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It is a great pleasure to be with you today, in the framework of this multi-faceted, innovative project funded by the European Creative Europe programme, to talk about an extremely important and topical issue which is the relationship between Cultural Heritage and Entrepreneurship.
Creative Europe invests in actions that enhance cultural diversity and respond to the needs and challenges of the cultural and creative sectors. The main objectives of the programme are
- to safeguard, develop and promote European cultural and linguistic diversity and heritage
- to strengthen the competitiveness and economic potential of the cultural and creative sectors, in particular the audiovisual sector.
For the 2021-2027 programming period, the programme has been allocated a budget of €2.44 billion, compared to €1.47 billion in the previous programme (2014-2020).
Here I would like to mention that the Deputy Ministry of Culture considers it very important for Cypriots to be able to take advantage of the opportunities offered by this Programme, and for this reason we have established our own sponsorship programme for automatic co-financing of projects selected for funding under Creative Europe 2021-2027.
The aim of our programme is.
C. to maximise the economic and organisational capacities resulting from participation in the Programme for the bodies/organisations, the cultural and creative sectors and for the whole local society
D. reduce the risk of failure (financial viability) in the implementation of the approved projects.
Cultural and creative organisations registered in the Republic of Cyprus that have secured funding through the programme "Creative Europe 2021-2027, strand "CULTURE" (European Cooperation Projects and European Platforms) in the framework of cross-border consortia, are entitled to apply for automatic co-financing to the Deputy Ministry of Culture of the Republic of Cyprus.
Cultural and creative organisations that are registered in the Republic of Cyprus and have secured funding through the programme "Creative Europe 2021-2027", strand "CULTURE" (European Cooperation Projects and European Platforms) in the framework of cross-border consortia, are entitled to apply for automatic co-financing to the Deputy Ministry of Culture of the Republic of Cyprus. The application concerns the funding of the part of the project's budget that is not covered by the European Commission and which the organisation is required to cover either with its own resources or by finding other sources of funding.
The Creative Europe programme is highly competitive with less than 25% of applications being approved for funding. This shows how much need there is to support the sector, given the large number of applications submitted each year. There are clearly far more applications than the programme can eventually cover with the available budget despite the substantial increase from the previous programming period.
For this I would like to warmly congratulate the stakeholders of the Cultural Bees project who managed to win this project, and especially the project implementers in Cyprus who are Junior Achievement Cyprus and InnoEUsphere, while the National Commission of UNESCO is involved in the implementation of the project as a collaborating partner.
But how do we define the cultural and creative industries? The term encompasses a wide range of sectors producing cultural, artistic and entertainment products and services. For example, this category of industries includes sectors such as film, music, visual arts, publishing, fashion, design and architecture.
According to UNESCO, cultural and creative industries are: "sectors of organized activity whose main purpose is the production or reproduction, promotion, distribution or commercialization of goods, services and activities derived from the cultural and artistic domain or from cultural heritage." This approach emphasises goods, services and activities whose origins lie in human creativity, whether past or present. It also emphasises the necessary functions of each aspect of the cultural value chain that enables goods, services and activities to reach an audience and market. Therefore, this definition is not limited only to the products of human creativity and industrial reproduction, but also includes other activities that contribute to the creation and distribution of cultural and creative goods and services.
Cultural industries focus primarily on the production and dissemination of cultural goods, while creative industries emphasize innovation and originality in their production. Together, they shape our cultural landscape, reflecting societal values, beliefs and identities. This dynamic sector not only entertains and informs, but also promotes creativity, diversity and cultural exchanges on a global scale.
One of the sectors of the cultural and creative industries is cultural heritage, which, in turn, can be classified into three main categories:
1. 1. The intangible cultural heritage which includes practices, expressions, knowledge and skills transmitted from generation to generation within a community, such as traditional food and customary practices, oral traditions, social practices, rituals and festivities and many others.
3. The natural heritage and cultural landscape. This includes sites with significant biodiversity associated with indigenous cultures, traditional ecological knowledge and practices related to nature conservation and natural resource management.
4. With the advancement of technology, cultural heritage has expanded into the digital realm thus creating a new field, that of digital cultural heritage.
Cultural heritage provides the basis and inspiration for contemporary creators and artists and enriches the narratives, themes and aesthetics present in cultural and creative products, giving them meaning and resonance for contemporary audiences.
Cultural heritage provides the basis and inspiration for contemporary creators and artists and enriches the narratives, themes and aesthetics present in cultural and creative products, giving them meaning and resonance for contemporary audiences. In turn, the cultural and creative industries contribute to the preservation, interpretation and dissemination of cultural heritage through various media such as art, literature, film and music. By utilizing media such as digitization, exhibitions, performances and commercialization, these industries bring cultural heritage to a wider audience, encouraging appreciation, awareness and understanding of different cultural expressions.
These industries also drive economic development by turning cultural goods into products and experiences that generate revenue and employment opportunities. Moreover, they play a crucial role in shaping cultural identities, enhancing social cohesion and promoting intercultural exchanges by showcasing different perspectives and traditions.
The economic impact of cultural and creative industries on heritage sites and practices cannot be overestimated. Tourism, for example, often revolves around heritage sites, with visitors spending on accommodation, food and souvenirs, thus stimulating local economies and supporting heritage conservation efforts.
Here I would like to mention that as the State Ministry of Culture we are working to harmonize each individual strategy developed in the field of culture with the aim of preserving, utilizing and developing culture, not only as a vital element of our history and identity, but also as a driving force for social progress, economic development and sustainability locally and internationally.
International experience and the Ministry of State's overall ambition is to attach particular importance to the contribution of culture to economic development and people's quality of life. The cultural and creative industries can be a driver of sustainable development, regional regeneration and a development tool, contributing, inter alia, to tourism and employment. Our aim is to exploit these industries through the promotion of our rich cultural heritage and our geographical location to generate economic and social value. To this end, the Deputy Ministry promotes the inclusion of culture as one of the productive and developmental sectors of the economy in the national operational plan being prepared for the next Multiannual Financial Framework in order to make it possible to obtain funding from the European Funds for infrastructure projects and sponsorships in the cultural sector.
Knowing a little bit about the issues that you will deal with today, I would like to focus more on a sector that combines tangible and intangible cultural heritage, and we as the Deputy Ministry of Culture are concerned about its sustainability and it offers itself as a field for exploring ways of development in a business context. I am referring to traditional crafts which today faces many challenges.
On the one hand, the products of traditional crafts often struggle to compete with mass-produced products, which are usually much cheaper. This results in a decrease in demand for traditional products making it difficult for artisans to make a living.
Also, with the rise of globalization, traditional crafts face competition from crafts and products from other regions or countries. This can lead to a loss of market share for traditional crafts and a decline in their practice.
Many people may not be aware of the cultural significance or value of traditional crafts, resulting in a lack of appreciation and support for them. Without recognition and understanding of their importance, traditional crafts may struggle to survive.
Traditional crafts often require specialized skills and knowledge that are passed down from generation to generation. However, as younger generations follow different career paths and lifestyles, there is a risk that these skills will be lost if they are not actively taught and maintained.
There are, further, intellectual property issues: Traditional arts are often vulnerable to exploitation and appropriation, with designs and techniques being copied or counterfeited without proper attribution or compensation to the original artisans. This can undermine the economic viability of traditional crafts and discourage artisans from continuing their practice.
Addressing these challenges requires a combination of efforts, including raising awareness about the cultural significance of traditional crafts, providing support to artisans through training and resources, strengthening links between artisans and markets, and implementing policies to protect intellectual property rights and Invest in cultural education and awareness initiatives to promote a deeper appreciation and understanding of our heritage to future generations. In addition, we seek to strengthen legal frameworks and institutions for the protection and preservation of cultural heritage sites and intangible cultural practices. Finally, through the Cyprus Handicraft Service, a series of actions are being implemented to support this sensitive sector linked to Cyprus' intangible cultural heritage.
As stewards of our cultural heritage, we are committed to preserving the richness of our cultural expressions and strengthening the sector with business skills, ensuring that it continues to thrive and inspire for centuries to come.
In conclusion, I would also like to congratulate Junior Achievement Cyprus, InnoEUsphere and the National Commission of UNESCO for this great success in approving the Cultural Bees project which stands out for its efforts to preserve and enhance cultural heritage through the strengthening of entrepreneurship and innovation, and wish the project's activities well.
I hope that today's consultation will enrich your knowledge on the issue of linking cultural heritage and entrepreneurship and that it will be a source of inspiration for innovative actions.
(EK)
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