We have been passed a video link of The Conference of Presidents of the National Assembly of France held on the 18th February 2021.
We’ve found it very interesting that the French Government via its culture minister is very receptive to the idea of a “Cultural Passport” and noted Tim’s petition in recent exchanges in the French government sessions as you can see in the attached link. Not only does the Culture minister speaking for the French government note it’s a great idea but also notes that the UK after a time could rejoin both Creative Europe ( a highly beneficial funding body which the UK was part of until Brexit ) the three quotes below have been verified by several translators including Roland Scales and Myriam Zahi and thanks to the French guitarist who sent the link to Ian Dom Duff. This is a reflection of the very fact that on both sides of the channel the UK and EU citizens, we are all better working together to find solutions. Brexit is over, it’s now our task to minimise any negative effects and find solutions. If that means side deals or closer alignment so be it.
I believe this video and its translated transcript go to show that the French Government via it’s Culture minister is willing to negotiate a “Cultural Passport”, but wants our government to make the first move. If ever there was an agreeable solution to the touring crisis, then this “Cultural Passport” is it. I also believe it will be possible to achieve this as a single Pan-European device negating the need to negotiate 27 different agreements as suggested by our Culture Minister Caroline Dineage, and thus allowing us to get back to the business of touring our fabulous culture in a timely fashion, instead of the years of tedious negotiations that would be necessary if each of the 27 member states had to be dealt with individually.
“The idea of a cultural passport in the UK is great, should it flourish there. I will not deal with the internal politics of her Majesty’s kingdom! The British must move forward in this matter and make us a proposal. It seems very interesting… There is still a long way to go with this matter. They also need to listen to their artists. The least that can be said is that, so far, that has not really been the case.”
“The Erasmus + and Creative Europe programs provide for the association of third countries. If the United Kingdom, returning to a less romantic and more operational vision of Brexit, evolves in its position, it could join this program, subject to a financial contribution and certain conditions such as compliance with the AVMS Directive, which the United Kingdom applies moreover partially.”
“I am convinced of the value of cultural exchanges and cooperation conducted in several countries. I’m confident. Once we emerge from the emotional maelstrom of Brexit – both on the side of those who wanted to stay in the Union and those who wanted to get out – we will resume the dialogue under the aegis of the Creative Europe agenda”
Video link to original session of the French Parliament: (in French).
Commissions / Jeudi 18 février 2021
Commission des affaires culturelles : Mme Roselyne Bachelot, ministre de la culture, sur les conséquences du Brexit
The translated transcript – courtesy of Roland Scales and Myriam Zahi:
The Commission hears Ms Roselyne Bachelot, Minister of Culture, on the consequences of Brexit.
Mr. President Bruno Studer. Madam Minister, my dear colleagues, I am happy to see you again for this new hearing, by videoconference.
The Conference of Presidents of the National Assembly called for the standing committees to organize hearings of ministers on Brexit. At the end of these hearings, a discussion will take place in public. We have already heard from the Minister of Higher Education and Research in this regard.
Culture is probably not the area most affected by Brexit. Nonetheless, the UK’s exit from the Union may have consequences in some of the sectors under your control. Show tours have come to a standstill since last spring – not because of Brexit, but because of health restrictions. Once these constraints are lifted, will artists and production teams be able to move freely between the European Union and the United Kingdom? Are there consequences to be expected for the French art market – antique shops, auction houses? Is respect for copyright and related rights likely to suffer from Brexit? What arrangements do you take to ensure that the copyright is paid? Finally, how will Great Britain be understood with regard to the quotas for the production and distribution of European works applicable to television channels?
I’ll turn the floor over to you first, and then we’ll hear questions from group speakers.
Ms. Roselyne Bachelot, Minister of Culture. Thank you, Mr. Chairman. I am delighted to be by your side again, for the third time in two months. The National Assembly is working diligently on the consequences of Brexit in the various sectors of activity. It is therefore important that we engage in this exercise this morning. I am very attached to the European dimension of my portfolio. I have been a Member of the European Parliament and have been working closely with my European counterparts since taking office.
Europe has experienced many challenges and upheavals in recent months and even in recent years. In addition to the health crisis, which is putting our common institutions to the test, the departure of the United Kingdom certainly marks a major upheaval in the construction of Europe, a milestone in our common history. This ordeal shows how much we Europeans have been able to remain united despite our differences and our differences. I want to salute the work of the European Commission and its chief negotiator, Michel Barnier, who have been able to perfectly defend the interests of the Member States in the discussions with the United Kingdom, in harmony and with a constant concern for compromise.
With the trade and cooperation agreement of December 24, 2020, European cultural sovereignty is preserved, our European regulatory models are affirmed and players in the cultural sectors are protected. At the strong request of France, this agreement preserves the European cultural exception by excluding audiovisual services. Thanks to this success, the capacity of States and of the Union to regulate this sector is guaranteed. Europe will continue to preserve European cultural diversity against the digital giants.
With this agreement, the British no longer enjoy the advantages of the European Union’s internal market and common solidarity. This is how, on the one hand, artists will no longer have the full freedom of movement they once knew and national law will apply. On the other hand, the participation of British nationals in the capital of certain companies in the cultural sector established in France will no longer be possible beyond a certain limit. What is more, professional graduates in the United Kingdom – whether they are dance teachers, heritage restorers or even guide-lecturers – will no longer have access to recognition of their diploma in France and in the European Union. This is also the reason why British nationals will no longer benefit from certain preferential rates for access to French cultural establishments, for example free admission for young people under 26 in national museums.
The agreement does not, however, mark the end of all relations between the European Union and the United Kingdom. The latter will thus be able to continue to benefit from certain European funding programs as an associated third country. This will be the case, for example, of the Horizon Europe program. If the UK requests it, this could also be the case with the Creative Europe program. Certain rules may also continue to apply, in particular with regard to social security or the regime concerning European posted workers as France has chosen. This is important to facilitate the mobility of artists and avoid the additional costs and administrative difficulties associated with a change of regime. Thus, on both sides of the Channel, measures are planned to facilitate the arrival of artists for professional purposes.
Of course, the United Kingdom’s exit from the European Union marks a turning point in the history of European construction. However, it does not mean that we will not continue to work together with our neighbours across the Channel with whom we share so much. It is a new relationship that we must build now, with respect for each other’s sovereignty and cultures.
The exit of the United Kingdom does not mean the end of the history of the European Union either. More than ever, the Union continues to be built. This is all the more true in the field of culture: the Europe of culture is taking shape more and more every day. As part of the post-covid recovery plan, we have succeeded in obtaining an exceptional budget to support our artists and cultural professionals. In France, this translates into an envelope of 2 billion euros. At the same time, we have managed to preserve an ambitious European budget for culture. The Creative Europe program, whose budget has been increased, will continue to finance projects in the fields of performing arts, heritage, cinema, audiovisual and multilingualism all over Europe. Other funding programs, such as Horizon Europe or Erasmus +, may benefit cultural actors and young people. We will pay particular attention to it.
The Commission also announced a media action plan, which aims to relaunch and accelerate the transformation of European media hit by the crisis and the changes associated with the digital revolution. We move forward, and finally, towards greater regulation of digital platforms thanks to the text relating to digital services and markets currently being negotiated, so that the Internet is no longer a place of lawlessness. It is also about enabling our book, film and audiovisual players to take full advantage of the opportunities offered by these new markets.
Through the motto “power, relaunch, belonging”, the French presidency of the European Union will be the opportunity to renew its commitments for a stronger, more ambitious Europe of culture, at the service of cultural and linguistic diversity, but also more responsible and egalitarian. We will certainly have the opportunity to speak again, before your committee, about the cultural issues of the French presidency.
There you have it, ladies and gentlemen, the future of culture that looms before us: a future far from withdrawing into oneself, resolutely European and rich in new collaborations.
Mr. Raphaël Gérard. In a context of fragility and slowing down of cultural exchanges due to the global pandemic, Brexit has raised new concerns among cultural players, in particular with regard to its impact on the sector’s ability to rebound in the months and months. years to come.
The European stimulus plan helps mitigate the budgetary impact of the UK’s exit from the Creative Europe program. The increase in taxes linked to the re-establishment of customs barriers as well as the absence of an artistic visa agreement, for example, could weaken cultural cooperation between France and the United Kingdom, by limiting the movement of artists and artists. works. At the same time, the European alliance of cultural and creative industries and the Colbert committee in France believe that the end of the reimbursement of local VAT for international tourists could lead to a significant drop in the latter’s spending there, and thus slow down the growth of the luxury sector in the archipelago. This prospect is likely to limit the investments and the export capacity of the big houses on which many artisans in our country are dependent. As a reminder, luxury and fashion represent nearly 600,000 direct jobs in France and nearly one million indirect jobs. They are also the structuring axes of its cultural diplomacy and its international influence.
Can you shed some light on the ongoing discussions with the British authorities to resolve the administrative difficulties resulting from Brexit? Are support measures being studied for the competitiveness of crafts as part of the strategy to accelerate cultural and creative industries to alleviate these effects, as well as those resulting from the health crisis?
Mrs. Constance Le Grip. On behalf of the Les Républicains group, I would like to reiterate the concern and regret we feel following the entry into force of Brexit, which is undoubtedly a failure, including for our countries even though we know that its consequences will be felt more heavily in the UK.
In this context of a pandemic crisis, which is undermining cultural activities and proving to be very trying for the players in this sector, the slowdown in cultural exchanges between the countries of the European Union and the United Kingdom is a damaging prospect. I belong to a generation marked by the explosion of British musical talent, which continued with the following ones. Even though we know that the cultural relations between two sides of the Channel will not come to a complete stop, it is a safe bet that brakes and constraints will be felt in terms of artist mobility.
The European AVMS directive, relating to audiovisual media services, and that relating to copyright and related rights will no longer apply to the United Kingdom, even if the agreement negotiated with the United Kingdom by Michel Barnier on behalf of Member States make provisions for the protection of copyright and intellectual property. Can you go into more detail on what has been saved in this area?
Finally, the UK’s exit from the Creative Europe program will have deplorable consequences, especially for British artists and creators. Indeed, many British creations were financed by this program, which could remain – like other European programs – accessible to the United Kingdom as a third country. Do you know if this country intends to formulate, in the more or less near future, a request to participate in the Creative Europe program?
Mrs. Sophie Mette. On December 31, 2020, the UK officially left the European Union. The economic consequences, on both sides, are widely discussed. Regarding the impact on cultural economies and, more generally, on art, I will evoke the field of music, concerts and festivals, because the transport of material on both sides of the Channel will be more difficult and more expensive for artists and technicians alike. The price of tickets will also go up automatically. A British petition calls on the Johnson government to create a cultural passport for musicians. This petition has collected hundreds of thousands of signatures as of mid-January. The arguments are strong, as the UK live music scene is one of the largest in the world. Will France be willing to allow the creation of such a passport?
Furthermore, with the clarifying Brexit crisis, isn’t it time to bring out a strong European cultural ambition? This has been seen in other areas. Within our political group, as well as among our counterparts in the European Parliament – I am thinking in particular of Laurence Farreng – we believe it is essential for our future to see the emergence of a Europe of culture. The AVMS Directive already provides for the presence of a minimum of 30% of European works in the catalog of platforms and, above all, the possibility for Member States to require that those they broadcast invest in local productions. Will we go further? We are the continent that invented cinema. We have a heritage of studios and unique natural sets, the most prestigious film festivals. We also have large film schools and recognized professionals. There is no shortage of areas of work, with the establishment of a massive production program capable of boosting the catalog of European works and re-irrigating theaters, investing in artistic and technical skills, especially digital ones, at scale of the continent, or even social harmonization. What do you think?
Mr. Pierre-Yves Bournazel. We are going through difficult times and the world of culture is not spared. I salute your resolute action in support of this world, as well as artists, intermittents and all those who bring the world of culture to life. I welcome your recent announcement to organize experimental concerts in Paris and Marseille in the coming weeks, subject to the evolution of the health situation.
Brexit is a matter of concern. The departure of the United Kingdom has already had effects in the cultural field across the Channel. Orchestras have left, projects have been abandoned, collaborations were cancelled. While culture is the free flow of ideas, women and men, Brexit will undoubtedly limit cultural exchange. Administrative procedures are cumbersome and more expensive. It is necessary to obtain work visas. What bilateral collaboration could we have with the United Kingdom? What prospects do you see? Have our artists shared with you new and imaginative ideas to strengthen this bilateral collaboration?
Mr. Michel Larive. Our neighbours across the Channel have chosen to leave the European Union almost half a century after joining it. Work visas will be compulsory for British people who wish to work in France, and vice versa. There is no intermittency in the UK. In France, 12% of employees in the cultural sector benefited from partial activity between March and August. It’s not much. Many employers have not used it, so as not to pay the remainder. The white year only concerns the allowance and does not replace the fees. According to estimates, the incomes of intermittent workers are halved. How will intermittents be able to work the effective 507 hours in twelve months that they need to access their rights? We believe it is essential to extend the White Year at least until one year after the reopening of cultural venues. We still don’t know your decision on this. Do you intend to support the artists in the ordeal they are going through?
The health crisis will have consequences on the cultural sector for several years, in France as in the United Kingdom. Several organizers have already announced the cancellation of important festivals. This is the case with Glastonbury in the United Kingdom, as with Solidays and Midnight before Night in France. Last week you said that the assumption of a summer without a festival was ruled out. Yet you seem to want to condemn certain festivals that you think would be problematic, in this case those where the public is standing. However, they are very numerous. You know to what extent the places of cultural diffusion have been exemplary in the respect of health protocols. None of them has been a known source of contamination. When are you finally going to deconfining culture?
Mrs. Roselyne Bachelot, Minister. I will begin by recalling the differences between the British system and the French system when it comes to cultural policies. In the UK, the cultural issue has hardly ever been brought up in Brexit debates. Because if there is one sector particularly marked by the consequences of this decision, it is the British cultural sector, which is very important for the economy of this country and enjoyed a considerable dissemination factor in Europe. The fact that the industry failed to communicate during the Brexit campaign – which lasted for a few years – is very damaging. Cultural issues have never surfaced in the debate within the large industrial basins in escheat which won the vote.
In addition, the British cultural sector is experiencing a real tragedy with the pandemic crisis. It is estimated that nearly half of British musicians will have left the profession after the crisis. To stay afloat, the Royal Opera House sells its heritage, in particular the famous painting by David Hockney. Fortunately, this is not the case in the great French lyric institutions, thanks to our efficient system of protection of our artists. The French cultural sector is so important that it mobilizes 750,000 people. We are fighting for this French cultural exception. This should lead those who dream of a Frexit and certain contemptors of the European Union to reflect on the consequences that separatist temptations would have for the French cultural model. At least that’s a lesson we need to learn from this whole thing.
With regard to copyright, the agreement between the European Union and the United Kingdom maintains a number of intellectual property rights gains. The structure of Directive 2004/48 on respect for intellectual property rights and dealing with counterfeiting is precisely reflected in this agreement, testifying to the shared desire to protect authors and their works. The agreement also makes it possible to maintain the advances obtained in the 2019 directive on copyright and neighboring rights, such as the neighboring right of press publishers or article 17 dedicated to the use of protected content in platforms. content sharing.
Unfortunately, some gains could not be taken up. Thus, the producers of European videograms no longer benefit, in the United Kingdom, from the rights therefore they benefited under European Union law – reproduction rights, rental and lending rights, distribution rights and release rights. available to the public on request. Software and databases in the UK also no longer benefit from the protections offered by EU law.
On the other hand, the agreement innovates compared to traditional trade agreements by recognizing the common principle of a resale right in the event of the resale of cultural goods. It is important that the London and Parisian art market places be framed with the same objectives.
I regret that we were not able to come up with a more ambitious agreement. However, the game is not over and I have confidence in our ability to move forward in the framework of cooperation and shared dialogue with the United Kingdom. In this regard, and to respond to Constance Le Grip, it seems to me that the exit from the European Union is too recent for the United Kingdom to plan to deepen the negotiations, especially since the pandemic crisis has not do not invite. We can move forward when the time comes, especially when Brexiters realize the disastrous effects of the decisions that have been taken for parts of their economy, especially cultural ones.
In the audiovisual sector, the relationship remains governed by the 1989 Council of Europe Convention on Transfrontier Television, which authorizes British works to be classed as European works, allowing the latter to enter the defined European quota. by the SMA directive. In 2018, the European Audiovisual Observatory noted that “in the United Kingdom, the proportion of EU-28 films distributed in theaters and shown on television and in transactional VOD (TVOD) is below average of the EU-28. British audiences tend to favor domestic films and US imports, so the share of EU-27 films is rather low in the UK. Conversely, the country is a major exporter of films to the rest of the European Union. It is number two, after France, for the number of exported films (cinema and television) and number one for TVOD film exports ”. At a time when the United Kingdom has just implemented part of the AVMS directive and has put forward with the United States the hypothesis of a free trade agreement between the two countries, the question of the relationship in this sector the European Commission deserves to launch a reflection on this subject. Of course I agree.
You also asked me about professional qualifications. The rapid negotiations of the agreement did not lead to a mechanism for the mutual recognition of the qualifications of professions recognized as regulated in the European Union. For the cultural sector, this situation has very important consequences for architects, whose automatic recognition of qualifications was ensured until present. But it also concerns heritage restorers, dance teachers and tour guides. However, the agreement lays the groundwork for subsequent agreements that can be negotiated in order to facilitate the exercise of regulated professions.
People with a British diploma who had obtained recognition of their professional qualifications before leaving the United Kingdom continue to benefit from it. For the future, depending on the profession and the situation, ad hoc arrangements may offer certain professionals the opportunity to practice in France. For the others, discussions with the professional organizations of the sectors concerned will make it possible to determine the future methods of recognition of professional qualifications. The stakes are high for our professionals, whose high level of qualification is recognized. I asked my services to remain mobilized with the other ministerial departments concerned, to best support our professionals.
Several of you have raised the issue of the mobility of professionals in the cultural sector, which could have an impact on certain cultural events – in particular certain major contemporary music festivals whose headliners are groups or stars. Mr. Larive, who gave an offbeat speech since he spoke more of the situation in France than the consequences of Brexit, assures that the new variants of the virus will have no consequences for the security conditions. He may have information on the qualification of new variants of the virus. For my part, I have none and this is not what the scientific experts say, who have called these variants more deadly, more contaminating and affecting young populations much more. But if Mr. Larive has scientific references to give me on this subject, I am interested.
Mr. Michel Larive. I have not assured any of this.
Mrs. Roselyne Bachelot, Minister. I discuss with professionals from major contemporary music festivals. The characterization of the original virus as a pandemic is absolutely not the same as the variants we are currently facing.
Regarding mobility, there are two kinds of flows: those of professionals of French culture who wish to go to the United Kingdom, for less than three months with a visa free of charge at the border or for more than three months with upstream visa with fees; those of British cultural professionals who wish to come to France. Regarding salaried professionals, France does not require a work permit for stays of less than three months. For non-employees, a work permit may be requested, including for stays of less than three months. Brexit, in accordance with the will of the British, ends the principle of the free movement of people, which is the cornerstone of the European Union. This consequence is not a discovery. Cultural professionals are now subject to the rules of national law in each of our two countries, like dozens of third countries, with a visa waiver for stays of less than three months.
Mobility also involves other procedures, in order to exercise in a professional capacity. The agreement provides for flexibility in the provision of the services of architects and guides – this is to be welcomed. I regret that the negotiations did not allow this same flexibility to be obtained in favour of other cultural professionals, including artists. Michel Barnier has made every effort, but the complexity of negotiating this agreement has not made it possible to obtain satisfaction on all the important points.
I repeat, there is room for manoeuvre for a dialogue intended to facilitate the procedures /bureaucracy for our professionals. I’ll do it. My services are working with the ministerial departments that are piloting these issues. To use this analogy once more, the game is not over. We are continuing to work, which will be facilitated by the end of the pandemic and by the realization in the United Kingdom of the dramatic consequences of Brexit for the cultural professions.
(In answer to Mme Mette) The idea of a cultural passport in the UK is great, should it flourish there. I will not deal with the internal politics of her Majesty’s kingdom! The British must move forward in this matter and make us a proposal. It seems very interesting… There is still a long way to go with this matter. They also need to listen to their artists. The least that can be said is that, so far, that has not really been the case.
Mr. President Bruno Studer. Before giving the floor to the Commissioners, I suggest that you hear Mrs Victory, who has joined us, on behalf of the Socialists and Allies Group.
Mrs. Michèle Victory. Thank you. I apologize for the delay. My remarks will take up certain elements which have already been addressed by the Minister. Thank you for your answers. I share some of your observations. The English cultural community has overwhelmingly voted against Brexit and finds itself in a dire situation, which we regret even if it is not directly our business.
You have partially answered the questions I planned to ask you about the AVMS directive – because it is important that the European and British scenes can mix -, the free movement of artists and works or the withdrawal from the Creative Europe program. which allows the granting of funding for collaborative projects. In this regard, I seemed to see that 44% of the funded projects had a UK partner. This highlights the interaction between our two countries.
On the other hand, it does not seem to me that you have answered the taxes applicable to the works of art market. I imagine that the department is working to establish preventive and incentive mechanisms. Can you specify them?
Culture cannot be satisfied with prohibitions and identity folds. Important work deserves to be done by the different ministries, so that we can continue to work together. Europe is the natural scene for many British artists and musicians, some of whom are in great difficulty.
Mrs. Roselyne Bachelot, Minister. I will get closer to Bercy before sending you a note on taxes for the works of art market.
Mr. Stéphane Testé. In your opening remarks, you largely answered my questions about support measures for artists in terms of administrative formalities. Thank you.
Mr. Grégory Labille. By leaving the European Union, the United Kingdom is leaving the treaties which regulated and simplified the free movement of men and women. In my region of the Somme,British tourist buses come daily to visit the museums of the Great War in Péronne and the Somme 1916 museum in Albert. Belonging to the European Union facilitated the travel of these tourists, who could easily take the ferry then a bus to reach our beautiful department. With Brexit, museums fear that these foreign visitors, sometimes motivated by the idea of meditating at the graves of their ancestors, will no longer be able to come. Would the creation of a one-day cultural tourism visa for British nationals be possible?
Mr. Bertrand Bouyx. The diplomas of British tour guides are no longer recognized in France. As a result, we can fear the uncontrolled development and an aggravation of the presence of greeters, which constitute a kind of uberisation of the profession. Faced with the absence of English guides and the generalization of greeters, does the Government plan to support the development and recognition of guide-lecturers?
Mrs. Céline Calvez. The question of the visibility of European culture across the Channel arises, with the end of the application of the AVMS directive in the United Kingdom. There is also the question of the visibility of European culture outside Europe without the advantages of the English language. In recent years, the export capacity of films and series in languages other than English has been boosted. But is Brexit an opportunity or a threat to this capacity to export European culture? Can we shine without the English language? Or is it finally an opportunity for European languages other than English to shine everywhere abroad?
Mr. Pascal Bois. The Creative Europe budget has been significantly increased for the period 2021-2027, with 2.2 billion euros. However, questions remain. What about the funding of projects rescheduled in 2021 with British partners? What alternatives should be considered if the United Kingdom does not participate in this program, even as a third country, so that French creation does not suffer in terms of distribution or support for translation and subtitling?
Mrs Emmanuelle Antoine. As part of the Trade and Cooperation Agreement, the UK and the EU have agreed that the General Data Protection Regulation (GDPR) will remain in effect in the UK on a transitional basis, for an additional period. maximum of six months. However, from July 1, 2021, unless otherwise decided, any communication of personal data to the United Kingdom will be considered as a transfer of data to a third country. What is the government’s position on this subject? What impact could this have on the flow and protection of data between the European Union and the United Kingdom?
Mrs. Roselyne Bachelot, Minister. This last question is not strictly the responsibility of the Ministry of Culture. This cross-cutting subject is rather the responsibility of the Ministry of the Economy. I will participate in the reflections. At the moment, nothing has been decided and I am not the leading ministry in these matters.
Britons wishing to stay in France for less than three months do not need a visa. Thus, tourists who come to visit the D-Day landing beaches or military cemeteries will not need a visa to spend the day or even stay a fortnight at the hotel. We will welcome them without a visa.
The question of guide-lecturers raises a more global problem, as we have seen through several events. In the tragedy that some have experienced, the majority of the guide-lecturers were taken into consideration by the various means of support established by the Government, whether they are cross-cutting measures or sectoral. However, there are, according to the accepted but questionable expression when it comes to human beings, holes in the racket. Thus, among the 7,000 tour guides who work in our country, 200 to 300 are not taken into account by these measures. Indeed, they are part of a gray economy system in which, for example, tour operators charge tourists for guided tours, which are provided by staff who are paid entirely by tips. Despite the extremely light systems of authentication of the professional activity carried out that I have deployed, it is very difficult for them to enforce their rights. This situation generates a considerable work in the ministry, to establish a cartography of this profession – because the work relating to this sector already goes back several years -, to make the professional card unfalsifiable and to put an end to these eminently questionable practices. This work goes beyond relations between Great Britain and the European Union. It is a question of regulating this profession which sometimes falls within the gray economy, in order to protect those who practice it.
Céline Calvez’s questioning and the question asked by Sophie Mette allow me to recall the objectives of the French presidency of the European Union in terms of culture. We are working hard with Clément Beaune and six priority areas should be focused in the field of culture. We want to reaffirm European cultural sovereignty, giving a central place to discussions related to digital challenges and the empowerment of platforms; promote media pluralism and the reliability of information; reinvent the preservation of cultural heritage in the face of new risks – pandemic risk, climate risk, overcrowding of cultural places, illicit trafficking in works, preservation of heritage in conflict zones; promote linguistic diversity in the digital age – with a reflection on multilingualism and translation, which promote the circulation of works; support creation in a context of crisis, with a reflection on strengthening the adaptive and resilient capacity of cultural sectors and artists; encourage a responsible and united culture – sustainable development and equality between women and men. These priorities will make it possible to cover all the challenges of the cultural sectors and to develop actions to strengthen the place of culture in Europe.
With regard to participation in the financial and exchange programs of the European Union, many initiatives and projects involving professionals, artists and students of French and British cultural education are carried out with the support of the Europe programs. creative, Erasmus and Horizon Europe. Within the framework of the 2027 European budget, the Franco-British cooperation relationship will continue through the Horizon Europe research program. It’s done. However, at this stage, the United Kingdom has not wished to renew its participation in the Creative Europe and Erasmus + programs. I can only regret it with you, thinking of the very many cultural cooperation programs that have been launched, but it is a decision that we must respect.
Mobility cooperation projects initiated in these programs during the previous budget period will continue to receive funding until their closure. Students wishing to travel to the UK for their artistic and cultural studies will now have to pay as high a tuition fee as other international students, and obtain a student visa. The Erasmus + and Creative Europe programs provide for the association of third countries. If the United Kingdom, returning to a less romantic and more operational vision of Brexit, evolves in its position, it could join this program, subject to a financial contribution and certain conditions such as compliance with the AVMS Directive, which the United Kingdom applies moreover partially.
I am convinced of the value of cultural exchanges and cooperation conducted in several countries. I’m confident. Once we emerge from the emotional maelstrom of Brexit – both on the side of those who wanted to stay in the Union and those who wanted to get out – we will resume the dialogue under the aegis of the Creative Europe agenda. Everything will be okay, but not for now.
Mr. President Bruno Studer. We thank you, Minister, for answering our questions.
Dear colleagues, we are meeting on March 3 for a communication from the information mission on the monitoring of the application of the law of July 29, 2019 for the restoration of Notre-Dame de Paris, and for a report from me of the last meeting of the monitoring committee of the national collection for the conservation and restoration of the cathedral.
The original French Transcript:
NOTES TO EDITOR
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