Socio-Economic Impact Assessment of Covid-19 to Cultural and Creative Sectors in Serbia Commissioned by UNESCO, through its Regional Bureau for Science and Culture in Europe, in cooperation with the National Platform “Serbia Creates” of the Prime Minister Office, the Ministry of Culture and Information of the Republic of Serbia and the Center for Study in Cultural Development July 2020 VNI/2020/PI/H/92 Introduction In cooperation with the National Platform “Serbia Creates” of the Prime Minister’s Office, the Ministry of Culture and Information, the Center for Study in Cultural Development as research support and the Chamber of Commerce and Industry of Serbia - Association of Creative Industry as organizational support, UNESCO conducted the Socio-Economic Impact Assessment to Cultural and Creative Sectors in Serbia. The purpose was to identify systematic impact of the crisis by capturing information on public measures and provisions to support the cultural institutions, artists, and cultural and creative industries. It also explored new ways of production, dissemination and consumption of culture. This is a sectoral approach set against baseline data on the economic contribution of culture (added value, employment) as well as participation and dissemination of cultural events and initiatives. The methodology consisted of a collection of quantitative and qualitative data through desk reviews, interviews with representatives of the governmental institutions and culture sector representatives, as well as two surveys: - Survey on the effects of the Covid-19 pandemic on cultural institutions was a full-coverage survey, targeting 562 cultural institutions (530 public institutions, 12 private and 20 institutions as a part of public companies, foundations, religious communities, universities). Response rate was 60% (335 institutions). - Survey on the effects of the Covid-19 pandemic on cultural and creative industries targeted 6,476 cultural and creative enterprises. Response rate was 1.6% (106 enterprises). With no pretention of being representative of the full extent of the impact of the Covid-19, the results of the surveys provide snapshots on how the culture sector is coping throughout the different phases of the crisis, and a set of recommendations and measures to be taken to enable the sector to strive and survive. This Assessment was carried out between April-June 2020, with surveys in the field from 27 May to 22 June. Pre COVID-19 baseline situation Creative industries make a significant sector in the Serbian economy with a share of 3.4% - 7.1% of GDP, depending on whether a narrower or broader definition of creative industries is taken. According to the UNESCO Culture for Development Indicators, contribution of the culture activities to GDP was 3.90% in 2015.1 Creative industries in Serbia are growing faster than the rest of the economy. GVA - gross value added - of this sector increased by 16.4% from 2014 to 2016, higher growth than all other sectors of the Serbian economy in that period. The creative industries sector consists of over 30,000 registered enterprises, mostly small, medium and micro enterprises, employing 100,000 workers, with almost 70% between the ages of 25 and 44 years.2 When it comes to cultural institutions, there were 520 registered institutions with 10,816 employees in 2017. 58.8% of the employees were women, with 46.2% as directors of these institutions.3 Covering both of the above categories, the employees with occupations in the area of culture and creative sector account for 3.14% of the overall working population of Serbia. 4 Households’ expenditures for culture in Serbia is 2.59% of the total household expenditures. A higher share in the expenditures of households on culture is occupied by services, goods and products from the area of central cultural activities: buying tickets for cultural content, buying media (blank and unrecorded CDs, tapes, cameras), books, newspapers, jewellery and watches – 87.25% of all culture- 1 UNESCO Culture for Development Indicators in Serbia, 2019 2 https://www.serbiacreates.rs/tekst/sr/18/kreativne-industrije.php 3 Institute for Study in Cultural Development, 2017 4 UNESCO Culture for Development Indicators in Serbia, 20193 related expenditures, namely 2.26% of the overall consumption of the household. Activities involving support and equipment: recording music and shooting films, photography, processing of information, repair of audio-visual, IT and photography equipment) account for 12.75% of expenditures on culture.5 In addition to contributing to the creation, production, transmission and enjoyment of symbolic content, culture and creative industries contribute to non-economic benefits. For instance, they facilitate the expansion of people’s opportunities to participate in cultural life and the promotion of cultural diversity. In 2019, 87% of respondents (54.8% women and 45.2% men) visited at least one cultural event in the last 12 months and the vast majority (78.4%) attended a cultural event in the public sphere once or twice during the year. The largest number of respondents (68.3%) visited music events (concerts of pop/rock, jazz, folk and/or classical music), pop/rock concerts were the most popular having in attendance 48.7%. Majority of respondents visited cinema (film screenings) – 63.8%, cultural monuments – 60% and theatre plays – 52.1%. Less than 50% respondents attended all other events. Museums and galleries have lower share of visitors (47.3%), and libraries – 42.4%. The least visited are ballet and opera programmes, less than 10% of the citizens. When it comes to visitation dynamic, the most active group of those who visit facilities of culture once a month or more often, makes an average of about 2% for the majority of the observed cultural content. In terms of cultural participation in the private sphere, the use of the Internet for cultural purposes is growing significantly. The vast majority use the digital environment to meet cultural needs - eight out of ten respondents used the internet for cultural purposes, which was not the case in previous surveys (49.6% used the internet for cultural purposes once a week or more frequently, 13.6% once to three times per month and 18.6% rarely).6 One of the main characteristics of the cultural infrastructure in Serbia is its decentralization - there are no urban units (town or municipality) without at least one cultural institution. The biggest number of municipalities/towns, about three quarters, have between one and three cultural institutions. 144 Museums, 262 Exhibition Venues Dedicated to the Performing Arts (cultural centres and theatres), 1015 Libraries and Media Resource Centres.7 In 2018, there were 94 cinemas with 3.08 million admissions; 149 museums with 2.3 million admissions, 130 exhibition galleries (incorporated and independent) with 588,555 visitors and 98 theatres (professional, amateur and children’s theatres) with 1.46 million visitors in the permanent stage. 8 Main findings of the Assessment Although the virus came in Serbia at the beginning of March, the situation became more difficult for the arts and culture sector when the Government of Serbia proclaimed the state of emergency on March 16th. With regards to culture, the following occurred: - The cultural institutions were closed to the public on 16 March; - Cancelations or postponements of events with the public especially festivals planned in this period; - Closure of the heritage sites, monuments and archaeological sites; - Self-employed artists remain without engagement; - Suspension of mobility of artists and works (locally, nationally, internationally). 5 UNESCO Culture for Development Indicators in Serbia, 2019 6 Centre for Study in Cultural Development research “Cultural participation of citizens of Serbia” conducted at the end of 2019 7 UNESCO Culture for Development Indicators in Serbia, 2019 8 Culture 2018, Statistical Office of the republic of Serbia and Centre for Study in Cultural Development4 These restrictions affected the participation and consumption of cultural content, lowering income generation for entities in the culture and creative sector. Public measures and provisions to support the cultural sector The Government of Serbia has been making tremendous efforts to protect cultural life by adopting sets of financial measures for the culture sector and supporting the presence of artists and cultural institutions on the internet and social media, which are struggling to create new ways to access heritage and to participate in online cultural events. One of the first adopted measures, which included the creative industry sector, namely the publishing industry, audio-visual sector, IT and the gaming sector, etc. as part of the Program of Economic Measures aimed at reducing the negative effects caused by the Covid-19 pandemic. It amounted to EUR 5.1 billion (RSD 608.3 billion, half of budget or 11% of GDP) containing 4 measures: Tax policy measures, Direct assistance to the private sector, Measures to preserve liquidity and Other measures (adopted on 31 March 2020): 1. The first set of measures relates to tax reliefs, arranging deferred tax payment through instalments (earliest starting beginning of 2021). It is a matter of deferring tax payments and social contributions for at least 3 months, postponing the payment of the advance income tax for the second quarter, making donations exempt from paying taxes. The total value of these measures is RSD 161 billion. 2. The second set of measures involves direct payments to the companies, through the payment of three minimum wages. It is a measure set to pay minimum wage for entrepreneurs, micro, small and medium-sized enterprises in the private sector; subsidy of 50 % of the minimum wage to large enterprises whose employees were sent on forced leave due to reduced volume of business or complete shutdown. The state will pay 3 minimum wages for each employee to all entrepreneurs, lump sums and small businesses. The Government proposes to pay 50% of earnings to those who have lost work in large companies. 3. The third set of measures is aimed at preserving the liquidity of economic entities in the conditions of economic crisis expected during and after the end of an emergency. The programme envisages two measures: a. Affordable loan programme with a 1% interest rate, for maintaining liquidity and working capital for companies in the segment of entrepreneurs, micro, small and medium-sized economic entities, agricultural households and cooperatives, which are registered in the relevant register through the Development Fund of the Republic of Serbia. b. Guarantee schemes to support the economy in the conditions of "corona-crisis" for loans to maintain liquidity and working capital for companies in the segment of entrepreneurs, micro, small and medium-sized economic entities, as well as agricultural households, negotiated with commercial banks, loans backed by the state. The total value of the programmes provided under this measure amounts to 264 billion dinars, which is about 2.2 billion euros. 4. The fourth set of measures relates to the payment of direct one-off assistance in the amount of 100 Euros in RSD equivalent to all adult citizens of Serbia. The value of the programmes envisaged by this measure is RSD 70 billion. Following the negative economic effects of Covid-19 in Serbia, the budget of the Ministry of Culture and Media has been cut by 20%. Nevertheless, the Ministry of Culture and Information continues with the planned activities of the open call of the Sector for International Cooperation and European Integration which was extended until 15 May 2020, with the results being known after the pandemic during the normalization of life and work in Serbia. Through this call the Ministry will support the mobility of professionals in the field of culture and art, projects in the field of culture and the arts5 supported through international funds, programmes and projects at the Cultural Center of Serbia in Paris, as well as projects to promote the culture and art of Serbia abroad in digital format. Capital investments planned in 2020 for reconstructions and renovations of cultural objects and heritage sites are postponed until 2021 and the funds are allocated to other sectors. The government adopted measures to grant non-refundable financial aid of 211,770 dinars which was approved for independent artists in the net amount of 30,000 dinars for three months. Assistance will be given to all persons who independently perform artistic or other activities in the field of culture and whose status is determined by the decisions of representative artistic associations. Based on the records provided by the Coordinating Committee of Representative Art Associations there are 2,373 artists. Belgrade artists without permanent employment and ineligible for Government assistance, will be financially supported by the City of Belgrade, together with the management of 17 cultural institutions. 309 artists will receive 90,000 dinars each (for March, April and May) as a form of assistance until cultural institutions resume working. Funds for this were secured from this year's competition for culture that cannot be realized because of the state of emergency, hence the decision to directly pay it to the artists. Council for the Creative Industries of the National Platform Serbia Creates, in cooperation with the Playrix RS Video Game Development Studio, with the support of the United Nations Development Programme (UNDP), financially supported 30 professional artists and creatives of various profiles, with each receiving 75.000 RSD, in order to show the importance of their artistic expression for them and for society.9 Cultural and creative sector (institutions and industries) Salaries in public organizations and cultural institutions remain at the same level as previously (in a non-pandemic situation), and the majority of temporary contracts will not be cancelled, however some reductions have already been made due to the overall budget cuts. Majority of the surveyed cultural institutions have not had to lay-off their staff: only six institutions (1.8%) had to lay-off their permanent staff. Additionally, 5.3% institutions had to terminate contracts of temporary workers and 2.7% had to cancel those of volunteers. However, many institutions (47.9%) experienced income loss due to lost revenue from tickets, souvenir shops, cafés and other services, from the reduced budget allocations by the founders (27.2%), and from cancelled or postponed public financing calls (13%). Only 32.8% stated that the economic situation remained unchanged. Almost all responding institutions reported that previously scheduled events or cultural manifestations were cancelled or postponed – 40.5% had to cancel up to 5 scheduled cultural events, and 7.7% of institutions even had more than 50 events/programmes scheduled, amounting to several thousands of cancelled events. 35.8% of the respondent institutions expected more than 1000 people to attend these events, which amounts to hundreds of thousands of people. For 54.2% of the cancelled or postponed events, the tickets (membership fees) would have been charged, meaning institutions lose an income of 240 RSD (2.05 EUR) per ticket/membership fee. Considering the closure, 50.6% of the surveyed cultural institutions answered that the institution was open but in the reduced capacity mode with introduction of prescribed precautionary measures. 46.7% of institutions were temporarily closed with staff teleworking, and 1.8% of institutions without any staff teleworking. On the other hand, cultural and creative industries have been severely impacted. This culture sub- sector consists of a large number of diverse activities, and it is certain that all are not equally affected by the pandemic. Cultural and creative industries that do live performances and depend heavily on 9 https://www.serbiacreates.rs/vest/sr/920/30-najboljih-pobednici-nagradnog-konkursa-od-inspiracije-do-dela.php6 cultural tourism are mostly affected because of the prohibition of gatherings, limited travel opportunities, and the stagnation of the tourism industry. Creative industry is relatively young, with 60% of surveyed enterprises active for 10 years or less. 87.6% of them have less than 10 employees, and 55% only have one employee (self-employed). Their resistance will depend on their way of doing business, market orientation or dependence on the state budget, the type of cultural content and the way it is distributed, the cultural habits of the audience and consumers, degree of digitalisation and the seasonal nature of business. A large portion of income from the surveyed enterprises comes from cinematography (31%), publishing activities (10.4%), design (17%), music industry (28.3%), media (20.8%), and architecture (5.7%). Majority of them have experienced reduction in the scope of business activities, which resulted in the decrease of income, and 25.5% even had to lay off their employees. The largest number of respondents (49%) answered that their current resources can ensure normal functioning for less than one month, 35.8% for 3 months and only 1.9% of them remaining active indefinitely. 76.4% of enterprises stated they benefited from governmental measures, including tax and contribution exemptions, delay in payments of VAT and other taxes, and subventions for employees. According to the findings of the Analysis from the Survey on audio-visual sector, conducted in April by the Serbian Film Association, Serbian Film Center and the Serbian Chamber of Commerce, the Serbian film industry had a loss of EUR 9.6 million in the first three weeks of March, as most companies (73%) cancelled all of their activities. Distribution companies and cinemas lost nearly 5 million euros, estimated to be much higher in reality, as only 20 distribution companies and cinemas participated in the survey. Only 20% of the production companies remained the same as prior to COVID-19, for instance, work is organised from home mostly in the fields of postproduction, production of animation content, preparatory project management and preparation of project proposals for different calls in the country and abroad. However, losses will be enlarged, as no income is foreseen for the future period of April-June for most of them, and for 27% of a fall of 50% is estimated. Only 4% of the companies (mostly involved in postproduction) do not expect big losses.10 Sustaining access to culture in the confinement context Heavy reliance on online tools and an urgent need for a remote work environment have significantly accelerated digital transformation. The inability to access cultural content, goods and services during the pandemic has also highlighted the importance of creating new digital cultural spaces, and digital archives. The pandemic has prompted an unprecedented acceleration in the digitalization of cultural content, often without much prior preparation. Cultural institutions and industries realised that a shift in the business model is imperative for the long-term survival of this sector. Thus, the sector can direct its focus towards identifying new opportunities for cultural and creative production, dissemination and consumption of cultural goods and services. 73.1% of surveyed cultural institutions and 53.3% of surveyed cultural and creative sector enterprises declared that they have adapted to the new situation by switching to the online way of performing business activities: they offered online cultural content, such as recorded material (theatre shows, performances), digitalized material (libraries, archives), and live performances (concerts, book reading). In order to cope with the increase in the demand of digitized collections, institutions have been trying to develop skills in digital research and visualization techniques that turn those materials into machine-readable data. The key factors that enabled the cultural institutions to adjust are maintenance of existing online content (77.7% of the responses), the existence of a rich digital archive 10 https://www.filminserbia.com/vesti/?lang=sr7 (54.3% of the responses), change of tasks of employees (27.1% of the responses) and hiring of new staff skilled with information technologies (1.2% responses) to prepare and record new digital content such as virtual tours, exhibitions, programmes in digital forms etc. 60.3% of institutions created new materials during the closure, and this included 3D virtual tours (museums, film production companies), web pages with content on measures and awareness-raising activities on sanitary risks (graphic design companies), book sales (publishing companies), recorded film and music material (music production companies, film distribution companies), and educational workshops on film (film institutions). On 21 April, the Ministry of Culture and Media sent a recommendation to all libraries, archives, museums and galleries in Serbia to reopen and continue with work from the next day. It was to be accompanied by strict observance of all preventive measures prescribed by the Government of the Republic of Serbia relating to the prevention of the spread of COVID-19. Regardless of the reopening of institutions, the majority confirmed that these new circumstances initiated greater engagement in the digital surrounding in the future, with 28.5% of them resolute to create and offer even more digital content in future. Whilst majority of institutions easily adapted to the new reality, because of the already existing methodology, such as virtual tours of the exhibitions in the museums, and digitalized materials in libraries and archives, 26.9% of the surveyed institutions across the country did not adapt due to limited capacities or digital infrastructure. This highlighted the importance of creating new digital cultural spaces in order to access and consume culture and cultural heritage through technology. Investing in technical equipment will be crucial for this to succeed. The professional profiles of culture and creative industries workers will require new skills for immediate actions and to take part in the recovery. Digital media consumption habits may also change. According to a survey by the World Economic Forum about media consumption, a greater percentage of people say that they are more likely to be willing to pay for subscription to access online cultural platforms than before the pandemic.11 The institutions identified new channels for communicating with the audience in order to promote their activities and distribute their products. The role of online platforms became significant for them. Social media platforms such as Facebook or YouTube were used before the crisis to promote cultural activity and to attract viewers to events. Now these tools are used as distribution channels of cultural products to be consumed by the audience. Facebook (93.9%), institutions’ web pages (81%), Instagram (48.6%) and YouTube (47%) are the most used channels for communication with the audience. During this period, institutions’ followers on social networks have increased and interact more. 81.8% of the institutions reported an increase in the number of visitors on their web pages and social networks during the closure. Visits and participation in the institutions cannot be replaced by online activation alone, but should be utilised to attract an additional audience once institutions open up. The most visited content in the digital sphere during the state of emergency: short video contents (36.5%), presentation of digitized material of institutions (34.9%), virtual exhibitions (31.3%), e- publications (22.1%), theatre performances (20.5%) and programmes for children (20.1%). In order to safely overcome the social situation due to the pandemic and facilitate access of cultural contents to the citizens of Serbia and users from other countries, the Ministry of Culture and Media of the Republic of Serbia offered a large scale of programmes of national cultural institutions. These were made available in digital format (virtual tours, digital audio and video materials, photos, texts, 3D scanned objects, etc. in different languages). Incrementally, the Ministry of Culture and Information sent a recommendation to the cultural institutions to allow the citizens of Serbia maximum availability of digital content in the field of culture. 11 https://www.weforum.org/agenda/2020/04/covid19-media-consumption-generation-pandemic-entertainment/8 The Government of the Republic of Serbia has launched the digitalnasolidarnost.gov.rs portal to provide information on all free platforms, tools for learning and working from home, as well as free books, courses, films, music, television and cultural content for the duration of the pandemic. An invitation has been opened to all companies and other organizations that are ready to make available and use their digital platform, content and solutions to citizens. Cultural institutions created special online repertoires, especially theatres, for instance, National Theatre in Belgrade was among the first cultural institutions that, under the slogan Stay at home. Protect yourself and others!, started streaming performances online on a daily basis. Museum-gallery spaces and heritage sites distributed virtual tours of their spaces: National Museum in Belgrade, central museum institution in Serbia, offered a virtual tour through the museum and its permanent and temporary exhibition. The museum also recorded lectures and guided tours of the previous exhibitions. Around 230 000 visits to their digital content from 16 March until 22 April, were recorded. Use of culture to support other sectors Confinement measures have shown the importance of culture in order to connect. Arts and culture have proven to be a remarkably effective way of engaging children to continue learning from home.12 Cultural institutions such as galleries, museums and theatres (21.5%) as well as enterprises from the creative industry (18.7%) have rapidly developed educational materials and made them available online. These include reading books for all ages, art workshops, lectures and workshops in the field of culture and art history, broadcasting theatre and film works from the archives of institutions that fit into the school curriculum and readings. Publishing houses have provided all school students and teachers in Serbia with free access to digital textbooks and the opportunity to work online. Even though regular activities of the majority of surveyed creative industry enterprises were partially or completely stopped, 60% of them contributed their efforts in addressing the COVID-19 pandemic and launched different types of initiatives for the following purposes: 35.5% initiated activities for awareness-raising on sanitary risks and measures (e.g. stay-at-home orders, hygienic precautions), 14% organized fundraisers to assist the work of humanitarian organizations, 21.5% supported volunteering activities (child care support, food distribution, medical material distribution), and 18.7% provided free entertainment content or moral support programmes to people during the crisis. The independent sector and individual artists joined the fight against the pandemic mostly through individual messages (#StayAtHome), or offering online concerts and bedtime stories for children through social media. These voluntary activities can be seen as a form of solidarity developed by independent artists and the independent sector. The Library of the City of Belgrade and many other national publishers and private persons have offered their books in emergency hospitals (e.g. Beogradski sajam COVID hospital), and some bookshop-owners are opening a shop next to food shops. During the state of emergency, cultural institutions in Serbia took part in regional and intercontinental initiatives that help promote digital cultural content. The Serbian National Theatre in Novi Sad organised a simultaneous on-line streaming of “Ode to Joy” (Symphony No. 9, Ludwig van Beethoven), with artists from several countries. The concert named “DistantTogether” featured several choirs from China, a philharmonic orchestra from Italy and an opera and ballet from Turkey. 12 https://en.unesco.org/news/culture-covid-19-impact-and-response-tracker9 Heritage-based tourism The most critical factor for the survival of this sector is the loss of revenue caused by the forced closure of cultural institutions, museums and cultural heritage sites. The fact that no visitors from abroad will be able to travel to touristic areas for a longer period of time has a multiplier effect. Even with institutions reopening, significantly reduced number of visitors for the next 18 months is expected. The COVID-19 pandemic has caused a fall in international tourist arrivals in Serbia, with a 65.8% fall in March 2020.13 According to the estimates, the crisis could lead to an annual decline of up to 80% if recovery is delayed until September.14 This relationship of tourism and culture is two-fold: culture plays a vital role for the tourism sector as downturn in tourism will deeply affect the culture sector, particularly heritage sites, museums, events, and cultural production, notably crafts. This is likely to have a significant impact to their budgets coming from tickets, souvenir shops, cafés and other services. This could make longer term management of the site and working conditions more precarious. Ticket sales are often the main source of financing for vital conservation, archaeological and restoration works at heritage sites and museums. In the short and medium term, financial investment in cultural heritage sector will be strategic for economic recovery. Domestic tourism is also immensely affected by containment measures; however, a quicker recovery is expected with an important role to play during the recovery phase. Conclusions The entire economy, including cultural and creative sector, must adapt to new working and living conditions, based on principles such as public safety, transparency, income equity and equality. During the recovery, it is important to put particular emphasis on inclusion of the hardest hit groups within the sector. Women comprise 58.8% of employees in the cultural and creative sector, and 46.2% of women hold the director’s position of the public cultural institutions. Additionally, 70% of employees in the creative industry enterprises are between 25 and 44 years old. Half of the businesses owned by LGBTI people with majority of them in tourism sector as a part of creative industry, suffered the direct economic consequences of the pandemic. Hence, when the designing of sustainability is planned into cultural and creative recovery programmes, it must be acknowledged that sustainability cannot be achieved until all groups of society are fully embraced into the new design. Findings of this Assessment highlighted the importance of creating new digital cultural spaces in order to access and consume culture and cultural heritage through technology. Investing in technical equipment will be crucial for this to succeed. The professional profiles of culture and creative industries workers will require new skills for immediate actions and to take part in the recovery. This shift in the business model is imperative for the long-term survival of this sector which is creative in its essence. This particularly places the sector in a position to focus on identifying new opportunities for cultural and creative production, dissemination and consumption of cultural goods and services. This is even more relevant having in mind the importance of culture for society. In addition to generating an important part of national production, generating income and sustaining the livelihoods of its citizens; the availability of cultural content helps people to cope with the crisis and lockdown restrictions. Numerous cultural institutions have provided online and free content in recent weeks for that purpose. 13 https://www.unwto.org/international-tourism-and-covid-19 14 https://read.oecd-ilibrary.org/view/?ref=124_124984-7uf8nm95se&title=Covid-19_Tourism_Policy_Responses https://www.unwto.org/news/covid-19-international-tourist-numbers-could-fall-60-80-in-202010 References:  Analysis from the Survey on audio-visual sector, Serbian Film Association, Serbian Film Center and the Serbian Chamber of Commerce, April 2020  Analysis from the Survey for measuring impact of COVID-19 to life and work of artists and cultural workers in Serbia, Association of Fine Artists of Serbia, the Association of Independent Cultural Scenes of Serbia and SULUV, April 2020  UNESCO, Culture for Development Indicators in Serbia, 2019  Analysis of COVID-19 and LGBTI community in Serbia, LQ and EGAL, May 2020  http://www.kultura.gov.rs/cyr/  https://en.unesco.org/news/culture-covid-19-impact-and-response-tracker  https://www.culturalpolicies.net/covid-19/country-reports/se/  https://www.stat.gov.rs/  https://www.unwto.org/international-tourism-and-covid-19