A paper presented the Director General Ziad Khalaf to
The Annual Conference of the Institute for Palestine Studies
"Palestinian Culture: Where to?"
(Birzeit University, 28-29 October 2016)
Two studies were conducted for the A. M. Qattan Foundation (AMQF). The first, published at the end of 2012, identified the sources and size of funding of visual and performing arts. Finalised at the beginning of this year, the second study included a survey of the funding sources of performing arts, examining how ready these sources are to continue to provide financial support. The study also explored other potential sources to support performing arts. Neither study was comprehensive, however. In light of a long interval, many local, regional and international transformations took place over the three-year span that separated both studies. Beyond doubt, these conditions have impacted external aid to Palestine and funding of the cultural activity in general. However, in addition to our experience at the AMQF over the past 18 years, the two studies highlight common findings, which provide a significant source of information and indicators on the funding of culture. These can inform the development of a concept that can help attain a more sustainable financing of this vital sector.
Initially, actors with the most contribution to supporting and funding culture should be presented. According to their legal status, these can be classified as follows:
I. Government bodies and institutions of the Palestine Liberation Organisation (PLO), most notably the Minister of Culture and National Committee for Education, Culture and Science.
II. International governmental organisations, including the European Union; Consulate General of Sweden through the Swedish Agency for International Development (Sida); Representative Office of Switzerland through the Swiss Agency for Development and Cooperation (EDA); Representative Office of Norway; Representative Office of the Netherlands; Consulate General of France; and British Council.
A review of the strategies applied by these international governmental organisations and others shows that some are essentially concerned with cultural exchange and introducing their national cultures. The majority do not have dedicated programmes to support culture. To achieve relevant goals, the financing of cultural activities and events falls within the framework of other programmes. For example, an international governmental organisation supports cultural projects in the context of a local government promotion programme and another in the context of a human rights programme.
It is also noted that the majority of international governmental organisations review their respective strategies every three or five years. These reviews usually result in changing areas of operation. Over the past few years, some international governmental organisations cut off direct support to culture. Several years ago, Norway cancelled its cultural programme. After it took office, the right wing government of Denmark eliminated support to the culture programme in 2015.
Undoubtedly, the crises across the region, Israeli aggression and ongoing blockade on the Gaza Strip have caused the majority of donors to focus on relief and emergency support at the expense of other sectors. This shift has particularly affected culture, which is seen as a luxury under these crises.
It can, therefore, be concluded that the strategies of the few international governmental organisations concerned with supporting culture are extremely influenced by potential transformations. The number of these organisations and the size of funding the culture sector are prone to decline.
III. Arab and international funds and institutions, including the Arab Fund for Arts and Culture, Office for the Coordination of Arab Funds, Prince Claus Fund, OPEC Fund for International Development, Drosos Foundation, KnK Japan, Save the Children, Middle East Children’s Alliance, and Italian Peace Foundation.
Having reviewed their strategies and programmes, it is also noted that a few of these funds and institutions have dedicated programmes to finance culture. The majority support culture in the context of achieving the goals of other programmes, particularly in the field of childhood. Although significant, the institutions that run culture-specific funding components offer a mediocre financial support to culture in Palestine. One of these is the Arab Fund for Arts and Culture, which operates throughout the Arab world.
IV. Palestinian supporting institutions, including the Welfare Association, Munib R. Masri Development Foundation and AMQF.
These institutions, particularly the AMQF and Welfare Association, have played a pivotal role in funding culture through dedicated and continuing cultural programmes. These have been exemplary models taken up by some Arab institutions, which support culture as well as by well-to-do Palestinians in Palestine and abroad.
The AMQF focuses its activity on culture and education sectors. Since it was established in 1998, the AMQF has spent over US$ 63 million, including US$ 14.7 million from external sources and US$ 47 million from the Qattan Charity Fund and Qattan family. Over this period, in the fields of performing arts, visual arts, literature and audiovisual arts, the AMQF Culture and Arts Programme has offered scholarships to a total of 134 students, 112 grants for production, 365 grants in support of programmes and participations, 35 grants for festivals, and 48 grants for artist residencies abroad. The AMQF also supported the participation of 192 artists and writers in the Performing Arts Summer School, Young Artist Award and Young Writer Award. The AMQF released 85 publications and 52 issues of Ru’a Tarbawiyya. It also supported the release of 21 publications produced by other institutions. Several thousand teachers and students took part in activities and events of the AMQF Education Research and Development Programme. Last year alone, more than 46,000 children participated in cultural activities of the Child Centre – Gaza. Dozens of Palestinian and Lebanese artists and innovators also benefited from grants of the Selat: Links through the Arts project, which AMQF implements in Lebanon. Since it launched its activities in 2008, dozens of thousands have attended cultural events organised by the London-based Mosaic Rooms. This forum aims to introduce the British public to contemporary Palestinian and Arab discourse and cultural production.
Currently, the AMQF is constructing a new building in Ramallah. In addition to work spaces, the building accommodates many public facilities. In parallel, the Public Programme will be launched to design and implement a multi-layered cultural programme, using these facilities as well as other spaces throughout the homeland. The AMQF is also in the process of establishing the Science Studio project, which will contribute to developing science education and promoting culture of science.
The AMQF Endowment Fund is the backbone of sustainable functions of the Foundation. The AMQF also works towards bolstering local and external partnerships and joint productions, generating fees and revenues from subscriptions and activities, leasing equipment and facilities, launching income-generating enterprises, recruiting unconditioned external co-funds, engaging with new donors to finance the Palestinian culture sector, and encouraging contributions of individuals and teams who benefit from the AMQF programmes. The AMQF looks at these activities as important factors to ensure sustainability, taking into account that none of these negatively impacts actors in the culture sector or pose a challenge to participation in the Foundation’s programme activities.
Over the past five years, the AMQF has managed grants of the Palestinian Performing Arts Network. Totalling US$ 4.75 million, these included 33 grants offered to 11 partner institutions. The programme successfully culminated in registering the network in February 2015. This year, the network has also taken the initiative to expand its membership base. In this context, partners shared experiences, implemented joint activities and launched lobbying and advocacy campaigns to influence foreign and local donors as well as government bodies and civil society groups. This activity was designed to prioritise the development of, and enhance opportunities for a sustainable, cultural action in general, and performing arts in particular.
Clearly, a few Palestinian institutions support the culture sector. To motivate similar supporting actors, existing institutions need to actively promote their work and conduct studies to assess the impact of, and disseminate, their activities. Laws and regulations on public welfare organisations can help inspire these institutions. Recently, the AMQF has participated in discussing a draft law on public welfare organisations, which is being developed by the Ministry of Justice and Ministry of Finance. We believe that endorsement of such a law will exert a positive impact, increasing the number of supporting institutions.
V. Private Sector
Studies show that private sector companies run cultural support programmes in line with their respective corporate social responsibility. These include the Bank of Palestine, PALTEL Group, PADICO Holding, Arab Palestinian Investment Company, Wataniya Mobile and National Beverage Company. Although they are concerned with culture, some companies do not have any specific cultural programmes. Others show little interest in supporting culture.
In the private sector, attention paid to culture varies from one company to another. Most often, support is irregular and is not informed by a development perspective. It is tailored to promote companies and market relevant products and services. It is noted that the wider the customer base, the more the chances for financing cultural activities increase by private sector firms. More importantly, the private sector’s contribution to funding culture is mediocre, but is expected to rise.
Although accurate statistical data is not available, the budget line item earmarked to the Ministry of Culture (MoC) is insignificant. Consequently, the ministry’s contribution to financing cultural activities is the lowest in comparison to foreign donors, Palestinian supporting institutions and private sector. This is an indicator that culture is not viewed by the Palestinian decision maker as a vital sector in the human, social and economic development process.
In light of the foreseen political and economic situation, Palestine will inevitably continue to rely on external aid. It is, therefore, improbable that the MoC budget appropriations see any tangible change on the short, or even the medium, term. However, the current situation does not prevent an action to address this deficiency. In addition to interested private sector firms, actors in the culture sector, both as individuals and as institutions, need to engage in a community dialogue, which will also engage the broader government and MoC in particular, to develop perceptions of laws, regulations and strategies, such as tax exemptions, which may increase appropriations to support the culture sector. It has recently been reported that the MoC is in the process of developing a Draft Law on the Culture Fund. The draft will be subject to a nationwide debate to produce a final version of the law. If established, the fund will have a considerable impact on the sustainability of the culture sector.
It remains to be confirmed that culture, as a human right under international conventions, provides an essential link in the development process and economic cycle. The extended number of people who participate and consume cultural action are key to ensuring sustainability of this sector.
To this end, education policies and curricula need to be revisited on all levels, starting from preschool and ending with higher education institutions. Arts should be at the heart of education policies and curricula given they are capable of promoting imagination, stimulating creativity and enriching spiritual life of both the individual and the society.