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NC-32-10-385-EN-C

culture in motion
http://ec.europa.eu/culture
The Culture Programme
2007-2013
European Commission
culture in Motion – The Culture Programme 2007-2013
Luxembourg: Publications Office of the European Union
2010 — 56 pp. — 21.0 × 29.7 cm
ISBN 978-92-79-16425-5
doi:10.2766/69887

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Cataloguing data can be found at the end of this publication.
Luxembourg: Publications Office of the European Union, 2010
ISBN 978-92-79-16425-5
doi:10.2766/69887
© European Union, 2010
Reproduction is authorised provided the source is acknowledged.
Printed in Belgium
Printed on white chlorine-free paper
culture in motion
The Culture Programme
2007-2013
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Androulla Vassiliou
European Commissioner

c u l t u r e
for Education, Culture,
Multilingualism and Youth

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Culture in Motion cities, giving them, their artists and objective of smart, sustainable
citizens a chance to shine on the and inclusive growth. At a time
Every year the Culture Programme European stage for 12 months. when many of our industries are
2007-2013 helps finance an array The title is a formal European facing difficulties, the cultural and
of initiatives which help to enhance Union designation and the cities creative industries have experi-
the vitality of Europe’s cultural get a contribution to their pro- enced unprecedented growth and
sector. By enabling hundreds of grammes from the Culture Pro- offer the prospect of sustainable,
organisations and thousands of gramme. As well as enhancing future-oriented and fulfilling jobs.
artists and cultural professionals the cultural vibrancy of these cities, Culture based creativity can also
to meet, to exchange practice, the title can help them to perma- spill over into many other sectors,
to learn from each other, to create nently transform their long-term supporting innovation in busi-
together and to tour and perform social and economic prospects. nesses, public services and
in other European countries, the responses to social needs.
Programme is helping the sector I am happy to be able to share with
to develop its capacities, to oper- you in this brochure the outcomes It is the impact of the projects
ate in an international context and and results of a selection of initia- you will learn more about here
to foster Europe’s cultural and tives that the European Union helps that reminds me just how crucial
linguistic diversity. Through per- realise in the field of culture. You it is that in difficult times we come
formances, websites and other will meet dedicated individuals together to learn how we all play
tools, the projects reach millions offering revealing and tantalising a role in making our shared Euro-
of individuals across the continent. stories about what European cul- pean project a great one. The
tural cooperation is all about and projects presented here offer just
The programme also allows hun- the determi­nation that goes into such lessons.
dreds of books to be translated finding common ground and push-
each year into other European ing issues important to Europeans. Let’s set culture in motion.
languages and celebrates excel-
lence through its prizes for con- Now that the European Union has
temporary architecture, cultural adopted its 2020 strategy – a policy
heritage, literature and pop music. approach that will help Europe find
innovative solutions to current
Furthermore, every year the Euro- challenges – I am especially happy
pean Capitals of Culture put the to highlight the importance of
spotlight on a couple of European culture to the European Union’s
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Photo provided by IMAGINE 2020 © Pascale Marthine Tayou


Photo provided by Festival d’Aix-en-Provence

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Contents Setting culture operators to experiment and undertaken on the ground by

Setting culture in motion 5


in motion innovate, and generally boosts
the sector’s capacity to operate
cultural operators thanks to the
Programme. Many other worthy
Linking practice and policy: the European Agenda for Culture 6 internationally. projects are currently under way,
The Culture Programme 2007-2013 7 The Culture Programme plays and fortunately we will have the
a valuable role in supporting the Most of the projects are multi- opportunity to present these in
Fundació Centre Internacional de Musica Antiga 11 European Union’s policy agenda dimensional, with multiple aims subsequent years.
European Concert Hall Organisation 13 in the field of culture. This bro- and encompassing a range of
Backlight 2008  15 chure therefore seeks to highlight activities. They cover a range of We hope that this brochure will
Readme.cc Virtual Library 17 projects which are relevant to its sub-sectors and some adopt an help raise awareness of the activi-
HALMA 19 priorities. inter-disciplinary approach. ties co-financed by the European
Beyond the Stage 21 Union in the field of culture across
European Media Art Network 23 You will find examples of projects Some of the projects were co- Europe. We also trust that it will
Wiener Tanzwochen 25 promoting the European Union’s funded by the previous Culture provide ideas for project promoters
Borrowed Light 27 cultural and linguistic diversity programme, which ran from 2000 as well as information for policy-
European Regions of Culture 29 and heritage by increasing the to 2006, and others are supported makers about concrete activities
House for Open Mobility Exchange (H.O.M.E.) 31 circulation of works and access by the current Programme running at grass-roots level which could
Network of European Museum Organisations (NEMO) 33 to them both within Europe and from 2007 to 2013. Some have contribute to their policy priorities.
Diversidad Urban Forum 35 beyond. Several projects show already been completed, while
BelBoBru  37 how the programme helps to others are ongoing.
Festival d’Avignon 39 strengthen the development of
Festival d’Aix-en-Provence 41 the  sector and the careers of the In the space available here, it is
IMAGINE 2020 43 individuals working within it, while only possible to provide a snapshot
Cooperation and Mediation in the Digital Arts 45 others show how it helps cultural of the vast array of work being
ENPARTS 47

European Capitals of Culture 48


Cultural prizes 50
List of web links to help you submit an application
and stay updated on culture policy developments 55
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Photo provided by Borrowed Light – choreography: Tero Saarinen © Jonas Lundqvist

Photo provided by Beyond the Stage – new trends in European theatre


Photo provided by European Capital of Culture 2010 – City of Essen for the Ruhr (Germany)

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Linking practice National governments have The Agenda also introduced new The Culture development of cross-border for Citizens programmes, and the
and policy: the endorsed the Agenda, and in
May 2008 agreed on a three-year
working methods based on a part-
nership approach. With Member
Programme cultural cooperation between
creators, cultural actors and cul-
MEDIA programme in the audio­
visual field. Funding for cultural
European Agenda work plan for 2008-2010 with five States it introduced an ‘Open 2007-2013 tural institutions from the countries projects is also possible through
for Culture main priority areas: improving
the conditions for the mobility
Method of Coordination’ (OMC)
for closer cooperation on the The European Commission pro-
taking part in the Programme, with
a view to encouraging the emer-
the structural funds, which are
managed nationally. Further infor-
for the mobility of artists/cultural priorities outlined above, and with vides support for European cul- gence of European citizenship. mation is available on the website
The projects and activities funded professional; promoting access civil society it brought in a more tural operators through both its below:
by the Culture Programme should to culture, especially through the structured dialogue through vari- policies and programmes. The This aim is reflected in the Pro- • http://ec.europa.eu/culture/
be seen against the backdrop of promotion of cultural heritage, ous platforms for discussion and Culture Programme makes availa- gramme’s three specific objectives: eu-funding/doc2886_en.htm
the European Commission’s ‘Euro- cultural tourism, multilingualism, exchange. These provided an ble 400 million euros over the • promoting the transnational • http://ec.europa.eu/culture/
pean Agenda for culture in a glo- digitisation, synergies with educa- opportunity to exchange knowl- period 2007-2013 for cultural mobility of people working in eu-funding/doc2756_en.htm
balising world’ (May 2007). The tion (in particular arts education) edge and to propose recommenda- cooperation, literary translation, the cultural sector;
adoption of the agenda opened and greater mobility of collec- tions to policy-makers at different festivals and the running costs • encouraging the transnational
a new chapter of cooperation on tions; developing data, statistics levels. The Commission took stock of organisations with a general circulation of works and cultural Who is it for?
culture policy at European level. and methodologies; maximising of the first three years of progress European interest. and artistic products;
For the first time, all partners the potential of cultural and in a report published in July 2010. • encouraging intercultural dia- The Programme supports coopera-
– European institutions, Member creative industries, in particular Several months later Member logue in Europe. tion projects, organisations, pro-
States and civil society – were that of SMEs; and promoting States adopted a new work plan What’s the general aim motional activities and research
invited to pool their efforts around and implementing the UNESCO for the post 2010 period. The of the Programme? in all cultural sectors, except the
explicitly defined shared goals: Convention on the Protection programme will continue to sup- Support for cultural audiovisual sector, for which there
the promotion of cultural diversity and Promotion of the Diversity port projects relevant to these In spite of Europe’s diversity, activities in other European is a separate programme (MEDIA).
and intercultural dialogue; the of Cultural Expressions. political priorities. Europeans share a common cul- Union programmes
promotion of culture as a catalyst tural heritage and certain values. Cultural operators, including
for creativity; and the promotion The general aim of the Culture Certain cultural activities can also cultural enterprises, can partici-
of culture as a vital element in the Programme is therefore to enhance be funded by other European Union pate in the Programme as long
EU’s international relations. this cultural area shared by programmes, including the Lifelong as they are acting in a non-profit-
Europe’s citizens through the Learning, Youth in Action, Europe making capacity.
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Photo provided by Festival d’Avignon


Prize for Cultural Heritage – Bacchus Room © photo HiRes

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Which countries? by cultural operators during the • Multi-annual cooperation operating costs of cultural organi- Cultural Contact Points have been Applicants are advised to take
public consultations leading up projects: 6 partners from 6 differ- sations working, or wanting to established in the countries taking careful note of these criteria when
Organisations based in the follow- to its design in 2006. This has led ent eligible countries – Duration: work, at European level in the field part in the programme. Their pur- preparing their proposals.
ing countries are eligible for the to a more user-friendly application 3-5 years. of culture. The grant awarded pose is to promote the Programme,
Programme: procedure and the development • Cooperation projects: 3 partners under this strand is designed to provide information, and assist
• EU Member States; of a Programme Guide containing from 3 different eligible countries assist with operating costs cultural operators with their appli- Web links
• EEA countries: Iceland (which essential information. – Duration: up to 2 years. incurred by these beneficiary cations. You are strongly advised to
is also a candidate country), • Literary translation projects: organisations in implementing contact your local Cultural Contact You can find more information on
Liechtenstein, Norway; There are three main types of Duration: up to 2 years. their work programmes. Point at an early stage of the prepa- the Programme, the Programme
• candidate countries: Croatia, activity supported under the Pro- • Cooperation projects with third ration phase and to make use of Guide and the Cultural Contact
Turkey and Former Yugoslav gramme. Support is thus grouped countries: 3 partners from Strand three: Support for analyses its expertise. Points at:
Republic of Macedonia; under the three following strands: 3 different eligible countries, and for the collection and dissemi- • http://ec.europa.eu/culture/
• potential candidate countries: plus cooperation with 1 organi­ nation of information and for max- index_en.htm
Serbia and Montenegro. Strand one: Support for cultural sation from the selected third. imising the impact of projects in What is the procedure? • http://eacea.ec.europa.eu/
projects (approximately 77 % of country – Duration: up to 2 years. the field of cultural cooperation index_en.htm
For more information about coun- the budget). • Support for European cultural (approximately 5 % of the Pro- The European Commission’s Direc­ Programme Guide:
tries that may become eligible in festivals: The support can be gramme budget). This strand aims torate General for Education and • http://ec.europa.eu/culture/
the future, and about cooperation This strand seeks to support cul- granted for one edition of the to promote analysis in the cultural Culture (DG EAC) is responsible for calls-for-proposals/call2061_
with cultural operators from third tural organisations for projects to festival or for three editions. field, raise awareness of the Pro- the Culture Programme and directly en.htm
countries (countries not included in work together across borders and • Special measures such as cul- gramme, and to promote its results. manages some of its activities. Cultural Contact Points:
the list of eligible countries) please to create and implement cultural tural prizes (contemporary archi- However, most of the grants are • http://ec.europa.eu/culture/
consult the Programme Guide at and artistic activities. The thrust tecture, cultural heritage, pop administered by the Education, annexes-culture/doc1232_
the link below http://ec.europa. of this strand is to help organisa- music and contemporary litera- How can you participate? Audiovisual and Culture Executive en.htm
eu/culture/calls-for-proposals/ tions, such as theatres, museums, ture) and the European Capitals Agency (EACEA), which operates
call2061_en.htm professional associations, research of Culture are also covered under If you are interested in developing under DG EAC’s control and is also
centres, universities, cultural Strand 1. a project and receiving financial based in Brussels.
institutes and public authorities support from the Culture Pro-
What can be funded? from different countries participat- Strand two: Support for organisa- gramme, please consult the Pro- Applications for projects are
ing in the Programme to cooperate tions active at European level in gramme Guide, where you will find assessed on the basis of the crite-
The Programme has a flexible, so that different sectors can work the field of Culture (approximately all the necessary information. ria set out in the Programme Guide.
interdisciplinary approach and together and extend their cultural 10 % of the Programme budget).
focuses on the needs expressed and artistic reach across borders. This strand aims to co-finance the
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Fundació Centre Jordi Savall gives an indication of what it has been possible to do with
Internacional the current funds from the Culture Programme:
‘The EU financing was crucial in allowing us to prepare very complex
de Musica Antiga projects that were not automatically commercial – where a long process
Keeping of research and interpretation was necessary, such as our CD book (con-
taining three CDs) about the Tragedia Cátara “Le Royaume Oublié”, the
traditional programme on Dimitrie Cantemir and the Sephardite and Armenian musi-
music traditional cians of Istanbul in 1710.

In the spring of 2010 we were able to prepare and present the Mass in
Jordi Savall and his orchestra
B minor by J. S. Bach with a selection of 26 singers from across Europe,
are already widely known and
chosen from around 100 candidates. Currently we are working on a range
highly respected in the world of
of projects, including the music for the MARE NOSTRUM compilations of
ancient music. The approximately
Mediterranean cultures and intercultural dialogue. And in 2011 and 2012
160 concerts given across the world
we will prepare a new project on THE SUBLIME PORTE 1453-1790, and the
every year act as ambassadors
first part of another very complex project on the theme of war and peace,
for European culture, and the
covering 713-1713.
foundation also promotes ancient
music through research, training
Thanks to the EU support we will be able towards the end of this year to
and recordings.
make a start with the first Academy of professional training, research and
interpretation, with period instruments, that our foundation, the Centre
Internacional de Música Antiga Fundación, has conducted on the music
of J. Ph. Rameau and the orchestra of Louis XV, in collaboration with the
Escuela Superior de Música de Cataluña, which is open to young profes-
sional musicians everywhere in Europe.’

Photos provided by Fundació Centre Internacional de Musica Antiga © Teresa Llordes

The funding covers the period from January 2010 to December 2010 with a grant of 149 700 euros. The organiser is the Fundació
Centre Internacional de Musica Antiga. Website: http://www.fundaciocima.org
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European Concert According to project leader Gerd Van Looy, performing arts manager at the
Hall Organisation Paleis voor Schone Kunsten/Palais des Beaux-Arts in Brussels, the project
is giving talented young artists new opportunities to develop, and audi-
Spreading ences new chances to hear new music:
new sounds ‘Western classical music is a continuing and present tradition. The ECHO
grant has helped to ensure its vitality, by sponsoring the brightest young
round Europe musicians, by presenting large-scale contemporary works to mainstream
audiences so as to overcome prejudices about contemporary music being
New music in new forms is echoing remote and inaccessible, and by exploring new links between music and
around Europe as a result of this other performance arts.
collaboration between major
concert halls. Works are commis- Through its Rising Stars concert series, ECHO gave 20 exceptional young
sioned from composers who work musicians the chance to perform a total of 142 recitals in some of the
with artists in other fields – video, most prestigious concert halls in Europe. They included violinist Nemanja
cinema, choreography, literature Radulovic, the Pavel Haas Quartet and jazz trumpeter Matthias Schriefl.
and visual art. Then the works Pianist Di Xiao, one of the chosen artists, gave her thanks “to everyone
are presented in concert halls who attended my Rising Star concerts, to the ECHO representatives that
in the ECHO network, often with made the tour happen and to the staff of all the fabulous halls that I have
new young performers, and played in for making it such a wonderful experience; collectively you have
often with other significant new helped me fulfil my dream”.
contemporary works.
In 2006-2009, some of the most accomplished ensembles and instrumental-
ists gave more than 30 concerts of contemporary works by the most influen-
tial contemporary composers, including Berio, Stockhausen, Birtwistle,
Kagel, Ligeti and Benjamin. At the same time, newly commissioned produc-
tions included Pictures Reframed (which included an original work com-
posed by Thomas Larcher, performed by Leif Ove Andsnes and with a video
by Robin Rhode) and a 2007 tour of the production I am a Mistake (with
original music by Wolfgang Rihm, text and choreography by Jan Fabre and
a film by Chantal Akerman).

Now, with a new grant in 2010, we are continuing the successful Rising
Stars programme. We are training staff of EU concert halls in arts educa-
Images courtesy Robin Rhode © Robin Rhode, 2009-2010

tion and marketing. And we are developing the shared ECHO artistic
platform for exchanging new programmes and productions.’

The initial project ran from September 2006 to August 2009, with a grant of 900 000 euros. The organiser was the European
Concert Hall Organisation and the co-organisers were the Paleis voor Schone Kunsten/Palais des Beaux-Arts in Brussels,
Cité de la Musique in France, Kölner Philharmonie in Germany, the Concertgebouw in the Netherlands, Stockholm Concert Hall
in Sweden, Birmingham Town Hall and Symphony Hall in the UK, Athens Concert Hall in Greece, and Wiener Konzerthaus in Austria.
A new multiannual grant of 1 600 000 euros was awarded for 2010, and this project additionally involves l’Auditori in Spain,
Hamburg Elbphilharmonie in Germany, The Sage Gateshead in the UK, and the Philharmonie in Luxembourg.
Website: http://www.bozar.be/webpage.php?pageid=52#echo
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Backlight 2008 Ulrich Haas-Pursiainen, the project leader, explains how the project has
A new way helped build understanding among photographers – and people who look
at photographs – about the diversity of the European Union:
of illuminating ‘ “Backlight” focuses on issues that are hidden in history and culture, away
Europe from the bright lights of the media industry. The exhibition is open to every-
one. Via the internet, we invite everyone and anyone to contribute photo-
graphs that reflect different European aspects of a chosen theme. The theme
Backlight is an international photo­
in 2008 was humour, laughter, irony – and the 600 responses we received
graphy festival that has widened
demonstrated how widely these concepts differ from country to country.
and deepened its cooperation with
We chose sixty for the final show, and although our budget allowed us to
the support of EU funding, so that it
invite only a few of the artists to attend, many more came themselves on
now attracts entries from across
their own money – from 28 countries.
Europe, and has acquired an audi-
ence and a reputation in Europe
The festival has grown gradually, and it wasn’t until 1999 that we sought
and beyond. From its Finnish ori-
real international engagement and EU funding – which was an unfamiliar
gins it has developed a dynamic
idea in Finland in those days. But the new opportunities this brought, in
network of co-organisers.
what were difficult times for the cultural sector, excited people about the
possibilities of closer links across the EU. There was a real sense of explo-
ration, of artists going abroad, discovering countries that had been little-
known for decades, seeing other traditions in the Baltics and Poland
– and finding partners for the festival.

The evolution of Backlight reflects in some ways the evolution of Finland


and the evolution of Europe. We have made links with more and more
partners in more and more countries. And bringing partners together from
a wider geographic and cultural range has been a constant enrichment
– and a constant challenge. The real success – and it hasn’t always been
easy – is to convince people who come with a strong national culture to
widen their view and to take part fully in sharing in diversity at European
level. We know it is a success when they go back to their own countries
and regions and encourage sharing and cooperation there, too.’
Photos provided by Backlight 2008

‘Backlight 2008’ ran from September 2007 to August 2009, and received EU grants of 199 745 euros. The lead organiser was
the Photographic Centre Nykyaika in Tampere, Finland and co-organisers were FLUSS NÖ Fotoinitiative in Austria, Fondazione
Studio Marangoni in Italy, Stiftung für visuelle Erziehung in Lodz, Poland, and the Northern Photographic Centre in Oulu, Finland.
Website: http://www.backlight.fi
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Readme.cc Walter Grund, the project leader, emphasises that promoting Europe’s
Virtual Library diverse cultural heritage has simultaneously widened awareness of
literary works and promoted new forms of contact via the internet:
Books beyond ‘In 2004 a writer, a literary critic and a media producer discussed an artis-
borders tic experiment – an internet project combining literary expertise with
internet democracy, where readers and writers would network and collabo-
rate in a virtual library, composed initially of personal book recommenda-
Readme.cc combines the traditions
tions. Since then it has grown – with financial support from the European
of literary culture with the freedom
Commission – into a European platform for literature, and is tackling one
of the internet to build an inter­
of the biggest challenges for Europe: its many languages. Coping with
national community around books.
multilingualism is at the heart of our vision to contribute to the formation
Readers share their choices
of a European public literature.
through comments and photo-
graphs, resulting in a library of
In 2009, we went further, with an actual meeting of our community of
online bookshelves. By inspiring
authors and readers, in the first European Literature Day, where everyone
literary encounters across borders,
had to display patience and compromise in debates across languages
the project demonstrates that
and across borders about technical questions – like finding via an English
individualism and community build-
search engine an author who is entered only in Hebrew or Arabic – and
ing are not mutually exclusive.
cultural issues – such as the balance of relations between countries with
unbroken traditions like France or Britain and smaller countries with more
fractured histories, or how the diverse literary canons and customs across
Europe can be brought together in a European portal without reducing
them to a mere list.

Our experience with this project shows that while Europe becomes increas-
ingly international, it also retains strong local root and strong national
identities. Readme.cc is helping bridge this gap in terms of literature and
culture. Our readers across Europe explore more widely than the main-
stream best-seller market, and the exchanges among them show how
ready they are to try the unknown – like a Frenchman reading Kafka, for
example. The project is broadening the opportunities for a growing audi-
ence of enlightened readers who want to discuss books and who relish
literary heritage.’
Photos provided by Readme.cc Virtual Library

In 2005 the project received funding for a year from the Culture 2000 programme, followed by a three-year grant in 2006 of
179 562 euros up until October 2009. The lead organiser was Pilgern & Surfen of Melk, in Austria and co-organisers were
Petöfi Irodalmi Múzeum in Budapest, Sorbonne Nouvelle in Paris, Literaturhaus in Hamburg, STRED Central European Dialogue
in the Czech Republic, and the Translation Center at the University of Copenhagen. Website: http://www.readme.cc
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HALMA Laura Seifert, the project leader, gives some examples of how widely
Helping writers the benefits have been shared:
‘The writers have got a lot out of it individually, of course, because they
to move travelled abroad and discovered places in Europe they would have never
around Europe seen – and wrote things they might never have otherwise written. Anna Kim
from Austria wrote: “... and it’s in strange places that we notice how strange
we are ourselves, not only for those around us but for ourselves as well,
Authors, translators and publishers
how little we actually knew about ourselves and how surprised we are at
were given the opportunity to
our own reactions”.
enrich their work through experi-
encing the variety of cultures across
But there were other results. They connected among themselves too,
the regions of Europe. Hosted by
creating a network of writers, intellectuals and translators – which is
participating literary centres, they
something I hadn’t expected. Other spin-offs came in terms of publishing
could carry out research, produce
and performance. Some of the HALMA members are also publishing
new work, and take part in read-
houses, and GOGA in Slovenia discovered writers that it found very inter-
ings, workshops or lectures with
esting: as a result, the novel “Este e o meu corpo” by Portuguese writer
a strongly local flavour. Halma is
Filipa Melo appeared in Slovenia. Similarly, the plays “Strand line” and
the Greek word for ‘jump’ – and the
“Pump girl” by Irish playwright Abbie Spallen were staged in Finland in the
game of the same name – and the
framework of HALMA. And many of the sample translations of works pro-
network provided a frame in which
duced within the project have been published in literary magazines.
European writers could move across
Europe like players of board games
Exchanging and hosting writers from across Europe has also intensified
or kids enjoying hopscotch.
links between HALMA members, and increased their own international
profile – particularly giving organisations on the periphery of Europe, in
Romania or Finland, for example, new opportunities to boost their engage-
ment in trans-national cultural cooperation. As Vesa Lahti, a translator
from Jyväskylä, Finland, said of the HALMA members meeting, “You could
actually feel the HALMA spirit. There was something warm and touching to
Photos provided by HALMA – Larissa Boehning © Robert Kruh have this feeling of doing something important and remarkable together.” ’

The programme ran from November 2009 to November 2010 and was supported under a special call for action ‘Support to mobility
of artists (EAC/09/2009)’ with a grant of 108 500 euros. The lead organiser was HALMA, the European network of literary centres,
in Berlin and the co-organisers were Alte Schmiede in Austria, the Elias Canetti Center in Bulgaria, LCB in Germany, Ventspils House
in Lithuania, kunst.raum SyltQuelle in Germany, Het Beschrijf @ Passa Porta in Belgium, Maison des écrivains étrangers et des
traducteurs in France, Villa Decius in Poland, The Literature House Schleswig Holstein, Denmark, and Writers’ House Jyväskylä
in Finland. Website: http://www.halma-network.eu/en.html
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Beyond the Stage Anna Szynkaruk-Zgirska, the project leader, recounts how it bridged
New trends in cultures and promoted international cooperation among artists, while
entertaining a wide public:
European theatre ‘We organised 15 innovative theatre productions in four European coun-
tries, with six theatre groups (involving some 200 people) touring abroad,
What value can film, video, electronic frequent exchanges between participating countries. Artists, theatre prac-
music, modern dance and other titioners, instructors and academics had the chance to travel and meet
forms of media add to classic their counterparts from other countries and cultures. Workshops, lectures
theatre? That was the focus of this and exhibitions explored new ways of thinking about theatre and its role in
project. It brought together experts the world of developing modern communication technologies, and a con-
in stage theory with experts in stage ference brought together 50 academics from seven countries and led to
practice. It confronted different the publication of a book.
European countries and traditions.
And it provided a framework of The success of the project as a whole was that all this intercultural co-
festivals, workshops and confer- operation helped achieve a mutual sense of understanding. In addition,
ences. It combined high quality the general public and tourists could enjoy the Shakespeare Festivals held
artistic events – such as the widely in Gdansk, Gyula, and Craiova, and the meetings and discussions with
acclaimed ‘Hamlet’ by New York- guest artists held after the performances, as well as associated educa-
based Wooster Group, and a ‘Richard tional events involving the populations of the host towns.
III’ co-produced by the Cluj Theatre
from Romania and the Gyula Castle We promoted shared European values by bringing the best theatre pro-
Theatre in Hungary – with a major ductions, artists, and directors together, and fostering learning and dia-
conference of academic research, logue through the diversity of modern trends in European theatre. And it
and an educational programme to was hugely enjoyable to work on!’
introduce the idea of theatre that
spreads beyond the stage.

Photos provided by Beyond the Stage © Wieslaw Czerniawsk

The programme ran from May 2009 to April 2010, and received grants of 196 510 euros. The lead organiser was Theatrum
Gedanense Foundation in Poland and the co-organisers were Gyulai Vrsznhz in Hungary, the London Metropolitan University
in the UK, and Parrabbola, also in the UK. Website: http://ftg.pl/poza-scena/?p=18&lang=en
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Photos provided by European Media Art Network: p.22 © Don Ritter Vested, interactive Rauminstallation 2008 / p. 23 © Kurt D'Haesseler Archaic Smile Videoinstallation 2008, Nika Oblak & Primoz Novak, recommended by Curators Worldwide Billboard 2009

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European Media Peter Zorn, the project leader, spells out how enthusiasm drives
Art Network the network in promoting Innovation and exchange in the production,
presentation and distribution of media art in Europe:
Giving new ‘All the participants in our network began as artist-run – grass root organi-
insights through sations – not the ones you expect to run European wide networks and
projects. But we can! Our big asset is our enthusiasm towards the artists
artists’ mobility working with media to create something different from what we are used
to seeing on television. And these approaches need skills and knowledge
The ‘move – new european media that often go beyond what many TV professionals have. They also need
art’ exhibition in Halle in October access to completely different audiences and markets.
2009 was the culmination of the
European Media Art Network So we combined our knowledge and contacts. With the funding we
project, showcasing the output of received, each of us hosted four European artists and groups while they
16 leading figures working in exper- produced new work. We set up presentations and marketed the works
imental film, sound and computer to curators, festivals, museums and galleries. One of the works PERFECT
based art in Europe. The artists had SOUND, a video installation on voice training by Katarina Zdjelar from
each spent two months abroad Serbia, entered the Venice Biennale in 2009. And VESTED, a huge and
under the residence exchange complex interactive video installation by Don Ritter, a Canadian artist
programme run by the project. based in Berlin, won gold at the Winter Olympics in Vancouver in 2010.
We were able to promote a sensitive, reflective, critical and experimental
approach towards moving images and the technologies that are an insepa-
rable part of today’s world.

The contacts and cooperations that artists make during their residence
are a major part of the results. When British artists Karen Mirza and Brad
Butler included ten young students from Saxony-Anhalt in their MUSEUM
OF NON PARTICIPATION project, many of them became so keen that they
started experimental film-making afterwards. And the show in Halle
received more than 11 000 visitors over 14 weeks – not just professionals
from across Europe, but local kids and pensioners who had never seen
media art before, and who responded actively to the artists bringing
these new perspectives from other parts of Europe to their hometown.’

The project ran from November 2007 to November 2009, with a grant of 158 000 euros. The lead organiser was Werkleitz
Gesellschaft e.V. of Halle in Germany and co-organisers were InterSpace Association of Bulgaria, the Birmingham Centre
for Media Arts/VIVID of the UK, and Stichting Impakt of the Netherlands. Website: http://www.emare.eu
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Wiener Tanzwochen As Rio Rutzinger, the artistic director of the workshop programme,
Advancing dance in explains, the project provides a rare combination of professionalism
and personal contact, and of intensity and informality:
leaps and bounds ‘The EU money widens the scope of what we do. It allows us to pay leading
artists to develop the skills of dancers of all levels. We can explore new
Contemporary dance is opened up types of performance that reach audiences who have not had the habit
to new artists and wider audiences of experiencing dance – including visitors, tourists, people from all types
across Europe through the Wiener of background. And we are able to mount summits of professionals who
Tanzwochen initiative ImPulsTanz can mingle with one another and with audiences in a more relaxed context
Vienna International Dance Festival. than the hectic life of touring ever permits. At the same time as the perform-
This large-scale project includes ances, we organise 185 workshops attended by more than 3 000 dancers,
performances, workshops, professionals and amateurs, which helps exchange between the perform-
exchange programmes, and ers, teachers, students and audiences.
research and education, as well as
touring, and cooperation with the The quantity of activities is an important aspect of the quality of the project.
Biennale of Venice, the Festival We are trying to make high art a little less high up by providing and engag-
d’Avignon, and Tanz im August. ing in as many opportunities as possible to share work and experiences.
And for our setting this actually seems to be far more effective than any
formal symposium. This is what the participants tell us too.

Milla Koistinen of Finland told us that in addition to the workshops and


coaching and the chance to see so many performances and to meet so
many people, taking part also helped her question her own work. For
Kristina Oom of Sweden, it was a “real gift” to be able to choose classes
and performances instead of being under the usual limitations of money,
time, or work obligations. Roxana Valdez of Mexico found not just a cele-
bration of art and dance, but “a social phenomenon that eliminates geo-
graphical frontiers to generate knowledge, discussion, agreement and
complicity”. And Virginia Kennard of the UK said: “have been doing more
living than dancing…”.’
Photos provided by Wiener Tanzwochen

The project, with an operational grant of 99 999 euros from the Culture Programme for a cultural festival on a European level,
ran from January 1 to December 31, 2010, with its peak from July 15 to August 15. The organizer was Wiener Tanzwochen, Vienna.
Website: http://www.impulstanz.com
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Borrowed Light Iiris Autio, managing director of the Tero Saarinen Company, spells out what
Reflecting it meant for the company, and for the audiences the show has reached:
‘This was an ambitious project for us. Although our work is nowadays
Europe through regarded as one of Finland’s leading cultural exports, we were at the time
the language a small, non-institutionalised dance company with little public funding.
The EU grant allowed us to hire top professional people world-wide and
of dance collaborate with leading international institutions. This funding was cru-
cial. It meant that our company could create such a large-scale work with-
Borrowed Light is a large-scale live out any artistic compromises.
dance and music performance that
was supported by Culture 2000 It was also ambitious artistically. It combined the theme of community
in 2004-2005. It has been seen – inspired by the ideology and aesthetics of the Shakers – with contempo-
in major venues in France, Sweden, rary dance, vocal music and state-of-the-art lighting and sound technology.
Finland, Italy, Germany, the UK, the It used the language of dance to investigate, promote and communicate
a humane worldview, and basic human values. And we toured, with live

Photos provided by Borrowed Light choreography: Tero Saarinen – p.26 © Laurent Philippe / p.27 © Tanja Ahola, Laurent Philippe, Jonas Lundqvist
US, New Zealand and Australia.
Audiences now total 50 000 people, music and twenty four people, including the eight dancers and eight
and further international tours are singers on stage.
scheduled for 2011 and 2012. It was
produced by the Tero Saarinen The work received rave reviews (“This production is richly original, and
Company in cooperation with scrupulously intelligent.” The Guardian, Judith Mackrell, April 8, 2005;
dance organisations in France, “Here the dance becomes a strange, violent and complex conduit for the
Sweden and Finland. struggle of will over flesh. I’ve not seen, or experienced, anything like it.”
The Independent, Jenny Gilbert, April 10, 2005). It provoked discussion
among its audiences, both about the history of the Shaker movement and
concepts of community, and about the ritual essence of dance. And a semi-
nar we organised on the eve of the production’s première brought together
leading European company managers, promoters, agents and festival direc-
tors, to discuss European co-production practices and funding, collaboration
between dance and TV, touring, and collaboration with dance agencies.

We demonstrated that a work of art can be produced as a European or


inter­national co-production, using complicated funding tools – such as EU
programmes – without any loss of creativity or artistic integrity. We reached
new audiences with a new production. And the success of the project also
strengthened our organisation’s infrastructure significantly.’

The project ran from July 2004 to June 2005, with an EU grant of 150 000 euros. The lead organiser was Tero Saarinen Company
of Finland and co-organisers were Festival Octobre en Normandie in France, Kuopio Tanssii ja Soi (Kuopio Dance Festival) in Finland,
and Stiftelsen Dansens Hus (The House of Dance) in Sweden. Website: http://terosaarinen.com/en/works/all_creations/?id=2
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European regions Carolyn Rule, Cornwall Council cabinet member for Economy and
of culture Regeneration, explains what the network achieved:
‘Our three regions all believed that rural culture is worth celebrating, and
Building we had all looked enviously at cities that are famous for their culture, and
a better future that are expert at making culture work hard for them. We wanted to do the
same for our own locations – all rural, isolated and peripheral. Because
even though rural regions can be rich in culture, they rarely acquire a wide
How can culture build a better
reputation, and this makes it difficult to develop their cultural sectors.
future for Europe’s rural regions?
It’s harder for a visual artist or film-maker in Cornwall or Kujawsko Pomor-
That is the question behind this
skie or South Ostrobothnia to gain the same fame as someone working in
network, and its celebration of
Liverpool, Warsaw or Helsinki.
culture as central to regional life
and identity. Through three cultural
So we set out to create an equivalent of European Capitals of Culture that
exchange events, it stimulated
would honour and promote rural culture. Our first step was to experiment
dialogue and exchange between
with ways of improving the cultural situation in our regions, so we worked
people working in culture
with policy makers, young people and artists from all three regions, in
at regional level in the UK,
a series of visits that showcased the best – and the worst! Policy makers
Poland and Finland.
then produced advocacy material and agreements, young people communi-
cated through a publication, and artists through an exhibition in each region.

Joan Symons, Cornwall Council cabinet member for Culture adds: “The closer
links between the partners gave us better understanding of common issues
– like tackling Structural Funds, devising local cultural strategies, and working
with young people – and a clearer view of what were European issues and
what were purely local. Artists and young people learnt about the diversity
of Europe from their visits – everything from how different galleries operate

Photos provided by European Regions of Culture: p.28 © Shutterstock / p.29 © Rae Chapman
to how to function within a residency setting. And the concept of European
Regions of Culture also attracted interest from local investors and politicians,
who saw many advantages to be gained from winning such recognition.
Now the concept has been taken up by more than 30 other regions.” ’

The project ran from November 2008 to September 2009, with a grant of 179 562 euros. The lead organiser was Cornwall Council in the
UK and co-organisers were the Regional Council of South Ostrobothnia in Finland, and the Department of culture and national heritage
of Kujawsko-Pomorskie Voivodship in Poland. Website: http://www.e-r-o-c.com
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House for Open Project coordinator Jasa Jenull describes it as ‘artistic couchsurfing’
Mobility Exchange – informal, low-maintenance, self-organized artistic mobility:
‘The essence of the project is the development of close engagement, with
(H.O.M.E.) one another, and with our audiences. Each event – musical performances,
Personal contact street theatre or multimedia installations – involves visits between the
participating countries, with the accent on getting to know the other artists
in public spaces there informally, for instance by cooking and living and working together.
And the end product each time is an action in a public space, with maximum
Artists from across Europe are involvement of local people, getting their stories and opinions, inciting
getting the chance to share their curiosity, provoking new perceptions, and building acceptance. Personal
experiences and to bring their contact is more important in the long term than getting 10 000 people inter-
creations to new audiences in ested for ten seconds. Using public spaces keeps it informal and ensures
the aptly-named HOME project wider access. Finding a public space and deciding how to use it is part of
that the EU is supporting. But this the creative exploration central to each project.
is an artist residency programme
with a difference: spare beds An event in a small village in northern Sweden created a sculpture park as
and inflatable mattresses provide a starting point for the villagers to complete. A five-day photography and
the accommodation, and any public film workshop in an old market in Oporto helped stall-holders combat
space is taken over spontaneously municipal plans to replace them with a shopping centre. An “open house”
as the location for exhibitions in Ljubljana invited partners to contribute to an open air gallery, using and
and activities. naming objects already in public spaces à la duchamps, then offering tours
to local people, who could see how people from another country perceive
their town.

After you’ve been to a few of these things you feel that Europe is quite
small. You can exchange a couple of emails, jump in a car, and you are part
of project on other side of Europe. The EU itself has become a small public
space for artists to work together in. And the project’s informality, using
private accommodation, public spaces and personal relationships, means
that it will continue to grow even without further grants.’
Photos provided by House for Open Mobility Exchange (H.O.M.E.)

The project is running from November 2009 to April 2011 and was supported under a special call for action ‘Support to mobility
of artists (EAC/09/2009)’, with a grant of 50 000 euros. The lead organiser is Kulturno-umetnisko drustvo Ljud – Kud Ljud,
in Slovenia and co-organisers are NEC, also in Slovenia, Lomomania in Portugal, YEPCE in France, OFA in Sweden, and Sacred
Places in Belgium. Website: http://www.ljud.si/slo/?lang=en
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Network of Elizabeta Petrusa-Štrukelj, the chairperson, and a member of the Slovenian
European Museum Museums Association’s board, highlights the role of the network for
professionals – and for the public:
Organisations ‘Our principal effect comes from the information we spread among muse-
(NEMO) ums. There are many differences across Europe, influenced by history and
culture, in the way that museums are structured, or in the way they relate
Connecting past,

Photos provided by Network of European Museum Organisations (NEMO): p.32 and 33 © German Museums Association, Christian Burkert / p.33 © Jens Gyarmaty and Markus Reichmann
to one another and to local or national authorities. Approaches to history
present and future and to links with education vary widely, and have gone through rapid
changes in parts of Europe that have experienced major upheaval in the
last thirty years.
The European museum landscape
is being constantly reviewed and
We help to ensure that information flows freely, among the European
remodelled by professionals and
museum community itself, and between museums and policy makers.
volunteers working in museums
We keep our members up to date on standards and laws, digitisation,
associations and similar bodies of
or creativity and innovation in museums. And we help them learn from
Europe, that have come together in
each other and find partners for lending and borrowing objects for exhibi-
the Network of European Museum
tions and for European projects.
Organisations. This platform
for cooperation, representing
There are differences too in attitudes between larger and smaller countries
museums across Europe that
in Europe. We help to develop cooperation, particularly in the face of the
receive over 500 million visitors
new challenges of increased cross-border activity, and we aim to give
each year, helps to give the cultural
people and institutions with less formal experience a wider range of oppor-
heritage sector a stronger voice at
tunities to develop their capacities and to show what they can do. Many
European level. And through pool-
museums and their associations work with slender finances, and depend
ing expertise, it allows its members
heavily on volunteers – but it is the smaller museums that make up the
to assist one another with guidance
majority of museums in Europe, and often have the closest connection
and new insights.
to their visitors.

Above all, we promote the role of museum collections in allowing Euro-


pean citizens to trace their history, and identify their differences and
similarities. Museums provide citizens with a sense of place, and promote
lifelong learning. Greater knowledge of the history of Europe helps widen
understanding of our origins, and makes us more understanding and
respectful of our own history – and of other people’s too.’

NEMO has been in existence since 1992. Under the Culture Programme 2007-2013 it has received a grant of 60 000 euros.
Its office is based at the German Museums Association, Deutscher Museumsbund. More than 30 000 museums across 32 European
countries are represented. Website: http://www.ne-mo.org
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Diversidad Project manager Jean-Marc Leclerc underlines the importance of urban
Urban Forum culture for young people in Europe:
‘As urban culture has developed over the last thirty years in every country
Music across in Europe, it has given new means of expression to European youth, and
borders offered the chance of success and recognition to many underground art-
ists. But neither the occasional graffiti artists nor the main hip-hop acts
had much opportunity to meet up and exchange experiences – and still
Crossing frontiers – geographic and
less to work together. The Diversidad project is now bringing all these
linguistic – with music is the central
talents together for the first time.
activity of Diversidad, which of
course means diversity. Musicians
20 hiphop artists from 14 European countries worked together for ten days
and visual artists with a link to
to compose and record the “Diversidad” album, with everyone singing in
urban culture are working together
their own language but cooperating closely, helping one another out to
in a series of events, workshops,
complete the album on time. For many of the artists, it was a rare chance
and open forums. The output to
to work together in such collaborative intensity. The album has received
date has been a four-day hiphop
real international promotion and is the soundtrack of the exhibition,
festival in 2009, with more than
video documentary and film that also form part of the project.
200 performances and artists,
which attracted an audience
Equally original is the experience that the project is to provide in 2011 for
of more than 60 000, and a collabo-
a crew of musicians, rappers, dancers, choreographers and DJs from differ-
rative album. Still to come are
ent countries and backgrounds, who will tour across Europe with the Diver-
a digital platform for musical
sidad show. And a “rebel” graphic art exhibition will appear on advertising
exchanges, the Diversidad Tour,
boards in the cities they visit.
and a graffiti exhibition. The project
brings together artists and people
As Thomas Brödl of co-organiser HipHopConnection put it: “HipHop culture
working in culture in an exploration
is a wonderful way to express unity and cultural diversity at the same time”,
of cultural diversity and mobility
adding that he saw Diversidad helping to raise the cultural awareness of
that connects to the life of citizens.
European youth and convey a sense of togetherness. And Peter Smidt of
Buma Cultuur highlighted merits “both for cultural and economic reasons”
of widening the circulation across Europe of the European repertoire.’
Photos provided by Diversidad Urban Forum

The project is running from May 2009 to April 2012 with a grant of 931 000 euros. The lead organiser is European Music Office,
Belgium and the co-organisers are Fondazione Arezzo Wave in Italy, Stichting Buma Cultuur in the Netherlands, Hiphopconnection
in Austria, Cultura Urbana Festival in Spain, Kulturarena Veranstaltung in Germany, and Associations Diversités in France.
Website: http://www.myspace.com/diversidadexperience
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BelBoBru Myriam Stoffen, the lead organiser, who works with Zinneke in Bussels,
An urban explains how the project brought new visions to the participants:
‘For all of us, organisations, artists, participants, this was a fascinating and
parade laboratory enriching project, full of passion. Three cities embarked on this adventure,
with different social and economic realities, and different missions and
Cultural organisations in the cities working methods. But we shared a commitment to participation, active
of Belfast, Bologna, and Brussels citizenship and social inclusion through art, culture and action in public
worked together during two years spaces – with the unpredictability and richness of the street.
to share and develop their reflec-
tions and skills in carnival and We were challenging accepted views of what parades could be – views held
festival parades. Each of them by audiences and views held by the artists involved in the parades, too. The
obtained new understanding of how project allowed artists not only to travel and to share skills across the differ-
their engagement with the public ent disciplines, but also to confront social and cultural frameworks on public
was influenced by their different space. How to make musicians move in the street? How to integrate the
backgrounds – and of how to make puppeteers’ and theatre play? How to interact with the public? How to use
use of that understanding. The the street and urban environment? How to make a large group of performers
project also enhanced the skills of suddenly appear and disappear?
the local artists involved, particu-
larly in their work with puppets, We also learnt how to question social reality. How far can we go in con-
with mime, with theatre and with fronting local inhibitions? Should we avoid showing violence in a street
drums. The project culminated in performance in Belfast? Can we help persuade Bologna’s authorities to
a large-scale interdisciplinary and support bottom-up art forms and allow more professionalisation? Can
intercultural performance and artistic cross-fertilisation contribute to a broader international awareness
parade, rehearsed in the three for the citizens of Brussels?
cities, and performed in Bologna,
with 70 artist participants from Workshops that brought together different professionals working in carni-
all three cities. val arts provided the opportunity to see how things were done in different
environments and how to use new techniques. The invitation to collabo-
Photos provided by BelBoBru: p.36 © Luc Calis / p.37 © Luc Calis – Katleen Kuppens rate across borders widened cultural references – leading to the creation,
for instance, of a marionette capable of travelling across Europe – called
“Maurice in a suitcase”.’

The project ran from November 2007 to November 2009 with a grant of 100 000 euros. The lead organiser was Zinneke,
in Belgium and the co-organisers were Associazione culturale Oltre, in Italy, and The Beat Initiative, in the UK.
Website: http://www.zinneke.org/article40.html?lang=en
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Festival d’Avignon Philippe Le Moine, director of external relations, says the EU Culture
A contemporary Programme has benefited the professionals, practitioners and public
that are part of the festival:
artistic adventure ‘One of the important results of the EU funding has been to make the
festival even more international and multilingual. The presence of artists
Created in 1947, The Festival and profes­sionals from around Europe and beyond leads directly to wider
d’Avignon has acquired worldwide circulation of works: the success of Romeo Castellucci’s “Inferno” at the
fame for its presentations of French 2008 Festival (it was hailed by Le Monde as the most important theatre
and international contemporary event of the first decade of the century) allowed the piece to travel across
theatre, dance and performing arts, the world for the next three years, reaching audiences way beyond the
and for providing a platform for wide walls of Avignon.
personal and cultural exchange.
Each year it offers some 40 specta- It also means deeper and more diverse multicultural conversations, ideas
cles, often in collaboration with and opinions. The festival is now a leading platform for discussions on Euro-
other European theatres, and most pean culture and on how professionals both in France and across Europe
of which are new creations by can approach culture at a European level. “Les Rencontres Euro­péennes”
renowned European artists. The gather artists, politicians, academics, European institutions and civil society
Festival is also a place of discovery, in debates that range from intercultural dialogue to the fight against poverty
where young artists have the chance and social exclusion – providing moments such as European Culture Com-
to display the most innovative missioner Ján Figel discussing the European Agenda for Culture with
contemporary developments. a young director from Bulgaria and a major French sociologist, in front
of a large crowd of artists, arts professionals and the general public.

EU support has helped guarantee the festival’s role in promoting links


between disciplines and generations – notably with the involvement of
young practitioners. The international reach of the festival has also been
extended through, for instance, financing for translation of festival docu-
ments or subtitles and interpretation of works, so as to reach more non-
French speakers.

Overall, the EU support allowed the festival to reach wider audiences with
Photos provided by Festival d’Avignon © Christophe Raynaud de Lage

a wider range of works and promote the widest possible discussion of


European culture.’

The EU supplied grants of 200 000 euros per year in the period 2008/2010 to support these projects and activities. The organiser is
the Festival d’Avignon. Website: http://www.festival-avignon.com
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Festival As festival director general Bernard Foccroulle underlines, the focus is
d’Aix-en-Provence on opera, dialogue between different musical cultures, development
of young artists, and attracting the widest possible audiences:
The Midi in the ‘For centuries, the circulation through Europe of opera artists and operas
middle of Europe has contributed to the construction of a common identity and a particular
view of the world. The Festival d’Aix-en-Provence celebrates this heritage
with the participation of artists from across Europe. We host the most
Europe’s best lyrical and musical
renowned orchestras, singers, conductors and directors. We also welcome
performances are the focus of the
the most promising young talents, who bring a dynamism which is an
Festival International d’Art Lyrique
essential facet of the festival’s character.
d’Aix-en-Provence. Artists and
compositions of local and regional
Our European Music Academy supports the transmission of these traditions
character are blended with national
to young singers, musicians and composers, and helps in their training and
and international stars and shows.
development. And the festival also promotes productions and – particularly
The festival also incorporates the
– new compositions. We don’t want opera to be seen as a “museum” – an
European academy of music, which
art-form with only a past. We aim to make it a place of creation, exchange
provides training and professional
and sharing. No less than 20 living composers found their place in the 2010
guidance to young European artists.
festival, and we presented several world premières.

Renewal and reaching wider audiences are essential to the economic


sustainability of opera, and to a continual increase in artistic quality and
creativity. Making opera accessible to spectators of every type is part of
our mission – an inclusive agenda that imposes no conditions in respect
of income levels or cultural affinity. We work with groups of young people
or adults from many different backgrounds, encouraging their self-expres-
sion, and establishing the conditions for rich intercultural dialogue.

The support from the European Commission in 2009 and 2010 is an indica-
tion that our priorities coincide with some of the goals of the Culture
Pro­gramme. This encourages us to continue building links and reinforcing
synergies – such as through the European Network of Opera Academies
Photos provided by Festival d’Aix-en-Provence © Elisabeth Carecchio

– so as to benefit from the best that each of us is doing, and to ensure the
vitality of opera in the 21st century.’

The festival takes place every year, and has received an operating grant of 95 066 euros in 2010. Website: http://www.festival-aix.com
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IMAGINE 2020 Theresa von Wuthenau, the coordinator, and Guy Gypens, artistic director
Seeing climate of the Kaaitheater in Brussels, underline how the project is in tune with the
concept of a resource-efficient Europe, without limiting the possibility for
change through art artists and their works to travel and tour:
‘Climate change is the greatest challenges of the 21st century. So eleven arts
European artists and arts organisa- organisations across Europe have got together, harnessing the power of the
tions can be catalysts for new ways imagination to bring about a re-invention of modern society. We are building
of thinking – and, in light of climate on the experiences from a 24-month project called “Thin Ice: Art and Climate
change, new ways of thinking have Change” that created unexpected opportunities for dialogue between arts,
never been so necessary! Through science, and civil society, and that raised awareness and involving the public
Imagine 2020, a group of per­ both as audiences and as participants.
formance arts organisations
across Europe are exploring ways The network started out from a chance meeting of like-minded individuals
of supporting artists who tackle at an event on the arts and climate change. We decided we would explore
the issue through their art, and how artists can help the shift towards a low carbon economy, by engag-
of presenting their shows that are ing a generation of artists in Europe with climate issues and by promoting
environmentally sustainable. creative exchanges with the world of science, philosophy and history, to
provoke new and unexpected ways of looking at the issues.

Partners in the project are commissioning and producing several works


that address climate change. French writer and director Frederic Ferrer says
the network made it possible for him to get expert input into his play “Kyoto
Forever” at the Theatre Le Quai in Angers. In Brussels, the Kaaitheater’s
Burning Ice festivals included a mock documentary depicting a future Neth-
erlands submerged under water. In London and Ljubljana, art took to the
streets and occupied public spaces, bringing the message to the people.

The artistic directors were able to travel to the different venues and observe
the work being done. We learned an enormous amount in a very short time,
with the exchange of ideas and exposure to different approaches. The
foundations laid by the Thin Ice pilot programme are being continued and
extended under the IMAGINE 2020 Network, with additional partners and
a novel training dimension through the organisation of summer academies
for artists and mentoring programmes.’
Photos provided by IMAGINE 2020 © Michel François

The project is running from 2010 to 2015, with a grant of 2 200 000 euros. The lead-organiser is Kaaiteater in Brussels
and co-organisers are Artsadmin in London, Bunker in Ljubljana, Domaine d’O in Montpellier, Domino in Croatia, Théâtre Le Quai
in Angers, Kampnagel Internationale Kulturfabrik of Germany, the London International Festival of Theatre, the New Theatre
Institute of Latvia, Rotterdamse Schouwburg of the Netherlands, and Transforma of Portugal. Website: http://www.2020network.eu
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Cooperation and Andrew Gerzso, the project coordinator, outlines the achievements:
Mediation in the ‘As high speed internet spreads ever wider, it opens up new artistic possibili-
ties – and particularly in musical composition and performance. Today’s
Digital Arts technology means that a student can take part in an instrumental master
A flight of song class or a composer lesson even when thousands of kilometres from the
teacher. New networks allow streaming of seminars on musical research,
live videoconferencing, and on-line artistic and musical events. CO-ME-DI-A
CO-ME-DI-A – Cooperation and
has seized this potential, and is realising it in line with the European sprit
Mediation in the Digital Arts – aims
of combining cultural heritage and innovation.
to use media art and digital technol-
ogies in public events, workshops
This three year project has organized residencies with international artists
and residencies to assist learning,
(Andrea Cera, Bernhard Lang, David Moss...) and ensembles (European
particularly in real-time computer
Bridges Ensemble… ). The results include novel works that explore distrib-
music for network performance.
uted performances (Disparate Bodies…), and different approaches to live
It has created a common platform for
musical composition (Quinte.net, NetCities…). And twin-site interactive
communication and expression, and
installations, concerts and rehearsals (An Invisible Line, NetTrike…) have
its residencies developed technical
further broadened its scope.
and artistic content.
Reaching a wide audience in order to make people aware of the new possi-
bilities offered by high-speed networks in the artistic domain is also a prior-
ity. Workshops and demonstrations were organized within the International
Computer Music Conference, New Interfaces for Musical Expression, Sound
and Music Computing, and EyesWeb Week. Artistic works were presented
in the Agora Festival in Paris, Klangwerktage Festival in Hamburg, Making
New Waves Festival in Budapest and ENTER4 in Prague. And three “show-
case” events highlighted the technological, artistic and conceptual issues
of the project.

CO-ME-DI-A has had a major impact on all the partners, promoting increas-
ing day-to-day use of networking, and has also attracted interest at the
European and international level. Most recently, the Trans-European
Research and Education Networking Association and the Internet2 consor-
Photos provided by Cooperation and Mediation in the Digital Arts

tium in the USA invited the CO-ME-DI-A project to host their annual Net-
work Performing Arts Production Workshop in 2010 in Paris.’

The project is running from November 2007 to March 2011 with a grant of 1 343 669,20 euros. The lead-organiser is Institut de
Recherche et Coordination Acoustique Musique at the Centre Pompidou, Paris and the co-organisers are Università degli Studi
di Genova in Italy, the Center for Art and New Technologies in Prague, Queen’s University in Belfast, the University of Music
and Dramatic Arts in Graz, Hochschule für Musik und Theater in Hamburg, and the Hungarian Computer Music Foundation.
Website: http://www2.comedia.eu.org/wordpress
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ENPARTS Paolo Bartolani, the project leader, summarises what the ENPARTS
A European project is doing:
‘ “A place that concentrates creativity and makes it explode, that opens up
network of the energy of people to others. A suspended time and space for two weeks
performing arts in the most image-filled and mysterious city in the world: Venice. Ideas,
fantasy, technology, experimentation. Challenge, collaboration, risk, inven-
tion, freedom.”
Six internationally renowned Euro-
pean festivals and institutions,
This is how Luca Francesconi, the Artistic Director of Music Biennial, pre-
coordinated by the Venice Biennale,
sented the first ENPARTS campus, called “The Body Electric”, in Venice in
are constructing a common pro-
2009. A selection of young artists that ENPARTS brought from around the
gramme for innovation and
world worked in small groups to produce short works using music, theatre
experimentation in the performing
and dance that were then showcased at the 53rd International Festival of
arts. The network commissions
Contemporary Music of La Biennale, in the Teatro Piccolo Arsenale.
three new works every year. In
2010, three experimental works
The ENPARTS network has three campuses programmed in 2008-2012,
were selected: two dance co-pro-
providing young artists with the space and resources to create inter-disci-
ductions and a music co-production
plinary projects together. Creating a fertile group of artists with new artistic
of three short chamber operas.
partnerships formed from their involvement is a perfect embodiment of the
These new productions are being
ENPARTS vision. Some of these young partnerships are chosen to create
presented on the European circuit
new works for a mixed bill that will play on the European circuit through
through a network set up by the
an exchange network of the participating institutions and festivals.
participating institutions and
festivals, and backed up by internet
ENPARTS promotes professional expertise and transmits innovation
links and accompanying audio-vis-
through ambitious combinations of artistic ideas and technical and finan-
ual works documenting how they
cial resources. People working in the sector are constantly acquiring skills
were created.
and sensitivity for managing intercultural relations in increasingly complex
contexts. Its dual role not only provides supports for European creativity,
but also offers an artistic platform at the intercultural crossroads that
Europeans must increasingly negotiate.’
Photos provided by ENPARTS © Jake Walters

The project is running from 2007 to 2012 with a grant of 2 500 000 euros. The lead-organiser is Fondazione la Biennale di Venezia
and the co-organisers are Dance Umbrella in London, Dansens Hus in Stockholm, Musicadhoy in Madrid, Musik der Jahrhunderte
in Stuttgart, Berliner Festspiele-spielzeit europa in Berlin, and Bitef Teatar in Belgrade.
Website: http://www.labiennale.org/en/enparts/home.html
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Photo provided by European Capitals of Culture 2010 – City of Essen for the Ruhr (Germany) © media Zollverein Feuerwerk

Photo provided by European Capitals of Culture 2010 – City of Pécs (Hungary)


Photo provided by European Capitals of Culture 2010 –City of Istanbul (Turkey)

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European capitals 25 years and more than 40 cities European Capitals of Culture are 2008 and all the children of all the experience of long-term benefits.
of culture later, the European Capitals of
Culture stands out as one of the
proof that culture makes a major
contribution to the European
schools of the city participated in at
least one activity; the 200 cultural
Indeed the most successful Capi-
tals are those which have embed-
European Union’s must recognised Union’s aim of smart, sustainable projects which took place in Linz ded the event as part of
cultural initiatives. Its primary and inclusive growth, because in 2009 generated 7 700 events, a long-term strategy and commit-
objective is to highlight the rich- they are part of the long-term involved 5 000 artists and led to ment by the city to culture-led
ness and diversity of European development of European cities additional regional GDP of 8.4 mil- development.
cultures and the features they and their regions, as well as lion euro; nearly 60 % of the resi-
share, and to encourage a sense a stimulus for dynamism, crea­ dents of the city of Luxembourg The European Capitals of Culture
of belonging to Europeans of all tivity, and social inclusion. visited a European Capital of Cul- are quite simply an amazing
ages and lifestyles. Over the years ture event in 2007 and 139 cross- opportunity for change and trans-
this event has evolved and its social Many cities which have held the border projects were implemented formation for a city, its image, its
and economic benefits have also title experienced impressive imme- with partners from the Grande infrastructure, its cultural sector
become increasingly apparent and diate results. For example, on Région; during Stavanger 2008, and its citizens. Like Europe itself,
recognised. average they experience an collaborations, co-productions the project still has plenty of
increase of some 12 % in tourists and exchanges took place experiments in artistic, urban,
Why is it such a success? The compared to the previous year; with 54 countries; 73 official inter- and communal living ahead of it.
secret is two-fold: international 10 million people attended a cul- national delegations were received
visibility, and citizen involvement. tural event in Liverpool during in Sibiu 2007. But many have also
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The EU Prize for Architecture Prize: The Norwegian Opera & Ballet – Snohetta © Gerald Zugmann
The European Border Breakers Awards – EBBA 2010

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Cultural prizes The EU Prize for pop music Since 2010 the event is organ- The EU Prize for The winners are selected by a jury Car Park and Terminus Hoenheim
(European Border Breakers contemporary architecture
Spotlighting Awards – EBBA)
ised by Eurosonic/Noorderslag
in Groningen and the show is (Mies van der Rohe Award)
from a short list based on nomina-
tions submitted by the member
North, Strasbourg, France (Zaha
Hadid); the Netherlands Embassy,
excellence hosted by music and television associations. The selection of Berlin, Germany (Rem Koolhaas,
The EBBAs were launched 10 years legend Jools Holland. The 2010 The EU Prize for contemporary works is based on their excellence Ellen van Loon). Some Special
In addition to the projects proposed ago and Carla Bruni, Gabriel Rios, award ceremony was attended architecture/Mies van der Rohe in conceptual, technical and con- Mention winners were Sharn-
by cultural operators, the Culture Dolores O’Riordan, Adele, Milow by 1 200 people in the presence Award and the emerging architect struction terms. hausere Park Town Hall, Ostfil-
Programme also seeks to showcase and Peter Fox are just some of the of HRH Princess Máxima of the Special Mention are biennial dern, Germany (Jürgen Mayer);
current successes in the cultural European artists who have been Netherlands and the show was awards that are granted to the Material on the shortlisted works and the Faculty of Mathematics,
sector that otherwise may not be awarded an EBBA for their interna- broadcast on television in 12 coun- European author(s) of architec- is used for an exhibition which Ljubljana, Slovenia (Matija Bevk,
easily noticed across Europe, by the tional debut album. tries, features from it were played tural works recently built in travels throughout the EU and Vasa J. Perovi΄c).
granting of prizes for contemporary on 24 radio stations and it is esti- Europe. The Prize and the Special beyond and is accompanied by
architecture, cultural heritage, The winners are selected on the mated that more than 45 million Mention highlight the achieve- a catalogue giving detailed infor- The winners of the 2011 Prize and
literature and pop music. These sales results of their international people were reached. The first ments of European professionals mation on the selection process Special Mention will be announced
prizes recognise and reward excel- debut album in the previous year ever public choice EBBA went in the progress of new architec- and the submitted works. and presented in May 2011.
lence in these fields, seeking to in countries taking part in the to Milow, from Belgium. tural concepts and technologies
promote best practice and the Culture Programme (outside the and it offers European citizens Some of the previous winners
circulation of European works country of production), airplay on as well as those responsible for were: the Norwegian National
beyond national borders. public radio stations (part of the urban development the chance to Opera and Ballet Theatre in
European Broadcasting Union) gain a better understanding of the Oslo (Snøhetta architects); Stan-
and their ability to perform live. crucial role played by architecture stead Airport, United Kingdom (Sir
and urban planning in the shaping Norman Foster); Municipal Sports
of cities and communities and Stadium Barcelona, Spain (Esteve
their influence on the quality of Bonell, Francesc Ruis); Kunsthaus
life and the environment. Breganz, Austria (Peter Zumthor);

More about this prize: More about this prize:


http://ec.europa.eu/culture/our-programmes-and-actions/doc1098_en.htm http://ec.europa.eu/culture/our-programmes-and-actions/doc1103_en.htm
http://www.europeanborderbreakers­awards.eu/ http://www.miesbcn.com/en/award.html
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The EU Prize for literature: The 2010 Award Ceremony


The EU Prize for Cultural Heritage © Treppenhalle HiRes

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The EU Prize heritage also generates jobs, and conservation of the Roman The EU Prize for countries will be rewarded for (Estonia), Riku Korhonen (Finland),
for cultural heritage attracts tourists and contributes Theatre, Cartagena, Spain; the contemporary literature their achievements. Iris Hanika (Germany), Jean Back
(Europa Nostra Awards) to sustainable development. research for the digitisation of (Luxembourg), Răzvan Rădulescu
Van Gogh’s letters, Van Gogh Fiction engages. It revives and The prize is organised for the (Romania), Nataša Kramberger
European cultural heritage is very This prize is granted jointly by the Museum, Amsterdam, the Nether- rouses, it enriches and enhances, Commission by a consortium (Slovenia), Raquel Martínez-Gómez
much alive and kicking: it plays Commission and Europa Nostra lands; dedicated service by the opening up a world of different comprised of the Federation of (Spain) and Goce Smilevski (Former
a vibrant role in communities to celebrate exemplary initiatives documentary film maker Nils Vest, experiences and circumstances. European Publishers (FEP), the Yugoslav Republic of Macedonia).
across Europe, it brings people showing the many facets of Copenhagen, Denmark; and aware- The aim of the prize which was European Booksellers Federation
together to share their heritage Europe’s cultural heritage. ness-raising and training: the launched in 2009 is to celebrate (EBF), the European Writers Coun- They were presented during a cere-
and learn from each other and it Baerwaldbad, Berlin, Germany. the diversity of European fiction, cil (EWC). They are responsible mony in Brussels in November 2010.
can help to economically revive During the awards ceremony in to promote the chosen authors for organising the national selec-
areas. Great work is taking place Istanbul in June 2010 European The 2011 awards will be presented outside their own country includ- tions in each country, for organis-
across Europe to protect our herit- Commissioner Androulla Vassiliou in Amsterdam in June in the pres- ing translation of their work, and ing the award ceremony and other
age, to conserve our industrial presented 6 Grand Prizes for conser­ ence of Commissioner Androulla to contribute to boosting the promotional activities.
heritage, to regenerate the cities vation, research, dedicated service Vassiliou and Europa Nostra’s international circulation of litera-
and areas we live in, to research and education and 23 awards. President, Plácido Domingo. ture more generally. In 2010, Belgium, Cyprus, Den-
how digital developments can mark, Estonia, Germany, Finland,
provide a greater access to herit- The six Grand Prize winners in The prize is unique, being the only Luxembourg, Former Yugoslav
age and how it should be protected 2010 were: the conservation of award to reward authors from so Republic of Macedonia, Romania,
from climate change, as well as to Le Collège des Bernadins (restored many different European countries Slovenia and Spain participated.
educate and train people about our 13 century Cistercian college, Paris, writing in such an array of lan- The 11 winners of the prize were
heritage. All this work not only France); the conservation and res- guages. Indeed, over a three year Peter Terrin (Belgium), Myrto Azina
helps to make Europe a beautiful toration of the Neues Museum, period (2009, 2010, 2011), emerg- Chronides (Cyprus), Adda Djørup
place to live, well-maintained Berlin, Germany; the restoration ing authors from 35 different (Danemark), Tiit Aleksejev

More about this prize: More about this prize:


http://ec.europa.eu/culture/our-programmes-and-actions/doc623_en.htm http://ec.europa.eu/culture/our-programmes-and-actions/doc627_en.htm
http://www.europanostra.org/heritage-awards/ http://www.euprizeliterature.eu/
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c u l t u r e
List of web links to help you submit

i n
an application and stay updated

m o t i o n
on culture policy developments

THE CULTURE PROGRAMME 2007-2013


European Commission DG Education and Culture
http://ec.europa.eu/culture/index_en.htm

Education, Audiovisual and Culture Executive Agency


http://eacea.ec.europa.eu/culture/index_en.php

Culture Contact Points in your country


http://ec.europa.eu/culture/annexes-culture/doc1232_en.htm

Funding opportunities 2011


http://eacea.ec.europa.eu/culture/funding/2011/index_en.php

Results of application selection


http://ec.europa.eu/culture/our-programmes-and-actions/doc2011_en.htm

CULTURE POLICY
European Agenda for Culture
http://ec.europa.eu/culture/our-policy-development/doc2240_en.htm

Commission Report on the implementation


of the European Agenda for Culture
http://ec.europa.eu/culture/our-policy-development/doc/
library/acte_EN.pdf

RECENT STUDIES
‘Study on the contribution of culture to local and regional economic
development as part of European regional policy’
http://ec.europa.eu/culture/key-documents/doc2942_en.htm

‘Towards a Strategy for culture in the Mediterranean Region: A needs and


Photo provided by House for Open Mobility Exchange (H.O.M.E.)

opportunities assessment report in the field of culture policy and dialogue


in the Mediterranean Region’
http://ec.europa.eu/culture/key-documents/doc2964_en.htm

‘Study on the entrepreneurial dimension of cultural and creative industries’


http://ec.europa.eu/culture/key-documents/doc537_en.htm