A/HRC/46/34 shared on WhatsApp.57 Moreover, it has become even more difficult to organize international and national efforts to assist at-risk artists and cultural rights defenders, including through relocation when necessary, due to pandemic-related measures, such as travel restrictions, and health risks – an additional problem requiring international solutions. 58 26. There have been gendered repercussions of the pandemic, including steep increases in violence against women and greatly expanded care responsibilities, which have a grave impact on women’s ability to take part in cultural life without discrimination.59 UNESCO has noted that “women are overrepresented in the arts and culture sectors hardest hit and most at risk as a result of COVID-19”, yet there are few government measures specifically targeting gender equality in pandemic responses.60 Moreover, in many countries, policymakers leading the response are predominantly male, as are experts cited by media in pandemic coverage, which tends to overlook gender equality dimensions.61 All responses to the current cultural crisis must fully consider the cultural rights of women. 27. The closure of many in-person sites of public interaction, such as integration centres for immigrants or centres for older persons, and the reduction and suspension of many disability services and services for older persons have had particular impacts on the cultural rights of persons in those groups.62 The Independent Expert on protection against violence and discrimination based on sexual orientation and gender identity has reported on the impacts of the inability to use public space for claiming human rights, for example through pride marches. 63 All this has increased isolation and loneliness, and led to disparate enjoyment of cultural rights in ways that must be addressed. 28. Most effects of the pandemic on cultural rights are negative, but there are also positive developments. Some artists report that they have more time to work on creative endeavours, and some have developed new ways of working and convening, including in cyberspace. COVID-19 has forced a digital revolution. One African cultural rights defender stressed that this has given artists who have been censored historically an opportunity to reconnect with fans online. Some marginalized voices, including those of artists working in “fringe” spaces, and lesbian, gay, bisexual, transgender and intersex persons and members of minorities, have reportedly been able to find more of a home and increased connections in virtual spaces, which have also opened up new access for some persons with limited physical mobility. There have been countless online concerts, performances, film screenings, readings, museum and cultural heritage site visits and events about cultural rights, and digital library collections made available, and even a digital flash mob using hashtag #ArtYouReady to promote a shared virtual cultural space.64 Information about such offerings has been made available on websites and through social media. 65 Some cultural institutions have launched telephone applications.66 Singapore created the Digital Presentation Grant for the Arts to promote work opportunities and continued access to cultural life. 67 Increased cultural programming for radio and television has also been reported.68 29. Creative performance options have been experimented with, online or in physically distanced, safer ways, and through expanded outdoor performances. What UNESCO has labelled “new, virtual forms of mobility” 69 have allowed for transnational cultural interactions without the visa limitations, expense or carbon footprint attendant on air travel. 57 58 59 60 61 62 63 64 65 66 67 68 69 See https://news.un.org/en/story/2020/09/1074022. See also communication NGA 4/2020, available at https://spcommreports.ohchr.org/Tmsearch/TMDocuments. See http://rorelsernasmuseum.se/media6.mustasch-labs.com/public_html/2020/11/Safe-Havens-ShortReport-24-Nov-2020.pdf. See contribution from the International Action Network for Gender Equity & Law. UNESCO, Culture in Crisis, p. 50. See Luba Kassova, The Missing Perspectives of Women in COVID-19 News (September 2020). See, e.g., contribution from Finland. A/75/258, para. 45. See, e.g., the contributions from Bulgaria, Finland and Italy. See the contributions from Italy and Romania. See contribution from Romania, annex 2. See contribution from Singapore. See contribution from the State of Palestine. UNESCO, Culture in Crisis, p. 51. 9