Report creation date: 14.10.2008 - 11:29
Countr(y/ies): Portugal
Chapter(s): 1,2,21,22,23,24,241,242,243,244,245,246,3,31,32,33,4,41,42,421,422,423,424,425,426,427,428,429,4210,43,5,51,511,512,513,514,515,516,517,518,519,52,53,531,532,533,534,535,536,537,538,539,5310,6,61,62,63,64,7,71,72,73,8,81,811,812,813,82,821,822,83,831,832,84,841,842,9,91,92

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 censorship was crucial.

Lisboa

The military coup of 25 April 1974, which ended the "Salazarist" regime and ushered democracy 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 seventeen constitutional governments until the present year (2007).

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 programmes 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 Commission (2004), a government of continuity lasted a few months until its resignation following the dissolution of the Parliament. Elections resulted in a new Socialist Government and Portugal had its sixth Minister of Culture in ten years.

The organigram in chapter 2.1 will be out of date soon, as the Ministry of Culture is being reorganised in the framework of the Programme for the State Central Administration Reorganisation (PRACE, 2006).

Portugal/ 2. Competence, decision-making and administration

2.1 Organisational structure (organigram)

Internal organisation of the Ministry of Culture

Portugal/ 2. Competence, decision-making and administration

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 Madeira.

The administration of the country has three levels: central administration, municipal administration 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 programmes, there has been a delay in devolving responsibility for culture from central government 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 assumed any great importance. By the end of 1990s, local authority intervention in the cultural field has grown substantially. Meanwhile, the National Association of Portuguese Municipalities has often called attention 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, archives, etc); the launch of training programmes; the boom in festivals.

Portugal/ 2. Competence, decision-making and administration

2.3 Inter-ministerial or intergovernmental co-operation

A number of protocols have been signed between the Ministry of Culture and other ministries with the aim of promoting inter-ministerial co-operation through transversal policies. There has, for example, been collaboration with the Ministry of Education over the creation of a National Library Network; with the Ministry of Labour and Solidarity and the Ministry of Education on the promotion of reading as a way of combating social exclusion; with the Ministry of the Environment, Planning and Regional Development on the promotion of training for local authority cultural workers; with the Ministry of Foreign Affairs on the world wide promotion of the Portuguese language and culture; with all ministries on the participation of Portugal in the Information Society, etc.

Portugal/ 2.4 International cultural co-operation

2.4.1 Overview of main structures and trends

Internationalisation of cultural co-operation has been focused mainly on the promotion of the Portuguese language and culture via:

co-operation with communities and countries whose official language is Portuguese, via national institutes (e.g. the Camões Institute - IC) and international bodies (e.g. the Community of Portuguese-speaking Countries - CPLP);
dissemination of the Portuguese language and culture via the establishment of cultural centres abroad and the transmission of programmes via a network of radio and television broadcasters as well as multimedia organisations;
dissemination of Portuguese works of art abroad and some support for the participation of Portugal in international forums and programmes; on the other side, some support for the presentation of foreign artists and their productions in Portugal; and
organisation of large cultural events such as "Lisbon 1994 - European Culture Capital"; the world exhibition "The Oceans, a heritage for the future" - Expo'98, Lisbon; "Oporto 2001 - European Culture Capital"; etc.

Portugal/ 2.4 International cultural co-operation

2.4.2 Public actors and cultural diplomacy

Information is currently not available.

Portugal/ 2.4 International cultural co-operation

2.4.3 European / international actors and programmes

Strategies for stronger participation by Portugal in international cultural cooperation have been promoted recently (e.g. in the framework of the programme Culture 2000) with the support of the Community Structural Funds Management POC (Operational Programme for Culture).

The GRCI (International Cultural Relations Office) - Ministry of Culture - and the Institute Camões - now under the authority of both the Ministry of Culture and the Ministry of Foreign Affairs - are the main public actors responsible for intercultural programmes. The different institutes of the Ministry of Culture (see chapter 2.1 Organigram) also promote international programmes concerning their different cultural domains. Cinema, audiovisual and multimedia (ICAM) and the performing arts and visual arts (IA) are the main domains represented in those programmes.

Portugal/ 2.4 International cultural co-operation

2.4.4 Direct professional co-operation

Information is currently not available.

Portugal/ 2.4 International cultural co-operation

2.4.5 Cross-border intercultural dialogue and co-operation

The Institute Camões 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.

For more information, see our Intercultural Dialogue section.

Portugal/ 2.4 International cultural co-operation

2.4.6 Other relevant issues

Information is currently not available.

Portugal/ 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 applying the logic of the marketplace to culture, it must be recognised that there are certain sectors of culture which are not viable without adequate and deliberate state intervention. Diversification 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 entrepreneurial model were aimed at providing more private funding for culture. The present socialist government is encouraging cooperation between state, municipalities 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.

Mention should be made of the Camões Institute (IC), which reports to the Ministry of Foreign Affairs (MNE) and now also to the MC; the Directorate-General of Monuments and National Buildings (DGEMN); the Ministry of the Environment, Planning and Regional Development (MAOTDR); etc.
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 subsequently 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; and Culturgest, an enterprise established in 1993 with the sponsorship of a national bank (CGD), which has subsequently also played a major role in the cultural sector.

Portugal/ 3. General objectives and principles of cultural policy

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.

Portugal/ 3. General objectives and principles of cultural policy

3.3 Cultural policy objectives

At present, the main national cultural policy is focussed on:

decentralisation - aimed at the development of the existing networks for libraries, museums, archives and performing arts centres;
internationalisation - aimed at the international dissemination of Portuguese culture, and, particularly, at a stronger exchange with Portuguese speaking countries all over the world;
qualification - aimed at improving professional qualifications in the cultural sector; and
promotion of diversity - aimed at balanced support for the different forms of culture.

Portugal/ 4. Current issues in cultural policy development and debate

4.1 Main cultural policy issues and priorities

During the last decade, there have been five governments and six ministers of culture which has clearly had an effect on cultural 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 to improve 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 years are sponsorship and fixed pricing for books (instituted by law in 1996) which were already under discussion in Portugal in the late 1980s and 1990s. Two other topics of importance are support for theatre groups and legal provisions for films and audiovisual production (in 2004, a new Law on Audiovisual and Cinematographic Art was under development and is due for discussion in 2007).

Portugal/ 4.2 Recent policy issues and debates

4.2.1 Cultural minorities, groups and communities

It is only relatively recently that the political authorities have turned their attention to questions associated with ethnic minorities in Portugal. In the 1990s, the state adopted a more interventionist position. One fundamental step was the establishment of a process of granting extraordinary 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 High Commission for Immigration and Ethnic Minorities was set up in 1996 along with the Working Group on Equality and Integration of Gypsies and the creation 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 minorities, such as the Programme to Combat Poverty and the Guaranteed Minimum Income Programme (see chapter 5.1.1).

Portugal/ 4.2 Recent policy issues and debates

4.2.2 Language issues and policies

Portuguese is the only official language in Portugal; it is spoken today by around 200 million people throughout the world.

Figure 1: The Portuguese language throughout the world

Source: IC

Portugal/ 4.3 Recent policy issues and debates

4.2.3 Intercultural dialogue: actors, strategies, programmes

According to the last census, there are 223 976 foreigners in Portugal, 2.2% of the whole population. The main national minority groups come from Portuguese speaking countries, particularly from Cabo-verde, Brasil and Angola; recently, immigrants from Eastern Europe are increasing but their percentage is much smaller (about 0.004%). In these conditions, there are no legally recognised languages of minority cultural groups.

Meanwhile, 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 Ethnic Minorities, directly reporting to the Prime-Minister.

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 Commission social bodies, delegates chosen by the associations or federations of the different immigrants communities; to promote interdepartmental action across the public administration 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 "Comissões Mistas" (Mixed Commissions). In recent years (1996/2003), these Commissions have been conducted with 15 European Countries.

For more information, see:
Database of Good Practice on Intercultural Dialogue and our Intercultural Dialogue section.

For more information on the government's National Strategy for the European Year of Intercultural Dialogue please see: http://ec.europa.eu/culture/eac/dialogue/strategies_en.html

Portugal/ 4.3 Recent policy issues and debates

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, Portugal 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.

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.

Notwithstanding, arts education, for the youth as well as for the elders and for disabled people, is a goal the Ministries of Culture and Education are working together to achieve. In October 2005, both Ministries approved a Programme to promote partnerships between schools and cultural institutions (public and private ones).

Portugal/ 4.2 Recent policy issues and debates

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.

A TV public channel has special programs for the Portuguese-speaking countries, especially in Africa. Other recent TV programs are focused on immigrants from Eastern Europe, living and working in Portugal.

Portugal/ 4.2 Recent policy issues and debates

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 production and screening outlets while the market, on the other hand, calls for the creation 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 Institute (IPACA) into the Film, Audio-visual and Multimedia Institute (ICAM). A number of different 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.

Table 1 demonstrates the relative strength of the various areas in the overall economy of the audiovisual sector.

Table 1: Financial turnover in the audiovisual sector in Portugal, 2003

Sub-Sector	Indicator	Representation	Turnover
Television (broadcasting)	Turnover	100%	451 565 700
Television production	Turnover (APIT)	100%	10 675 300
Cable TV	Turnover	88.8%	428 462 200
Radio (national)	Turnover	100%	116 143 800
Radio (local)	Selection APR	50%	2 093 500
Audio (phonographic industry)	Turnover (AFP)	100%	36 837 500
Video edition / distribution	Sales and rental turnover for video and DVD (FEVIP)	100%*	84 881 200
Games distribution	% Games due for launching	0%**	-
Cinema production	Public funding (ICAM)	100%	10 660 000
Cinema distribution	% of films released in 2002 (IGAC)	47.5%	41 847 000
Cinema exhibition	% of screens in 2003 (INE)	20.9%	7 707 900

Source:      Obercom - Communication Observatory, 2004.
*                 Source: FEVIP.
**              Data not available from the companies.
http://www.gender-research.net

Portugal/ 4.2 Recent policy issues and debates

4.2.7 Employment policies for the cultural sector

Table 2 provides some material for the analysis of employment in the arts in different sectors 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 figures below do not include independent or freelance professionals, which explain the lower than expected number shown for those working in music or in visual and performing 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.

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. POC is now trying to change this situation, investing in the promotion of Culture 2000 in Portugal.

Table 2: Share of professionals working in different art sectors, in %, 2004

Cultural domains	Gender		Total
Cultural domains	Male	Female	Total
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: MTSS, Professional posts, 2004.

Portugal/ 4.2 Recent policy issues and debates

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 modernizing the national cultural industries and supporting innovative programmes in the domain of new technologies. Measures to promote these strategies are organised in the framework of two operational culture Programmes: POC (III QCA) and POSI (Information Society Programme).

Some of the recent developments in cultural policies concerning new media and the information society are the implementation of multimedia equipment and specialised learning in schools, libraries, archives, etc.; increases in Internet usage and improvement in computerised programmes, namely in the heritage area (Programme Matriz). In spite of these developments, PC ownership and Internet connections have seen regular but slow growth, reaching 45% and 36% in 2006 (Figure 2); since 2003, broadband internet access has had a similar evolution, reaching 24% in 2006.

Figure 2: Computer ownership, internet connection and broadband internet access by household, 1995-2006

Computer ownership, internet connection and broadband internet access by household, 1995-2006

Portugal/ 4.2 Recent policy issues and debates

4.2.9 Heritage issues and policies

A number of measures and activities have been introduced since the creation of the Portuguese Cultural Heritage Institute in 1980: organisational restructuring, establishment of a national network of archives, and an inventory of the national heritage. Despite all this reorganisation, heritage remains a field where there are overlapping and competing responsibilities.

Social awareness of the value of cultural heritage has grown, accompanied by a rise in the number of listed buildings and museums 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 Museums (RPM), working in the framework of the Portuguese Institute of Museums (Ministry of Culture).

For more information, see
European Heritage Network: Country profile Portugal

Portugal/ 4.2 Recent policy issues and debates

4.2.10 Gender equality and cultural policies

There are no specific strategies which support women as professionals in the cultural labour 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 women in the political parties.

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-dominated 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).

Portugal/ 4. Current issues in cultural policy development and debate

4.3 Other relevant issues and debates

Information is currently not available.

Portugal/ 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 Portuguese citizens in their enjoyment of economic, social and cultural and environmental rights, through the transformation and modernisation of the economic and social structures" (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 cultural 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" (Article 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 Portuguese-speaking, and ensure the protection and promotion of Portuguese culture abroad; and
to co-ordinate the policies for culture with other state policies. (Article78)

Under Article 2 the 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 organization 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. "

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, neighborhood organizations, cultural associations, and trusts, recreational and cultural groups, the State promotes and assists the youth organizations in pursuing the above-mentioned objectives, as well as the international exchanges of young people."

It is to note that the Portuguese Constitution has a whole Chapter to "Cultural Rights and Duties" (Article 73-79) which is quite extraordinary in the European context. The only 'cultural duty' mentioned is the duty to preserve cultural heritage in Article 78, 1). Everyone has the right to cultural enjoyment and creation, and the duty to preserve, defend, and increase the cultural heritage.

Portugal/ 5.1 General legislation

5.1.2 Division of jurisdiction

Government administration consists of three levels in Portugal: central administration, municipal 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 (internal cultural affairs) and the Ministry of Foreign Affairs (external cultural affairs).

Portugal/ 5.1 General legislation

5.1.3 Allocation of public funds

Information is currently not available.

Portugal/ 5.1 General legislation

5.1.4 Social security frameworks

Social security for arts professionals are regulated under common law.

For more information, see our Status of Artists section.

Portugal/ 5.1 General legislation

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 n. 74/99), which regulates the different types of sponsorship, 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).

Portugal/ 5.1 General legislation

5.1.6 Labour laws

Labour laws for arts professionals are regulated under common law.

For more information, see our Status of Artists section.

Portugal/ 5.1 General legislation

5.1.7 Copyright provisions

The Copyright Act was adopted in 1985 (law-decree n. 63/85) and has undergone a number of amendments under subsequent governments, in particular amendments made to harmonise with EU legislation.

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 (Gabinete do Direito de Autor) was established in 1997 (decree-law n 57/97) to provide information to the public and official support for new legislative initiatives by the government in copyright matters.

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).

Portugal/ 5.1 General legislation

5.1.8 Data protection laws

Information is currently not available.

Portugal/ 5.1 General legislation

5.1.9 Language laws

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.

Portugal/ 5.2 Legislation on culture

See chapter 5.3.

Portugal/ 5.3 Sector specific legislation

5.3.1 Visual and applied arts

Information is currently not available.

Portugal/ 5.3 Sector specific legislation

5.3.2 Performing arts and music

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). Presently, new normative texts are to be discussed in the Parliament, concerning a long standing demand for legal recognition of different artistic professional careers.

Portugal/ 5.3 Sector specific legislation

5.3.3 Cultural heritage

New legislation on cultural heritage was recently approved by the parliament:

the Portuguese Heritage Protection Law (law n. 107/2001) establishes the basis for the policy and cultural heritage protection and improvement regime; and
the Framework Law on Portuguese Museums (law n. 47/2004) defines principles of national policies for museums. This legal document establishes guidelines for recognition of Museum and Visiting collections and defines the criteria for the licensing process of museums. It also officially establishes and develops the Portuguese Network of Museums (RPM) – a former project structure launched in 2000.

Portugal/ 5.3 Sector specific legislation

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 n 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 the Portuguese Book and Reading Institute (IPLB) and local administrations, which assist in modernizing the public libraries.

The IPLB grants technical and financial support annually to the creation of public libraries in all the local administrations in Portugal.

By June 2005, 258 of the 308 local administrations had joined the RNBP. Since 1987, 133 libraries have been established.

A programme regarding a school libraries network – promoted by the Ministry of Education – was created in 1997.

Portugal/ 5.3 Sector specific legislation

5.3.5 Architecture and environment

Information is currently not available.

Portugal/ 5.3 Sector specific legislation

5.3.6 Film, video and photography

Regulations governing the film sector were enshrined in the Film Act of 1971 (Law n 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 discussion, a new Law on Audiovisual and Cinematographic Art (law n 42/2004) was approved by the parliament. However, some essential aspects regarding the regulation of this new law are yet to be defined. State intervention in the film sector is subject to various regulations.

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 cinema and audiovisual sectors by creating an investment fund that is co-financed by film and television distributors and operators, in particular cable TV operators.

Portugal/ 5.3 Sector specific legislation

5.3.7 Culture industries

The present debate on the Law on Audiovisual and Cinematographic Art (2004) points out two main different positions of the Portuguese film producer's and audiovisual producer's associations: The Portuguese Directors' Association (APR) believes that the new law represents a constraint on the development of film-making as an "art". This association believes that there should be a clear separation between the film and audiovisual sectors, as it considers that films and audiovisual products are highly distinct in terms of their objectives, means of production, distribution and consumption. However the Film and Audiovisual Director's Association (ARCA) views the new law as a means to enhance the creation of a "film industry" in Portugal. ARCA views film and television as "allies" and considers that the new law, despite being "unclear", will diversify the financing sources for film production.

Portugal/ 5.3 Sector specific legislation

5.3.8 Mass media

In the 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 stations" 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.

In 1981 the first legal instrument establishing quotas concerning the radio diffusion of Portuguese music (law n. 12/81) was approved by the parliament. However, this law, which establishes a minimum of 15% of Portuguese music and 25% of music performed by Portuguese performers, had no associated regulation. In 2005 a new law is under discussion by the Parliament.

Portugal/ 5.3 Sector specific legislation

5.3.9 Legislation for self-employed artists

There is no overall legal framework for artists in Portugal.

The setting up of the Operational Programme for Culture (POC, 2000/2006), benefits artists directly or indirectly through its measures for the network of cultural spaces, the use of new information technologies, the broadening of audiences, the financing of "immaterial projects", etc.

For more information, see our Status of Artists section.

Portugal/ 5.3 Sector specific legislation

5.3.10 Other areas of relevant legislation

Information is currently not available.

Portugal/ 6. Financing of culture

6.1 Short overview

Expenditure on culture by public authorities (Figure 3) demonstrated an upward trend in 2001 and 2002 (1.14% and 1.15% of GDP), followed by a break in 2003 (1.09%).

Figure 3: Expenditure by public authorities on culture, in% of GDP, 2000-2003

Source: INE (Social Indicators, 2005).

An examination of the total expenditure on culture by Portuguese families shows no significant changes around the 4% of GDP (Figure 4).

Figure 4: Expenditure on culture by Portuguese families, in % of GDP, 1998-2003

Source: INE (Social Indicators, 2005)

Portugal/ 6. Financing of culture

6.2 Public cultural expenditure per capita

Public culture spending per capita by central government in 2001 was 9.55 euro. Equivalent figures for local government were not available. See also chapter 6.1 and chapter 6.3.

Portugal/ 6. Financing of culture

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 euro at constant prices, corresponding to 0.32% of GDP or expenditure per inhabitant of 9.55 euro.

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 government was practically the same. The Central Government share fell in 1995. It should also be noted that Local Government expenditure during this period showed a far greater increase 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.

Table 3: Public cultural expenditure: by level of government, in euros, 2003

Level of government	Total expenditure
State (federal)	237 800 000
Regional (provincial, Länder)	----
Local (municipal)	394 887 000

Source: INE for "Local (Municipal)." MF/DGO for "state (federal)".
Note: Public cultural expenditure by sector is only available with separated figures for each level (state and local authority).

Portugal/ 6. Financing of culture

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 tend to increase in all cultural domains, especially those related with Cultural heritage, Cultural equipment, Socio-cultural activities and Books and Press.

Figure 5: Local authorities’ expenditure by cultural sub domain, 1986-2003

Portugal/ 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 successive laws on sponsorship, through the act establishing private radio and television stations, and through the act creating state-sponsored foundations (the São Carlos Foundation and the Discoveries Foundation).

Portugal/ 7. Cultural institutions and new partnerships

7.2 Status/role and development of major cultural institutions

What stands out in the (somewhat erratic) move towards privatisation of culture in Portugal 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 frequently managed on a very personal basis. This tendency should not obscure the fact that sponsorship can also take other, more dynamic and professional forms.

The process of privatising support for culture can also be seen in the creation of foundations. In the late 1980s, legal provisions were published governing the establishment and operation 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 authorities contribute at least 50% of the initial funding.

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 Foundation. 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.

Portugal/ 7. Cultural institutions and new partnerships

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.

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 Foundation. 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 is currently (2006/2007) celebrating its 50th anniversary, continues its important cultural role in Portugal. In 2006, Gulbenkian has entered a new phase, offering new programmes (e.g. The Cultural Forum "The State of the World") intended, as its President said, "to promote an occasion for debate about the present, questioning of the future, testing of new methodological approaches and opening of new paths".

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 latter case, the Programme for the broadening of the performing arts (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 this Programme was launched again.

Portugal/ 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 Contemporary Art (IAC), the Portuguese Photography Centre (CPF), and the Museum of Contemporary Art (MAC); the latter of which was set up through an agreement between the Ministry 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 collections, 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 late 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 definition of funding criteria.

As regards film, a new set of regulations were introduced in 1993 as revisions to the previous 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 Film, Audio-visual and Multimedia Institute (ICAM) and the television channels, and between ICAM and distributors.

Portugal/ 8.1 Direct and indirect support to artists

8.1.1 Special artists funds

Public support for creative artists is mostly concentrated in the field of writing and publishing. A scholarship programme has been set up for writers and is managed by the Portuguese Institute for Books and Libraries (IPLB). Translation funds are also available to writers whose books are published by foreign editors.

Purchasing programmes concerning works in the sector of visual arts took place through the action of the Arts Institute (IA) that also is responsible for the annual financial support of performing arts structures.

Anyway, support for visual arts and music is derived partly from the private sector, especially 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 ).

Portugal/ 8.1 Direct and indirect support to artists

8.1.2 Grants, awards, scholarships

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 creators through exhibitions and prizes derived from the Ministry of Culture, local administrations and private bodies.

Portugal/ 8.1 Direct and indirect support to artists

8.1.3 Support to professional artists associations or unions

Governmental support to professional artists is residuary and there is no support for their associations.

Portugal/ 8.2 Cultural consumption and participation

8.2.1 Trends and figures

Table 4 gives an idea of the overall trends in public participation in cultural activities between 1995 and 2005. There is evidence of a general upward trend in participation (except for a decrease in cinema in 2005).

Table 4: Participation, in figures, 1995 - 2005 (in thousands)

	Year
	1995	2000	2003	2005
Concerts and dance	331	1 171	1 833	4 950
Opera	35	91	67	75
Theatre	339	615	1 281	1 746
Cinema	7 397	17 915	18 723	17 165
Museums	5 216	7 367	8 922	9 725
Libraries	4 101	9 992	12 794	-
Exhibitions visual arts	2 397	3 787	4 918	5 022

Source: INE, Estatísticas da Cultura, Desporto e Recreio, 1995-2005.

Table 5 provides some information on the importance of the educational level for participation in regular leisure and cultural activities of Portuguese people (source: a Survey of leisure time in Portugal).

Table 5: Regular leisure and cultural activities of Portuguese people by educational level, 1999 (number and percentage)

Educational level	Regular leisure and activities
Educational level	Visiting friends	Museums and exhibitions	Popular music concerts	Libraries	Theatre performances	Dance performances	Amateur activities	Classical music performances	Opera performances
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, 1999, Lisboa, INE, 2001.

Portugal/ 8.2 Cultural consumption and participation

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 recent efforts have been made to encourage participation by increasing the number of touring projects, launching of new programmes for amateur and university theatre, promoting cultural activities addressed to young people, launching of a National Reading Promotion Programme. Educational services in museums and other cultural institutions have intensified their work with schools and municipalities.

In 2004, the National Institute of Museums (IPM) launched a discount card for visits to National Museums. For many years, IPM museums have had reduced tariffs for students and adults over 65 years. On Sunday mornings entrances are free for all visitors.

Book loans in Portuguese public libraries have no costs for users.

Portugal/ 8.3 Arts and cultural education

8.3.1 Arts education

Arts education, whether it relates to specialised training or generic education, has not benefited from the necessary political links between the field of culture and the field of education that were supposed to be established under the terms of the 1990 legislation.

A Programme for the Animation of the Arts (PAIDEIA) was planned to bring artists and culture producers into secondary schools. More recently, the Ministry of Culture, in collaboration with the Ministry of Education, launched a similar new Programme entitled "Levar a Cultura à Escola" - Bring culture into the Schools. In 2006, the new National Reading Plan adopts a set of programmes for the promotion of reading in schools, libraries and family contexts.

Portugal/ 8.3 Arts and cultural education

8.3.2 Intercultural education

Recent intercultural education programmes have been promoted in Portugal to make students aware of the importance of other cultures and of the dialogue with them (see the attached Cases of good practice on Intercultural Dialogue).

For more information, see our Intercultural Dialogue section.

Portugal/ 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 activities. Volunteer associations make a significant contribution to local cultural life and they play a major role in arranging theatrical performances, book fairs, film shows and folklore. Figure 6 illustrates the regional distribution of voluntary associations.

Figure 6: Number of associations per 100 000 inhabitants by Region (1998)

Portugal/ 8.4 Amateur arts, cultural associations and community centres

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 Portuguese society.

Portugal/ 9. Sources and Links

9.1 Key documents on cultural policy

Carrilho, Manuel Maria: Hipóteses de Cultura. Lisboa: Presença, 1999.

Coelho, Eduardo Prado: "Política cultural externa: um balanço", Obs, n.º 2. Lisboa: Observatório das Actividades Culturais, 1997.

Costa, António Firmino da: "Políticas culturais: conceitos e perspectivas", Obs, n.º 2. Lisboa: Observatório das Actividades Culturais, 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 e Economia. Lisboa: Instituto de Ciências Sociais da Universidade de Lisboa, 1995.

Pinto, José Madureira: "Democratização e desenvolvimento cultural sustentado: o papel do Estado", Obs, n.º 1. Lisboa: Observatório das Actividades Culturais, 1997.

Santos, Maria de Lourdes Lima dos (coord.) et al: As Políticas Culturais em Portugal, col. OBS-Pesquisas nº 3. Lisboa: Observatório das Actividades Culturais, 1998.

Silva, Augusto Santos: "Políticas culturais municipais e animação do espaço urbano: uma análise de seis cidades portuguesas", in Maria de Lourdes Lima dos Santos (coord.), Cultura e Economia. Lisboa: Instituto de Ciências Sociais da Universidade de Lisboa, 1995.

Conde, Idalina: "Cenários de práticas culturais em Portugal", Sociologia - Problemas e Práticas, n.º 23. 1997.

Pais, José Machado et al: Práticas Culturais dos Lisboetas. Lisboa: Instituto de Ciências Sociais da Universidade de Lisboa, 1994.

Silva, Augusto Santos, e Santos, Helena: Prática e Representação das Culturas: um Inquérito na Área Metropolitana do Porto. Porto: CRAT, 1995.

Gomes, Rui Telmo; Lourenço, Vanda e Neves, João Gaspar: Públicos do Festival Internacional de Teatro de Almada, col. OBS-Pesquisas nº 8. Lisboa: Observatório das Actividades Culturais, 2000.

Santos, Maria de Lourdes Lima dos (coord.); Nunes, João Sedas; Lourenço, Vanda e Cruz, Sofia: Públicos do Teatro S. João, col. OBS-Pesquisas nº 10. Lisboa: Observatório das Actividades Culturais, 2001.

Santos, Maria de Lourdes Lima dos (coord); Gomes, Rui Telmo; Neves, José Soares; João Lima, Maria; Lourenço, Vanda; Duarte Martinho, Teresa; dos Santos, Jorge Alves: Públicos do Porto 2001, col. OBS-Pesquisas nº 11. Lisboa: Observatório das Actividades Culturais, 2002.

Pereira, Paulo: Intervenções no Património 1995-2000, Nova Política. Ministério da Cultura/ IPPAR, 1997.

Torres, Cláudio e Jorge, Vítor Oliveira (coords.): A Arqueologia e os Outros Patrimónios. Porto: Associação para o Desenvolvimento da Cooperação em Arqueologia Peninsular, 1999.

Património Arquitectónico e Arqueológico Classificado. Lisboa: Instituto Português do Património Arquitectónico e Arqueológico (IPPAR), 1993.

Review Monumentos

Martinho, Teresa: "O campo da fotografia em Portugal: de 1985 a 1997", Obs, n.º 5. Lisboa: Observatório das Actividades Culturais, 1999.

Melo, Alexandre: Artes Plásticas em Portugal dos anos 70 aos nossos dias. Lisboa: Difel, 1998.

Sena, António: História da Imagem Fotográfica em Portugal, 1839-1997. Porto: Porto Editora, 1998.

Santos, Maria Lourdes Lima dos e Melo, Alexandre (coord.); Martinho, Teresa: Galerias de Arte em Lisboa, Col. OBS-Pesquisas nº 9. Lisboa: Observatório das Actividades Culturais, 2001.

Ferreira, Vitor; Nunes, João Sedas e Martinho, Teresa: “O mundo da ’arte jovem’: protagonistas, lugares e lógicas de acção”, OBS nº 10. Lisboa: Observatório das Actividades Culturais, 2001.

Review Arte Ibérica

Freitas, Eduardo de; Casanova; José Luís; Alves, Nuno de Almeida: Hábitos de Leitura. Um Inquérito à População Portuguesa. Lisboa: Dom Quixote, 1997.

Furtado, José Afonso: O Que é o Livro. Lisboa: Difusão Cultural, 1995.

Livros de Portugal – Estatísticas. Lisboa: Associação Portuguesa de Editores e Livreiros

Lopes, J.M. Teixeira e Antunes, Lina (org.): Sobre a Leitura, vol. I, II e III. Lisboa: Observatório das Actividades Culturais, 97/98, 98/99 e 99/00.

Review Ler. Livros & Leitores.

Freitas, Eduardo de (em colab. com Isabel Pires): Bibliotecas em Portugal. Elementos para Uma Avaliação, col. OBS-Pesquisas. Lisboa: Observatório das Actividades Culturais, 1997.

Lopes, João Teixeira e Antunes, Lina: "Bibliotecas e leitores: alguns resultados que nos interpelam", Obs, n.º 5. Lisboa: Observatório das Actividades Culturais, 1999.

Nunes, Henrique Barreto: Da Biblioteca ao Leitor. Estudos sobre Leitura Pública em Portugal. Braga: Autores de Braga, 1998 (2ª edição).

Cadernos BAD (Review of the Associação Portuguesa de Bibliotecários, Arquivistas e Documentalistas) (http://www.apbad.pt/Edicoes/Edicoes_ListaCadernos.htm)

Leituras (Review of the National Library)

Liberpolis: Review of Public Libraries

Os Arquivos na União Europeia. Relatório do Grupo de Peritos Sobre os Problemas de Coordenação em Matéria de Arquivos. Bruxelas-Luxemburgo, 1994.

Santos, Maria de Lourdes Lima dos (coord.), Neves, José Soares; Lima, Maria João; Santos, Jorge Alves dos: Diagnóstico aos Arquivos Intermédios da Administração Central. Lisboa: Observatório das Actividades Culturais / Instituto dos Arquivos Nacionais Torre do Tombo, 2003.

AAVV: Actas do VII Encontro Nacional de Museologia e Autarquias. Experiência e Perspectivas. Seixal: Câmara Municipal Seixal/Plátano, 1998.

AAVV: Inquérito aos Museus em Portugal. Lisboa: Observatório das Actividades Culturais e Instituto Português de Museus, 2000.

Nabais, António José Maia: “Nova Museologia – novas práticas museológicas“, Vértice 54. Lisboa, 1993

Santos, Maria de Lourdes Lima dos Santos (coord.), Neves, José Soares; Santos, Jorge Alves dos; Nunes, Joana Saldanha: O Panorama museológico em Portugal [2000-2003]. Lisboa: Observatório das Actividades Culturais / Instituto Português de Museus / Rede Portuguesa de Museus, 2005.

Nery, Rui Vieira: História da Música Portuguesa. Lisboa: Imprensa Nacional-Casa da Moeda, Comissariado para a Europália 91, 1991.

Neves, José Soares: Os Profissionais do disco. Um estudo da indústria fonográfica em Portugal. col. OBS-Pesquisas nº 5. Lisboa: Observatório das Actividades Culturais, 1999.

Castelo-Branco, Salwa; Neves, José Soares e Lima, Maria João: “Perfis dos Grupos de Música Tradicional em Portugal“ in Salwa El Shawan Castelo-Branco e Jorge de Freitas-Branco (Coord.) Vozes do Povo: A Folclorização em Portugal. Oeiras: Celta, 2003.

Review Revista Portuguesa de Musicologia

Review Arte Musical

Sasportes, José, e António Pinto Ribeiro: História da Dança. Lisboa: Imprensa Nacional-Casa da Moeda, Comissariado para a Europália, 1991.

Vasques, Eugénia: 9 Considerações em Torno do Teatro em Portugal nos Anos 90. Lisboa: Ministério da Cultura/Instituto Português das Artes do Espectáculo, 1998.

Santos, Maria de Lourdes Lima dos (coord.), Gomes, Rui Temo; Neves, José Soares; Lima, Maria João; Martinho, Teresa Duarte; Lourenço, Vanda; Santos, Jorge Alves dos: Políticas Culturais e Descentralização: Impactos do Programa Difusão das Artes do Espectáculo. col. OBS-Pesquisas nº 12. Lisboa: Observatório das Actividades Culturais, 2004.

Review Adágio

Costa, João Bénard da: História do Cinema em Portugal. Lisboa: Imprensa Nacional-Casa da Moeda, Comissariado para a Europália 91, 1991.

Gomes, Rui: "Cinema português: os meios investidos pelo Estado", Obs, n.º 1. Lisboa: Observatório das Actividades Culturais, 1997.

Traquina, Nelson: Big Show Media. Viagem pelo Mundo do Audiovisual Português. Lisboa: Editorial Notícias, 1997.

Tendências XXI. Audiovisual-Telecomunicações-Multimédia, Dossier Tele-Visões. Lisboa: Associação Portuguesa para o Desenvolvimento das Comunicações, 1997.

Marcos, Luís Humberto (coord.): Rádios Locais. A Lei e a Realidade. Porto: Centro de Formação de Jornalistas, 1989.

Tengarrinha, José: História da Imprensa Portuguesa. Lisboa: Caminho, 1989.

Costa, António Firmino da e Santos, Maria de Lourdes Lima dos (co-coords.) et al.: Impactos Culturais da Expo'98, OBS-Pesquisas nº 6. Lisboa: Observatório das Actividades Culturais.

Santos, Maria de Lourdes Lima dos (coord.); Casanova, José Luís; Carreiras, Helena; Mata, João da; Alves, Nuno: 10 Anos de Mecenato Cultural em Portugal, col. OBS-Pesquisas nº1. Lisboa: Observatório das Actividades Culturais, 1998.

Pais, José Machado (coord.); Ferreira, Paulo Antunes; Ferreira, Vítor Sérgio: Inquérito aos Artistas Jovens Portugueses. Lisboa: Instituto de Ciências Sociais da Universidade de Lisboa, col. Estudos e Investigações, n.º 3, 1995.

Neves, José Soares: Para a análise do impacto económico do sector da cultura, (unpublished paper). Lisboa: Observatório das Actividades Culturais, 2004.

Guia das Fundações Portuguesas. Lisboa: Centro Português de Fundações, 1996.

Portugal/ 9. Sources and Links

9.2 Key organisations and portals

Cultural policy making bodies

Ministry of Culture
http://www.min-cultura.pt/

Secretaria-Geral do Ministério da Cultura
http://www.sg.min-cultura.pt/

Delegação Regional da Cultura do Alentejo
http://www.cultura-alentejo.pt/

Delegação Regional da Cultura do Algarve
http://www.cultalg.pt/

Delegação Regional da Cultura do Centro
http://www.culturacentro.pt/

Delegação Regional da Cultura do Norte
http://www.culturanorte.pt/

Instituto Português do Património Arquitectónico – IPPAR
http://www.ippar.pt/

Instituto Português de Arqueologia – IPA
http://www.ipa.min-cultura.pt/