Uruguay 2016 report

Technical Information
Name of Party: 
Uruguay
Date of ratification: 
18/1/2007
Organization(s) or entity(es) responsible for the preparation of the report: 
Ministry of Education and Culture /National Commission of Uruguay for UNESCO
Ministry of Education and Culture /National Directorate of Culture / Cultural Information System.
Officially designated Point of Contact: 
Title: 
Ms
First Name: 
Anna
Family Name: 
Danieli
Organization: 
National Commission of Uruguay for UNESCO
Mailing Address: 
Reconquista 535, piso 5 Montevideo Uruguay
Telephone: 
+598-29161016
Fax: 
E-mail: 
orguet@gmail.com
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: 

The National Commission for UNESCO (COMINAL) as the body in charge of preparing the reports for the Convention invited the National Directorate of Culture (DNC) to join the preparation process.A working group was set up, including Ms Victoria Contartese, Ms Natalia Ríos and Ms Cecilia Vide on behalf of the DNC´s Culture Information System and Ms Anna Danieli, the Convention focus point at the COMINAL. Information was collected on the basis of personal interviews.   

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.: 
Our first report (2012) provided a broad vision of the cultural policies inspired and motivated by the Convention, whose implementation was under way at the time.These policies have remained unchanged and grant continuity to the measures taken.  Acting in the area of decentralisation, Uruguay´s National Directorate of Culture coordinated a number of actions with the departments´ directorates of culture, which were set out in a joint declaration signed by the nineteen directors of culture in April 2014, thus paving the way towards a coordinated institutional framework for the establishment of nationwide criteria on public cultural policies.In addition, the network of MEC Centres all over Uruguay and the presence of Usinas culturales (Culture power plants) and Fábricas de cultura (Culture factories) was reinforced.In 2012 the government tabled a bill proposing the creation of a Servicio de Comunicación Audiovisual Nacional - SCAN (National Audiovisual Communications Service). The National Audiovisual Communications Law (Law No. 19307), known as Ley de medios (Media Law) was passed by Parliament in December 2014. Subsequently, constitutional complaints against some articles of the law were filed before the Supreme Court of Justice, which declared some of them unconstitutional. According to Uruguayan legislation, such declarations apply exclusively to the cases submitted. However, the government has so far refrained from regulating the law, nor has it named the president of the Audiovisual Communications Board, provoking a number of complaints by parts of civil society. Given the Media Law´s close orientation towards the Convention´s objectives and principles, its regulation and implementation will be a challenge worth highlighting.Since the end of 2014 some nationwide programmes and projects have been slowed down following economic austerity instructions by the government. Therefore one of the main targets will be to enhance the institutional framework on the basis of the National Culture Plan, which has already been launched.
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 2005 Convention was ratified by Uruguay in 2007 and has the force of Law. However, in order to move ahead the national debate depends on concrete steps reflecting the Convention´s precepts. Since ratification the country has gone through different stages of sector-related evaluations and assessments, which were promoted by state authorities, science and civil society alike, and which have been taking up the recitals of the Convention, while valuing the role of culture as a strategic element of development policies. As a result of this process the National Directorate of Culture has been working towards the implementation of a Convention-oriented Plan Nacional de Cultura (National Culture Plan) during the current government period (2015/2019).The purpose of this plan is to contribute to the wellbeing of people with the help of strong incentives for, and the development of culture in Uruguay, which will eventually be formulated as a State policy to be enshrined in a General Law for Culture.The plan will be submitted to a broad debate on the basis of three principles, all of them inspired by the Convention and its guiding principles:-Cultural rights. Recognition of cultural diversity as support for the full realisation of human rights.-Culture and development. Understanding of culture as an essential component of human development as established in the Hangzhou Declaration, placing it as one of the fundamental contributions to the implementation of the sustainable development goals and the post-2015 development agenda.-The respect for diversity will be the key element to securing democratic access to culture.As part of this process sector and area-specific discussions are promoted together with the culture departments of the municipalites and the network of directors of culture, including actions in the country´s 19 departments. From  April to September 31 public hearings were organised, while 15 sectoral roundtables will be in place until the presentation of the conclusions in November 2016.Another main objective of the current period includes the creation of a Sistema de Circulación Cultural (cultural flow system) in reply to existing inequalities concerning access to cultural goods and services in the country. The system proposes the development of regional culture corridors to enhance local features, strengthen the interaction between territories and improve technical and management capacities in less-favoured areas.   Concerning the digital environment we should like to mention the implementation of a new geo-referenced interactive platform including an interactive map, which will enable cultural actors and promoters to access and upload information about ongoing initiatives, infrastructures and activities in the country. Adding to this technological development, a new area called Sistema de Información Cultural (Culture Information System) will be set up within the DNC, which will be in charge of following up cultural policies.  As a result of the policies and actions implemented in the field of culture it has been possible to objectively improve the levels of recognition and implementation of the Convention´s principles, even though this process has not always been structured and sustained. Improving collaboration will therefore be essential to reinforcing the sector as a trustworthy and qualified counterpart, in order to enable concrete actions, which will further the objectives of the Conv.

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: 
Uruguay´s ratification of the Convention, and its signing of the Ibero-American Cultural Charter following the Convention´s initiative 10 years ago constitute the theoretical and practical framework for the implementation of cultural policies in Uruguay. Therefore the strong and sustained development of such policies ever since was no coincidence, although there is a need to be more specific. Both the introduction of the notions of cultural diversity and culture as a human right, and the actions taken to reinforce these concepts made it possible to shed light on a number of cultural practices, which did not receive due social recognition and therefore lacked policies meant to contain, develop and enhance them. As far as legislation is concerned, the Convention´s guiding principles for the drafting of public policies were echoed by the political system, thereby making it possible to pass important legislation, which contribute to strengthen the sector, including Law No. 18384, Estatuto del artista y oficios conexos (Status of artists and related professions) and Law No. 19307, Ley de medios (Media Law) regulating the provision of radio, television and other audiovisual communication services. Even though the recent passing of these laws by Parliament is seen as a success, their implementation and regulation is still subject to debate among stakeholders, thereby offering considerable space for improvement as part of the emerging agreements and disagreements. One example is the lack of compliance of the Uruguayan state with the provisions of Law No. 18834 requiring the conclusion of formal employment relationships with artists, a problem the current government has now begun to solve.Within the specific policies established by the DNC, the Convention´s conceptual framework has also served as a starting point for a number of programmes, which turned into public cultural policies, such as the Culture factories programme.
b) It is (or has been) a tool to promote policy discussion?: 
Yes
How: 

The promotion of the above-mentioned National Culture Plan aims to placing culture at the centre of a national political debate. For this reason the plan was launched at the Uruguayan Parliament in the presence of political representatives, including the president of the Chamber of Deputies and members of the Chamber of Deputies´ and the Senate´s Committes on Culture.The fora for sector-specific, territorial debates about the plan include a strong component of political debate with the participation of actors from politics, associations and civil society.The initiative, which is inspired by the Convention´s guiding principles, will become part of the parliamentary discussions, as soon as the draft bill of the General Law for Culture will be introduced. This will make it possible to refer to the commitments made by our country as a signatory of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions. In addition, a debate will be promoted to add cultural indicators to the definition of the sustainable development goals.

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

The Convention´s guiding principles serve as a clear reference for the design of cultural policies.In this respect we should like to highlight the Programa Urban (Urban Agenda), which works with homeless people and refers directly to the principles of articles 2.1 (respect for human rights and fundamental freedoms), 2.3 (equality and dignity of all cultures), and 2.7 (equitable access to cultural expressions).The Culture Factories programme and the Department of Creative Industries area, which refer to principle #5 (complementarity of economic and cultural development aspects) contributes to the social and economic development of a variety of sectors ranging from industry and commerce to disadvantaged groups such as LGBT, persons deprived of liberty and persons with disabilities.On the other hand, the programme supporting traditional festivals and celebrations refers directly to the principles of articles 2.3, 5 and 8. It also enables an inter-organisation approach to work with local actors and State institutions such as the Ministry of Tourism and the Planning and Budget Office.The above guiding principles also inspired other successful programmes of the DNC such as Un Pueblo al Solís, which enables citizens from small villages far from the capital city to visit the main opera and theatre venue of our country; the Fondos concursables (Competitive Culture Fund) programme, granting access to public funding for the improvement of cultural infrastructure, the development of cultural endeavours as well as art education and artistic creation; and Uruguay´s international cooperation and participation as part of regional schemes such as Mercosur Cultural and UNASUR.

❭ CULTURAL POLICIES AND MEASURES

National Audiovisual Communications Law - Legislation

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

Known as: Ley de medios (Media Law)The implementation of this law aimed to the regulation of radio, television and other audiovisual communications services.

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

On 28 December 2014, Law No. 19307 regarding audiovisual communication services was enacted with the objective of establishing the regulation of radio, television and other audiovisual communications services.On 21 July 2010, i.e. four months after the new Frente Amplio government had taken office, the vice minister of Industry, Energy and Mining, Edgardo Ortuño, and the national director of Telecommunications of the ministry announced their decision to set up a Consultative Technical Committee (CTC) of fifteen representatives from social organisations and the business sector. Its mission was the preparation of a report, which would serve as an input for the drafting of a bill regarding audiovisual communications services on the basis of a document prepared by the National Directorate of Telecommunications and Audiovisual Communications Services (DINATEL), a body belonging to the Ministry of Industry, Energy and Mining (MIEM). The CTC concluded its report within four months. Its objectives included the registration of agreements and disagreements among its members on each item, which had been previously included in the agenda and agreed upon in the committee on the basis of a list suggested by dinatel in its background paper.Members of the CTC were invited on a personal basis to ensure their organisational independence; however, an effort was made to consider all sectors related to the Uruguayan audiovisual sphere, such as the Cámara Audiovisual del Uruguay, LICOMM,  Asociación de Broadcasters Uruguayos, Grupo Medios y Sociedad, Coalición Comunicación Democrática, DINATEL, APU, Cámara Uruguaya de televisión para abonados, URSEC, Asociación de Radios del Interior, UCU, SUTEL, Instituto de estudios legales y sociales del Uruguay.

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 interpretation and application of the new legislation followed as its guiding principles the provisions established in the Universal Declaration of Human Rights, the American Convention on Human Rights and the International Covenant on Civil and Political Rights. The criteria collected in the sentences and consultative opinions of the Inter-American Court of Human Rights, as well as the resolutions of, and reports submitted by the Inter-American Commission on Human Rights will be especially taken into account, as long as they do not  imply a reduction in the standards of protection established in the Constitution of the Republic, national legislation and national jurisprudence.Title II (Regulatory Principles), article 5 mentions: “...the Constitution of the Republic, the international instruments for the protection and promotion of the freedom of expression and the diversity of cultural expressions such as the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, as well as the instruments defined by the bodies of the Inter-American Human Rights System, among others...”.The enactment of the new legislation led to discussions among stakeholders, due to which the possibly unconstitutional character of some of its articles is currently (2016) still under review.Private Uruguayan and multinational companies had filed constitutional complaints against some articles before the Supreme Court of Justice.

f.2 Financial resources allocated to implement the measure: 

Data not found

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?: 
No
❭ CULTURAL POLICIES AND MEASURES

MEC Centres

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

Following the creation of the MEC Centres in 2007 and their subsequent reinforcement, in 2010 the centres began to play a key role as territory-based  coordinators due to their permanent collaboration with entities of the national government, departments and local authorities.The MEC Centres provide room for education and cultural activities designed to facilitate access to education, scientific and technological innovation, and cultural services and products. They hereby contribute to the implementation of nationwide democratisation and decentralisation policies.  The Ministry of Education and Culture (MEC) provides the learning and cultural contents for the promotion of science and technology, human rights and digital literacy, whereas the necessary resources regarding infrastructure and technology are provided by the intendencias (municipalities) and the State telecommunications company ANTEL.

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

The overall objective is to contribute to social integration and citizen education by operating each MEC Centre as a space for meetings, animation, exchange and access to cultural and learning contents, which are offered in a variety of forms, platforms and technologies. As pointed out in our previous report, achieving adult digital literacy through the implementation of a National Literacy Plan is one of the specific objectives of the MEC Centres.Since 2015 another project, Uruguay escribe (Uruguay writes) has also been based at the Centres. Its workshops convey basic and advanced concepts, which may be applied to writing, for the draftingof literary contents, scripts (film, theatre, carnival, TV) etc., with a view to enhancing talent and developing vocation in the field of writing.

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?: 

No information provided

f.2 Financial resources allocated to implement the measure: 

Total investment during the period 2010/2014 amounted to $247,370,179 pesos (86% of the entire budget for the MEC Centres is allocated on a decentralised basis).

g. Name of NGOs and/or private companies engaged in the implementation of the measure, if any: 
Name: 
Federación uruguaya de Ajedrez
Type of Entity: 
NGO
Name: 
Centro Cultural "Herlinda Lovisetto de Eizmendi”Lascano
Type of Entity: 
NGO
Name: 
Asociación de Cultura y Deporte de Aceguá
Type of Entity: 
NGO
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?: 
Yes
i.1 At what level the evaluation was conducted?: 
National
i.2 What were the main conclusions?: 

“We have to resist the temptation of measuring for the sake of measuring. Measurements have to serve clearly described targets, so as to facilitate cost-effectiveness analysis and excellent accountability to citizens, and to move on to a co-production model of construction and shared evaluations.As a result, the definition of the objectives and their follow-up may concentrate on collective identities, the construction of shared values, the regeneration of social ties and the development of community-led governance.  As the MEC Centres are strongly engaged in the building and practise of cultural citizenship, they appear to be ideal points of departure for the new government in order to find out, how much it can achieve in the five years ahead (2015/2019). Politics should not be seen as good management; instead, good management should serve politics.”                                                         Centros MEC en el territorio (The territory-based presence of the MEC Centres), May 2015.

i.3 Which indicators were used to determine impact?: 

Más de 1.313.264 personas participaron en actividades realizadas por centros Mec  en el periodo 2010/2014.Se realizaron  3.401 cursos, talleres y charlas, 557 exposiciones, 1.928 espectáculos musicales, 1.229 espectáculos de artes escénicas, 1.589 proyecciones au- diovisuales, 867 actividades recreativas y otras. Se contrataron 4.550 y 3.824 artistas, talleristas y espectáculos emergentes y profesionales respectivamente estuvieron involucrados de los cuales 5.290 fueron de procedencia local, 991 de otros departamentos y 2.968 de Montevideo. 

❭ CULTURAL POLICIES AND MEASURES

Culture power plants (Usinas Culturales)

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

Culture power plants are fully equipped regional centres with music recording studios and the necessary equipment for autiovisual production, whose main purpose is the promotion of citizens´ creative potential with the help of new technologies.The programme is based on the idea that access to cultural production stimulates the empowerment and integration of persons, thereby furthering their socialisation and access to full cultural citizenship.The culture power plants decentralise access to cultural production, while installing and developing the necessary infrastructure in places with obvious deficits with a view to broadening the opportunities to gain access and make creative use of communication and culture-related new technologies.In particular, they contribute to the social inclusion of vulnerable teenagers and young people, encouraging them to join into artistic and cultural activities.Today there are 16 culture power plants in different regions of the country, seven new plants were opened between 2012 and 2015:

  1. Durazno (31/1/2012)
  2. Comcar [penitentiary institution] Montevideo (30/3/2012)
  3. Bella Italia (31/8/2013)
  4. San Carlos (20/12/2013)
  5. Palermo (2/9/2014)
  6. Parque Batlle (17/10/2014)
  7. Vilardebó (25/11/2014)
c. What is: 
c.1. the scope of the measure: 
Local
National
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 

The following experiences may serve as examples to highlight the work carried out as part of the programme:The Paysandú culture power plant is located at the local prison. It developed two particular products, which generated repercussions thanks to their participation in a number of audiovisual exhibitions across the country: "9 deseos" (short film) and "Sueño" (videoclip).The Atlantidoc 2014 festival showed "9 deseos" and a brief documentary about the realisation of another short film, "Cosas que soñar". In June 2014, "9 deseos" was also shown at the Third International Film and Human Rights Festival, "Tenemos que ver", whereas "9 deseos" and "Sueño" were part of a film series jointly organised by the Spanish Cultural Centre and the Uruguayan Institute of Film and Audiovisual Arts (ICAU). In this case, the showing of both films was followed by a debate about artistic expression in the context of social vulnerability.Following an agreement with the Association of Friends of the Casa de la Cultura Afrouruguaya (Afro-Uruguayan Culture Centre), a culture power plant opened in the Palermo neighbourhood of Montevideo in September 2014. This is the first such centre inaugurated by the DNC following an agreement with the Uruguayan African community. Funding of the plant included, among others, funds provided by the AECID Programme for Inclusive Cultural Policies and Scientific Communication.In November 2014 a culture power plant was inaugurated at the Vilardebó psychiatric hospital as part of an agreement between the DNC and the Department of Mental Health and Vulnerable Groups of Uruguay´s public health service ASSE. Although work is still in its initial stages, the hospital´s group on music appreciation contributed an example of the plant´s production during the International Music Day celebrations. 

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?: 

Granting ongoing access to cultural production, so as to encourage people´s personal empowerment and integration.  Continuous promotion of socialisation and full cultural citizenship.  Strengthening of the process of decentralised access to cultural production through the installation of the appropriate infrastructure. Further broadening of access opportunities for the creative use of new communication and culture-related technologies.Continuous promotion of social inclusion based on the participation of vulnerable teenagers and young people in arts and culture.

f.2 Financial resources allocated to implement the measure: 

Annual budget: $63,500 dollars

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

Asociación Civil Centro Cultural, Social y Recreativo El Mercadito de Bella ItaliaArbol Televisión ParticipativaCasa de la Cultura Afro UruguayaCooperativa de las Artes del Uruguay (Cooparte)Festival llamale HNúcleo de Música NuevaFestival de Cine y Derechos Humanos Tenemos que ver

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?: 
No
❭ CULTURAL POLICIES AND MEASURES

National Institute of Performing Arts (INAE)

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

General objectives:Drive the development of creative talent by encouraging all artistic and cultural agents of the world of art to become sustainable, and promoting the recognition, enjoyment, dissemination and ownership of cultural goods and services related to Uruguay´s performing arts.Promote intelligent alliances with public and private institutions, so as to preserve the memory and recover the history and genesis of performing arts in the country, as well as the creation of platforms providing visibility and support for emerging artists.Generate critical thinking and new audiences, so as to encourage citizens and grant them access to the cultural goods and services offered by the performing arts.The specific actions derived from the above-mentioned general objectives can be reviewed in detail in: http://www.inae.gub.uy/innovaportal/v/32060/41/mecweb/objetivos?3colid=3....

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: 

Setting up the National Institute of Performing Arts was the result of over three years of intense work (starting in 2009 and concluded in 2012) and the continuation of programmes and activities supported by the DNC´s and MEC´s Performing Arts area (set up in 2008).Ever since taking up work, the institute has been engaging in the promotion, protection, strengthening, production, research and dissemination of the performing arts, as well as in the formulation of public policies to support theatre, ballet, puppets and circus, both in Uruguay and internationally.During the 23rd meeting of MERCOSUR ministers of culture the INAE project in its current form was endorsed as a regional performing arts centre of MERCOSUR. This endorsement will make it possible to set up a residence programme, an education corridor and a regional experimentation centre.

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 from implementing the measure are as follows:Ongoing support for, and strengthening of the Uruguayan performing arts sector through public policies designed for its protection;Continuous encouragement of research and experimentation of all related disciplines;Further support for the development and creative work of Uruguayan authors, actors, directors, designers, dancers, interpreters and choreographers and the groups and companies they work with. Support for the creation of a solidarity network of public and private venues in the country, so as to enable the existence of such venues and funding in all cities and villages, which will encourage the production and nationwide circulation of shows and thereby allow all citizens to gain access to them.   

f.2 Financial resources allocated to implement the measure: 

Data not found

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

Asociación de Críticos Teatrales del Uruguay (ACTU) para la ceremonia de entrega de los premios “Florencio”.Coloquio Internacional de Teatro (organizado por la Universidad de la República, UDELAR).Asociación de Teatros del Interior (ATI) para la Bienal de Teatros del Interior.Fundación Lolita RubialGEN - Centro de artes y ciencias

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?: 
No
❭ CULTURAL POLICIES AND MEASURES

Urbano Cultural Centre / Urbano Centro Cultural

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

Urbano is a cultural centre, which is part of the DNC´s Citizenship and Territory area. It focuses on homeless people and is open to the community in general. Ever since the initial steps of the centre in 2010 its internationally unprecedented concept has continuously developed, and nowadays there are plans to extend it to other Uruguayan towns. Its aim is the comprehensive development of the above-mentioned sector of the population through participation in activities related to education and production in culture and the arts. The creation of this space acts as a complement to policies, which focus on the homeless, and generates the capacities needed to exercise cultural rights and work towards social inclusion. To this end it concentrates on networking and cooperation with institutions and social and arts organisations to promote the creation of spaces for cultural education, consumption and production.   

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

Urbano carries out its permanent network-based activities in cooperation with cultural organisations and institutions both State and community-based, and with the system of night shelters of the Ministry of Social Development´s (MIDES) programme for the homeless.Since 2012 the centre has been moving beyond the confinement of its premises to take its proposal to almost all shelters of the system (thirty in total), where it organised artistic workshops and interventions, ranging from theatre, dancing and singing to percussion,theatre of the oppressed, literature and body language. Following the same line of action, it has been working to improve access to cultural goods and shows by facilitating cinema, theatre and concert tickets for a number of venues in Montevideo to the inhabitants of the shelters. To that end, it has been cooperating with the Esquinas de la Cultura (Culture at the corner) programme and with Borough B of the Municipality of Montevideo.In 2015 it organised a series of activities called “Urbano en los museos” (“Urbano at the museum”), which began as part of a workshop and subsequently led to the creation of the “Colectivo Poética Urbana” (“Urban Poetry Group”), in charge of various performances featuring a variety of artistic languages in six important museums, where it shared the stage with outstanding Uruguayan musicians: Fernando Cabrera, Ana Prada, Alberto Wolf, Buceo invisible, Milongas extremas, Ernesto Díaz and Fabián Severo.

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?: 

Urbano strives to strengthen its links with the community by reinforcing its participation in community culture networks and acting as a complement to public policies on the problem of “homelessness”, while drawing on its practical experience to generate knowledge.  The Urbano Cultural Centre plans to continue promoting the comprehensive empowerment of homeless people on the basis of their participation in activities related to education and production in culture and the arts. The aim is to promote the recognition of the cultural rights of persons and their exercise in order to improve social integration.

f.2 Financial resources allocated to implement the measure: 

The annual budget of the Urbano Cultural Centre amounts to $38,700 dollars, about $29,000 of which are dedicated to human resources.

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

Centro Cultural GOESAsociación de Titiriteros del Uruguay

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?: 
No
❭ CULTURAL POLICIES AND MEASURES

Department of Creative Industries (DICREA) / Departamento de Industrias Creativas (DICREA)

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

In recent years, the commitments regarding cultural and creative clusters included in our previous report have been developed even further through measures, which strengthened the sectors´ competitiveness. Work related to the music, publishing, design and audiovisual clusters was intensified. We should like to highlight as one of the main actions, the incentives given to encourage and strengthen the presence of Uruguayan culture abroad, mainly through participation in international music, design and book fairs. DICREA co-funded the Uruguayan presence at various international events.  As far as the publishing industry is concerned, participations included the Frankfurt International Book Fair, Guadalajara International Book Fair, Buenos Aires Book Fair, the Semana Arte de Cataluña and Semana Arte Rio Grande do Sul, Shanghai Expo, Bologna Childrens´ Book Fair, and the Book Fair of Cuba.The music sector also increased its presence in international festivals, including South by Southwest (SXSW), Buenos Aires Music Festival (BAFIM), Womex, MICA + preMICA, and FIFBA. In 2011, a Catalogue of Uruguayan Music was published, followed in 2015 by a Music Report.The design cluster participated in the exhibition Uruguay Diseña (Uruguay designs), which included a visit to Europe, the Mercosur Furniture Fair in Brazil, and the Meeting on Public Design Policies (Buenos Aires/Colombia/Uruguay).In our previous report we mentioned the implementation of the Culture Satellite Account for the analysis and evaluation of the economic impact of cultural activities. After its first edition in 2009, a second report was prepared in 2012 as part of the Programme for the Support of Inclusive Cultural and Scientific Communication Policies, implemented with the financial support of the Spanish Agency for International Development Cooperation (AECID) by DICREA on behalf of the Ministry of Education and Culture.Please refer to Appendices

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: 

It is worth mentioning that in 2014 a group of Uruguayan artists, producers, publishers, managers and programmers coordinated by DICREA participated in the first edition of the Southern Cultural Industries Market (MICSUR) in Mar del Plata, Argentina, with more than eighty businessmen, producers and artists from different sectors (design, music, audiovisuals, publishing and performing arts).Adding to this, the publishing cluster implemented the Books from Uruguay programme (BFU) to support the sale of copyrights for a selection of recently published books. The programme calls for submissions by Uruguayan authors, which will then be subject to a selection by the DNC of the books to be included in the annual catalogues. Two catalogues are published in Spanish and English: “Books from Uruguay” and “Children´s books from Uruguay”.Annual catalogues have been published since 2012 until 2015.

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?: 

Promoting the development of creative industries at the national level and their international marketing.

f.2 Financial resources allocated to implement the measure: 

Approximate annual budgets:Music: $50,000 dollarsPublishing: $60,000 dollarsBusiness training: $15,000 dollarsDevelopment of cultural information: on average $50,000 dollars. 

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

Cámara de Diseño del UruguayCámara Uruguaya del Libro

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?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

National System of Museums (SNM) / Sistema Nacional de Museos (SNM)

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

The National System of Museums (SNM) is currently working on a national register of museums including more than 230 museums so far, which will be offered training and travelling exhibitions.In addition, the SNM is also putting into place Mestiza, a digital platform for the register of museum collections with different inventory and cataloguing levels, in which the particular features of each collection are taken into account (art, history, archaeology, anthropology, natural history, science and technology). It includes digital images of the registered objects together with related documents and publications. It also allows to print the registers, so museums may opt for a print version.Mestiza is currently used by 53 museums and museum collections throughout the country (both public and private, under different administrations) out of a total of 230 museums and museum collections in Uruguay.The platform is available free of charge to all museums and collections of the country. Collections are uploaded step by step following staff training at the receiving institutions with the help of tutorials prepared for that purpose.The platform is supported by local backup in each institution, as well as a remote main server run by the SNM-DNC-MEC.Within the foreseeable future, this tool will serve as a platform, which will enable the public to access the rich heritage of our country´s museums.

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

The SNM is regulated by Law No. 19037 regarding the establishment of a National System and Register of Museums and Museum Collections and its Regulatory Decree No. 295/014 of October 2014.The SNM is in charge of implementing Mestiza (the above-mentioned digital platform) and organising national museum meetings. It aims to act as the regulating body for the activity of museums in Uruguay.The Law and its regulatory decree are included in the Appendices section.Other actions worth mentioning include the annual national museum meetings addressing museum staff under the MEC´s responsibility and representatives of museums run by the municipalities.The National Forum of Museums, another SNM-organised event, is an open activity that works on four main issues and offers training to its participants. In 2016 it is going to take place in the department of Rocha.

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?: 

Promote coordination regarding museum management in Uruguay.Contribute to the development of a national policy comprising a majority of museums, which will introduce tools for systematic strategic planning (strategic plan).Encourage inter-institutional cooperation among the country´s museums and related institutions both Uruguayan and foreign.Foster professionalism in the field of museology in Uruguay.  Optimise infrastructures as well as human and economic resources.Regularise technical management standards.Contribute to decentralisation policies.Source: http://www.museos.gub.uy/

f.2 Financial resources allocated to implement the measure: 

The annual budget of the National System of Museums amounts to approximately $50,000 dollars.

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

Museo GurvichGalería del PaseoGaleria SurFundación BenedettiGalería XippasAsociación de amigos de los Museos

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?: 
No
❭ CULTURAL POLICIES AND MEASURES

Competitive Culture Fund / Fondos concursables vinculados a la cultura

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

The Ministry of Education and Culture continues developing its funds policy, including the Competitive Culture Fund, the Infrastructure Fund, the Cultural Incentives Fund and the Fund for the Promotion of Artistic Education and Creation (FEFCA).Since their introduction these funds have been conceived as tools for the utmost cultural empowerment of citizens.

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

In recent years all the funds were subject to changes related above all to the terms of the calls, so as to ensure a more equitable distribution of funding with special emphasis on improving regional distribution. Changes to the Fund for the Stimulation of Artistic Education and Creation should be especially highlighted, as its grants have always operated as a source of innovation enabling the artistic empowerment of various sectors of the performing arts, music, production, etc. As a result of the latest changes, the fund´s institutional framework was strengthened and it has been possible to identify a group of artists, who benefit from the fund´s grants for their professional development.

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?: 

Implementation of the funds is part of a policy known as “cultural empowerment for everyone”, which pays special attention to regional distribution and the cultural empowerment of artists and creators alike, as well as to the development of the infrastructures needed to carry out the activities.The main objective has been to democratise access and offer equal opportunities to all citizens.

f.2 Financial resources allocated to implement the measure: 

Competitive Culture Fund: approximately $645,141 dollars.FEFCA: approximately $457,548 dollars.Cultural Incentives Fund: approximately $1,488,450 dollars.Fund for the Development of Regional Infrastructure: $338,709 dollars.

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?: 
No
❭ CULTURAL POLICIES AND MEASURES

Directorate of Film and Audiovisual Arts (ICAU)/Instituto de Cine y Audiovisual del Uruguay (ICAU)

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

The Directorate of Film and Audiovisual Arts (ICAU), operating in coordination with other State institutions, has been entrusted with designing the policies for the Uruguayan audiovisual sector.The Directorate of Film and Audiovisual Arts (ICAU) was created by law in 2008 as the public body in charge of supporting, stimulating and encouraging the country´s activities in the area of film and audiovisual production. Among its core mandates is the administration of the Fondo de Fomento Cinematográfico y Audiovisual (Film and Audiovisual Support Fund) with a fixed legal allocation per year ($25 million Uruguayan pesos) for the implementation of competitive and directly assigned lines of financing.The directorate´s constituent objectives include:•    Encouraging, motivating and stimulating the production, co-production, distribution and exhibition of film and audiovisual works and projects;  •    Stimulating actions and initiatives, which may contribute to the development of film culture;•    Monitoring the audiovisual sector;•    Implementing and executing agreements;•    Supporting audiovisual education and the generation of conditions for adequate nationwide distribution.

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

ICAU and other organisations of civil society like ASOPROD. The process named Compromiso Audiovisual (Audiovisual Commitment) 2015-2020 arises at a time, when two different audiovisual realities coexist in Uruguay. Although the sector´s general condition may be described as healthy, some concerns will have to be dealt with. Its aim is the generation of participatory working dynamics including all public and private actors related to the audiovisual sector, so as to reach a consensus-based strategic agreement for the next five years.

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?: 

Priority assistance is given to the support of all national audiovisual activities, including the development and production of film and audiovisual projects. Starting from a broad perspective on audiovisual contents, all levels of the sector´s value chain will be taken into account.Assistance granted will be proportional to the percentage of participation and shall be complemented by fiscal incentives.Working jointly with the private sector, the institute defined a sector-specific strategy and promoted the setup of a strategic coordination unit for the cluster, which will follow up the established plan it is actively involved with.At international and regional fora the ICAU acts as the national institution representing the sector with a view to strengthening Uruguay´s terms of exchange with other countries.In the region Uruguay acts together with Latin America as a co-producer within the framework of the Latin-American Co-Production Agreement. Co-production agreements have also been signed with Argentina, Brazil, Canada and Italy.

f.2 Financial resources allocated to implement the measure: 

Data not found

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

Asociación de Productores y Realizadores del Uruguay (ASOPROD)GrupocineLife y MovieOficina de Locaciones Montevideanas (OLM)Centro Cinematográfico del UruguayCinemateca UruguayaTV CiudadDoc Montevideo

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?: 
No
❭ CULTURAL POLICIES AND MEASURES

Culture Information System /Sistema de Información Cultural

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

The core objectives of the Culture Information System include:

  • Collecting and standardising information regarding programmes, projects and actions carried out by the MEC´s National Directorate of Culture;
  • Centralising and disseminating culture-related information across the country;
  • Generating new information, studies and research regarding the reality of culture in Uruguay;
  • Designing, evaluating and monitoring of cultural policies.  
c. What is: 
c.1. the scope of the measure: 
Regional
National
International
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 

As part of the Viví Cultura (Try Culture) project, the DNC announced in 2009  the introduction of a culture information system with the objective to “generate information and data regarding all areas of cultural activity in the country and make them available to cultural agents, decision-makers, researchers in the field of culture and the general public.”Within the framework of strengthening the cultural industries, the Culture Information System (SIC) is supposed “to map cultural industries”, using a number of “stops” to offer information about the following areas of cultural activity: the cultural actors of each area, value-chains, quantitative data regarding each sector (number of companies, number of jobs, wages, evolution of production, money earned and spent, sales, exports, etc.), relevant institutions and documents, and links to sites with further information.”In addition, the area of Territory-based Project Management carried out research work and standardised information, part of which was a survey of cultural institutions and infrastructure that would serve as the starting point of the Cultural Map of Uruguay, a tool, which provides access to key, geo-referenced information about the culture sector to artists, managers and citizens in general. Users can find out about the location of cultural institutions, creative industries, traditional festivals and celebrations and book fairs all over the country. They may also access specific information for each department, browse through the offer or make a selection following their categories and sub-categories of interest (Please refer to Appendices).

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 SIC will be strengthened as a tool for the centralisation and standardisation of existing and upcoming information about agents, activities, infraestructure and cultural industries, in short, about the cultural reality of the country, which will be at the citizens´ disposal.The SIC will be directed by the DNC, acting in coordination with all stakeholders within the Ministry of Education and Culture and other public entities in the area of culture. It will also rely on the input provided by other producers of related content.

f.2 Financial resources allocated to implement the measure: 

The SIC has a budget allocation of $9,000 dollars for the first year.

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?: 
No
Have you taken or supported initiatives involving civil society in activities: 
Promote the objectives of the convention through awareness raising and other activities: 
No
Please explain how: 
Collect data and share and exchange information on measures adopted at local and international level: 
No
Please explain how: 
Provide spaces where ideas of civil societies can be heard and discussed while developing policies: 
Yes
Please explain how: 

Compromiso Audiovisual del Uruguay (Audiovisual Commitment for Uruguay)Promoted by the Uruguayan Institute of Film and Audiovisual Arts (ICAU), the Montevideo Film Locations Office (OLM) and the Uruguayan Association of Producers and Filmmakers (ASOPROD). More than 300 participants belonging to different public and private entities worked actively along six core topics.  The audiovisual commitment for Uruguay has been designed as a means of taking on the challenges and responsibilites of our times. It aims to establish a legal framework that makes it possible to support the space for the development of a national audiovisual industry.The document includes the proposals agreed upon in the working groups on the six main topics - technical and professional education; educating the audience; assets; production; international orientation; distribution, circulation and exhibition of contents - and some specific chapters on issues like the promotion of Uruguayan films and audiovisuals, institutional strengthening of the ICAU and public television, and Setting up the Uruguayan Audiovisuals Observatory and the Sectoral Council for Audiovisuals.Fourteen programmes in total, meaning that a new focus on audiovisuals will be implemented in three steps during the five-year period. First, a contingency plan until the end of 2014 was worked out, the second step has been implemented during 2015 and 2016, whereas the third will cover the final years of the complete period until 2020.The Uruguayan Association of Producers and Filmmakers (ASOPROD) gave us some interviews for the preparation of this report, in which they voiced their opinion that the agreement, which had generated great expectations and had cost a lot of work, was actually not working.  In September 2014, ASOPROD, the association of film producers, the Uruguayan Actors Guild (SUA) and the Ministry of Labour and Social Security signed a work agreement, the first collective agreement of the arts sector.

Implement Operational Guidelines: 
No
Please explain how: 
Other: 
Please explain how: 

Seminar for organisers of festivals and celebrationsSo far, the working team of the Ministry of Tourism (MINTUR), the Ministry of Education and Culture (MEC), and the Planning and Budget Office (OPP) has organised two seminars on Uruguayan festivals and celebrations, during which local festival organisers met and exchanged their experiences regarding the management of each celebration. During the meetings, work concentrated on the festivals´ importance for culture, tourism and identity. As part of the first festival, Uruguayan and international researchers debated about the significance of festivals as intangible cultural heritage.  The first meeting took place in the department of Lavalleja in May 2011; it was followed by a second meeting next to the Palmar water dam in 2014. Both meetings were considered very successful, as they contributed to strengthen the relationship between State authorities and organised civil society, between the State bodies preparing the programmes and actions (MINTUR, MEC, OPP) and the associations and organisations of civil society in charge of the festivals with the support from a number of sources, including State entities.National Meeting of Museums Every year, the National System of Museums organises the so-called museum meetings, which gather representatives of public and private museums, together with other persons and institutions with an interest in the world of museums in Uruguay. These meetings favour the exchange of ideas and offer excellent opportunities for the discussion of problems concerning museums. Future meetings may eventually start working on a draft plan for the museum sector.In July 2016, it will be 25 years since the first national meeting of museums. 

Is Civil Society contributing to this report?: 
Yes
Name of the Organization(s): 
Nación Zumbalele (Afro), Sr. Gustavo Fernández, Vicepresidente.
Ciencia Viva Montevideo, Sra. Nelsa Botinelle, Directora.
CONACHA (Charrúas del Uruguay), Sr. Martín Delgado, Presidente.
Asociación General de Autores del Uruguay(AGADU), Sr. Alexis Buenseñor, Presidente.
Asociación Uruguaya de Agencias de Publicidad (AUDAP), Sra. Silvana Saavedra, Gerenta.
Casa Bertolt Brecht, Sr. Javier Taks, Presidente.
Centro de Archivos y acceso a la Información Pública (CAINFO), Sr.Martín Prats, Presidente del Consejo Directivo.
Cinemateca, Sr. Enrique Buchicio, Coordinador General.
Centro Latinoamericano de Economía Humana (CLAEH), Sra. Carla Chiappara, Secretaria General.
Coalición Democrática, Sr.José Imaz.
DODECÁ, Sres. Santiago Ventura, Director y Federico Castelli, Asistente.
Teatro El Galpón, Sra. Martina Rodríguez, Segretaria General.
Fundación ITAÚ, Sra. Stella Elizalde, Directora del Programa Cultural.
Intituto Goethe, Sra. Irene Muller, Encargada de programación cultural.
Instituto de Actuación de Montevideo (IAM), Sras.Maria Mendivel y Gabriela Iribarne, Directoras y docentes.
Asociación de Realizadores y Productores de cine del Uruguay
Asociación Uruguaya de Músicos (AUDEM), Sr. Sergio Navatta, Presidente.
Cámara y Conglomerado de Diseño del Uruguay
Federación Uruguaya de Teatro Independiente (FUTI), Sr. Washington Sassi.
Asociación de Mánagers y productores del Uruguay, Sr. Gonzalo Rius, Presidente de la Asociación.
Sociedad Uruguaya de artistas interpretes (SUDEI), Sra. Gabriela pintos, Directora General.
Sindicato Único de Actores (SUA), Sra. Lila García, Presidenta
Asociación de Teatros del Interior (ATI), Sr. jorge Gallero, Secretario General.
Casa de los Escritores - Sra. Lilián Hirigoyen
Ártica Centro Cultural Online, Sra. Mariana Fosatti, Co-responsable.
ASOCIACIÓN ROCHENSE DE ARTESANOS (ARDA), Sr. Ruben Rodriguez, Secretario.
Mujer y salud del Uruguay - MYSU, Sra. Maria Eugenia Casanova, Coordinadora
ANGLO,Sra. Natalia Fernández, Secretaria de Dirección General y Sr. Diego Santi, Director.
Alianza Francesa, Sras. Clemence Mayoral, Directora y Valeria Veiga, Asistente.

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: 
No
Please explain how: 
Promote ratification of the Convention and its implementation by governements: 
Yes
Please explain how: 

From 2004 and 2007 the Uruguayan Coalition for Cultural Diversity, actively worked for the 2005 Convention ratification.

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

Uruguay looks back on a long tradition of civil-society participation in all areas.In the case of the Media Law, for example, 36 organisations launched a joint call asking for its prompt implementation.The participation of youth organisations and groups from different parts of the country add validity to the development of the Plan de Acción de Juventudes (Youth Action Plan) 2015-2025 as a whole.

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: 
No
Please explain how: 
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: 
No
Please explain how: 
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: 

For example, as a result of the dissemination of the Convention in all areas and sectors related to its objectives the Convention could be introduced into the drafting of the Audiovisual Communications Law.

Challenges encountered or foreseen to implement the Convention : 

The most important challenge will be to make sure that all - public and private - sector agents embrace the Convention´s contents and objectives.

Solutions found or envisaged to overcome those challenges: 

Strengthen dissemination and persuasion efforts regarding the Convention´s overall objectives and guiding principles.

Steps planned for the next 4 years: 

Drafting of the National Culture Plan and its translation into a General Law for Culture, which should take the 2005 Convention 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: 
Year: 
Source: 
Total imports in cultural goods: 
USD: 
Year: 
Source: 
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: 
Year: 
Source: 
USD: 
Year: 
Source: 
Which methodology was used to calculate the share of culture in total GDP?: 
1.3. Government expenditure on culture: 
Total government expenditure: 
USD: 
Year: 
Source: 
Share of culture in government expenditure: 
USD: 
Year: 
Source: 
2. Books: 
(a) Number of published titles: 
Num: 
2,080
Year: 
2015
Source: 
ISBN
(b) Number of publishing companies: 
Total all companies: 
Num: 
36
Year: 
2015
Source: 
Small Size Companies: 
Num: 
27
Year: 
2015
Source: 
Agencia Nacional de ISBN/Conglomerado Editorial
Medium Size: 
Num: 
5
Year: 
2015
Source: 
Agencia Nacional de ISBN/Conglomerado Editorial
Large Size: 
Num: 
4
Year: 
2015
Source: 
Agencia Nacional de ISBN/Conglomerado Editorial
(c) Bookshops and sales: 
Bookstore chains: 
Num: 
Sales, USD: 
Year: 
Source: 
Independent Book stores: 
Num: 
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: 
Year: 
Source: 
3. Music: 
(a) Production / Number of albums produced: 
Physical Format: 
Num: 
211
Year: 
2015
Source: 
www.premiosgraffitti.com.uy
Digital Format: 
Num: 
30
Year: 
2015
Source: 
www.premiosgraffitti.com.uy
Independent Format: 
Num: 
Year: 
Source: 
Majors: 
Num: 
Year: 
Source: 
(b) Sales / Total number of recorded music sales: 
Physical Format: 
Num: 
279,334
Year: 
2015
Source: 
CUD
Digital Format: 
Num: 
0
Year: 
Source: 
4. Media: 
(a) Broadcasting audience and share: 
Year: 
Source: 
Programmes: 
(b) Broadcasting media organizations: 
Year: 
Source: 
Ownership: 
Public: 
Radio channels: 
Television channels: 
Both radio & television channels: 
Total: 
Private: 
Radio channels: 
Television channels: 
Both radio & television channels: 
Total: 
Community: 
Radio channels: 
Television channels: 
Both radio & television channels: 
Total: 
Not specified: 
Radio channels: 
Television channels: 
Both radio & television channels: 
Total: 
Total: 
Radio channels: 
Television channels: 
Both radio & television channels: 
Total: 
(c) Newspapers: 
Year: 
Source: 
Publishing format - printed: 
Free Only: 
Non-daily newspapers: 
Total: 
0
Paid Only: 
Daily newspapers: 
5
Non-daily newspapers: 
5
Total: 
10
Both Free and Paid: 
Daily newspapers: 
0
Non-daily newspapers: 
Total: 
0
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: 
5
Non-daily newspapers: 
5
Total: 
10
5. Connectivity, infrastructure, access: 
Number of mobile phone subscribers per 1000 inhabitants: 
Num: 
1,611
Year: 
2015
Source: 
Number of households with Internet access at home: 
Num: 
2,500
Year: 
2014
Source: 
BANCO MUNDIAL
Number of individuals using the Internet: 
Num: 
6,200
Year: 
2014
Source: 
BANCO MUNDIAL
Percentage of people participating in cultural activities at least one time during the last 12 months: 
6. Cultural Participation: 
Activity (in %): 
Cinema: 
Female: 
43.30
Male: 
43.40
Total: 
86.70
Theatre: 
Female: 
26.40
Male: 
20.90
Total: 
47.30
Dance (including ballet): 
Female: 
30.20
Male: 
19.80
Total: 
50.00
Live concert/musical performance: 
Female: 
33.70
Male: 
33.50
Total: 
67.20
Exhibition: 
Female: 
0.00
Male: 
Total: 
32.20
TOTAL: 
Female: 
133.60
Male: 
117.60
Total: 
251.20
Is there any available data on the reasons for the non participation in cultural events?: 
Yes
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: 

LEY DE MEDIOShttps://www.impo.com.uy/bases/leyes/19307-2014PLATAFORMA MESTIZAhttp://www.museos.gub.uy/index.php/component/k2/item/915-mestiza-plataforma-digital-de-colecciones-museologicasCUENTA SATÉLITE: http://cultura.mec.gub.uy/innovaportal/v/1613/8/mecweb/cuenta-satelite-e...http://cultura.mec.gub.uy/innovaportal/v/66114/8/mecweb/cuenta-satelite-en-cultura-del-uruguay?contid=5504&3colid=690URBANO CENTRO CULTURALhttps://www.facebook.com/UrbanoEspacioCulturalUrbano en los Museos (Museo de las Migraciones): https://www.youtube.com/watch?v=_rfmUh1zXmMUrbano en los Museos (Museo de Artes Decorativas): https://www.youtube.com/watch?v=-b34Bvro0TMUrbano en los Museos (Museo Figari): https://www.youtube.com/watch?v=IGlQUmiwk1QUrbano en los Museos (Espacio de Arte Contemporáneo): https://www.youtube.com/watch?v=rVzn7tmAoRwUrbano en los Museos (Museo de Arte Precolombino e Indígena): https://www.youtube.com/watch?v=abxLlTfHpWwDICREA: http://booksfromuruguay.com/BFU13_web_gde.pdfUSINAS CULTURALESCortometraje “9 deseos”: https://www.youtube.com/watch?v=v44jyXCfZWwVideoclip “Sueño”: https://www.youtube.com/watch?v=jDpaz-C67x0Documental de la realización de Sueño “Cosas que soñar”: https://www.youtube.com/watch?v=SaTXyX1N678Inauguración de la Usina Cultural Vilardebó: https://www.youtube.com/watch?v=ou--uBJH8ts&spfreload=10Cortometraje “El Salto”, ganador de concurso de cortometrajes sobre prevención junta nacional de drogas: https://www.youtube.com/watch?v=ekyWVBhdpJUMAPA CULTURAL DEL URUGUAY: http://www.mec.gub.uy/mecweb/mapa/cultural/index.jspFABRICAS DE CULTURACentro de Barrio Peñarol/ OPP: https://www.presidencia.gub.uy/comunicacion/comunicacionnoticias/centro-...Centro de Barrio Peñarol/ IM: http://www.montevideo.gub.uy/institucional/noticias/penarol-estrena-su-centro-de-barrioCOMPROMISO AUDIOVISUAL: https://compromisoaudiovisual.wordpress.com/PLAN NACIONAL DE JUVENTUDES: http://www.inju.gub.uy/innovaportal/v/18076/5/innova.front/plan-nacional-de-juventudes-2011-2015

Title: 
Mr
First Name: 
Sergio
Family Name: 
Mautone
Organization: 
Ministry of Education and Culture, National Directorate of Culture
Position: 
Director