an Official Credit Institute, which facilitates the lowering of interest on loans for film production. In addition, the ICAA is a founding member of a Reciprocal Guarantee Company, together with the Audiovisual Producers Rights Management Entity. The ICAA holds a 48% stake in the company. The funds are allocated to grant guarantees for project realization. Since the time of its founding, it has granted 240 million euros in guarantees.  

f.2 Financial resources allocated to implement the measure: 

In 2015,     50.22 million €.In 2014,     61.80 million €In 2013,     36.90 million €

g. Name of NGOs and/or private companies engaged in the implementation of the measure, if any: 
Type of Involvement: 

The professional sectors related to cinematographic activity are participants which are heard whenever a regulation is amended or a new one is passed. Moreover, the sector participates in another important aspect: the bulk of the aid is granted under a system called a “competitive tender”, and for the purposes of project evaluation and aid grant proposals, collegiate bodies are set up, made up of professionals and experts outside of the Ministry.

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
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
National
International
i.2 What were the main conclusions?: 

The system of public aids is one of the pillars for the existence of the Spanish production. The results of the evaluation are mostly quantitative, and only take their meaning making a comparision between different periods. As said, the aim of the complex aid system is to facilitate the creation, production, distribution and exhibition of films, that is, all of the elements which make up their value chain. Also taken into account is their contiribution to technological progress, economic development and job creation.It is seen that in the absence of such aid, market economy laws would do away with activity in this sector, given that from an industrial perspective is quite fragil and highly fragmented.In 2014 were produced 216 featured films, 42 of which were international co-production. This last are one of the focus of attention, encouraged especially through coproduction and partnership agreements between the agencies in charge of cinematographic policies, both bilaterally as well as in multilateral forums.The ICAA's Yearbook includes all the figures regarding financing, exhibition of films (according of their countries of origin), box office, number of films exhibited and attendants distributed by regions, size and main features of the enterprises working in production, distribution and exhibition, international co-productions by countries etc...

❭ INTERNATIONAL CULTURAL COOPERATION

IBERMEDIA PROGRAM

Context of the measure: 
INTERNATIONAL CULTURAL COOPERATION
b. Key objectives of the measures: 

The Program seeks the following objectives, in the field of the audiovisual industry:a)         Development of production projects aimed at the market, and at the Ibero-American market in particularb)         Integration of Ibero-American production companies into networksc)         Coproduction projects presented by independent Ibero-American producers, including the utilization of the audiovisual heritaged)         Support of the Ibero-American production companies capable of developing said projectse)         Reinforcement of the audiovisual product distribution and exhibition sectors in the Ibero-American countriesf)         Integration of Ibero-American distribution companies into supranational networksg)         Increased promotion and favoring of the creation of contents for international sales and markets  h)         Support of continuous training for audiovisual business management professionals   i)          Utilization and development of new technologies by these business management professionalsj)          Cooperation and exchange of know-how among the professional sector 

c. What is: 
c.1. the scope of the measure: 
International
c.2. the nature of the measure: 
regulatory
financial
institutional
c.3. the main feature of the measure: 

This program aims to promote and develop the Ibero-American Audiovisual Industry, strengthening the audiovisual market of the region and supporting the building of a Ibero-American Audiovisual Area as well as cinematographic activity.  

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The IBER programs were created to combine effects and cooperate in achieving a common goal at the regional level (Ibero-American), generally to strengthen sectorial public policies. They are based in the cooperation among countries, and have some shared objectives: encourage the development of inclusive and innovative projects; strengthen cultural and creative industries; promote collaboration between entreprises within the sector and their participation in joint projects, and foster the flow and exchange of cultural goods and services; promote training and capacity building; and set up synergies and facilitate mobility of artists and their works. In this frame, each program has its own objectives and priorities, enumerated in the section 2 above. 

f.2 Financial resources allocated to implement the measure: 

Spain contributes to this Program with 700,000€ annually.

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
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?: 
Yes
i.1 At what level the evaluation was conducted?: 
Regional
International
i.2 What were the main conclusions?: 

Since Ibermedia’s inception, the majority of selected films have been completed and released, and many have gone on to win international prizes in major international Film Festivals (Berlin, Rotterdam, Cannes, La Habana, Los Angeles, Mar del Plata, Huelva, Sundance).From its inaugural year to 2015, 636 co-production projects were selected; out of those, 298 were awarded distribution and promotional credits, and 2700 were given training grants for film professionals.A total amount of 85 million dollars were invested in Ibero-American cinema, what means funds for 1975 projects, more than 500 films released, and indirect support for 1200 enterprises and more than 6000 professionals.  

❭ INTERNATIONAL CULTURAL COOPERATION

IBERMUSEOS

Context of the measure: 
INTERNATIONAL CULTURAL COOPERATION
b. Key objectives of the measures: 

The objectives sought by this Program are indicated below:a)         Strengthen the public policies in regard to museums in the Ibero-American countries.b)         Establish mechanisms for exchange, information and dissemination among the museums.c)         Promote the training and qualification of professionals in the technical and management areas of museums.d)         Establish mechanisms to extend the educational capacity of museums.e)         Encourage the mobility of collections and exhibits in the Program participating countries.f)         Promote the protection and management of museum collections.g)         Encourage research in the field of museums.h)         Encourage the right to remember of the various ethnic groups and genders, and of social groups and movements, supporting actions for social appropriation of the cultural heritage, and valuation of the various types of museums.i)          Encourage the sustainability of the Ibero-American museum institutions and processes 

c. What is: 
c.1. the scope of the measure: 
International
c.2. the nature of the measure: 
regulatory
financial
c.3. the main feature of the measure: 

This program aims to encourage and set up public policies for the area of museums and museology, supporting the relation between the public and private institutions and between the professionals of the Ibero-American museum sector

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 IBER programs were created to combine effects and cooperate in achieving a common goal at the regional level (Ibero-American), generally to strengthen sectorial public policies. They are based in the cooperation among countries, and have some shared objectives: encourage the development of inclusive and innovative projects; strengthen cultural and creative industries; promote collaboration between entreprises within the sector and their participation in joint projects, and foster the flow and exchange of cultural goods and services; promote training and capacity building; and set up synergies and facilitate mobility of artists and their works. In this frame, each program has its own objectives and priorities, enumerated in the section 2 above.

f.2 Financial resources allocated to implement the measure: 

The Secretariat of State of Culture contributes with 60 000$ annually. 

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
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?: 
Yes
i.1 At what level the evaluation was conducted?: 
International
i.2 What were the main conclusions?: 

The Ibero-American General Secretariat (SEGIB)  is an international organization created in 1999 for fulfilling the objetives of the Ibero-American Conference.Amongst its duties, SEGIB is in charge of the "Follow up on inititatives and evaluation of (...) Programs (...) under the Ibero-American Conference".In SEGIB's  Annual Reports  are including the figures, the main activities and the achievements of each IBER program.    

❭ INTERNATIONAL CULTURAL COOPERATION

IBERESCENA

Context of the measure: 
INTERNATIONAL CULTURAL COOPERATION
b. Key objectives of the measures: 

The aim of the program is to build an Ibero-American performing arts area, seeking for said purpose the results indicated below:a)         Integration of a single Ibero-American Performing Arts area  b)         Continuous training of theatre and dance professionalsc)         Fostering of the distribution, mobility and promotion of Ibero-American eventsd)         Incentive for the coproduction of events and support of Ibero-American festivals.

c. What is: 
c.1. the scope of the measure: 
National
International
c.2. the nature of the measure: 
regulatory
financial
c.3. the main feature of the measure: 

These objectives are complied with through an annual call which offers grants and aid for coproductions, festivals, internships and special projects, such as joint publications, seminars or congresses. 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The IBER programs were created to combine effects and cooperate in achieving a common goal at the regional level (Ibero-American), generally to strengthen sectorial public policies. They are based in the cooperation among countries, and have some shared objectives: encourage the development of inclusive and innovative projects; strengthen cultural and creative industries; promote collaboration between entreprises within the sector and their participation in joint projects, and foster the flow and exchange of cultural goods and services; promote training and capacity building; and set up synergies and facilitate mobility of artists and their works. In this frame, each program has its own objectives and priorities, enumerated in the section 2 above.

f.2 Financial resources allocated to implement the measure: 

There are 14 Ibero-American countries participating, and Spain collaborates with 250,000€ annually.

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
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?: 

The Ibero-American General Secretariat (SEGIB)  is an international organization created in 1999 for fulfilling the objetives of the Ibero-American Conference.Amongst its duties, SEGIB is in charge of the "Follow up on inititatives and evaluation of (...) Programs (...) under the Ibero-American Conference".In SEGIB's  Annual Reports  are including the figures, the main activities and the achievements of each IBER program. 

❭ INTERNATIONAL CULTURAL COOPERATION

IBERORQUESTAS: Iberorquestas Youth Program

Context of the measure: 
INTERNATIONAL CULTURAL COOPERATION
b. Key objectives of the measures: 

Objectives: Disseminate among boys and girls, teens and young people orchestral practice as a valuable tool for artistic and human development, as well as for the social integration of the most underprivileged sectors of the population, and encourage the presence and awareness of Ibero-American cultural diversity in the sphere of music, encouraging the training of new audiences in the region and broadening job prospects for future music professionals.

c. What is: 
c.1. the scope of the measure: 
National
International
c.2. the nature of the measure: 
regulatory
financial
c.3. the main feature of the measure: 

Background: In the framework of the XVIII Ibero-American Summit of Heads of State and Government, at the proposal of Venezuela, in 2008 an Ibero-American Program to encourage musical activity was created. In 2009 the Intergovernmental Council was set up. Venezuela initially presided the program and was in charge of technical unit, until Mexico took over in 2010 (the latter country being reelected for a second three-year term in 2013).The lines of action are: Mobility, training, strengthening of the orchestral system, integration of gender and ethnic group, program synergy, visibility, call for projects.And the activities: Concerts, festivals, workshops, contests.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The IBER programs were created to combine effects and cooperate in achieving a common goal at the regional level (Ibero-American), generally to strengthen sectorial public policies. They are based in the cooperation among countries, and have some shared objectives: encourage the development of inclusive and innovative projects; strengthen cultural and creative industries; promote collaboration between entreprises within the sector and their participation in joint projects, and foster the flow and exchange of cultural goods and services; promote training and capacity building; and set up synergies and facilitate mobility of artists and their works. In this frame, each program has its own objectives and priorities, enumerated in the section 2 above.

f.2 Financial resources allocated to implement the measure: 

Participating countries are: Argentina, Brazil, Costa Rica, Chile, Ecuador, El Salvador, Spain, Guatemala, Mexico, Nicaragua, Panama, Uruguay, Colombia, Haiti and the Dominican Republic. The Intergovernmental Council Program meets twice a year, with Spain taking part in these meetings. Spain contributed 190,000€ to the program in 2015.

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
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?: 

The Ibero-American General Secretariat (SEGIB)  is an international organization created in 1999 for fulfilling the objetives of the Ibero-American Conference.Amongst its duties, SEGIB is in charge of the "Follow up on inititatives and evaluation of (...) Programs (...) under the Ibero-American Conference".In SEGIB's  Annual Reports  are including the figures, the main activities and the achievements of each IBER program. 

❭ INTERNATIONAL CULTURAL COOPERATION

IBERARCHIVOS: Program in Support of Ibero-American Archive Development (ADAI) IBERARCHIVO

Context of the measure: 
INTERNATIONAL CULTURAL COOPERATION
b. Key objectives of the measures: 

The objective of the program is to promote the development of the Ibero-American archives. It manages a financial fund which grants aid in order to facilitate the preservation of the documentary heritage.

c. What is: 
c.1. the scope of the measure: 
International
c.2. the nature of the measure: 
regulatory
financial
c.3. the main feature of the measure: 

This is an essential element for the protection, conservation and dissemination of the Ibero-American documentary heritage. 

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 IBER programs were created to combine effects and cooperate in achieving a common goal at the regional level (Ibero-American), generally to strengthen sectorial public policies. They are based in the cooperation among countries, and have some shared objectives: encourage the development of inclusive and innovative projects; strengthen cultural and creative industries; promote collaboration between entreprises within the sector and their participation in joint projects, and foster the flow and exchange of cultural goods and services; promote training and capacity building; and set up synergies and facilitate mobility of artists and their works. 

f.2 Financial resources allocated to implement the measure: 

An annual voluntary contribution is being maintained; in recent years this contribution has been 60,000 euros annually.

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
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?: 

The Ibero-American General Secretariat (SEGIB)  is an international organization created in 1999 for fulfilling the objetives of the Ibero-American Conference.Amongst its duties, SEGIB is in charge of the "Follow up on inititatives and evaluation of (...) Programs (...) under the Ibero-American Conference".In SEGIB's  Annual Reports  are including the figures, the main activities and the achievements of each IBER program. 

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: 

The Catalan Federation of UNESCO Associations and Clubs (FCACU) organized a conference in May of 2015 in this regard, together with the UNESCO Chair in Cultural Policies and Cooperation of the University of Giron (UdG), and in which they stated their reflections and proposals in regard to the Convention, and in which the material “Diversities” was presented, created by said Chair to foster a knowledge and application of the Convention in schools. The FCACU also organized a training seminar with said “Diversities” didactic material, together with the Chair of the UdG. This training also took place in the Basque Country in 2014, and in Barcelona in the autumn of 2015. 

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

The Spanish Cooperation has been working on the preparation of a Guide for the Transversalization of Cultural Diversity, a tool towards the institutionalization of the effective application of cultural diversity in the various aid spheres and in the various instruments, as well as in the various stages, including strategic planning and operation, as well as the preparation, execution, monitoring and evaluation of the measures. 

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

Cultural and Audiovisual Diversity.:At the university level, two professors at the Madrid Carlos III University Department of Journalism and Audiovisual Communication have led the work of a group of European and Ibero-American researchers. Between 2012 and 2014 they developed the project “Cultural and Audiovisual Diversity: Good Practices and Indicators”, the objectives of which were to: learn and analyze the consequences of ratification of the CDC by the Spanish State, prepare a catalogue of good practices which encourage audiovisual diversity, and identify the factors which are contrary to this diversity. In 2015-2016 they have dedicated themselves to other projects, “Diversity of the Audiovisual Industry in the Digital Era” and in regard to the challenges to audiovisual diversity posed by Internet.[PHI] PROJECT- Ibero-American Historical + Cultural Heritage:  Promoted by the Madrid Polytechnic University, over fifty associated universities in fifteen countries collaborate in this project, and more are expected to join. They also have institutional and private sponsorship.Based on a series of concepts related to heritage, to its conservation, and to future challenges, the PHI Network seeks to reveal opportunities which allow for work in this sector, and which undoubtedly entail a growing process of revitalization, especially in emerging areas.CREADE, Intercultural Education Network. This is a project of the Ibero-Amercian Foundation for Development aimed at reinforcing teachers’ training in regard to cultural diversity and strategies to promote interculturality in the classroom. This is supported by AECID.

Implement Operational Guidelines: 
No
Please explain how: 
Other: 
Please explain how: 
Is Civil Society contributing to this report?: 
Yes
Name of the Organization(s): 
The UNESCO Civil Network in Spain, through the Spanish National Commission for Cooperation with UNESCO,The Fundipax(Peace Initiatives Foundation UNESCO Centr e) and the UNESCO Centres and Clubs in Spain.

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: 

In March of 2015, the San Sebastian UNESCO Centre issued the following publications:- “Religiousness and the Eibar Sanctuaries”: on the critical knowledge of popular religiousness in this precise territory in the period ranging from the 17th to the 20th century. It aims to contribute to an understanding of the tradition through unpublished primary sources from parish archives from the period studied. The work seeks to favor one of the objectives of the 2005 Convention: promote dialogue among cultures. - “Eibar and Aginaga Funeral Rites”: This book delves into the period ranging from the 16th to the 20th century, bringing to light elements which reveal a way of being, of living and of dying. It presents a cultural expression which is open to interculturality in the defining sphere of human life, and seeks to arouse greater awareness of the importance of diversity in cultural expressions, with a spirit of building bridges to connect peoples.(These publications are used in the UNESCO Distance Learning Course for the Training of Animators (CDFAUN) organized by this San Sebastian UNESCO Centre)The Campo de Gibraltar UNESCO Centre organized the exhibit “Illumination in Medieval Writing (facsimiles)” in the “Garrinson Library” of Gibraltar during the months of June and July 2015. This was a showcase of works from diverse cultural and religious origins.

Promote ratification of the Convention and its implementation by governements: 
No
Please explain how: 
Bring the concerns of citizens, associations and enterprises to public authorities, including vulnerable groups: 
Yes
Please explain how: 

- Fundipax - Peace Initiatives Foundation UNESCO Centre implements plans as Development Cooperation Project in Jordan and Lebanon(2013) devoted to supporting and protecting the refugees from Syria, consisting basically of humanitarian action and conflict protection and prevention; participation in the documentary “Jenin-Gilboa, a New Hope for Peace” based on a true story of coexistence and understanding between Palestinians and Israelis (Solidarity Award at the KO&Digital Festival in December of  2014).Peace Initiatives Foundation UNESCO Centre organized an act to commemorate the anniversary of the 2005 Convention which included a round table, a reading of texts of Fernando Galeano and a visit to the El Pozo-Entrevías School for Peace in Madrid in April of 2015.

Contribute to the achievement of greater transparency and accountability and accountability in the cultural governance: 
No
Please explain how: 
Monitor policy and programme implementation on measures to protect and promote diversity of cultural expression: 
Yes
Please explain how: 

Murcia UNESCO Centre implements these following projects- 2012: Hispanic-Paraguayan Intercultural Week (poetry recital, exhibit, etc.; participation in Africa Day at the University; management of a stand in the “Inter-Cultures” Event; participation in the II Conference on the African Diaspora in Europe held in Gijon.  - 2013: Participation in Africa Day at the University; participation in the Project “Intercultural Education for the Sustainable Development of the Indigenous Peoples of Paraguay” in collaboration with the Ministry of Education and Culture of the Government of Paraguay.  - 2014: Participation in Africa Day (activities focused on African emigrants); participation in the International Forum for the Defense of African Women’s Human Rights.            - 2015: In relation to the cooperation project in Paraguay, a number of activities were carried out for the monitoring and dissemination of the project and the work of the Centre; participation in the training course “Youth Leadership as a Tool for the Non-Violent Transformation of Conflicts and Building of Peace through Dialogue and Intercultural Communication”; participation in the European conferences on Education and Culture of the Indigenous Peoples of Paraguay, together with Paraguayan authorities which were held in several cities in Spain and at the UNESCO headquarters in Paris.

Build capacities in domains linked to the Convention and carrying out data collection: 
No
Please explain how: 
Create innovative partnerships with the public and private sectors and with civil society of other regions of the worlds: 
Yes
Please explain how: 

 The Motril (Granada) UNESCO Club:  is carrying out important work in favor of the integration of immigrants of various origins (most of which are from Northern Africa, Sub-Saharan Africa and Central Europe) through the teaching of Spanish and other activities. The work of the Centre is carried out in accordance with the principles of the 2005 Convention.The Gran Canaria UNESCO Centre organized “Customs and Art Conferences” (March, April and May of 2015) in support of the elimination of customs obstacles and for the free movement throughout Spain and Europe of the works of Canary Island artists.

Challenges encountered or foreseen to implement the Convention: 
Solutions found or envisaged: 
Activities planned for next 4 years to implement the Convention: 
Supporting attachment provided by the Civil Society: 
Describe main results achieved in implementing the Convention: 

In the ten years passed since the ratification of the UNESCO Convention, a panoply of measures have been taken, ranging from legislation, to financial instruments, to organizations dedicated to the promotion of international cultural exchage, etc...Now some ideas can be considered as consolidated:  the cross-cutting nature of the culture, the necessity of strong cultural industries, and the added value of culture for economical development. In 2006 was created, within the Ministry of Culture, the Direction General for Politics and Cultural Industries, what meant a big change in the perspective of the consideration of the culture. Statistics have continued to be taken which make it possible to know the situation of culture in Spain and its performance (Cultural Statistics Yearbook and Culture Satellite Account in Spain, which take into account, among other theoretical sources, the Framework for Cultural Statistics updated by UNESCO in 2009), and the Survey of Cultural Habits and Practices. Cooperation has been carried out with the startup of the Ibero-American Culture Observatory and with several Ibero-American countries which are introducing Culture Satellite Accounts, contributing the methodology used in Spain.  

Challenges encountered or foreseen to implement the Convention : 

The period covered by this report has coincided with a grave economic crisis which has had broad repercussions difficult to deal with. The State has seen its revenues diminished, at the same time that it has had the need to face greater expenses, particularly social benefits.Two of the consequences which must be highlighted are, on one hand, the reversal of the trend in migration flows (part of the immigrant population has returned to their places of origin, while part of the Spanish population, particularly young people, have left), and on the other, the drastic decrease in public budgets.A patronage law was announced, which was never passed as such; however, some actions have been taken in order to offset this decrease in resources. In 2015, a series of measures for tax incentives for patronage came into effect, which basically include: significant tax deductions for micro-patronage, incentives for donor loyalty, and new Company Tax deductions for investments in film productions and audiovisual series, production and live exhibition of performing arts and music, and technical innovation activities, which include those related to animation and videogames.

Solutions found or envisaged to overcome those challenges: 

The budget restrained during this period headed the Ministry toward new tools that could in any way compensate this situation. For instance, in 2014 a program called PLATEA begun, as a result of the collaboration of the Secretariat of State for Culture with the Spanish Federation of Municipalities and Provinces, and is managed annually. Its objective is that for mobility of performing arts events throughout the national territory. This program helps to create networks, and with rational organization establishes a catalogue of events, controls their movements, and facilitates to the town councils –whose budgets are highly reduced- a supply of quality performing arts and music events, and lastly and most importantly, makes it possible to maintain all the stages of artistic manifestations, from creation to exhibition, as well as offer these to the public.In 2014 alone, its first year, 1,290 events were held, attended by 190,090 spectators. The initial experience was evaluated as highly favorable, and it was highlighted that the program has contributed to “the gradual professionalization of public area management, has managed to maintain certain standards of programming quality throughout the territory, which was not homogeneous until now, and has managed to take stable, quality programming to areas throughout the national territory ”. In 2015 there were 155 municipalities adhered to the program, which included over 600 different events. 

Steps planned for the next 4 years: 

Looking towards the future, there are many challenges: work must continue in the structured development of the digital sector, and in eliminating barriers which provides equal access of all citizens; the fight must continue against the illegal use of cultural digital contents, which attack the sector line of flotation; new sources of financing must be sought for cultural activities, assets and services, which above all protect creation and dissemination, and culture must be made accessible to citizens; the 2005 CDC and its principles must continue to be disseminated; and action in education must continue, in order to integrate different cultures become a reality, and in order of new audiences to be formed for culture. It is interesting to point out that in recent years, crowdfunding has been consolidated as a form of financing cultural activities, assets and services.The next 4 years will coincide again with a whole legislative period. We would have the chance of including objectives related to the Convention in the new Strategic Plan, in the case that we have a new one.  

1. Economy and Finance: 
1.1. Total Flows of Cultural Goods and Services: 
1.1.a Cultural Goods: 
Total exports in cultural goods: 
USD: 
757851420.00
Year: 
2014
Source: 
Yearbook of Cultural Statistics
Total imports in cultural goods: 
USD: 
895860960.00
Year: 
2014
Source: 
Yearbook of Cultural Statistics
1.1.b Cultural Services: 
Total exports in cultural services: 
USD: 
1905677150.00
Year: 
2013
Source: 
Yearbook of Cultural Statistics
Total imports in cultural services: 
USD: 
1647250000.00
Year: 
2013
Source: 
Yearbook of Cultural Statistics
1.2 Contribution of cultural activities Gross Domestic Product: 
Total GDP: 
USD: 
1158978112620.00
Year: 
2013
Source: 
Yearbook of Cultural Statistics
USD: 
2.50
Year: 
2012
Source: 
Yearbook of Cultural Statistics
Which methodology was used to calculate the share of culture in total GDP?: 

The Culture Satellite Account (2009-2012)

1.3. Government expenditure on culture: 
Total government expenditure: 
USD: 
3029871000.00
Year: 
2012
Source: 
Yearbook of Cultural Statistics
Share of culture in government expenditure: 
USD: 
0.00
Year: 
2012
Source: 
Yearbook of Cultural Statistics
2. Books: 
(a) Number of published titles: 
Num: 
90,802
Year: 
2014
Source: 
ISBN
(b) Number of publishing companies: 
Total all companies: 
Num: 
3,109
Year: 
2014
Source: 
Panorámica de la edición española de libros, MECD
Small Size Companies: 
Num: 
2,528
Year: 
2014
Source: 
Panorámica de la edición española de libros, MECD
Medium Size: 
Num: 
451
Year: 
2014
Source: 
Panorámica de la edición española de libros, MECD
Large Size: 
Num: 
130
Year: 
2014
Source: 
Panorámica de la edición española de libros, MECD
(c) Bookshops and sales: 
Bookstore chains: 
Num: 
Sales, USD: 
Year: 
Source: 
Independent Book stores: 
Num: 
0
Sales, USD: 
Year: 
Source: 
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: 
19,233
Year: 
2014
Source: 
es.statista.com
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: 
vertele.com
Programmes: 
(b) Broadcasting media organizations: 
Year: 
2016
Source: 
-
Ownership: 
Public: 
Radio channels: 
0
Television channels: 
0
Both radio & television channels: 
2
Total: 
2
Private: 
Radio channels: 
1
Television channels: 
4
Both radio & television channels: 
3
Total: 
8
Community: 
Radio channels: 
0
Television channels: 
Both radio & television channels: 
Total: 
0
Not specified: 
Radio channels: 
Television channels: 
Both radio & television channels: 
Total: 
0
Total: 
Radio channels: 
1
Television channels: 
4
Both radio & television channels: 
5
Total: 
10
(c) Newspapers: 
Year: 
2013
Source: 
Oficina de Justificación de Difusión
Publishing format - printed: 
Free Only: 
Daily newspapers: 
0
Non-daily newspapers: 
0
Total: 
0
Paid Only: 
Daily newspapers: 
0
Non-daily newspapers: 
0
Total: 
0
Both Free and Paid: 
Daily newspapers: 
0
Non-daily newspapers: 
0
Total: 
0
Publishing format - both printed and online: 
Free Only: 
Daily newspapers: 
0
Non-daily newspapers: 
0
Total: 
0
Paid Only: 
Daily newspapers: 
0
Non-daily newspapers: 
0
Total: 
0
Both Free and Paid: 
Daily newspapers: 
80
Non-daily newspapers: 
4
Total: 
84
Total: 
Daily newspapers: 
80
Non-daily newspapers: 
4
Total: 
84
5. Connectivity, infrastructure, access: 
Number of mobile phone subscribers per 1000 inhabitants: 
Num: 
1,092
Year: 
2015
Source: 
Number of households with Internet access at home: 
Num: 
790
Year: 
2015
Source: 
Observatorio Nacional de las Telecomunicaciones y de la SI
Number of individuals using the Internet: 
Num: 
762
Year: 
2014
Source: 
World Bank Group
6. Cultural Participation: 
Percentage of people participating in cultural activities at least one time during the last 12 months: 
Activity (in %): 
Cinema: 
Female: 
53.60
Male: 
54.40
Total: 
108.00
Theatre: 
Female: 
25.70
Male: 
20.60
Total: 
46.30
Dance (including ballet): 
Female: 
8.60
Male: 
5.30
Total: 
13.90
Live concert/musical performance: 
Female: 
Male: 
Total: 
0.00
Exhibition: 
Female: 
Male: 
Total: 
0.00
TOTAL: 
Female: 
87.90
Male: 
80.30
Total: 
168.20
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: 
Title: 
Ms
First Name: 
pilar
Family Name: 
Torre
Organization: 
Ministry of Education, Culture and Sports - State Secretariat for Culture - Spain
Position: 
Counselor