Informations générales
Informations techniques
From the beginning of the process to prepare this report, we sought coordination with diverse actors from the creative sector, and we generated spaces for consultation and dialogue. These actors represented various public institutions, civil society organizations, private sector associations and the academy; and twenty-four (24) of these representatives formed the National Team. This team was made up of a group of actors—selected by the Ministry of Culture —who reported initiatives and joined the QPR building process, pointing out policies, projects or programs that could be included in the report, and contributing to the final assessment with ideas and observations.
A first meeting with the National Team was held in the fourth week of August 2019 to present the 2005 Convention and the work plan to prepare the report; a second meeting took place in the second week of October, where a training workshop was conducted by UNESCO international expert Eduardo Saravia on the 2005 Convention and the monitoring framework that shapes this report. In order to collect all the necessary information, bilateral meetings were also held with different organizations, institutions and associations that work on these matters.
The National Team was made up of the following organizations:
1. National Institute of Radio and Television (IRTP) (Public - National)
2. Ministry of Foreign Affairs (Public - National)
3. Ministry of Production (Public - National)
4. Ministry of Foreign Trade and Tourism - PromPerú (Public - National)
5. National Institute of Statistics and Informatics (INEI) (Public - National)
6. National Autonomous Higher School of Fine Arts (ENSABAP) (Public - National)
7. National Higher School of Folklore – JMA (Public - National)
8. Decentralized Directorate of Culture of Junín (Public - National)
9. Decentralized Directorate of Culture of Ayacucho (Public - National)
10. Provincial Municipality of Huamanga (Public - Local)
11. Municipality of Huancayo (Public - Local)
12. Metropolitan Municipality of Lima (Public - Local)
13. National Organization of Indigenous and Amazonian Women (ONAMIAP) (Civil Society - National)
14. Intercultural Communication Services (SERVINDI) (Civil Society - National)
15. Ethnic Development Center (CEDET) (Civil Society - National)
16. Association of Film Producers of Peru (APCP) (Union - National)
17. Independent Publishers Association (EIP) (Union - National)
18. ‘Repercute’ Association (Civil Society - Local)
19. Lima Performing Arts Festival (FAE) (Civil Society - National)
20. Association of Curators of Peru (Union - National)
21. IGDA - International Game Developers Association (Union - National)
22. University of Piura (UDEP) (Academy - National)
23. Pontifical Catholic University of Peru (PUCP) (Academy - Local)
24. Peruvian Alliance of Cultural Organizations (APOC) (Civil Society - National)
The actors summoned to form the National Team represent the four abovementioned sectors: public sector, private sector associations, civil society and the academy; nevertheless, the distribution of representatives varies according to the sector: 37% for the public sector; 25% for private sector associations and unions; 21% for civil society organizations; and 17% for the academy. This kind of distribution is due to the fact that the report mainly covers actions generated from the public sector, but it also considers the participation of the other agents that are part of the cultural and creative sector to be essential.
Bilateral meetings were held with the following organizations:
a. Peruvian Book Chamber (CPL) (Private - National)
b. National Penitentiary Institute (INEI) (Public - National)
c. Ministry of the Interior: ‘Barrio Seguro’ Strategy (Public - National)
d. Peruvian Film Festival Made by Women (Civil Society - National)
Likewise, spaces were opened to present the process and talk with various actors, in already existing environments and platforms, with the aim of gathering more information, disseminating the objectives of the 2005 Convention and raise awareness of the document and its relevance to the region and the world. In particular, the team participated in the following spaces:
a) Regional Training Workshop: “Cultural Policies and the Convention on the Protection and Promotion of the Diversity of Cultural Expressions” in the city of Quito.
b) Living Community Culture International Seminar by the Municipality of Lima (cultural managers working for the State).
c) Diploma Course on Cultural Management by the Lima Art Museum (MALI) (students).
d) ‘CONECTA’ Meeting - Cusco (creators, managers and producers of the cultural industries and arts).
e) National Meeting on Culture - Chimbote (civil society associations and organizations)
f) Meeting on Public Management on Cultural Industries and Arts - Lima (cultural managers working for municipalities).
Each of these events gathered feedback on the process and the initiatives included and others to be included in the QPR.
Finally, in February 2020, a series of open meetings were held with representatives of civil society organizations, unions and private sector associations, representatives of the academy and members of the National Team to validate the information gathered and define the main challenges to be posed in the QPR.
This Quadrennial Periodic Report (QPR) includes 48 policies developed during the 2016 ̶ 2019 period and has been prepared through a participatory process carried out from May 2019 to April 2020. The work plan to build the QPR has incorporated working groups with representatives of the private and public sector, unions and the academy, as well as spaces for presentation and consultation with diverse groups of actors from the creative sector in Lima, Chimbote and Cusco. The findings recorded in this report can be read at three levels of analysis: i) distribution of the policies: the measures in accordance with the four objectives established in the monitoring framework; ii) content of the policies: themes, new contributions and sustainable measures; and iii) transversal look: main achievements and challenges.
The first level of analysis focuses on the distribution of the reported policies and measures among the various objectives set out in UNESCO's monitoring framework. These are mainly contained in Objective 1 ("Supporting sustainable systems of governance for culture") (21 policies). This objective gathers initiatives related to the various stages of the value chain of the cultural industries and arts: training, creation, production, distribution, access, among others, as well as policies that transversally affect the entire sector, so it understandably includes most of the compiled policies, measures and strategies.
Regarding the other objectives, the distribution varies in the number of measures reported.
Objective 3 ("Integrating Culture in Sustainable Development Frameworks") also records a considerable number of the reported policies (17 policies), being an indicator that the platforms and spaces for skill formation and the generation of networks of collective work have been priority topics for the cultural management in the past four years. Some of the measures included in Objective 3 address topics as diverse as the Culture Points Network, the audience-oriented area of the Grand National Theater or the training for public officers, and also proposals from civil society, such as APOC's shared advocacy agenda, the Cultural Governance Program of the University of Piura, among others.
Moreover, we found that there are fewer measures reported in Objective 2 (“Achieving balanced flow of cultural goods and services and increasing the mobility of artists and cultural professionals”) (5 measures) and Objective 4 (“Promoting human rights and fundamental freedoms”) (5 measures). Although from a first reading, we can see that these are works in progress that still need to be consolidated through strategies and policies, it is crucial to note the contributions of the private sector, civil society and the academy for the promotion and participation of women in the sector, the strengthening of artists' working conditions or the flow of cultural goods and experiences at the international level.
In the second level of analysis, we approach the contents of the reported measures. Many of these are novel, very diverse measures, with years of experience in their implementation, and which jointly indicate significant breakthroughs in the development of the cultural industries and creative sectors. This gains more relevance if we take into account the Quadrennial Periodic Report presented by Peru in 2012; although we can account for the status of the projects already reported in the previous QPR—such as the Culture Points Program, which now has its own law, the Ruraq Maki Program, which has developed a digital platform, or the IBER programs, to which IBERcultura Viva joins—this time, the report is much more comprehensive, detailed and diverse.
Regarding the sectors, the public sector has reported initiatives for all the objectives, both through programs and regulatory frameworks that aim to enhance access to creation (“Libertad Creativa”), encouraging people's active participation in cultural life through physical spaces or digital media (Cultura24) and through strategies that arise from coordination with other public institutions (“Libertad Creativa”, “Barrio Seguro”).
Also noteworthy is the progress made in terms of institutionalization through the promotion of culture from the public sector during this period. This is evidenced by achievements in the form of sustainable financings, such as the Economic Incentives for Culture, which are programmed on an annual basis, have an increasing financing and are prepared jointly with the sectors; or through initiatives promoted by other ministries that go for proposals based on creative tools to achieve sustainable development goals, such as courses by the National Penitentiary Institute (INPE), programs by the Ministry of the Interior or by the Ministry of Education, which value the importance of culture as transversal in all areas of life.
Along these same lines, it is crucial to highlight the context in which these actions have been developed. This is undoubtedly a period in which remarkable breakthroughs and stable strategies that contribute to the growth of the cultural and creative industries have been recorded. But this is also a context of constant political changes that lead to general instability for the sector: abrupt changes in Peruvian political-institutional structure, constant changes in the management of the Ministry of Culture itself, and thus, different priorities that hinder the sustainability of medium-term policies, strategies or actions in the sector. This period also coincides with the creation of the National Cultural Policy (PNC) which is still in progress. We would like to highlight its importance for the development of the sector, as well as to emphasize that, when presented, it will generate crucial changes, which will probably be mapped in the next quadrennial report. Both documents—each of them with a specific profile, where the PNC seeks to establish guidelines for the culture sector and the QPR provides a state of affairs on the creative sector—will have an impact on the sustainability, continuity and strengthening of the recorded policies.
On the other hand, the private sector and civil society design and implement initiatives that represent important pending works that the public sector has not been able to fully address, and which are essential for the development of the sectors: mapping, diagnoses, surveys, training spaces, among others. These are the cases of academic institutions such as the Pontifical Catholic University of Peru (PUCP) or the University of Piura (UDEP), which, among others, have become capacity building spaces for cultural agents, as well as spaces in charge of generating information and producing updated knowledge about the sector in its different components. Civil society, for its part, plays a key role by positioning as an active agent that influences the development and monitoring of public policies, through organization and coordination platforms such as the Peruvian Alliance of Cultural Organizations (APOC), which gathers and disseminates the needs and requests of multiple civil society organizations interested in actively contributing to public policy.
The third level of analysis is set out from a transversal look to the reported policies, in order to identify the achievements of the last four years, as well as the challenges or works in progress. As has been already mentioned, the growth of the creative sector is indisputable, as it is so that this compilation of policies allows us to see clearly what the current and future urgencies are, posing a tentative order of priorities.
This transversal look was built from a systematization and analysis work by the team in charge of preparing the QPR, but mainly from open meetings with representatives of civil society organizations, unions and associations, actors associated with the academy, and the members of the National Team. Therefore, it is crucial to highlight that the selection of the challenges corresponds to a collective effort to coordinate and organize the information gathered, and also to make the opinions and urgencies of each participant known.
We selected eleven challenges that condense, in concrete statements and clear tasks for the following four years, 58 proposals prepared by the different participating actors. These are: 1) strengthening intercultural approach; 2) strengthening cultural management at the local level; 3) enhancing inter-institutional coordination; 4) having updated information systems; 5) promoting the participation of women and LGTBI communities in cultural life; 6) improving the working conditions of the culture worker; 7) enhancing and enabling digital environment; 8) strengthening measures aimed at creation and management; 9) generating strategies for national and international mobility; 10) establishing synergies with Civil Society and the Private Sector; and 11) the National Cultural Policy. The challenges are developed in the last section of this report.
Finally, it is essential to point out that the Quadrennial Periodic Report presented by Peru in 2020 has been prepared during a period of time affected by atypical conditions that put sectoral priorities into perspective, and cause constant changes and reformulations to the sector's central issues; therefore, the challenges presented in this document have been organized, not only from the context and the needs of a state of emergency, triggered by the health crisis caused by COVID-19 since March 15, 2020 but also with the aim of developing the sector in the long term.
Type d'organisation | Organisation | Site web | |
---|---|---|---|
Secteur public
| Gobierno Regional de Ancash
| https://www.regionancash.gob.pe/
| |
Secteur public
| Ministerio de la Producción
| sandrade@produce.gob.pe
| https://www.innovateperu.gob.pe
|
Secteur public
| Dirección Desconcentrada de Cultura - Junín
| rvila@cultura.gob.pe
| http://www.regionjunin.gob.pe/
|
Secteur public
| Ministerio de Relaciones Exteriores
| cbastanteg@rree.gob.pe
| http://www.gob.pe/rree
|
Secteur public
| Instituto Nacional de Radio y Televisión del Perú
| gchoque@tvperu.gob.pe
| https://www.tvperu.gob.pe/programas
|
Secteur public
| Ministerio del Interior
| https://www.gob.pe/mininter
| |
Secteur public
| Instituto Nacional Penitenciario
| arteycultura@inpe.gob.pe
| https://www.inpe.gob.pe/index.php
|
Secteur public
| Municipalidad Metropolitana de Lima
| lucia.mantilla@munlima.gob.pe
| http://culturavivacomunitaria.munlima.gob.pe/index.php/programa-cultura-viva-mml
|
Secteur public
| Municipalidad Provincial de Huamanga
| robleskajattguillermo@gmail.com
| https://www.munihuamanga.gob.pe/
|
Secteur public
| Ministerio de Educación
| mpizarro@minedu.gob.pe
| http://www.minedu.gob.pe/orquestando/
|
Secteur public
| Biblioteca Nacional del Perú
| laura.martinez@bnp.gob.pe
| https://www.bnp.gob.pe
|
Secteur privé
| Universidad de Piura
| alberto.requena@udep.pe
| http://udep.edu.pe
|
Organisation de la société civile (OSC)
| Asociación Cultural Arte Libre
| siral878@gmail.com
| https://antifil.pe/
|
Organisation de la société civile (OSC)
| Alianza Peruana de Organizaciones Culturales
| contacto@apoc.pe
| http://apoc.pe/
|
Organisation de la société civile (OSC)
| Editoriales Independientes del Perú
| editoresdeperu@gmail.com
| https://www.facebook.com/editorialesindependientesdelperu
|
Secteur privé
| IGDA Perú
| gpreciado@igda.pe
| http://www.igda.pe/
|
Organisation de la société civile (OSC)
| Servicios de Comunicación Intercultural
| jorgeagurto@gmail.com
| https://www.servindi.org/
|
Secteur privé
| Pontificia Universidad Católica del Perú
| alejandra.vieira@pucp.pe
| https://www.pucp.edu.pe/
|
Secteur privé
| Festival de Artes Escénicas de Lima
| cferreyros@britanico.edu.pe
| https://www.faelima.com
|
Organisation de la société civile (OSC)
| Asociación Repercuté
| asoc.repercute@gmail.com
| http://www.cajonfestival.pe
|
Secteur public
| Escuela Nacional de Folklore
| jsanchez@escuelafolklore.edu.pe
| http://www.escuelafolklore.edu.pe
|
Secteur public
| Escuela Nacional Superior Autónoma de Bellas Artes del Perú
| cvaldez@ensabap.edu.pe
| https://ensabap.edu.pe/ensabap/
|
Organisation de la société civile (OSC)
| Asociación de curadores del Perú
| giselaurday@gmail.com
| http://curadoresdelperu.org/
|
Organisation de la société civile (OSC)
| Festival de Cine hecho por Mujeres
| freynagutierrez@gmail.com
| http://www.festivalhechopormujeres.com
|
Organisation de la société civile (OSC)
| Asociación de Productores Cinematográficos del Perú
| nathendrickx@argos.com.pe
| https://apcp.es/
|
Secteur public
| Instituto Nacional de Estadística e Informática
| luis.ulloa@inei.gob.pe
| https://www.inei.gob.pe/
|
Secteur public
| Programa Puntos de Cultura
| educacion@arenayesteras.org
| http://www.puntosdecultura.pe
|
Organisation de la société civile (OSC)
| Organización Nacional de Mujeres Indígenas, Andinas y Amazónicas del Perú
| presidenciaonamiap@gmail.com
| http://onamiap.org/
|
Organisation de la société civile (OSC)
| Centro de Desarrollo Étnico
| cedetdir@gmail.com
| https://cedetperu.org/index.php
|
Secteur privé
| Cámara Peruana del Libro
| pvilla@cpl.org.pe
| https://infolibros.cpl.org.pe/
|
Organisation de la société civile (OSC)
| Caras de la Cultura Televisión
| carasdelacultura@yahoo.es
| https://www.facebook.com/carasdelaculturatelevision/
|
Organisation de la société civile (OSC)
| Agrupación Arte Franciscano
| dorismotita@gmail.com
| |
Organisation de la société civile (OSC)
| PAZOS Arte para la Educación
| pazos.arteparalaeducacion@gmail.com
| https://www.facebook.com/pazos.arteparalaeducacion
|
Organisation de la société civile (OSC)
| Instituto Nuevos Tiempos: Educación, Patrimonio Cultura, Medio Ambiente y Biodiversidad
| sccp.gvparra@gmail.com
| |
Organisation de la société civile (OSC)
| Red Collera: Coletiva de creadoras y gestoras culturales
| rociofuenteschauca@gmail.com
| |
Organisation de la société civile (OSC)
| Centro Cultural Kuyay
| centroculturalkuyay@outlook.com
| https://www.facebook.com/C.C.Kuyay/
|
Secteur public
| Municipalidad de Piura
| gbisso@munipiura.gob.pe
| http://www.munipiura.gob.pe/
|
Secteur privé
| Editorial Los libros mas pequeños del mundo
| ludybriceño@yahoo.es
| http://www.minibooks.com.pe/home.php
|
Secteur privé
| Universidad Antonio Ruiz de Montoya
| carinamo@yahoo.com
| https://www.uarm.edu.pe/Posgrado/diplomados/gestion-cultural
|
Organisation de la société civile (OSC)
| YachayPucllayPacha
| carmen.pachas.pielago@gmail.com
| https://www.yachaypucllaypacha.pe/
|
Secteur privé
| Universidad San Martin de Porres
| sm_zapata@yahoo.com
| http://vidauniversitaria.fcctp.usmp.edu.pe/
|
Organisation de la société civile (OSC)
| Sindicato de trabajadoras y trabajadores audiovisuales y cinematográficos del Perú
| lauraquijandria@hotmail.com
| https://www.sinca.pe/
|
Secteur privé
| Fondo Editorial Universidad Cesar Vallejo
| lcastillo@ucv.edu.pe
| |
Organisation de la société civile (OSC)
| Factor Cultura
| martorellc@yahoo.com
| https://www.facebook.com/factorcultural/
|
Secteur privé
| Editorial Océano Peruana
| jfernandez@oceano.com.pe
| https://www.facebook.com/editorialoceanoperu/
|
Organisation de la société civile (OSC)
| Red de pedagogía de Museos
| claramariaruiz@gmail.com
|
Objectif 1 - Soutenir des systèmes de gouvernance durable de la culture
Secteurs culturels et créatifs
Emergency Decree that promotes the cinematographic and audiovisual activity
Submitted by on 18 juin 2020Extraordinary Emergency Decree that establishes incentives for reading and book promotion
Submitted by on 18 juin 2020Economic Incentives for Culture
Submitted by on 18 juin 2020The Art at School Program – PASE
Submitted by on 18 juin 2020“Non-sporting Cultural Public Show” Rating
Submitted by on 18 juin 2020General Directorate of Cultural Industries and Arts
Submitted by on 18 juin 2020Ruraq Maki, Hecho a Mano
Submitted by on 18 juin 2020‘CONECTA’ Meeting
Submitted by on 18 juin 2020Regional Council of Quechua Language and Culture of Ancash
Submitted by on 18 juin 2020Diversité des médias
Environnement numérique
Cultura24.tv
Submitted by on 18 juin 2020Retina Latina
Submitted by on 18 juin 2020Co-financing for innovative ventures - Start Up Perú
Submitted by on 18 juin 2020Partenariat avec la société civile
“La Independiente” Peruvian Publishers Fair
Submitted by on 18 juin 2020Creation and Implementation of the Regional Council for Culture, Languages and Interculturality
Submitted by on 18 juin 2020“CINESUYU” Cusco Film Festival
Submitted by on 18 juin 2020Objectif 2 - Parvenir à un échange équilibré de biens et services culturels et accroïtre la mobilité des artistes et des professionnels de la culture
Mobilité des artistes et des professionnels de la culture
Échange des biens et services culturels
Foreign Cultural Policy Plan
Submitted by on 19 juin 2020Traités et accords
Ibero-American Cooperation Programs
Submitted by on 19 juin 2020Objectif 3 - Inclure la culture dans les cadres de développement durable
Politiques et plans nationaux de développement durable
Public Management Meeting on Cultural Industries and Arts
Submitted by on 19 juin 2020Culture Points
Submitted by on 19 juin 2020Audience-oriented Area of the Grand National Theater
Submitted by on 19 juin 2020Junín's Regional Culture Plan
Submitted by on 19 juin 2020Awareness raising and attention to prioritized populations (youths and children, originary peoples)
Submitted by on 19 juin 2020"Safe Neighborhood"Program
Submitted by on 19 juin 2020Management and Promotion of Art and Culture in the Prison Treatment
Submitted by on 19 juin 2020Community Living Culture Program
Submitted by on 19 juin 2020Huamanga's Provincial Culture Plan 2018-2030
Submitted by on 19 juin 2020Art-based Learning - “Orquestando” and “Expresarte”
Submitted by on 19 juin 2020Creative Freedom - Programs addressed to populations deprived of liberty
Submitted by on 19 juin 2020Vidéothèque of Cultures (VDC)
Submitted by on 19 juin 2020Intercultural Resources Center (CRI)
Submitted by on 19 juin 2020National Policy for the Mainstreaming of the Intercultural Approach
Submitted by on 19 juin 2020Coopération internationale pour le développement durable
Objectif 4 - Promouvoir les droits de l’homme et les libertés fondamentales
Égalité des genres
Working Group for Gender Equality
Submitted by on 19 juin 2020Liberté artistique
Amendment to Law No. 28131 - Performing Artist's Law
Submitted by on 19 juin 2020Measures and Initiatives reported by Civil Society Organizations
Alternative Book Fair - ANTIFIL
Submitted by on 19 juin 2020Institutionalization of culture in the academy
Submitted by on 19 juin 2020Development of the local and regional network of indigenous communicators
Submitted by on 19 juin 2020Peruvian Alliance of Cultural Organizations (APOC)
Submitted by on 19 juin 2020Policy to promote associativity and coordination for advocacy
Submitted by on 19 juin 2020Survey to professional game developers and final report
Submitted by on 19 juin 2020Lima Film Festival
Submitted by on 19 juin 2020FAE LIMA (Lima Performing Arts Festival)
Submitted by on 19 juin 2020Rafael Santa Cruz" and "Arguedas for the World" International Festivals
Submitted by on 19 juin 2020“Producing Knowledge from within"
Submitted by on 19 juin 2020Pluralism and diversity in the artistic education
Submitted by on 19 juin 2020Cultural Development: Cultural Governance Program
Submitted by on 22 juin 2020Association of Curators of Peru
Submitted by on 19 juin 2020Gender Equality Policies for Teaching and Guide for Teaching Performing Arts with a Gender Perspective and Protocol in Cases of Sexual Harassment
Submitted by on 19 juin 2020Festival Made by Women
Submitted by on 19 juin 2020Questions tranversales émergentes
Challenges and Achievements
Annexes
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