Indonesia 2016 report

Informations Générales

Résumé

Veuillez résumer en maximum 3500 caractères les principaux résultats et défis de la mise en oeuvre de la Convention, ainsi que les perspectives d’avenir. Veuillez noter qu’il ne s’agit pas d’une introduction au rapport ni d’un sommaire commenté.

Indonesia has implemented the goals of the Convention long before the Convention was even established. As reflected in Article 28.C.1 of the 1945 Constitution and the national motto of “Bhinneka Tunggal Ika” or “Unity in Diversity”, diversity of cultural expressions has always been one of the foundations of Indonesia.

Over the years, Indonesia has accomplished many achievements in implementing the goals of the Convention. Some of the more recent main results that deserve special recognition include:

Development of a long term, comprehensive strategic plan by the former Ministry of Tourism and Creative Economy;
Formation of the Coordinating Ministry for Human and Culture Development and Creative Economy Agency; and
Implementation of World Culture Forum, the Bali Arts Festival, and the Indonesian Dance Festival as exemplary programmes based on impact, innovativeness, and funds allocated.

Through years of implementing the goals of the Convention, Indonesia has encountered various challenges. Many of those challenges were echoed in the various consultations held throughout the drafting of this report and appear to be commonly reported by other State Parties. In general, the challenges identified could be grouped into the following categories:

Lack of understanding among all stakeholders on the role of culture towards sustainable development;
Lack of sustainable planning at the ministerial level;
Lack of statistical data;
Lack of capitalization on international opportunities;
Lack of law enforcement in breaches of laws and regulations;
Lack of support for the sustainability of culture-related businesses owned by minority groups;
Lack of shared knowledge on existing policies and measures;
Lack of recognition of exemplary programmes and cultural players/artists;
Lack of participation in the evaluation of cultural policies and measures; and
Lack of fair financial compensation for the use of traditional cultural expressions.

In addition to identifying challenges, the consultations also yielded many suggestions on possible solutions to overcome those challenges. The majority of participants to the consultations were encouraged by the progress made and raised new optimism for future implementation of the goals of the Convention. In general, the possible solutions offered could be grouped into the following categories:

Improved efforts to raise awareness and understanding of the goals of the Convention;
Improved effectiveness in the direction, coordination, and support among ministries and governmental agencies;
Improved involvement of civil society;
Development of new national surveys to capture statistical data relevant in measuring cultural policies and programmes in Indonesia; and
Development of a national database to record all programmes in Indonesia, give recognition to programmes that are considered exemplary, support capacity building, and allow better access to public and private funding.

Informations Techniques

Nom de la Partie:

Indonésie

Date de la ratification:

12/1/2012

Organisation(s) ou organisme(s) responsable(s) de la préparation du rapport:

Directorate General of Culture, Ministry of Education and Culture

Point de contact désigné officiellement

Titre:

Prénom:

Hilmar

Nom de famille:

Farid

Organisation:

Ministry of Education and Culture of the Republic of Indonesia

Adresse postale:

warisanbudaya@kemdikbud.go.id hilmar.farid@kemdikbud.go.id

Téléphone:

+6221 572 5047

Fax:

+6221 572 5047

Email:

warisanbudaya@kemdikbud.go.id

Nom des parties prenantes, y compris organisations de la société civile, contribuant à la préparation du rapport:

Name	Organization	Position
Mr. Adenan, Rossalis	Creative Economy Agency	Director of Relationships between Foreign Institutions
Mr. Afero, Gulfan	Ministry of Foreign Affairs	Deputy Director for Social and Culture Affairs
Mr. Antariksa, Basuki	Ministry of Tourism	Researcher for Research in Policy Development
Mr. Amin, Mohammad	Creative Economy Agency	Deputy Director for Public Education
Ms. Darmaningsih, Maria	Indonesian Dance Festival	Director
Ms. Dewi, Astarina Eka	Indonesian Center for Sustainable Development	Researcher
Mr. Gumay, M. Hafez	Indonesian Art Committee	Researcher
Ms. Hardjasaputra, Christa	UNESCO Office Jakarta	Administrator and Project Assistant
Ms. Hutabarat, Felencia	Arslonga	Founder
Ms. Irawati, Lisa	Erudio School of Art and Suar Art Space	Co-Founder and Director
Ms. Ismar, Madia Patra	Oral Tradition Association	Dance Theatre Researcher, Artist, and Lecturer
Mr. Karseno, Irawan	Jakarta Arts Council	Director
Ms. Khrisna, Hartanti Maya	Ministry of Education and Culture	Head of Nomination, Deputy of Intangible Cultural Heritage
Ms. Kurniawati, Ika Ahyani	Ministry of Law and Human Rights	Deputy Director for Empowerment of Intellectual Property
Mr. Neng, Daryl	Yayasan Moehammad Aman Wirakartakusumah	Supervisor
Mr. Pakpahan, Dohardo	Coordinating Ministry for Human Development and Culture	Deputy Director for History and World Heritage
Ms. Rahmiati, Lita	Ministry of Education and Culture	Head of Relationships between Foreign Institutions
Mr. Rais, Hassanein	National Private Radio Broadcasting Association of Indo	Secretary General
Ms. Ratnawati, Lien Dwiari	Ministry of Education and Culture	Deputy Director for Intangible Cultural Heritage
Ms. Sapardan, Wieske	UNESCO Office Jakarta	Project Assistant
Mr. Saputra, Aryudhi	Creative Economy Agency	Head of Agreements and Ratifications
Ms. Satriati, Wikan	Lontar Foundation	Publication Manager
Mr. Siagian, Rizaldi	Indonesian Indigenous Peoples Alliance	Expert Staff
Mr. Silitonga, Witler Slamet	Indonesian State Intelligence Agency	Expert Staff on Culture
Ms. Suharti	Ministry of Education and Culture	Bureau Chief of Planning and International Cooperation
Mr. Susilo, Dwi	Central Bureau for Statistics	Head of Statistical Evaluation and Reporting on Education and Social Welfare
Mr. Syahrin, Alfi	Ministry of Tourism	Researcher
Mr. Wirakartakusumah, M. Aman	Bogor Agricultural University	Professor Emeritus, Advisor for Education and Culture
Ms. Wijayani, Erli	Ministry of Foreign Affairs	Head of Education and Culture Agreements
Mr. Ulumuddin, Ihya	Ministry of Education and Culture	Researcher

Décrire le processus de consultation établi avec l’ensemble des parties prenantes pour la préparation de ce rapport

The consultation process for Indonesia was a joint effort by the Ministry of Education and Culture (MEC) and the UNESCO Jakarta Office conducted in multiple steps involving wide participation from various stakeholders. The Swedish International Development Agency (SIDA), in collaboration with the Secretariat of the Convention and the UNESCO Jakarta Office, provided technical assistance from two international experts, Ms. Anupama Sekhar (India) and Mr. Charles Vallerand (Canada). Through its financial assistance, SIDA also offered to fund the following three steps in the planned consultation process: one-day multi-stakeholder consultative workshop, three-day drafting team national workshop, and one-day public consultation. The remaining steps were hosted under the initiative of and funding from the MEC. The complete list of steps taken during the consultation process were:

Consultative workshop (December 8, 2015). Attendance of 55, from both government officials and civil society organization (CSO) representatives.
Data collection workshop I (January 20, 2016). Attendance of 48, from government officials only.
Data collection workshop II (January 21, 2016). Attendance of 38, from CSO representatives only.
Consultative visit to the Ministry of Youth and Sports and the Coordinating Ministry of Human and Culture Development (February 22, 2016).
Consultative visit to the Ministry of Law and Human Rights and the Creative Economy Agency (February 24, 2016).
National workshop (March 1-3, 2016). Three day attendance of 84, 31, and 32, respectively from both government officials and CSO representatives.
Consultative visit to the Ministry of National Development Planning and the Ministry of Foreign Affairs (March 18, 2016).
Drafting team coordinator consultation (March 21, 2016). Attendance of 14 from both government officials and CSO representatives.
Drafting team workshop (April 4, 2016). Attendance of 24 from both government officials and CSO representatives.
Public consultation (May 4, 2016). Attendance of 88 from both government officials and CSO representatives.

Aperçu du contexte de la politique culturelle

Les Parties décrivent les principaux objectifs et priorités de leur politique culturelle en vigueur et l’impact de la Convention sur leur formulation ou reformulation. Elles rendent également compte des opportunités et défis rencontrés dans la promotion de la diversité des expressions culturelles dans l’environnement numérique.:

The main objective on national development for culture in Indonesia still prioritizes the preservation and protection of many cultural elements from extinction. Nonetheless, since 2009, the Indonesian government has started to increase its focus towards utilizing national culture for economic development through the enactment of the President Instruction No. 6 of 2009 on the Development of Creative Economies. In addition, even though Indonesia only became a State Party to the UNESCO 2005 Convention in 2012, many of the policies referred to in the Convention were already reflected by the various efforts to provide space for the diversity of cultural expressions, especially in the protection and promotion of contemporary expressions. This is because Indonesia is a country with amazing richness in cultural diversity. Hence, it has become the duty of the Government to ensure the balance of rights of all stakeholders from various ethnic groups to sustain national integration.

The term “creative economy” has also become a trending topic of discussion and development ever since 2011 when the former Ministry of Tourism and Creative Economy was established. With the establishment of the Creative Economy Agency (CEA) in 2014 as an independent government institution, the Government implemented a policy providing more space for the development and promotion of the diversity of cultural expressions. By 2013, a number of development objectives had been achieved, including:

workforce absorption in the cultural industry of about 7.06 million people or approximately 59.4% from the total workforce absorption of the national industry sector;
facilitation for Intellectual Property Rights registration of more than 100 creative works;
growth in the consumption of arts- and culture-based creative products of about 11.24% or approximately USD 40 billion of the national household consumption; and
establishment of 13 cultural parks as new creativity spaces.

The rapid growth of digital technology has been beneficial for Indonesia in terms of efforts to promote the diversity of cultural expressions and the self-development of opportunities for creative industries. Various social media services could be used to promote the diversity of cultural expressions and creative industries for small and medium enterprises which do not have sufficient financial support or a sizeable business network. Due to its large geographical location, the quality of information technology infrastructure in Indonesia is still limited to certain regions like the islands of Java and Sumatera. This has partially caused uneven opportunities for all Indonesian people to promote their diversity of cultural expressions as well as receive benefits from the creative industries.

Despite its benefits, digital technology also acts as a media channel for other cultures and creative industries with strong global presence to dominate the attentions of communities, thus leading to the potential threat of communities forsaking their own local culture. With this awareness, Indonesia has put extra emphasis on the urgent need to anticipate the impact of this potential threat by strengthening the self-identity of Indonesian people.

a) Elle sert (ou a servi) de base pour modifier une ou plusieurs politiques?:

b) Elle sert (ou a servi) d’outil pour promouvoir le débat politique?

c) Elle sert (ou a servi) de référence pour le développement de politiques?

Politiques et mesures

POLITIQUES CULTURELLES ET MESURES
Nom de la mesure	Périmètre de la mesure	Nature
ROLE OF CULTURE IN THE NATIONAL SUSTAINABLE DEVELOPMENT OF INDONESIA	National	institutional
ESTABLISHMENT OF THE CREATIVE ECONOMY AGENCY (BADAN EKONOMI KREATIF - BEKRAF)	National	regulatory
MANAGEMENT OF THE NATIONAL FILMS AND BROADCASTING INDUSTRIES	National	legislative
PROMOTION FOR THE NATIONAL BOOKS AND PUBLISHING INDUSTRY	National, International	financial, institutional
PROMOTION FOR NATIONAL CONTEMPORARY VISUAL AND PERFORMING ARTISTS	International	institutional
INITIATIVES TO INCREASE AWARENESS AND ORGANIZATION OF UNDER DEVELOPED CULTURAL EXPRESSIONS	National	financial
GOVERNMENT INCENTIVES RELATED TO CULTURAL EXPRESSIONS	National	regulatory

COOPÉRATION CULTURELLE INTERNATIONALE
Nom de la mesure	Périmètre de la mesure	Nature
SHOWCASING OF INDONESIAN CULTURE IN FOREIGN COUNTRIES	International	institutional
BILATERAL COOPERATION WITH THE UNITED KINGDOM IN THE FIELD OF CREATIVE INDUSTRIES	International	financial

INTÉGRATION DE LA CULTURE DANS LES POLITIQUES DE DÉVELOPPEMENT DURABLE
Nom de la mesure	Périmètre de la mesure	Nature
DEVELOPMENT OF A NATIONAL CREATIVE CITIES NETWORK	National	financial, institutional

QUESTIONS TRANSVERSALES ÉMERGENTES: Résolution 5.CP 9b
Nom de la mesure	Périmètre de la mesure	Nature
WORLD CULTURE FORUM AS AN INTERNATIONAL DIALOGUE PLATFORM	International	financial, institutional
NATIONAL EFFORTS TO DISCOURAGE PIRACY OF AND IMPROVE COLLECTION OF ROYALTIES FROM CULTURAL INTELLECTUAL PROPERTY	National	legislative, institutional
USE OF DIGITIZATION TO PROTECT AND PROMOTE LITERATURE AND CULTURAL WORKS	International	institutional

JEUNESSE
Nom de la mesure	Périmètre de la mesure	Nature
NURTURING YOUTH IN CULTURAL EXPRESSIONS THROUGH CAPACITY BUILDING AND COMPETITION	National, International	financial

❭ POLITIQUES CULTURELLES ET MESURES

ROLE OF CULTURE IN THE NATIONAL SUSTAINABLE DEVELOPMENT OF INDONESIA

a. 2 Contexte de la mesure:

POLITIQUES CULTURELLES ET MESURES

b. Objectifs clefs de la mesure:

Within the nine priorities of Government programmes mentioned in the National Medium Term Development Plan for 2010-2014, culture is strongly viewed as the platform for strengthening the diversity and unity, social reconstruction in development of the nation’s character through education, initiating dialogue among citizens, and empowering domestic strategic economic sectors. Key objectives in implementing this measure include:

to increase government’s awareness and participation in arts and cultural programmes initiated by the public and improve appreciation towards cultural diversity;
to provide adequate infrastructure for the development, studies, and presentation of arts and culture in the major cities and capital regencies by October 2012 at the latest, and incentives in the form of facilitation, support, and award for artists who improve the standard and quality of arts and culture; and
to develop arts such as fine arts, performance arts, media arts, and other culture based creative industries, as well as an adaptive and interactive national film industry towards new positive values.

These measures are embedded in the National Medium Term Development Plan for 2015-2019, with further emphasis on the development of culture-based creative industries, especially in improving appreciation of arts and creativity.

c. Quel(le) est:

c.1. le périmètre de la mesure:

National

c.2. la nature de la mesure:

institutional

c.3. La principale caractéristique de la mesure:

Programmes in education that emphasize on the importance of character building, so called “mental revolution”, that are strongly related to cultural expressions that appreciate Indonesia’s diversity.
Programmes related to the values of culture, arts, and films, including improvement in development of national films, film censorship, and management of national galleries, as well as involvement of indigenous peoples.
Programmes in tourism destinations, including improvement in the development of attractions, involvement of local communities, development of businesses, industries, and investment, and in marketing domestically and abroad, market research, and publications.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

In general, for the protection and promotion of diversity of cultural expressions, an increase between 2010 and 2014 was expected in the:

number of quality national films produced from 75 to 391 titles;
number of art and cultural works protected under intellectual property rights from 400 to 2000 pieces;
number of art, cultural, and film works shows, exhibitions, and festivals facilitated from 83 to 415 events; and
number of facilities for art and cultural works development, study, and shows facilitated from 25 to 529 infrastructures.

The targets illustrate the new Government priority accorded to cultural industries, especially those related to the creative economy, following the creation of the Creative Economy Agency.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Ministry of National Planning and Development

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State Budget, in the sum of about USD 117,000,000 (approximated currency conversion from Indonesian Rupiah).

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Oui

i.1 À quel niveau l’évaluation a-t-elle été conduite?:

National

i.2 Quelles ont été les principales conclusions?:

Specifically related to the protection and promotion of diversity of cultural expressions, the evaluation revealed:

increase in the appreciation of arts, culture, and films by the citizens of Indonesia, supported by the facilitation of infrastructure development and arts and cultural shows and festivals in 25 Provinces and 399 Regencies in 2012;
protection of the intellectual rights of 1,231 pieces of arts and culture;
development of a National Gallery;
development of infrastructure and human resources in 25 cultural parks and facilitation of cultural infrastructure in 3,351 schools;
organization of the first World Culture Forum in Bali in 2013; and
recognition by UNESCO as an Intangible Cultural Heritage of Angklung (2010), Saman Dance (2011), and Noken (2012), as well as recognition of Bali Cultural Landscape (Subak, 2012) as a World Cultural Heritage Site.

i.3 Quels ont été les indicateurs utilisés pour déterminer son impact ?:

number of quality national films produced;
number of arts and cultural works protected by intellectual property rights;
number of assistance for shows, exhibitions, and festivals of arts, cultural, and films; and
number of assistance for development, studies, and presentation of arts and cultural.

❭ POLITIQUES CULTURELLES ET MESURES

ESTABLISHMENT OF THE CREATIVE ECONOMY AGENCY (BADAN EKONOMI KREATIF - BEKRAF)

a. 2 Contexte de la mesure:

POLITIQUES CULTURELLES ET MESURES

b. Objectifs clefs de la mesure:

One of the strategic motors in developing cultural industries is through the creative economy. The government believes that providing a special mandate to a specific agency in a non-ministerial form will enable better growth and strength of creative industries, through support in the development of the national creative economy ecosystem. As a result, the Creative Economy Agency (CEA) was established through the Government Regulation No. 72 of 2015 on Amendments to the Government Regulation No. 6 of 2015 on the CEA:

to cultivate, move, increase, and optimize various points of marketing for national creative products and services both domestically and abroad;
to facilitate funding access for national creative industries to sources of funds and foster growth of new alternative sources of funds, and facilitate research and education development on the national creative economy; and
to develop public awareness and appreciation for intellectual property rights and optimize financial benefit for intellectual property rights holders, harmonization of regulations, strong cooperation as well as to create synergy across institutions and regions, optimize infrastructures, based on trustworthy governmental management that is transparent, effective, and democratic.

c. Quel(le) est:

c.1. le périmètre de la mesure:

National

c.2. la nature de la mesure:

regulatory

c.3. La principale caractéristique de la mesure:

The CEA has the role, duty, and function to:

assist the President in devising, enacting, coordinating, and synchronizing policies in the field of the creative economy, even though it is positioned under the Ministry of Tourism;
implement policy, provide technical assistance, and supervise, with authority similar to a ministry;
enact the President Regulation on Coordination of Ministries and Agencies in the Development of the Creative Economy;
develop the Creative Economy Index (Indeks Ekonomi Kreatif - IDX) to facilitate funding access for national creative industries to sources of funds and foster growth of new alternative sources of funds;
develop an advocacy campaign for intellectual property rights to optimize financial benefit for rights holders;
develop a Creative Economy Information System to facilitate research and education development on the national creative economy;
develop a marketing platform, both from government to government and from government to businesses, to cultivate, increase, and optimize various marketing channels for national creative products and services both domestically and abroad; and
build necessary infrastructure for the development of the creative industries as well as small and medium enterprises in Indonesia.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

In general, the target by 2019 is:

12% growth in the share of the creative economy in Gross Domestic Product;
total workforce absorption of 13 million people; and
10% contribution to gross export/foreign exchange.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Creative Economy Agency

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State Budget, in the sum of about USD 85,000,000 (approximated currency conversion from Indonesian Rupiah), broken down into sums for:

research, education, and development, USD 16,400,000;
access to funding, USD 12,600,000;
infrastructure, USD 8,500,000;
facilitation for intellectual property rights and regulations, USD 12,700,000;
institutional and regional relations, USD 7,600,000; and
management and other technical support, USD 8,800,000.

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Non

❭ POLITIQUES CULTURELLES ET MESURES

MANAGEMENT OF THE NATIONAL FILMS AND BROADCASTING INDUSTRIES

a. 2 Contexte de la mesure:

POLITIQUES CULTURELLES ET MESURES

b. Objectifs clefs de la mesure:

The films and broadcasting industries in Indonesia have taken on a significant role in the protection and promotion of the diversity of cultural expressions. In order to ensure that these industries fulfill their designated roles, Indonesia has enacted two separate laws as part of its national policy, which are Law No. 33 of 2009 on Films and Law No. 32 of 2002 on Broadcasting.

Both laws focus on efforts:

to showcase the rich diversity of the national culture;
to nurture positive creativity for the growth of the national culture;
to ensure that film and broadcasting contents are in-line with national values;
to facilitate improvement in public welfare; and
to promote Indonesia on the international stage.

c. Quel(le) est:

c.1. le périmètre de la mesure:

National

c.2. la nature de la mesure:

legislative

c.3. La principale caractéristique de la mesure:

Law No. 33 of 2009 on Films and Law No. 32 of 2002 on Broadcasting have introduced the establishment of specific governmental agencies to ensure that film and broadcasting contents are in-line with national religious, ethical, moral, decency, and cultural values.

The Indonesian Censorship Agency (Lembaga Sensor Film, LSF) also determines and socializes viewership age groups and criteria for censorship.

The Indonesian Broadcasting Commission (Komisi Penyiaran Indonesia, KPI) ensures that society receives decent and correct information, a healthy competitive environment for broadcasting companies is maintained, and acts on public complaints on improper broadcasting practices.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Ministry of Communication and Information

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State budget, in the sum of about USD 3,000,000 (approximated currency conversion from Indonesia Rupiah) for the ICA and about USD 3,500,000 (approximated currency conversion from Indonesia Rupiah) for the IBC in 2014.

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Oui

i.1 À quel niveau l’évaluation a-t-elle été conduite?:

National

i.2 Quelles ont été les principales conclusions?:

Evaluation on Law No. 33 of 2009 on Films by the Indonesian Chamber of Commerce and Industry suggested to the Indonesian Parliament to limit the responsibility of the Ministry of Education and Culture over films as a cultural product, while shifting the responsibility over films as a business product to the Creative Economy Agency.

In addition, the latest general evaluation on films revealed the following:

increased national film production from 33 (2005) to 129 (2015);
increased imported films from 201 (2005) to 292 (2015);
increased number of cinemas from 140 (2005) to 210 (2015);
increased number of screens from 450 (2005) to 1073 (2015);
15.6 million number of viewers of national films; and
42 million number of viewers of imported films.

i.3 Quels ont été les indicateurs utilisés pour déterminer son impact ?:

For films, the following indicators were used to determine impact:

number of national film production;
number of imported films;
number of cinemas and screens; and
number of viewers.

❭ POLITIQUES CULTURELLES ET MESURES

PROMOTION FOR THE NATIONAL BOOKS AND PUBLISHING INDUSTRY

a. 2 Contexte de la mesure:

POLITIQUES CULTURELLES ET MESURES

b. Objectifs clefs de la mesure:

Promotion for the national books and publishing industry in Indonesia are mostly supported by the Government via assistance in the implementation of and participation in book fairs, as well as strengthening the role of libraries. Another popular approach taken by the books and publishing industry is to host festivals for writers and other people involved in literary works. Through these efforts, the Government intends:

to showcase the richness and improve awareness of Indonesian literature and cultural works;
to facilitate better recognition for all stakeholders in the books and publishing industry;
to encourage creativity through collaborations among various writers and publishers both domestically and internationally; and
to open access for publishers and writers to new markets both domestically and abroad.

c. Quel(le) est:

c.1. le périmètre de la mesure:

National

International

c.2. la nature de la mesure:

financial

institutional

c.3. La principale caractéristique de la mesure:

Two significant book fairs for the promotion of the Indonesian books and publishing industry are participation of Indonesia as the Guest of Honor at the 2015 Frankfurt Book Fair (FBF) and implementation of the 2015 Indonesian International Book Fair (IIBF). Being the world’s largest event for the publishing industry, FBF’s decision to invite Indonesia as the first Guest of Honor from South East Asia was monumental. Accordingly, Indonesia responded by implementing various measures, including:

initiation of a translation funding programme that benefited about 300 Indonesian books;
funding for 20 national publishers, including small and independent publishers, as co-exhibitors; and
travel grants for about 70 Indonesian prominent authors.

Domestically, the IIBF is the largest book fair in Indonesia. It became an international event in 2014 by inviting Saudi Arabia as its inaugural Guest of Honor, followed by South Korea in 2015. With wide participation from foreign and domestic publishers, cultural and government institutions, national and local libraries, online and offline distributors, as well as providers of various supporting equipment, the exhibition was designed to become a one-stop literacy activity center to comprehensively promote books and copyrights, writers, cultural arts, education, tourism, and creative industries.

Beyond those two major book fairs, several CSO led festivals merit mentioning for their significant contribution to the promotion of the national books and publishing industry, which include the ASEAN Literature Festival, the Ubud Writers Festival, and the Makassar Writers Festival.

As for efforts to strengthen the role of libraries, the National Library of Indonesia (NLI) has supported the distribution of 503 mobile libraries to 33 provincial and 347 district libraries, including 8 floating libraries for 7 provinces. The NLI has also been actively utilizing digitization technology in various related efforts, which will be further elaborated in a separate section specifically focused on use of digitization technology.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Ministry of Education and Culture had the most prominent role in both the 2015 FBF participation and 2015 IIBF implementation.

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State budget, in the sum of about USD 11,000,000 (approximated currency conversion from Indonesia Rupiah) for participation at the 2015 FBF and about USD 300,000 (approximated currency conversion from Indonesia Rupiah) for the 2015 IIBF.

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Non

❭ POLITIQUES CULTURELLES ET MESURES

PROMOTION FOR NATIONAL CONTEMPORARY VISUAL AND PERFORMING ARTISTS

a. 2 Contexte de la mesure:

POLITIQUES CULTURELLES ET MESURES

b. Objectifs clefs de la mesure:

Various efforts to expand the market of services for national visual and performing artists, both domestically and abroad, have been carried out by the Government throughout the years with the main objectives being:

to showcase the richness as well as increase interest and appreciation of contemporary Indonesian visual and performing arts;
to facilitate better recognition for all stakeholders in the contemporary visual and performing arts industry;
to encourage creativity through collaborations among various contemporary visual and performing artists both domestically and internationally; and
to open access for contemporary visual and performing artists to new markets both domestically and abroad.

c. Quel(le) est:

c.1. le périmètre de la mesure:

International

c.2. la nature de la mesure:

institutional

c.3. La principale caractéristique de la mesure:

Thus far, three visual and performing arts festivals that have had the most impact in Indonesia include the Bali Arts Festival (BAF), the Indonesian Arts Summit (IAS), and the National Performing Arts Festival (NPAF). The IAS is a triennial international festival that has been held, at least, six times. In 2013, around 300 artists participated, including international artists from South Korea, China, Austria, Germany, England, and the USA. In addition to exhibitions and performances, the 2013 IAS also held a seminar and workshop on marketing performing arts with the support from seven national higher education institutions in performing arts as well as six experts from Germany, the USA, Thailand, Japan, and Indonesia.

The BAF, having been annually hosted since 1979, is one of the longest running cultural events in Indonesia. In 2016, the BAF has been planned to run as a massive, full month long event, hosting various festivals, shows, exhibitions, screenings, competitions, and workshops, both traditional and contemporary. The variety of contributors based on origin, type of art, and age is quite astounding. Although most contributors will be local Balinese people, there will still be a good number of contributors from other parts of Indonesia, as well as international contributors from Thailand, Timor Leste, Japan, England, the United States of America, India, and China.

At the national level, the NPAF has been an annual event held since 2001. In 2014, 18 presenting teams were carefully selected from provincial level competitions to participate in the festival. From their performances, a panel of experts selected 3 best presenters, 3 best music arrangers, 3 best art directors, 3 best choreographers, 3 best directors, and 3 best makeup and wardrobe stylists with each winner receiving a trophy, financial support, and a certificate. In addition, the 3 best presenters were given an exclusive opportunity to perform at the Indonesia-Korea Week celebration.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Ministry of Education and Culture for the BAF and the IAS, while the (Former) Ministry of Tourism and Creative Economy for the NPAF.

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State budget, in the sum of USD 150,000 (approximated currency conversion from Indonesian Rupiah) for the IAS.

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Non

❭ POLITIQUES CULTURELLES ET MESURES

INITIATIVES TO INCREASE AWARENESS AND ORGANIZATION OF UNDER DEVELOPED CULTURAL EXPRESSIONS

a. 2 Contexte de la mesure:

POLITIQUES CULTURELLES ET MESURES

b. Objectifs clefs de la mesure:

As the Government recognizes differences in the growth and visibility of various contemporary cultural expressions in Indonesia, it has initiated exceptional efforts to identify and support any form of cultural expression that requires special assistance for development. Typically, the Government will seek out cultural expressions that are not yet well-organized or lack activities at the national level. Through this special programme, the Government aims:

to showcase works and increase awareness of under developed cultural expressions, including contemporary forms of creativity;
to facilitate creativity through opportunities for knowledge-sharing and collaborations among producers and performers of underdeveloped cultural expressions; and
to provide business knowledge and skills for individuals and institutions that have interest in developing the under developed cultural expressions as part of the creative economy industry.

c. Quel(le) est:

c.1. le périmètre de la mesure:

National

c.2. la nature de la mesure:

financial

c.3. La principale caractéristique de la mesure:

Among the various cultural expressions that have received special assistance for development from the Government, three will be shared as examples, which are photography, sculpture, and street art. Despite photography being a popular form of cultural expression in Indonesia, it lacked coordination among its stakeholders at the national level, hence leading to a lack of national exhibitions and workshops, as well as lack of appreciation and protection for the works of photographers. As a result, in 2014 the Government supported the implementation of the National Photography Congress that mainly aimed to establish the Indonesian Photography Community. Attended by 80 participants from 17 provinces, the Congress also held a seminar on intellectual property rights and non-formal photography education system.

For Indonesian sculpture, the Government has facilitated an annual national exhibition since 2012. Each year a different technique of sculpture making has been presented, starting with fiber in 2012, metal in 2013, and wood in 2014. The 2014 event exhibited 120 works from 47 artists originating from six major art cities across Indonesia, while also hosting discussions on various topics, including the potential of local works in a global competitive marketplace, as well as three workshops on local wood sculpture designs for the international market, the use of wood waste to create new sculpture, and Balinese wood carving.

Street art is a relatively new form of art in Indonesia, hence the rarity in recognizable events hosted. In 2015, the Government supported the implementation of the Free But Polite Exhibition, which hosted the works of 14 Indonesian artists, either presented live or captured in digital images. The event also hosted a talk show involving recognized street artists and a discussion forum.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

(Former) Ministry of Tourism and Creative Economy for the National Photography Congress and the Indonesian Sculpture Exhibition, and the National Gallery of Indonesia for the Free But Polite Exhibition

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State Budget, although exact numbers were not available during information collection.

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Oui

i.1 À quel niveau l’évaluation a-t-elle été conduite?:

National

i.2 Quelles ont été les principales conclusions?:

There is a need for:

policies, laws and regulations, as well as institutions to protect creative workers in developing businesses of cultural expressions; and
Government assurance for improved availability in funds to support the creativity of creative workers.

i.3 Quels ont été les indicateurs utilisés pour déterminer son impact ?:

Specific indicators were not mentioned in the evaluation.

❭ POLITIQUES CULTURELLES ET MESURES

GOVERNMENT INCENTIVES RELATED TO CULTURAL EXPRESSIONS

a. 2 Contexte de la mesure:

POLITIQUES CULTURELLES ET MESURES

b. Objectifs clefs de la mesure:

The Government on all levels (national, provincial, and local) have continuously found ways to develop various policies to provide financial incentives for stakeholders in the creative industries. The incentives are mostly in the form of tax exemptions with the intention:

to increase the involvement of taxpayers in the construction of related infrastructures; and
to increase the frequency of art and cultural events organized by the community.

c. Quel(le) est:

c.1. le périmètre de la mesure:

National

c.2. la nature de la mesure:

regulatory

c.3. La principale caractéristique de la mesure:

In 2010, the Government introduced Government Regulation No. 93 of 2010 on Donations for National Disaster Handling, Donations for Research and Development, Donations for Education Facilities, Donations for Sports Development, and Costs for Construction of Social Infrastructures that Can Be Deducted from Gross Income. In general, this regulation will allow taxpayers to deduct a maximum of 5% from their net income for donations made to cover costs of the construction of cultural and arts facilities.

In 2014, the Government introduced the Minister of Finance Regulation No. 158/PMK.010/2015 on Criteria for Art and Entertainment Services that are Exempted from Value Added Tax (VAT). In general, this regulation stipulates tax exemption for several cultural expression activities, including viewing of films, viewing of arts, music, and dance performances, and exhibitions.

In 2015, the Jakarta Provincial Government introduced the Jakarta Local Regulation No. 3 of 2015 on Entertainment Taxes. In general, this regulation allowed for:

VAT reduction of up to 0% tax rate for any free arts event;
tax deduction of up to 0% for any local/traditional cultural event;
tax deduction from 10% to 5% for any paid national cultural event; and
tax increase from 10% to 15% for any paid international cultural event.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

The Ministry of Finance is mainly responsible for the implementation of the Government Regulation No. 93 of 2010 and the Minister of Finance Regulation No. 158/PMK.010/2015

The Jakarta Province Tax Agency is mainly responsible for the Jakarta Local Regulation No. 3 of 2015

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State budget for the Government Regulation No. 93 of 2010 and the Minister of Finance Regulation No. 158/PMK.010/2015 and the Jakarta Provincial budget for the Jakarta Local Regulation No. 3 of 2015, although exact numbers were not available during information collection.

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Non

❭ COOPÉRATION CULTURELLE INTERNATIONALE

SHOWCASING OF INDONESIAN CULTURE IN FOREIGN COUNTRIES

a. 2 Contexte de la mesure:

COOPÉRATION CULTURELLE INTERNATIONALE

b. Objectifs clefs de la mesure:

Indonesia - comprising of over 17,000 islands and over 500 ethnic groups – is home to immense diversity of traditional and contemporary cultural expressions. To introduce Indonesia’s rich and diverse cultures to foreign audiences, as well as to forge stronger regional and international networks, the Ministry of Education and Culture in cooperation with the Ministry of Foreign Affairs have established the House of Indonesian Culture (HIC) programme across the world. The main objectives of the HIC programme are:

to function as cultural diplomacy centers in friendly strategic countries;
to inform the richness of Indonesian culture and its contribution to the development of world civilization; and
to attain acknowledgement from the international community, including stronger recognition of Indonesian cultural icons in the form of both tangible and intangible cultural heritages.

c. Quel(le) est:

c.1. le périmètre de la mesure:

International

c.2. la nature de la mesure:

institutional

c.3. La principale caractéristique de la mesure:

Each HIC implements three programmes, which are:

Indonesian Cultural Promotion. This programme hosts several events aimed at promoting the Indonesian culture to the general public through many forms of cultural activities, including the Indonesian Day, food bazaars, and cultural expos.
Indonesian Cultural Expressions. This programme is run by the Indonesian diaspora to support activities in preserving the Indonesian culture and strengthening their pride and identity as Indonesian people, which includes cultural performances and participation of Indonesian diaspora in local annual festivals/parades.
Indonesian Cultural Learning. This programme is held regularly without admission fee and open to public in the form of courses to introduce Indonesian culture, which includes culinary workshops, gamelan classes, Bahasa Indonesia speech/essay competition, and traditional dance courses.

Each HIC has a variety of traditional costumes, musical instruments, and books on Indonesian culture that can be used or rented for various occasions.
Currently there are 10 HICs operating in 10 countries. One HIC in Timor-Leste was established in early 2016 in a newly constructed building, whereas other HICs in Australia, United States of America, Netherlands, Germany, Japan, France, Singapore, Myanmar, and Turkey are operating within the Indonesian embassy complex.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Ministry of Education and Culture

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State budget, in the sum of about USD 9,500,000 (approximated currency conversion from Indonesian Rupiah).

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Oui

i.1 À quel niveau l’évaluation a-t-elle été conduite?:

National

i.2 Quelles ont été les principales conclusions?:

Overall, the HIC programme has been a success and has received positive response in all its establishments. Feedback has shown that the HIC has:

strengthened efforts to introduce and promote Indonesian culture, both contemporary and traditional, in the targeted countries; and
increased the awareness of international public towards Indonesia’s rich and diverse culture.

i.3 Quels ont été les indicateurs utilisés pour déterminer son impact ?:

For Indonesian Cultural Promotion, indicators used to determine impact include:

number of visitors or attendance at the events; and
level of awareness of Indonesian culture shown by publications in mass media, posts in social media, etc.

For Indonesian Cultural Expression, indicators used to determine impact include:

number of activities supported by HIC each year; and
level of involvement of Indonesian diaspora, including all cultural players, such as artists, producers, etc.) to participate in the activities.

For Indonesian Cultural Learning, indicators used to determine impact include:

number of regular participants in courses on Indonesian culture; and
level of performance of course participants in the events held by the Indonesian Embassy as a result of the cultural course.

❭ COOPÉRATION CULTURELLE INTERNATIONALE

BILATERAL COOPERATION WITH THE UNITED KINGDOM IN THE FIELD OF CREATIVE INDUSTRIES

a. 2 Contexte de la mesure:

COOPÉRATION CULTURELLE INTERNATIONALE

b. Objectifs clefs de la mesure:

Since Indonesia became a State Party to the 2005 Convention, it has established bilateral cooperation agreements in the field of creative industries with other countries. In November 2012, the (former) Ministry of Tourism and Creative Economy of Indonesia and the Department for Culture, Media, and Sport of the UK (DCMS-UK) agreed to cooperate in the field of creative and cultural industries. On 19 April 2016, a follow up Memorandum of Understanding (MoU) was signed by the Creative Economy Agency of Indonesia, DCMS-UK, and the British Council in Indonesia. The recent MoU focuses on cooperation between the two countries across all sectors of the creative industries. As part of this MoU, a new programme called “UK/Indonesia 2016-18” will be implemented. The objectives of this bilateral cooperation are:

to increase the human resources capacities in the creative industries by jointly conducting various trainings and studies on creative fields such as music, films, performing arts, arts and craft, animation, and digital development, as well as fashion, architecture, design, and cuisine; and
to build creative relationships between and showcase content of both countries, with young people and digital innovations as priorities.

c. Quel(le) est:

c.1. le périmètre de la mesure:

International

c.2. la nature de la mesure:

financial

c.3. La principale caractéristique de la mesure:

Among the variety of programmes under this cooperation, three are closely related to the areas covered under the 2005 Convention: Digital Culture, Hip Hop Music Collaboration, and Discover Indonesia.

The Digital Culture programme brought together artists, makers, and innovators from the UK and Indonesia to share some of the most exciting digital ideas from the two countries, to play together, and to imagine new collaborative projects. Seven of the UK’s leading creative innovators visited Indonesia to explore the fast-evolving digital sector.

In 2012, the Hip Hop Music Collaboration programme brought together the Hip Hop Shakespeare Company from UK and the Jogja Hip Hop Foundation to create and perform collaborative songs using their native languages – English and Javanese – resulting in a modern cutting-edge dimension of music.

In 2015, the Discover Indonesia programme mounted a month-long tour of contemporary Indonesian performing artists to four cities in the UK, encompassing dance, music, and puppet theatre. Indonesian artists presented their work in some of the most prestigious arts centers and festivals in the UK, including Southbank Centre (London) and the Edinburgh Fringe. The tour was seen by thousands of people, and was the highest-profile showcase of contemporary Indonesian culture in the UK for many years.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Creative Economy Agency

Ministry of Tourism

Ministry of Education and Culture

Indonesian Embassy in the UK

Aceh Culture and Tourism Office

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State and local budget, although exact numbers were not available during information collection.

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Non

❭ INTÉGRATION DE LA CULTURE DANS LES POLITIQUES DE DÉVELOPPEMENT DURABLE

DEVELOPMENT OF A NATIONAL CREATIVE CITIES NETWORK

a. 2 Contexte de la mesure:

INTÉGRATION DE LA CULTURE DANS LES POLITIQUES DE DÉVELOPPEMENT DURABLE

b. Objectifs clefs de la mesure:

The original idea of a creative cities network was inspired by the UNESCO Creative Cities Network (UCCN), of which two Indonesian cities are members: Pekalongan as Cities of Crafts and Folk Arts since 2014 and Bandung as Cities of Design since 2015. The UNESCO network offered opportunities for cities to fully capitalize their creative assets and use this as a basis for building sustainable, inclusive, and balanced development in economic, cultural, environmental, and social terms. Indonesia realized the potential of this idea and established its own national Indonesian Creative Cities Network (ICCN) with the following main objectives:

to create an association of stakeholders in each regency-city to collaborate through the network to develop the potential of the creative economy at national level for inclusive and sustainable growth;
to develop creative cities in south-east Asia that are capable of acting together at the global level;
to improve access to and participation in cultural life as well as the enjoyment of cultural goods and services, notably for marginalized or vulnerable groups and individuals;
to fully integrate culture and creativity into local development strategies and plans; and
to involve all potential stakeholders in all stages of data collection and mapping, research, planning, implementation, evaluation, and development according to their specific roles, functions, capacities, and competencies.

c. Quel(le) est:

c.1. le périmètre de la mesure:

National

c.2. la nature de la mesure:

financial

institutional

c.3. La principale caractéristique de la mesure:

The achievements of Pekalongan and Bandung as part of the UCCN have motivated many other cities in Indonesia to follow their lead, including the establishment of the Indonesian Creative Cities Network (ICCN). The ICCN currently includes 51 cities and regencies nationwide from all over Indonesia. This network was established at the second Indonesia Creative Cities Conference in Solo (October 2015), which brought together 46 cities and 16 community-led organizations and coined the Solo Declaration on the “10 Principles of Creative Cities. The latest ICCC took place in Malang (March - April 2016)

Among the main features of the network are collaboration among government, academia, community organizations, and businesses; and optimally stimulating networking power to horizontal and vertical stakeholders. A medium term plan for the network until 2019 has been drawn up and the next steps for the ICCN includes simultaneous self-assessment by all participating cities, with the support of the Creative Economy Agency. A case study for the works of ICCN is Government recognition for the very strong showings of Banyuwangi and Ternate.

Banyuwangi has regularly planned various events to strengthen its tourism industry, including many events closely related to cultural expressions. In 2015 alone, the Banyuwangi Local Government has been involved in:

four performing arts events: Wayang Kulit Festival, Barongan Nusantara Festival, Gandrung Sewu Festival, and Kuwung Festival;
four live music concerts: Percussion Festival and Larlare Orchestra, Banyuwangi Peaceful Concert, Jazz Ijen Banyuwangi, and Banyuwangi Beach Jazz Festival;
two festivals: Barong Ider Bumi and Banyuwangi Ethno Carnival;
one visual arts exhibition: the Banyuwangi Art Week.

On the other hand, the Ternate Local Government has annually been involved in various cultural expression events, such as the Legu Gam Festival (festival), the Gendang Sahur Festival (live music concert), the Culture Parade (performing arts), and the Gebyar Nusantara Expo and Show (visual and performing arts).

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Coordinating Ministry of Economic Affairs

Ministry of Tourism

Creative Economy Agency

Local Governments

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State and local budget, although exact numbers were not available during information collection.

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Non

❭ QUESTIONS TRANSVERSALES ÉMERGENTES: Résolution 5.CP 9b

WORLD CULTURE FORUM AS AN INTERNATIONAL DIALOGUE PLATFORM

a. 2 Contexte de la mesure:

QUESTIONS TRANSVERSALES ÉMERGENTES: Résolution 5.CP 9b

b. Objectifs clefs de la mesure:

The World Culture Forum (WCF) held in Bali, Indonesia serves as a regular global forum for meaningful dialogues to challenge established thinking and identify solutions for embedding culture in sustainable development. The Forum is based on the need for a more visible and effective integration of culture into the development policies and strategies at all levels, as expressed during the UN General Assembly 2011, in particular, in the post-2015 Sustainable Development Goals (SGDs). Key objectives of the Forum are:

to generate an agreed international development agenda for culture with the view to harness diversity, promote peace, and contribute to development;
to create a permanent space for dialogue and deliberations to challenge established thinking and identify solutions for embedding culture as part of sustainable development;
to ensure that culture is prioritized in sustainable development policies and planning on a global, national, regional and local level;
to strategically examine the role of culture in creating and strengthening the people-to-people relationship among countries and to promote cultural diversity, mutual understanding, dialogue and peace; and
to strengthen collaboration among international and national stakeholders for the increased mainstreaming of culture into development strategies and programmes, and in the context of the United Nations.

c. Quel(le) est:

c.1. le périmètre de la mesure:

International

c.2. la nature de la mesure:

financial

institutional

c.3. La principale caractéristique de la mesure:

The World Culture Forum is planned to be organized and hosted by the Government of Indonesia under the patronage of UNESCO every two to three years.
The Forum’s objectives are aligned with recent global developments which signal a welcome trend toward the systematic integration of culture in development strategies and policies.
This Forum brings together key stakeholders such as politicians, academicians, government officials, non-government officials, United Nations, development banks, business owners, and civil society.
The first World Culture Forum was hosted in Bali, Indonesia from 23 to 27 November 2013 bringing together 1,360 delegates and performing artists from across 67 countries, 12 ministers of culture, ambassadors, and national representatives, as well as a number of NGO officials and cultural practitioners.
A key element of the first World Culture Forum’s programme was six themed symposia that brought together experts to discuss and debate issues around culture for sustainable development, which included:
- Holistic Approaches to Culture in Development;
- Civil Society and Cultural Democracy;
- Creativity and Cultural Economics;
- Culture in Environmental Sustainability;
- Sustainable Urban Development; and
- Inter-Faith Dialogue and Community Building.

The second World Culture Forum is scheduled to be held in Bali in October 2016 under the theme “Culture for an inclusive sustainable planet”, which will include a special Youth Forum as well as film screenings and festivals that will highlight contemporary expressions of creativity from Indonesia.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

WCF hopes to become an important global platform shaping the global agenda around culture in development;
Strengthened commitment – as detailed in the “Bali Promise”, a set of ten recommendations - to explicitly integrating the cultural dimension of development in all the Sustainable Development Goals including by:
- supporting the leadership of young people pursuing cultural endeavors;
- championing gender mainstreaming;
- strengthening partnerships between the public and private sectors;
- finding new modalities for the valuing and measuring of culture;
- fostering new participatory models promoting cultural democracy and social inclusion; and
- cultivating creativity and fostering development of cultural industries to alleviate poverty and promote economic and cultural empowerment; as well as
Elaboration of the “Bali Promise” in Indonesian law to make it obligatory for successive governments to evolve into a measurable set of aims and concrete policies and programmes using an evidenced-based approach.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Ministry of Education and Culture

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State Budget, in the sum of about USD 5,600,000 (approximated currency conversion from Indonesian Rupiah).

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Oui

i.1 À quel niveau l’évaluation a-t-elle été conduite?:

International

i.2 Quelles ont été les principales conclusions?:

Overall, the first WCF in 2013 was considered a great success. Respondents also expressed:

pleasure with the substance of the forum, including the opening keynote addresses, speakers and moderators, symposia contents, and the Bali Promise;
pleasure with the supporting programs, including the Culture-based Film Festival, World Ethnic Music Festival, and Subak World Heritage Post WCF Tour; and
pleasure with the various services and goods provided by the host; and
strong support for the next WCF.

i.3 Quels ont été les indicateurs utilisés pour déterminer son impact ?:

Number of participants;
Number of countries represented;
Support from well-recognized individuals and institutions, including UNESCO;
Enactment of the Bali Promise; and
Media coverage of the Forum.

❭ QUESTIONS TRANSVERSALES ÉMERGENTES: Résolution 5.CP 9b

NATIONAL EFFORTS TO DISCOURAGE PIRACY OF AND IMPROVE COLLECTION OF ROYALTIES FROM CULTURAL INTELLECTUAL PROPERTY

a. 2 Contexte de la mesure:

QUESTIONS TRANSVERSALES ÉMERGENTES: Résolution 5.CP 9b

b. Objectifs clefs de la mesure:

Indonesia recognizes the importance of protection for intellectual property, including legal protection for the creators, copyright holders, and related rights owners of copyrights related to cultural intellectual property. As a result, Law No. 28 of 2014 on Copyrights was adopted to create a more conducive environment for creators and copyright holders in the creation and distribution of works in the field of science, arts, and literature.

c. Quel(le) est:

c.1. le périmètre de la mesure:

National

c.2. la nature de la mesure:

legislative

institutional

c.3. La principale caractéristique de la mesure:

One of the key features of this new law was the introduction of the Collective Management Organization (CMO), which were meant:

to improve transparency in the current system of collecting and managing royalties;
to ensure copyright protection of artists’ works;
to ensure proper credit for artists with regard to name recognition and financial/royalty payment from the commercial use of their creations/ products; and
to mitigate the impact of wrongful use of creations, including but not limited to plagiarism.

The CMOs work as subordinates of the National Collective Management Organization (NCMO), which is under the supervision of the Ministry of Law and Human Rights. The NCMO regulates the commercial use of music in:

public spaces, including karaoke, cafés, restaurants, and night clubs;
public broadcasts, including live performances, radios, and televisions;
reproductions, including CDs, cassettes, vinyls, and photocopies; and
online distribution.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

National Collective Management Organization under the supervision of the Ministry of Law and Human Rights

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State budget, although exact numbers are not yet available since the institution was only recently established.

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Non

❭ QUESTIONS TRANSVERSALES ÉMERGENTES: Résolution 5.CP 9b

USE OF DIGITIZATION TO PROTECT AND PROMOTE LITERATURE AND CULTURAL WORKS

a. 2 Contexte de la mesure:

QUESTIONS TRANSVERSALES ÉMERGENTES: Résolution 5.CP 9b

b. Objectifs clefs de la mesure:

As part of the global society, Indonesia has acknowledged the wide use of digitization technology for the protection and promotion of various cultural expressions around the world. Up to this point, the Government has mostly been involved in the use of digitization technology for Indonesian literature and cultural works:

to preserve rare collections;
to provide platforms that support accessibility and promotion; and
to build databases.

c. Quel(le) est:

c.1. le périmètre de la mesure:

International

c.2. la nature de la mesure:

institutional

c.3. La principale caractéristique de la mesure:

The most significant government involvement related to the use of digitization technology in recent years has been the passing of the Minister of National Education Regulation No. 2 of 2008 on Books. In general, this regulation allows the Government to buy copyrights of textbooks then grant free public access for personal use of the textbooks, including to download and print.

The Government has also been in support of efforts by the National Library of Indonesia (NLI) in utilizing the digitization technology. First, the NLI has operated four units of e‐Mobile libraries since 2006, which serve schools and prisons surrounding Jakarta. Then, in 2015, the NLI developed its own website, which has provided access to:

the On-line Public Access Catalog;
the Indonesia One Search application that currently stores almost 5 million records from 300 institutions;
national literature and cultural works from 2 Presidential Libraries, 33 Provincial Libraries, and 355 District Libraries, including e-books, e-journals, cartographies, microfiches, monographs, on-line magazines, and musical and film archives; and
international literature through subscriptions to about 10 thousand e-book titles and 30 e-journal subjects.

Another beneficiary of the digitization technology is the wayang kulit (shadow puppets) industry, which has gained support from the Government, as well as other stakeholders, for using the technology to improve the inventory, creation, promotion, and distribution of books and films of both traditional and contemporary forms of wayang kulit, mainly through the Wayang Educational Package (WEP) project.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Ministry of Education and Culture for implementation of the Minister of National Education Regulation No. 2 of 2008 on Books

The National Library of Indonesia for matters related to libraries

Coordinating Ministry for People’s Welfare for the WEP project

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State Budget, although exact numbers were not available during information collection.

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Oui

i.1 À quel niveau l’évaluation a-t-elle été conduite?:

National

i.2 Quelles ont été les principales conclusions?:

Specific evaluation results were not available at the time of writing this report

i.3 Quels ont été les indicateurs utilisés pour déterminer son impact ?:

Specific evaluation results were not available at the time of writing this report

❭ JEUNESSE

NURTURING YOUTH IN CULTURAL EXPRESSIONS THROUGH CAPACITY BUILDING AND COMPETITION

a. 2 Contexte de la mesure:

JEUNESSE

b. Objectifs clefs de la mesure:

Indonesia has acknowledged the important role of youth in the sustained existence and development of its rich variety of cultural expressions, including roles as artists, producers, and entrepreneurs. Many efforts have been carried out to provide youth with opportunities to better equip themselves as the future caretakers of cultural expressions in Indonesia, including:

to establish platforms for young and emerging Indonesian performers to showcase their creative talents and gain recognition;
to facilitate coaching from more established artists and producers, as well as collaborative works with other artists;
to provide access to new markets, both domestically and internationally; and
to educate young entrepreneurs with necessary business knowledge and skills.

c. Quel(le) est:

c.1. le périmètre de la mesure:

National

International

c.2. la nature de la mesure:

financial

c.3. La principale caractéristique de la mesure:

At the international level, as the longest-running dance festival in Indonesia since 1992, the Indonesian Dance Festival (IDF) serves as an important performing platform, especially for young Indonesian and international contemporary dancers/choreographers. The range of activities in the IDF include:

Main performances of contemporary and traditional dances featuring both Indonesia and international artists. In the latest IDF held in 2014, more than 100 dancers and 15 choreographers from Indonesia, Belgium, France, China, Singapore, Germany, and Japan participated in various dance and multimedia collaborations.
Open call competition for aspiring local young and emerging dancers and choreographers from across Indonesia. The open call has drawn around 200 applications each year and is expected to increase in the future.
Empowering and nurturing young talents through the Young Potential Choreographer (YPC) Award. In 2014, 16 young Indonesian choreographers were selected by senior choreographers to learn more about dance and choreography and are expected to perform in the coming IDF.

At the national level, the Bamboo Music Revolution Show (BMRS) has been held twice at the West Java Culture Park in Bandung to introduce the new bamboo versions of musical instruments that are normally made from wood. Activities in the BMRS mainly focus on acoustical performances of both traditional and contemporary music. In 2014, 25 young artists from Bandung and Medan introduced the bamboo version of traditional musical instruments kacapi, rebab, tarawangsa, dogdog, gambus, and guitar. In 2015, the bamboo version of cak, cuk, violin, and cello were introduced as central musical instruments of the traditional keroncong music.

Also at the national level, the Enrichment for Beginners in Films workshop was held in three big cities in Indonesia, which were Jakarta, Bandung, and Makassar. The activities of the workshop mostly focused on sharing insights from various experts for developing quality films. The workshop was held to fulfill the high demand from students and other film enthusiasts.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Ministry of Tourism

Ministry of Education and Culture

Creative Economy Agency

Jakarta Office for Culture and Tourism

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

For the Indonesian Dance Festival, government agencies have allocated from State and Provincial Budget in the combined sum of about USD 70,000 in 2010, USD 120,000 in 2012, and USD 170,000 in 2014 (approximated currency conversion from Indonesian Rupiah).

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Oui

i.1 À quel niveau l’évaluation a-t-elle été conduite?:

Local

i.2 Quelles ont été les principales conclusions?:

For the Indonesian Dance Festival, the following accomplishments were concluded:

increased attendance, especially among youth;
becoming an effective marketplace for young, emerging choreographers and emerging artists;
inspiring several other initiatives to create new dance festivals in other Indonesian cities; and
since 2012, the IDF has been considered by the DKI Jakarta Government as a sustainable asset and channel of collaboration between the government and artists.

i.3 Quels ont été les indicateurs utilisés pour déterminer son impact ?:

For the Indonesian Dance Festival, the following indicators were used to determine impact:

Audience attendance has significantly increased from 1,250 in 2004 to 5,000 in 2014, and is expected to increase in the coming festivals. The number of students in the audience has also been increasing in the last 10 years, rising from 20% to 40% of the total audience.
Several emerging choreographers have succeeded in establishing themselves in the field through their participation in this marketplace.
IDF has inspired several other dance festivals in the country such as Bedog Art Festival in Yogyakarta, Sawung Dance Festival in Surabaya, and Medan Contemporary Dance Festival.

Société civile

Parties

Avez-vous pris des initiatives impliquant la société civile dans les activités pour:

Promouvoir les objectifs de la Convention grâce à des campagnes de sensibilisation et autres activités:

Yes

Comment?:

The Government has often been involved with civil society in many activities to protect and promote the diversity of Indonesian cultural expressions. Although most of the involvement has occurred in the implementation of government-funded programmes, from exhibitions and performances to seminars and workshops, several government agencies have involved civil society in the awareness-raising of various laws and regulations related to culture. Unfortunately, none of these initiatives were carried out to specifically implement the Convention, as there had been a void in Government responsibility over this matter. This was due to continuous changes in the structure of the Ministries dealing with culture and the creative industries since Indonesia acceded to the Convention in 2012. This limited the Government’s direction to mandate a specific department to oversee its implementation. The consultative workshop in December 2015, organized as part of the drafting of this report, was perhaps the first event where the Government had officially introduced and raised awareness for the Convention.

Comment?:

Occasionally, government agencies or event organizers have involved civil society in the monitoring and evaluation process of measures adopted at the local and international levels. Several examples of recent involvements include formal feedback on the World Culture Forum and the Indonesian Dance Festival. With better understanding on the part of the Government on the value of partnership with civil society, future involvement of civil society in the monitoring and evaluation process is expected to increase.

Prévoir des lieux où les idées des sociétés civiles peuvent être entendues et débattues tout en élaborant des politiques culturelles:

Yes

Comment?:

Civil society has been actively involved in the development of various government policies in cultural development, including input on the development of various laws and regulations related to culture. Several examples include participation in the Congress of Indonesian Culture and the National Discussion on Education and Culture, as well as participation during the formulation and discussion steps to enact the proposed new Law on Culture.

Mettre en oeuvre les directives opérationnelles

Autres

La société civile contribue-t-elle à ce rapport ?

Yes

Société civile

La société civile a-t-elle pris des initiatives pour:

Promouvoir les objectifs et principes de la Convention au niveau local et international:

Yes

Comment?:

Currently, despite the low awareness of the Convention among Civil Society Organizations (CSO), many CSOs and private companies have been working on initiatives that pursue the same objectives as the Convention. The forms of the activities are very diverse, from arts festivals and establishment of galleries to research and publications. Below are some examples of activities and organizations/institutions who have consistently (more than 3 years) undertaken related programmes.

Event-based/Festivals/Performing Arts: ArtJog, Jakarta Biennale, Bazaar Art, Java Jazz Festival, INA Craft (Jakarta International Handicraft Trade Fair), Jakarta Fashion Week, Jember Fashion Carnaval, Indonesian Dance Festival, Ubud Writers and Readers Festival, Makassar Writers Festival, Teater Koma, Wayang Orang Bharata, Papermoon Puppet Theatre, and Teater Garasi.

Museums/Art Space: Galeri Indonesia Kaya, Salihara, Dia.Lo.Gue, ArtOne Museum, Nadi Gallery, Edwin Gallery, Nu Art Sculpture Park, Selasar Sunaryo, Oei Hong Djien Museum (OHD), Museum Ullen Sentalu, and Museum Batik Danar Hadi.

Private Companies: Djarum Foundation.

Research and Data Archive: Koalisi Seni Indonesia, Dewan Kesenian Jakarta, Kelola Foundation, Indonesian Visual Art Archive, Indo Art Now, Kineforum, and Flik TV Rumah Sinema Indonesia.

Publication and Media: Lontar Foundation, Kompas Group, and Sarasvati.

Note that there are many other CSO initiatives that currently have low media exposure or limited public recognition, mainly those working on the preservation of traditional heritage. For example: Indonesian Batik Foundation, Paguyuban Karawitan & Tari Mangkunegaran (PAKARTI), etc.

Promouvoir la ratification de la Convention et sa mise en oeuvre par les gouvernements:

Yes

Comment?:

Due to the low awareness of the Convention among CSOs, there has yet to be any recognizable effort done to promote its implementation. However, it is worth noting that in their own ways, all CSOs are working towards the same goal in the spirit of the Convention, particularly in preserving and promoting the diversity of cultural expressions.

Faire entendre les préoccupations des citoyens, des associations et des entreprises aux autorités publiques, y compris celles de groupes vulnérables:

Yes

Comment?:

Aliansi Masyarakat Adat Nusantara (AMAN) has worked to ensure the rights of indigenous communities across Indonesia in keeping their traditions (including religion, traditional rituals, living and managing their inherited lands, etc). Their mission is towards economically, politically, and culturally independent indigenous communities that are not subject of abuse and disrespect from urban communities. Indigenous communities are the source of creativity towards sustainable economic development within their own ecosystem.
Toraja Melo has worked to empower women crafts persons to be financially independent using their traditional weaving skills as the entry point. Empowering women is expected to decrease the potential for abuse, violence and mistreatment as second-class citizen. The initiative to rejuvenate traditional weaving practices will also allow the women to stay in their respective villages and raise their families, without having to seek work as overseas migrant workers.
Ubud Writers & Readers Festival (UWRF) has managed to attract tourists and help restore the economy in Bali, which suffered from a blow following the 2002 Bali bombing. The Festival ignites a massive collaboration from cultural centers, local and international NGOs, businesses across the island, and also the local government. The involvement of writers from Indonesia and abroad has also brought up several interesting and critical discussions regarding culture, history and the environment. The initiative has inspired many other local literary festivals such as the Makassar Writers Festival and Borobudur Writers Festival and its derivatives, Ubud Food Festival and Bali Emerging Writers Festival.

Contribuer à améliorer la transparence et la responsabilité en matière de gouvernance de la culture:

Yes

Comment?:

There is yet to be a visible, recognizable impact of the effort towards the realization of this goal.

Surveiller la mise en oeuvre des politiques et des programmes dans le cadre des mesures destinées à protéger et à promouvoir la diversité des expressions culturelles:

Yes

Comment?:

Koalisi Seni Indonesia has undertaken several research studies and writings in monitoring the spread of art/culture organizations across the archipelago. However, it is yet to be known of actions that have been taken based on their reports.

Consolider les capacités dans des domaines associés à la mise en œuvre de la Convention et recueillir les données :

Yes

Comment?:

Research and data collection are yet to become the priorities of most CSO initiatives. Despite sharing similar concerns with the Convention in preserving, protecting, and promoting the diversity of cultural expressions, most activities undertaken remain in the realm of one-off events/festival/exhibitions or, at its best, competitions and trainings (such as conducted by Toraja Melo). The CSOs focusing on activities in research and archiving include Koalisi Seni Indonesia, Indonesia Visual Art Archive, and Flik TV Rumah Sinema.

Créer des partenariats innovants avec les secteurs public et privé et avec la société civile d’autres régions dans le monde:

Yes

Comment?:

There are, at least, two recognizable partnerships with other regions of the world:

The Southeast Asian Creative Cities Network (SEACCN), a civil society-led network which includes Bandung in Indonesia; and
The Asia-Europe Museum Network (ASEMUS), which connects 140 museums in 40 countries.

There also exists a number of less recognizable partnerships that have been undertaken in a conventional, smaller, more private scale, such as small exports of craft goods and cultural exchange/artist residency programmes.

Défis rencontrés ou prévus pour la mise en oeuvre de la Convention:

• The Government needs to produce, disseminated, and implement strategic directions/blue prints/road maps for the Arts, Creative, and Cultural sectors to optimize the effort of all stakeholders.
All regulations and measures need to correspond with the ever-dynamic, ever-connected environment, influenced by the advancement of technology, digital penetration, and globalization.
Globalization, urbanization, and urban-centric culture have threatened cultural diversity. Particularly vulnerable are traditional practices, rural lives, and indigenous cultures, including local/vernacular languages, clothing, music, and rituals.
Neighboring countries have started building infrastructure and markets. This can potentially threaten our resources and cultural assets if we are unable to capitalize and build a sustainable economy in time.
Lacking access to funding has proven to be a hindrance. Many CSOs rely on private funding and volunteering efforts. Lack of resources has held them back from having a bigger impact and running sustainable programmes.

Solutions identifiées ou envisagées:

Mapping of the arts and culture ecosystem as well as identifying relevant problems or threats.
Building comprehensive, strategic directions and roadmap from upstream to downstream as a guideline for all stakeholders (government, CSOs, private companies, artists, communities, institutions, universities, etc).
• Preparation of comprehensive, long-term, and wide-impact national programmes based on the aforementioned roadmaps that shall cover education/campaign for the general public, infrastructure, and capacity building (school/university curriculum, etc).
• Continuation of collaborative efforts with all stakeholders, which are inclusive and of a participatory nature/open discussion, covering public education and awareness-raising campaigns, infrastructures, and capacity-building.

Activités planifiées pour les quatre prochaines années pour la mise en oeuvre de la Convention:

Awareness-raising about the Convention by all associated parties and stakeholders., Develop and execute programmes aligned with the goals of the Convention, involving Government and other parties., Create a networking platform to enable connectivity and communication among CSOs as well as with the Government, UNESCO, and other authorities., Continue collaborative efforts with all stakeholders in building a strong arts and culture ecosystem that can make a great impact on the economic, cultural, and social development.

Documentation fournie par la société civile:

keberlangsungan_lembaga_seni_di_8_kota_d_resize.pdf

Résultats et défis

Décrire les principaux résultats atteints dans la mise en œuvre de la Convention:

Indonesia has implemented the principles of the 2005 Convention long before the Convention was established. As reflected in Article 28.C.1 of the 1945 Constitution and the national motto of “Bhinneka Tunggal Ika” or “Unity in Diversity”.

Over the years, Indonesia has taken many steps in implementing the principles of the Convention. Some of the more recent main results that deserve special recognition include:

Development of a long term, comprehensive strategic plan by the (former) Ministry of Tourism and Creative Economy (MTCE). Given the inherited richness of its cultural diversity, Indonesia needed to maximize on the realization of the economic and social potential of the creative economy. The process in developing the plan involved intense consultation with a wide range of stakeholders while referring to various data statistics resulting in a well-documented series of digital books.
Formation of the Coordinating Ministry for Human and Culture Development (CMHCD) and Creative Economy Agency (CEA). Realizing the importance of inter-ministerial coordination in policy formulation and implementation, Indonesia decided to form the CMHCD to encourage better synergy among all relevant ministries and government agencies. In addition, the Creative Economy unit from the (former) MTCE was given improved authority by turning it into the CEA. Under the CMHCD, it is expected that the Ministry of Education and Culture, Ministry of Tourism, and CEA can, together, lead efforts in implementing the principles of the Convention in Indonesia.

World Culture Forum (WCF), Bali Arts Festival (BAF), and Indonesia Dance Festival (IDF). Indonesia has managed to develop a wealth of programmes that have implemented the principles of the Convention. Programmes were implemented by all levels of governments, as well as various civil society organizations and private sectors, either independently or in partnership. Among many deserving programmes, based on impact, innovativeness, and funds allocated, the WCF, the BAF, and the IDF were the most prominent.

Les défis rencontrés ou prévus pour mettre en œuvre la Convention:

Through years of implementing the principles of the Convention, Indonesia has encountered various challenges. Many of those challenges were echoed in the various consultations held throughout the drafting of this report and appear to be commonly reported by other State Parties, as well. In general, the challenges identified could be grouped into the following categories:

Lack of awareness about the 2005 Convention and clear understanding of the areas/sectors covered under it;
Lack of understanding among all stakeholders, especially among policy makers, on the full potential role of culture in general, and diversity of cultural expressions in specific, towards sustainable development;
Lack of sustainable planning at the ministerial level due to continuous changes in its structure;
Lack of statistical data relevant to specific measures of cultural policies and creative industries;
Lack of capitalization on international opportunities, especially in regards to preferential treatment and funding;
Lack of law enforcement in breaches of laws and regulations which serve to implement the principles of the Convention;
Lack of support for the sustainability of culture-related businesses owned by minority groups, such as youth, women, and indigenous people, especially with regard to capacity building and funding;
Lack of shared knowledge on existing policies and measures that implement the principles of the Convention;
Lack of recognition for exemplary programmes that implement the principles of the Convention, especially programmes initiated by civil society organizations and private sector;
Lack of participation from civil society organizations in the evaluation of cultural policies and measures; and
Lack of fair financial gain for use of traditional culture, especially those belonging to indigenous people.

Les solutions identifiées ou envisagées pour relever ces défis:

In addition to identifying challenges, the various consultations held throughout the drafting of this report also yielded many suggestions on possible solutions to overcome those challenges. Although discussions were still at the preliminary stages and none of the possible solutions were officially adopted for immediate implementation, the majority of participants to the consultations were encouraged by the progress made and raised new optimism in the general direction in implementing the Convention. In general, the possible solutions offered could be grouped into the following categories:

Improve efforts to raise awareness and understanding of the objectives of the Convention for developing better strategic policies and plans, better capitalization of international opportunities, and better enforcement of relevant laws and regulations through better approaches in communication;
Improve effectiveness in the direction, coordination, and support among ministries and governmental agencies involved in the formulation and implementation of creative industries policies and programmes that relate with the objectives of the Convention in Indonesia;
Development of new national surveys that are specifically tailored to capture and map statistical data relevant in measuring cultural policies and programmes in Indonesia; and
Development of a national database to:
- record all policies and programmes in Indonesia related to the implementation of the Convention;
- foster good practices by giving recognition to programmes that are considered exemplary;
- facilitate more effective efforts to support capacity building of the cultural sector; and
- allow better access to public and private funding by assisting in the verification process of granting financial assistance.

Les étapes prévues pour les quatre prochaines années:

The National Medium Term Development Plan (2015-2019, Book II on Socio-cultural and Religious Living) emphasizes that the ultimate goal of development in culture is to form Indonesians as human beings with dignity, character, and self-identity. To accomplish this goal, the Ministry of National Development Planning places importance on improving appreciation for arts and creativity in cultural works, through a) management of national deposits, b) nurturing of arts, c) development of culture-based creative industries, and d) development of movies. In addition, it also emphasizes Government support for:

strengthening the role of culture in nation character building through improvement of education practices;
development of the creative economy and cultural industries that cover all cultural elements under the 2005 Convention;
revision of various existing laws and regulations related to the implementation of the 2005 Convention, including:
- Proposed Law on the Amendment of Law No. 33 of 2009 on Films;
- Proposed Law on the Amendment of Law No. 32 of 2002 on Broadcasting;
- Proposed Law on the Amendment of Law No. 4 of 1990 on Transfer and Storage of Printed and Recorded Works;
- Proposed Law on the Amendment of Law No. 11 of 2008 on Electronic Information and Transaction; and
- Proposed Law on the Amendment of Law No. 10 of 2009 on Tourism;
development of new laws and regulations related to the implementation of the 2005 Convention, including:
- Proposed Law on Creative Economy;
- Proposed Law on Culture;
- Proposed Law on Radio and Television of the Republic of Indonesia;
- Proposed Law on Local Language and Arts; and
- Proposed Law on Gender Justice and Equality;
implementation of the Second World Cultural Forum in Bali in October 2016;
improvement in cultural promotion, diplomacy, and exchange through greater coordination on culture diplomacy and increased role of Indonesia in multilateral forums; and
preservation of cultural heritage through facilitation in social and culture sustainability and recognition for the rights of indigenous peoples.

Nom du responsable chargé de signer le rapport

Titre:

Nom de famille:

Farid

Prénom:

Hilmar

Position:

Directorate General of Culture

Organisation:

Ministry of Education and Culture

❭ POLITIQUES CULTURELLES ET MESURES

ROLE OF CULTURE IN THE NATIONAL SUSTAINABLE DEVELOPMENT OF INDONESIA

a. 2 Contexte de la mesure:

POLITIQUES CULTURELLES ET MESURES

b. Objectifs clefs de la mesure:

to increase government’s awareness and participation in arts and cultural programmes initiated by the public and improve appreciation towards cultural diversity;
to provide adequate infrastructure for the development, studies, and presentation of arts and culture in the major cities and capital regencies by October 2012 at the latest, and incentives in the form of facilitation, support, and award for artists who improve the standard and quality of arts and culture; and
to develop arts such as fine arts, performance arts, media arts, and other culture based creative industries, as well as an adaptive and interactive national film industry towards new positive values.

c. Quel(le) est:

c.1. le périmètre de la mesure:

National

c.2. la nature de la mesure:

institutional

c.3. La principale caractéristique de la mesure:

Programmes in education that emphasize on the importance of character building, so called “mental revolution”, that are strongly related to cultural expressions that appreciate Indonesia’s diversity.
Programmes related to the values of culture, arts, and films, including improvement in development of national films, film censorship, and management of national galleries, as well as involvement of indigenous peoples.
Programmes in tourism destinations, including improvement in the development of attractions, involvement of local communities, development of businesses, industries, and investment, and in marketing domestically and abroad, market research, and publications.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

In general, for the protection and promotion of diversity of cultural expressions, an increase between 2010 and 2014 was expected in the:

number of quality national films produced from 75 to 391 titles;
number of art and cultural works protected under intellectual property rights from 400 to 2000 pieces;
number of art, cultural, and film works shows, exhibitions, and festivals facilitated from 83 to 415 events; and
number of facilities for art and cultural works development, study, and shows facilitated from 25 to 529 infrastructures.

The targets illustrate the new Government priority accorded to cultural industries, especially those related to the creative economy, following the creation of the Creative Economy Agency.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Ministry of National Planning and Development

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State Budget, in the sum of about USD 117,000,000 (approximated currency conversion from Indonesian Rupiah).

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Oui

i.1 À quel niveau l’évaluation a-t-elle été conduite?:

National

i.2 Quelles ont été les principales conclusions?:

Specifically related to the protection and promotion of diversity of cultural expressions, the evaluation revealed:

increase in the appreciation of arts, culture, and films by the citizens of Indonesia, supported by the facilitation of infrastructure development and arts and cultural shows and festivals in 25 Provinces and 399 Regencies in 2012;
protection of the intellectual rights of 1,231 pieces of arts and culture;
development of a National Gallery;
development of infrastructure and human resources in 25 cultural parks and facilitation of cultural infrastructure in 3,351 schools;
organization of the first World Culture Forum in Bali in 2013; and
recognition by UNESCO as an Intangible Cultural Heritage of Angklung (2010), Saman Dance (2011), and Noken (2012), as well as recognition of Bali Cultural Landscape (Subak, 2012) as a World Cultural Heritage Site.

i.3 Quels ont été les indicateurs utilisés pour déterminer son impact ?:

number of quality national films produced;
number of arts and cultural works protected by intellectual property rights;
number of assistance for shows, exhibitions, and festivals of arts, cultural, and films; and
number of assistance for development, studies, and presentation of arts and cultural.

❭ POLITIQUES CULTURELLES ET MESURES

ESTABLISHMENT OF THE CREATIVE ECONOMY AGENCY (BADAN EKONOMI KREATIF - BEKRAF)

a. 2 Contexte de la mesure:

POLITIQUES CULTURELLES ET MESURES

b. Objectifs clefs de la mesure:

to cultivate, move, increase, and optimize various points of marketing for national creative products and services both domestically and abroad;
to facilitate funding access for national creative industries to sources of funds and foster growth of new alternative sources of funds, and facilitate research and education development on the national creative economy; and
to develop public awareness and appreciation for intellectual property rights and optimize financial benefit for intellectual property rights holders, harmonization of regulations, strong cooperation as well as to create synergy across institutions and regions, optimize infrastructures, based on trustworthy governmental management that is transparent, effective, and democratic.

c. Quel(le) est:

c.1. le périmètre de la mesure:

National

c.2. la nature de la mesure:

regulatory

c.3. La principale caractéristique de la mesure:

The CEA has the role, duty, and function to:

assist the President in devising, enacting, coordinating, and synchronizing policies in the field of the creative economy, even though it is positioned under the Ministry of Tourism;
implement policy, provide technical assistance, and supervise, with authority similar to a ministry;
enact the President Regulation on Coordination of Ministries and Agencies in the Development of the Creative Economy;
develop the Creative Economy Index (Indeks Ekonomi Kreatif - IDX) to facilitate funding access for national creative industries to sources of funds and foster growth of new alternative sources of funds;
develop an advocacy campaign for intellectual property rights to optimize financial benefit for rights holders;
develop a Creative Economy Information System to facilitate research and education development on the national creative economy;
develop a marketing platform, both from government to government and from government to businesses, to cultivate, increase, and optimize various marketing channels for national creative products and services both domestically and abroad; and
build necessary infrastructure for the development of the creative industries as well as small and medium enterprises in Indonesia.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

In general, the target by 2019 is:

12% growth in the share of the creative economy in Gross Domestic Product;
total workforce absorption of 13 million people; and
10% contribution to gross export/foreign exchange.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Creative Economy Agency

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State Budget, in the sum of about USD 85,000,000 (approximated currency conversion from Indonesian Rupiah), broken down into sums for:

research, education, and development, USD 16,400,000;
access to funding, USD 12,600,000;
infrastructure, USD 8,500,000;
facilitation for intellectual property rights and regulations, USD 12,700,000;
institutional and regional relations, USD 7,600,000; and
management and other technical support, USD 8,800,000.

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Non

❭ POLITIQUES CULTURELLES ET MESURES

MANAGEMENT OF THE NATIONAL FILMS AND BROADCASTING INDUSTRIES

a. 2 Contexte de la mesure:

POLITIQUES CULTURELLES ET MESURES

b. Objectifs clefs de la mesure:

Both laws focus on efforts:

to showcase the rich diversity of the national culture;
to nurture positive creativity for the growth of the national culture;
to ensure that film and broadcasting contents are in-line with national values;
to facilitate improvement in public welfare; and
to promote Indonesia on the international stage.

c. Quel(le) est:

c.1. le périmètre de la mesure:

National

c.2. la nature de la mesure:

legislative

c.3. La principale caractéristique de la mesure:

The Indonesian Censorship Agency (Lembaga Sensor Film, LSF) also determines and socializes viewership age groups and criteria for censorship.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Ministry of Communication and Information

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Oui

i.1 À quel niveau l’évaluation a-t-elle été conduite?:

National

i.2 Quelles ont été les principales conclusions?:

In addition, the latest general evaluation on films revealed the following:

increased national film production from 33 (2005) to 129 (2015);
increased imported films from 201 (2005) to 292 (2015);
increased number of cinemas from 140 (2005) to 210 (2015);
increased number of screens from 450 (2005) to 1073 (2015);
15.6 million number of viewers of national films; and
42 million number of viewers of imported films.

i.3 Quels ont été les indicateurs utilisés pour déterminer son impact ?:

For films, the following indicators were used to determine impact:

number of national film production;
number of imported films;
number of cinemas and screens; and
number of viewers.

❭ POLITIQUES CULTURELLES ET MESURES

PROMOTION FOR THE NATIONAL BOOKS AND PUBLISHING INDUSTRY

a. 2 Contexte de la mesure:

POLITIQUES CULTURELLES ET MESURES

b. Objectifs clefs de la mesure:

to showcase the richness and improve awareness of Indonesian literature and cultural works;
to facilitate better recognition for all stakeholders in the books and publishing industry;
to encourage creativity through collaborations among various writers and publishers both domestically and internationally; and
to open access for publishers and writers to new markets both domestically and abroad.

c. Quel(le) est:

c.1. le périmètre de la mesure:

National

International

c.2. la nature de la mesure:

financial

institutional

c.3. La principale caractéristique de la mesure:

initiation of a translation funding programme that benefited about 300 Indonesian books;
funding for 20 national publishers, including small and independent publishers, as co-exhibitors; and
travel grants for about 70 Indonesian prominent authors.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Ministry of Education and Culture had the most prominent role in both the 2015 FBF participation and 2015 IIBF implementation.

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Non

❭ POLITIQUES CULTURELLES ET MESURES

PROMOTION FOR NATIONAL CONTEMPORARY VISUAL AND PERFORMING ARTISTS

a. 2 Contexte de la mesure:

POLITIQUES CULTURELLES ET MESURES

b. Objectifs clefs de la mesure:

to showcase the richness as well as increase interest and appreciation of contemporary Indonesian visual and performing arts;
to facilitate better recognition for all stakeholders in the contemporary visual and performing arts industry;
to encourage creativity through collaborations among various contemporary visual and performing artists both domestically and internationally; and
to open access for contemporary visual and performing artists to new markets both domestically and abroad.

c. Quel(le) est:

c.1. le périmètre de la mesure:

International

c.2. la nature de la mesure:

institutional

c.3. La principale caractéristique de la mesure:

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Ministry of Education and Culture for the BAF and the IAS, while the (Former) Ministry of Tourism and Creative Economy for the NPAF.

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State budget, in the sum of USD 150,000 (approximated currency conversion from Indonesian Rupiah) for the IAS.

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Non

❭ POLITIQUES CULTURELLES ET MESURES

INITIATIVES TO INCREASE AWARENESS AND ORGANIZATION OF UNDER DEVELOPED CULTURAL EXPRESSIONS

a. 2 Contexte de la mesure:

POLITIQUES CULTURELLES ET MESURES

b. Objectifs clefs de la mesure:

to showcase works and increase awareness of under developed cultural expressions, including contemporary forms of creativity;
to facilitate creativity through opportunities for knowledge-sharing and collaborations among producers and performers of underdeveloped cultural expressions; and
to provide business knowledge and skills for individuals and institutions that have interest in developing the under developed cultural expressions as part of the creative economy industry.

c. Quel(le) est:

c.1. le périmètre de la mesure:

National

c.2. la nature de la mesure:

financial

c.3. La principale caractéristique de la mesure:

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State Budget, although exact numbers were not available during information collection.

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Oui

i.1 À quel niveau l’évaluation a-t-elle été conduite?:

National

i.2 Quelles ont été les principales conclusions?:

There is a need for:

policies, laws and regulations, as well as institutions to protect creative workers in developing businesses of cultural expressions; and
Government assurance for improved availability in funds to support the creativity of creative workers.

i.3 Quels ont été les indicateurs utilisés pour déterminer son impact ?:

Specific indicators were not mentioned in the evaluation.

❭ POLITIQUES CULTURELLES ET MESURES

GOVERNMENT INCENTIVES RELATED TO CULTURAL EXPRESSIONS

a. 2 Contexte de la mesure:

POLITIQUES CULTURELLES ET MESURES

b. Objectifs clefs de la mesure:

to increase the involvement of taxpayers in the construction of related infrastructures; and
to increase the frequency of art and cultural events organized by the community.

c. Quel(le) est:

c.1. le périmètre de la mesure:

National

c.2. la nature de la mesure:

regulatory

c.3. La principale caractéristique de la mesure:

In 2015, the Jakarta Provincial Government introduced the Jakarta Local Regulation No. 3 of 2015 on Entertainment Taxes. In general, this regulation allowed for:

VAT reduction of up to 0% tax rate for any free arts event;
tax deduction of up to 0% for any local/traditional cultural event;
tax deduction from 10% to 5% for any paid national cultural event; and
tax increase from 10% to 15% for any paid international cultural event.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

The Ministry of Finance is mainly responsible for the implementation of the Government Regulation No. 93 of 2010 and the Minister of Finance Regulation No. 158/PMK.010/2015

The Jakarta Province Tax Agency is mainly responsible for the Jakarta Local Regulation No. 3 of 2015

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Non

❭ COOPÉRATION CULTURELLE INTERNATIONALE

SHOWCASING OF INDONESIAN CULTURE IN FOREIGN COUNTRIES

a. 2 Contexte de la mesure:

COOPÉRATION CULTURELLE INTERNATIONALE

b. Objectifs clefs de la mesure:

to function as cultural diplomacy centers in friendly strategic countries;
to inform the richness of Indonesian culture and its contribution to the development of world civilization; and
to attain acknowledgement from the international community, including stronger recognition of Indonesian cultural icons in the form of both tangible and intangible cultural heritages.

c. Quel(le) est:

c.1. le périmètre de la mesure:

International

c.2. la nature de la mesure:

institutional

c.3. La principale caractéristique de la mesure:

Each HIC implements three programmes, which are:

Indonesian Cultural Promotion. This programme hosts several events aimed at promoting the Indonesian culture to the general public through many forms of cultural activities, including the Indonesian Day, food bazaars, and cultural expos.
Indonesian Cultural Expressions. This programme is run by the Indonesian diaspora to support activities in preserving the Indonesian culture and strengthening their pride and identity as Indonesian people, which includes cultural performances and participation of Indonesian diaspora in local annual festivals/parades.
Indonesian Cultural Learning. This programme is held regularly without admission fee and open to public in the form of courses to introduce Indonesian culture, which includes culinary workshops, gamelan classes, Bahasa Indonesia speech/essay competition, and traditional dance courses.

Each HIC has a variety of traditional costumes, musical instruments, and books on Indonesian culture that can be used or rented for various occasions.
Currently there are 10 HICs operating in 10 countries. One HIC in Timor-Leste was established in early 2016 in a newly constructed building, whereas other HICs in Australia, United States of America, Netherlands, Germany, Japan, France, Singapore, Myanmar, and Turkey are operating within the Indonesian embassy complex.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Ministry of Education and Culture

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State budget, in the sum of about USD 9,500,000 (approximated currency conversion from Indonesian Rupiah).

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Oui

i.1 À quel niveau l’évaluation a-t-elle été conduite?:

National

i.2 Quelles ont été les principales conclusions?:

Overall, the HIC programme has been a success and has received positive response in all its establishments. Feedback has shown that the HIC has:

strengthened efforts to introduce and promote Indonesian culture, both contemporary and traditional, in the targeted countries; and
increased the awareness of international public towards Indonesia’s rich and diverse culture.

i.3 Quels ont été les indicateurs utilisés pour déterminer son impact ?:

For Indonesian Cultural Promotion, indicators used to determine impact include:

number of visitors or attendance at the events; and
level of awareness of Indonesian culture shown by publications in mass media, posts in social media, etc.

For Indonesian Cultural Expression, indicators used to determine impact include:

number of activities supported by HIC each year; and
level of involvement of Indonesian diaspora, including all cultural players, such as artists, producers, etc.) to participate in the activities.

For Indonesian Cultural Learning, indicators used to determine impact include:

number of regular participants in courses on Indonesian culture; and
level of performance of course participants in the events held by the Indonesian Embassy as a result of the cultural course.

❭ COOPÉRATION CULTURELLE INTERNATIONALE

BILATERAL COOPERATION WITH THE UNITED KINGDOM IN THE FIELD OF CREATIVE INDUSTRIES

a. 2 Contexte de la mesure:

COOPÉRATION CULTURELLE INTERNATIONALE

b. Objectifs clefs de la mesure:

to increase the human resources capacities in the creative industries by jointly conducting various trainings and studies on creative fields such as music, films, performing arts, arts and craft, animation, and digital development, as well as fashion, architecture, design, and cuisine; and
to build creative relationships between and showcase content of both countries, with young people and digital innovations as priorities.

c. Quel(le) est:

c.1. le périmètre de la mesure:

International

c.2. la nature de la mesure:

financial

c.3. La principale caractéristique de la mesure:

Among the variety of programmes under this cooperation, three are closely related to the areas covered under the 2005 Convention: Digital Culture, Hip Hop Music Collaboration, and Discover Indonesia.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Creative Economy Agency

Ministry of Tourism

Ministry of Education and Culture

Indonesian Embassy in the UK

Aceh Culture and Tourism Office

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State and local budget, although exact numbers were not available during information collection.

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Non

❭ INTÉGRATION DE LA CULTURE DANS LES POLITIQUES DE DÉVELOPPEMENT DURABLE

DEVELOPMENT OF A NATIONAL CREATIVE CITIES NETWORK

a. 2 Contexte de la mesure:

INTÉGRATION DE LA CULTURE DANS LES POLITIQUES DE DÉVELOPPEMENT DURABLE

b. Objectifs clefs de la mesure:

to create an association of stakeholders in each regency-city to collaborate through the network to develop the potential of the creative economy at national level for inclusive and sustainable growth;
to develop creative cities in south-east Asia that are capable of acting together at the global level;
to improve access to and participation in cultural life as well as the enjoyment of cultural goods and services, notably for marginalized or vulnerable groups and individuals;
to fully integrate culture and creativity into local development strategies and plans; and
to involve all potential stakeholders in all stages of data collection and mapping, research, planning, implementation, evaluation, and development according to their specific roles, functions, capacities, and competencies.

c. Quel(le) est:

c.1. le périmètre de la mesure:

National

c.2. la nature de la mesure:

financial

institutional

c.3. La principale caractéristique de la mesure:

four performing arts events: Wayang Kulit Festival, Barongan Nusantara Festival, Gandrung Sewu Festival, and Kuwung Festival;
four live music concerts: Percussion Festival and Larlare Orchestra, Banyuwangi Peaceful Concert, Jazz Ijen Banyuwangi, and Banyuwangi Beach Jazz Festival;
two festivals: Barong Ider Bumi and Banyuwangi Ethno Carnival;
one visual arts exhibition: the Banyuwangi Art Week.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Coordinating Ministry of Economic Affairs

Ministry of Tourism

Creative Economy Agency

Local Governments

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State and local budget, although exact numbers were not available during information collection.

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Non

❭ QUESTIONS TRANSVERSALES ÉMERGENTES: Résolution 5.CP 9b

WORLD CULTURE FORUM AS AN INTERNATIONAL DIALOGUE PLATFORM

a. 2 Contexte de la mesure:

QUESTIONS TRANSVERSALES ÉMERGENTES: Résolution 5.CP 9b

b. Objectifs clefs de la mesure:

to generate an agreed international development agenda for culture with the view to harness diversity, promote peace, and contribute to development;
to create a permanent space for dialogue and deliberations to challenge established thinking and identify solutions for embedding culture as part of sustainable development;
to ensure that culture is prioritized in sustainable development policies and planning on a global, national, regional and local level;
to strategically examine the role of culture in creating and strengthening the people-to-people relationship among countries and to promote cultural diversity, mutual understanding, dialogue and peace; and
to strengthen collaboration among international and national stakeholders for the increased mainstreaming of culture into development strategies and programmes, and in the context of the United Nations.

c. Quel(le) est:

c.1. le périmètre de la mesure:

International

c.2. la nature de la mesure:

financial

institutional

c.3. La principale caractéristique de la mesure:

The World Culture Forum is planned to be organized and hosted by the Government of Indonesia under the patronage of UNESCO every two to three years.
The Forum’s objectives are aligned with recent global developments which signal a welcome trend toward the systematic integration of culture in development strategies and policies.
This Forum brings together key stakeholders such as politicians, academicians, government officials, non-government officials, United Nations, development banks, business owners, and civil society.
The first World Culture Forum was hosted in Bali, Indonesia from 23 to 27 November 2013 bringing together 1,360 delegates and performing artists from across 67 countries, 12 ministers of culture, ambassadors, and national representatives, as well as a number of NGO officials and cultural practitioners.
A key element of the first World Culture Forum’s programme was six themed symposia that brought together experts to discuss and debate issues around culture for sustainable development, which included:
- Holistic Approaches to Culture in Development;
- Civil Society and Cultural Democracy;
- Creativity and Cultural Economics;
- Culture in Environmental Sustainability;
- Sustainable Urban Development; and
- Inter-Faith Dialogue and Community Building.

The second World Culture Forum is scheduled to be held in Bali in October 2016 under the theme “Culture for an inclusive sustainable planet”, which will include a special Youth Forum as well as film screenings and festivals that will highlight contemporary expressions of creativity from Indonesia.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

WCF hopes to become an important global platform shaping the global agenda around culture in development;
Strengthened commitment – as detailed in the “Bali Promise”, a set of ten recommendations - to explicitly integrating the cultural dimension of development in all the Sustainable Development Goals including by:
- supporting the leadership of young people pursuing cultural endeavors;
- championing gender mainstreaming;
- strengthening partnerships between the public and private sectors;
- finding new modalities for the valuing and measuring of culture;
- fostering new participatory models promoting cultural democracy and social inclusion; and
- cultivating creativity and fostering development of cultural industries to alleviate poverty and promote economic and cultural empowerment; as well as
Elaboration of the “Bali Promise” in Indonesian law to make it obligatory for successive governments to evolve into a measurable set of aims and concrete policies and programmes using an evidenced-based approach.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

Ministry of Education and Culture

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State Budget, in the sum of about USD 5,600,000 (approximated currency conversion from Indonesian Rupiah).

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Oui

i.1 À quel niveau l’évaluation a-t-elle été conduite?:

International

i.2 Quelles ont été les principales conclusions?:

Overall, the first WCF in 2013 was considered a great success. Respondents also expressed:

pleasure with the substance of the forum, including the opening keynote addresses, speakers and moderators, symposia contents, and the Bali Promise;
pleasure with the supporting programs, including the Culture-based Film Festival, World Ethnic Music Festival, and Subak World Heritage Post WCF Tour; and
pleasure with the various services and goods provided by the host; and
strong support for the next WCF.

i.3 Quels ont été les indicateurs utilisés pour déterminer son impact ?:

Number of participants;
Number of countries represented;
Support from well-recognized individuals and institutions, including UNESCO;
Enactment of the Bali Promise; and
Media coverage of the Forum.

❭ QUESTIONS TRANSVERSALES ÉMERGENTES: Résolution 5.CP 9b

NATIONAL EFFORTS TO DISCOURAGE PIRACY OF AND IMPROVE COLLECTION OF ROYALTIES FROM CULTURAL INTELLECTUAL PROPERTY

a. 2 Contexte de la mesure:

QUESTIONS TRANSVERSALES ÉMERGENTES: Résolution 5.CP 9b

b. Objectifs clefs de la mesure:

c. Quel(le) est:

c.1. le périmètre de la mesure:

National

c.2. la nature de la mesure:

legislative

institutional

c.3. La principale caractéristique de la mesure:

One of the key features of this new law was the introduction of the Collective Management Organization (CMO), which were meant:

to improve transparency in the current system of collecting and managing royalties;
to ensure copyright protection of artists’ works;
to ensure proper credit for artists with regard to name recognition and financial/royalty payment from the commercial use of their creations/ products; and
to mitigate the impact of wrongful use of creations, including but not limited to plagiarism.

public spaces, including karaoke, cafés, restaurants, and night clubs;
public broadcasts, including live performances, radios, and televisions;
reproductions, including CDs, cassettes, vinyls, and photocopies; and
online distribution.

d. Cible-t-elle spécifiquement des individus et/ou des groupes sociaux tels que définis par l’article 7 de la Convention ?:

Oui

e. Quels sont les résultats attendus de la mise en œuvre de la mesure? :

Specific expected results were not available at the time of writing this report.

f.1 Nom de l’agence chargée de la mise en œuvre de la mesure:

National Collective Management Organization under the supervision of the Ministry of Law and Human Rights

f.2 Ressources financières allouées à la mise en œuvre de la mesure:

State budget, although exact numbers are not yet available since the institution was only recently established.

h. Cette mesure a-t-elle été introduite ou révisée pour::

h.1. Mettre en œuvre les dispositions de la Convention ?:

Non

h.2. Soutenir/nourrir le débat politique inspiré par la Convention ?:

Non

h.3. D’autres raisons non relatives à la Convention ?:

Oui

i. La mise en œuvre de la mesure a-t-elle fait l’objet d’une évaluation ?:

Non

❭ QUESTIONS TRANSVERSALES ÉMERGENTES: Résolution 5.CP 9b

USE OF DIGITIZATION TO PROTECT AND PROMOTE LITERATURE AND CULTURAL WORKS

a. 2 Contexte de la mesure:

QUESTIONS TRANSVERSALES ÉMERGENTES: Résolution 5.CP 9b

b. Objectifs clefs de la mesure:

to preserve rare collections;
to provide platforms that support accessibility and promotion; and
to build databases.

c. Quel(le) est:

c.1. le périmètre de la mesure:

International

c.2. la nature de la mesure:

institutional

c.3. La principale caractéristique de la mesure:

the On-line Public Access Catalog;
the Indonesia One Search application that currently stores almost 5 million records from 300 institutions;
national literature and cultural works from 2 Presidential Libraries, 33 Provincial Libraries, and 355 District Libraries, including e-books, e-journals, cartographies, microfiches, monographs, on-line magazines, and musical and film archives; and
international literature through subscriptions to about 10 thousand e-book titles and 30 e-journal subjects.