QUESTIONNAIRES AND SELECTED READINGS

Questionnaire, nº 1.

QUESTIONNAIRE FOR AN OPEN INTERVIEW WITH MINISTER OF CULTURE

THE FIRST BLOCK OF QUESTIONS ON VALUE ATTITUDES REGARDING OBJECTIVES AND TASKS OF CULTURAL POLICY

1. Do you believe the task of the Ministry is to create conditions for cultural and art production and then withdraw, or to control and adjudicate cultural trends not to leave them to the market and commercialization?
2. Do you believe the Ministry is responsible for support of elite culture, or that it should support all cultural values (folklore, popular culture, new art forms, minority cultures, urban and rural values, etc.).
3. In which domains (finances, cadres, programmes) and to which extent the Ministry should influence activities of public cultural institutions, and to what degree private and non-governmental?
4. Do you believe the Ministry should fund non-institutional group and individual projects and how?
5. Which ratio of funds (state budget, income of their own, sponsors and donors) expressed in percentages would you consider desirable for profit and non-profit creativity?
6. Should cities and municipalities shape their local cultural policies , or cultural policy should be articulated on the State level?
7. Do you believe in inter-sectorial and inter-ministerial cooperation in the field of culture, or are more inclined to consider culture as a separate sector for which the Ministry of Culture and cultural administration are the only responsible?
8. How do you estimate position of the Ministry of Culture in the political hierarchy, and is the position of the Ministry of Culture proportional to the importance culture has in presentation of a country?

9. Have the Serbian government and Parliament adopted a plan of social development, and in that context plan of cultural development?
10. Has the Ministry a short or long-term strategy of cultural development with priorities to be realized within the period?
11. Are the competencies of federal, republican, provincial and local authorities in the field of culture clearly defined, or instead overlapping and lack of competence occur in some fields (which acts define the roles)?
12. Does the Ministry cooperate and coordinate its work with other systems also involved in cultural activities (military, police, the Serbian Orthodox Church, NGOs, foundations, etc.)?
13. Which criteria and procedures are applied in drawing up the budget for culture - funding institutions or funding activities? What are criteria of distribution of budget and non-budget funds?

14. What are visible signs of transition in culture in Serbia?
15. How many statutes, rulings and other acts in the field of culture exist now? Which new systemic statutes could be also applicable to culture?
16. Which acts should be passed in the field of culture by the end of this year?
17. Has privatization in the field of culture already begun?
18. Does the Ministry of Culture cooperate with the Ministry of Finace in the field of fiscal policy and what are the changes in the tax regime?
19. What is the role of the governmental Agency for Development of State Administration in the reform of cultural administration, and what are visible results?
20. Is the reform of the existing network of cultural institutions and organizations in Serbia under way, which type of institutions is subject to reform, and what are visible results?
21. What new financial resources in the field of culture exist? What is the role of the Agency for Culture in the Serbian government in the domain of funding (which act defines its competences)?
22. Which is the current phase of decentralization of culture and how the new Local Self-Government Act effect cultural policies and strategies of cultural development of cities and municipalities in Serbia?

Questionnaire, nº 2

QUESTIONNAIRE FOR AN OPEN INTERVIEW WITH MEMBER OF EXECUTIVE COUNCIL OF THE CITY ASSEMBLY IN CHARGE IN CULTURE

OBJECTIVES AND TASKS OF CULTURAL POLICY

1. Is the task of the city administrative bodies in the field of culture: to create conditions for cultural and art production and then withdraw, or to control and adjudicate cultural trends not to leave them to the market and commercialization?
2. Is the objective of city bodies to support elite culture or to create conditions for a plural cultural scene? Do you believe the only responsibility of administrative bodies is to support elite culture, or they should support all cultural values (folklore, new art forms, minority cultures, urban and rural cultural values, etc.)?Essentially, it is the difference between two concepts: MALRAOUX'S concept of democratization of culture - culture for all, and cultural pluralism - culture for everybody?
3. In which domains (funding, cadres, programmes), and to which extent administrative bodies should influence activities of public, private and non-governmental cultural institutions?
4. Do you believe the city should also fund group and individual (non-institutional sector) projects and how?
5. Which ratio of funds (state budget, income of their own, sponsors and donors) expressed in percentages would you consider desirable for profit and non-profit creativity?
6. Should cities and municipalities shape their local cultural policies , or cultural policy should be articulated on the State level?
7. Do you believe in inter-sectorial and inter-ministerial cooperation in the field of culture, or are more inclined to consider culture a separate sector only in charge of the Ministry of Culture and cultural administration (cite examples)?
8. How do you estimate the position of the City Secretariat of Culture within the political hierarchy at the city, republican and federal level, and is its importance proportional to significance of culture in presentation of Belgrade and this country abroad?

9. Has the city administration adopted proramme and plan of cultural development?
10. Has the city administration a short or long-term strategy of cultural development with priorities to be realized within that period?
    • if so, which acts define it?
    • if strategy is not defined by an act, what are the grounds of planning development and decision-making?
    • is among the priorities a strategy related to national cultural identity?
11. Are competences of the federal, republican, city and municipal authorities clearly defined, or instead overlapping of competences and their lack occur in some fields (are there acts defining role of federal, republican, city and municipal authorities)?
12. Does the city administration cooperate and coordinate its work with other systems also involved in cultural activities: military, police, the Serbian Orthodox Church, NGOs, and the like?
13. Which criteria and procedures are applied in drawing up the budget for culture - funding institutions or funding activities? What are the criteria of distribution of budget and non-budget funds? Is there a right to appeal, and if so, which percent of appeals was solved on behalf of complaints? (public competitions, appeals, and decisions)?
14. Could you explain the role of counseling bodies of the city administration and indicate the legal grounds of their work in the field of culture.

Transition in general
15. What are visible signs of transition in culture on the city level?

    Legislation in the field of culture

16. What are legal changes in the field of culture? How many statutes and acts regulate the field? Is the number of acts and regulations too little or too big in the field of culture? Are you inclined to think that flexible criteria should be applied to culture, or that establishment of firm rules and adoption of a number of new acts and regulations is necessary?

    Privatization in the field of culture

17. In which segments of culture privatization has been completed (museums, cultural monuments, theatres, opera, books and publishing, film, film featuring and distribution)? In which segments of culture privatization is planned?

Tax system reform
18. Is the tax system reform conducted in the part relevant for taxation of cultural institutions and artists, cultural goods and circulation of valuables, export and import of cultural valuables?
19. Are any tax reductions applied or planned for sponsorship in culture? Are any new reforms of tax system relevant for culture planned?
20. What is the influence of the city on fiscal policy? Is fiscal policy considered as an important stimulating instrument of the city cultural development?
21. What about taxation of cultural goods and services in circulation, since that kind of circulation is subject to the basic act on circulation taxation? Does the treatment in this case differ from that of any other commodity?
22. What about custom system as stimulating instrument of international cooperation?

Reform of cultural administration
23. Is the reform of cultural administration under way? What does it cover? What are the levels at which its is ongoing?
24. What are visible results of the reform?
25. Are any new steps planned in the field of cultural administration reform?

Reform of cultural institutions network
26. Is the reform of the existing city cultural institutions network under way? In what way? What the reform means? What are its visible results?
27. Are any new reforms in the field planned? What is to be their subject and when they are to be completed?

Financing of culture reform
28. Are any reforms in the field of financing culture conducted? What these reforms imply? In what way they are conducted? What are visible results of the reforms in the field of financing of culture?
29. What is the percentage of the city budget allocated to culture, and what is the structure of that budget for culture? What are the percentages allocated for material costs, programme activities, and for investments?

Decentralization of culture
30. What is the current phase of decentralization?
31. How the new Local Self-Government Act effects cultural policies and strategies of development of Belgrade, other cities and municipalities in Serbia?
32. What are further steps in the transfer of competences from the republican to the city and municipal administration?
33. To what extent is planning and management of the city cultural development independent?

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Questionnaire, nº 3

QUESTIONNAIRE FOR INTERVIEW WITH DIRECTORS OF CULTURAL INSTITUTIONS

Mission and Objectives
1. Institution profile definition (its art and cultural orientation)
2. Philosophy of the institution (views of culture and art – elite and mass culture, cultural industry, cultural tourism, etc., attitudes regarding privatization of culture, pluralism of funding, audiences, members and users; relations with community – participation at festivals, exhibitions and programmes of the community, cooperation with educational and other institutions, relations with sponsors and donors; relations with the state, city and province authorities; relations with other similar and different institutions, associations, mass media)
3. Raison d'etre? Mission?
4. Desired achievements? Activity objectives?

Programmes and Projects Planning
4. Activity description? Organizational and programme structure (departments/sections, content and kinds of programmes)?
5. Who decides upon programmes and projects? Upon which criteria?
6. What are the effects of the socio-political changes on work organization, programmes and projects?
7. Do programmes and projects fit into the national cultural policy?
8. Do programmes and projects fit into the city cultural policy?
9. Do you think you have an active role in the creation of the State/city cultural policy?
10. How does your programmes and projects fit into the State/city cultural and tourist offer?
11. What differs them from other similar programmes and projects?
12. What criteria you apply in their evaluation?
13. Are you considering any changes of your programme policy? Have you conducted any research of your programmes and projects effects? (annual working plans and final reports 1989, 1994, 1999, 2001/2002)

Administrative, Management and Legal Structure
14. Which acts regulate your management structure (analyze period 1989-1999)? How many directors/presidents/secretaries ran the office in the period?
15. Number of employees? Personnel policy? Is the number of employees sufficient (in the period 1989-1999)?
16. Are extern associates engaged? In which situation and how?
17. Personnel education profile and how they are employed?
18. Do you consider a permanent professional education of the staff possible and necessary? (founding acts - programme, by-laws, systematization of assignments, government/ministry/etc. decisions)

Financial Structure
19. What are your financial resources: external, internal (each in %)?
20. Have the resources changed over the last decade or they were permanent?
21. Are programmes adjusted to available funds or vice versa?
22. Are there alternative financial resources (commercial services and activities - renting space)
23. How and were you are looking for sponsors? What are you offering them in return?
24. Does the institution operate with deficit? If yes, is deficit covered from the State budget of from other resources?
25. Do you consider it normal for culture to operate with deficit? How to avoid that?
26. Is it possible to make more independent income? Policy of prices: tickets/membership fee/subscription?
27. Do you believe your institution could become profitable and how?
28. Do you have in mind new financial resources?
29. How many taxes on income in culture your institution pays? How many kinds of taxes on personal incomes pay all the employees/free lance artists and associates? Only for those who charge tickets for their programmes: Which programmes are tax free for tickets?

Users - Audiences - Members
(General part)
30. Which of your programmes address the audience, and which other users?
31. What is your target group? How do you reach them?
32. Are your users loyal? Are they regular users of your programmes/projects/services?
33. What do you do to make your users loyal? Are you loyal to them?
34. How do you reach new users?
35. (Associations only) How the number and structure of audience/users/members changed over the last decade?
    a. How many sections your association has? How many members to each section? Had that number changed over the last decade (review of: 1989,1994,1999, 2001/2002)? Has your association greater or smaller ingerenceis now regarding protection of its members: is it more or less able now to do for its members than in?

For theatres, Cinoteque, and museums:
36. Positive discrimination (affirmative action)? Have you any special programmes for children, sick and disabled, are you visiting closed institutions (detention centers, prisoners)?
    • (For National Library only) Positive discrimination (affirmative action)? Have you any special programmes for children, sick and disabled, prisoners in closed institutions and the like?
      
    • (For Institute for protection of Cultural Monuments only) Public and tourist programmes? Cultural tourism?
37. How many tickets you sell per year? How the selling is organized (in the seasons of: 1989,1994,1999, 2001/2002)?
    • Number of library members (in the years: 1989,1994,1999, 2001/2002)?
38. What is the share of sold tickets in the total income (%)?
39. What is the percentage of sold (occupied) seats? (documentation re.tickets sold)

Marketing and PR
40. Have you a marketing plan and strategy? Do you engage agencies or rely on a department of your own?
41. Since when a marketing strategy is used? What are its basic elements and how they changed over the last decade? Any visible results?
42. Which forms of marketing are used (posters, leaflets, video, spots, commercial ads..)?
43. Which way you latest project was promoted?
44. Which percent of the budget is spent on marketing?
45. Policy of prices? Special rates? Do you independently form prices of tickets/membership fees/subscription?
46. Is there any developed corporate identity (logo, slogan, color)?
47. Any mailing list? What is its structure?
48. How do you communicate with media?
49. Any internet presentation/ home pages? (marketing plan, promotion material, internet address)

Cooperation and Exchange
50. Any cooperation with domestic and foreign institutions of the type different from yours? Which? On which projects? Who initiates cooperation?
51. Participation in any national or international co-productions? Examples?
52. Are you developing cooperation and exchange with similar national and international institutions? Examples? Who initiates cooperation and exchange?
53. Membership to any European network? If so, for what reasons?
54. How do you see your institution in the European cultural context? (marketing material of all programmes made in co-production, cooperation and/or exchange)

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Instruction for interviews, nº 4

Whom to interview?

• National Minister of culture, his / hers deputies or assistants (questionnaire for the Minister)
• Regional, city or community secretary for culture (questionnaire for the Minister)
• Directors or managers of national cultural institutions: National theatre, National museum, National library, etc (questionnaire for the directors)

1. Schedule the appointment with the person who should be interviewed
2. On the appointment recommendation from the University of Arts should be delivered (ask Biljana Čučković in the Rectorat of the University of Arts), the aims of the interview and the structure of the questionnaire should be presented, the questionnaire should be left so the person who should be interviewed could prepare himself / herself and finally, the interview should be precisely scheduled (it takes minimum 2 hours of focused conversation).
3. Prepare yourself for the interview by active reading questionnaire in order to get clear understanding of the questions and preparing additional questions in case the interviewed person does not understand certain questions.
4. Prepare and check out the technical equipment (voice recorder, video camera, photo camera etc)

1. During the interview you should make notes about your observations relevant to the questions and behavior of the conversationalist, as well as notes related to the characteristic answers on the posed questions.
2. Make sure to record the whole interview
3. Behave in a stimulative manner. Encourage motivation in order to get as precise answers as possible with concrete examples.

1. Transcribe the tapes and type it in a Word document
2. Formulate your observations during the interview
3. Make short comparative analysis regarding the interviews with the persons on the same positions in Serbia (interviews are available on www.zaprokul.org.yu ). Analysis should be done according to the key questions – similarities and differences in the answers
4. Proofreading and correcting the text
5. Authorization (interview should be authorized by the interviewed person)
6. Processing multimedia materials (video, audio, photos, charts, etc)

1. First part of the essay consists comparative analysis of interview performed by the student and existing interviews from Serbia. For example: if student interviewed Minister of culture, this interview should be compared with the existing interview with Serbian Minister of culture. If student interviewed director of the national cultural institution, this interview should be compared with the interview with director of the same institution in Serbia.
2. Second part of the essay should consist of the integral original text of the interview (questions and answers) following the course of the questionnaire.
3. Third part of the essay consists the supplement i.e. original video or audio recording and photos taken during the interview.

While performing comparative analysis attention should be focused upon the following key issues:

1. Model issue (whether the model is Latin, Nordic, liberal and it is possible to have transitional confusion)
2. Issue of competence (state, local or regional authorities, depending of the state)
3. Level on which cultural policy is designed
4. Signs of transition in culture, issue of cultural identity
5. Position of the Ministry of culture in political hierarchy (budget as a parameter)
6. Criteria for approaching budget
7. Legislation

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Selected Readings:

1. Simon Mundi, Kulturna politika, kratki vodic, Beograd, 2000.
2. World culture report, Culture, creativity and markets, UNESCO, 1998.
3. Gigi Bradford, Michael Gary and Glen Wallach, ed., The Politics of Culture, Policy Perspectives for individuals, Institutions and Communities, New York, 2000.
4. Bruno S. Frey, Arts & Economics, Analysis & Cultural Policy, Springer, 2000.
5. Workbook with selected readings, Eleventh International Policy Fellows Seminar, Budapest, March 4 - March 15, 2002.
6. IPF Reader, volume 1,2,3
7. Isak Adizes, Upravljanje promenama, Adizes menadžment konsalting, Novi Sad, 2001.
8. Isak Adizes, Dijagnoza stilova upravljanja, Kako rešiti krizu lošeg upravljanja, Novi Sad, 2002.
9. The Adizes program, CD Rom
10. Milena Dragičević Sešić, Cultural Policies and Cultural management, in: CEU Reader, July-August 1999, Budapest, 1999.
11. Milena Dragičević Šešić, Branimir Stojković: Kultura-menadžment, animacija, marketing, Beograd, 2000.
12. M. Fitzgibon and Anne Kelly, ed., From Maestro to Manager, Dublin, 1997.
13. Peter Roth, Sponzorisanje kulture, Beograd, 1996.
14. Mario d' Angelo, Paul Vesperini: Cultural Policies in Europe: A Comparative Approach, Council of Europe, 1998.
15. Culture and Development, World futures, vol.33, no 1-3, 1992.
16. From Barriers to Bridges: Reimagining Croatian Cultural policy, Council of Europe, 1999.
17. In from the margins, Council of Europe, 1997.
18. Nada Švob Djokić, ed., Redefining Cultural Identities: The Multicultural contexts of the central European and Mediterranean Regions, Culturelink, Zagreb, 2001.
19. Božidar Jakšić, ed., Interculturality, Beograd, 1995.
20. Andrea Semprini, Multikulturalizam, Beograd, 1999 (
21. Milena D. Šešić, Entrepreneurialship in Culture, Anthology of essays by Faculty of Dramatic Arts, 2000.
22. Tamar M. Horvat – Hungary, ed., Decentralization: Experiments and reforms, Local Government and Public Service Reform Initiative, Open Society Institute, Budapest, 2000.
23. edited by Kenneth Davey, ed., Balancing National and Local Responsabilities, Education Management and Finance in four Central Europeans Countries, Local Government and Public Service Reform Initiative, Open Society Institute, Budapest, 2002.
24. Peter Gabori, ed., Mastering decentralization and Public Administration Reforms in Central and Eastern Europe, Local Government and Public Service Reform Initiative, Open Society Institute, 2002.
25. Milena Dragićević Sesić, ed., Javna i kulturna politika, socio-kulturološki aspekti, Magna agenda, Beograd, 2002.
26. Dr Andreas Joh. Wiesand, Država kulture - individualni muzej, Beograd, 2001.
27. Andrew Mcllroy, Ulaganje u budućnost – fundraising Beograd, 2001.
28. Dr Branko Prnjat, Kulturna politika i kulturni razvoj, Beograd, 1986.
29. Dr Ljubodrag Dimić, Kulturna politika Kraljevine Jugoslavije, vol. 1-3, Beograd, 1997.
30. Dr Vesna Đukić Dojčinović, Pravo na razlike selo-grad, Beograd, 1997.
31. Branimir Stojković, Kulturna politika evropske integracije, Beograd, 1995.
32. Sanjin Dragojević, Vesna Djukić Dojčinović, Cultural policies in multiethnic societies, University of Arts Reader, Belgrade, 2002.
33. Rolend Lorimer, Masovne komunikacije,Beograd, 1998.
34. Stiven Menel, Kulturna politika u gradovima, Beograd, 1982.
35. Edgar Moren, Kako misliti Evropu, Sarajevo, 1989.
36. Želimir Kašetović, Cenzura u Srbiji, Beograd, 1998.
37. Fransis Bal, Moć medija, Beograd, 1997.
38. Dr Vesna Đukić Dojčinović, Dihotomije kulturne politike, Zbornik Fakulteta dramskih umetnosti br.3, Beograd, 1999.
39. Klod Molar, Kulturni inženjering, Klio, 2000 (original: L'ingenierie culturelle, Claude Mollard)
40. Cultural Policy in Croatia, National Report, Council of Europe, Strasburg 1999.
41. Writing Effective Public Policy Papers - A Guide for Policy Advisers in Central and Eastern Europe, Budapest, 2002.
42. Cultural problems of the developing countries, Beograd, 1982
43. La politique culturelle en Yugoslavie - autoqestion et la culture, Stevan Majstorović, UNESCO, 1980
44. Culture and Development, World futures, vol.33, no 1-3, 1992.
45. Francois Matarasso and Charles Landry, Balancing Act: twenty one strategic dilemmas in cultural policy, Policy Note No.4, Cultural Policy Research and Development Unit, Council of Europe Publishing, 1999.
46. Vesna Djukić Dojčinović, Za regionalizaciju kulturne politike u Srbiji, Zbornik eseja FDU, br. 4, Beograd, 2000, str. 369-385
47. priredila Vesna Djukić Dojčinović, ed., Kultura i turizam, tematski blok, Kultura, Beograd, 2002, br. 103/104, str. 261-308
48. Rekonstrukcija institucija - godina dana trenzicije u Srbiji, Institut za filozofiju i društvenu teoriju, Beograd, 2002.
49. Regions and the Center: On the path to Cooperation, Conference organized by International Republican Institute and Institute for Reforms, June 22-23, 2000.
50. Simon Mundy, Cultural Rights&Democracies in Transition, Guliver Project 1998