Cultural Policies PORTUGAL

COUNTRY PROFILE
PORTUGAL
Last profile update: March 2010
This profile was prepared and updated by

Ms. Maria João Lima and Mr. Rui Gomes (Lisbon).
It is based on official and non-official sources addressing current cultural policy issues.
The opinions expressed in this profile are those of the author and are not
official statements of the government or of the Compendium editors.
Additional national cultural policy profiles are available on:
http://www.culturalpolicies.net
If the entire profile or relevant parts of it are reproduced in print or in electronic form including in a translated
version, for whatever purpose, a specific request has to be addressed to the Secretary General of the Council of
Europe who may authorise the reproduction in consultation with ERICarts. Such reproduction must be
accompanied by the standard reference below, as well as by the name of the author of the profile.
Standard Reference: Council of Europe/ERICarts: "Compendium of Cultural Policies and Trends in Europe",
11th edition 2010. Available from World Wide Web: <http:// www.culturalpolicies.net>.
PORTUGAL1
1. HISTORICAL PERSPECTIVE: CULTURAL POLICIES AND
INSTRUMENTS........................................................................................................... 2
2. COMPETENCE, DECISION-MAKING AND ADMINISTRATION.................... 3

2.1 Organisational structure (organigram) ........................................................................... 3
2.2 Overall description of the system ................................................................................... 4
2.3 Inter-ministerial or intergovernmental co-operation ...................................................... 5
2.4 International cultural co-operation ................................................................................. 5
3. GENERAL OBJECTIVES AND PRINCIPLES OF CULTURAL POLICY ........ 8
3.1 Main elements of the current cultural policy model....................................................... 8
3.2 National definition of culture ......................................................................................... 8
3.3 Cultural policy objectives............................................................................................... 8
4. CURRENT ISSUES IN CULTURAL POLICY DEVELOPMENT AND
DEBATE...................................................................................................................... 10
4.1 Main cultural policy issues and priorities..................................................................... 10
4.2 Recent policy issues and debates.................................................................................. 10
4.3 Other relevant issues and debates................................................................................. 18
5. MAIN LEGAL PROVISIONS IN THE CULTURAL FIELD .............................. 19
5.1 General legislation........................................................................................................ 19
5.2 Legislation on culture ................................................................................................... 22
5.3 Sector specific legislation............................................................................................. 22
6. FINANCING OF CULTURE.................................................................................... 25
6.1 Short overview.............................................................................................................. 25
6.2 Public cultural expenditure per capita .......................................................................... 26
6.3 Public cultural expenditure broken down by level of government .............................. 26
6.4 Sector breakdown ......................................................................................................... 27
7. CULTURAL INSTITUTIONS AND NEW PARTNERSHIPS.............................. 29
7.1 Re-allocation of public responsibilities ........................................................................ 29
7.2 Status / role and development of major cultural institutions........................................ 29
7.3 Emerging partnerships or collaborations...................................................................... 29
8. SUPPORT TO CREATIVITY AND PARTICIPATION ....................................... 31
8.1 Direct and indirect support to artists ............................................................................ 31
8.2 Cultural consumption and participation ....................................................................... 33
8.3 Arts and cultural education........................................................................................... 35
8.4 Amateur arts, cultural associations and community centres ........................................ 37
9. SOURCES AND LINKS ............................................................................................ 39
9.1 Key documents on cultural policy................................................................................ 39
9.2 Key organisations and portals ...................................................................................... 43
1
Updated by Maria João Lima, Lisbon, Observatório das Actividades Culturais <http://www.oac.pt/>.
Last profile update: March 2010.
Council of Europe/ERICarts, "Compendium of Cultural Policies and Trends in Europe, 11th edition", 2010 PT-1
Portugal
1. Historical perspective: cultural policies and instruments

Until 25 April 1974, Portugal was under an anti-liberal and nationalist "Salazarist" regime,
which had been imposed following the military coup of 28 May 1926. One of the main
concerns of the regime was the organisation of cultural activities to be used for propaganda
purposes. The authoritarian regime of the "Estado Novo" gave itself the right to decide the
type of culture that was appropriate for the Portuguese people and the values by which it
should be shaped. Against this background, the role of the education system and censor-
ship was crucial.
The military coup of 25 April 1974, which ended the "Salazarist" regime and ushered de-
mocracy into Portugal, brought about profound changes in politics, the economy, society
and culture. By July 1976, there had been six provisional governments, all very short-lived.
The demise of the Sixth Provisional Government in 1976 marked the beginning of a new
political era in the country, with power being exercised successively by eighteen constitu-
tional governments until the present year (2010).
The period from 1985 to 1995 had three successive Social Democratic governments, which
resulted in the broad lines of cultural policy remaining relatively homogeneous. The pro-
grammes of these governments demonstrated the importance that they accorded to cultural
heritage and reading, which had direct repercussions for the amount of legislation passed
on these sectors.
A Socialist government came to power in October 1995 and initiated a more interventionist
role in the field of culture than under the three previous governments. For the first time,
culture was placed under the aegis of a Ministry of Culture as it was now regarded as one
of the priority areas for government action. The structure of the previous Secretariat of
State was modified, existing agencies restructured, and new bodies set up.
Under the Socialist Governments (1995-2002), there were three ministers of culture. A
new government involving Social Democratic and Popular Parties was elected in 2002,
which resulted in revised cultural policies and some changes in the organisational structure
of the Ministry of Culture, due to financial restrictions and concentration of services. After
the Prime Minister's departure to take up the position of President of the European Com-
mission (2004), a government of continuity lasted a few months until its resignation fol-
lowing the dissolution of the Parliament. Elections resulted in a new Socialist Government
and Portugal had its sixth (and seventh) Minister of Culture in ten years.
In 2006, the Ministry of Culture underwent a reorganisation as part of the Programme to
Reorganise the Central Government Administration (PRACE, 2006; Decree-Law
215/2006, of 27 November). The main objectives of this law are to modernise and rational-
ise public administration. In this context, several changes were made with implications for
some of the national arts organisations (see also chapter 2.1 and chapter 7.1).
In 2009, elections resulted in another Socialist Government being elected. Regarding the
cultural sector, the current government programme assumes a reinforcement of the budget,
mainstreaming of cultural policies and the contribution of contemporary art to the country's
development. Language, cultural heritage, arts and creative and cultural industries are the
main priorities.
PT-2 Council of Europe/ERICarts, "Compendium of Cultural Policies and Trends in Europe, 11th edition", 2010
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2. Competence, decision-making and administration

2.1 Organisational structure (organigram)
Internal organisation of the Ministry of Culture
MINISTRY OF CULTURE
Consultative
Bodies National Cultural Council
Government Planning, Strategy, Evaluation and International Inspectorate-General

Support Relations Office of Cultural Activities
(GPEARI) (IGAC)
Resource
Management General-Secretariat
Support
Operational Directorate-General for Directorate-General National Directorate-General for

Services Book and Libraries for Archives Library of Portugal the Arts
(DGLB) (DGARQ) (BNP) (DGArtes)
The Portuguese Film Institute for the Management of Institute for Institute for Museums
Operational Archive - Film Architectural and Cinematography and Audio- and Conservation
Services Museum Archaeological Heritage visual (IMC)
(IGESPAR) (ICA)
Peripheral Regional Directorate Regional Directorate Regional Directorate for Regional Directorate Regional Directorate
services for Culture for Culture Culture for Culture for Culture
North Centre Lisbon and Tagus Valley Alentejo Algarve
State
Corporate OPART – Artistic Production Body The National Theatre D. The National Theatre S.
Sector (The National Theatre S. Carlos Maria II João
National Ballet Company)
Another Portuguese National Fine Arts International Academy of

Structures Academy of History Academy Portuguese Culture
Foundations Centro Cultural Serralves Casa da Arpad Szenes Museu do Ricardo Espírito
de Belém Música – Vieira da Silva Douro Santo Silva
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2.2 Overall description of the system

Following the revolution of 25 April 1974, and the end of the colonial empire, Portugal
was divided into territories which also included the archipelagos of the Azores and Ma-
deira.
The administration of the country has three levels: central administration, municipal ad-
ministration and the autonomous regions of the Azores and Madeira which have been
granted their own special political administrative status and political organs.
Despite the intentions of governments to collaborate with local authorities on cultural pro-
grammes, there has been a delay in devolving responsibility for culture from central gov-
ernment to regional and local level. Cultural Regional Delegations were created in 1980
with the aim of reducing social and regional imbalances in access to culture. In the absence
of real autonomy and with very small budgets, the role of these Delegations has not as-
sumed great importance. By the end of 1990s, local authority intervention in the cultural
field has grown substantially. Some functions and responsibilities were transferred to local
authorities in the 1990s, including: managing museums, heritage sites, and other municipal
cultural facilities (Law 159/99, of 14 September).
Meanwhile, the National Association of Portuguese Municipalities has often called atten-
tion to the unequal distribution of national resources. However, some positive examples of
decentralisation can be mentioned: the acquisition or restoration of cultural facilities in
several district capitals; the development of networks (of public libraries, museums, public
performance centres, local archives, etc); the launch of training programmes; and the boom
in festivals.
The main result of institutional changes introduced in 2006 by the Programme to Reorgan-
ise the Central Government Administration (see also chapter 1 and chapter 7.1) seems to
be a general downsizing of the public administration under the Ministry of Culture. This
Ministry undertook some changes in its functioning, with the merging of several entities
and a redefinition of responsibilities for new bodies that, although with functional auton-
omy and capable of ensuring transversal articulation, respond with crescent efficiency.
Several changes can be reported:
• The Institute for Museums and Conservation (IMC) became responsible for conserva-
tion activities formerly assigned to the Conservation Institute and gained new roles in
areas such as intangible cultural heritage;
• The National Opera Company (S. Carlos National Theatre) merged with the National
Ballet Company to form the OPART Artistic Production Body – a state enterprise; and
• The Institute for the Management of Architectural and Archaeological Heritage
(IGESPAR) is the result of a merger of the Portuguese Institute of Architectural Heri-
tage (IPPAR) with the Portuguese Institute of Archaeology (IPA) and incorporating
part of the role of the former Directorate-General of Buildings and National Monu-
ments (DGMEN). This new institute is responsible for the management, safeguarding
and enhancement of properties which, due to their historical, artistic, scientific, social
and technical value, are part of the Portuguese architectural and archaeological heri-
tage.
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2.3 Inter-ministerial or intergovernmental co-operation

A number of protocols have been signed between the Ministry of Culture and other minis-
tries with the aim of promoting inter-ministerial co-operation through transversal policies.
For instance, there has been collaboration with the Ministry of Education over the creation
of a National School Library Network (RBE); with the Ministry of Education and the Min-
istry of Parliamentary Affairs for the implementation of the National Reading Plan (PNL);
with the Ministry of Foreign Affairs on the world wide promotion of the Portuguese lan-
guage and culture; with all ministries on the participation of Portugal in the Information
Society, etc.
With the aim of promoting and disseminating the work of Portuguese artists abroad, the
Directorate-General for the Arts, representing the Ministry of Culture, and the Camões
Institute, representing the Ministry of Foreign Affairs, drew up a memorandum of under-
standing to articulate the support to Portuguese artists (and foreign artists resident in Por-
tugal) to participate in international events. This articulation includes regular exchange of
information on measures regarding international support to national artists, with the aim of
ensuring that projects submitted to both institutions are viable, and to assess ways of col-
laborating for rationalise the use of available financial and logistical resources.
In the realm of cooperation with other governments, one of the Portuguese government's
objectives is to develop programmes for cooperation between central and local government
– and this has been achieved in practice through the setting up of networks of facilities
(public libraries, museums, local archives, public performance centres).
2.4 International cultural co-operation
2.4.1 Overview of main structures and trends

International cultural co-operation has been focused mainly on the promotion of the Portu-
guese language and culture. Some examples:
• co-operation with communities and countries whose official language is Portuguese,
via national institutes (e.g. the Camões Institute; ) and international organisations (e.g.
the Community of Portuguese-speaking Countries - CPLP);
• dissemination of the Portuguese language and culture via the establishment of cultural
centres abroad and via content broadcast in radio and TV channels networks as well as
media organisations;
• dissemination of Portuguese works of art abroad: support for Portuguese representation
at international events; and support for the presentation of foreign artists and their pro-
ductions in Portugal; and
• organisation of large scale cultural events such as "Lisbon 1994 – European Culture
Capital"; the world exhibition "The Oceans, a heritage for the future" – Expo'98, Lis-
bon; "Oporto 2001 – European Capital of Culture"; "Guimarães 2012 – European Capi-
tal of Culture", etc.
2.4.2 Public actors and cultural diplomacy

Several bodies are involved, in different ways:
• co-ordination, negotiation and monitoring of Cultural Agreements (Camões Institute);
• grants to creative artists and distributors, with a view to helping them expand into the
international market and co-produce events with other countries, including countries
whose official language is Portuguese (DGArtes and ICA); and
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• grants for translation of the Portuguese language written works in order to publish them
in foreign countries (DGLB).
The concept of "Lusophony" (or the lusophone world) has been used to describe Portu-
guese-speaking communities in the world as a whole. Apart from Portugal, there are seven
other countries which have adopted Portuguese as their official language: Angola, Brazil,
Cape Verde, Guinea-Bissau, Mozambique, S. Tomé and Príncipe, and East Timor.
In March 2008, the government approved a draft of the Protocol modifying the 1991 Por-
tuguese Language Orthographic Agreement (already ratified by Brazil, S. Tomé and Prín-
cipe and Cape Verde), and committed itself to adopting the appropriate measures to bring
about the necessary period of transition, within six years.
2.4.3 European / international actors and programmes

Strategies for stronger participation by Portugal in international cultural cooperation have
been promoted with the support of the Community Structural Funds Management POC
(Operational Programme for Culture) and QREN (National Strategic Reference Frame-
work).
The GPEARI (Planning, Strategy, Evaluation and International Relations Office, newly
formed following the Programme to Reorganise the Central Government Administration),
and the Institute Camões – under the authority of the Ministry of Foreign Affairs – are the
main public actors responsible for intercultural programmes. Several organisms of the
Ministry of Culture (see chapter 2.1 Organigram) also promote international programmes
concerning their cultural domains. Cinema, audiovisual and multimedia (ICA) as well as
the performing arts and visual arts (DGArtes) are the main domains represented in those
programmes.
2.4.4 Direct professional co-operation

Information is currently not available.
2.4.5 Cross-border intercultural dialogue and co-operation

The Camões Institute has an important role in the development of intercultural dialogue
and cooperation, particularly with Portuguese-speaking countries and OEI countries, via
the organisation of festivals, support for book publishing and for art exhibitions.
In international terms, mention should be made of the work of the High Commission for
Immigration and Cultural Dialogue (ACIDI), a member of the European Commission
funded Roma EDEM project, in combating discrimination against the gypsy community
and working for its integration in society and access to education and jobs. The project is
co-ordinated by the Fundación Secretariado General Gitano (Spain) and favours the in-
volvement of local authorities in its programmes – which includes initiatives aimed at pro-
gramme personnel, such as brochures outlining good practice, and training sessions (for
other ACIDI projects and programmes, see chapter 4.2.3 and chapter 8.2.2).
Several non-governmental organisations (NGO) work on international co-operation and
development, most of them belonging to the Portuguese NGDO Platform.
The CPLP's (the Community of Portuguese-speaking Countries) objectives are: helping to
promote the presence of its members on the international stage (Portugal, Angola, Cape
Verde, Mozambique, Guinea-Bissau, S. Tomé and Príncipe, Brazil and East Timor); coop-
eration in various spheres – particularly culture; and promoting and disseminating the Por-
tuguese language.
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At the national level, the Portuguese Youth Institute (IPJ) coordinates EU youth exchange
programmes on a voluntary basis - the Youth and Youth in Action programmes. It also runs
the All Different - All the Same programme (Order 111/2007), in its second edition, with
the aim of encouraging discussion on human rights and the promotion and celebration of
cultural diversity.
2.4.6 Other relevant issues

As far as international cultural policy is concerned, the government's current programme
mentions the intention of a reinforcement of the Portuguese language in the world. This
goal is also referred to in the document Strategy for Recognition and Promotion of the Por-
tuguese Language (Council of Ministers Resolution n. 188/2008) and supported by the
Portuguese Language Fund (Law-decree 248/2008) (see chapter 3.1 and chapter 4.2.2),
and includes the following measures:
• creation of instruments to ensure the unity of the Portuguese language through the Or-
thographic Agreement and its widespread adoption by other Community of Portuguese-
speaking Countries (CPLP);
• implementation of a Portuguese Language Library Network in conjunction with a
school network as part of a joint agenda to support language development and literacy,
by setting up long-term travel programmes for teachers in the Portuguese language
countries and communities;
• reinforcement of the Portuguese Language Fund (initial allocation of EUR 30 million,
managed by IPAD – see chapter 3.1) to promote the Portuguese language as an instru-
ment of culture and a factor for development and cooperation;
• acquisition, digitalisation and availability of relevant collections of Portuguese lan-
guage writers by the National Library of Portugal (BNP); and
• support, in collaboration with other CPLP countries, for the digitalisation of relevant
scientific, literary, and cultural documents in the Portuguese language in order to make
them available to a large audience.
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3. General objectives and principles of cultural policy

3.1 Main elements of the current cultural policy model
The cultural policies from 1995 to 2002 (socialist governments) adopted a mixed model of
an arms-length and interventionist system. The first minister of culture believed that in
order to strengthen the status of culture, it must be realised that "instead of blindly apply-
ing the logic of the marketplace to culture, it must be recognised that there are certain sec-
tors of culture which are not viable without adequate and deliberate state intervention. Di-
versification of sources of funding, especially growth in private funding, can increase the
number and quality of cultural activities but cannot replace state action".
During the social democratic governments, some attempts to implement a more entrepre-
neurial model were aimed at providing more private funding for culture.
The following socialist governments encourage cooperation between the state, municipali-
ties and the private sector to implement a more decentralised model.
Apart from the Ministry of Culture (MC), other bodies play an active part in the field of
culture:
• The Camões Institute (IC), the cultural arm of the Ministry of Foreign Affairs (MNE),
coordinates the external cultural policy in connection with other state departments such
as the Ministries of Education, Culture and Science, promoting and preserving Portu-
guese cultural heritage throughout the world as well as defending the teaching policies
of the Portuguese language in foreign countries;
• The Portuguese Institute for Development Support (IPAD) which also reports to the
Ministry of Foreign Affairs (MNE) and has, among others, the responsibility for the
management of the Portuguese Language Fund (Law-decree 248/2008); and
• The Calouste Gulbenkian Foundation is one of the private bodies which have made a
large contribution to cultural development in Portugal. Established in 1956, it has sub-
sequently played a crucial role in a wide range of cultural activities. Other important
foundations include the Orient Foundation, established in 1988 with the aim of
strengthening the historical and cultural links between Portugal and the countries of the
East, especially Macao and India; the Serralves Foundation, established in 1989, which
has opened a National Museum of Contemporary Art in Oporto; and Culturgest, an en-
terprise established in 1993 with the sponsorship of a national bank (Caixa Geral de
Depósitos), which has subsequently also played a major role in the cultural sector.
3.2 National definition of culture

The idea that culture must occupy a key position in Portugal's development appeared for
the first time official policy documents from 1995.
3.3 Cultural policy objectives

The main national cultural policy is focussed on:
• decentralisation – aimed at the development of the existing networks for public librar-
ies, museums, local archives and public performance centres;
• internationalisation – aimed at the international dissemination of Portuguese culture,
and, particularly, at a stronger exchange with Portuguese speaking countries all over
the world;
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• qualification – aimed at improving professional qualifications in the cultural sector;
and
• promotion of diversity – aimed at balanced support for the different forms of culture.
The programme for cultural sector of the current government (XVIII Constitutional Gov-
ernment) assumes a reinforcement of the budget, a mainstreaming of cultural policies and
the contribution of the contemporary art to the country's development. Language, cultural
heritage, arts and creative and cultural industries are assumed as the main priorities.
Portugal
4. Current issues in cultural policy development and debate

4.1 Main cultural policy issues and priorities
Since the implementation of the Ministry of Culture (1995), there have been six constitu-
tional governments and eight ministers of culture which has clearly had an effect on cul-
tural policy guidelines, either interrupting the application of some measures or adopting
new ones before the evaluation of the former (e.g. frequent changes in the allocation of
financial support to the performing arts, without succeeding in improving their precarious
operating conditions).
Cultural policy priorities were concentrated mainly in the protection of heritage, promotion
of reading and development of national networks of activities and facilities.
The two major topics of debate in recent decades are sponsorship and fixed pricing for
books which were already under discussion in Portugal in the late 1980s and 1990s. Other
major issues are financing of culture; support for theatre groups and other artistic entities;
the legal status of cultural professionals; and legal provisions for film and audiovisual pro-
duction.
In 2009, another Socialist Government was elected, which outlined its programme in the
cultural sector as a reinforcement of the budget, mainstreaming of cultural policies and the
contribution of contemporary art to the country's development. Language, cultural heritage,
arts and creative and cultural industries are the main priorities.
In 2010 a Strategic Plan for State Museums was launched and new guide-lines were estab-
lished (for more information see chapter 4.2.9).
4.2 Recent policy issues and debates
4.2.1 Cultural minorities, groups and communities

It is only recently that the political authorities have turned their attention to questions asso-
ciated with ethnic minorities in Portugal. In the 1990s, the state adopted a more interven-
tionist position. One fundamental step was the establishment of a process of granting ex-
traordinary de jure status to illegal immigrants (between 1993 and 1996).
Other measures were the creation of the Secretariat for the Co-ordination of Multicultural
Education Programmes (1991) and the Intercultural Education Project (1993). The so
called High Commission for Immigration and Ethnic Minorities (ACIME) was set up in
1996 along with the Working Group on Equality and Integration of Gypsies and the crea-
tion of the Local Authority Elections Act. The latter allowed non-Portuguese citizens the
right to vote and stand in elections for local authority positions. There are also a number of
measures to combat social exclusion, which affects a significant proportion of ethnic mi-
norities, such as the Programme to Combat Poverty (see chapter 5.1.1).
In recent decades, the number of foreigners living in Portugal has grown substantially: be-
tween 2000 and 2008, the number of foreigners holding legal resident permits in Portugal
more than doubled, from 207 587 to 436 020, according to data from the Foreigners and
Borders Service (SEF). This increase was mostly due to the conversion of "stay permits"
granted in 2001 into "residence permits", whereas the rise in 2008 stems from the imple-
mentation of Law n 23/2007, which confers a particular relevance to the conversion of all
types of long-term visas and stay permits into residence permits.
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The largest proportion of residence permits issued in 2005 – 46%, according to the SEF,
was given to African citizens, in particular those from the countries having Portuguese as
their official language (PALP), while, in recent years, there has been exponential growth in
the numbers of East European immigrants (having on average higher educational attain-
ment levels than others, but likewise working in less-skilled occupations) and those from
Brazil. It should be noted, however, that these are figures for legal immigration, and that
there are no official figures for the considerable numbers not accounted for here. While not
everyone shares its views, the government sees immigration, on the one hand, as bringing
with it certain security problems, and on the other as a positive factor for economic growth,
for sustaining social security – on account of demographic ageing – and for the cultural
enrichment of the country. That is because most immigrants are of working age (they leave
their own countries to look for work) and, as a result, also have birth and fertility rates
higher than national rates.
Recent changes to the Nationality Law (Organic Law 2/2006, regulated by Decree-Law
237-A/2006) and the Immigration Law (Law 23/2007) have allowed for Portuguese nation-
ality to be granted directly to the third generation and have simplified the legal require-
ments for the second generation, in addition to granting all legal immigrants uniform legal
status and helping to combat traffic in human beings and illegal immigration. Following
these measures, inter-ministerial strategies were approved, such as the National Inclusive-
ness Action Plan, which targets more than just immigrant and ethnic minorities, and the
Immigrant Integration Project (Council of Ministers Resolution 63-A/2007). Family reuni-
fication, employment and occupational training, help with learning Portuguese in schools,
and extending information networks and support mechanisms are some of the priority areas
in these projects.
Several other programmes are currently in operation to integrate cultural minorities, mostly
of gypsy origin – it is estimated that there are some 50 000 Portuguese gypsies - and immi-
grants, by working directly with these population groups; developing a network of support
offices of various types; helping them to obtain training and find jobs; and also by decon-
structing the prejudices and stereotypes associated with them; using the media; initiatives
in schools; youth exchanges, etc.; and encouraging scientific research, supported or coor-
dinated by the new High Commission for Immigration and Intercultural Dialogue – ACIDI
– that replaced in 2007 the former ACIME (see also chapter 4.2.3).
4.2.2 Language issues and policies

Portuguese is the only official language in Portugal; it is spoken today by around 240 mil-
lion people around the world.
Further expanding the use of the Portuguese language is a priority for CPLP organisation
and Portuguese Government. The International Portuguese Language Institute has been set
up (2002) within the CPLP.
In March 2008, the government approved the draft protocol modifying the 1991 Portu-
guese Language Orthographic Agreement 1991 (already ratified by Brazil, S. Tomé and
Príncipe and Cape Verde) committing itself to adopting the necessary measures for the
transition process within a period of six years.
In November 2008, the government approved a Strategy for Recognition and Promotion of
the Portuguese Language (Council of Ministers Resolution n. 188/2008) recognising the
importance of the cultural, geo-strategic and economic value of the Portuguese language. It
also recognises the fundamental role of the Portuguese Language in education and training
in the scope of development cooperation. A special fund was allocated to this Strategy –
The Portuguese Language Fund, with an initial allocation of EUR 30 million. An Inter-
Portugal
ministerial Commission representing five ministries (Foreign Affairs; Education; Culture;
Science, Technology and Higher Education; Parliamentary Affairs) was created to monitor
the developments made and to approve projects in this area (see also chapter 2.4.6 and
chapter 3.1).
Figure 1: The Portuguese language throughout the world
4.2.3 Intercultural dialogue: actors, strategies, programmes

Some government bodies are strengthening their efforts to better respond to the needs of
the immigrant population, e.g. the new High Commission for Immigration and Intercultural
Dialogue (ACIDI), a public institute under the Presidency of the Council of Ministers (in
2007, ACIDI replaced the High Commission for Immigration and Ethnic Minorities –
ACIME –, which was established in 1996).
The High Commission main attribution consists in the promotion of intercultural dialogue.
Important axis designed to address this aim: to implement the study of ethnic minorities
integration in order to inform operative government policies; to include in the High Com-
mission social bodies, delegates chosen by the associations or federations of the different
immigrants communities; to promote interdepartmental action across the public admini-
stration system, central and local (see the attached cases of Good Practice on Intercultural
Dialogue).
Programmes for the use of audiovisual, particularly TV weekly magazines, are broadcasted
by a national TV channel to facilitate intercultural dialogue. They are co-produced mainly
by the High Commission and some associations that work for equality and against racial
discrimination.
In the context of bilateral cultural agreements signed between Portugal and other countries
in order to establish cultural cooperation programmes, Portugal carries out the so-called
"Mixed Commissions". In recent years (1996/2003), these Commissions have been con-
ducted with 15 European Countries.
ACIDI was the Portuguese body responsible for preparing the European Year of Intercul-
tural Dialogue 2008.
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4.2.4 Social cohesion and cultural policies
Social cohesion is not a specific issue of cultural policies in Portugal.
In 2005, this country presented one of the highest employment taxes in EU (67.5%; 61.6%
for female workers and 50.8% for old workers). But to go on keeping this position, Portu-
gal must face the defiances of Lisbon Strategy goals. Levels of learning and professional
qualification on one side, and levels of social security on the other, must be improved.
In the past few years, the unemployment rate in Portugal has caught up successively with
the European average: in 2000 it corresponded to around half that observed, on average, in
EU countries (whether considering 15 or 27 Member States); in 2008 it exceeded both the
EU (15) and the EU (27) averages, by 0.6 and 0.7, respectively.
The National Plan for Growth and Employment outlines the priorities for the next years but
cultural policies are usually out of the agendas for qualification, employment and social
cohesion.
4.2.5 Media pluralism and content diversity

Recent agreements and forms of association are taking place between the various actors in
the field including film producers, television stations and distributors. The main goal of
theses agreements is to ensure both diversity and viability of productions.
RTP, the state TV channel, offers public TV and radio channels for the international and
African Portuguese-speaking community (RTPi was set up in 1992). In addition, there are
two general interest private terrestrial channels. The licence for the fifth terrestrial channel
is now in legal dispute. The new Digital Terrestrial System (to which existing channels
will migrate) is due to be fully implemented in 2012.
The new Television Law (Law 27/2007) stipulates that at least 50% of the air time must be
allocated to broadcast Portuguese language programmes and at least 20% for creative
works in Portuguese – in both cases, non-Portuguese lusophone productions must not ex-
ceed 25% of air time. Thereafter, preference should be given to European productions,
with at least 10% allocated to recent productions (of less than 5 years old) by independent
European producers. Broadcasters are required to submit, to the Regulatory Authority
(ERC - Entidade Reguladora da Comunicação Social), all the information required to
monitor compliance with these obligations.
The new Radio Law (Law 4/2001, as amended by Law 7/2006) commits broadcasters to an
annual minimum quota for the dissemination of Portuguese music. This minimum quota
varies annually from 25 and 40% of musical programming on each channel. However, it is
stipulated that at least 60% of that quota must be fulfilled with music composed / sung in
the Portuguese Language by citizens of the EU; and at least 35% of the same quota must
be fulfilled with music produced in the last 12 months. The Regulatory Authority (ERC -
Entidade Reguladora da Comunicação Social) is responsible for monitoring and control-
ling this law enforcement.
4.2.6 Culture industries: policies and programmes

Policies on the culture industries in Portugal are founded on a quest for balance between
state assistance and regulation. In the case of film, state financial aid is generally directed
towards film creation and production while the market, on the other hand, calls for the es-
tablishment of mechanisms governing distribution. In this context, there has been a search
for articulation between agencies of the Ministry of Culture and businesses in the sector. It
should be noted that a need for the establishment of a "content industry" in Portugal lay
behind the decision (1998) to transform the Portuguese Cinematographic and Audio-visual
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Institute (IPACA) into the Institute for Film and Audio-visual (ICA). A number of differ-
ent sectors of government have committed themselves to programmes designed to develop
an information society and audio-visual sector (e.g. an Internet programme for schools was
carried out in co-operation between the Ministry of Culture, Science and Technology and
the Ministry of Education).
Apart from cinema and the audiovisual arts, publishing is also another important area for
"creating economic value chains in the domain of culture", as stated by the late Govern-
ment's Programme. Several attempts were made to review the support programme for the
publication of classic works of Portuguese literature, and improve the regulation of this
market, including the provision of new data systems to study and monitor the sector and to
prevent piracy. Currently, the following programmes are active: Publishing in the Portu-
guese Language: New Authors, Portuguese Dramatic Art, African Literature and Culture
and Cultural Journals. Other programmes were created to promote literature and Portu-
guese authors abroad: translation, illustration, cartoons and publishing in Brazil.
In 2008, the government approved the setting up of the INOV-Art programme (Resolution
of the Council of Ministers n. 63/2008) to provide professional integration opportunities for
qualified or specifically accomplished young people up to the age of 35 within the domains
of Arts and Culture, in experienced organisations around the world.
In its first edition (2008/2009), the programme provided 229 professional experiences (for
a maximum of 9 months) in 209 organisations located in 84 cities of 28 countries (mainly
in Europe but also in other continents). Those professional experiences were mainly in
areas such as: architecture, conservation and restoration; cinema and audio-visual; design;
and the performing arts. For 2010/2011, a second edition is being prepared by DGArtes.
The success of this programme can be measured by the increase in applications (more than
3 000 for this edition) and foreign organisations interested in hosting the candidates (more
than 700).
Creative Industries are growing in importance in Portugal, but still face many obstacles.
The government's current programme mentions the intention to promote public credit lines
in order to develop and organise training in the cultural and creative industries, namely
fashion and design. It also plans to articulate policies to support and promote cultural and
creative industries in the audiovisual sector, tourism and vocational training. However,
those measures are not yet implemented.
Several initiatives were promoted by the Ministry of Culture specific to the Portuguese
situation:
• A Seminar on the Cultural and Creative Sector – Lisbon Agenda was organised by the
Observatory of Cultural Activities (OAC, Lisbon) and the GPEARI-MC during the
Portuguese Presidency of the EU (2007); and
• A study on the Cultural and Creative Sectors in Portugal was promoted by GPEARI-MC.
Other initiatives are of note, particularly those promoted by the Serralves Foundation:
• evaluation on the "Development of a Creative Industries Cluster in the Northern Re-
gion" which aims to evaluate the impact of these activities in this region, to know their
evolution and the role they play or may come to play in the economy and society;
• project IN Serralves – Incubator of the Creative Industries aims to stimulate the devel-
opment of companies or individuals pursuing creative and innovative activities with
commercial potential (76 applications, 8 approved); and
• participation in the creation process of ADDICT – Agency for the development of Crea-
tive Industries – a private association of 49 entities located in the northern region that
aims to implement an appropriate governance model to support the increased capacity
and creative entrepreneurship, business growth and attractiveness of creative places.
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4.2.7 Employment policies for the cultural sector
Table 1 provides some material for the analysis of employment in the arts in different sec-
tors and by gender. While a complete breakdown is not currently available, progress has
indeed been made to track the number of people working in various artistic professions.
The Table below does not include independent or freelance professionals, which explain
the lower than expected number shown for those working in music or in visual and per-
forming arts.
The relative high share of those working in the audio-visual media and in socio-cultural
activities indicates the significance of these sectors to the cultural labour market. There
have been attempts to establish a system of professional accreditation in the regulation of
the cultural labour market since 1998.
Table 1: Share of professionals working in different art sectors, in %, 2004
Gender
Cultural domains Total
Male Female
Visual arts 9.9 5.1 7.6
Music 7.8 3.5 5.8
Performing arts 4.9 5.5 5.2
Dance 1.2 3.8 2.4
Theatre 3.7 1.7 2.7
Audiovisual 53.1 20.1 37.5
Cinema 13.9 5.5 9.9
Television 14.1 6.0 10.3
Radio 4.0 1.7 2.9
Cinema + television + Radio 21.1 6.9 14.4
Literature 7.7 7.9 7.8
Books 5.8 4.5 5.2
Libraries 1.9 3.4 2.6
Preservation 9.5 16.3 12.7
Cultural heritage 2.4 1.8 2.1
Museums and archives 7.0 14.6 10.6
Socio-cultural activities 7.2 41.5 23.4
Total 100.0 100.0 100.0
Source: Ministry of Labour and Social Solidarity, Quadros de Pessoal, 2004.
European Structural Funds have some positive impacts on employment in the cultural sector
in Portugal, particularly through the Operational Programme for Culture (POC, 2000/2006)
– the goal was to create 5 000 jobs in this sector by 2006. However, some EU programmes
(e.g. Culture 2000) have not succeeded in attracting a considerable amount of applications.
Two programmes have been set up to promote employment in the cultural field: Culture
Employment and Culture Training (Joint Despatches 243/99 and 244/99), part of the So-
cial Market for Employment plan (see chapter 5.1.6).
As far as actors are concerned, several regulations have been under discussion, some more
general and others specific to dancers. This is related to intensified campaigning by self-
styled "intermittent" performers, due to the fact that they are employed on a casual basis,
not having permanent work contracts – aimed at establishing a specific social and occupa-
tional status for them under the law, to take account of the particular nature of the terms
under which they work (hours of work, seasonal nature of the work, multiple employers).
The last and current government's programme for the culture sector include the intention to
review the legal status of cultural professionals, the definition of a new welfare and pen-
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sion system and the taxation of work tools, providing safeguards in particular for the inde-
pendent nature of artistic work. In this context, Law 4/2008 represents an important step
forward establishing the juridical regime for employment contracts of performing arts pro-
fessionals, having in attention labour specificities of the sector and focusing permanent
work contracts. However, key aspects such as professional qualifications and pension and
welfare arrangements were postponed for future regulation. In March 2010, a new law on
this issue was presented for discussion in the Parliament.
4.2.8 New technologies and cultural policies

The Information Society was one of the political priorities of the Portuguese government in
1995 and 2 years later, after a public debate, the Green Book for the Information Society
presented guide-lines for the transition to new technologies.
The main strategies aimed at promoting and modernising the national cultural industries
and supporting innovative programmes in the domain of new technologies. Measures to
promote these strategies have been organised in the framework of two operational culture
Programmes – POC (III Community Structural Funds) and POSI (Information Society
Programme) – and the National Technological Plan.
Several projects have now been concluded in cultural sphere:
• A web-site promoted by the Ministry of Culture for developing a network for cultural
facilities and activities, as well as providing a broader base of support for production
and access to Portuguese art and literature in multimedia formats
(http://www.culturaonline.pt).
• The Knowledge Network in Public Libraries that includes widespread free broadband
access to the Internet in public libraries, as well as a web portal with access to all the
resources, technical information and catalogues of those libraries (http://rcbp.dglb.pt);
• Virtual Office - the on-line platform of Arts Territory Programme (see chapter 7.3)
with information about the structures (artistic entities and local authorities as cultural
promoters), the artistic productions and the cultural venues registered / participants.
This platform enables the programme management as well as the schedule of the ac-
tions (http://www.territorioartes.pt/);
• National Digital Library - internet interface providing public access to online digitali-
sation service using information indicated in the catalogue of the National Library
(BNP) for the digitalisation of specific items from its collections (material already in
the public domain);
• MATRIZNET – an internet interface providing public access to Matriz - Inventory and
Collections Management of National Museums and Palaces. This resource was con-
ceived in order to enable the computerisation of museum inventories, the digitisation of
museum collections, as well as the management of the circulation of museum pieces
(http://www.matriznet.imc-ip.pt).
• Creation of a Digital Cinema Network (Rede Cine): connecting screen cinemas to a
central system which supplies digital copies of the films to be shown. This makes it
possible to bring cinema to culturally less well-endowed environments and enables any
theatre to connect to the system.; and
• Development of IGESPAR Information System based on the integration of information
of former institutes (IPPAR and IPA). This includes new technological features and
production of content regarding monuments and archaeological sites.
In recent years, indicators regarding PC ownership and Internet connections have seen an
impressive growth, reaching 56% and 48% in 2009 (Table 2). In four years broadband
internet access grew from 20% to 46% (2009).
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Table 2: Computer ownership, internet connection and broadband internet access
by household, in %, 2000-2009
2000 2001 2002 2003 2004 2005 2006 2007 2008 2009
Computer 22 24 27 38 41 43 45 48 50 56
ownership
Internet con- 9 13 15 22 26 32 35 40 46 48
nection
Broadband 8 12 20 24 30 39 46
internet access
Source: INE, Inquérito à Utilização de Tecnologias da Informação e da Comunicação nas Famílias.
4.2.9 Heritage issues and policies

A number of measures and activities have been introduced since the creation of the for-
merly Portuguese Cultural Heritage Institute in 1980: organisational restructuring, estab-
lishment of a national network of archives, and an inventory of the national heritage. De-
spite all this reorganisation, heritage remains a field where there are overlapping and com-
peting responsibilities.
Social awareness of the value of cultural heritage has grown, accompanied by a rise in the
number of listed buildings and museums and monuments open to the public and attracting
an increased number of visitors.
Recently, technical and financial support for the improvement of management in museums
and better training for museum staff has been given by the Portuguese Network of Muse-
ums (RPM created in 2000), working now in the framework of the new Portuguese Insti-
tute for Museums and Conservation (IMC – Ministry of Culture).
In 2006, the new organic structure of the Ministry of Culture (see also chapter 1, chapter
2.1 and chapter 7.1 regarding PRACE) reinforced the attributes and competences of IMC,
becoming also responsible for conservation activities, the inventory and policy making
regarding intangible cultural heritage, the management of several national palaces and the
accreditation of RPM Museums.
In 2010 a Strategic Plan for State Museums was launched and new guide-lines were estab-
lished, including:
• new models for the management of IMC museums and palaces;
• direct collaboration with cultural agents, scientific institutions, public and authorities,
foundations and other stakeholders;
• consolidation and sustained growth of the Portuguese Network of Museums;
• integration of the policy of preservation, study, communication and documentation of
collections; and
• professional qualifications as well as academic and scientific formation of IMC human
resources.
4.2.10 Gender equality and cultural policies

There are no specific strategies which support women as professionals in the cultural la-
bour market.
Gender equality is regulated by the common law on rights and liberties. The proposal to
introduce a system of using quotas to improve the role of women was rejected during a
vote on a bill proposed by the government in 1999. During a public debate at that time,
many interviewees considered quotas as a discriminatory measure which was better
avoided. This situation changed in 2006 with the adoption of quotas for representation of
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women in the elective lists for public representation assemblies (local, national and Euro-
pean Parliament).
The percentage of women in universities has been growing and, at present, it is higher than
the percentage of men in almost all the degree courses. Notwithstanding, the representation
of women in key decision-making positions in the cultural sector is currently lower than
that of men. There are positive developments concerning the presence of women in the
world of the arts, however there continue to be a structural opposition between male domi-
nated management and a feminine "base". This anomaly is reinforced in recent studies e.g.
studies on classical music (orchestras) or on new media arts areas as well as on the creative
industries (film production, book publishing).
The Third National Plan for Citizenship and Gender Equality was launched in 2007 and
will run until 2010. The Commission for Citizenship and Gender Equality coordinates the
implementation of this Plan in articulation with several government sectors. Regarding the
culture sector, a working group formed by several members of MC bodies was created
under the leadership of GPEARI.
In the cultural sector, the following objectives were outlined for 2008:
• to ensure that equilibrium is maintained in awarding scholarships and grants, favouring
the under-represented gender;
• to ensure that criteria for awarding prizes in the cultural arena reflect a balance between
genders;
• to include the gender perspective in training cultural agents;
• to use the state TV channel to promote the visibility of women's contributions in vari-
ous areas of life, in particular Culture, History, Economics, Science and Politics;
• to generate awareness of the need for equitable representation of men and women in
public collections; and
• to give added value to written work and creative and cultural production which respects
the human rights of men and women.
4.3 Other relevant issues and debates

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5. Main legal provisions in the cultural field

5.1 General legislation
5.1.1 Constitution
The Portuguese Constitution defines that one of the basic responsibilities of the state is "to
promote the welfare and quality of life of the people, and actual equality between Portu-
guese citizens in their enjoyment of economic, social and cultural and environmental
rights, through the transformation and modernisation of the economic and social struc-
tures" (Article 9 d).
The Constitution also states that "intellectual, artistic and scientific creativity shall not be
restricted. This freedom includes the right to create, produce and disseminate scientific,
literary or artistic works, and includes legal protection for copyright" (Article 42).
The articles relating to cultural education are: "The State shall not plan education and cul-
tural development in accordance with any philosophical, aesthetic, political, ideological or
religious precepts" (Article 42 point 2); "Everyone has the right to education and culture"
(Article 73 point 1); "The State shall promote the democratisation of education and the
other conditions that enable education, both at school and elsewhere, to contribute to
equality of opportunity, to surmounting economic, social and cultural inequality, to the
development of the personality and the spirit of tolerance, mutual understanding, solidarity
and responsibility, to social progress and to democratic participation in public life" (Arti-
cle 73 point 2).
"In conjunction with the mass media, cultural associations and foundations, cultural and
recreational groups, associations for the protection of the cultural heritage, organisations of
residents and other cultural agencies, the State shall promote the democratisation of culture
by encouraging and guaranteeing access by all citizens to the fruits of culture and cultural
creativity" (Article 73 point 3).
With regard to cultural enjoyment and creativity, the Portuguese Constitution states that:
1. Everyone has the right to cultural enjoyment and creativity, and the duty to preserve,
protect and extend the cultural heritage.
2. It is the duty of the state, in co-operation with all cultural agencies:
• to encourage and ensure access for all citizens to the means and mechanisms of
cultural activity, and to correct present imbalances in this respect;
• to support initiatives to stimulate the broad variety and expression of individual
and collective creativity, and a wider availability of cultural works and assets of
quality;
• to promote the protection and increased respect for the cultural heritage, making it
a vital element of the common cultural identity;
• to develop cultural relations with all peoples, particularly those that are Portu-
guese-speaking, and ensure the protection and promotion of Portuguese culture
abroad; and
• to co-ordinate the policies for culture with other state policies. (Article 78)
Under Article 2, cultural democracy is mentioned:
"The Portuguese Republic is a democratic State based on the rule of law, the sovereignty of the
people, plurality of both democratic expression and democratic political organisation, as well
as respect for and the safeguarding of fundamental rights and freedoms; its aim is to achieve
economic, social, and cultural democracy and to push participatory democracy further."
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Article 70 mentions the cultural rights of young people:
Section 1: "Young people, especially young people at work, receive special protection for
the purpose of effective enjoyment of their economic, social, and cultural rights…"
Section 3: "In conjunction with the families, schools, businesses, neighbourhood organisa-
tions, cultural associations, and trusts, recreational and cultural groups, the State promotes
and assists the youth organisations in pursuing the above-mentioned objectives, as well as
the international exchanges of young people."
The Portuguese Constitution has a whole chapter on cultural rights and duties (Article 73-
79) which is quite extraordinary in the European context. The only "cultural duty" men-
tioned is the duty to preserve cultural heritage in Article 78, section 1. Everyone has the
right to cultural enjoyment and creation, and the duty to preserve, defend, and increase the
cultural heritage.
5.1.2 Division of jurisdiction

Government administration consists of three levels in Portugal: central administration, mu-
nicipal administration and the autonomous regions of the Azores and Madeira which have
been granted their own special political administrative status and political organs.
The governmental bodies responsible for cultural issues are the Ministry of Culture (inter-
nal cultural affairs) and the Ministry of Foreign Affairs (external cultural affairs).
5.1.3 Allocation of public funds

There is specific legislation governing public funding for each of the fields supervised by
the Ministry of Culture.
See chapter 5.3.
5.1.4 Social security framework

Some legislation has been introduced since the 1980s to safeguard the position of artists
and performers in terms of social security. The debate continues, however, as artists and
cultural professionals continue to campaign for the government to set up a specific system
of social welfare for them (see chapter 4.2.7).
• inclusion of artists in the General Social Security Scheme (Decree-Law 407/82);
• special support scheme for artists / writers having difficulty earning a living (Decree-
Law 415/82 and Despatch 23605/2006 (Second Series));
• occupational retraining grant for artists or performers (Regulation-Despatch 79/83);
and
• special early old-age pension scheme for classical and modern dancers (Decree-Law
482/99).
5.1.5 Tax laws

The regulation of fiscal policies and tax laws in the cultural domain is the responsibility of
the Ministry of Finance.
The Sponsorship Act was introduced 1986 and was followed by new laws, particularly the
1999 Statute of Sponsorship (Law 74/99), which regulates the different types of sponsor-
ship, enlarges the area to include sponsorship of education, environment, sport, science and
technologies, and increases the tax incentives available (the highest level is for long term
contracts).
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Performing artists are exempt from VAT (Chapter II, Section I, Article 9, paragraph 16b of
the VAT Regulation Code).
Benefits associated with income from intellectual property: income from ownership rights
in literary, artistic or scientific work, including income from the sale of unique works of art
and income from educational and scientific works, when earned by authors resident in Por-
tugal, provided that they are the original owner, are assessed for personal tax purposes at
only 50% of their value, net of other benefits. The exempt amount may not exceed 27 196
EUR. These provisions exclude income from works not of a literary, artistic or creative
nature, works of architecture and advertising work (Items 1 and 2 of Article 56 of the Tax
Exemption Act).
5.1.6 Labour laws

For non-artistic professions covered by public service career rules, such as museum profes-
sionals, the professional associations argue that a review of the current rules (Decree-Law
55/2001) is needed. For performing arts professionals, Law 4/2008 establishes the juridical
regime for employment contracts. However, key aspects such as professional qualifications
and welfare arrangements need to be regulated (see chapter 4.2.7).
Other relevant legal documents:
• regulations governing specific careers in the functional areas of Libraries, Documenta-
tion and Archiving (Decree-Law 247/91, as amended by Decree-Law 276/95) and Ar-
chaeology (Regulatory Decree 28/97);
• specific legislation regarding School Libraries Network (RBE) regulating the function
of Librarian-Teachers (Order nº 756/2009); and
• establishment of the Culture employment and Culture Training (Joint Despatches
243/99 and 244/99), as part of the Social Market for Employment plan.
5.1.7 Copyright provisions

In general terms, the law on author's rights stipulates that there should be remuneration for
the reproduction or registration of works. This remuneration benefits the author, the editor
or producer of a work, but it may be included in the price of reproduction devices and their
supports, a means which is not within the control of the author or editor.
A governmental office for author's rights was established in 1997 (Decree-Law 57/97) to
provide information to the public and official support for new legislative initiatives by the
government in copyright matters. With PRACE restructuring, this office is now integrated
in GPEARI – at the Ministry of Culture.
There are also private institutions for the management of copyright and related rights in
terms of the national legislation: the Portuguese Authors Society (SPA, founded in 1925),
the Management of Artists Rights (GDA, founded in 1995) and the Association for the
Management of Private Copies (AGECOP, founded in 1998).
• Copyright and Related Rights Code (Decree-Law 63/85, as amended by Law 16/2008);
regulations regarding copyright duration (Decree-Law 334/97); regulations governing
compensation for reproducing or recording (Law 62/98) – transposing European direc-
tives;
• Regulations governing Rental and Lending Rights, and certain rights relating to copy-
right that exempt public libraries, schools, universities, museums, public archives, pub-
lic foundations and non-profit organisations from the payment of remuneration for pub-
lic lending (Decree-Law 332/97); and
• Regulations governing Right of succession for works of art (Law 24/2006).
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5.1.8 Data protection laws
Personal Data Protection Law (Law 97/98) – transposing European directives.
5.1.9 Language laws

The Portuguese Constitution establishes Portuguese as the official language (Article 11). In
1999, Mirandês also became an official language (Law 7/99, regulated by Despatch Order
35/99).
In order to acquire Portuguese nationality, applicants must take a Portuguese language test
(Order 1403-A/2006).
The Community of Portuguese-speaking Countries (CPLP) was set up in 1996 to provide a
system of linguistic and cultural communication (in Portuguese and its geographical and
social variants) which diverse peoples can use to express themselves in their mother tongue
or official language.
In March 2008, the government approved a draft of the Protocol modifying the 1991 Por-
tuguese Language Orthographic Agreement with other CPLP countries (see chapter 2.4.6
and chapter 4.2.2).
For legislation concerning the use of the Portuguese language in TV and Radio broadcast-
ings see chapter 4.2.5.
5.2 Legislation on culture

See chapter 5.3.
5.3 Sector specific legislation
5.3.1 Visual and applied arts

The Directorate-General for the Arts allocates grants for creation and dissemination, with a
view to keeping professionals up to date and strengthening the sector. It provides financial
support to cover the costs of exhibitions by Portuguese artists abroad and to enable galler-
ies to attend international art fairs, in conjunction with tertiary sector bodies (the Calouste
Gulbenkian Foundation and the Luso-American Foundation).
5.3.2 Performing arts and music

The Directorate-General for the Arts provides support for creating and disseminating work,
with a view to keeping professionals up to date and strengthening the sector.
There has been a significant amount of legislative activity in the music sector, largely in
the fields of arts education and support for production (grants for creative artistic work and
other forms of financial support, especially for the establishment of regional orchestras and
for non-governmental professional musical activities).
5.3.3 Cultural heritage

Following legislation on cultural heritage was approved by the parliament:
• the Portuguese Heritage Protection Law (Law 107/2001) establishes the basis for the
policy and cultural heritage protection and improvement regime; and
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• the Framework Law on Portuguese Museums (Law 47/2004) defines principles of na-
tional policies for museums. This legal document establishes guidelines for recognition
of Museums and Visiting collections. It also officially establishes and develops the
Portuguese Network of Museums (RPM) – a former project structure launched in 2000.
5.3.4 Literature and libraries

The most significant legislation produced in the field of books concerns networking of
municipal public libraries (RNBP) and school libraries (RBE), which is in line with the
principles of decentralisation and cultural participation.
The RNBP was initiated in 1987 (Decree-Law 111/87) to construct and develop municipal
libraries according to principles outlined in the Manifesto of UNESCO. The programme is
based on the creation of partnerships between central and local administrations, which as-
sist in modernising the public libraries.
The new Directorate-General for Books and Libraries (DGLB) grants technical and finan-
cial support annually to the creation of public libraries in all the local administrations in
Portugal.
In March 2010, 261 of the 308 local administrations had joined the RNBP, covering 84.7%
of Portugal's local government districts. Since 1987, 186 libraries have been established
and opened to visitors.
A programme regarding a school libraries network (RBE) – promoted by the Ministry of
Education – was created in 1997. Until 2009, more than 2 000 school libraries were con-
structed or renovated.
5.3.5 Architecture and environment

See chapter 5.3.3.
5.3.6 Film, video and photography

Regulations governing the film sector were enshrined in the Film Act of 1971 (Law 7/71),
which remained in force until 1993, with a series of amendments. In 1996, a commission
was set up to draft a new Film and Audiovisual Bill. One year later, an inter-ministerial
committee was established to draw up an integrated policy in this field (the new Bill being
defeated in Parliament by the Opposition). In 2004, after a long period of public discus-
sion, a new Law on Audiovisual and Cinematographic Art (Law 42/2004 and Law
227/2006) was approved by the parliament.
In 2007 the Investment Fund for Cinema and Audiovisual (FICA) was created (Order n.
277/2007). Among its various objectives, the Investment Fund aims to contribute to the
integrated development of the audiovisual sector, giving preference to interventions ori-
ented towards raising the sustainability of cinematographic and audiovisual activities,
boosting the creative and competitive capacity of small and medium enterprises (SME) and
increasing the penetration of works produced or co-produced by these SMEs into interna-
tional markets, thereby increasing the added value of the sector and increased business
opportunities.
The new Law represents a further step towards establishing a regulatory framework for the
film and television sector. This Law extends the range of measures which support the cin-
ema and audiovisual sectors by creating an investment fund that is co-financed by film and
television distributors and operators, in particular cable TV operators.
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5.3.7 Culture industries
See chapter 5.3.4 and chapter 5.3.6.
5.3.8 Mass media

In radio and television sector, the role of the state is essentially that of a regulatory body.
In 1988, after a period of deregulation during which a large number of "pirate radio sta-
tions" appeared, a law was passed to control radio activity within national borders, and a
licensing scheme was subsequently drawn up. The Constitutional Review of 1989 opened
the way to grant licences to the first private television operators.
In 1997, the CIMA Report (of the Inter-ministerial Committee on the Audio-visual Media)
had proposed monthly quotas for television programming: 10% original production, 40%
in the Portuguese language, 30% national production.
The new Television Law (Law 27/2007) stipulates that at least 50% of air time must be
allocated to broadcasting Portuguese language programmes and at least 20% must be allo-
cated to broadcasting creative works in Portuguese (see chapter 4.2.5).
In 1981 the first legal instrument establishing quotas concerning the radio diffusion of Por-
tuguese music (Law 12/81) was approved by the parliament. The new Radio Law (Law
4/2001, as amended by Law 7/2006) commits broadcasters to an annual minimum quota
for the dissemination of Portuguese music (see chapter 4.2.5).
The company holding the state radio and TV concession was reorganised in 2007 (Law
8/2007).
5.3.9 Legislation for self-employed artists

Artists who are independent (self-employed) professionals – as most are in the arts sector –
are covered by the social security scheme for self-employed workers in the event of illness
(only if they are covered by the comprehensive scheme, which requires higher monthly
contributions), workplace accident and occupational illness, maternity, paternity and adop-
tion, incapacity, old age and death, as well as maternity grants and retraining grants.
5.3.10 Other areas of relevant legislation

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6. Financing of culture
6.1 Short overview
The main indicator for public funding of culture is the relevant section of the Government's
General Budget. As Table 3 shows, the percentage of the budget allocated to the Ministry
of Culture averaged 0.5% over a period of thirteen years, although in 2009 that percentage
was only 0.3% – the lowest relative value in that period.
Table 3: Culture provision in the State Budget, in % and million EUR, 1998-2010
Year Percentage Value
1998 0.6 198.1
1999 0.6 210.2
2000 0.6 249.1
2001* 0.6 293.8
2002* 0.7 293.5
2003 0.5 255.2
2004 0.5 273.4
2005 0.6 285.1
2006 0.5 260.5
2007 0.4 242.6
2008 0.4 246.5
2009** 0.3 212.7
2010 0.4 236.3
Sources: Ministry of Finances / DGO, State Budget Report.
* does not include the media.
** does not include State Corporate Sector.
Expenditure on culture by public authorities for the last 5 years (Figure 2) demonstrated a
constant trend (around 1.1% of GDP), with an exception in the year 2006 (1.0%).
Figure 2: Expenditure by public authorities on culture, in% of GDP, 2002-2007
1,2 1,1 1,1 1,1 1,1 1,1

1,0
1,0
0,8
0,6
0,4
0,2
0,0
2002 2003 2004 2005 2006 2007
Source: INE, Indicadores Sociais, 2008. http://www.ine.pt

Note: Statistical data for expenditure on recreation, sports and religion.
An examination of the total expenditure on culture by Portuguese families shows no sig-
nificant changes at around 4% of GDP until 2003. However, since then, an upward trend
can be noticed (Figure 3).
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Figure 3: Expenditure on culture by Portuguese families, in % of GDP, 1998-2006
5 4,5
4,2 4,2 4,3
4,1 4,1 4,1 4,1 4,1
4
0
1998 1999 2000 2001 2002 2003 2004 2005 2006
Source: INE, Indicadores sociais 2008. http://www.ine.pt.

Note: Statistical data for final consumption expenditure of households on leisure, recreation and culture
6.2 Public cultural expenditure per capita

Public culture spending per capita by central government in 2008 was 26.6 EUR.
Public culture spending per capita by local government in 2008 was 49.5 EUR.
See also chapter 6.1 and chapter 6.3.
6.3 Public cultural expenditure broken down by level of government

The central government recorded its highest levels of expenditure on culture in 1991,
94 447.38 EUR at constant prices, corresponding to 0.32% of GDP or expenditure per in-
habitant of 9.55 EUR.
Closer examination of public expenditure shows that the central government was the main
contributor to culture until 1994, the year when expenditure by the two levels of govern-
ment (state and local) was practically the same. The central government share fell in 1995.
It should also be noted that local government expenditure began to show a far greater in-
crease than that of the central government. In short, there was a cross-over in expenditure
on culture by central and local government, the former declining and the latter increasing.
Since then, the same trend continues to be.
The same trend has been in evidence for more recent years. Central government expendi-
ture on culture is significantly lower than the local government figure. In 2008, it repre-
sented 0.47 % of total central government expenditure.
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Table 4: Public cultural expenditure: by level of government, in million EUR, 2008
Level of government Total expenditure % of total
State (federal) 269.4 33.9%
Regional (provincial, Länder) ---- ----
Local (municipal) 526.0 66.1%
Total 795.4 100.0%
Source: OAC from INE, Estatísticas da Cultura, Desporto e Recreio [for Local (Municipal)] and Ministry
of Finances / DGO, Conta Geral do Estado [for State (federal)].
Note: i) Expenditure figures regarding autonomous regions of the Azores and Madeira are not available.
ii) Total Expenditure of the State (federal) only refers to continental territory. iii) Public cultural
expenditure by sector is only available with separated figures for each level (state and local author-
ity). iv) Percentages only indicate the approximate values.
There was, however, a slight drop in local authority expenditure on culture for the year
2006, as well as an increase in 2005 and 2008 (Figure 4).
Figure 4: Local government spending on culture, in thousand EUR, 2000-2008
600.000
526.706 526.015
500.000
402.115 504.005 489.429
400.000 461.477
406.606 395.884
300.000 339.878
200.000
100.000
0
2000 2001 2002 2003 2004 2005 2006 2007 2008
Source: OAC from INE, Estatísticas da Cultura, Desporto e Recreio (http://www.ine.pt).
6.4 Sector breakdown

Public cultural expenditure by sector is only available with separated figures for each level
(state and local authority).
Figure 5 illustrates the evolution of local authority expenditure by cultural sub domain.
Over this period, expenditures increased in all cultural domains, especially those related
with Cultural equipment, Cultural heritage, Books and Press.
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Figure 5: Local authority expenditure by cultural sub domain, in thousand EUR,
2000-2008
140.000
120.000
100.000
80.000
60.000
40.000
20.000
0
2000 2001 2002 2003 2004 2005 2006 2007 2008
Cultural heritage Books and press Music

Performing arts Visual arts Cinema and photography
Radio and television Socio-cultural activities Cultural equipments
Other cultural expenditure
Source: OAC from INE, Estatísticas da Cultura, Desporto e Recreio (http://www.ine.pt).
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7. Cultural institutions and new partnerships

7.1 Re-allocation of public responsibilities
The whole process of privatisation in Portugal can be seen particularly through the succes-
sive laws on sponsorship, through the Act establishing private radio and television stations,
and through the Act creating state-sponsored foundations (the formerly São Carlos Foun-
dation and the Discoveries Foundation).
State corporations have been set up as a result of implementation of the Programme to
Reorganise the Central Government Administration (PRACE, see chapter 1) and the con-
sequent changes in the Ministry of Culture's organisation chart. Of particular note is the
merger of the S. Carlos National Theatre with the National Ballet Company, which pro-
duced OPART, E.P.E – a state enterprise entity. The D. Maria II National Theatre and the
S. João National Theatre also became state corporations when the public administration
reform programme was put into effect.
Again as part of PRACE, the International Cultural Relations Office has been reorganised.
Its merger with the Copyright Office has led to the formation of GPEARI, the Office for
Planning, Strategy, Assessment and International Relations. The name describes its func-
tions, which further include providing planning policy and financial investment support in
the cultural field.
7.2 Status / role and development of major cultural institutions

What stands out in the (somewhat erratic) move towards privatisation of culture in Portu-
gal is the encouragement which governments gave to private sponsorship in the period
from 1985-1995 and to its support for foundations which had in fact been set up in some
cases at the initiative of the state. The Sponsorship Act already mentioned took the form of
a 1986 decree, subsequently amended several times which enhanced the tax advantages
available to sponsoring companies.
The sponsors are generally industrial and service sector companies, while the largest
amounts come from the financial sector. The most generously supported fields of culture
are music, theatre and the visual arts, and "multifaceted" projects which have the greatest
drawing capacity by virtue of their spectacular nature.
Financial contributions rose over the ten years following publication of the Sponsorship
Act, rising from 1.3% in 1987 to 16.0% in 1996 and peaking in 1994 at 31.6% (the year
when Lisbon was European Culture Capital). The various acts of sponsorship are fre-
quently managed on a very personal basis. This tendency should not obscure the fact that
sponsorship can also take other, more dynamic and professional forms. However, there is a
need for recent data concerning cultural sponsorship in Portugal.
7.3 Emerging partnerships or collaborations

The process of co-operation between the public and private sectors can also be seen in the
creation of foundations.
The 1986 legislation states that gifts made to foundations automatically reduce the amount
due on taxable income, provided that the state, the Autonomous Regions or local authori-
ties contribute at least 50% of the initial funding.
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Foundations are, supposedly, institutions which best exemplify commitment on the part of
the civil society (there are over 350 foundations in Portugal). Foundations are established
with significant private capital, but in fact they also receive support from the state, which
agrees to cover a set proportion of the fixed running costs. A number of foundations were
created along these lines between 1989 and 1993: the Serralves Foundation, the Arpad
Szènes-Vieira da Silva Foundation, the Discoveries Foundation, and the São Carlos Foun-
dation. In the case of the last two, however, the private capital contributed was not even
sufficient to cover the proportion required to maintain a foundation.
The geographical distribution of cultural foundations does not change the conventional
shape of the cultural map of the country: there is a heavy concentration of foundations in
Lisbon, followed by Oporto. The foundations set up in the Northern interior of the country
do represent local attempts to decentralise culture. Decentralisation is in fact one of the
main aims of the foundations located in the Northern region; in the Lisbon region, on the
other hand, internationalisation is a key feature.
The gigantic Gulbenkian Foundation, which celebrated its 50th anniversary in 2006, con-
tinues its important cultural role in Portugal. In recent years, Gulbenkian undertook a ma-
jor restructuring of its structure and re-directed its activities. The most controversial meas-
ure is the closure of the Gulbenkian Ballet – a major artistic reference of contemporary
dance in Portugal that was founded in 1965. On its 50th anniversary, Gulbenkian entered a
new phase, re-directing support to different cultural areas and offering new programmes
(e.g. The Cultural Forum "The State of the World" intended, as its President said, "to pro-
mote an occasion for debate about the present, questioning the future, testing new meth-
odological approaches and opening new paths").
Besides all of that, new partnerships have emerged which present two different modes of
co-financing: partnership between public and private (profit and non-profit) sectors and
partnership between central power and local power.
In the first case, the Programme for rehabilitation of the classified cultural heritage repre-
sents the most recent measure of public-private partnership in the culture sector (Resolu-
tion of the Council of Ministers nº 70/2009). Under this programme, the Ministry of Cul-
ture celebrates agreements with construction enterprises with major public concessions in
order that those enterprises donate in-kind 1% of that amount in services towards protec-
tion, conservation, reconstruction and restoration of classified cultural buildings.
In the latter case, the Programme for the broadening of the performing arts (conducted by
the late IPAE), effective from 1999 to 2001, aimed at sharing responsibilities and expenses
between the Ministry of Culture and local administrations and constituted a new form of
state intervention based on a wide autonomy of the partners. In 2006, the programme was
launched as the Arts-Territory Programme.
The main aims of these programmes are to decentralise and democratise the supply of cul-
tural products compensating for regional imbalances and social and cultural inequalities by
setting up a national distribution network. Among its various projects, it has taken up the
challenge of "developing audiences", reflecting a concern to provide regular programming
in cultural facilities as well as to broaden poplar awareness of the performing arts. In con-
nection with the latter objective, the programme offers specific events of an educa-
tional / training nature, aimed at a variety of target audiences.
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8. Support to creativity and participation

8.1 Direct and indirect support to artists
Support for production and creativity is given particular prominence in all fields of cultural
activity (arts education in particular), both in government programmes and in legislation.
Since 1996, new bodies and institutions have arrived on the scene: the Institute of Contem-
porary Art (IAC), the Portuguese Photography Centre (CPF), and the Museum of Contem-
porary Art (MAC); the latter of which was set up through an agreement between the Minis-
try of Culture, the Municipality of Oporto and the Serralves Foundation. The IAC and the
MAC will require fairly regular public financial support in order to build up their collec-
tions, but they may contribute to a structural effect on the sector, strengthening artistic
creativity and creating a kind of public market for the visual arts.
In 2003, IAC was integrated in a larger structure, the IA (Arts Institute), sharing with the
formerly IPAE the responsibilities in the sectors of Performing arts and Visual arts.
Over the last years, some support has been given particularly to professional activities in
the field of music, to national and international distribution of printed music and editions
of recordings, and to music programming and promotion (through subsidies to festivals
and competitions).
Norms and rules have also been published for aid to theatre and dance activities. In 2003 a
new system of financial supports for professional activities in the domains of Performing
Arts and Contemporary Art was established. However, the support for certain areas
(namely the theatre) has met with growing demands and the need of a more precise defini-
tion of funding criteria.
As regards film, a new set of regulations were introduced in 1993 as revisions to the previ-
ous model of aid for national production. The additional tax on cinema ticket receipts was
abolished and replaced by a tax on television advertising. Later, new agreements were set
up between the formerly Film, Audio-visual and Multimedia Institute (ICAM) and the
television channels, and between ICAM and distributors.
In 2007, the Ministry of Culture set up, through the Directorate-General of Arts and the
Science Programme "Ciência Viva", a common research and work platform for artists and
scientists, thus implementing the Residencies Network Programme: Art / Science Experi-
mentation. This programme involves holding artistic residencies at various scientific host
institutions. The objective is to enable artists and scientists to explore artistic and aesthetic
fields using the tools from both domains. In the first edition of this programme (2007) 33
projects were submitted, of which 8 were selected. In 2009 a second edition of this pro-
gramme was launched again.
8.1.1 Special artists' funds

Public support for creative artists is mostly concentrated in the field of writing and publish-
ing. A scholarship programme has been set up for writers and is managed by the Director-
ate-General for Books and Libraries (DGLB). Translation funds are also available to Por-
tuguese language writers for publishing their books in foreign countries.
Purchasing programmes concerning works in the sector of visual arts took place through
the action of the Directorate-General for Arts (DGArtes) that also is responsible for annual
financial support to performing arts structures.
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Anyway, support for visual arts and music is derived partly from the private sector, espe-
cially after the revised Sponsorship Act, and from foundations (there are approximately
350 Foundations in Portugal, over half of them are cultural foundations subsidised by the
state – see chapter 7).
8.1.2 Grants, awards, scholarship

Outside the usual grant systems for artists from different professional fields, special grants
for literary creation have been operating since 1996. There is also support for young crea-
tors through exhibitions and prizes derived from the Ministry of Culture, local administra-
tions and private bodies.
Significant sources of support from state bodies are as follows:
• support from the DGLB for writers to travel to fairs and festivals abroad;
• support from the National Fine Arts Academy for artists to travel abroad;
• specific scholarships granted by the DGLB in the fields of poetry, fiction and drama;
• awards in the visual arts (in illustration and photography) and cinematography, by the
ICA and the CPF;
• annual awards from the National Fine Arts Academy in architecture, sculpture and
painting; and
• scholarships for the creative arts, particularly in the fields of visual arts, literature and
music.
The tertiary sector, in particular foundations, plays a prominent role in awarding scholar-
ships and prizes - the Calouste Gulbenkian Foundation, for example, which awards schol-
arships in various fields. In the arts field, there are scholarships for specialised study and
professional development abroad; the dance support programme; and development schol-
arships in music.
This foundation is also important for its grants and awards for creative projects in the vis-
ual arts; for its support to new theatrical producers; for theatrical research. It also has
awards for restoring and improving heritage sites (Vasco Vilalva prize); for emerging
young writers of children's and young people's literature (Branquinho da Fonseca prize),
among many others.
Another foundation with a key-role in providing scholarships in the artistic and cultural
field is the Luso-American Development Foundation (FLAD). Of particular note is the
funding provided for short-term secondments abroad in the fields of language, literature,
music and musicology.
8.1.3 Support to professional artists associations or unions

Professional qualifications and welfare arrangements for artists and other cultural profession-
als are the most recent issues that mobilise professional artists’ associations (see chapter
4.2.7).
Other issues could be mentioned, such as The Portuguese Association of Librarians, Ar-
chivists and Document Professionals (APBAD) which promoted several actions in defence
of public lending in Portuguese libraries. This professional association argues that the
European directive on the mandatory payment of dues on the loan of works in public li-
braries would undermine the vitality of public libraries in Portugal, which are struggling
with severe economic constraints in order to fulfil their social function. In this context,
APBAD promoted several awareness actions, including an online petition addressed to the
Portuguese Government and the European Commission in defence of public lending in
Portuguese libraries.
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8.2 Cultural consumption and participation
8.2.1 Trends and figures

Table 5 gives an idea of the overall trends in public participation in cultural activities be-
tween 1990 and 2008. There is evidence of a general upward trend in participation (except
for a decrease in cinema for the last four years).
Attendance numbers at cultural venues and events have increased significantly over the last
decades. There has been a sharp increase in attendance at live events due to a matching
increase in the number of new or improved cultural venues. Although the lack of data re-
garding libraries it is possible to note an increase in the numbers of those that use libraries.
This is undoubtedly due to the dynamism generated by the National Public Library Net-
work (RNBP) and the Readership Promotion Programme (integrated with the National
Reading Plan in 2007).
Mention should also be made of the theatre where, despite low numbers in absolute terms,
there has also been very marked growth during the period 1990-2008.
It should be noted that the increase in attendance numbers may not signify an increase in
the numbers of types of audience, nor in audiences drawn from a broader and more diverse
social spectrum. The indicator measures the volume of cultural demand in Portugal, which
has increased significantly since the mid-1990s.
Table 5: Participation, absolute numbers, in thousands, 1990–2008
Live shows
Year Cinema Theatre Museums Libraries Exhibitions
(except theatre)
1990 9 593 327 6 317 2 037 680 -
1991 8 234 302 6 578 1 769 666 -
1992 7 848 361 6 596 2 120 839 -
1993 7 786 192 7 202 2 098 767 -
1994 7 135 411 8 292 3 507 979 2 781
1995 7 397 339 8 667 4 101 616 2 397
1996 10 446 281 8 395 4 369 655 2 028
1997 13 708 232 8 286 5 885 929 2 462
1998 14 837 229 8 645 6 368 817 3 900
1999 17 026 407 - 9 262 909 3 364
2000 17 915 614 7 368 9 992 2 296 3 787
2001 19 469 970 8 556 12 096 2 865 4 196
2002 19 480 1 267 9 163 11 893 2 997 5 527
2003 18 723 1 281 8 922 12 794 3 356 4 918
2004 18 800 1 706 8 980 - 5 268 4 958
2005 17 165 1 746 9 725 - 7 292 5 022
2006 16 367 1 556 10 315 - 7 248 5 544
2007 16 318 1 762 9 971 - 8 042 6 890
2008 15 979 1 850 11 648 - 9 254 8 049
Source: INE - Estatísticas da Cultura, Desporto e Recreio, 1990-2007; INE, Estatísticas da Cultura, 2008.
(http://www.ine.pt).
Note: Survey on libraries suspended by INE since 2004.
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Table 6 provides some information on the importance of the educational level for partici-
pation in regular leisure and cultural activities of Portuguese people (source: Time Budget
Survey, 1999).
Sectoral or local surveys of cultural practices have been conducted, but there is no national
survey of this nature. As Table 6 shows, however, all studies remark that those with higher
educational attainment levels are over-represented among those who attend cultural events.
Table 6: Regular leisure and cultural activities of Portuguese people by educational
level, 1999 (number and percentage)
Regular leisure and cultural activities
Educational level Museums Theatre Dance Classical Opera
Visiting Popular music Amateur
and exhibi- Libraries perform- perform- music per- perform-
friends concerts activities
tions ances ances formances ances
None 17.1 4.1 6.3 1.4 4.3 4.3 3.7 4.0 7.3
Primary education (4th grade) 32.0 20.2 23.6 7.6 15.3 20.0 17.4 15.7 17.7
High school (6th grade) 16.5 15.3 17.6 11.1 11.3 12.7 15.8 8.9 11.4
High school (9th grade) 16.9 26.1 24.5 34.7 27.1 22.5 34.9 22.9 20.9
Secondary education (12th grade) 9.6 17.2 16.5 23.7 19.9 16.6 13.9 18.6 19.0
Third level education 7.9 17.0 11.4 21.6 22.1 23.9 14.3 29.8 23.8
Total 7 551 590 2 523 751 1.909.110 1.247.442 794 898 557 579 431 297 408 007 216 074
% of Portuguese population 91.3 30.5 23.1 15.1 9.6 6.7 5.2 4.9 2.6
Source: AAVV, Inquérito à Ocupação do Tempo, Lisbon, INE, 2001 (http://www.ine.pt).
8.2.2 Policies and programmes

Participation in the sense of engaging in cultural activities can have two main objectives:
expanding the number of social groups that have access to cultural goods and services, and
increasing the range of activities and the frequency with which they are enjoyed. There is a
clear inter-relationship between the principle of enlargement and two other principles –
those of support for creativity and decentralisation.
At present, reaching new audiences is an increasing priority of cultural policy. In Portugal,
efforts have been made to encourage participation by increasing the number of touring
projects, launching of new programmes for amateur and university theatre, promoting cul-
tural activities addressed to young people, launching of a National Reading Promotion
Programme (1997) and a National Reading Plan (2006). Educational services in museums
and other cultural institutions have intensified their work with schools and municipalities.
In 2004, the National Institute of Museums (formerly IPM) launched a discount card for
visits to National Museums. In 2006, IMC created a specific set of tariffs for national mu-
seums and palaces addressed to a period of visit (one day or week), a geographic area or
even to a specific cultural circuit (see chapter 1, chapter 2.1 and chapter 7.1 about PRACE
restructuring).
For several years, national museums have reduced tariffs for students at all levels, teachers,
researchers, museology professionals, adults over 65 years and sponsors. On Sunday morn-
ings, entrances are free for all visitors.
Book loans in Portuguese public libraries have no costs for users (see chapter 5.1.7 and
chapter 8.1.3).
In connection with cultural participation, mention should be made of the Choices Pro-
gramme which promotes the social inclusion of children and young people from disadvan-
taged social and economic backgrounds. With the support of local institutions (schools,
training centres, associations and other social agents) responsible for designing, imple-
menting and evaluating projects, this programme promotes inclusion through school, occu-
pational training, leisure activities, and participating in the life of the community, amongst
others. Some of these social action projects involve cultural and artistic activities, and play
a key role in the social integration of the communities they target.
Portugal
This government-sponsored programme is currently run by the ACIDI and funded by the
Ministry of Labour and Social Solidarity and the Ministry of Education, Science, Technol-
ogy and Higher Education. Having started as a crime prevention programme for young
people in problem neighbourhoods in Lisbon, Porto and Setúbal (the first-generation
Choices Programme which ran from 2001 to 2003), the second-generation Choices Pro-
gramme (2004-2006) sought to "encourage the social inclusion of children and young peo-
ple from disadvantaged and problem social and economic backgrounds, on a platform of
solidarity and social justice". The aim of the third-generation Choices Programme (2007-
2009) is to promote social inclusion of children and young people (aged 6 to 24 years)
from lower socio-economic backgrounds, taking into account the increased risk of social
exclusion, particularly of the descendants of immigrants and ethnic minorities. The forth
generation (2010-2012) was recently launched.
8.3 Arts and cultural education
8.3.1 Arts education

Arts education, whether it relates to specialised training or generic education, has not bene-
fited from the necessary political links between the field of culture and the field of educa-
tion that were supposed to be established under the terms of the 1990 legislation. The vari-
ous initiatives under this heading are still of a random nature.
Some specific measures have, however, been implemented. An example of these is activi-
ties to enhance the school curriculum (beginning with the 2006/2007 school year), by in-
cluding music and creative arts (visual arts and drama) in the curriculum of nearly all the
primary schools in the country (99%, according to a Ministry of Education source).
In connection with the definition of inter-ministerial policies, a conference entitled the Na-
tional Art Education Conference was held in October 2007. This event followed on from
the First World Art Education Conference held under UNESCO auspices in Lisbon in
March 2006. Among the various policy recommendations emerging from the conference
was one encouraging several participating states to start reflection and discussion on art
education in the various countries. Following up on this recommendation, the Portuguese
government issued an inter-ministerial order launching a national debate on art education
(a joint initiative by the ministries of Foreign Affairs, Education and Culture).
A number of specific programmes have promoted art in schools, with a view to making
younger children aware of the objects and purposes of art, namely:
• the national competition "My School Adopts a Museum" which encourages contact
between schools and museums belonging to the National Museum Network by means
of a collaboration agreement between the Ministry of Education (DGIDC) and the Min-
istry of Culture (former IPM);
• the "Art in Schools" project seeks to encourage direct contact between artists / creators
and students at all levels. It provides support for three artists to work in schools. These
artists (from several areas including visual arts and literature) are both specialist teach-
ers and project partners;
• the Cinemateca Júnior project, launched in 2007 under a joint DGIDC and The Portu-
guese Film Archive - Film Museum agreement; aims to involve the educational com-
munity (teachers and pupils from pre-school to secondary school levels); and
• the National Reading Plan (PNL), launched in 2006, is a government initiative, under
the responsibility of the Ministry of Education, jointly with the Ministry of Culture and
Minister of Parliamentary Affairs (Council of Ministries Resolution n 86/2006). PNL is
a response to the concern regarding the literacy levels of the population in general, es-
Portugal
pecially that of young people, which is significantly lower than the European average.
It is implemented through a set of strategies aimed at promoting the development of
skills in reading and writing, as well as the broadening and deepening of reading habits,
especially among school populations.
As far as art teaching is concerned:
The Ministry of Science, Technology and Higher Education (MCTES) is the government
body in charge of art teaching in higher education. Courses available are both public and
private, and are mainly in the musical field. There are far fewer courses in theatre, visual
arts and dance. If one looks at the supply of continuing higher education, the supply of
courses is even more limited.
The Ministry of Education has commissioned a report on the specialised and vocational
teaching of art in Portugal. This report argues for a complete and comprehensive reorgani-
sation, especially in the fields of music and dance, at a practical level, in order to increase
the number of places available to applicants. It suggests suspending the new curriculum
rules for specialist art courses in secondary education, in the fields of dance, music and
theatre, due to be implemented for the 2007-2008 school year, in order to provide the
means to plug existing gaps; and it also suggest changes in the number of hours dedicated
to certain types of content.
There are, in addition, various art training activities (free long-term courses, workshops,
short courses, etc.) in the informal education sector, given by institutions of various kinds,
such as professional associations, cultural associations, cultural institutions, etc.
In the visual arts, the main courses are in painting, drawing and photography, and in the
performing arts sector, dance, music and drama.
Informal art education is quite important in the sector – by way of example, there are more
informal than formal dance courses. Detailed information on supply in this area is not
available. This limits the extent to which this sector can be properly described.
The aim of the Education Technology Plan is to modernise primary and secondary educa-
tion in technological terms. The aims of this plan are to have information and communica-
tion technologies universally adopted in the teaching and learning process, and in school
management.
8.3.2 Intercultural education

Intercultural education programmes have been promoted in Portugal to make students
aware of the importance of other cultures and of the dialogue with them.
Some examples:
The Mus-e Project: this is a multi-cultural educational project, international in scope, de-
veloped in a disadvantaged social environment, by the Portugal Menuhin Association
(supported by the Ministry of Education). Its objectives are artistic, educational and social.
It was first implemented in Portugal in the 1996-1997 school years and covers a very small
number of state primary schools.
The European "All Different, All the Same" campaign was promoted by the Ministry of
Education in 2006 and 2007. Its focus was on school sports activities, on increasing aware-
ness in the school environment by means of the Living Human Rights project, publishing
and distributing books and leaflets, and activities related to human rights, participation and
diversity – exhibitions, meetings, debates, theatrical shows, music, dance, etc. Meetings
with teachers and others were arranged on Children's Day to identify good practice in con-
Portugal
nection with integrating pupils from the gypsy community - the "Build Bridges, Talk
About Us" project.
In connection with the European Year of Equal Opportunities for All, in 2007 a competi-
tion was held under the banner "My School Against Discrimination".
The Ministry of Education provides specialist language learning support to those whose
mother-tongue is not Portuguese (with the possibility of providing tutors and involvement
in specific projects).
8.4 Amateur arts, cultural associations and community centres
8.4.1 Amateur arts

Local authorities play a key role in supporting cultural associations and local cultural ac-
tivities. Volunteer associations make a significant contribution to local cultural life and
they play a major role promoting theatrical performances, book fairs, film shows and folk-
lore.
The Regional Directorates for Culture (Ministry of Culture) provide support to local non
professional agents and projects in the traditional cultural domain (Regulatory decree n.
34/2007). Through the Operational Programme for Culture (POC, 2000/2006), several
projects regarding the promotion of popular culture and amateur activities were supported
in the fields of music, theatre and exhibitions.
The work of the INATEL Foundation should also be mentioned here. The new legal
framework for this private foundation of public utility was established by the PRACE re-
structuring (see chapters 1, chapter 2.1 and chapter 7.1).
Presently, under the guidance of the Ministry of Labour and Social Solidarity, INATEL
Foundation aims to offer social services, in the areas of social and senior tourism, and so-
cial and senior spas. The foundation also provides technical and financial assistance to col-
lective associates in the fields of ethnography, folklore, music, theatre and cinema and pro-
motes cultural events such as festivals, conferences and performing arts productions.
The work of INATEL Foundation involves around 250 000 individual associates and 3 500
collective associates as well as a network of social hotels and a permanent structure of so-
cial and senior tourism and other facilities (a theatre and sport facilities).
Several competitions in artistic creativity are carried out annually covering areas such as
video, visual arts, choral, philharmonic and orchestral music, new drama, story-telling and
ethnography.
Recently, special attention has been given to training of associative managers and artistic
performers. A specific programme was launched aimed to promote several workshops and
brief courses all over the country regarding artistic and ethnographic issues. Technical vis-
its to collective associates (e.g. philharmonics; folklore groups and amateur theatre groups)
are also promoted in order to i) understand the main issues they face today and ii) guide
their activity and performances in technical terms.
National Support Plans, which are organised for the areas of ethnography, music, and ama-
teur theatre, include financial support as well as provision of equipment (such as musical
instruments, light and sound equipment, footwear and traditional costumes) to collective
associations with the objective of encouraging and developing their artistic activity.
Portugal
8.4.2 Cultural houses and community cultural clubs
These entities of the third sector are usually supported by the Local Administrations, but
partnerships with the public sector as well as with the private one are increasing in number.
Recently, "collective houses" for young people are emerging as a new initiative in Portu-
guese society.
In 2006 the Portuguese Youth Institute (IPJ) established four support programmes for
youth associations:
• Juvenile Support Programme (PAJ), to develop youth association activities and infor-
mal youth groups;
• Infrastructure Support Programme (PAI), for investments in infrastructure and facilities
for youth association activities and premises;
• Student Support Programme (PAE), to provide financial support for the activities of
student associations; and
• Training Programme, to train association leaders for association activities
Those seeking support under these programmes must be registered with the National Reg-
ister of Youth Associations (RNAJ). These associations also qualify for some tax exemp-
tions and reductions.
Portugal
9. Sources and links

9.1 Key documents on cultural policy
AAVV: O Estado das Artes. As Artes e o Estado: Actas do Encontro realizado em Lisboa,
no CCB, a 19, 20 e 21 de Abril de 2001. Lisboa: Observatório das Actividades Culturais.
2002
AAVV: Encontro Museus e Educação: Actas do Colóquio realizado no CCB em Setembro
de 2001. Lisboa: Instituto Português de Museus. 2002.
AAVV: Públicos da Cultura: Actas do Encontro organizado pelo Observatório das
Actividades Culturais no Instituto de Ciências Sociais da Universidade de Lisboa. Lisboa:
Observatório das Actividades Culturais. 2004.
Barriga, Sara and Susana Gomes da Silva (coord.): Serviços Educativos na Cultura. Porto:
Setepés. 2007. <http://www.setepes.pt>.
Castelo-Branco, Salwa; José Soares Neves and Maria João Lima: "Perfis dos Grupos de
Música Tradicional em Portugal" in Salwa Castelo-Branco and Jorge de Freitas-Branco
(coord.): Vozes do Povo: A Folclorização em Portugal. Oeiras: Celta. 2003.
Conde, Idalina: "Cenários de práticas culturais em Portugal" in Sociologia - Problemas e
Práticas (23). 1997. <http://sociologiapp.iscte.pt>.
Costa, António Firmino da and Maria de Lourdes Lima dos Santos (coords.) et al.:
Impactos Culturais da Expo'98. col OBS-Pesquisas (6). Lisboa: Observatório das
Actividades Culturais. 1999.
Costa, João Bénard da: História do Cinema em Portugal. Lisboa: Imprensa Nacional-Casa
da Moeda, Comissariado para a Europália 91. 1991.
Ferreira, Vítor; João Sedas Nunes and Teresa Martinho: "O mundo da 'arte jovem':
protagonistas, lugares e lógicas de acção" in OBS (10). Lisboa: Observatório das
Freitas, Eduardo de: Bibliotecas em Portugal. Elementos para Uma Avaliação. col. OBS-
Pesquisas (2). Lisboa: Observatório das Actividades Culturais. 1997.
Freitas, Eduardo de; José Luís Casanova and Nuno de Almeida Alves: Hábitos de Leitura.
Um Inquérito à População Portuguesa. Lisboa: Dom Quixote. 1997.
Gomes, Rui Telmo: "Cinema português: os meios investidos pelo Estado" in OBS (1).
Lisboa: Observatório das Actividades Culturais. 1997.
Gomes, Rui Telmo: "Tendências Recentes do Mercado e das Políticas Culturais no Sector
das Artes Performativas em Portugal" in OBS (16). pp. 88-98. Lisboa: Observatório das
Gomes, Rui Telmo and Vanda Lourenço: Democratização Cultural e Formação de
Públicos - Inquérito aos 'Serviços Educativos' em Portugal. col OBS-Pesquisas (14).
Lisboa: Observatório das Actividades Culturais. 2009. <http://www.oac.pt>.
Gomes, Rui Telmo and Teresa Duarte Martinho: Trabalho e Qualificação nas Actividades
Culturais: Um Panorama em Vários Domínios. col OBS-Pesquisas (15). Lisboa:
Observatório das Actividades Culturais. 2009. <http://www.oac.pt>.
Portugal
Gomes, Rui Telmo; Vanda Lourenço and Teresa Duarte Martinho: Entidades Culturais e
Artísticas em Portugal. Documentos de trabalho (8). Lisboa: Observatório das Actividades
Culturais. 2006. <http://www.oac.pt>.
Gomes, Rui Telmo; Vanda Lourenço and Teresa Duarte Martinho: Mobilidade
Internacional de Artistas e Outros Profissionais da Cultura. Lisboa: Observatório das
Actividades Culturais. 2010. <http://www.oac.pt>.
Gomes, Rui Telmo; Vanda Lourenço and João Gaspar Neves: Públicos do Festival
Internacional de Teatro de Almada. col. OBS-Pesquisas (8). Lisboa: Observatório das
Henriques, Cecília "PARAM, Programa de Apoio à Rede de Arquivos Municipais:
Relatório de Avaliação". Lisboa: Direcção-Geral de Arquivos, 85 pp. 2008.
<http://www.dgarq.gov.pt>.
INSTITUTO PORTUGUÊS DE APOIO AO DESENVOLVIMENTO (IPAD) Assessment of the
Strategic Vision for Portuguese Development Cooperation. Lisboa: IPAD. 2009.
<http://www.ipad.mne.gov.pt>.
Lopes, Guilhermina Calado; Edviges Coelho; Heloísa Perista; Maria das Dores Guerreiro;
José Soares Neves and Rui Telmo Gomes: Inquérito à Ocupação do Tempo: Principais
Resultados. Lisboa: Instituto Nacional de Estatística. 2001.
Lopes, João Miguel Teixeira: A Cidade e a Cultura: Um estudo sobre práticas culturais
urbanas. Porto: Edições Afrontamento and Câmara Municipal do Porto. 2000.
Lopes, João Miguel Teixeira: Escola, Território e Políticas Culturais. Porto: Campo das
Letras. 2003.
Lopes, João Miguel Teixeira: Da democratização cultural à democracia cultural: uma
reflexão sobre políticas culturais e espaço público. Porto: Profedições. 2007.
Lopes, João Miguel Teixeira and Lina Antunes (orgs.): Sobre a Leitura. vol. I, II and III.
Lisboa: Observatório das Actividades Culturais. 1997/1998, 1998/1999 and 1999/2000.
Lopes, João Teixeira and Lina Antunes: "Bibliotecas e leitores: alguns resultados que nos
interpelam" in OBS (5). Lisboa: Observatório das Actividades Culturais. 1999.
<http://www.oac.pt>.
Lourenço, Vanda and Sara Duarte: "Impacto e receptividade do Programa Cultura 2000
em Portugal: Relatório final". Lisboa: Observatório das Actividades Culturais. 2002.
Martinho, Teresa [Duarte] "O campo da fotografia em Portugal: de 1985 a 1997" in OBS
(5). Lisboa: Observatório das Actividades Culturais. 1999. <http://www.oac.pt>.
Mateus, Augusto (coord): O Sector Cultural e Criativo em Portugal: Estudo para o
Ministério da Cultura. Lisboa: Augusto Mateus & Associados. 2010.
<http://www.gpeari.pt>.
Melo, Alexandre: Artes Plásticas em Portugal dos anos 70 aos nossos dias. Lisboa: Difel.
1998.
Neves, José Soares: Os Profissionais do disco. Um estudo da indústria fonográfica em
Portugal. col. OBS-Pesquisas (5). Lisboa: Observatório das Actividades Culturais. 1999.
Neves, José Soares: "Emprego e trabalho culturais em Portugal: criação de emprego e
qualificação profissional" in OBS (11). pp. 34-38. Lisboa: Observatório das Actividades
Culturais. 2002.
Portugal
Neves, José Soares: Para a análise do impacto económico do sector da cultura.
(unpublished paper). Lisboa: Observatório das Actividades Culturais. 2004.
Neves, José Soares: "Despesas dos Municípios com Cultura [1986-2003]". 11 pp. Lisboa:
Observatório das Actividades Culturais. 2005. <http://www.oac.pt>.
Neves, José Soares: "Estatísticas Culturais ou Criativas? Sobre o Difícil Equilíbrio Entre
Conceitos, Políticas e Recursos" in OBS (15). pp. 10-14. Lisboa: Observatório das
Neves, José Soares and Maria João Lima: Promoção da Leitura nas Bibliotecas Públicas.
Lisboa: GEPE - Gabinete de Estatística e Planeamento da Educação. 2009.
Neves, José Soares and Jorge Alves dos Santos: Estatísticas Culturais Ministério da
Cultura - Janeiro de 2010. 113 pp. Lisboa: Observatório das Actividades Culturais. 2010.
<http://www.oac.pt>, <http://www.gpeari.pt>.
Nico, Magda; Natália Gomes; Rita Rosado and Sara Duarte: Licença para Criar:
Imigrantes nas Artes em Portugal. col. Estudos e Documentos do Observatório da
Imigração (23). Lisboa: ACIDI. 2007. < http://www.oi.acidi.gov.pt>.
Nunes, Henrique Barreto: Da Biblioteca ao Leitor: Estudos sobre Leitura Pública em
Portugal. Braga: Autores de Braga. 1998 (2nd edition).
Pais, José Machado (coord.) et al: Inquérito aos Artistas Jovens Portugueses. col. Estudos
e Investigações (3). Lisboa: Instituto de Ciências Sociais da Universidade de Lisboa. 1995.
Pais, José Machado et al: Práticas Culturais dos Lisboetas. Lisboa: Instituto de Ciências
Sociais da Universidade de Lisboa. 1994.
Pereira, Paulo: Intervenções no Património 1995-2000, Nova Política. Lisboa: Ministério
da Cultura / IPPAR. 1997.
Pinto, José Madureira: "Uma reflexão sobre políticas culturais" in AAVV: Dinâmicas
Culturais, Cidadania e Desenvolvimento Local. Lisboa: Associação Portuguesa de
Sociologia. 1994.
Pinto, José Madureira: "Intervenção cultural em espaços públicos" in Maria de Lourdes
Lima dos Santos (coord.): Cultura & Economia. Lisboa: Instituto de Ciências Sociais da
Universidade de Lisboa. 1995.
Pinto, José Madureira: "Democratização e desenvolvimento cultural sustentado: o papel do
Estado" in OBS (1). Lisboa: Observatório das Actividades Culturais. 1997.
Praça, J. Henrique and Susana Marques (coords): Gestão Cultural do Território. Porto:
Setepés. 2007. < http://www.setepes.pt>.
Quaternaire Portugal: O Sector das Actividades Artísticas, Culturais e de Espectáculo em
Portugal. Lisboa: IQF - Instituto para a Qualidade na Formação. 2006.
Quaternaire Portugal: A Indústria de Conteúdos em Portugal. Lisboa: IQF - Instituto para a
Qualidade na Formação. 2006.
Santos, Maria de Lourdes Lima dos (coord.) et al: 10 Anos de Mecenato Cultural em
Portugal. col. OBS-Pesquisas (1). Lisboa: Observatório das Actividades Culturais. 1998.
Santos, Maria de Lourdes Lima dos (coord.) et al: As Políticas Culturais em Portugal. col.
OBS-Pesquisas (3). Lisboa: Observatório das Actividades Culturais. 1998.
Portugal
Santos, Maria de Lourdes Lima dos Santos (coord), José Soares Neves (coord.) et al:
Inquérito aos Museus em Portugal. Lisboa: Observatório das Actividades Culturais e
Instituto Português de Museus. 2000.
Santos, Maria de Lourdes Lima dos (coord.) et al: Públicos do Teatro S. João. col. OBS-
Santos, Maria de Lourdes Lima dos (coord) et al Públicos do Porto 2001. col. OBS-
Santos, Maria de Lourdes Lima dos (coord.) et al: Diagnóstico aos Arquivos Intermédios da
Administração Central. Lisboa: Observatório das Actividades Culturais / Instituto dos
Arquivos Nacionais Torre do Tombo. 2003.
Santos, Maria de Lourdes Lima dos (coord.) et al: Políticas Culturais e Descentralização:
Impactos do Programa Difusão das Artes do Espectáculo. col. OBS-Pesquisas (12).
Lisboa: Observatório das Actividades Culturais. 2004.
Santos, Maria de Lourdes Lima dos (coord.) et al: "Contribuições para a Formulação de
Políticas Públicas no Horizonte 2013 relativas ao Tema Cultura, Identidades e
Património: Relatório Final". 154 pp. Lisboa: Observatório das Actividades Culturais.
2005. <http://www.oac.pt>.
Santos, Maria de Lourdes Lima dos Santos (coord.) et al: O Panorama museológico em
Portugal [2000-2003]. Lisboa: Observatório das Actividades Culturais / Instituto
Português de Museus / Rede Portuguesa de Museus. 2005.
Santos, Maria de Lourdes Lima dos (coord.) and Rui Telmo Gomes: Dinâmicas da
Aplicação da Lei do Preço Fixo do Livro. col. OBS-Pesquisas (7). Lisboa, Observatório
das Actividades Culturais.
Santos, Maria de Lourdes Lima dos (coord.); Maria João Lima and José Soares. Neves.
Cartografia Cultural do Concelho de Cascais. col OBS-Pesquisas (13). Lisboa:
Observatório das Actividades Culturais. 2005.
Santos, Maria de Lourdes Lima dos (coord.); José Soares Neves; Maria João Lima and
Margarida Carvalho: A Leitura em Portugal. Lisboa: GEPE - Gabinete de Estatística e
Planeamento da Educação. 2007. < http://www.oac.pt>.
Santos, Maria Lourdes Lima dos; Alexandre Melo (coords.); Teresa Martinho: Galerias de
Arte em Lisboa. col. OBS-Pesquisas (9). Lisboa: Observatório das Actividades Culturais. 2001.
Santos, Maria Emília Brederode (coord.) et al: "Grupo Interministerial para o ensino artístico:
Relatório/Síntese". Lisboa: Ministry of Education. 18 pp. 1996. <http://www.educacao-
artistica.gov.pt>.
Sasportes, José and António Pinto Ribeiro: História da Dança. Lisboa: Imprensa Nacional-
Casa da Moeda, Comissariado para a Europália. 1991.
Sena, António: História da Imagem Fotográfica em Portugal, 1839-1997. Porto: Porto Editora.
1998.
Silva, Augusto Santos (coord.) et al: A Educação Artística e a Promoção das Artes na
Perspectiva das Políticas Públicas. Relatório do Grupo de contacto entre os Ministérios
da Educação e da Cultura. Lisboa: Ministério da Educação. 2000. <http://www.educacao-
artistica.gov.pt/>.
Silva, Augusto Santos: "Como classificar as políticas culturais? Uma nota de pesquisa" in
OBS (12). pp. 10-20. Lisboa: Observatório das Actividades Culturais. 2003.
Portugal
Silva, Augusto Santos: "As Redes Culturais: Balanço e perspectivas da experiência
portuguesa (1987-2003)" in Públicos da Cultura: Actas do Encontro organizado pelo
Observatório das Actividades Culturais no Instituto de Ciências Sociais da Universidade
de Lisboa. Lisboa, 24 e 25 de Novembro de 2003. pp. 241-283. Lisboa: Observatório das
Silva, Augusto Santos: "Como financia o Estado as actividades culturais?" in OBS (14).
pp. 75-93. Lisboa: Observatório das Actividades Culturais. 2005.
Silva, Augusto Santos:"Como abordar as políticas culturais autárquicas? Uma hipótese
de roteiro" in Sociologia, Problemas e Práticas (54). pp. 11-33. Lisboa: CIES. 2007
<http://sociologiapp.iscte.pt>
Silva, Augusto Santos and Helena Santos: Prática e Representação das Culturas: um
Inquérito na Área Metropolitana do Porto. Porto: CRAT. 1995.
Torres, Cláudio and Vítor Oliveira Jorge (coords.): A Arqueologia e os Outros
Patrimónios. Porto: Associação para o Desenvolvimento da Cooperação em Arqueologia
Peninsular. 1999.
Vasques, Eugénia: 9 Considerações em Torno do Teatro em Portugal nos Anos 90. Lisboa:
Ministério da Cultura / Instituto Português das Artes do Espectáculo. 1998.
Xavier, Jorge Barreto (coord) et al: "Relatório do Grupo de Trabalho Ministério da
Educação e Ministério da Cultura: despacho conjunto nº 1062/2003. DR II Série de 27 de
Novembro". Lisboa: Ministério da Educação e Ministério da Cultura. 2004.
<http://www.educacao-artistica.gov.pt/>.
9.2 Key organisations and portals

Cultural policy making bodies
Governo de Portugal
http://www.portugal.gov.pt
Ministry of Culture
http://www.portaldacultura.pt/
Direcção Regional de Cultura do Alentejo
http://www.cultura-alentejo.pt/
Direcção Regional de Cultura do Algarve
http://www.cultalg.pt/
Direcção Regional de Cultura de Lisboa e Vale do Tejo
http://www.cultura-lvt.pt/
Direcção Regional de Cultura do Centro
http://www.culturacentro.pt/
Direcção Regional de Cultura do Norte
http://www.culturanorte.pt/
Instituto para a Gestão do Património Arquitectónico e Arqueológico – IGESPAR, I.P.
http://www.igespar.pt/
Portugal
Cinemateca Portuguesa - Museu do Cinema
http://www.cinemateca.pt/
Direcção-Geral de Arquivos - DGARQ
http://www.dgarq.gov.pt/
Direcção-Geral das Artes – DGARTES
http://www.dgartes.pt/
Gabinete de Planeamento, Estratégia, Avaliação e Relações Internacionais – GPEARI
http://www.gpeari.pt/
Inspecção-Geral das Actividades Culturais
http://wwwigac.ml.pt/
Biblioteca Nacional de Portugal
http://www.bn.pt/
Instituto do Cinema e do Audiovisual – ICA
http://www.ica-ip.pt/
Instituto dos Museus e da Conservação
http://www.ipmuseus.pt
OPART – Organismo de Produção Artística, EPE
http://www.opart.pt
Teatro Nacional D. Maria II
http://www.teatro-dmaria.pt
Teatro Nacional S. João
http://www.tnsj.pt/
Professional associations
Associação Nacional de Designers
http://www.and.org.pt
Associação Nacional de Teatro de Amadores – ANTA
http://www.anta.pt/
Associação Portuguesa de Bibliotecários, Arquivistas e Documentalistas – BAD
http://www.apbad.pt/
Associação Portuguesa de Editores e Livreiros – APEL
http://www.apel.pt/
Associação Portuguesa de Historiadores da Arte – APHA
http://www.apha.pt/
Associação Portuguesa dos Antiquários – APA
http://www.apa.pt/
Associação Profissional de Arqueólogos – APA
http://www.aparqueologos.org
Associação Profissional de Conservadores Restauradores de Portugal – ARP
http://www.arp.org.pt
Portugal
GDA: Gestão dos Direitos dos Artistas
http://www.gdaie.pt
Sindicato dos Músicos
http://www.sindicatodosmusicosdeportugal.com/
Sociedade Portuguesa de Autores
http://www.spautores.pt/
Grant-giving bodies
Centro Nacional de Cultura

http://www.cnc.pt/
Direcção Geral do Livro e das Bibliotecas – DGLB
http://www.dglb.pt/
Fundação Calouste Gulbenkian
http://www.gulbenkian.pt/
Fundação Eugénio d'Almeida
http://www.fundacaoeugeniodealmeida.pt
Fundação Luso-Americana para o Desenvolvimento – FLAD
http://www.flad.pt/
Fundação Oriente
http://www.foriente.pt
Instituto Camões
http://www.instituto-camoes.pt/
Instituto Português de Apoio ao Desenvolvimento (IPAD)

http://www.ipad.mne.gov.pt
Fundação INATEL
http://www.inatel.pt
Cultural research and statistics
Observatório das Actividades Culturais

http://www.oac.pt/
CIES - Centro de Investigação e Estudos de Sociologia
http://www.cies.iscte.pt
CES – Centro de Estudos Sociais
http://www.ces.fe.uc.pt/
ICS – Instituto de Ciências Sociais
http://www.ics.ul.pt/
Instituto Nacional de Estatística
http://www.ine.pt/
Observatório da Comunicação – OberCom
http://www.obercom.pt/
Portugal
Culture / arts portals
Anamnese – [digital platform about Portuguese Contemporary Art between 1993-2003]

http://www.anamnese.pt
ArtAfrica
http://www.artafrica.gulbenkian.pt/
Cultura on-line
http://www.culturaonline.pt
e-cultura
http://www.e-cultura.pt
Instituto Camões
http://www.instituto-camoes.pt/
INOV-Art
http://inov-art.dgartes.pt
Matriznet – Colecções do IMC
http://matriznet.ipmuseus.pt/
Miso Music Portugal
http://www.misomusic.com
Monumentos.pt
http://www.monumentos.pt/
Prorestauro – Portal de Conservação e Restauro
http://www.prorestauro.com
Rede de Conhecimento das Bibliotecas Públicas
http://rcbp.dglb.pt

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COUNTRY PROFILE

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2. COMPETENCE, DECISION-MAKING AND ADMINISTRATION.................... 3

1. Historical perspective: cultural policies and instruments

2. Competence, decision-making and administration

Government Planning, Strategy, Evaluation and International Inspectorate-General

Operational Directorate-General for Directorate-General National Directorate-General for

Another Portuguese National Fine Arts International Academy of

2.2 Overall description of the system

2.3 Inter-ministerial or intergovernmental co-operation

2.4 International cultural co-operation

2.4.1 Overview of main structures and trends

2.4.2 Public actors and cultural diplomacy

2.4.3 European / international actors and programmes

2.4.4 Direct professional co-operation

2.4.5 Cross-border intercultural dialogue and co-operation

2.4.6 Other relevant issues

3. General objectives and principles of cultural policy

3.2 National definition of culture

3.3 Cultural policy objectives

4. Current issues in cultural policy development and debate

4.2 Recent policy issues and debates

4.2.1 Cultural minorities, groups and communities

4.2.2 Language issues and policies

4.2.3 Intercultural dialogue: actors, strategies, programmes

4.2.5 Media pluralism and content diversity

4.2.6 Culture industries: policies and programmes

4.2.8 New technologies and cultural policies

4.2.9 Heritage issues and policies

4.2.10 Gender equality and cultural policies

4.3 Other relevant issues and debates

5. Main legal provisions in the cultural field

5.1.2 Division of jurisdiction

5.1.3 Allocation of public funds

5.1.4 Social security framework

5.1.5 Tax laws

5.1.6 Labour laws

5.1.7 Copyright provisions

5.1.9 Language laws

5.2 Legislation on culture

5.3 Sector specific legislation

5.3.1 Visual and applied arts

5.3.2 Performing arts and music

5.3.3 Cultural heritage

5.3.4 Literature and libraries

5.3.5 Architecture and environment

5.3.6 Film, video and photography

5.3.8 Mass media

5.3.9 Legislation for self-employed artists

5.3.10 Other areas of relevant legislation

1,2 1,1 1,1 1,1 1,1 1,1

Source: INE, Indicadores Sociais, 2008. http://www.ine.pt

Source: INE, Indicadores sociais 2008. http://www.ine.pt.

6.2 Public cultural expenditure per capita

6.3 Public cultural expenditure broken down by level of government

Source: OAC from INE, Estatísticas da Cultura, Desporto e Recreio (http://www.ine.pt).

6.4 Sector breakdown

Cultural heritage Books and press Music

Source: OAC from INE, Estatísticas da Cultura, Desporto e Recreio (http://www.ine.pt).

7. Cultural institutions and new partnerships