dichiarazione-fiuggi

In 1996, at the end of the First International Symposium “Donne in Musica: Gli Incontri al Borgo”, Fiuggi, women musicians from twenty-six countries (composers, performers, conductors, musicologists, organisers) undersigned a document known as the “Declaration of Fiuggi 1996”.

This Declaration, circulated worldwide, set out what women musicians considered primary objectives. In 1999 the Declaration was revised, and in September 2000 unanimously in 1996, at the end of the First International Symposium “Donne in Musica: Gli Incontri al Borgo”, Fiuggi, women musicians from twenty-six countries (composers, performers, conductors, musicologists, organisers) undersigned a document known as the “Declaration of Fiuggi 1996”. This Declaration, circulated worldwide, set out what women musicians considered primary objectives.
In 1999 the Declaration was revised, and in September 2000 unanimously accepted by the International Honour Committee of the Foundation in Rome.

 

It now stands as follows:

 

Each country is invited to encourage the setting up of organisations for documentation and information regarding women composers within its national boundaries. These organisations should be in a position to send and receive information about women in music to other organisations, collect information regarding the institutional and musical structures responsible for the creation, promotion and programming of music, festivals of contemporary and ancient music and those devoted to women composers, performers; funding possibilities; scholarships. Women musicians must be encouraged to play a greater role in programming, promotional and commissioning campaigns and activities so that the percentage of their works in current orchestral and musical performance repertoire increases. They should take a greater part in the musical organisation of their respective countries and encourage exchange between composers and performers. All organisations will be linked via the www.

Legislation in most countries provides equal opportunities and rights for women and, in theory, should allow access to all fields of interest. In practice, however, this is often not the case. Women In Music organisations should see if the social reality of their countries is in line with the existing legislation. In most countries, women are insufficiently represented at institutional levels. We must actively promote their presence in commissions, committees, and wherever their talents can be used. Women politicians should be made aware of the difference between legislation and practice and advocate on behalf of women composers and creators of music to open up funding possibilities.

Information about women in music must be circulated to music teachers. The contribution  made by women musicians, in all cultures, must become part of the music curricula in schools, colleges, and universities. Parents need to foster the musical talents of both daughters and sons, honouring the cultural heritage and traditions of both.

Women musicians are encouraged to read, take to heart, and use, the UNESCO documents known as the Right of the Artist and the Final Document from the Intergovernmental World Conference on Cultural Policies for Development, Stockholm 1998.

Recognition must be given to women’s achievements in culture and development to ensure their participation in the formulation and implementation of cultural policies at all levels and their access to decision-making positions in the cultural world. It is important to preserve, promote, sustain, and safeguard the artistic rights of women artists and creators within all communities. Only in this way, can we overcome and replace an outdated monocultural male view of culture and heritage.

Our important role, as women, in transmitting tangible and intangible heritage must not be overlooked since this belongs not only to a people or culture but to humanity as a whole.

 


 

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