It is a shortage of organizations working on artistic freedom at the regional and national levels leave some of the most vulnerable artists under-represented.
Limited resources, both in terms of finances and expertise, are a key factor in the inconsistent coverage of artistic freedom, notably in the developing countries. Where this work is part of a larger cultural programme, there is often little or no expertise on human rights. Conversely, where it sits within a human rights programme, even those with a focus on general freedom of expression, the bulk of expertise will be on media rights advocacy with less knowledge of the cultural sector.
An obstacle to greater dialogue between the legal practitioners and artists is that they have different approaches and understandings of the issues at stake. This suggests that the world of arts needs to strengthen its access to rights and justice, and the world of law needs to strengthen its understanding of artistic practice.Yamam Al-ZubaidiCulture Action Europe (Al-Zubaidi, 2020)
UNESCO 1980 Recommendation concerning the Status of the Artist, which is based on the principle that artists have the right to be considered cultural workers and to benefit from the legal, social and economic advantages pertaining to the status of workers.
UNESCO 'Building resilient and sustainable cultural and creative sectors'
2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions.
It is a shortage of organizations working on artistic freedom at the regional and national levels leave some of the most vulnerable artists under-represented.
Limited resources, both in terms of finances and expertise, are a key factor in the inconsistent coverage of artistic freedom, notably in the developing countries. Where this work is part of a larger cultural programme, there is often little or no expertise on human rights. Conversely, where it sits within a human rights programme, even those with a focus on general freedom of expression, the bulk of expertise will be on media rights advocacy with less knowledge of the cultural sector.
An obstacle to greater dialogue between the legal practitioners and artists is that they have different approaches and understandings of the issues at stake. This suggests that the world of arts needs to strengthen its access to rights and justice, and the world of law needs to strengthen its understanding of artistic practice.Yamam Al-ZubaidiCulture Action Europe (Al-Zubaidi, 2020)
UNESCO 1980 Recommendation concerning the Status of the Artist, which is based on the principle that artists have the right to be considered cultural workers and to benefit from the legal, social and economic advantages pertaining to the status of workers.
UNESCO 'Building resilient and sustainable cultural and creative sectors'
2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions.
