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that does not mean that with the change of the power of one party it should be placed
under  pressure  from  the  authority  of  another  party;  if  privileges  were  granted  to  one
group at one moment, that does not mean that after political changes preferential treat 
ment should be awarded to others. The resolution of these and similar issues constitutes
the very substance of structural reforms, which go in two directions: toward autonomous
decision making and toward the autonomous financing of culture.
The Government s overall policy toward decentralization in decision making has already
transferred considerable central government authority to local self governing units. This
has  happened  in  culture  as  well,  for  example,  in  abolishing  the  minister s  powers  in
appointing  various  directors,  granting  approval  for  specific  programs,  and  other  ele 
ments  affecting  the  work  of  cultural  institutions.  However,  the  issue  of  decentralizing
culture seems a less important democratic issue than the question of its demonopoliza 
tion. While the decentralization of decision making still does not mean the demonopo 
lization of decision making, demonopolization itself in effect implies decentralization;
the demonopolization of decision making seems to be the key issue in cultural manage 
ment including, as it does, not only the need of demonopolizing the state in favor of pro 
fessionals, but also demonopolization within the profession itself.
The Law on Cultural Councils adopted by Parliament in 2001, which provides for co 
decision making in culture whereby the representatives of various cultural structures in
specific cultural fields make decisions on cultural policy, is most probably the greatest
advance to date toward the autonomy of culture, the strengthening of powers and respon 
sibilities of professionals in culture, as well as the development of social capacities for
cultural management. 
The scope of competence of cultural councils, not only in regard to the allocation of bud 
getary funds to culture consumers but also in regard to the setting of cultural preferences,
encompasses  all  previous  governmental  powers.  This  presupposes  transparent  public
decision making, which has inaugurated historically new relations between culture and
the state, in favor of independent culture that is not without social responsibility but is
free from the constraints, ranging from political subjugation to cliental dependency that
falsify its values.
The second, equally important, foundation of the autonomy of culture is reflected in the
introduction of a new tax policy aimed at opening up new financial sources, particular 


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