Cultural expressions

Last updated

Cultural expressions are creative manifestations of the cultural identities of their authors. They are treated in the international legal system in terms of cultural rights, intellectual property law and international trade.

Contents

Definition

The objective of the 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions [1] is, as its title indicates, to protect and promote the diversity of cultural expressions. [2] The achievement of such objectives requires respect for all cultures, the reaffirmation of the cultural sovereignty of states, the recognition of the dual nature of cultural goods and services (as having both economic and cultural value), and the rebalancing of cultural exchanges through the strengthening of international cooperation and solidarity measures. [3]

The concept of cultural expression is central to the 2005 Convention, [4] which provides a definition:

Cultural expressions are those expressions which result from the creativity of individuals, groups and societies, and which have a cultural content. [5]

The definition of cultural expression emphasizes content over the means and modes of cultural expression. [6] It can be read in conjunction with two other definitions, that of cultural content and that of cultural activities, goods and services:

Cultural content refers to the symbolic meaning, artistic dimension and cultural values that originate from or express cultural identities. Cultural activities, goods and services refers to those activities, goods and services that, when considered from the point of view of their specific quality, use or purpose, embody or convey cultural expressions, irrespective of the commercial value they may have. Cultural activities may be an end in themselves, or they may contribute to the production of cultural goods and services. [7]

Thus, expressions are cultural to the extent that they carry meaning, value and identity and can be conveyed, expressed, through cultural activities, goods or services. They can come from individuals, groups or societies. [8]

Activities, goods or services have a dual economic and cultural value. [9] The cultural and economic aspects are interdependent; they both contribute to the existence, development and preservation of diversity.

To identify the scope of what constitutes cultural goods and services, one can refer to the non-exhaustive list annexed to the Preliminary Draft of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions, published in 2004. [10]

Here are some examples of cultural expressions:

As permitted by the Vienna Convention on the Law of Treaties, [13] the notion of cultural expressions is further defined by state practice and use of the term. In the context of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions, this practice is reflected in the quadrennial reports produced by the parties. [14]

In the digital environment, cultural expressions are interpreted in the same way. [15] They are also endowed with cultural content and carry a double value, cultural and economic. The digital environment can serve as a catalyst for dissemination and production, offering new forms of cultural expression, [16] but it also represents a challenge for the diversity of cultural expressions. [15]

The cultural covered by the 2005 Convention may be linked to some forms of traditional cultural expressions [17] but the latter are subject to their own rules. More generally, the preservation of cultural heritage, traditional knowledge and traditional cultural expressions is covered by other UNESCO conventions. [18] With respect to the cultural expressions of indigenous peoples, the United Nations Declaration on the Rights of Indigenous Peoples [19] specifically mentions the right of indigenous peoples to preserve, control, protect and develop their cultural heritage, knowledge and traditional expressions, as well as their right to collective intellectual property. [20] The World Intellectual Property Organization (WIPO) has established a number of conventions on the protection of traditional cultural expressions. The World Intellectual Property Organization is continuing its work on a convention to recognize intellectual property rights in traditional knowledge and traditional cultural expressions. [21]

The emergence of the concept of cultural expressions within UNESCO

UNESCO's work on cultural diversity

To understand the concept of diversity of cultural expressions, we can look at the concept of cultural diversity. The notion of cultural diversity is multifaceted and has been the subject of UNESCO's work since its inception. [22]

The UNESCO Universal Declaration on Cultural Diversity [23] elevates the concept of cultural diversity to the status of common heritage of humanity in its very first article:

Culture takes diverse forms across time and space. This diversity is embodied in the originality and plurality of identities that characterize the groups and societies that make up humanity. As a source of exchange, innovation and creativity, cultural diversity is as necessary for humankind as biodiversity is for the living world. In this sense, it constitutes the common heritage of humanity and must be recognized and affirmed for the benefit of present and future generations. [24]

Although it is non-binding, the Universal Declaration on Cultural Diversity has considerable legitimacy and symbolic force because it was adopted unanimously by the member states of UNESCO. [25]

The Convention for the Safeguarding of the Intangible Cultural Heritage [26] adopted in 2003 reiterates the concept of cultural diversity, this time within a binding legal instrument.

From cultural diversity to the diversity of cultural expressions

The diversity of cultural expressions is one aspect of cultural diversity that UNESCO is addressing. Cultural expression is seen as "[a] mode of communication [that] fills a basic need in every community... a key element in the adaptation of different cultures to the transformations imposed by globalization. [27] The objectives of protecting and promoting the diversity of cultural expressions are part of the organization's mandate.

In the context of the negotiations of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions, the concept of cultural expressions was born from the juxtaposition of the concepts of cultural content and artistic expressions. [28] The original text read:

The term cultural expressions encompasses both the notions of cultural content and artistic expression and refers to the various ways in which cultural goods and services, as well as other cultural activities, can carry symbolic meaning or transmit cultural values. The cultural content of these goods, services and activities refers to the meaning or values thus conveyed. The artistic expression of these goods, services and activities refers to the cultural expression that results from aesthetic creativity or creation. [29]

Five other options were proposed by the editorial board. Among these, we can mention the one that proceeds by enumeration:

OPTION 2: Cultural expressions are defined as the creative product of cultural initiatives intended to be presented to the public and which carry symbolic meanings or cultural values distinct from the commercial value of that product. This includes: (1) the product of individual creativity in the performing arts, visual arts and crafts; (2) sounds, images and texts in films, videos, sound recordings, books, magazines, broadcast programs and other forms of media, including multimedia, whether already in existence or yet to be invented; and (3) collections and exhibits in museums, art galleries and libraries, including the archives of a society's cultural heritage. [30]

For the sake of simplicity and clarity, the concepts of cultural contents and artistic expressions were merged into cultural expressions. [31] It was thus agreed that the terms culture and cultural diversity should be understood in their strict sense, i.e. in relation to the term cultural expressions, which should thus refer to a contemporary conception of cultural goods and services. [32] The link between cultural diversity and diversity of cultural expressions is reflected in the Convention on the Protection and Promotion of the Diversity of Cultural Expressions. The convention contains this definition of cultural diversity :

cultural diversity refers to the multiplicity of forms in which the cultures of groups and societies find expression. These expressions are transmitted within and between groups and societies. Cultural diversity is manifested not only in the varied forms in which the cultural heritage of humankind is expressed, enriched and transmitted through the variety of cultural expressions, but also in the various modes of artistic creation, production, dissemination, distribution and enjoyment of cultural expressions, whatever the means and technologies used [...] [33]

The last sentence refers to cultural expressions, which are a manifestation of cultural diversity. The 2001 Universal Declaration on Cultural Diversity states that the preservation of cultural diversity requires respect for fundamental human rights, particularly cultural rights. [34] The 2005 Convention also recognizes this close relationship by articulating the principle of respect for human rights and fundamental freedoms that "[c]ultural diversity can only be protected and promoted if human rights and fundamental freedoms such as freedom of expression, information and communication, as well as the ability of individuals to choose cultural expressions, are guaranteed." [35] To ensure cultural diversity, the 2005 Convention commits parties to adopt and implement measures to promote [36] and protect [37] cultural expressions. These measures take the form primarily of cultural policies.

Traditional cultural expressions

The World Intellectual Property Organization (WIPO) defines traditional cultural expressions through examples:

Traditional cultural expressions, also known as "expressions of folklore," may include music, dance, art, designs, names, signs and symbols, performances, ceremonies, architectural works, handicrafts and stories, as well as many other artistic or cultural expressions.

Traditional cultural expressions:

Traditional cultural expressions are an integral part of the cultural and social identity of indigenous and local communities, incorporating skills and techniques and conveying fundamental values and beliefs.

Their protection relates to the promotion of creativity, the enhancement of cultural diversity and the preservation of cultural heritage. [38]

Although the definition is broad, some traditional cultural expressions do not fall within this framework. [39] Traditional cultural expressions fall outside the scope of the 2005 Convention and the definition of cultural expressions set out in its Article 4. [40] It is possible to address the issue of their protection and promotion using the concept of cultural diversity rather than intellectual property. This is a point of contact of the competences of WIPO and UNESCO, which is materialized through other international instruments such as the Convention for the Safeguarding of the Intangible Cultural Heritage, [41] the UNESCO Universal Declaration on Cultural Diversity [42] and the Convention concerning the Protection of the World Cultural and Natural Heritage, [43] as well as the model provisions adopted by both institutions for the protection of expressions of folklore. [44]

Elements often equated with cultural expressions

The concept of cultural expressions in the Convention on the Protection and Promotion of the Diversity of Cultural Expressions is limited to a specific aspect of cultural diversity, namely the elements generated by cultural industries, [45] and many elements are mistakenly or misunderstood as such. Considerations of tangible and intangible cultural heritage [46] as well as intellectual property rights [47] are outside the scope of the 2005 Convention because of the specific definition of cultural expressions. [48]

Cultural expressions must also be distinguished from the fundamental rights components of freedom of expression, information and communication, and freedom of choice of cultural expressions, although they are, to some extent, interrelated. [49]

There is sometimes some confusion about the scope of application of three major UNESCO cultural conventions: the Convention concerning the Protection of the World Cultural and Natural Heritage, [50] the Convention for the Protection of the Intangible Cultural Heritage, [51] and the 2005 Convention. [1] Performing arts (traditional rites and dances), crafts, and cuisine are more examples of intangible cultural heritage. [52]  On the other hand, urban planning and design are part of the world's cultural heritage, [53] but do not qualify as cultural expressions within the meaning of the 2005 Convention. Fashion, advertising and trademarks certainly relate to the creative industries. However, without excluding the possibility that some components could be included in the definition of cultural expressions, they are not covered a priori. Author Rostam J. Neuwirth suggests that the fashion industry, as a creative industry, may be indirectly affected by the 2005 Convention. [54] The archival and library sectors are unique in that they were included in one of the options for defining cultural expressions suggested during the negotiations of the 2005 Convention. [30] These sectors are critical to the preservation of cultural expressions. These sectors are essential to the issues of preservation, dissemination and access, but are considered peripheral to the notion of cultural expression. Moreover, they are more in line with the objectives of sustainability of intangible cultural heritage than of vitality of cultural expressions. [55]

Recreational services, sports and games fall under the category of leisure and are not covered by the definition of cultural expressions. [56] Some states [57] qualify narrative video games as cultural expressions. Finally, language does not constitute a cultural expression, but a means of conveying it or, on the contrary, a barrier limiting access to it. Language can therefore be the subject of measures aimed at promoting the circulation and creation of cultural expressions, such as language quotas. [58]

Related Research Articles

<span class="mw-page-title-main">Convention on the Protection and Promotion of the Diversity of Cultural Expressions</span> 2005 UNESCO-related treaty

The Convention on the Protection and Promotion of the Diversity of Cultural Expressions is an international treaty adopted in October 2005 in Paris during the 33rd session of the General Conference of the United Nations Educational, Scientific and Cultural Organization (UNESCO). In response to the fears that globalization would lead to an increasingly uniform global culture, it allows states to protect cultural diversity by promoting and defending their own cultural industries. It also establishes international co-operation to help protect the cultural industries of developing countries, including the creation of the International Fund for Cultural Diversity. It reaffirms many of the principles of the 2001 UNESCO Universal Declaration on Cultural Diversity but, unlike that declaration, it is legally binding and requires legal ratification by member states. The convention is the first international treaty to give cultural goods a special status, having cultural as well as economic value.

Cultural exception is a political concept introduced by France in General Agreement on Tariffs and Trade (GATT) negotiations in 1993 to treat culture differently from other commercial products. In other words, its purpose is to consider cultural goods and services as exceptions in international treaties and agreements especially with the World Trade Organization (WTO). Its goals are to point out that States are sovereign as far as limitation of culture free trade is concerned in order to protect and promote their artists and other elements of their culture. Concretely, it can be seen through protectionist measures limiting the diffusion of foreign artistic work (quotas) or through subsidies distributed according to the country's cultural policy.

<span class="mw-page-title-main">Koutammakou</span> Landscape

Koutammakou, the Land of the Batammariba is a cultural landscape designated in 2004 as a UNESCO World Heritage Site at the border between northern Togo and Benin. The area features traditional mud tower-houses which remain the preferred style of living. The traditional mud houses are known as a national symbol of Togo. Many of the mud houses have two floors and some of them have a flat roof.

<span class="mw-page-title-main">Kilien Stengel</span> French author

Kilien Stengel is a French gastronomic author, restaurateur, and cookbook writer. He has worked at Gidleigh Park, Nikko Hotels, Georges V Hotel in Paris, and in a number of Relais & Châteaux restaurants.

<span class="mw-page-title-main">Tammari people</span>

The Tammari people, also known as Batammariba, Tamberma, Somba, Otamari or Ottamari, are an Oti–Volta-speaking people of the Atakora Department of Benin where they are also known as Somba and neighboring areas of Togo, where they are officially known as Ta(m)berma. They are famous for their two-story fortified houses, known as Tata Somba, in which the ground floor houses livestock at night, internal alcoves are used for cooking, and the upper floor contains a rooftop courtyard that is used for drying grain, as well as containing sleeping quarters and granaries. These evolved by adding an enclosing roof to the clusters of huts, joined by a connecting wall that is typical of Gur-speaking areas of West Africa.

The World Day for Cultural Diversity for Dialogue and Development, sometimes abbreviated World Day for Cultural Diversity, is a United Nations sanctioned observance day for the promotion of diversity and intercultural dialogue. Begun in 2002, it is celebrated on 21 May.

<span class="mw-page-title-main">UNESCO Headquarters</span> Building in Paris, France

UNESCO Headquarters, or Maison de l'UNESCO, is a building inaugurated on 3 November 1958 at number 7 Place de Fontenoy in Paris, France, to serve as the headquarters for the United Nations Educational, Scientific and Cultural Organization (UNESCO). It is a building that can be visited freely.

The Quebec Cultural Heritage Directory is an online cultural heritage knowledge dissemination tool for the province of Quebec. The directory is maintained by the province's Ministry of Culture and Communications.

<span class="mw-page-title-main">Joseph Yacoub</span>

Joseph Yacoub is a historian and political scientist of Assyrian origin. His family moved from Salmas-Urmia, district in Iranian Azerbaijan and took refuge in Georgia during the First World War. From Tiflis/Tbilissi his family migrated to Syria which was during this time under French Mandate. His mother tongue is Aramaic and his first environment language is Arabic. His working language is mostly French.

<span class="mw-page-title-main">Vera El Khoury Lacoeuilhe</span>

Vera El Khoury Lacoeuilhe is a Lebanese-born diplomat and lecturer in international law.

Léon Pressouyre was a French historian of medieval art.

<span class="mw-page-title-main">Roland Arpin</span> Quebecois educator, communicator, and public administrator

Roland Arpin was an educator, communicator, and public administrator in the Canadian province of Quebec. There, he served as Deputy Minister for Education, Deputy Minister for Culture, and as Director of Working Groups which report to the government of Quebec. He is most known for his work as founder and first Director General of the Musée de la civilisation in the city of Quebec.

Jiří Toman was a Czech-born Swiss jurist and professor. He was an expert in the field of international law. From 1992 to 1998, he directed the Henry-Dunant Institute in Geneva, which he had joined in 1969. From 1998 to 2018, Toman was a professor at the Santa Clara University School of Law.

<span class="mw-page-title-main">Sebiba</span> Folk dance tradition of the Tuareg

Sebiba is the term used in Algeria to designate a festival and the Tuareg people's dance performed on this occasion and accompanied by female drummers in the Sahara oasis of Djanet in the Tassili n'Ajjer region in southern Algeria. The dance originated among the descendants of black African slaves and is part of the celebrations for the Islamic Ashura Festival. The dance was recognized by UNESCO in 2014 for its significance to humanity's intangible cultural heritage.

The cultural exemption is a concept that originated in international economic law and more specifically in bilateral and regional free trade agreements. The cultural exemption takes the form of a clause that has the effect of excluding from its scope cultural goods and services that would otherwise be covered by the commitments arising from the agreement in question. The purpose of this clause is to preserve the state's power of intervention with respect to these cultural goods and services, and therefore to protect its cultural sovereignty.

<span class="mw-page-title-main">Regulatory Authority for Audiovisual and Digital Communication</span> French media watchdog agency

The Regulatory Authority for Audiovisual and Digital Communication is the French independent administrative agency resulting from the merger on 1 January 2022 of the High Audiovisual Council (CSA) and the High Authority for the Distribution of Works and Protection of Rights on the Internet (Hadopi). ARCOM is responsible for both audiovisual and digital communications.

<span class="mw-page-title-main">Brahim El Mazned</span> Moroccan cultural manager and director of World Music festivals

Brahim El Mazned is a Moroccan cultural manager and director of World Music festivals, who works to develop popular musical activities around the world, with a focus on Moroccan and African culture. He is the founding director of cultural management organization Anya that promotes Moroccan and African cultural activities. Promoting Amazigh culture, El Mazned has served as the artistic director of the Timitar Festival of World Music in Agadir, Morocco. Further, he is the founding director of Visa for Music, the first festival and professional market for music in Africa and the Middle East.

Blaise Adolphe Antoine Marie Senghor was a Senegalese film director, screen writer and UNESCO Permanent Delegate and vice-chairman for Senegal.

Yves Plasseraud is a French-born doctor of law in intellectual property, a researcher and lecturer and a minority rights advocate. He is notably a founder and long-time president of ‘Groupement pour les Droits des minorités', author or editor of numerous books and publications. He is also an expert on Eastern Europe, specifically the Baltic States.

References

  1. 1 2 UNESCO, October 20, 2005 [2005 Convention].
  2. ↑ 2005 Convention, art. 1 a), e).
  3. ↑ 2005 Convention, art. 2 (2), (3) and (4).
  4. ↑ Ivan, BERNIER, « La Convention sur la diversité des expressions culturelles de l'UNESCO : un instrument culturel au carrefour du droit et de la politique », (2008), p. 4.
  5. ↑ 2005 Convention, art. 4 (3).
  6. ↑ Daniel TURP, La contribution du droit international au maintien de la diversité culturelle, 2012, 363 Recueil des cours 333, p. 365.
  7. ↑ 2005 Convention, art.  4.
  8. ↑ Sabine VON SCHORLEMER, Peter-Tobias STOLL (dir.), The UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, Explanatory Notes, Dresden, Allemagne, Springer, 2012, p. 153.
  9. ↑ Katerina STENOU, L'UNESCO et la question de la diversité culturelle : Bilan et stratégies, 1946–2007, Étude réalisée à partir d'un choix de documents officiels, Division des politiques culturelles du dialogue interculturel, UNESCO, 2007, p. 65, en ligne : https://unesdoc.unesco.org/ark:/48223/pf0000154341?posInSet=1&queryId=72b20737-f9fe-43a3-bdbe-8b436724e753 [archive].
  10. ↑ UNESCO, Avant-projet de Convention sur la protection de la diversité des contenus culturels et des expressions artistiques, texte révisé par le comité de rédaction en date du 14-17 décembre 2004, Paris, CLT/CPD/2004/ CONF.607/6 (2004), Annexe 1 : Liste non exhaustive des biens et services culturels, p. 111, en ligne : http://www.unesco.org/culture/culturaldiversity/docs_pre_2007/clt_cpd_2004_conf_607_6_fr.pdf [archive]
  11. ↑ Sabine VON SCHORLEMER, Peter-Tobias STOLL (dir.), The UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, Explanatory Notes, Dresden, Allemagne, Springer, 2012, p. 122.
  12. ↑ Lilian Richieri HANANIA, Diversité culturelle et droit international du commerce, La Documentation française, éd. coll. Monde européen et international, CERIC, Paris, 2009, p. 3.
  13. ↑ 23 mai 1969, 1 155 R.T.N.U., 331, entrée en vigueur le 27 janvier 1980, art. 31, 32.
  14. ↑ Morgan ISSENMAN, L'ambiguïté du concept d'expressions culturelles, Mémoire de maîtrise, sous la direction de Véronique Guèvremont, Université Laval, coll. travaux étudiants, teseopress.com, travail non daté.
  15. 1 2 Directives opérationnelles sur la mise en œuvre de la Convention dans l'environnement numérique, approuvées par la Conférence des Parties lors de sa sixième session (Paris, 12-15 juin 2017).
  16. ↑ Katerina STENOU, L'UNESCO et la question de la diversité culturelle : Bilan et stratégies, 1946–2007, Étude réalisée à partir d'un choix de documents officiels, Division des politiques culturelles du dialogue interculturel, UNESCO, 2007, p. 61, 62, en ligne : https://unesdoc.unesco.org/ark:/48223/pf0000154341?posInSet=1&queryId=72b20737-f9fe-43a3-bdbe-8b436724e753 [archive].
  17. ↑ Convention de 2005, par. 8, 15 du préambule, art. 2.3, 7.1 a
  18. ↑ Convention pour la sauvegarde du patrimoine culturel immatériel, 17 octobre 2003, UNESCO; Convention concernant la protection du patrimoine mondial, culturel et naturel, 16 novembre 1972, UNESCO.
  19. ↑ « Déclaration des Nations Unies sur les Droits des Peuples Autochtones » [archive], sur www.un.org (consulté le 8 juin 2020)
  20. ↑ Déclaration des Nations Unies sur les droits des peuples autochtones, 13 septembre 2007, R.T.N.U.
  21. ↑ OMPI, Comité intergouvernemental de la propriété intellectuelle relative aux ressources génétiques, aux savoirs traditionnels et au folklore, La protection des expressions culturelles traditionnelles : projets d'articles, WIPO/GRTKF/IC/40/5 (9 avril 2019), en ligne : https://www.wipo.int/edocs/mdocs/tk/fr/wipo_grtkf_ic_40/wipo_grtkf_ic_40_5.pdf [archive].
  22. ↑ Katerina STENOU, L'UNESCO et la question de la diversité culturelle : Bilan et stratégies, 1946–2007, Étude réalisée à partir d'un choix de documents officiels, Division des politiques culturelles du dialogue interculturel, UNESCO, 2007 https://unesdoc.unesco.org/ark:/48223/pf0000154341?posInSet=1&queryId=72b20737-f9fe-43a3-bdbe-8b436724e753 [archive].
  23. ↑ 2 novembre 2001, UNESCO.
  24. ↑ Déclaration universelle de l'UNESCO sur la diversité culturelle, art. 1.
  25. ↑ Véronique GUÈVREMONT, « Note introductive » dans Regards croisés sur la Convention pour la sauvegarde du patrimoine culturel immatériel et la Convention sur la protection et la promotion de la diversité des expressions culturelles, Véronique GUÈVREMONT, Olivier DELAS (dir.), Québec, Les Presses de l'Université Laval, 2019, p. 2.
  26. ↑ 17 octobre 2003, UNESCO.
  27. ↑ Ivan, BERNIER, « La Convention sur la diversité des expressions culturelles de l'UNESCO : un instrument culturel au carrefour du droit et de la politique », Québec, Ministère de la culture et des communications, Secrétariat de la diversité culturelle, Publications, 2008, p. 5.
  28. ↑ Daniel TURP, La contribution du droit international au maintien de la diversité culturelle, 2012, 363 Recueil des cours 333, p. 363.
  29. ↑ UNESCO, Avant-projet de convention sur la protection de la diversité des contenus culturels et des expressions artistiques, Paris, CLT/CPD/2004/ CONF.201.2 (2004), p. 39.
  30. 1 2 UNESCO, Avant-projet de convention sur la protection de la diversité des contenus culturels et des expressions artistiques, Paris, CLT/CPD/2004/ CONF.201.2 (2004), p. 40.
  31. ↑ Ivan, Bernier, "The UNESCO Convention on the Diversity of Cultural Expressions: A Cultural Instrument at the Crossroads of Law and Politics", Quebec, Ministère de la culture et des communications, Secrétariat de la diversité culturelle, Publications, 2008, p. 3.
  32. ↑ Ivan BERNIER, « Les expressions culturelles menacées dans la Convention sur la diversité des expressions culturelles » Québec, Ministère de la culture et des communications, Secrétariat de la diversité culturelle, Publications, 2009, p. 8, en ligne http://www.diversite-culturelle.qc.ca/fileadmin/documents/pdf/Expressions_culturelles_menacees.pdf [archive]
  33. ↑ Convention de 2005, art. 4.1.
  34. ↑ Déclaration universelle de l'UNESCO sur la diversité culturelle, 2 novembre 2001, UNESCO, art. 5, 27.
  35. ↑ « Convention sur la protection et la promotion de la diversité des expressions culturelles » [archive], sur portal.unesco.org (consulté le 8 juin 2020)
  36. ↑ Convention de 2005, art. 7.
  37. ↑ Convention de 2005, art. 8, 17.
  38. ↑ Organisation mondiale de la propriété intellectuelle, Expressions culturelles traditionnelles, en ligne : https://www.wipo.int/tk/fr/folklore/ [archive] (consulté le 26 janvier 2020).
  39. ↑ Mira BURRI, “Digital Technologies and Traditional Cultural Expressions: A Positive Look at a Difficult Relationship”, (2010) 17 International Journal of Cultural Property 33, p. 38.
  40. ↑ Organisation mondiale de la propriété intellectuelle, Glossary, « Cultural expression », en ligne : https://www.wipo.int/tk/en/resources/glossary.html#11 [archive] (consulté le 26 janvier 2020).
  41. ↑ 17 octobre 2003, UNESCO, entrée en vigueur le 20 avril 2006, http://portal.unesco.org/fr/ev.php-URL_ID=17716&URL_DO=DO_TOPIC&URL_SECTION=201.html [archive].
  42. ↑ 2 novembre 2001, UNESCO, en ligne : http://portal.unesco.org/fr/ev.php-URL_ID=13179&URL_DO=DO_TOPIC&URL_SECTION=201.html [archive].
  43. ↑ 16 novembre 1972, UNESCO, entrée en vigueur le 17 décembre 1975, en ligne : http://portal.unesco.org/fr/ev.php-URL_ID=13055&URL_DO=DO_TOPIC&URL_SECTION=201.html#ENTRY [archive].
  44. ↑ Organisation des Nations Unies pour l'éducation, la science et la culturel et l'Organisation mondiale de la propriété intellectuelle, Disposition types de législation nationale sur la protection des expressions du folklore contre leur exploitation illicite et autres actions dommageables, 1985, en ligne https://www.wipo.int/export/sites/www/tk/en/folklore/1982-folklore-model-provisions.pdf [archive] (consulté le 26 janvier 2020).
  45. ↑ Ivan BERNIER, « Les expressions culturelles menacées dans la Convention sur la diversité des expressions culturelles », Québec, Ministère de la culture et des communications, Secrétariat de la diversité culturelle, Publications, 2009, p. 8, 9, en ligne http://www.diversite-culturelle.qc.ca/fileadmin/documents/pdf/Expressions_culturelles_menacees.pdf [archive]
  46. ↑ Convention concernant la protection du patrimoine mondial, culturel et naturel, UNESCO, 17 octobre 2003, entrée en vigueur le 20 avril 2006, http://portal.unesco.org/fr/ev.php-URL_ID=17716&URL_DO=DO_TOPIC&URL_SECTION=201.html [archive]; Convention concernant la protection du patrimoine mondial, culturel et naturel, UNESCO, 16 novembre 1972, entrée en vigueur le 17 décembre 1975, en ligne : http://portal.unesco.org/fr/ev.php-URL_ID=13055&URL_DO=DO_TOPIC&URL_SECTIO=201.html#ENTRY [archive]
  47. ↑ Convention universelle sur le droit d'auteur, révisée à Paris le 24 juillet 1971, avec Déclaration annexe relative à l'article XVII et Résolution concernant l'article XI 1971, entrée en vigueur le 10 juillet 1974, en ligne : http://portal.unesco.org/fr/ev.php-URL_ID=15241&URL_DO=DO_TOPIC&URL_SECTION=201.html [archive]; Convention pour la protection des producteurs de phonogrammes contre la reproduction non autorisée de leurs phonogrammes 1971, 29 octobre 1971, entrée en vigueur le 18 avril 1973, en ligne : http://portal.unesco.org/fr/ev.php-URL_ID=13646&URL_DO=DO_TOPIC&URL_SECTION=201.html#ENTRY [archive]; Convention internationale sur la protection des artistes interprètes ou exécutants, des producteurs de phonogrammes et des organismes de radiodiffusion 1961, 26 octobre 1961, entrée en vigueur le 18 mai 1964, en ligne : http://portal.unesco.org/fr/ev.php-URL_ID=13645&URL_DO=DO_TOPIC&URL_SECTION=201.html#ENT.RY [archive]
  48. ↑ Ivan BERNIER, « Les expressions culturelles menacées dans la Convention sur la diversité des expressions culturelles » Québec, Ministère de la culture et des communications, Secrétariat de la diversité culturelle, Publications, 2009, p. 9, en ligne http://www.diversite-culturelle.qc.ca/fileadmin/documents/pdf/Expressions_culturelles_menacees.pdf [archive].
  49. ↑ Convention de 2005, art. 1; ONU, Pacte international relatif aux droits civils et politiques, résolution 2200A (XXI) de l'Assemblée générale des Nations unies, 16 décembre 1966, (1976) 993 R.T.N.U. 3, 13; Sara WHYATT, « Promouvoir la liberté d'imaginer et de créer » dans Re/penser les politiques culturelles, La créativité au cœur du développement, coll. « Rapport mondial Convention 2005 », France, UNESCO, 2017, p. 209.
  50. ↑ UNESCO, Paris, adoptée le 16 novembre 1972, entrée en vigueur le 17 décembre 1975, en ligne : http://portal.unesco.org/fr/ev.php-URL_ID=13055&URL_DO=DO_TOPIC&URL_SECTION=201.html#ENTRY [archive]
  51. ↑ UNESCO, Paris, adoptée le 17 octobre 2003, entrée en vigueur le 20 avril 2006, http://portal.unesco.org/fr/ev.php-URL_ID=17716&URL_DO=DO_TOPIC&URL_SECTION=201.html [archive]
  52. ↑ Convention pour la sauvegarde du patrimoine culturel immatériel, UNESCO, 17 octobre 2003.
  53. ↑ Convention concernant la protection du patrimoine mondial, culturel et naturel, UNESCO, 16 novembre 1972.
  54. ↑ Rostam J. NEUWRITH, “A ‘Uniform dress code' or cultural variety in the global fashion industry?” dans Lilian RICHIERI HANANIA, Cultural Diversity in International Law, Routledge, 2014, p. 145.
  55. ↑ Lilian Richieri HANANIA, « Les biens et les services culturels menacés », dans Véronique Guèvremont et Olivier Delas (dir.), Regards croisés sur la Convention pour la sauvegarde du patrimoine culturel immatériel et la Convention sur la protection et la promotion de la diversité des expressions culturelles, Université Laval, Québec, 2019, p. 55-58.
  56. ↑ Morgane ISSENMAN, L'ambiguïté du concept d'expressions culturelles, Mémoire de maîtrise, sous la direction de Véronique Guèvremont, Université Laval, coll. travaux étudiants, teseopress.com, travail non daté, p. 69.
  57. ↑ Rapports périodiques, Argentine, Cuba, Union Européenne; Morgane ISSENMAN, L'ambiguïté du concept d'expressions culturelles, Mémoire de maîtrise, sous la direction de Véronique Guèvremont, Université Laval, coll. travaux étudiants, teseopress.com, travail non daté, p. 99.
  58. ↑ Convention de 2005, art. 6.2(b).
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.