By Vyacheslav Reabcinsky, Director, Centre for Cultural Policies, Chishinau
(September 2005)

Since the Government decided in 1997 that all non-governmental organisations must re-register, it is possible to map the situation of NGOs working in the cultural field in Moldova more or less exactly. In 1998, there were 585 NGOs in the country, of which around 22% were cultural NGOs. Most NGOs were located in Chisinau; regional NGOs represented only 14% of the total number. Currently (in 2005), there are over 3,400 NGOs registered in Moldova, but only 10-15% of these can really be said to be functioning organisations.

An important characteristic of the NGO sector in Moldova is that its development is overwhelmingly dependent on foreign funders. The choice of focus of these funders – in terms of both organisations and fields of activity – has an immediate impact on the non-governmental sector. Since the most important of these funders has shown little interest in developing long-term strategies of support to culture, the number of cultural NGOs has decreased dramatically, to the extent that they now constitute less than 5% of NGOs in Moldova.

An atmosphere of permanent tension, often degenerating into conflict, exists between the non-governmental sector and the decision-making bodies in all fields of activity, including that of culture. This is due to the absence of dialogue with decision-makers, and the fact that there is no tradition or experience of collaborating with state structures. A rare example of the opposite scenario was seen in 2003 when NGOs and theatre professionals vehemently opposed a draft law on the activity of theatrical and concert organisations: the committee set up in response included representatives of state bodies and of civil society; it proposed a new draft law that has recently been approved by Parliament. This example shows that cooperation is both necessary and possible, and helps to avoid misunderstandings, suspicions and conflicts. Both sides are responsible for the status quo. Unlike state institutions in Moldova, which are well established and well structured with clearly defined strategies, the non-governmental sector is rather amorphous, divided and spontaneous in its activities. It could be argued therefore that it is the state structures that should take the lead and initiate dialogue with the NGOs. By so doing, they would be involving civil society in the attempt to deal with cultural issues in Moldova.

The lack of long-term strategies directing the activities of NGOs, coupled with the absence of financial support, means that it is not possible to establish an adequate material basis for their continued existence. This in turn generates an atmosphere of insecurity, of low confidence, affecting not only those working in NGOs but also potential donors. Experience shows that only those NGOs that had a sound material basis for their operations at the time they were set up have managed to survive in the longer term.

The fact that there are few computers, especially in rural areas, and little knowledge of foreign languages results inevitably in a low level of Internet use and poor awareness of international projects, networks, structures, etc. Many culture professionals are a product of Soviet educational institutions where little attention was given to the study of foreign languages. Those young professionals joining the non-governmental sector who do have a good command of foreign languages tend to look towards the better financed domains of activity: democratisation of society and of the mass media, the organisation of democratic elections, etc.

The poor quality of projects submitted to prospective funders can be explained by there being only a small number of specialists who have a professional management background and also by the sector’s limited involvement in international cooperation. Often those working in NGOs do not know who their potential funders are, or the form in which a project should be submitted. The projects themselves tend not to relate to the missions of the funding bodies.

Still, despite the major problems associated with surviving financially in the context of an under-developed economy, the growth in the number of NGOs registering each year is a positive sign that people are making the attempt to fill the spaces left by the State in knitting together the country’s social fabric. However, the decreasing number of cultural NGOs signifies the need to find more sources for the financial support of cultural projects. Domestically, a big step in this direction might be achieved with the adoption of the Law on the National Cultural Fund of Moldova, which is currently being scrutinised by the Ministry of Culture. The situation would also be helped by the establishment of relations of partnership and cooperation between decision-making bodies and NGOs. On the international front, the situation would improve with the appearance in Moldova of new foreign funders with programmes of support for cultural projects and for the wider involvement of cultural operators in international cultural programmes, at least on the level of information.

The organisations mentioned here represent various fields of cultural and artistic activity: the visual arts, the performing arts, dance, music, management, cultural policies, heritage, architecture, training and education, literature, publishing, etc. As different as they are in terms of experience, expertise, resources, competencies and capabilities, they have one characteristic in common: they are all active in their domains and have been developing and implementing projects that have an impact on society. Less than half of these NGOs have any experience of cooperation with international structures. It is hoped that the current presentation will help to redress this, assisting in establishing closer relations between NGOs in Moldova and similar organisations abroad, and also in uncovering new funding sources and possibilities.