Within the frame of the joint UN Project “Reimagining Education for Marginalized Girls and Boys during and post COVID-19 in Bosnia and Herzegovina”, the Antenna in Sarajevo of the UNESCO Regional Bureau for Science and Culture in Europe, and representatives of the Ministry of Education, Culture and Sports of Una-Sana Canton met in Bihac, Bosnia and Herzegovina on 14 April 2021. In a bid to promote digitalization of the education system, two Information management system solutions were presented to the Ministry of Education of Una-Sana Canton.

The theme of this year’s World Press Freedom Day, “Information as a Public Good”, underlines  the  indisputable  importance  of  verified  and  reliable  information.  It  calls  attention  to  the  essential  role of free and professional  journalists  in  producing  and  disseminating this information, by tackling misinformation and other harmful content.   Message from Ms Audrey Azoulay,  Director-General of UNESCO      Thirty years ago today, journalists, editors and publishers from across Africa gathered to  draft  a  call  for  press  freedom,  the  “Declaration  of  Windhoek  on  Promoting  an  Independent and Pluralistic African Press”. This landmark Declaration aimed to make the free flow of information a public good – a goal which still resonates today.   Since 1991, the  information  landscape  has  undergone  tremendous  changes, especially with the advent of the Internet and social media. We now have incredible opportunities to express ourselves, stay informed and connect with others. But we are  also  facing  a  rise  in  misinformation  and  hate  speech,  the  upending  of  media  business models and the concentration of power in the hands of just a few private companies.   The pandemic  has  underlined  the  need  for  reliable  information.  It  is  independent  journalism  that  has  helped  us  make  sense  of  this  crisis.  Journalists  have  reported  from  the  field,  even  at  great  personal  risk.  Many  have  been  threatened,  detained,  harassed – especially women. Sixty-two journalists were killed for their work in 2020, and many more lost their lives to COVID-19. We owe them a debt of gratitude.   The pandemic has also exacerbated existing challenges, with numerous media now facing financial losses. The power of Internet platforms has been further entrenched, with lockdowns forcing much of daily life online. And false information and rumours have flourished, in some cases with fatal consequences.   The theme of this year’s World Press Freedom Day, “Information as a Public Good”, underlines  the  indisputable  importance  of  verified  and  reliable  information.  It  calls  attention  to  the  essential  role of free and professional  journalists  in  producing  and  disseminating this information, by tackling misinformation and other harmful content.   This  theme  ties  in  with  UNESCO’s  efforts  to  ensure  the  long-term  health  of  independent,  pluralistic  journalism,  and  the  safety  of  media  workers  everywhere,  including through the UN Plan of Action for the Safety of Journalists and the Issue of Impunity.   As  part  of  these  efforts,  we  are  working  to create more  transparency  on online platforms in areas such as content moderation, while respecting human rights and international freedom of expression rules. We are equipping citizens with the Media and Information Literacy skills they need to navigate this new information landscape, so they can avoid being duped or manipulated online.   Today, we are also working to ensure that this changing landscape is reflected in  the principles   enshrined   in   the   Windhoek   Declaration,   as   we   celebrate   the   30th anniversary of this essential text at the World Press Freedom Conference being held in Windhoek, Namibia, on 2 and 3 May.    As we mark World Press Freedom Day, I call on everyone to renew their commitment to the fundamental right to freedom of expression, to defend media workers, and to join us in ensuring that information remains a public good.  

Europe and North America continues to be heavily impacted by first, second and third waves of the pandemic, its variants and the accompanying restrictions and unpredictability. Europe was one of the first regions to be affected by the pandemic, resulting in countries promptly closing cultural institutions, venues, heritage sites and events. Most European Member States were able to quickly put in place emergency government support mechanisms — some for general unemployment, and others catered specifically for the cultural sector. In most European countries, arts and cultural institutions largely rely on public support rather than on private contributions, whereas in the United States, for instance, support for the cultural sector includes donations, corporate sponsorships, foundation grants, patronage and philanthropic giving. Therefore, when the crisis hit, many institutions in the USA were unsure of how long they could realistically support their activities. Back in March 2020, the American Alliance of Museums anticipated a decline in charitable contributions as donors potentially reassessed their capacity to give due to financial volatility. As all states in the USA set their own restrictions and safety protocols, cultural institutions have adhered to different regulations. Throughout 2020, Europe suffered an overall 31% fall in revenue in the culture sector. European cities witnessed a steep decline in international tourism throughout the year, especially from June to September. As large museums can be closely connected with the cultural tourism of cities, when tourism ceased, a large share of museum revenue streams were also cut off. In response, most (70%) EU museums increased their online presence. In Europe, as in other regions, the performing arts and live performance sub-sectors have been heavily impacted by the pandemic. With venues closed across most of Europe, there was a staggering 90% drop in EU business for theatre and performing arts and 76% for music. While the majority of countries in Europe have solid social support structures in place for the cultural sector, the impact of COVID-19 has not left its cultural landscape unscathed. Moreover, the pandemic has brought to light weaknesses in structural frameworks and systems, which can be addressed in future strategies. 31% drop in revenues in the culture sector in the EU (EY) 70% decline of EU music events and artist performances (Live DMA) The creative and cultural industries account for 4.4% of GDP of the EU (EY) 31% fall in EU box office film revenue (EY) 11% United States cultural organizations are not confident of survival (Americans for the Arts)  As the creative and cultural industries drive 4.4% of the EU’s GDP, COVID-19 restrictions have presented significant challenges for the region’s development. This recognition of the importance of the CCIs to European economic development and social cohesion was why the European Parliament voted in favor of a resolution on the “Cultural Recovery of Europe” last September. It underlines the connection between post-pandemic recovery and the revitalization of European cultural policy to other priorities, including climate change and digital technologies. Moreover, it calls on the European Commission (EC) and the Member States to earmark 2% of the Recovery and Resilience Facility to the cultural and creative sectors and industries. Following a virtual meeting of EU Ministers of Culture in April 2020, the European Commission launched Creatives Unite, an online platform for sharing information on the cultural and creative sectors during the crisis. Despite the massive losses to the creative sector, there are some signs of recovery. For example, as of April 2021, 37% of EU Member States have opened museums to the public. Statistics Canada also reported an 11% increase in employment in the Canadian arts, entertainment and recreation sectors between February and March 2021, demonstrating an upward trend in employment growth for the second consecutive month.