But what do these headlines mean in practice? As an example: cultural and artistic products (music, films, drama etc.) represent a huge part of broadcasting media content, thus states are supposed to support media diversity (verification 3.1-3.4) and even ensure the public has access to content diversity in programming (verification 4.2) and support the production of domestic content (4.3). Each of these parts is complex, but if we look at ‘content diversity in programming’ (4.2) and take music as an example, then we need to clarify what we mean by the diversity of musical expressions. Are we talking about genres (such as jazz, RnB, blues, world, traditional versus ‘pop’ and ‘mainstream’)? Are we talking about the presentation on primetime radio (live) or streaming? Are we talking about national incentives/quotas (4.3) and how incentives support and strengthen domestic content versus international music? If so, what is ‘international music’? and what does the gender and age representation look like? We might also consider live music versus recorded music? All of these, plus a few more questions, must be addressed in relation to the current output of public radio and the obligations of public media. If you apply this to films or dramas produced by or presented on public TV, then you can easily ask the same questions. Then we need to understand how these are described in contracts, directives, and regulations as well as in terms of funding. Civil society (in this case not least artists’ associations/unions, collecting societies, cultural industry operators etc.) can provide very substantial input from the perspective of creators and can analyze how your country has developed a policy that lives up to all of these fine intensions. As can be seen in the monitoring framework, each section addresses several interrelated issues. So as an example, your country may have a national quota for films. But does the state actually financially support the development of the national film sector? And does the state actively support a policy which supports digital creativity and competencies? (5.3) The UNESCO framework in that sense addresses very concrete issues related to cultural policies, but sustainability can only be ensured if states incorporate culture in their development plans and recognize cultural expressions and creative industries as strategic areas in policies and plans. Take the examples of Sweden9 and the enormous success of Swedish Music Industries, and Denmark10 and the international success of Danish films. These are the result of long-term state and community support, as well as strategies which incorporate educational and training opportunities; legislation respecting author’s rights; grants systems; well-organised artists’ associations; the financial support of and collaboration with the industry; as well as support for international cooperation. The following UNESCO framework describes in “headlines” how culture can be integrated into sustainable development. 9 https://sweden.se/culture/arts-design/the-swedish-music-miracle 10 https://www.dfi.dk/en/english/news/oscar-facts-danish-perspective 14