Cultural organisations must now include strategic plans when applying for public funding.
Author: Nina Obuljen
After the Second World War, Croatia became a constituent republic of the Federative Popular Republic of Yugoslavia, which inherited the ex-Yugoslav kingdom. Its cultural policy was designed to accomplish the mission of building up socialist culture. Art was governed by the canon of socialist realism and science and education were governed by the canon of dialectic and historical materialism. The inherited cultural infrastructure (museums, theatres, libraries, etc.) was reconstructed and reorganised in compliance with the new social system.
In the mid-1950s the self-management system was introduced. Cultural and other public domains (education, media, health, etc.) were decentralised and regulated on the level of the six constituent republics. The 1960s and 1970s were a time when cultural professionalism and creativity were emphasised as a reflection of the country's multiethnic character. Western influences, mainly reflected in modernisation, and the global openness of the country (the policy of non-alignment) brought various cultural influences. Ideological control over culture loosened, followed by political liberalisation that ended with the emergence of the "Croatian Spring" in 1971. This was a national movement in which cultural and educational institutions played a visible role. Despite the ensuing political repression the public policies led to greater autonomy of the republics in the federation.
The self-management system in culture and other public fields established a quasi-market economy. Instead of grants from the budget, special funds were created and their allocation was decided by bodies composed of providers and recipients of services. The overall political and economic crisis in the mid-1980s reflected the fact that this new system was mismanaged and non-functional. It became increasingly embroiled in the main political clash between federal centralists and republican co-federalists. These political clashes led to war in 1990 and to the dissolution of Yugoslavia.
In the 1990s, the cultural policy of independent Croatia was politically and administratively centralised and incorporated in everyday life with special emphasis on national traditions. It was designed to foster a sense of national cohesion, especially at the beginning of the period when the country was drawn into war. In the formal sense, the policy was formulated in general terms, emphasising market approach, freedom of creativity and professionalism. Cultural planning and funding gave priority to activities of "national interest" in culture and left all other activities to the emerging market and to NGOs.
Since 2000, when the new coalition government was elected, there has been a broader implementation of cultural policy with a particular stress on pluralist cultural orientations. A more balanced approach to tradition and a new evaluation of the national and the multicultural components has been undertaken, together with steps towards further decentralisation and direct co-operation with NGOs.
Research on cultural development and the status of culture in society has shown that the cultural NGO sector has been growing dynamically during the post-2000 period. This has resulted in the establishment of an "independent cultural sector" and has separated "institutional" (government subsidised) and "independent" culture (subsidised mostly by foreign sources) (see also chapter 7.3). The latter aspires to compete for domestic public funds and to fully establish itself as a part of the body of Croatian culture. Such claims are sometimes recognised, e.g., by the city of Zagreb which has established and finances the Centre for Independent and Youth Culture since 2008, and by the Ministry of Culture that proposed the new Law on "Kultura nova" Foundation, passed by the Parliament in July 2011. The new foundation, which is dedicated mainly to the development of the independent cultural scene, was thus established, and it issued its first call in September 2012.
In the period 2004-2011 there have not been any major shifts in cultural policy and overall cultural strategy. Major reforms were undertaken in the book sector, as well as in the media and audiovisual sector and performing arts, with the adoption of new laws. There was also a reorganisation in the government with a new division of portfolios. As a result, in 2004 the Ministry of Culture became responsible for the protection of nature and biodiversity.
In December 2011, the new centre-left coalition came to power, and the new government announced the priorities of the Ministry of Culture in its mandate: firstly, the development of cultural creativity and production, and secondly, the protection of cultural heritage (see also chapter 2.3 and chapter 4.1). The Ministry of Culture ceased to be responsible for protection of nature, which is now in the purview of the Ministry of Environment and Nature Protection.
A new Strategic Plan of the Ministry of Culture for the period of 2012-2014 was adopted in 2012. The new Decree Regarding the Internal Organisation of the Ministry of Culture was issued in February 2012 (NN 112/12) and introduces a reorganisation of several departments. The new government has put strategic planning as an important part of its mandate; cultural institutions and organisations are now obliged to include strategic plans as part of their applications for public funding (NN 69/12). A number of workshops on strategic planning were announced with the first one held in April 2012.
The period since 2005 has been marked by the negotiations for Croatia's full membership in the European Union, which has given a new impetus to developments in all sectors. The negotiations were completed in June 2011. Croatia is expected to become a full member of the EU on 1 July 2013.