* General Structure of the Cultural Field in Turkey [I] *

Introduction [I] *
Turkey has experienced several eras in its Cultural Policy development. Ince has indicated these periods as follows: Kemalism (1923-1938) Humanism (1938-1946) Pluralist democracy (1946-1960) Military Regime (1980-1983) Liberal Islam (1990- ) EU Integration (2002- ) The growing governmental interest in cultural issues was a reflection of the Turkish revolution that happened in the foundation years of the Turkish Republic. It happened parallel to the economic development and the role of the national state therein. The social state regulated cultural activities and provided cultural infrastructure based on Western civilization. In addition, after the multiple-party period other points of view were also underlined, such as what the traditional Turkish culture is, which is based on a larger geographical space than that of the Turkish Republic. Other developments in the cultural scene happened after regulations and military coups in 1971 and 1980. The coup of 1971 resulted in the foundation of the first Ministry of Culture, which enabled the growing young population to combine access to Turkish cultural heritage with Western enlightenment. It was after the 1980 military coup that liberal economic regulations were subjected to discussion, and for the first time this economic view was reflected in the creative scene. Turkey began to categorize the economic activities in the cultural sector as not only the effort of the nation state after the liberal economic policies Turkey accepted due to 24th January regulations in 1980, but also the support of the private sector, which started to grow due to global developments. Especially in the late 90s and the early 2000s, corporate resources entered the culture and arts scene. EU-supported mechanisms for artists such as exchange opportunities, scholarships abroad in developed European countries, and collaboration opportunities through partner projects all emerged in this period. As a result, the Turkish cultural initiatives and artists experienced a period of project writing through EU projects, corporate sponsorship dossiers, and ECOC projects, and most of the participants became keen on administrative issues in order to sustain themselves. The Turkish-Dutch relations are especially important for the cultural sector. This relation not only incorporates a knowhow transfer, but international groups may also create a paradigm shift in a collaborative way. We are able to see the developments of each era reflected in the various institutions. Nowadays most of the state bodies develop management solutions in order to serve, which did not used to be the predominant aspect of the former public service mentality. It is the inevitable result of the influence of market economy, but also results from the fact that nowadays the artists are also willing to demand more in order to put meaningful output up for discussion and thus entices the audience to think and comment more. Nowadays the political agenda also supports this climate. Very recently the political party in power, AKP, suggested discussion platforms for sub-cultures and minorities. Unfortunately these attempts of democracy and plurality are not organized as thoroughly as other projects of the party. What these developments show is that there is clearly a growing interest in culture in Turkey, developing on several levels. More international collaboration may help in the further developing of the cultural sector. Experiences from past collaborations have already shown that this collaboration has a positive influence on all parties involved. The year 2012 may be a good year to further explore the possibilities for expanding the collaboration.

1. 2. 3. 4. 5. 6.

Dr. Gke Derviolu- gokced@bilgi.edu.tr

*General Cultural Statistics [II] *

In order to make a plan and projection for the cultural sector, one would need reliable data of the past. Unfortunately the state institute for collecting statistics (TUK) until recently has not been very competent or organized in data collection in the cultural realm where other actors like Istanbul Chamber of Commerce underlined the importance of statistics for the investor for projection and accepted EUROSTAT accepted categorization of NACE standards for job distinction. The underlined importance of statistics also stimulated the data collection by the Ministry of Culture and Tourism. As a result the Central Agency for Statistics can now provide basic statistics about visitors of museums and ruins, library use, periodicals, newspapers and books, theater halls, movies houses, and time spent on leisure and culture related activities. (See Appendix for related charts) Unfortunately one can clearly see that the most preferred cultural activity, with 87%, as mentioned in the Time Use Survey for 2006, refers to activities related to multimedia use, and especially watching TV. However, the number of people who visit the cinema has been doubled in the past 5 years. Attendance to opera or ballet seems not to have changed drastically in the statistics. The effect of the closure of the biggest Opera House in Turkey, the Atatrk Cultural Center in Istanbul, will become clear as soon as the statistics for 2009 will be made public. The Atatrk Cultural Center is an institution which hosts seven departments of the Ministry of Culture and Tourism on performing and visual arts, and was closed down after the building was transferred to the ECC Agency for renovation. The reason why the building is not in use today is that the renovation process has been suspended, due to a motion of stay presented by the Chamber of Architects. *Ministry of Culture and Tourism [II] * The name of the Ministry shows actually the point of view of the government, that culture and cultural heritage is a field which enforces the tourism efforts in the country. Although we can see in the chart below that a major part of the budget is spent on Culture, the managerial perception of many ministers leads them to actually invest more in tourism, since Turkey is a classic example of a sea-sun destination. Nowadays the emphasis is shifting to cultural tourism activities with the outsourcing efforts of the facility management of museum shops and ruin sites.

YEAR

CULTURE

TOURISM

SUM

TOTAL BUDGET

SHARE

2000 2001 2002 2003 2004 2005 2006 2007 2008

120.939.800 158.658.000 278.000.000 349.327.000 0 0 0 0 0

56.288.200 72.584.600 165.778.000 190.130.000 0 0 0 0 0

177.228.000 231.242.600 443.778.000 539.457.000 587.925.000 646.392.000 712.381.000 816.378.000 826.586.000

46.702.436.000 48.219.490.000 97.831.000.000 146.805.170.000 149.858.129.000 153.928.792.910 170.156.782.052 200.902.066.401 218.044.132.372

0,38 0,48 0,45 0,37 0,39 0,42 0,42 0,41 0,38

* Ministry of Culture and Tourism- Budget / Allocation of the General Budget [III] * For the general evaluation of the Ministry we can easily use their SWOT analysis, which is a part of the annual report and the strategic plan, and also a tool for transparency and sustainability if used properly. In the SWOT analysis one can find that the most successful units are the State Theater and Dr. Gke Derviolu- gokced@bilgi.edu.tr

State Opera/ Ballet, and the least successful units are the General Directory for Research and Development, the General Directory for Investment and Administration, and the General Directory for the Fine Arts. The general service on the internet was promoted in the analyses, where the performance in the fight against internet piracy has been criticized .Internet has become the main area to share and promote artistic production, however the regulations for intellectual property rights are being criticized. In the strategy development, the ministry emphasized the importance of human resources and value added production for competitive advantage and sustainability. (In both related areas such as Culture and Tourism). Another issue is that Minister Erturul Gnay, as an ex-left viewed politician, has strong personal relations with some cultural figures and is accepted in the cultural world, which is rather critical oriented, even though he is a minister representing a conservative party. * Culture 2000 and Culture 2007 [III] * Turkey was part of the EU Program for Culture 2000. The Culture 2000 Program ended in 2006 and was replaced by a new program, called Culture 2007, which will last until 2013. The cultural contact point for Turkey has been established within the Ministry of Culture and Tourism, who are responsible for promoting the program, facilitating the participation of as many cultural professionals as possible, ensuring an exchange of information with national cultural institutions, maintaining contact between the participants in the various community programs, and providing a link with the other sources of information on the various Community programs. The Culture 2007 program enables a wide range of cultural organizations coming from various countries to cooperate on cultural and artistic projects such as Multi-annual co-operation projects, running over a period of three to five years; Co-operation measures, running over a maximum period of two years, and special measures which relate to highprofile actions of considerable scale and scope. They support European Capitals of Culture and festivals with a European dimension. The program also supports cultural bodies at a European level. They encourage exchanges between cultural organizations in different European countries, identify the European artistic communitys needs, represent the sector in dealing with EU institutions, participate in the public debate on cultural issues, and act as European cultural ambassadors. Another part of the program is related to the analysis and dissemination activities, which help to raise awareness of the Culture program and its activities in various ways. The program generally supports cooperation projects between private or public organizations, which have direct and practical experience in the analysis, evaluation, or impact assessment of cultural policies at local, regional, national and/or European levels, related to one or more of the 3 objectives of the European Agenda for culture. Total budget of the program for Turkey is 400 million euro; the annual budget is 1.490.000 euro. * DOSMM and Bilintur [III] * The Central Directorate of Revolving Fund (CDRF) is a subsidiary fund of the Ministry of Culture and Tourism. The CDRF conducts the commercial activities of the ministry, provides financial support to protect and improve the cultural entities and values, and raises funds for culture and tourism infrastructure investments and promotion activities. CDRF also manages widely known Traditional Handcrafts and Book Shops. CDRF also let museums, archaeological sites, cultural centers, libraries and galleries to entrepreneurs for short term artistic and cultural activities. The facility areas used to be administered by museum associations (Muze Dernegi), but this changed after 2005. The earned income was kept in the museum itself and used for purchasing the necessary items and for the improvement of display and preservation. After 2005, CDRF took over the administration of the facility areas in state museums and kept this position until 2008. Due to the limited budget, or interest, the shops and cafeterias were poorly run by CDRF; there was little product diversity, and the museum shops and cafeterias were almost the same in all museums. Moreover, the earned income started to be transferred directly to the CDRF budget. From 2008 onwards, the administrational rights were given to BKG (Bilintur Kltr Giriimi) for eight years. BKG has modernized the facility areas; prepared large product diversity and display areas for each gift shop in state museums and sites, introduced a varied food and beverage menu, and bought new furniture for in the cafeterias. The Ministry of Culture and Tourism implemented the Law of Revolving Fund (Dner Sermaye Kanunu, No. 2252) on the 19th of June 1979. In the law it is stated that the revolving fund of

Dr. Gke Derviolu- gokced@bilgi.edu.tr

the Ministry of Culture is used mainly in the operational fields of production and sales of the related services and/or products for antiquities, monuments, museums, libraries, documentation, publication, advertisement (promotion of all kinds), cultural centers and so forth. Moreover, as included in the law as an additional article in 2003, the revolving fund is used for infrastructural services of cultural and tourism investments, printing, distribution, promotional and informative publications, souvenir production, setting up gift shops, organizing exhibits, cooperating with national and international institutions on tourism, and so on. However, as mentioned before, the setting up and management of the museum stores and cafeterias for the museums has been handed over to BKG in 2008. This outsourcing solution shows another paradigm shift in the public management system. * National Culture Plan (Strategic Plan) [III] * Since the last days of 2003 the Law on Public Finance Management and Control Nr. 5018 regulates the decentralization issue and has all public institutions make their own strategic plans within this framework on a participatory base, as was suggested by the Higher Planning Council. The National Culture Plan has strategic aims on the preservation and protection of culture, promoting innovative technological tools as well as career development, becoming an international center for culture, tourism and the arts without neglecting the rural areas, and fighting against piracy and protecting intellectual property. *ECOC Agency [II] * The Istanbul 2010 ECOC Agency was founded for the purpose of planning and managing the activities which were to be undertaking in 2010, the year wherein Istanbul was Cultural Capital of Culture. The ECOC Agency was also found for coordinating the joint efforts of public bodies and institutions in order to realize their goal. The Agency operates in three strategic areas: Culture and Arts Urban applications and the protection of cultural heritage Tourism and publicity Projects for urban applications and protection of cultural heritage are carried out by the Directorate of Urban Applications, the Directorate of Cultural Heritage and Museums, and the Directorate of Urban Projects Coordination. Istanbul 2010 ECOC projects for culture and arts are produced, shaped and conducted by the Departments of Visual Arts, Music and Opera, Urban Culture, Literature, Cinema and Documentary, Stage and Performing Acts, and Traditional Arts. A main goal is for all projects and activities to be sustainable, continuing well after 2010. The definition of the ECOC Agency has been criticized because of the managerial change and sustainability problems in the agency itself. The civil initiative experienced a lot of resigns from the original group and yet the influence of the corporate world is underlined by many independent bodies that in the beginning of the foundation of the agency have supported the autonomous structure and participatory representation. From the cultural policy perspective the sustainability of such an institution would be a remarkable outcome of the ECOC, but the crucial notion is its governance issues, now and in the future. Among many projects accepted by ECOC there is one which would help to support investment in the field. The project is about creating a cultural inventory on various fields, which are named as culture or creative industries. The coordinators of the project have an academic background and after a joint research with an expert team they hope to build access to all available data, a huge support for business developers or fund seekers who right now can only use limited data on existing cultural statistics. *Municipalities and their social culture departments [II] * According to Municipality Law 5393, municipalities can be established in allocation units when the population consists of 5000 people or more. It is compulsory to establish municipalities in cities and country towns. Listed among the culture-related responsibilities and competencies of municipalities are providing culture and arts, tourism and publicity services; ensuring the protection of cultural and national heritage and sites of historical significance; and the maintenance and repair of these sites and faithful reconstruction where protection is not possible. In the localism article of the same law, it is Dr. Gke Derviolu- gokced@bilgi.edu.tr

stated that municipalities handle the necessary work to build social and cultural relationships between fellow residents and protect cultural values. These articles indicate that the municipalities scope of authority has been expanded. Municipality activities and practices differ from city to city; each municipality has different priorities regarding their infrastructure, budget and requirements. However random surveys with citizens on the street show that the services expected from municipalities are fundamentally basic necessities. This perception has changed in Istanbul though with the launch of ECOC under the ECOC Agency umbrella. In Istanbul a project sponsored by the Directory of Urban Culture/ECOC Agency brought the cultural managers of the municipalities together. The socially involved municipality mission had a discussion from the cultural and arts perspective, and central municipalities have been compared to the ones in the periphery. The Visual Art department has organized a traveling exhibition to the peripheral municipalities of Istanbul; the impact was discussed afterwards with the cultural managers of the municipalities. Interestingly, some cities like Antalya are keen on supporting performing arts, both movie production and theater performances, in the city. This aim is explicitly underlined in their strategic planning and related to the legacy of Altn Portakal (Golden Orange), the main Turkish cinema awards. These positive developments are very much bound to have access to the financial sources of the district municipalities and metropolitan municipalities. Although municipalities have a lot of financial resources through taxes and the use and rent of public space which is in control of the municipality, the budget decision is usually taken politically because of the very nature of these institutions. *Foreign Culture Departments of Embassies or Consulates [II] * Austrian Culture Office: founded in 1963, the mission is to promote Austrian culture, special focus on classical music. British Council: founded in 1940, located in the 3 big cities in Turkey, and also active in Anatolia through projects. Focus on EU- Turkey relations and youth interaction. Multi stakeholder approach, in active collaboration with local cultural institutions. Cervantes Institute: founded in 2001, focused on Spanish language courses, the promotion of Spanish culture and cultural heritage, and life-style. French Cultural Center: Among language courses, active promotion of French culture and underlining attempts on the long run French- Turkish relations, multi-disciplinary with strong emphasis on cinema and photography. Collaborative projects on street art-performances. Goethe Institute: Strong focus on language and literature. Supporting art in residence programs and political issues on the interaction between the societies. Dutch Research Institute: since 1958, research focus on history, culture and civilizations. Swedish Institute: Seminars on culture and politics, special focus on research related civil society and sub cultures. Italian Cultural Center: since 1951, focuses on the Italian language and culture. Special focus on cinema, design and architecture. Romanian Cultural Center: founded in 2005, special focus on Dimitri Kantemir, a Roman historian and composer who lived in Fener. *Cultural programs/research in private universities [II] * There are several examples of Culture and Arts Management departments, especially in private (the right terminology is foundation) universities in Turkey. The only state university that supports this interdisciplinary field is Yldz University, with a focus on museology. The Mimar Sinan University,

Dr. Gke Derviolu- gokced@bilgi.edu.tr

also known as the Fine Art University, also offers elective courses on the field. However, many private universities established departments either under the Faculty of Fine Arts or Communication for the interested students on an undergraduate level. Bilgi University, Yeditepe University and the Istanbul Kltr University are pioneers in the cultural field, focusing on different aspects. Bilgi University is now in a campus where there are two museums and a nice outdoor experience both for visual and performing arts performances. Yeditepe University is the pioneer in the graduate level with its Arts Management Masters Program. Istanbul Kltr University has a specific media/cinema focus. Baheehir University also started with a Masters program on Cultural Policy and Arts Management. However, when we consider the forthcoming academicians and the developing research interests, it is clear that the area is still underdeveloped. The interdisciplinary field still does not prove itself to be a major field, but there are developments in the field of Cultural Policy. Bilgi University has recently established a research center on Cultural Management and Policy. The preparation phase for this research center is supported by the Dutch grant MATRA and the partners were ECF, European Culture Foundation and Anadolu Kltr. Especially Anadolu Kltr, which is an independent art institution that focuses on cultural interaction in big cities outside Istanbul, plays an important role. The first output of their center was a book on Cultural Policy issues in Turkey, a periodical yearbook will follow as a publication. The center has proposed the seminars for the cultural managers of the municipalities in the ECOC framework. It runs parallel activities to the international MA in Cultural Management and supports the main research project on the development of a participative cultural policy in 3 Anatolian cities. *Professional networks [II] * The discussion on professional initiatives or chambers will be in the framework of two representative organizations. For the visual arts the international Association of Art Critics with a member number of around 60 people serves in order to establish a decent discussion platform for contemporary art. On the other hand the Association of the Contemporary Performing Arts Initiative, which brings together different kinds of stakeholder in the area of contemporary performing arts, is very much dependent of personal efforts. Within the managing body there are academics and theoreticians who write and develop the discussion for content development, but the organizational body is on a volunteer base and does not have working habits on an institutional base. Contemporary art on the other hand is especially an area that new collector/ investors are entering and new galleries and exhibitions are opening. These two network initiatives are concentrating mainly on the content development and have contemporary approaches. Both of them are non-profit initiatives and try to minimize the economic speculation and marketing deformation of aesthetic production. * AICA [III] * Main objective of AICA Turkey is to bring together art, design, and culture critics, writers, editors and curators who wish to develop international cooperation in the field of arts and culture. The aims of AICA Turkey are: a. to promote art, design and culture criticism and curatorship as a discipline and to contribute to its methodology; b. to protect the professional, ethical and legal interests of art critics and curators and cooperate in defending the rights of their members; c. to ensure a permanent liaison among art critics and curators on national, regional and international level by encouraging international meetings and to establish platforms to provide continuous international communication; d. to facilitate exchange of information in the field of arts and culture at an international level; e. to contribute to mutual understanding of cultures; and f. to collaborate with art scenes of countries from the region. * ACPAI [III] * ACPAI (Association of the Contemporary Performing Arts Initiative) is a non-profit, civil initiative that brings together independent artists, theoreticians, instructors, cultural operators and academicians working in the field of contemporary performance so as to trigger a general and comprehensive process of change and transformation in the area of performing arts in Turkey. It has been formed as a civil platform in June 2005 with the aim of identifying, formulating, planning and implementing projects that will initiate this process. Later it gained a corporate identity status by establishing its own association in August 2007. The Association operates within the domain of

Dr. Gke Derviolu- gokced@bilgi.edu.tr

culture & arts in general, and in the action areas of cultural management, organization, education, research, publication / criticism, archiving and networking in particular. Meeting on a periodical basis since 2005, ACPAI aims in the long run at creating an active and steady breeding ground for itself and for its audience; establishing proper and effective conditions for the production of "works" that investigate new forms of expression and get in touch with the audience; developing and increasing the prevalence of its audience; questioning the contemporary dynamics of its own environment; being visible and making this visibility into a cultural formation; participating in the structuring and implementation processes of cultural policies at a public level; and contributing to the development of civil society. It is also a strong belief of ACPAI that the current Istanbul-centered concentration tendencies of contemporary arts practices should be disseminated so as to make room for the knowledge, recognition and practice of art forms contemporaneously taking place at different Anatolian cities and provinces as well; and that the existing operative conditions of educational structures in performing arts should immediately be acted upon and revitalized in order to meet the aesthetic requirements of the age. As a platform that favors and fosters diversity, ACPAI embraces collaborative and cooperative action in a democratic framework, engagement with the society's everyday life and agenda, and openness towards change and novelty as its fundamental values. It defines "contemporary performing arts" with reference to works that investigate new and original means of expression, disrupt existing norms and conventions of staging practices, and are of an interdisciplinary nature. Projects Accomplished: ACPAI Performing Arts Meeting 01: Oyun Atolyesi - Kadikoy (May 2007) Drama & Movement Workshops at Beyoglu Municipality's Semt Konaklari (April-June 2007) Cultural Contact with Beyoglu Municipality - Towards an Independent Arts Council (2007) Projects in Progress: DirectLink: Networking through the Arts for Intercultural Dialogue (2007 - 2008) / Project Partner Arts Education with the Roman Youth (November 2007 - May 2008) Independent Network (January - April 2008) Projects in Near Future: AcikAlan ("OpenSpace") @ santralistanbul (2008) ACPAI Performing Arts Meetings: Tours in Anatolia (2008 - 2009) * IKSV- IFCA [III] * One of the first initiatives from the business world, Istanbul Foundation for Culture and the Arts (IFCA, Best practice in Cultural Field on Festivals) has become the example of being sustainable on the scene and develop its programs from one annual festival to several festivals, biennials, alternative days and panel/discussions. Despite its leader position in the cultural scene, the institution is also often criticized for not being innovative in terms of activities and management ventures. Nevertheless, with the strongest sponsor network and relationships, IFCA is still the most important actor of Istanbul cultural life concerning mainstream events. With the developments for 2010 ECC, it also takes the responsibility of ideal representation of Istanbul abroad. IFCAs main success abroad is the Istanbul Biennial, besides the local focused activities in European cities. The last biennial with 101.000 visitors and a budget of About 2 million Euros. They have also leaded the Turkish Season which is organized in cities like Paris, Marseille, Lille, Lyon, Strasbourg, and Bordeaux. In this aspect the accumulated knowledge of IFCA in terms of working with European colleagues and presenting Turkish culture abroad is remarkable. * Design Initiative supported by Turkish Patent Agency [III] * The Ministry of Industry made a call for a Design Council in Turkey. In September 2010 this council, which consists of industrial design, graphic design and fashion design professional associations, as well as other delegates from the Ministry, the Patent Agency and Chambers of Commerce announced a Strategy Paper for the synergy efforts of various sectors and designers for creative collaborations.

Dr. Gke Derviolu- gokced@bilgi.edu.tr

*Legislative Framework [III] *

i. ii. iii. iv. General Laws [III] * Law on Intellectual Property Nr. 5846 Law on the Protection of Cultural and Natural Properties No. 2863 Law on the Evaluation, Classification and Support of Movie Films Nr.5224. Law on the Incentives for Cultural Investments and Enterprises. Nr. 5225 Law Nr. 5225 was accepted as the Law on Promotion of Cultural Investments and Initiatives on the 14 July 2004 and announced in the official gazette. The aim basically is to satisfy the need of the individual and the society in terms of cultural needs, to protect cultural elements and intangible cultural heritage, to serve for sustainable culture, to improve cultural interaction and communication, to support the production of artistic and cultural values as well as the establishment of cultural centers and management of them. The scope is tax deduction related to infrastructural investments and human resource expenditures. Unfortunately the practical procedures of the application of the law were not organized and disseminated so that the practical use is very limited. Law for the Encouragement of Tourism Nr. 2634 Law on the Establishment of the General Directorate of State Opera and Ballet Nr. 5441 Law on the Establishment of the State Theatre Nr. 5441 * Tax break laws [III] * For individuals the Income Tax Regime offers in article 39 paragraph 7 that the grants and investments in various artistic forms such as performing, visual or cultural heritage are subject to full tax deduction if the named foundation or institution is accepted by the Ministry of Culture and Tourism. For the firms, the same scope is presented under protection of Corporate Tax Regime, repeating articles 14 and 15. The VAT Law discusses the exceptional issues on education, culture and the arts in the article Nr. 17 1st paragraph.

v. vi. vii.

*Financing [III] *
The progress of the Turkish cultural policy, parallel to privatizing cultural issues especially on Anglo-Saxon territory in the beginning of 1980 (Wu, 2002), allowed for the corporate support in the middle of the 80s, and economically after the introduction of the semi-liberal economical regime following the 1982 elections with zal. So the issue of finding the necessary platform for expression was to a certain extent provided by the state, especially until the 1980s, and after the 1980s, the attention of corporate world came into presence. Elements of differentiation were no longer the only components of the marketing strategy and they became a main asset field structured by the management with a total outlook. The product or service was designed according to this field, and in fact the aim was to maximize customer participation in the process. At the same time, creativity and the field of culture and arts within which it blossomed began to be used as an advantageous tool to provide differentiation in the competitive environment. As a result of this, systems of presentation, assessment and sales developed and gained importance, and in fact, the production and consumption aspects of art drew closer. Today, supporters of and investors in art come together and socialize with artists whose careers they follow at art fairs, specially designed trips and private dinners. The new type of art patron we encounter at these events, is either an executive in the private sector, at one of the multinational companies, or an entrepreneur in charge of his/her own business, or often a company director and a second- or third-generation member of a family business now revealing a tendency to institutionalize. This might be a peculiar aspect of the Turkish bourgeoisie, the social group that evolved at the wake of the foundation of a rather young republic that refused any connection with aristocracy, which had been supporting artists in the Ottoman era. This change, which both art and business management are going through, has meant the meeting of both fields in a variety of environments and their reciprocal activation. The culture industry used to be a field containing the activities of culture and art institutions, an extension of the support given by the social state, focusing on the diversity of participation. Now culture and art are located in a far narrower field in terms of the margins of production and consumption, however the imprint of this field in the general economy is now far more comprehensive. So much so that added value, a

Dr. Gke Derviolu- gokced@bilgi.edu.tr

term used in business management and a frequently used term, and creative industry have now combined to present the creative industries as part of a viewpoint that presents art as a market economy and in fact, in the context of urban planning, adorns the integration of the two fields with examples of gentrification. As a result of this, the phenomenon of art within the institution began to be structured beyond the concept of the patron. For institutions that provide support without interfering with the autonomous production of the artists, art patronage began to be understood in a different light than individual patronage. These institutions now began to attempt the patronage of the creative field of movement that promotes the expression and freedom of the individual. Examples we had experienced like the support to the European Capital of Culture project five years in advance or becoming the sponsor of the International Istanbul Biennial for 10 years as important a strategic viewpoint cases in companies relationship with art. In addition to this, we are also witnessing the development of a professional field of social responsibility under the interdisciplinary tuition of professional graduates. Discussing the infrastructural problems one should also underline the problem of the education system on managerial issues relating to culture and the arts. The Art management departments in mainly private universities in Istanbul have been established under various faculties such as fine arts, communication; and master programs with relation to fine art and management departments. The entrance process is mainly dependent on the performance of personal interview rather than a more reliable and objective outcome of a central university examination. *Support for the arts [II] *

Milestones of Culture/Art Support in Turkey

1923 National cultural policy state support museums, cultural centers, galleries, theatres, and opera and ballet IFCA, 1973 1980

Kemalizm (1923-1938) Humanizm (1938-1946) Pluralist democracy (1946-1960) Military Regime (19801983) Liberal Islam (1990- ) EU Integration (2002- ) ECC (2008-

1980 1980 24th, Jan.. 12th, Sept.

1982

1990 Art Management departments, 1998

2002

ECC, 2005

a. Principal Companies Financing Culture * State Companies [III] * Unfortunately the official (www. sponsorluk.gov.tr) sponsorship website in Turkey is exclusively on sports. There are technical details for a sponsorship agreement or best practices. There are very view examples to receive state support in terms of financial means. The support mainly comes on international relation aspects (Culture Department- Ministry of Foreign Affairs), to confirm operational documents or allow travelling support, including visa.

Dr. Gke Derviolu- gokced@bilgi.edu.tr

Entrepreneurial actors of Garajistanbul convinced former Ministry for the Sports to grant in kind support for their air-condition system from Vakfbank and Spor Toto. * Holding Companies [III] * The arena of culture and art was shaped entirely by the state in line with the model that remained valid until the 1970s, and began gradually to transfer some of its functions to non-state institutions. The Istanbul Foundation for Culture and Arts (KSV) is in fact one of the first examples of this transformation, and continues to have a strong influence in the world of art and culture. In the beginning, personal intent and leadership qualities played a significant role in this structural transformation. However, institutionalization did eventually begin to develop parallel to the field that was still in its early stages. Being both an entrepreneur who founded his own family company on pharmaceutics in the 1940s and a dedicated supporter of arts, the interest of Dr. Nejat Eczacba in art gave birth to the stanbul Foundation for Culture and Arts (KSV); the stanbul Modern museum received great support from the Eczacba family and a group of companies, and this support given to cultural policies from outside the state was presented as the face of Modern Turkey by the state itself prior to EU negotiations. Besides, when explaining the importance attributed by the Foundation to the visual arts, Nejat Eczacba stated in 1973 that the emphasis was to revitalize thousands of years of Anatolian painting and sculpture culture that lay dormant because of the ban imposed for centuries by the Islamic religion. The priorities of KSV include understanding Western art, sharing its knowledge with the people, and supporting the project of Westernization. From 2005 onwards, private sector initiatives in art and culture increased significantly. Turkish holdings, including Eczacba who provided support to the arts as a holding since the early 70s, began to open their own museums. Already involved in promoting and cultivating awareness of the arts with the festivals it organizes, KSV began to be represented in the field of visual arts with the founding of the stanbul Modern museum; for the Ko group this interest emerged with the establishment of the Pera Museum; and the Sabanc Museum exhibited the masters of modern art and their original work, going beyond the usual trend of showing the permanent collection and calligraphy exhibitions. Founded by Vehbi Ko, an entrepreneur in the first years of the new Republic, Ko (RAM) Company is the oldest and biggest conglomerate of the Turkish economy. Although Ko has many investments in industry (especially automotive and energy) the group of companies are strategically focused on retail businesses where the other big conglomerate in Turkey, Sabanc, coming from a textile background, especially focused on industries like tires and chemistry as well as energy. Both conglomerates have financial institutions: Sabancs bank, Akbank, that plays a vital role in the sector and Yap Kredi Bank that Ko Group recently bought, a bank with an old engagement in cultural field with its publishing house and the gallery. * Public-private collaboration [III] * Beside the holding companies, Denizbank is an example as the sponsor of the State Symphony Orchestra. Multinational companies, according to their corporate culture save shares on their Corporate Social Responsibility budget for cultural activities. Since the giving culture in Turkey dictates the code that it should be done anonymously, new development in the corporate governance field makes internationally operating firms prepare CSR reports. Still culture and the arts are far behind the investment on education, health, environment and sport. On media among the CSR news only 11.4% are on culture and the arts. lker, a big group on food, now growing with international mergers started to support cinema visits for children. New media companies like Digitrk are among the stanbul festival sponsors, just like Matra and Elginkan Holding.

Dr. Gke Derviolu- gokced@bilgi.edu.tr

CSR and Environment/Health Issues Reporting Pink=Yes, Red=No Reporting * Why do they invest in Culture [III] * The research managed to access 80% of the companies that supported KSV more than once since the year 2000. 80% of these companies were major competitive companies with a turnover in excess of 60 million TL, employed more than 200 people with their market share better than their competitors at a rate of 90%. Companies find it important to create their own collections, more than half own oil paintings, and almost half hold a selection of sculptures. They concentrate more on Turkish artists, followed by artists from Western Europe and the USA. Almost all companies that took part in the research stated that they provide support in the field of music, followed by performing arts like film and theatre. The sub-fields of music include support for Classical Music at a rate of 75% both because of a more established tradition and the KSVs festivals, followed by Jazz. The first reason for companies to support the arts is prestige (86%), followed by criteria of brand recognition/awareness. The question was rephrased as a check-question and the most significant factor in the presentation of works was asked. The most important factor was Corporate Social Responsibility Awareness and activities within this scope; followed by improvement of the company image and raising public awareness. In other words, the direct relationship between corporate image and prestige and this type of support is proven with two different questions. * How do they invest in Culture [III] * The decision to organize art events is often taken by professional executives like the CEO or senior management figures like the Board of Directors or the Partners. Half the companies taking part in the research took decisions in this way, while the other half prefers that these decisions are taken by corporate communication or public relations managers. This second group is followed by art centre directors, consultants, art committees and corporate curators, employed in relation to the arts. None of the companies taking part in the research take decisions regarding the organization of activities with its employees. Again, in the selection of works to be included in corporate collections, senior management has a 48% influence, followed by the Art Committee and Corporate Communication Manager they receive support from (17%). In 53% of cases a direct relationship with the artist is formed in the purchasing process; in 24% of cases purchases are made from galleries or exhibitions. 31% of these works are exhibited at the headquarters of the company, 14% at branches, and 28% are held in storage. 14% of companies exhibit their collections in a museum. 45% of the works are owned by the company, and 17% by the artists. 90% of the companies taking part in the research stated that

Dr. Gke Derviolu- gokced@bilgi.edu.tr

they continue to provide sponsorship in the field of culture and art, 38% declared that they made donations and only 7% reported that they manage art institutions. Research reveals that culture and art centers formed in this manner cannot exist without the financial support of the mother company and can only continue to exist within various legal structures either as commercial enterprises of a foundation or often units tied to corporate communicationmarketing departments. A further aspect relates to sustaining collectorship on an institutional level, considering the work of art as an investment tool. In this field, 17% of institutions described their financial support as financial investment. Following the section with multiple-choice questions where percentage data was recorded, the similarity between corporate support to arts and culture was examined with a measurement tool used in the field of strategy in order to determine whether these corporations can be grouped in terms of their support. As a result, the financial category was renamed finance-and product-focused, and the customer-focused category was renamed customer, image, prestige and brand value. Two other categories include ethical values, contribution to society and education and team-work. In other words, this classification was used to define the main components of the support of companies to culture and art. In the groups that emerged, 18 companies established a relationship between corporate management, training, corporate culture and culture and art investments; 16 established a relationship between customer, image, prestige and brand value and their support; 12 established a relationship between financial contribution and quality and culture and art support; and 12 companies considered the support beneficial for team work. Taking into account the generally positive economic situation in 2008, the year the research was conducted, it would be accurate to say that support for the arts stemmed from an effort to communicate with the outside. In recent times, in the picture that has emerged with the severance or reduction especially of marketing and promotion budgets because of the economic crisis, it can be observed that companies that genuinely attribute strategic importance to the topic continue their support. As of budgets, we implicitly know that sponsors like Eczacba or Borusan invest around 10 Million dollars yearly for their cultural institutions like IKSV or BKM. The main sponsorship budget for the Koc Holding in the Istanbul Biennial for 10 years (5 times) is pronounced by the expert as 1, 5 million dollars. * System [III] * Thus, corporate support unfortunately focus on sponsorship and see most of the cultural events as a major tool for their holistic marketing approach for the young population in Turkey; meanwhile, the above mentioned creative class has become the second choice for the artist who prefers to collaborate with European partners and gain visibility in Europe through international projects. Because of the lack of state and local authority support, artists easily state that over the 5 year period they have a stronger visibility and reputation in many European cities other than Istanbul, mainly on contemporary art presence both on visual and contemporary arts. This shift in the major players of support mechanism evolved with the candidate state status of Turkey in the European Union. EU grants allow the artists intercultural dialogue and experience sharing in the international projects. While enlargement negotiations were going on, debates about its cultural impact explored much broader topics and included discussions about national identity, the position of national cultures in the common European space, cultural cooperation within the EU and beyond, and other issues such as linguistic diversity, social cohesion, cultural diversity, intercultural communication and dialogue. The crucial question common to the entire cultural sector is that of democracy and freedom of expression. The role of cultural policy is to create the space for different types of cultural expression, which may not play to a global market. While in developed countries with the tradition of a social state, initiatives are undertaken by state bodies, such as the Dutch example of Cultural Governance; governmental support on art issues in Turkey such as movie production supports are not transparent so that the system encourages the artist to take the initiative to apply for a support with the paperwork that the artist has to deal with in order to bring his/her work. Especially with the lacking qualities of a social state and clearness on Cultural Policy issues, corporate supports and sponsorships became a vital field where artists found their so called independent place for expression. The vital support proved at the end not to be the most independent platform since it is somehow strategically managed by the mission and vision of the sponsored company.

Dr. Gke Derviolu- gokced@bilgi.edu.tr

*Cultural Promotion and Bridging Programs [II] *

Initiatives [III] * Pist, Apartment Project, Hafriyat, KARAKY, Ttn Deposu, Outlet, BAS, 5533, Daire Sanat, BMSuma, NON, Altdan Sonra, Kargart , Sanatorium, Mtaar, Hangar, CUMA Didem zbek, http://www.pist.org.tr/, Selda Asal http://www.apartmentproject.com/ http://www.berlinerpool.de/istanbul-off-spaces/en/hafriyat.htm http://www.anadolukultur.com/tr/depo.asp?kategori=16 Azra Tznolu, http://outlet-istanbul.blogspot.com/, Banu Cennetolu, http://www.banucennetoglu.com/ , www.b-a-s.info Marcus Graf, Volkan Aslan http://imc5533.blogspot.com/ Selin Sl, http://www.dairesanat.com Nilfer Slner, http://www.bmsuma.com/, Derya Demir , http://galerinon.com/, Nilgn Kurt, http://www.altidansonra.com/, http://www.kargart.org/index.aspx, www.sanatorium.com.tr, Erkin Gren http://www.mtaar.org/, http://www.hangar.org.tr Esra A.Aysun, http://www.c-u-m-a.org/

In the last 5-6 years a lot of art initiatives emerged and obviously acquired grants or sponsorship in order to sustain, most of them are legally a non-profit organization but there are a few of them which are in the status of a gallery and thus a commercial structure. There are more commercial actors like Galerist, x-ist in the visual arts arena, which are founded by young entrepreneurs and are active in international art market or semi- profit oriented structures in the performing arts arena like Garajistanbul or DOT, which are mainly sponsored by the other income resources of the founding artists/actors (like TV productions, serials). Galerist and x-ist are count as the main participants of the huge art marketing events locally like Contemporary Istanbul and internationally like Art Basel compared to the old galleries. The above listed initiatives are dependent on one or more artists or art managers and serve more the avant-garde rather than the mainstream. They have international access/contact since most of the initiators have an international background, being student, living abroad, serving as contact point or being a foreign artist/researcher in residence in Turkey. Most of them have excelled in writing project proposals previously for EU projects and recently for 2010 projects. Since the Director of the Visual Arts department is ECOC Agency is one of them (Beral Madra) she served for international appearance of some initiatives in various activities. Still the initiatives face a lot of different kinds of problems depending on which way they rather choose. For the ones who want to serve independently the agenda mainly consist of writing applications for projects or seeking ad hoc sponsors, setting a managerial system to overcome travelling restrictions of the artist in collaboration (the visa is still a very important barrier since most of the artists are self employed and not in position to present income statements as required by visa department- there are restricted culture visas mainly for the participants of conferences or international projects) or the custom problems for the artwork. (Last year both IKSV and BM Suma experienced difficulties- Some Biennial work stuck in the customs and some exhibition work for Suma had experienced a flow in the customs depot). There are still many steps to be taken in order to allow mobilization for the artist and artwork as well as regulations for the decrease of the bureaucracy and improvement of the infrastructure. While there are rather tangible concerns sociologically the new emerging bodies experience some resistance. The new emerging rather avant-garde galleries especially located in the rather nor preferred center of Istiklal (like NON or Outlet are located in Bogazkesen) are very recently attacked by their inhabitant neighbors. (On the 21st September, 2010) The discussion is mainly on the conservative agenda but a lot of people underline gentrification issue related with the changing use of the place and the rise of the real estate market. Dr. Gke Derviolu- gokced@bilgi.edu.tr

* European Cultural Association [III] * European Cultural Association (Avrupa Kltr Dernei) is an independent non-profit NGO based in Istanbul aiming at strengthening cultural communication, cooperation and exchange at local national and international levels for raising cultural awareness and development of the society. European Cultural Association has been established in March 2003 by individual members of diverse professions who give great importance to the roles of culture within the society. Since its establishment, European Cultural Association has been dealing with the issues of cultural management and policies and focusing on strengthening the role of the non-profit, independent cultural actors within the sector by networking among themselves, by means of creating links with other disciplines and sectors; building international links, integrating into European networks, producing and exchanging knowledge as well as advocating. The tools to achieve those objectives are meetings, conferences, seminars, and forums, artistic, cultural and educational projects. European Cultural Association has lead in 2003 the foundation of a platform of cultural representatives of the European countries in Istanbul, namely Europist Multinational Cooperation Platform aiming to develop and implement joint projects with European perspective in collaboration with Turkish organizations and institutions. The platform which has developed several projects with European Cultural Association still meets regularly. In October 2010 ECA is organizing a cultural policy discussion opportunity with the contribution of businessmen, Turkish Industrialist and Business People Association under the sponsorship of a European parliament working group. * Anadolu Kltr [III] * Anadolu Kltr organizes and diffuses exhibitions, film showings, theater productions, concerts, and poetry readings as part of its program for the sharing and diffusing cultural activity. Seminars, workshops and support provided for various activities make it possible for artists from many different disciplines to interact and share their knowledge, facilitating and furthering artistic production in a wider geography. Many programs are multicultural and multidisciplinary. Most are made possible through cooperation with a wide range of institutions. Beside cinema, literature (especially in established Diyarbakir Art Center), photography, contemporary art (see initiatives Ttn Deposu), performing arts (theatre, dance and music) and protection of cultural heritage, Anadolu Kltr designs programs targeting populations who have already been victimized through the unequal distribution of economic resources in order to prevent their further victimization through lack of access to social, cultural and artistic resources. By addressing issues that disproportionately affect women, children, youth, minorities and low income groups; it strives to expand civic space where different social strata and groups can take part and produce. Anadolu Kltr is a partner of the Invisible Cities project sponsored by MATRA fund.

*International Cooperation [II] *

International Cooperation aspects not only focus on Turkey. Turkey is located in a hub for international networking in the region and has pioneer characteristics in terms of cultural scene and cultural management expertise. The Black Sea academy with the support of ECF, European Cultural Foundation or Arts Management Support program with the Open Society fund or Chrest Foundation support for regional projects or programs (mostly education, ToT etc.) are available. The collaborative projects especially on cultural policy issues are supported mainly by the Dutch institutions. For sure the MATRA support received in 2008 for the project invisible cities established strong connections between ECF, Boekmanstichting, Bilgi University and Anadolu Kltr as well as IFCA. After the start of the cultural policy research in three cities the suggestion to European Council for the alternative report on compendium studies for Turkey emerged and the research gained importance. An important part of the MATRA project, establishing a Center on Cultural Management and Policy, was recently accepted by the Turkish Higher Education Council and research on various related subjects will continue. In the framework of this project another city beside Istanbul celebrated an alternative ECOC, Canakkale used means for supporting various activities with the support of arts managers from Istanbul.

Dr. Gke Derviolu- gokced@bilgi.edu.tr

From the press brief on MATRA: 05.06.2008 Launch of Invisible Cities: Building Capacities for Local Cultural Policy Transformation in Turkey Cultural policy is a relatively unknown, under-researched but emergent field in Turkey. Previously realized pilot action has shown a prevailing lack of in-depth knowledge and understanding of how cultural policies processes work. The project consortium has identified a serious gap between the capacity and the knowledge in cultural policy and cultural management in Turkey. Therefore the awareness on the importance of cultural policy development and cultural management and to improve the participation of civil society in every stage of local cultural policy development shall be promoted through this project. The cultural sector, which to date mainly resides in Istanbul, is weak due to lack of research and accumulation on cultural policy and management. The limited higher education programs on culture, lack of recognition for culture as an economic value, and lack of networking within the country and between Turkey and abroad underline the importance of encouraging collaborative and multidisciplinary projects with regional and/or international dimensions for strengthening the capacity of the cultural sector in the country. Finally, there are very few materials which exist in Turkey describing the cultural policy framework or offering information about approaches in other countries. The project consortium will tackle these issues with the following project actions planned until 2010: Establishment of a Culture Resource Centre (+ Cultural Policy Library) + Trainings for library staff & positioning new established centre in Turkey and abroad; Publication of Academic Yearbooks/Reviews + 'Handbook Local Cultural Policy Development for Turkish Cities'; Preparation of an Independent Status Report Cultural Policy in Turkey; Setting up 3 local cultural policy development task-forces in Kars, anakkale, Antakya and establishing them as information resource point and local action group; Capacity Building Training Series & realization of local cultural development projects by training participants in Kars, anakkale, Antakya (learning by doing); Debates on local cultural policy action in 3 cities resulting in a joint agreed action plan for culture; Project Closing Conference & Debate: 'A Road Map for Cultural Policy Development in Turkey' *Recommendations [II] * It is obvious that the know-how in cultural management, governance and policy projects in the Netherlands are very well developed. The transfer of these projects is only possible if the duration of common interest is not very short and enables the parties also to see the week parts of the project partner and the solve the problems together. Turkish way of business might sound too optimistic (everyone says OK for the first time and when it comes to realize project, the other partner might find him/herself abused/neglected). Young generation in this interdisciplinary field is growing with international project; planning and outcome focused orientation and has opportunity to experience the practical issues through Erasmus programs (Erasmus Mundus included) or internships. To see the yearly agenda of Dutch Consulate Cultural Department gives us the information that especially the cultural and creative scene in Istanbul is very well searched and the budget is well distributed. The week part in the relationship is that there is no Dutch school in Istanbul where the alumnus is natural supporter and knower of this culture. Speaking the language is never an important issue when it comes to Dutch groups since everybody has very good command of English. But for sure language is an important element of culture and the Turks born and lived in the Netherlands are not the right audience as intermediators since they have developed their own culture. In this aspect I strongly believe the long tradition of working together will serve for alliance. For the 400the year organization there will be obviously support for the project underlining the common past and contemporary collaborations. But what will be very beneficial is to create an understanding for further collaborations relying on the core competencies of the Netherlands. Dutch design, an opportunity to search for industry projects will be of great importance for a country like Turkey where the intangible assets like design and brand gains of importance after losing the competition on cost to China. Artist in residence program or grants for Turkish artist will enable Turkish artist to understand Dutch way of producing and sustaining since they have to do other jobs for survival now. Since the celebration has a diplomatic point of view allowing an artist visa though Schengen might be another huge support for the mobility

Dr. Gke Derviolu- gokced@bilgi.edu.tr

and visibility of Turkish artists. Finally the tracking system for the efforts on creative industries will be tangible sources for reliable investment. A developed country like Netherland could with the reliable resource reinforce its entrepreneurial interested to invest in Turkey with Turkish partners and use the incentives Turkish government offers for FDI. In that way the know how will meet with the young generation, considerable affordable human resource and a platform easy to try to innovate.

Number of visitors to the museums and ruins - Number of visitors Museums Paying Year 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 General Total 10 877 754 13 458 575 17 971 247 17 269 739 15 765 033 16 464 956 19 663 014 16 086 050 18 023 618 22 736 238 Total 5 582 917 6 892 655 8 133 473 7 471 612 8 048 909 7 742 421 11 118 920 9 229 429 11 936 591 12 422 148 fee 2 771 142 3 694 715 4 681 690 4 027 478 4 233 242 4 439 746 7 983 782 5 240 374 7 508 200 7 920 236 Free 2 811 775 3 197 940 3 451 783 3 444 134 3 815 667 3 302 675 3 135 138 3 989 055 4 428 391 4 501 912 Total 5 294 837 6 565 920 9 837 774 9 798 127 7 716 124 8 722 535 8 544 094 6 856 621 6 087 027 10 314 090 Ruins Paying fee 4 184 947 5 330 747 8 387 719 7 419 883 6 414 138 7 345 325 7 228 622 5 135 606 4 603 752 7 902 935 Free 1 109 890 1 235 173 1 450 055 2 378 244 1 301 986 1 377 210 1 315 472 1 721 015 1 483 275 2 411 155

Source: General Directorate of Cultural Heritage and Museum

Number of personnel, registered members and persons benefiting from the library by kinds of libraries A. Number of persons benefiting from the library B. Number of registered members C. Number of library personnel Kinds of libraries National Library Yl-Year 1999 2000 2001 2002 A 447 568 271 333 231 257 297 349 B 21 239 C 204 205 193 178 A 20 898 473 19 975 215 20 964 172 20 179 482 Public libraries B 406 169 387 572 508 133 424 493 C 3 310 2 963 2 829 3 445 University libraries A B 717 256 C 3 780

Dr. Gke Derviolu- gokced@bilgi.edu.tr

2003 2004 2005 2006 2007 2008

391 413 662 202 445 702 303 384 408 690 468.301

16.132 14.644 12.575 8.400 14.632 13.625

167 177 191 196 182 209

17.827.177 20.516.562 20.706.526 21 138 821 20 228 517 19.034.750

422 760 418.067 426.351 485 216 493 596 503.961

3.134 2.955 2.924 3 055 3 045 3 014

650.365 905.732 1 158 912 1.119.258 1.104.177 1.273.418

3.090 3.057 3 431 3 421 3 729 3.433

Source : Presidency of National Library, General Directorate of LBraries and Publications and Rectorates of Universities.

Kind of periodicals

Total

Local

Regional

National

Total

2005 2006 2007 2008 2009

1 616 814 401 2 350 342 564 2 470 702 599 2 665 434 454 2 266 917 287 1 530 275 540 2 240 851 025 2 341 577 955 2 550 125 909 2 139 981 977 86 538 861 109 491 539 129 124 644 115 308 545 126 935 310

266 978 219 283 695 135 349 511 290 383 881 803 350 602 060 252 884 222 267 910 951 326 759 547 363 258 695 326 925 950 14 093 997 15 784 184 22 751 743 20 623 108 23 676 110

16,5 12,1 14,1 14,4 15,5 16,5 12,0 14,0 14,2 15,3 16,3 14,4 17,6 17,9 18,7

41 291 794 60 569 650 79 719 493 43 289 987 55 432 029 38 931 906 57 701 132 75 892 636 39 782 116 51 737 336 2 359 888 2 868 518 3 826 857 3 507 871 3 694 693

2,6 2,6 3,2 1,6 2,5 2,6 2,6 3,2 1,6 2,4 2,7 2,6 3,0 3,0 2,9

1 308 544 388 2 006 077 779 2 041 471 816 2 238 262 664 1 860 883 198 1 238 459 412 1 915 238 942 1 938 925 772 2 147 085 098 1 761 318 691 70 084 976 90 838 837 102 546 044 91 177 566 99 564 507

80,9 85,3 82,6 84,0 82,1 80,9 85,5 82,8 84,2 82,3 81,0 83,0 79,4 79,1 78,4

Newspapers

2005 2006 2007 2008 2009

Magazines

2005 2006 2007 2008 2009

Source: News paper and magazine enterprises

Number of theater halls, shows and attendances by season year Number of Season years 1998-1999 1999-2000 halls 100 108 Total 522 735 Number of shows Original 388 547 Translated 134 188 Total 2 792 839 3 746 162 Attendances Original 1 976 647 2 376 066 Translated 816 192 1 370 096

Dr. Gke Derviolu- gokced@bilgi.edu.tr

2000-2001 2001-2002 2002-2003 2003-2004 2004-2005 2005-2006 2006-2007 2007-2008

99 102 97 115 123 112 130 204

630 713 898 977 1 177 608 848 2 122

376 460 632 674 1 002 448 607 1 818

254 253 266 303 175 160 241 304

2 570 120 2 634 841 2 758 206 2 567 491 2 716 251 2 161 537 2 419 262 3 380 214

1 554 886 1 666 463 1 809 068 1 787 714 2 110 523 1 519 852 1 701 291 2 466 373

1 015 234 968 378 949 138 779 777 605 728 641 685 717 971 913 841

Source : Directorates of Theaters Through the General Directorate of State Theaters, Municipalities, Directorates of official and private theaters

Number of shows Number of opera and ballet halls

Number of performances

Number of attendances

Year

Seating capacity

Total

National

Foreign

Total

National

Foreign

Total

Citizens

Foreigners

1999 2000 2001 2002 2003 2004 2005 2006 2007 2008

6 6 6 5 5 5 5 5 7 10

3474 3 474 4 391 3 897 3 850 4 264 3 850 3 860 3 834 5.879

80 94 95 98 135 144 199 189 84 203

24 24 23 20 45 58 70 85 33 143

56 70 72 78 90 86 129 104 51 60

397 470 489 472 589 397 635 531 289 650

92 100 113 60 228 183 242 268 90 346

305 370 376 412 361 214 393 263 199 304

248413 258 547 207 360 165 154 273 271 457 717 252 076 245 448 451 271 325.364

45938 110 410 47 839 18 477 100 054 31 666 76 046 89 540 121 924 120.997

200475 148 137 159 521 146 677 173 217 426 051 176 030 155 908 329 347 204.367

Source: General Directorate of State Opera and Ballet

Number of movie houses, pictures shown and attendances Number of pictures shown Number of Year 1999 2000 2001 2002 2003 movie houses 516 606 580 532 826 Total 21 575 24 096 25 608 22 529 21 254 National production 4 364 4 733 5 042 3 302 3 351 Foreign production 17 211 19 363 20 566 19 227 17 903 Total 15 329 132 17 086 152 16 905 737 15 406 597 14 503 052 Attendances National production 2 097 503 2 899 103 3 289 438 2 079 671 2 923 286 Foreign production 13 231 629 14 187 049 13 616 299 13 326 926 11 579 766

Dr. Gke Derviolu- gokced@bilgi.edu.tr

2004 2005 2006 2007 2008

822 987 1 045 1 140 1 514

26 398 25 076 25 297 28 733 32 003

4 989 5 671 6 829 8 340 9 455

21 409 19 405 18 468 20 393 22 548

18 670 834 18 001 466 23 512 599 20 659 569 31 132 231

6 657 156 6 795 791 10 838 617 7 712 626 16 166 153

12 013 678 11 205 675 12 673 982 12 946 943 14 966 078

Source: Directorates of move-houses

Type of activity Total Cultural activities Internet and computer use Entertainment Eating and other personal care Employment Study Household and family care Voluntary work and meetings Social life Sports and outdoor activities Hobbies and games Travel Sleep

Total 100 10,1 0,5 1 11,1 11,2 1,4 12,8 3,2 7,3 0,5 0,5 4,8 35,6

Male 100 10,4 0,9 1,4 11,4 18,1 1,5 3,6 2,6 6,7 0,7 0,9 6,5 35,3

Female 100 9,7 0,2 0,6 10,9 4,6 1,3 21,5 3,8 7,8 0,2 0,1 3,3 35,8

Source: Time Use Survey, 2006 Note. Cultural activities covers mass media (1) Art & computer & internet use excluded.

Percentage of the duration of activities by core domains, 2006 15 years old & over (%) Core domains Culture Audio-visual media Total 100 91,3 Male 100 90,2 Female 100 92,5

Dr. Gke Derviolu- gokced@bilgi.edu.tr

Going to the cinema Listening to the radio Watching television Watching video Listening to music Press and books Reading newspapers etc. Reading books etc. Performing arts Other cultural domains Internet and computer use Internet use Computer use Entertainment Walking and hiking Going to park etc. Going to picnic and outdoor activities Going to bar, disco, tavern etc.

0,7 1,3 87,4 0,6 1,4 7,7 3,7 4,1 0,6 0,3 100 54,8 45,2 100 69 13,9 10,1 7

0,7 1,1 86,4 0,6 1,4 9 5,3 3,7 0,5 0,2 100 53,2 46,8 100 72,4 12,5 7,5

0,8 1,5 88,3 0,5 1,4 6,4 2 4,4 0,7 0,4 100 60,9 39,1 100 61,3 16,9 16,2

7,6 5,6 Source: Time Use Survey, 2006

Dr. Gke Derviolu- gokced@bilgi.edu.tr