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By Christiaan De Beukelaer

This edited assortment outlines the accomplishments, shortcomings, and destiny coverage clients of the 2005 UNESCO conference at the safeguard and advertising of the range of Cultural Expressions, arguing that the conference isn't large adequate to confront the demanding situations relating human rights, sustainability, and cultural range as a complete.

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Extra info for Globalization, Culture, and Development: The UNESCO Convention on Cultural Diversity

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Conclusions As argued in other chapters in this volume (Saouma and Isar, Chapter 4; Neuwirth, Chapter 6; Clammer, Chapter 7), the 2005 Convention has been successful in raising awareness of cultural diversity, especially the diversity of cultural expressions. However, we argue that the Convention is a partial failure both discursively and practically. One major reason for this is that its definition of “culture” and “diversity” is so narrow (see also Clammer, Chapter 7; Donders, Chapter 8). Culture refers primarily to arts and heritage, and diversity essentially to the diversity of the cultural and creative industries.

Singh The 2005 UNESCO Convention on the Protection and Promotion of Diversity of Cultural Expressions can be viewed as safeguarding group identities as understood through cultural expressions. Equally, the Convention protects the economic interests of member states in commercially produced cultural expressions such as film and television programmes. This dichotomy has led to vociferous trade versus culture debates in international cultural policy-making; but, seen as a facet of global deliberation, this may be an enduring contribution from UNESCO to global norm formation.

Singh 37 It seems that as UNESCO Cultural Diversity and Convention deliberations developed they became more and more about commerce to the exclusion of other perspectives such anthropological or sociological ways of understanding diversity (see also Isar and Pyykkönen, Chapter 1, this volume). UNESCO’s thinking about culture in the 1990s was often framed in terms of the Our Creative Diversity report (WCCD, 1996) but this report often emphasized the syncretic, hybrid, and exchange features of cultures.

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