[{"bbox": [96, 153, 1134, 208], "category": "Text", "text": "partnerships, including civil society organisations and the European national institutes for culture (represented in EUNIC) to create European added value to deliver this agenda."}, {"bbox": [96, 226, 1136, 369], "category": "Text", "text": "The EU Africa: Global Gateway Investment Package on Education & Training, will focus on actions fostering skills for life and employment, including digital education and paying particular attention to the inclusion of women and other vulnerable groups. It also includes youth exchanges and mobility in Africa and between Africa and Europe. This is translated in Cultiv'ARTE in the component that concentrates on building up competences of the sector and also the mobility schemes within the region and also with Europe, but especially within the country."}, {"bbox": [96, 386, 1135, 528], "category": "Text", "text": "With this action, the EU and Member States will consolidate their longstanding partnership in the cultural sector in Mozambique, working closely through the EUNIC cluster present in the country. A more targeted and structured support to civil society cultural organisations, creative businesses and the public sector institutions and a regular policy dialogue with national authorities will form the basis of a stronger cultural ecosystem, capable to contribute to decent job creation, economic diversification and women empowerment."}, {"bbox": [85, 560, 341, 592], "category": "Section-header", "text": "## 2.2 Problem Analysis"}, {"bbox": [96, 607, 493, 635], "category": "Text", "text": "The problems identified are the following:"}, {"bbox": [96, 659, 991, 687], "category": "Section-header", "text": "### Lack of competences at technical, strategic and entrepreneurial level, including digital skills"}, {"bbox": [96, 687, 1136, 899], "category": "Text", "text": "Beyond their artistic capacity, a great deal of the sector's professionals lack the necessary complementary technical, management, strategic, administrative, communication and entrepreneurial skills to put forward their artistic and creative endeavours and develop sustainable initiatives. This translates in limited ability or experience to plan, reach out, build partnerships, fundraise, monetise, produce income and create employment. The sector's fragile value chains reveal a lack of intermediary professionals or entities such as production companies, agents, managers, coaches that are specialised and capable of pursuing these necessary functions on behalf of artists. The lack of qualified human resources cuts across the public, private and civil society sectors, limiting the success and impact of their actions."}, {"bbox": [96, 924, 1135, 1059], "category": "Text", "text": "At the same time, the use of digital means is also incipient. Nowadays, creative and artistic value chains have been highly impacted by the growing digitisation that alters the way art and culture are conceived, produced, distributed and consumed. Digital means have allowed to link directly creators and consumers, opening up brand new opportunities for interaction, communication and monetisation. Yet, lack of digital skills and of access to adequate equipment and resources, are preventing cultural professionals to tap into these new opportunities."}, {"bbox": [96, 1084, 948, 1111], "category": "Section-header", "text": "### Absence of favourable regulatory frameworks and support measures, weak institutions"}, {"bbox": [96, 1111, 1136, 1297], "category": "Text", "text": "The cultural sector has little structured regulatory and legal frameworks, therefore professionals and their organisations act within a context that is strongly unfavourable and not adapted to the specificity of their profile and needs. The Ministry of Culture and Tourism has announced the reform of the following areas although without defining a complete timeline: Firstly, there is an **absence of a specific status for artists**. The lack of a formal recognition of culture as a professional activity has an impact on labour and social rights. It also prevents the public authorities from mapping the sector professionals and entities which brings problems of acknowledgement and recognition of the sector value."}, {"bbox": [96, 1321, 1136, 1589], "category": "Text", "text": "Secondly, the situation is aggravated by the inefficiency of legal instruments such as the **sponsorship law** (lei do Mecenato) and the **copyrights law** which should function as sources of income. The implementation of the copyrights law has been complex due to the lack of awareness from professionals and also a lack of capacity to collect and distribute the copyrights revenues by an existing collecting society. In addition, the sponsorship law has been also inoperative due to inadequate procedures. Under this law, private companies should have tax benefits when supporting cultural events and entities, but this has been too complex to implement. In the end, only the biggest companies benefit from it, limiting funding to big visibility events taking place in Maputo. Finally, the only existing state mechanism devoted to cultural funding - the artistic and cultural development fund (FUNDAC) - functions arbitrarily and irregularly without clear procedures nor public calls. At the same time, the funds are so meagre that they can hardly have an impact."}, {"bbox": [1037, 1680, 1145, 1706], "category": "Page-footer", "text": "Page 6 of 24"}]