A manuscript from Maqdala now at the British Library. Credit: James Jeffrey/IPS

By James Jeffrey
LONDON, Apr 23 2018 (IPS)

A new exhibition that opened April 5 at London’s famous Victoria and Albert museum of ancient treasures looted from Ethiopia has revived debate about where such artifacts should reside, highlighting the tensions in putting Western imperialism in Africa and the past to rest.

The exhibit comprises 20 royal and religious artifacts plundered during the Battle of Maqdala in 1868, when a British force laid siege to the mountain fortress of Ethiopian Emperor Tewodros.  “We have both a growing opportunity and growing responsibility to use the potential of digital to increase access for people across the world to the intellectual heritage that we safeguard.” -- Luisa Mengoni, head of Asian and African collections at the British Library

After their victory, the British force was at liberty to take what it wanted. The scale of the treasures stolen by the army isn’t widely known—inside the British Library are hundreds of beautiful Ethiopian manuscripts taken too.

While the argument for returning such artifacts appears strong, and perhaps obvious to most, legal issues surrounding a museum’s responsibility as a global custodian, as well as how best to make items available to the public, make the matter more nuanced than it seems.

“Museums have a global responsibility to better understand their collections, to more fully uncover the histories and the stories behind their objects, and to reveal the people and societies that shaped their journeys,” says Tristram Hunt, the Victoria and Albert museum’s director. “To this end, we want to better reflect on the history of these artifacts in our collection – tracing their origins and then confronting the difficult and complex issues which arise.”

The V&A website describes the museum’s collection of Ethiopian treasures as an “unsettling reminder of the imperial processes which enabled British museums to acquire the cultural assets of others.”

Hence efforts over the years by those like Richard Pankhurst, recognised as arguably the most prolific scholar in the field of Ethiopian studies, who helped found the Association for the Return of the Ethiopian Maqdala Treasures (AFROMET), and focused his efforts on the roughly 350 Maqdala manuscripts that ended up in the British Library.

“It is not widely known what happened,” said Pankhurst before his death in 2017. “The soldiers were able to pick the best of the best that Ethiopia had to offer. Most Ethiopians have never seen manuscripts of that quality.”

Tewodros had the country scoured for the finest manuscripts and collected in Maqdala for a grand church and library he planned to build.

“They are so lavish as they were made for kings,” says Ilana Tahan, lead curator of Hebrew and Christian Orient studies at the British Library, whose staff take their duties of guardianship as seriously as those trying to get the manuscripts returned to Ethiopia.

The front page of one of the Makdala manuscripts given to the British Library, on which is written: Pres. [Presented] by H. M. the Queen [Queen Victoria] 21 Jan. 1869. Credit: James Jeffrey/IPS

Tewodros had actually admired Britain, even hoping they would help develop his country. But a perceived snub when Queen Victoria didn’t reply to a letter of his, led to him imprisoning a small group of British diplomats, resulting in General Robert Napier mounting a rescue mission with a force of 32,000.

On Easter Monday, 13 April 1868, with the British victorious in the valleys surrounding his mountaintop redoubt Maqdala and about to launch a final assault, Tewodros bit down on a pistol—a previous present from Queen Victoria—and pulled the trigger.

In Ethiopia today, Tewodros remains revered by many for his unwavering belief in his country’s potential, while the looting of Maqdala continues to spur the efforts of AFROMET and others continuing the activism of Richard Pankhurst.

“Though Richard was unsuccessful with the British Library manuscripts, there was the return of a number of crosses, manuscripts from private collections,” says his son, Alula Pankhurst, himself a historian and author.

Alula Pankhurst notes that the family of General Napier recently returned a necklace and a parchment scroll to the Institute of Ethiopian Studies.

“My father would have argued that the items should be returned as they were wrongly looted,” Alula Pankhurst says. “There is now the technology available to make copies [of the manuscripts] that are indistinguishable from the originals and microfilms mean that copies could be retained.”

But such technology is also seen by those at the British Library as a reason why the manuscripts can remain where they are.

“We have both a growing opportunity and growing responsibility to use the potential of digital to increase access for people across the world to the intellectual heritage that we safeguard,” says Luisa Mengoni, head of Asian and African collections at the British Library.

One of the items in the V&A exhibit: a gold and gilded copper crown with glass beads, pigment and fabric, made in Ethiopia, 1600-1850. Photo courtesy Victoria and Albert Museum, London.

The British Library is continuing its efforts to make the manuscripts accessible to the public through new exhibits. And during the next two years the library plans to digitise some 250 manuscripts from the Ethiopian collection, with 25 manuscripts already available online in full for the first time through its Digitised Manuscripts website.

“The artwork suffers when it is digitalised, plus many of the manuscripts have detailed comments in the margins—there are many reasons scholars need to attend to the originals and which are not met by digital copies,” Andreas says.

But the return of the manuscripts is actually out of the library’s hands. New legislation would have to be passed by the British Parliament for the manuscripts, or any artefacts held in British museums, to be returned.

“While some restitutionists may grumble that the majority of items have not been returned, much has been done to spread knowledge of their existence – and great artistry – to Ethiopian scholars, and to the world at large,” says Alexander Herman, assistant director of the Institute of Art and Law,  an educational organisation focused on law relating to cultural heritage. “This has been made possible by the willingness of the British Library to invest in this once-overlooked part of its collection.”

The complex issue of repatriating looted objects has rumbled on in Europe and the United States for years without much resolution, though now there appears an increasing openness to engage with the issue, both on the part of major Western museums and governments.

President Emmanuel Macron of France said in November that the restoration of African artefacts was a “top priority” for his country, and at a speech in Burkina Faso said that “African heritage can’t just be in European private collections and museums.”

In the meantime, other options treading a middle ground are beginning to be talked about more openly. Hunt says he is “open to the idea” of a long-term loan of the objects to Ethiopia, a move Alula Pankhurst says “would be a step in the right direction.”

But that’s still not good enough for others.

“The restitution of Ethiopian property is a matter of respecting Ethiopia’s dignity and fundamental rights,” says Kidane Alemayehu, one of the founders of the Horn of Africa Peace and Development Center, and executive director of the Global Alliance for Justice: The Ethiopian Cause.

“Looting another country’s property and offering it on loan to the rightful owner should evoke the deepest shame on any self-respecting country.”

Indigenous people who would be directly affected by the impact of a hydroelectric project in Panama were not consulted despite national and international human rights obligations to obtain their free, prior and informed consent, according to a just-released report.

Acting on behalf of communities in Panama’s Ngöbe-Buglé indigenous territory, the Movimiento 10 de Abril (M-10) had filed a complaint with the Independent Complaints Mechanism (ICM) of the Dutch FMO and German DEG development banks alleging that the Barro Blanco dam project which the banks were financing would lead to the flooding of the communities’ homes, schools, and religious, archaeological and cultural sites.

The two banks were accused of failing to adequately assess the risks to indigenous rights and the environment before approving a 50 million dollar loan to GENISA, the project’s developer.

The independent panel’s report, released May 29, found that the “lenders should have sought greater clarity on whether there was consent to the project from the appropriate indigenous authorities prior to project approval,” adding that “the lenders have not taken the resistance of the affected communities seriously enough.”

“We did not give our consent to this project before it was approved, and it does not have our consent today,” said Manolo Miranda, a representative of the M-10.  “We demand that the government, GENISA and the banks respect our rights and stop this project.”

According to the ICM’s report, “significant issues related to social and environmental impact and, in particular, issues related to the rights of indigenous peoples were not completely assessed.”

The environmental and social action plan (ESAP) accompanying the project “contains no provision on land acquisition and resettlement and nothing on biodiversity and natural resources management. Neither does it contain any reference to issues related to cultural heritage.”

Ana María Mondragón, a lawyer at the Interamerican Association for Environmental Defense (AIDA), said: “This failure constitutes a violation of international standards regarding the obligation to elaborate adequate and comprehensive environmental and social impact assessments before implementing any development project, in order to guarantee the right to free, prior and informed consent, information and effective participation of the potentially affected community.”

In February this year, the Panamanian government provisionally suspended construction of the Barro Blanco dam and subsequently convened a dialogue table with the Ngöbe-Buglé, with the facilitation of the United Nations, to discuss the future of the project.

The Barro Blanco project was registered under the Clean Development Mechanism, a system under the Kyoto Protocol that allows the crediting of emission reductions from greenhouse gas abatement projects in developing countries.

“As climate finance flows are expected to flow through various channels in the future, the lessons of Barro Blanco must be taken very seriously,” said Pierre-Jean Brasier, network coordinator at Carbon Market Watch. “To prevent that future climate mitigation projects have negative impacts, a strong institutional safeguard system that respects all human rights is required.”

The ICM will monitor the banks’ implementation of corrective actions and recommendations, while M-10 said that it expects FMO and DEG to withdrawal their investment from the project and ask that the Dutch and German governments show a public commitment to ensuring the rights of the affected Ngöbe-Buglé.

Edited by Phil Harris   

Quick now, can you name a famous African sculptor from the 1800s or even the early 20^th century?

Anyone able to answer positively is part of a select minority – most museum-goers have become used to seeing traditional African carvings without knowing the name of the artist.

Artwork by Kuakudili on display at the ‘Masters of Sculpture from Ivory Coast’ exhibition, currently running at the Quai Branly Museum in Paris, where visitors can see the forms that inspired Western artists such as Picasso, Braque and other adherents of Cubism. Credit: A.D. McKenzie/IPS

But some experts are taking steps to change this, with the most extensive exhibition devoted to identifying Africa’s expert sculptors now on in Paris at the Quai Branly Museum – a venue devoted to the indigenous art of Africa, Asia, Oceania and the Americas that is sometimes criticised for having “colonial undertones”.

The exhibition, titled ‘Masters of Sculpture from Ivory Coast’, features nearly 330 historical and contemporary works and artefacts, and runs until Jul. 26. It comes at a time when the market for traditional African art is at its highest in decades, with pieces fetching record prices, amid debate about whether these objects should be “returned” to Africa.

The show pays tribute to the remarkable artistry of the sculptors, who were often given the title of “master” in their homeland; and the timeless splendour of some of the objects will help to explain the current collecting craze. But the exhibition may also add fuel to the discussion about who should own works that reflect a region’s cultural heritage.

“Art really has no fatherland,” says the exhibition’s co-curator Eberhard Fischer, an ethnologist and Director Emeritus of the Rietberg Museum in Zurich, Switzerland.

“The interest of the artist might not be the same as the interest of the nation. Museums are responsible to the artist, and should honour them in the right way,” he added. “African art, European art, Indian art should be seen all over the world. We’re in the 21^st century.”

He told IPS that what was “special” about the exhibition is the attempt to reveal the creators “behind the masterpieces”, in contrast to the objects being presented in a general context as tribal art created by anonymous makers.“Too often considered in the West as an artisanal production only involved in ritual activities, African art – just like Western art – is produced by individual artists whose works display great artistic and personal skill” – Notes to the ‘Masters of Sculpture from Ivory Coast’ exhibition

“My aim is to put these masters on a pedestal and to say ‘these were great men’,” Fischer said. “They were never given the same status as Western artists, and it’s time their individual skills were highlighted.”

In the notes to the exhibition, Fischer and co-curator Lorenz Homburger state that “African sculpture has a central place in the history of art”, and they indicate that the identification of traditional artists contributes to the recognition of this role.

“Too often considered in the West as an artisanal production only involved in ritual activities, African art – just like Western art – is produced by individual artists whose works display great artistic and personal skill,” the curators stress.

The Ivory Coast (Cote d’Ivoire) was one of the most important regions for African art production, and the exhibition “invites” visitors to discover the different “masters” of the various ethnic groups – artists who were held in “high esteem” by their communities. Some sculptors are designated only by their region, but many others do have names that are now becoming known.

Museum-goers will learn about Sra (“the creator”) who was born circa 1880 and died in 1955. He was the most famous sculptor of western Ivory Coast, according to the curators, creating “prestige objects and masks for many Dan and Mano chieftains in Liberia and for important members of the Dan and We community in Ivory Coast.”

Sra was renowned for his female figures, and visitors can admire these objects as well as his striking mother-and-child depictions. One of his contemporaries, Uopié, came from a different area but was also part of the Dan culture – in north-western Ivory Coast – and produced “bewitchingly beautiful” smiling masks, of the kind known as déanglé.

Putting a face and name to unsung African artists – photo of Kuakudili, an Ivory Coast artist who carved sacred masks both for masquerade dancers in neighbouring villages as well as for his own people. Cubism. Credit: A.D. McKenzie/IPS

Alongside the objects, the curators give verbal snapshots of the artists whom they have been able to name: Tompieme was a “small, rather athletic, cheerful man” who was a successful farmer as well as singer and musician; Si was a hunter and youth instructor who, for many decades “circumcised boys and led the initiation camp … where he showed his initiates the art of carving.”

Then there is Tame (circa 1900 to 1965), a “handsome young man, a successful wrestler and the lover of many women.” He was the nephew of Uopié, who taught him to carve.  While there is no picture to allow visitors to judge Tame’s purported good looks for themselves, the exhibition does provide a photo of Kuakudili, the first Ivory Coast artist to have his “own face” in the show.

A picture of this sculptor is available thanks to Hans Himmelheber, a German anthropologist, art collector and Fischer’s step-father, who met the artist in 1933. The photo shows Kuakudili as a thin, serious man. He carved sacred masks both for masquerade dancers in neighbouring villages as well as for his own people, and in his work, visitors can see the forms that inspired Western artists such as Picasso, Braque and other adherents of Cubism.

Away from the exhibition, masks such as these and other objects from “African masters” are currently in great demand on the international art market, especially in Paris, New York and Brussels.

Jean Fritts, director for African and Oceanic Art at the Sotheby’s auction house, says that the median price for African art has doubled over the past decade.

“There has been tremendous growth since 1999,” she told IPS. “Part of this is related to a broader appreciation of African art.”

It is also related to some of the first collectors dying, and their heirs selling the objects, dealers have said. Many pieces have come from former colonialists in Belgium, for instance, and museums as well as private collectors are snapping up the objects that they believe were acquired by “honest” means.

Fritts said that 25 percent of the art on the market is being bought by collectors in the Middle East, with some of the works destined for the Louvre Abu Dhabi as well as the National Museum of Qatar, set to open in 2016.

In Africa, businesspeople such as Congolese entrepreneur Sindika Dokolo have also been buying on the market, with the aim of bringing some of Africa’s art back home. Dokolo had a representative at a recent Sotheby’s auction in Paris, where a coveted mask fetched 3.5 million euros (it went to another bidder).

Regarding the identity of the artists, Fritts and other dealers acknowledged that there is an “issue” because historically there has not been “much data collected about the carver”.

Given that provenance and exhibition history are important for art collectors (along with artistic quality and “rarity”), the Quai Branly show may help to add value to objects identified as being carved by a particular “master”. Fischer, the curator, sees no problem with that.

“A lot of these art pieces are sold as antiques and this is a wrong concept,” he says. “The market wants to keep them in some cloud of anonymity, but why shouldn’t African art fetch the same high prices that collectors pay for Western art? These artists have not been honoured enough.”

He sees the exhibition as the first step for these artists to have a place in prestigious museums such as the Louvre in Paris. Perhaps one day, Sra will be as internationally known as Picasso.

Edited by Phil Harris   

IFAD President Kanayo F. Nwanzwe (centre) joins in a traditional Fijian dance at the opening ceremony of the second Global Meeting of the Indigenous Peoples' Forum, February 2015. Credit: IFAD

By Valentina Gasbarri
ROME, Feb 17 2015 (IPS)

“We do not inherit the Earth from our ancestors, we borrow it from our children” – an ancient Indian saying that encapsulates the essence of sustainability as seen by the world’s indigenous people.

With their deep and locally-rooted knowledge of the natural world, indigenous peoples have much to share with the rest of the world about how to live, work and cultivate in a sustainable manner that does not jeopardise future generations.

This was the main message brought to the second Global Meeting of the Indigenous Peoples’ Forum, organised by the International Fund for Agricultural Development (IFAD) last week in Rome.“We have learned the relevance of the diversity and distinctiveness of peoples and rural communities and of valuing and building on their cultural identity as an asset and economic potential. The ancient voice of the natives can be the solution to many crises” – Antonella Cordone, IFAD

The Indigenous Peoples’ Forum represents a unique initiative within the U.N. system. It is a concrete expression of IFAD’s recognition of the role that indigenous peoples play in economic and social development through traditional sustainable practices and provides IFAD with an institutional mechanism for monitoring and evaluating the effectiveness of the agency’s engagement with indigenous peoples.

This engagement includes achievement of the objectives of the U.N. Declaration on the Rights of the Indigenous Peoples (UNDRIP).

Despite major improvements in recent decades, indigenous and tribal peoples – as well as ethnic minorities – continue to be among the poorest and most marginalised people in the world.

There are over 370 million indigenous peoples in some 70 countries worldwide, with the majority living in Asia. They account for an estimated five percent of the world’s population, with 15 percent of these peoples living in poverty.  Various recent studies show that the poverty gap between indigenous peoples and other rural populations is increasing in some parts of the world.

“IFAD is making all efforts to ensure that the indigenous peoples’ voice is being heard, rights are respected and well-being is improving at the global level,” said Antonella Cordone, IFAD’s Senior Technical Specialist for Indigenous peoples and Tribal Issues.

“We have learned the relevance of the diversity and distinctiveness of peoples and rural communities and of valuing and building on their cultural identity as an asset and economic potential,” she continued. “The ancient voice of the natives can be the solution to many crises.”

As guardians of the world’s natural resources and vehicles of traditions over the years, indigenous peoples developed a holistic approach to sustainable development and, as the U.N. Special Rapporteur on the Rights of Indigenous Peoples, Victoria Tauli-Corpuz, highlighted during an Asia-Pacific working group session, “indigenous peoples’ livelihoods are closely interlinked with cultural heritage and identities, spirituality and governance systems.”

These livelihoods have traditionally been based on handing down lands and territories to new generations without exploiting them for maximum profit. Today, these livelihoods are threatened by climate change and third party exploitation, among others.

Climate change, to which indigenous peoples are particularly vulnerable, is posing a dramatic threat through melting glaciers, advancing desertification, floods and hurricanes in coastal areas.

Long-standing pressure from logging, mining and advancing agricultural frontiers have intensified the exploitation of new energy sources, construction of roads and other infrastructures, such as dams, and have raised concerns about large-scale acquisition of land for commercial or industrial purposes, commonly known as land grabbing.

In this context, the Forum stressed the need for the free, prior and informed consent (FPIC) of indigenous peoples whenever development projects affect their access to land and resources, a requirement which IFAD President Kanayo F. Nwanzwe said should be respected by any organisation engaging with indigenous peoples.

Poverty and loss of territories and resources by indigenous peoples due to policies or regulations adverse to traditional land use practices are compounded by frequent discrimination in labour markets, where segmentation, poor regulatory frameworks and cultural and linguistic obstacles allow very few indigenous peoples to access quality jobs and social and health services.

Moreover, indigenous peoples suffer from marginalisation from political processes and gender-based discrimination.

These are among the issues that participants at the Forum said should be taken into account in the post-2015 development agenda. They said that this agenda should be designed to encourage governments and other actors to facilitate the economic and social empowerment of poor rural people, in particular, marginalized rural groups, such as women, children and indigenous peoples.

A starting point for the architecture of the agenda for the Sustainable Development Goals (SDGs) which will replace the Millennium Development Goals (MDGs) that expire at the end of this year was seen as the recommendations adopted during the two-day Forum (Feb. 12-13).

These included the need for a holistic approach to supporting and strengthening indigenous peoples’ food systems, recognition of traditional tenure, conservation of biodiversity,  respect for and revitalisation of cultural and spiritual values, and ensuring that projects be designed with the FPIC of indigenous peoples.

Participants said that it is important to emphasise the increasing need to strengthen the participation and inclusion of indigenous peoples in discussions at the political and operational level, because targets in at these levels can have a catalytic effect on their social and economic empowerment.

The Forum agreed that giving the voice to indigenous people and their concerns and priorities in the post-2015 agenda represents an invaluable window of opportunity for development.

Edited by Phil Harris    

By Roberto Savio
ROME, Oct 22 2014 (IPS)

The new European Commission looks more like an experiment in balancing opposite forces than an institution that is run by some kind of governance. It will probably end up being paralysed by internal conflicts, which is the last thing it needs.

During the Commission presided over by José Manuel Barroso (2004-2014), Europe has become more and more marginal in the international arena, bogged down by the internal division between the North and the South of Europe.

Roberto Savio

We are going back to a new Thirty Years’ War – which took place nearly five centuries ago – between Catholics and Protestants. Catholics are considered profligate spenders, and there is a moral approach to economics from the Protestant side.

The Germans, for example, have transformed debt into a financial “sin”.  The large majority of Germans support the stern position of their government that fiscal sacrifice is the only way to salvation, and the looming economic slowdown will only strengthen that feeling. As a result, the handling of Europe’s internal governance crisis has largely pushed Europe to the side lines of the world.

It is a mystery why it is in the interests of Europe to push Russia into a structural alliance with China and, in such a fragile moment, inflict on itself losses of trade and investment with Russia which could reach 40 billion euro next year.“We are going back to a new Thirty Years’ War – which took place nearly five centuries ago – between Catholics and Protestants. Catholics are considered profligate spenders, and there is a moral approach to economics from the Protestant side.”

The latest issue of the prestigious Foreign Affairs magazine – the bible of the U.S. elite – carries a long and detailed article on “Why the Ukraine Crisis is the West’s Fault” by Chicago academic John J. Mearsheimer, who documents how the offer to Ukraine to join the North Atlantic Treaty Organisation (NATO) was the last of a number of hostile steps that pushed Russian President Vladimir Putin to stop a clear process of encroachment.

Mearsheimer wonders how all this was in the long term interests of the United States, beyond some small circles, and why Europe followed. But politics now has only a short-term horizon, and priorities are becoming conditioned by that approach.

A good example is how European states (with the exception of the Nordic states), have been slashing their international cooperation budgets. Not only have Spain, Italy and Portugal – and of course Greece – practically eliminated their official development assistance (ODA) budgets, but France, Belgium and Austria have also been following suit. Meanwhile China has been investing heavily in Africa, Latin America and, of course, Asia where the term ‘cooperation’ would not be the most appropriate.

But the best example of Europe’s inability to be in sync with reality is the last cut in the Erasmus programme, which sends tens of thousands of students every year to another European country. Has it been overlooked that one million babies have been born to couples who met during their Erasmus scholarships, and that this programme is being cut at a moment when anti-Europe parties are sprouting everywhere?

In fact, education – and especially culture (and medical assistance) – are under a continuous reduction in spending. As Giulio Tremonti, Finance Minister under Italian Prime Minister Silvio Berlusconi, famously said, “you don’t eat with culture”.

The per capita budget for culture in southern Europe is now one-seventh that of northern Europe. Italy, which according to UNESCO holds 50 percent of Europe’s cultural heritage, has just decided in its latest budget to open up 100 jobs in the archaeological field with a gross monthly salary of 430 euro. In today’s market, this is half what a maid receives for 20 hours of work a week.

Italian politicians do not say so explicitly, but they believe that there is already such rich heritage that there is no need for further investment and, anyhow, the tourists continue to arrive. The budget for all Italian museums is close to the budget of the New York Metropolitan Museum … in the real world, this is like somebody who wants to live by showing the mummified body of his great grandmother for the price of a ticket!

It can be said that, in a moment of crisis, the budget for culture can be frozen because there are more urgent needs. But no need is more urgent than to keep Europe running in the international competition in order to ensure a future for its citizens. And yet, the budget for research and development, which is essential for staying in the race, is also being cut year by year.

Let us look at the situation since 2009. Spain has reduced investment in R&D by 40 percent, which has led to a 40 percent cut in financing for projects and a 30 percent cut in human resources. Italian universities have witnessed a total cut of 20 percent in spending which has meant a reduction of 80 percent in hiring and 100% in projects, while 40 percent of PhD courses have disappeared.

France has cut hiring in centres of research by 25 percent and in universities by 20 percent. Less than 10 percent of demand for projects receives financing because funds are no longer available.

Greece has cut budget for centres of research and universities by 50 percent since 2011, and has frozen the hiring of any new researchers.

In the same period in Portugal, universities and research centres have suffered a cut of 50 percent, the number of scholarships for PhDs has been cut by 40 percent and post-doctoral courses by 65 percent.

It is important to recall that the Lisbon Strategy, the action programme for jobs and growth adopted in 2000,  aimed to  make the European Union “the most competitive and dynamic knowledge-based economy in the world, capable of sustainable economic growth with more and better jobs and greater social cohesion” by 2010. Not only were most of its objectives not achieved in 2010, but Europe continues to slide backwards. The Lisbon Strategy had set 3 percent of GNP for R&D, but southern Europe is now below 1.5 percent.

A notable exception is the United Kingdom. The current government, which works in strong synchronicity with the City and its industrial constituency, has funded a 6 billion euro “Innovation and Research Strategy for Growth” plan to the applause of the private sector.

China is steadily increasing steadily its R&D budget, which is now 3 percent (what the Lisbon Strategy had set for Europe), but it aims to reach 6 percent of GNP by 2020 and, in just seven years, China has become the largest producer of solar energy, bankrupting several U.S. and European companies.

Is cutting Europe’s future in international competition really in the interests of Germany? Or it is that politics are losing the view of the forest while they discuss how many trees to cut, to reach a compromise between the Catholics and the Protestants?

We are now making of economics a moral science, which makes of Europe an unusual world. (END/IPS COLUMNIST SERVICE)

(Edited by Phil Harris)

Excerpt:

Putting the spotlight on culture. Credit: A.D. McKenzie/IPS

By A. D. McKenzie
FLORENCE, Oct 4 2014 (IPS)

International experts working in the creative sector are calling for governments to recognise the integral role that culture plays in development and to ensure that culture is a part of the post-2015 United Nations development goals, to be discussed next year.

At UNESCO’s Third World Forum on Culture and Cultural Industries, which took place Oct. 2-4 in Florence, Italy, representatives from a range of countries discussed the contributions that culture can make to a “sustainable future” through stimulating employment, economic growth and innovation.

The United Nations cultural agency pointed out that the global trade in cultural goods and services has doubled over the past decade and is now valued at more than 620 billion dollars, although there is some disagreement on this figure.

But, apart from the financial aspects, culture also contributes to social inclusion and justice, according to UNESCO Director-General Irina Bokova, who inaugurated the forum at Florence’s Palazzo Vecchio.“Countries must invest in culture with the same determination they bring to investing in energy resources, in new technologies … In a difficult economic environment, we must look for activities that reinforce social cohesion, and culture offers solutions in this regard” – UNESCO Director-General Irina Bokova

“I believe countries must invest in culture with the same determination they bring to investing in energy resources, in new technologies,” she said. “In a difficult economic environment, we must look for activities that reinforce social cohesion, and culture offers solutions in this regard.”

Bokova told IPS that the forum wanted to show that culture contributes to the “attainment” of the various development goals, which include ending extreme poverty, achieving universal primary education and gender equality, and ensuring environmental sustainability.

Many governments, however, are not investing enough in the cultural or creative sectors even when these industries have proven their worth. Some states prefer to build sports stadiums that are rarely used rather than to support the arts, said Lloyd Stanbury, a Jamaican lawyer in the music business who participated in the forum.

“In the case of Jamaica, we’ve shown that we can compete and win globally at the highest levels in culture,” he told IPS. “Reggae and Rastafari have put Jamaica on the world map and the debate is happening right now about what the government can do to invest more in culture.”

Stanbury said that arts education should have the same status as traditional curricula. “Students are sometimes told, ‘oh, you can’t do maths? Go and draw something’ but their drawings aren’t considered valuable,” he said.

In some developing countries, the arts are seen as a peripheral sector, not a “real” industry and that must change, he argued.

In addition, Stanbury said in his presentation to the forum, in many developing countries, “segments of the music and entertainment community do not enjoy harmonious relationships with government and government institutions, particularly where there is evidence of government corruption that artists speak out against in the creation and presentations of their work.”

For many governments, meanwhile, investing in culture naturally comes a long way behind providing proper health, sanitation and electricity services and developing transportation infrastructure. Yet, culture can help in poverty alleviation, job creation and peace building, experts said.

Peter N. Ives, Mayor pro tem of the U.S. city of Santa Fe, New Mexico, detailed how the city had invested in the arts, through allocating one percent of hotel-bed taxes (or lodger taxes) for cultural activities, among other measures.

“Santa Fe now has more cultural assets per capita than any other city in the United States,” he said, adding that “inclusion” of all groups was a key element of the policy, in which “everyone brings their creative gifts to the table”.

The city has an Arts Commission, appointed by the mayor, that “recommends programmes and policies to develop and promote artistic excellence in the community” and it has followed a multi-cultural route.

The result is that Santa Fe has increasingly drawn writers and visual artists, as well as tourists, because of its growing number of museums, performances and outdoor sculptures – also one of the reasons behind its designation as a UNESCO Creative City.

Such “success stories” may seem far-fetched for many poor or middle-income countries, faced with a variety of crises including conflict. But experts at the conference described grassroots schemes where intra-community violence, for instance, decreased when community members were actively encouraged to produce art about their lives.

Other representatives examined how creating film and literary festivals had contributed to a sense of national pride and cohesion. In the Caribbean and in parts of Africa and Asia, for example, the growth of festivals and cultural prizes has given a general boost to the arts in some countries, reflecting what wealthy countries have known for some time.

The forum, jointly organized by UNESCO, the Italian government, the Tuscany region and the Municipality of Florence, also examined how culture can be preserved in war-affected regions, with a focus on recent UNESCO cultural heritage preservation projects (funded by Italy) in Afghanistan, Mali and other states.

Denmark and Belgium, meanwhile, provided a look at how overseas development aid to cultural activities can promote employment, training and youth involvement in society, especially within a human rights context.

“We’re living in a very hostile environment for development cooperation and also for culture and development, but I’m launching an appeal for more cooperation in this area,” said Frédéric Jacquemin, director of Africalia, a Belgian organisation that sees culture as “a motor for sustainable human development”.

Participants in the forum produced a ‘Florence Declaration’ calling for the “full integration of culture into sustainable development policies and strategies at the international, regional and local levels.”

The Declaration said that this should be based on standards that “recognise fundamental principles of human rights, freedom of expression, cultural diversity, gender equality, environmental sustainability, and openness and balance to other cultures and expressions of the world.”

(Edited by Phil Harris)