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Notwithstanding the existence of cultural councils and new tax laws, it is the Ministry of
Culture that must assume the responsibility for a number of key cultural needs. It must
work out and encourage solutions not only for legislative practice but also for the prior 
ities  of  cultural  development. These  should  be  publicly  and  professionally  discussed,
regardless of whether they are eventually rejected or supported, and in the latter case,
they  need  to  be  resolutely  implemented,  using  all  the  available  logistics  held  by  the
Ministry itself or by the Government.
It is unprofitable to single out some (and only some) of the priorities of cultural devel 
opment. After all, The Strategy of Cultural Development does that much better in its sep 
arate  chapters  devoted  to  specific  fields  (although  the  list  of  specifically  achieved  or
envisaged projects is not exhausted there either). In addition, the Ministry s newsletter,
Kulturni razvitak, published at irregular intervals, discusses the specific priorities of cul 
tural development, from the normative to the directly practical and physical ones. Some
of the priorities have been agreed and implemented; some have been defined and already
realized;  some  have  been  defined  but  remain  open;  while  others  have  not  even  been
opened yet because they are burdened with uncertainty. That is the administration s real 
ity, namely, that it needs to ensure both continuity and desirable change, and that even
desirable  changes  do  not  take  place  in  laboratory  conditions,  in  artificial  space,  but
require much more than just mere wishes.
Last, but most important, is the human factor. Cultural self assertion, cultural education,
management,  cultural  communication  and  inter disciplinariness,  active  international
cooperation and exchanges, are among the headings of the book whose writing has com 
menced  but  has  not  been  completed.  Naturally,  it  is  not  being  written  solely  by  the
Ministry, but by society as a whole   by professional and common interest cultural asso 
ciations, individuals and artistic and cultural organizations, libraries, museums, galleries,
archives, art academies, schools and institutions of higher learning. Croatian culture is
present in Europe and in the world, and the world and Europe are part of Croatian cul 
ture. It is a goal, but it is happening. In other words, it is reality. Croatia plays host to
ministerial and other important cultural conferences and meetings; its cultural and cul 
tural political  elites  are  in  the  top  echelons  of  international  organizations  and  expert
teams; Croatian artists perform and Croatian art is exhibited round the world; and I sus 
pect they are way ahead of the products of the Croatian economy, just as Croatia s cul 


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