Mr President, ladies and gentlemen rapporteurs, ladies and gentlemen,

In Cru et le cuit, the great anthropologist Claude Lévi-Strauss says:
The scientist is not the man who provides the true answers, it is the one
who asks the real questions”. That’s why I have to
answer the real questions you have raised and the legitimate
questions that emerged when reading the credits of the mission
Culture» included in the 2011 Finance Bill. Everyone knows in this
Parliament how our budgetary environment is particularly
here, each one measures how strong the constraints weighing
on the state budget. Nevertheless I want to say that I strongly
committed to preserving this “cultural state” that is sometimes criticized here, often
admired in Europe and the world. This development policy
Under the impulse of illustrious men, together with the
of anonymous and dedicated personalities, yet it was born from
patient building a system that draws on the collective memory
energy needed to adapt to the contemporary world. A
my eyes do not go without the other: there is no ambitious project without a
shared memory, it is not good management without a clear vision of
the future.
The Culture Mission budget for 2011 is a consolidated budget,
it is a budget preserved, it is also a budget that allows us to
our cultural ambition and give substance to the new priorities of action
of my Department. It is indeed slightly increasing, from 1.1% to 2.7
billion - excluding appropriations from the parliamentary reserve and before the
transfers. It’s a consolidated budget, for example, for other
Member States of the Union which have chosen to cut, sometimes massively,
in the budgets of the Culture to face the crisis of their finances
public. We will be able to pursue the major
The European Council welcomes the Commission’s proposal for a Council Directive on the environment.
Some will say that this is a complicated budget. I want to lift all the
questions on this subject. In the context of reflection on its missions and in
the framework for the reform of the central administration, my Ministry
book, cultural industries and the media. I
strongly support this choice: the “new frontier” of books and
publishing is the digital book, it’s the increased book. The
The consequences of globalisation and digitalisation are considerable
for all these sectors: it was important to adapt our system to
major transformation. The creation of the
media and cultural industries - one of the three main directions of
my Department - is also part of this strong and
cultural industries. Certainly, the model
The European Parliament’s Committee on
should be stabilized for a number of years. Let me
now to present in more detail the appropriations of the
Culture” and answer questions raised by rapporteurs and
the speakers.
Budget 2011 will continue the policy of enhancing all
the heritages
The Wealth program, first of all, will increase by 1.6%,
EUR 868 million. Through their capacity to enhance
the territories and create jobs, the emphasis has been on
decentralized to the regions.
In accordance with the commitment of the President of the Republic, the
Historical monuments benefit next year from means
renewed from 2010, with a budget of $375 million, if
account for the $10 million from the online gaming tax
Center of National Monuments. On this renewed envelope, I hold
It should be stressed that the share allocated to the regions is increasing by 3%.
I know that some of you feel that this budget is insufficient.
The last €25 million of the Recovery Plan disbursed in 2010
indeed not been consolidated at PLF 2011. But allow me, Ladies
and Members, to stress that this envelope is important
current state of public finances. There are a few
years, funds allocated to the restoration of historic monuments
were around 300 million euros per year. So this is a
Government’s clear commitment to our monuments and
our heritage, which I will never stop saying is a
living wealth for our economy, for our attractiveness, but also a
smart investment for tomorrow. Maintaining today is also
invest to have less to restore tomorrow.
In addition, the effort made in favour of Historical Monuments
in 2011 to reach 53% of the State-owned
Monumental Heritage Action Credits. These are evidence of a
strong commitment and economic and tourism ambition to the attention
of local authorities.
This focus on territorial development, you will find it for
museums, with a budget increase of $26 million to 372
million. The Museums Plan itself can be supported in 2011
out of the planned 70 million up to 2013. This plan will
projects to renovate, expand or even build the
79 establishments of a very different nature spread over the whole
territory, including the overseas territories. In this scheme, the State fully
an incentive role: it is a question of creating a favourable leverage effect for development
the attractiveness of our regions. I know, Michel Herbillon,
that you attach great value to the criteria that have been selected for the
selection of establishments by the Directorate-General for Heritage.
Know that precise and rigorous criteria have been chosen: the quality of the
scientific and cultural project, territorial development, ambition
architectural scope renovation or construction projects, finally
balance in the types of eligible museums - fine arts museums,
museums, history museums. It is not a question of sprinkling or
disperse our action but promote the rebalancing of the offer
between territories and develop a strategic ambition, in
a renewed dialogue between the State and local authorities. At the dawn of the 21st century
to offer everyone, in each territory, a share of a heritage
must be a renewed ambition for my ministry. A forest does not
can grow harmoniously regardless of vitality and
diversity of its species: there can be no museum without creating a
«museum desire», there can be no spectator for our great places
cultural institutions without an “educated eye”.
That is the whole point of my action in this area.
In addition, the General Public Policy Review (GPPR) has
led to a 5% reduction in operating subsidies for large
public institutions. However, the National Museums Meeting, the
Louvre, Musée d'Orsay, Centre Pompidou, Musée du Quai Branly
remain and must remain the major players in our policy
the flagships of our cultural system. Their funds
are preserved, their multi-year investment capacity
is maintained, and their international influence is strengthened. I know that Mr.
rapporteur Nicolas Perruchot and MP Michel Herbillon
on the ongoing merger between the NMR and the Grand Palais. I want to tell them
that the decree will be submitted to the Council of State in the coming days to
creation of the new public institution on 1 January 2011. In terms of
of these large institutions, I know that
Mr. Nicolas Perruchot, rapporteur, has been heavily involved in the
reflection on the outsourcing of certain functions. Know that in the
GPPR framework, work is underway on this. If the example of the
Quai Branly can be imitated in a number of cases, it cannot
be a universal model: its transposition is neither generalizable nor
desirable. On the other hand, the outsourcing of certain functions
are not at the core of cultural action professions can be considered.
In order to do this, we have to be tailor-made, we have to act on the
case: in a field that involves the conditions of exercise of women and
men working in institutions and services
depending on my ministry, I would always prefer «the spirit of finesse»
to the “spirit of geometry” (Blaise Pascal).
Among the major emblematic projects that this 2011 budget allows to
I will of course mention the Museum of European Civilizations and
Mediterranean de Marseille (MUCEM). 30 million euro will be
dedicated next year to the landscaping of the Fort
Saint-Jean and the realization of the architectural project of Rudy Ricciotti. We
are on track to allow MUCEM to open its doors to
2013, when Marseille-Provence will be the European capital of the
culture. In Paris, at the same time, the Museum’s renovation programme
Picasso will be launched in 2011. These two real estate projects are
emblematic of the department’s major project policy that I pursue:
they contribute to the architectural excellence of our country, they
are a showcase and a vector of radiation for creation
Also in Paris, the Maison d'Histoire de France is one of the great
cultural projects that will benefit from credits made available by this
budget, notably for the opening of the gardens of the Rohan-
Soubise to the public and the exhibition of prefiguration at the end of 2011.
It is a great project desired by the President of the Republic. It allows
to breathe new life into 9 national museums whose collections are
exceptional. More than a museum, it will be a House, that is to say a
network open to the research community, to the
historians, open to the many museums of history present in the region but
also to European museums. This house of the History of France will also
place of dissemination of research and knowledge, in other words
a natural link between history and the general public.
At the same time, the archives budget of 66 million euros, we
Meet the Archives Centre construction schedule
Pierrefitte: the delivery of the building of Massimiliano Fuksas is planned
for the end of the year, with an opening to the public in 2012. This will be the
the largest and most modern archive centre in Europe. I want to
highlight the fact that a special effort has also been made in favour of
archives centres in the regions, which benefit from an envelope of 7.5
million. This budget reflects a great ambition for our archives,
these places that are the memory of the Nation, these places that are also the
translation of a certain idea of the State and the law, these places finally which are
heart of the subtle link between the singular and the universal.
You can see, ladies and gentlemen, the concept of
Heritage - plural - is in turn significant: heritage is not
not frozen, it is open to the dynamics of society, it shapes and
built in the present. Rural heritage – fountains, halls, washhouses -
real estate, including major industrial sites, but
also the French language and the languages of France, the heritages are
a living wealth. They have been bequeathed to us by those who are
it is up to us to pass them on to future generations, in
having in mind that they have a memorial and universal value. I know that
Rapporteur Boulestin questions the length and complexity
the inscription of the sites to the UNESCO World Heritage. I agree
The European Parliament’s Committee on the Environment, Public Health and Consumer Protection considers that the procedure is not the fastest and easiest.
I also hope that the monitoring of shared management between the State and
local authorities be improved: it is the meaning of the management charter that
was signed with the Ministry of Ecology on 20 September.
But let me say that 35 French sites are already
Albi, whose tourist attendance has been boosted by
this registration. 3 files are currently being followed with a large
attention by my Ministry: the work of Le Corbusier, the Causses and the
Cévennes – cultural landscapes – finally the mining basins of the
north. At the intersection of local, national and international, management
World Heritage sites encourage us to “think globally” and “act
local» - to use the famous formula of René Dubos. It is
heart of my ambition for the Ministry of Culture and
The Creation programme aims to preserve the diversity and quality of
live performance
For its part, the budget for Creation is up by 13
million, now totaling €736 million, or
increase of 1.8%. On this envelope, the live show, which
account for 90% of this total amount, see its appropriations practically
stabilized. The major effort on the budget of the plastic arts aims, as for
to implement the renovation work of the Palais de Tokyo.
As regards the performing arts, the renewal of the
A total of 276 million euros represents, I want to
recall, a victory, a great victory - if we will remember
a few months ago, there was talk of reducing these appropriations
intervention of 10%. This is the mark of a continued commitment to
the creation and emergence of young creators. The
grants to major institutions dedicated to the creation and
the dissemination of dance, music, theatre, street and
circus, are generally renewed, because the financial structures of
these institutions often remain fragile.
I am well aware, Mr. Dell'Agnola, that this stabilization is
lower than inflation. 2011 will therefore also be a decisive year for
the reform of the performing arts sector and for the implementation of
Valois Talks. I also measure your
concerns on the issue of Entertainment Leave. The Government
has effectively made the choice to preserve the pooling system of
shows but by deeply renovating it and transferring its
management at Audiens. This decision was made after careful consideration: they
integrate both the concerns raised by your rapporteur, but
the legitimate attachment of employees to the maintenance of mutualisation.
It is in this renovated setting that we can bring all the
simplifications and needed improvements. Please know that my Department
and the Ministry of Labour are actively working to achieve
tighter deadlines.
I also share the concern expressed in your
report on a broader reflection on the simplification of
Show reporting procedures for small businesses
in the form of a “single window” or a “service employment title”
The one-stop shop now in effect in the show, the
Guso, applies only to employers whose main activity
is not the show: individuals, cafes restaurants, committees
the holidays. I think it’s time to give small businesses a break
the sector of simplified devices: wealth and diversity are at stake
the proposed range of shows.
More generally, whether it is the labels or the operation of the
committees of experts, accompanying the transformation is a necessity to the
both for the State, for operators and for establishments in the
framework for responsible dialogue. In a European landscape
evolution, not to transform the panorama of creation today, this
would jeopardize tomorrow’s forms of expression.
Last area of concern for a number of you, I
would like to address the issue of the Philharmonie de Paris. Please know that I
is still a strong supporter of this wonderful project. I hope
coming back to see you soon, on this subject, with a plan of
approved funding for work to finally begin.
I would also like to mention the envelope devoted to the plastic arts.
It experienced a strong increase for 2011, from 57 to 74 million euros. This
increase is mainly due to the start of the renovation project
lower spaces of the Palais de Tokyo, which will be totally
dedicated to contemporary art and will open to the public in spring 2012.
Artistic creation will thus benefit from an internationally recognized tool that
will allow it to cover its entire spectrum, emerging talents
artists, especially those from the French scene. This
will be an important element for the attractiveness of Paris in a
increasingly globalized art market. The choice was made of a structure
a simplified joint-stock company whose articles of association will be
tabled in the coming weeks. I know that the hon. member
Marland-Militello wonders about this new demonstration of the
Parisian centralism: the Palais de Tokyo will be a «network leader» who
promote the circulation and dissemination of works throughout the
territory, in contact with all the actors: FRAC, Art Centres,
The plastic arts budget was designed to ensure that
the development of our network of institutions in the regions:
Marseille, Besançon, Bordeaux, Rennes and Orléans,
several Regional Funds for Contemporary Art (FRAC) are going
move to new premises, which requires a special effort
investments. The allocations available to the FRAC for 2011
increase by 1 million euros. This is the translation of a
voluntarism and ambition for our cultural policy. I could
to say “our cultural policy in the regions” would be a truism and
it would be reductive. Because it’s national cultural policy and
and, first, when it comes to
promote all actors in the contemporary art system, but
also to strengthen and preserve this «desire for art» without which our
brilliant new generation of French artists might not be the
This is why the transmission of knowledge and the democratization of the
culture are at the heart of my priorities: this is the ambition I have of the
“Culture for everyone”
Develop access to culture for audiences who are far from it,
revitalize the social bond by developing cultural practices that
promote diversity, train future creators and future artists, and
my sense of strengthening the role of education in all its dimensions is
also participate in the recasting of our «republican pact» around
cultural practices, it is finally to restore a meaning to the values of living
together”. This is the ambition of the “Transmission of
knowledge and democratization of culture”, whose 2011 budget will amount to
€1068 million, including staff credits. This
envelope will allow us to preserve our systems in favour of
most distant from the cultural offer: neighbourhoods, people
disabled persons, or rural and ultra-marine territories.
The slight decrease of 2%, excluding the parliamentary reserve, experienced by the
programme is mainly due to the fact that part of the action
cultural and artistic education, until then taken into account in
program itself, will now be charged directly by the
CNC. I want to be clear, rapporteur Bouillé: there is no
reduction in funding for cultural action on this programme, the
will even have more than 3 million additional euros in 2011 for the
regions as part of the DRAC cultural action. I also want to
tell you that credits for arts education and international action
now managed by the CNC will be explicitly flagged on these actions,
in accordance with the objectives defined by my Department.
I would like to point out that the budget for education
will be largely preserved. Whether it’s the schools,
architecture, fine arts schools and FEMIS, the
operating appropriations may be updated and the appropriations
investments will be increased. Renovations to the
can also be continued - I am thinking in particular of the Schools
architecture of Strasbourg and Clermont or at the Ecole Nationale
of Fine Arts. I would also like to remind you that the
teachers are protected, since the rule of nonreplacement
every second retirement will not apply in
this sector.
Finally, I would like to discuss with you in particular education
cultural and artistic. I am convinced of its importance in
the construction of the sensitivity of the individual but also in the formation
of the citizen. For there can be no access to culture without
appropriation of works by the public: it is constantly necessary to educate, the
to train and arouse curiosity. It is a work of Sisyphus, it is a labor
always started over, but it’s a necessary job. I wrote it down,
Mrs Bouillé, let your report mention the difficulties
met with the Ministry of National Education in the deployment
from arts history teaching to school. I want to tell you my
feeling: a milestone has been reached, a cultural change has been imposed:
we can no longer go back. The dissemination of a teaching
history of the arts at all school levels is now a reality: it
since 2008 in primary school, since 2009 in secondary school, and finally since
back to high school. In addition, each project of primary and
must now include a cultural component. Finally,
the success of the Portal histoire des, which is
visited by more than 1,500 Internet users per day and the echo
operations like «Ciné-lycées», a real window on our admirable
film heritage, true education in the image and
seventh art.
I wanted, as you know, to give a new dynamic to the
cultural democratization, notably by launching a
regional and national level on “culture for everyone”. Of the 77
EUR million for the latter, redeployments
will enable us in 2011 to release 3 million euros
additional for regions, available for new calls to
project. I would like to point out to you, Mr. Michel
Herbillon, that a plan in favour of culture in the rural territories is
currently in preparation. I would also like to highlight the success of
the “Dynamique Espoir Banlieues” operation, which mobilizes 2 million euros
219 projects were supported in 2009, 155 in 2010.
From the beginning, André Malraux had imagined and realized an instrument of the link
with the Houses of Arts and Culture. Today, recognize
diversity of cultural practices, responding to the challenge of diversity, opening up
new types of structures and territories to make
to withdraw the “cultural deserts” is a political ambition in its own right,
the “lost territory of the Republic”. Excellence
must not be this “distant country” to which many young people
neighbourhoods cannot access, but a “familiar landscape,” a
shared horizon, an accessible universe.
This 2011 budget will allow us to fully preserve the ambition
of the State’s cultural policy, with a special effort in
its territorial action, which represents an important signal to
attention of local communities. It will also give us the means
to continue the major projects to which I am attached, and
opening up new priorities, particularly in the area of access to
I know, Mr Rogemont, that there are concerns among
the elected representatives, among the cultural actors, among the professionals concerning the
general jurisdiction clause. The reform of local authorities
is under discussion in Parliament: I do not want to ignore it, nor
But I want to reaffirm clearly that the jurisdiction clause
general will not apply to culture, in accordance with what has been said
by the President of the Republic. Cross-financing may be
continue, I am personally very attached to it. They allowed a
cooperation between the Ministry of Culture and
Communication and local authorities from the laws of
decentralization of 1982-83. This cooperation is a wealth, it is
also a factor of dynamism and pluralism. If
Cultural diversity and networks are becoming less and less
I am convinced that the French development model
culture remains relevant, as long as it is transformed and
innovation and creation.
As you can see, ladies and gentlemen, my action is underdeveloped
three objectives: to preserve the scope of action of the
Culture and Communication, but also anticipate the deep
changes in access to works and culture – the individualization of
the digitization of content – and finally, fostering the
new “territories” for our artists and creators. More
terms I wish to best manage the legacy transmitted by the ministers of the
Culture that have succeeded each other in rue de Valois but also anticipate what
will be our heritage and our creation in the next 20 or 30 years: the
good government, consists in being a manager, it also consists in knowing
be visionary. This is my project, this is my ambition.
Thank you.