Sounds in Europe #12

Issue #12 // 2017

PUBLISHED BY THE EUROPEAN MUSIC COUNCIL // a regional group of the International Music Council

1

The European Music Council (EMC) is a platform for representatives of National Music Councils and organisations involved in various fields of music from many European countries. As a European umbrella organisation, it gathers the European members of the International Music Council.

The European Music Council contributes to a better mutual understanding among peoples and their different cultures and to the right for all musical cultures to coexist. Therefore it provides exceptional value to its membership by building knowledge; creating networking opportunities as well as supporting and enhancing the visibility of initiatives that help sustain people’s participation in music and cultural life.

EDITOR: European Music Council Haus der Kultur Weberstr. 59a D-53113 Bonn Tel.: +49-228-96699664 www.emc-imc.org facebook.com/EuropeanMusicCouncil twitter.com/emc_imc info@emc-imc.org CHAIRMAN: Ian Smith VICE-CHAIR: Stefano Kunz TREASURER: Willem van Moort BOARD MEMBERS: Gretchen Amussen, Krzysztof Knittel, Victoria Liedbergius, Michalis Karakatsanis Secretaries General: Simone Dudt (sd), Ruth Jakobi (rj) Project Assistant: Isabel Jordan (ij) Team Administrator: Tanja Huthwelker (th) EDITING: Anne Appathurai, Isabel Jordan, Simone Dudt

PROOFREADING: Liat Radcliffe Ross LAYOUT: Markus Izzo (izzo.layout@gmail.com) Print: Messner Medien GmbH Cover photo of the music group Filastine & Nova by Donny Hendrawan The European Music Council is supported by:

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsi­ble for any use which may be made of the information contained therein.

© 2017 European Music Council. All rights are reserved.

The views expressed in this publication are those of the authors and not necessarily of the publisher or editor. No part of this publication may be reproduced in any format without permission of the European Music Council

Photo by Patrick Pilz

Editorial 4

Looking Ahead Simone Dudt and Ruth Jakobi

EMC/IMC News 5

Linking Continents – Bridging Cultures Michalis Karakatsanis

6

Stamp – Shared Training Activities for Music Professionals Ruth Jakobi

6 Rostrum+

Davide Grosso

Focus: MUSIC AND cultural DiplomAcy

8 Putting Culture at the Heart of Europe’s External Action

Federica Mogherini 9 The Imc’s Five Music Rights Champions

Davide Grosso 10 The Real Cultural Diplomats

Frans de Ruiter 11

Small Acts, Big Ripples Interview with Ole Reitov

12

Cultural Diplomacies as Sounds of Peace?

Frédéric Ramel

Cultural Policy 14

Where Words Fail, Music Speaks Elena Theodoulou-Charalambous

15

Culture Is Not ‘Diplomatic’ Katherine Heid

16 Culture, Empathy and Foreign Policy: A European Perspective

Pietro De Matteis 18

The European Agenda for Music Interview with Stef Coninx

20 The Challenges of an Increasingly Interconnected World

Francesco Bandarin 22 No Sustainable Development without Culture

European Alliance for Culture and the Arts

For Inspiration

24 Artists for Peace – The World Youth Choir

Victoria Liedbergius and Ken Wakia 25 A Matter of Identity

Paul Dujardin 26 The Festival Academy as a Tool for Cultural Diplomacy Inge Ceustermans 28 Singing for Success: The World Voice Programme in Sub-Saharan Africa

Sophie Mepham 30 The Silk Road Symphony Orchestra

Daniel Gerlach

EMC/IMC Review

32 1st African Music Forum

Lupwishi Mbuyamba 34 Decolonising our Music

Gary Ingle 36 The Year in Review – the European Music Council in 2016

Isabel Jordan 37 Five Music Rights in Action – International Music Council Review 2016

Silja Fischer 2 Imprint 38 Coming Next 39 Acknowledgements

2017 // SOUNDS IN EUROPE

3

EDITORIAL

Looking Ahead Photo by Karina Carvalho

In 2006, the EMC published the first edition of its magazine SOUNDS in Europe with a focus on “Musical Diversity and Intercultural Dialogue”. This focus could very well serve for an upcoming issue for these topics still speak to us today. Some of the articles are in fact worth re-reading again. Stuart Hall’s article “Europe’s Other Self ”, for example, remains relevant today. Just after the EU’s eastern enlargement and long before the banking crisis and the big migration waves, he wrote: “Currently, the two favourite discursive markers […] are refugees and fundamentalism”.

This magazine has always tried to keep its finger on the pulse of the times, reflecting upon social and political developments in Europe and how music projects relate to them. Prominent topics have included musical diversity, music and social responsibility, and music and the digital environment. These themes have always reflected European cultural policy trends as well as concrete musical projects across Europe that This edition will be were run by EMC members and/or had an the last publication international dimension via the activities of the magazine of the EMC’s umbrella organisation, the Sounds in Europe.

International Music Council.

This edition will be the last publication of the magazine SOUNDS in Europe. The decision to stop publishing the magazine was made for diverse reasons, but it’s certainly not because we’ve grown tired of examining the connection between music and the European social and political landscape. On the contrary!

After examining more up-to-date publication formats, we’ll be launching in 2018 a new printed series of case studies of examples on musical life from across Europe called “Tracks – Snapshots on Music in

4

2017 // SOUNDS IN EUROPE

Europe”. And let’s not forget that since 2014, EMC has also supported the IMC production of a bi-weekly online ‘reader’s digest’ providing an international overview of the music scene in “Music World News”.

We believe that the combination of “Tracks”, “Music World News”, regulary updated EMC news on cultural policy developments and a new section on our website that will feature an EMC member’s “Project of the Month” will bring a new look to all the content that our readers appreciate in SOUNDS in Europe.

This last edition will focus on music and cultural diplomacy – a topic that can be interpreted in different ways by different players. Is cultural diplomacy simply another means to achieve dialogue between political parties/nation-states when words begin to fail? Or is cultural diplomacy a way of exporting the cultural identity of a given country or a given region – like the EU, for example? Does cultural diplomacy succeed in providing the tools for dialogue between people of different backgrounds and political contexts, as is suggested by so many music projects that work towards social change? This issue of SOUNDS in Europe brings you diverse interpretations and many positive examples of how cultural diplomacy can bring people together through musical exchange. Whether all of these can be labelled ‘cultural diplomacy’ – diplomacy being such a strong political term – we don’t know. But we do know, without a doubt, that musical engagement can bring people together beyond cultural, political or religious barriers.

We hope you enjoy reading the last issue of SOUNDS in Europe. // Simone Dudt and Ruth Jakobi

Secretaries General of the European Music Council

EMC/IMC NEWS

Linking Continents – Bridging Cultures

Photo by Larko, Pafos

Ο μύθος λέει ότι πόλη της Πάφου είναι παιδί του Πυγμαλίωνα και της Γαλάτειας, καρπός του έρωτα του καλλιτέχνη με το ίδιο του το έργο, μια παραδειγματική ουτοπία. Πηγή έμπνευσης και αυτού του μύθου είναι ο έρωτας, αφού η Αφροδίτη εκπληρώνει την επιθυμία του Πυγμαλίωνα, εμφυσώντας ζωή στο αντικείμενο του πόθου του - στη δική του καλλιτεχνική δημιουργία - στο άγαλμα της Γαλάτειας. Ως εκ τούτου, ο έρωτας γίνεται αντιληπτός ως η πιο δημιουργική από όλες τις ανθρώπινες ιδιότητες, ικανός να συντρίψει κάθε διαχωριστική γραμμή μεταξύ ζωής και τέχνης. Η Πάφος λοιπόν, πολιτιστική πρωτεύουσα της Ευρώπης για το 2017, θα φιλοξενήσει φέτος το Ευρωπαϊκό Φόρουμ Μουσικής. Μία διοργάνωση που έρχεται να ενισχύσει τις προσπάθειες της πόλης να καταστεί ένας παγκόσμιος Κοινός Τόπος, μέσω της καλλιέργειας της συλλογικής συνείδησης, την εμβάθυνση της συμμετοχικής δράσης, την κοινωνική δικαιοσύνη και την αρμονική συνύπαρξη. Ένας τόπος συνάντησης, ενατένισης και εορτασμού των πολιτισμών. Κάτω από τον γενικό τίτλο “Ενώνοντας Ηπείρους Γεφυρώνοντας Πολιτισμούς”, οι διοργανωτές του Ευρωπαϊκού Φόρουμ Μουσικής, το Ευρωπαϊκό Συμβούλιο Μουσικής (EMC), η Διεθνής Ένωση Κέντρων Μουσικής Πληροφόρησης (IAMIC), το Ίδρυμα Συμφωνική Ορχήστρα Κύπρου και ο οργανισμός Πάφος 2017, καλούν τους συμμετέχοντες να ανταλλάξουν απόψεις και να προβληματιστούν γύρω από ζητήματα όπως τη χρήση της μουσικής ως εργαλείο πολιτιστικής διπλωματίας, την αξιοποίηση της μουσικής έρευνας και των κέντρων μουσικής πληροφόρησης στη διαμόρφωση πολιτικών για τις εξωτερικές σχέσεις, συζητώντας γενικά για τους τρόπους που μπορεί να βοηθήσει η τέχνη της μουσικής στο κτίσιμο γεφυρών επικοινωνίας με τον Άλλο. Το Φόρουμ θα φέρει μαζί μουσικούς ερευνητές, επαγγελματίες, εκπαιδευτές καθώς και πολιτικούς με στόχο την από κοινού διαμόρφωση ξεκάθαρων κατευθυντήριων γραμμών για τη χάραξη νέων πολιτικών μουσικής και επιχειρηματικών μοντέλων. Γνωρίστε τον μουσικό κλάδο της Ευρώπης, περιδιαβαίνοντας σε μια πόλη κληρονόμο μιας πολιτιστικής ανάπτυξης που εκτείνεται σε μια περίοδο 6000 χρόνων. Μιας μικρή πόλης μεν, αλλά γεμάτη με ενέργεια, πάθος και έμπνευση.

In the myth of Pygmalion and Galatea, Pafos is the child of their union, the fruit of the artist’s love with his own work, a paradigm of utopia. The foundation of this myth is love, for Aphrodite fulfills Pygmalion’s wish by bringing to life the object of his desire – his own artistic creation, the statue of Galatea. Being in love, therefore, is perceived as the most creative of all human powers, able to shatter the boundaries between art and life.

It is fitting, then, that the city of Pafos, European Capital of Culture for 2017, will host this year’s European Forum on Music. This event will help Pafos open up to the world, reinforcing and sustaining its position as a global meeting place through its efforts to nurture collective consciousness, social cohesion and harmonious co-existence. Pafos will be a place for the meeting, contemplation and celebration of cultures.

Under the title “Linking Continents – Bridging Cultures”, the organisers of the European Forum on Music – the European Music Council (EMC), the International Association of Music Information Centres (IAMIC), the Cyprus Symphony Orchestra Foundation and the team of Pafos European Capital of Culture 2017 – invite participants to reflect on topics such as music as a tool for cultural diplomacy, the contribution of music research and music information centres to the development of external relations policies, and the added value of music in building bridges of communication with the Other.

The Forum will bring together music researchers, professionals, educators and politicians who will explore the joint development of clear, comprehensive guidelines for new music policies and business models. Meet the European music sector as you wander around a city heir to a cultural development that spans 6000 years. A small city perhaps, but one full of energy, passion and inspiration. // Michalis Karakatsanis Administrator Cyprus Music Information Centre

2017 // SOUNDS IN EUROPE

5

EMC/IMC NEWS

STAMP

Shared Training Activities for Music Professionals In 2016, the EMC successfully applied for an Erasmus+ grant for the project “STAMP – Shared Training Activities for Music Professionals”.

In November 2016, the partners, all of whom had committed to cooperating closely for 27 months, met for the first time to discuss their ideas face to face. All agreed that it was a fulfilling experience and that the partnership was very strong, despite the variety of professional backgrounds and European nationalities involved.

The STAMP project runs until the end of 2018. The next two years will see exciting STAMP activities to:

b Develop exemplary tools for vocational training (workshop

models, guidelines for mentors and trainers, guidelines for staff mobility), made available through an online platform;

b Improve employability and entrepreneurship within the music sector in Central, Eastern and South East Europe.

Activities will be organised around five main themes, resulting in different training models: b An online course of ten webinars, running from September 2017 until February 2018, will introduce the idea of entrepreneurship to music professionals. On 28th April 2017, STAMP partner Cyprus Centre for the Research and Study in Music (www.ccrsm. org.cy) presented the general outlines of the course at a public event in Nicosia, Cyprus. b The “Young Event Managers Programme” (YEMP) will offer workshop modules and on-the-job training at the 20th Europa Cantat Festival in Tallinn in July/August 2018, organised by the European Choral Association-Europa Cantat (www. europeanchoralassociation.org) and hosted by the Estonian Academy for Music and Theatre (wwww.ema.edu.ee). b Out of the wide range of topics linked to the theme of audience development, STAMP partner European Union of Music Competitions for Youth (www.emcy.org) has chosen to focus on three main aspects: • Digital outreach

ROSTRUM+

Photo by Sean Clancy

6

2017 // SOUNDS IN EUROPE

• Interaction with young audiences • Interdisciplinary approaches – music combined with video

In October 2017 in Croatia, on-site visits to a performance will showcase the implementation of successful, innovative audience-building techniques. This event will be hosted by Unison (www.unison.hr) and supported by the European Chamber Music Teachers’ Association (www.ecmta.eu).

b A public seminar in Hungary, hosted by Jeunesses Musicales Hungary (www.jmh.hu) in November 2018, will present different aspects of “Social Inclusion through Music”, with a focus on music as a tool for working with disadvantaged youth. Special attention will be given to the various methods of oral transmission of music often used by minority cultures. b A five-day workshop on “Networking and International Cooperation” will provide training for the staff of music organisations to become mentors for colleagues in their region or professional field. The course will focus on developing skills to work with other regions and nations, and to network to increase initiative and entrepreneurship. Live DMA (www.live-dma.eu) and the EMC (www.emc-imc.org) will run the workshop, hosted by the Latvian Music Council. b An online learning platform will offer all the training material produced by STAMP, and will serve to build up a community of trainers and learners in the music sector. The platform will also gather data on training opportunities in Central, Eastern and South East Europe and provide a specially developed search filter to guarantee easy access to the collected data.

All STAMP partners very much look forward to an exciting project period running from October 2016 to December 2018. The STAMP project will advocate for better recognition of skills obtained in nonformal learning environments. Stay up to date via the STAMP website (www.stamp-music.org) and get involved! // rj

The Rostrum+ project continues to promote contemporary music through radios around the globe. Within the IRCCreate strand, Matej Bonin (from Slovenia) premiered the work commissioned by the International Music Council and Radio Sweden at Sweden’s New Directions festival in March 2017. Bonin was the Young Composer chosen by the 63rd International Rostrum of Composers, and the first to have enjoyed this special commission coupled with a short residence programme. The heart and

soul of the Rostrum+ project, the 64th International Rostrum of Composers, was held in Palermo in May (16th – 20th).

It was hosted by the Bellini Conservatoire in the context of its 400th anniversary.

3

www.rostrumplus.net

// Davide Grosso

Project and Communication Assistant

International Music Council

Focus Music And cultural DiplomAcy

Photo by Pedro Ruta Junior

FOCUS

PUTTING CULTURE AT THE HEART OF EUROPE’S EXTERNAL ACTION Excerpts from EU High Representative Federica Mogherini‘s speech at the 2016 Culture Forum in Brussels

I. CULTURE AND FOREIGN RELATIONS Almost 25 years ago we were told we were entering the era of a clash of civilisations. We were told that wars would be fought because of religion and culture. You probably know where I stand on this: I believe there is no clash of civilisations. Wars are still being fought for the same, old reasons: economic interests, natural resources, spheres of influence, power. And yet, there are indeed cultural clashes to fight. These clashes do not occur between civilisations, but inside each of our civilisations.

Culture can be a battlefield. It has been a battlefield in Europe for centuries. Today, some global and regional players believe that culture can be ‘weaponised’. But culture can also be the place where people meet and make the most out of their diversity.

This is the choice we made when our Union was founded. […]

Culture in Europe is always plural – because so many different cultures belong in this continent. European culture is diversity. European culture is distinction, and it is at the same time common ground. […]

When Europe engages with the world, culture has to be at the core of our foreign policy. Culture can help us fight and prevent radicalisation. But it can also foster economic growth. It can strengthen Federica Mogherini diplomatic relations and mutual understanding. It Photo: European Commission, 2016,

by François Walschaerts can help us stand together to [sic] common threats and build partnerhips and alliances among institutions and – what counts even more – among people.

This is why Tibor [Navracsics] and I will present to the Council and Parliament next month a strategy for culture in the EU external relations – strategy, because it is not the time for improvising. This is one of the great issues in our foreign policy, and it deserves to be treated as such. […]

II. INTER-CULTURAL DIALOGUE Exchanges among cultures make us richer. This idea has shaped our new Neighbourhood Policy in depth. […] Our foreign policy has to focus constantly on this kind of exchange, particularly for the young generations. That’s when we all learn how to cope with our world: understanding diversity and complexity is vital. More than half the young people who studied abroad with Erasmus Mundus say the programme has helped them understand diversity and dialogue among cultures. I can confirm this from my own Erasmus experience. […]

[W]e have a strong economic interest to [expand student mobility]. […] Young girls and boys who study in Europe bring back to their countries not just knowledge, but personal ties and a better understanding of who we are. It is [in] our interest to keep in touch with them, and to create networks among them – and this is also part of our strategy. They can be our informal ambassadors in the world. […]

III. CULTURE FOR DEVELOPMENT (AND SECURITY) But let us also be clear on something. This is not just about identities and mutual understanding. Culture matters to our economies and to our

8

2017 // SOUNDS IN EUROPE

growth. The economic benefits of cultural exchanges are too often ignored, although the statistics are clear. Global trade in creative products has more than doubled over the last decade, despite the global recession. Cultural and creative industries represent around three percent of the world GDP and 30 million jobs.

In the EU alone these industries account for more than 7 million jobs. Culture makes a greater contribution to our economy than traditional flagship sectors such as the automotive industry in Germany, or the chemical industry in France.

But this is also true […] for developing countries. Over the past few months I visited the Sahel twice, and our friends there have told me this story a number of times. […]

Cultural diplomacy is also about jobs, social cohesion, and security.

A relatively limited investment from Europe can make a huge difference.

And it can support our own interest: the resilience of [other countries] is crucial for our own security and prosperity. […]

IV. IMPLEMENTATION – WORKING TOGETHER The task ahead is huge. Cultural diplomacy is about conservation, but it is also about innovation and new ideas. It is about education, security, and human development. If we truly want to put culture at the core of our foreign policy – then we need the whole of Europe to get onboard, with all our expertise, our history and our full potential.

All Member States have their own strong cultural heritage. We all have deep and vibrant cultural relations with third countries. This diversity is our strength.

But we need all European actors to share the same sense of direction – governments, regions and cities, but also cultural institutes, civil society organisations, artists, scientists and performers. Last month we launched a Cultural Diplomacy Platform to gather all these actors and engage them on a continuous basis, receive feedback, policy advice and support. […] Culture belongs to all of us, and all can contribute.

V. CONCLUSION Probably no other place in the world has the same cultural ‘density’ as Europe. So much history, so many stories and cultures. We preserve millennial traditions, and we are among the engines of global innovation. […] Our culture inspired the world because it was itself inspired by the world. The way to the future is this. Proud of our heritage, open to the world. There is no other way to navigate a globalised world. If you don’t know where you come from, you get lost very easily. We know where we come from. We know who we are, and what we believe in. A dialogue with different cultures cannot, and must not, scare us. […]

Put culture at the very heart of Europe’s external action. Refuse any clash of civilisations, and work for an alliance of civilisations. Cultural diplomacy is not just a hobby for intellectuals. It is a cornerstone in our relationship with today’s world. It is vital for Europe, to promote our interests and advance our values.

3

Link to the video: ec.europa.eu/avservices/video/player.cfm?ref=I119797

// Federica Mogherini

High Representative of the European Union for Foreign Affairs and Security Policy and Vice-President of the European Commission

FOCuS

THE IMC‘S FIVE MUSIC RIGHTS CHAMPIONS Sixteen years ago, the International Music Council (IMC) proclaimed as its core value the Five Music Rights. The goal was to highlight its mission to advocate access to music for all and to promote the value of music in the lives of all peoples.

The Five Music Rights were the fruit of a lengthy process involving all members of the IMC from all over the world and from all sectors.

“The Rights” were the answer to a need for a cultural diplomacy tool, a set of universal talking points that could be used and shared within the IMC network and beyond. They served as proof of the vital necessity of a global organisation advocating for music.

In 2016, to give new impetus to the promotion of these rights, increase their visibility and put them ‘on the radar’ of musicians and music-lovers around the world, the IMC appointed Dame Evelyn Glennie, Ramy Essam and Tabu Osusa as Five Music Rights Champions.

These remarkable figures of the music sector are fully involved in the promotion of the Five Music Rights. They will use their global voice to help IMC raise awareness about what has been achieved over the past 68 years and to promote its vision for the future of music.

Since IMC was founded in 1949, the global music sector has evolved and attained many goals in a variety of areas, from education to access and remuneration. Sustained by its members around the globe, the IMC has played a decisive role in advocating for many of these goals.

Music in all of its forms is more accessible than ever. Anyone can listen, anyone can play an instrument, attend concerts and even record a multi-platinum album without leaving their bedroom. But wait. Is that really true? Maybe, somewhere.

Much still needs to be done before we live in a world where freedom of expression, music education, music access and involvement, access to production facilities and fair remuneration are considered essential rights for everyone: children and adults, musicians or non-musicians. That is, and will always be, the dream of the International Music Council, and the Five Music Rights Champions strongly believe in it.

Dame Evelyn Glennie is a Scottish percussionist and the first person in history to successfully create and sustain a full-time career as a solo percussionist, performing worldwide with the greatest conductors, orchestras and artists. Her vision is to teach the world to listen, to improve communication and social cohesion by encouraging everyone to discover new ways of listening.

When nominated to champion the Five Music Rights, she declared: “Total inclusiveness and the right to be exposed to music in its myriad of forms is something I wholeheartedly believe in and wish to advocate as Five Music Rights much as possible”.

Ramy Essam is an The right for all children and adults Egyptian musician known e To express themselves musically in all for his appearances in Tahrir freedom Square in Cairo during the Egyptian Revolution. In r To learn musical languages and skills 2011, Ramy exploded into t To have access to musical involvement international fame as the through participation, listening, real voice of the Egyptian creation and information revolution with songs that The right for all musical artists became the anthems of a whole generation of young u To develop their artistry and Egyptians struggling for a communicate through all media, with better future. proper facilities at their disposal Tabu Osusa is a key i To obtain just recognition and fair player in the East African remuneration for their work music industry. A Kenyan native, he is the founding executive director of Ketebul Music and for the last 30 years has been involved in the music industry as a promoter, producer, composer and band manager. In his words: “I feel that the fourth right is the most fundamental because it touches on the basic need to promote the diverse musical traditions of the world while giving all the artists an equal opportunity to be heard and promoted within a global platform”. // Davide Grosso

Project and Communication Assistant International Music Council

Tabu Osusa

Photo by Ketebul Music

Dame Evelyn Glennie

Photo by Caroline Purday

Ramy Essam

Photo by Inaki Marconi

2017 // SOUNDS IN EUROPE

9

FOCUS

The Real Cultural Diplomats Cultural diplomacy is a multi layered and multi faceted phenomenon.

Here is the definition of cultural diplomacy from a relevant dictionary1: Cultural Diplomacy may best be described as the means through which countries promote their cultural and political values to the rest of the world. The essential idea is to allow people access to different cultures and perspectives, and in this way, foster mutual understanding and dialogue. Cultural Diplomacy is practiced by a range of actors, including national governments, public and private sector institutions, and civil society.

In practice the situation is much more complex, as this definition only concerns the narrow perspective of governmental structures. In this context, stepping ‘out of the box’ means limited contact with official nongovernmental organisations (NGOs) and selected groups from civil society.

A complex system Cultural diplomacy is not the same everywhere. Its influence and effectiveness vary from 0-100% and these percentages change over time and all the time.

This change is due not only to the rules of law and governmental systems in place, but also to political changes after elections. Even more important is the constant change in personnel, as a consequence of which attention to cultural diplomacy may grow or diminish. What one has built up for years can shrink and disappear. Where it was non existent, it can get a boost – for as long as it lasts.

This can be the result of applying the modern management style (i.e., “kill the darlings of your predecessors”) but is also influenced by personal affinity and/or how one became acquainted with the world of arts and culture.

Another important element is the nature and size of the national, regional and local cultural infrastructure (many different disciplines or not; many artists or not; the presence of a wealthy cultural heritage or not).

In decision making processes in the framework of cultural diplomacy, hierarchy In my opinion, plays a vital role. There is the ‘pipeline’ cultural diplomacy Chief of State: specialised Minister, should not be so Ambassador and often two or more ministries exclusively the with their attached civil servants. All these terrain of officials. elements can open the pipeline, but if one of them switches a valve, the water cannot flow through and cultural diplomacy is blocked. In my experience, the pipeline is blocked in 80% of situations; but if indeed the water is allowed to flow – and there are positive examples of this – then the outcome can be tremendously beneficial.

I have heard hundreds of introductory and welcome speeches by public authority representatives with only friendly words for the guests and organisers. They highlight the wonderful position of the city or

10

2017 // SOUNDS IN EUROPE

region in the world of arts and culture, a situation so important for the well being of the city and the region, for its citizens living in peace and respect for each other’s differences. A year later, quite often the situation has changed. After elections, a new high-ranking functionary declares the necessity of budget cuts, threatening the operations of the opera, the festival or the theatre.

In my opinion, cultural diplomacy should not be so exclusively the terrain of officials. The workers in the field – artists and facilitators – are the real diplomats. They cooperate on the basis of knowledge and expertise, and quite often in a structural and sustainable way. On top of that, they know their audiences.

Unfortunately, artists and operators in the cultural sector seldom have a formal role in processes of cultural diplomacy. Culture/the arts are seen by most regular diplomats as an evening event that takes place at 8 p.m. in a theatre or concert hall. They are miles away from the idea that cultural components should have a place in all decision making processes and all aspects of legislation and government. But if this was recognised, it would certainly lead to a better understanding of the cultural aspects of citizenship and cultural diversity.

Music It is appropriate to raise the special position of music in the debate on cultural diplomacy. Like many other disciplines in the arts, music has no borders because it is a shared language. And music is very often in itself a shared experience.

Through new technologies, music is available 24/7 wherever you go: in New York, you can listen to Punjabi Pop and we can enjoy the same opera in Berlin and Tokyo. There are thousands of examples like this. Contemporary composers mix hundreds of influences into new creations, transferring traces of memory through their creative brains into sounds which have never before been heard. There is absolutely no need for official cultural diplomacy in this matter; I would say on the contrary, it is cultural diplomacy sui generis.

Conclusion The only way to involve more citizens in these processes and, in doing so, change perspectives in the troubled world we live in, is to bring the young generation in contact with arts and culture at the earliest possible phase: arts education from early childhood. That – not conferences with obligatory speeches and breakout groups – should be the top priority of cultural diplomacy. // Frans de Ruiter

Past President and Member of Honour of the International Music Council 1

Cultural Diplomacy Dictionary, ed. Dr. Kishore Chakraborty, The Institute of Cultural Diplomacy, 2013.

FOCuS

Small Acts, Big Ripples Interview with Ole Reitov, Executive Director of Freemuse Sounds (S): Would you say that cultural diplomacy is an element of Freemuse’s work?

Ole Reitov (OR): To be honest, I’ve never seen a good explanation for the term ‘cultural diplomacy’. They all seem to be variations on a concept.

We rarely think of the work we do as cultural diplomacy because I find that the expression is frequently used as something that occurs between two countries or institutions. Freemuse is a global player; our work is based on the defence of artistic freedom. We see ourselves more as complementary to a lot of initiatives.

S: Have there been any positive examples of cultural diplomacy in your work ?

OR: Music Freedom Day, which we initiated, takes place every year on March 3rd. In Peshawar, Pakistan, local artists and journalists put on amazing workshops and concerts every year on this ‘Music Freedom Day’ in Senegal day. They use it as an opportunity to engage Photo by Festa2H in discussions with the province’s Directorate of Culture. According to them, last year this led to the local government promising to support artists, because attacks by the Taliban, as well as by the regime that long held power in that region, have had a devastating effect on musical life. They say it’s been very useful to have an event that is linked to something international but addresses local issues.

Did we play a role in that? I don’t know. We facilitate ‘Music Freedom Day’ and try to give people ideas. I think that for some people in some countries, it’s important to feel that they’re part of a larger network and movement. This year when we put the focus on women, the responses we got seemed to indicate that this was important for many women artists in Myanmar. It’s true that the way we work and the work we’ve done over the years has inspired other donors to focus more on some of these issues. Maybe that’s cultural diplomacy.

S: Do you ever work with the private sector?

OR: We work with a lot of organisations and institutions (generally nonprofits), but not so much with the private sector. But I do think the private sector can do a lot. Maybe the best example is the Buena Vista Social Club. That was a commercial project, but it gave people a very different view of Cuban society and the values in Cuba that lived on in spite of political repression. It worked both ways: it gave the world a positive image of Cuba, that those who were critical of Cuba perhaps didn’t have, and it brought Cubans a respect that has meant a lot to them, with great support from American audiences. Did it play a role in lifting the sanctions? It would be interesting to know if it did. The same goes for Mali. Again, it was the commercial music industry that did a lot to promote music from Mali, along with nonprofit festivals and broadcasters.

S: Do you have a lot of contact with governments in your work?

OR: We interact with the UN, in particular through our Universal Periodic Reviews. These are legal studies of all the regulations on

artistic freedom in a given country, combined with analyses and examples of how the regulations are implemented. We prepare these reports and present them to government representatives and to various UN bodies. I can’t say it’s changed any legislation so far, although we do point out how some of those countries violate the international conventions they’ve ratified. It’s always a question of political will. If policymakers feel brave or secure enough to say that someone from outside pointed out that we should change our legislation, then you can probably make a change. Otherwise you become just one voice among many in the international community trying to put pressure on a country. And we’re a very small player to be doing that! But we can do the typical thing: empower local organisations and train them and provide a lot of support to help them address issues. That could not be considered diplomacy exactly; in some countries that would be seen as intervening. So you would probably be seen more as an enemy than as a friend.

The way we work is not unlike what diplomats would do in the same circumstances. You don’t go in and shout at people; you try to have a reasonable discussion. In some cases, we know that as an outcome of our work, at least some political prisoners – musicians – have had their conditions improved in prison. Sometimes they have been released. But the governments would never admit to this.

Sometimes you get indications from the artists that after you did something, such and such happened.

S: Does Freemuse work through actors outside the traditional embassy circuit?

OR: Our network is very diverse and very asymmetric. In some countries we work with cultural organisations and artists and lawyers and rights activists, in others we include academics. We always try to put together an interdisciplinary group because that’s the only way you can really qualify issues. If you only have artists, if you only have lawyers, you get a very different perspective. Over the past couple of years, we’ve also tried to address issues within the UNESCO framework. I think maybe on a global level we’ve had more impact that way, because these issues are now being addressed. UNESCO is now developing training packages for artistic freedom. I think we played quite a significant role in that. Again, will that change anything? I don’t know.

I think that when cultural exchange is organised by individuals or by cultural organisers, that’s where it can make a difference. China in particular is known for trying to push its festivals and organisers and specific artists. If only they understood that’s not the way to do it. Going about it that way turns the whole thing into an official presentation; that’s not interesting for anyone except the diplomatic community, and certainly doesn’t lead to change. I think many countries still don’t understand that the best way to practise cultural diplomacy is to allow artists to exchange views and ideas and values without interference from the state.

S: Thank you for the interview. // Interview with Ole Reitov,

Executive Director of Freemuse Questions by ij

2017 // SOUNDS IN EUROPE

11

FOCUS

AS SOUNDS OF PEACE?

According to Kofi Annan, former Secretary-General of the United Nations, “music leaps across language barriers and unites people of different cultural backgrounds. And so, through music, all peoples can come together to make the world a more harmonious place”.

This allusion to music as a shared perspective but also as a vehicle of solidarity is not entirely new. One of Kofi Annan’s predecessors, Dag Hammarskjöld, compared the UN to a new political form that, to define itself, should draw on the arts and in particular, the art of music.

But did this concept materialise? Does music demonstrate pacifying and unifying virtues that extend beyond national borders? Does the cultural diplomacy employed by nation-states target these objectives?

Music, a source of entertainment for mediators, does serve to bring distinct As a source of parties together. During the 1815 Congress entertainment for of Vienna, Metternich and other European mediators, music leaders hosted a series of balls and concerts. does serve to bring Official government commissions to renowned distinct parties musicians have accompanied the signing of together. peace treaties: Handel and his “Te Deum” for the Treaty of Utrecht (1713), for example, or violinist and oud player Yair Dalal for the Oslo Accords (1994).

Postconflict reconciliation initiatives often take the cultural route, with a particular fondness for jointly created musical performances.

The Office franco-allemand pour la Jeunesse (Franco-German Youth Office) offers, among other things, orchestra internships that bring together young musicians from both sides of the Rhine.

But the use of music in cultural diplomacy is sometimes guided by other interests. In these cases, peace is relegated to a secondary role, and indeed even undermined by the tensions these interests generate.

First, there is the market-based interest that gives priority to the commercial promotion of a label or cultural product. The evolution of capitalism has fostered this orientation of cultural diplomacy. Wealth is generated less by the mass duplication of a product than by the creation of a prototype (molecule, drug or… song) whose intellectual property rights represent the bulk of the added value (a ‘capitalism of intangible assets’). The success of “Gangnam Style” and more widely of K-pop, belong to a major economic trend that in the long run could lead to a large-scale standardisation of tastes, posing a real threat to cultural diversity.

A second interest is the circulation of an identity. During the Cold War, the US State Department sent out jazz ‘ambassadors’ whose purpose was to showcase the Afro-American part of American identity as well as the country’s model for integration – an advantage in the ideological war with the USSR. Gillespie, Armstrong and Ellington began touring internationally in 1956. The State Department’s current “American Music Abroad” programme includes musical genres such as Hip-Hop and is motivated by the same goal: to promote an American

12

2017 // SOUNDS IN EUROPE

identity characterised by freedom. This use of music has not been neglected by large emerging economies like China. In 2004, the China Arts and Entertainment Group was created to sell foreign companies a variety of shows, including musical performances. That’s how the Lanzhou song from the opera “The Rain of Flowers along the Silk Road” (1979) came to be performed internationally. The song aims to show a different facet of post-Mao China. It contrasts with the famous ballet “The Red Detachment of Women” which, when performed during President Nixon’s visit to Beijing in 1972, was first and foremost a glorification of Maoism. “Rain of Flowers” champions a multi-ethnic Chinese state concerned with the preservation of political stability between the different countries along the Silk Road.

A third interest lies in the expression of power. With music being used by public diplomacy as a way to refashion the image of a country in the eyes of foreign populations, the concern for reputation goes hand in hand with the importance of prestige. Preserving one’s status as a power to reckon which goes beyond acquiring military might: it implies the ability to generate the admiration of others. What could be more elegant than offering a concert to a variety of audiences? This type of gift expresses the superiority of the giver. It resembles a potlatch, celebrations during which indigenous chiefs offered gifts to their rivals as a way of establishing hierarchical relations. The symphony concert presented by Russia on 5th May, 2016 in the amphitheatre of the ancient Syrian city of Palmyra follows this logic. But the gift of the music cannot be detached from its strategic context, Vladimir Putin’s support for the Syrian regime. American orchestras that toured during and after the Cold War can also be understood in this way, even if listeners sometimes expressed their disapproval: the gift was challenged, even refused when the technical skill or orchestra’s renown was judged too low.

Can societal cultural diplomacy (i.e., civil society diplomacy) offer an alternative to the formal cultural diplomacy practised by states? It’s hard to say. On the one hand, governments are increasingly calling upon societal actors in a bid to realise their public policies (such as ‘New Public Management’ based on public-private partnerships). On the other hand, these actors are sometimes themselves engaged in an asymmetrical war against states where music is used to rally forces or ritualise killing (e.g., the nasheeds of ISIS). At the end of the day, ‘powerful’ and ‘weak’ actors alike seek to exploit the power of music as a way to express their resolve. To succeed, Music and Peace will probably opt for multi-track diplomacy and hope that their alliance will lead to a new concept of the future. // Frédéric Ramel

Full Professor, Political Science

Sciences Po Paris

Cultural Policy

Photo by Jerry Kiesewetter

Cultural Policy

Wh

ds r o IL, w FA ere Music Diplomacy and Strategic Approaches to Culture in Challenging Times

Today more than ever, we are experiencing the challenges of a contemporary world. To deal with new realities, new approaches are required. In political ideology and debate, the role of Culture is gaining ground. Policy discourse at the EU level puts Culture at the heart of external relations, fostering strategic approaches to cultural diplomacy. Within this context, music as a universal language has a crucial role to play.

It is important to acknowledge that cultural exchanges have occurred throughout the history of humankind. Nevertheless, over the past few decades, the notion of cultural diplomacy – in all its diverse manifestations – has been recognised as a distinct branch of public diplomacy. It is currently widely accepted that diplomacy is no longer limited strictly to ‘governmental intervention’. On the contrary, diplomacy involves a complex system of diverse societal actors who act in an interdependent way.

Globalisation, developments in digital technology and widespread high-speed broadband access have transformed the experience of music. Music can be both a private and a shared experience. It can be the expression of one’s identity and the manifestation of a collective experience. That is the power of music, able to create connections while transcending time and space. Connecting music to civic contexts is, inter alia, an important element in most regeneration strategies.

Indeed, there are many examples of music festivals that have resulted in the transformation of entire cities.

Europe is a culture of cultures and differences should be bridged while local identities and traditions are safeguarded. “United in diversity” is the overarching motto of European integration. Issues such as migration, terrorism, poverty, gender inequality, economic hardship and environmental challenges are met through concerted effort and solidarity. In this context, a new approach is required that should reflect the following: b

The adoption of integrated strategies, with holistic and horizontal approaches to cultural policymaking that take into consideration the milieus of cultural production and consumption which are interwoven in a dynamic new reality.

b International cultural relations should refer to more than the cultural events taking place in embassies. Given that they constitute a much more powerful tool of socioeconomic interaction, cultural events should develop reciprocal connections to other parts of the public sphere (i.e., education, economy, tourism, new technologies, etc).

14

2017 // SOUNDS IN EUROPE

m sp us ea ic ks

b Music as an expression of collective identity generally refers to a specific context and space; therefore, music diplomacy refers not only to what a country exports but also to the actual musical life taking place in a given country. b Niche markets should be sought out to foster innovative market opportunities and musical talent should be promoted, especially among young people. b Music education should be considered an asset, for it empowers communities with a broader understanding of the world. b The power of music in developing intercultural skills and thus fostering intercultural dialogue should be an important aspect in addressing conflict and promoting international peace and stability. b

Capacity-building activities and training opportunities should be enhanced among European partners and third country partners.

In light of the above, it seems clear that a new methodological approach is needed to formulate a meaningful conceptual framework, one that takes into account the public value of culture in the context of international relations. This new approach would be in line with the concept of cultural governance, which requires policymaking based on cultural statistics, research on culture, mainstreaming of culture, public-private partnerships and participatory governance (E. Theodoulou-Charalambous 2009, Council Conclusions on Cultural Governance).

In conclusion, I would like to highlight the important role of music in responding to today’s global challenges and in promoting intercultural dialogue, solidarity and democratic values. The universal attributes of music place it firmly at the core of contemporary public discourse. To quote Hans Christian Andersen, “Where words fail, music speaks”. In this respect, music can be a powerful medium for achieving effective cultural diplomacy with lasting results. //

Dr Elena Theodoulou-Charalambous Senior Cultural Policy Officer, Ministry of Education and Culture Member of the Board of Directors of the Cyprus Symphony Orchestra Chair of the Cultural Affairs Committee during the Cyprus EU Presidency Member of the Academic Council of the MA Programme on Cultural Policy and Management of the Open University of Cyprus

Cultural Policy

CULTURE IS

NOT

We are living today through a period of political turmoil and once again, we need to stand up for what we had taken for granted. Voices right now are questioning the very existence of the EU and the stability it represents. Neo-nationalist and populist movements are gaining ground. International relations are reflecting the return of old fault lines. An ideological battle is being fought of how to best develop our societies in an increasingly globalised world, often at the expense of those who feel the most in need of security. In such times, it is essential to recognise the power of culture to promote exchange and understanding among peoples, beyond the role played by traditional diplomatic relations.

Culture can serve as a link between people in nations where official diplomatic ties are under stress. Europe’s raison d’être, as affirmed in the preamble of the Treaty of Rome, is the “pooling of resources to preserve and strengthen peace and liberty”. This goal needs to be upheld now more than ever. We all know that culture and the arts promote sustainable social and economic development, enhance community cohesion and foster the creativity required for finding new solutions. And so culture and the arts must be upheld too.

Last but not least, cultural exchange creates a space for cocreation and mutual inspiration. Culture and the arts are at the core of human existence, and thus at the centre of meaningful interaction.

Culture and Diplomacy It’s important to underline that culture is not ‘diplomatic’. Arts and culture are impulsive, rebellious, confrontational, subversive, critical. They reflect our fundamental values and freedoms. They celebrate our diversity.

Countering Nationalist Ideologies ‘Culture’ can easily be instrumentalised in populist and nationalistic rhetoric. Identity politics promote exclusion by pitting ‘us’ against ‘them’. It is vital to pursue open artistic exchange that demonstrates cultural diversity, with no one country taking precedence over another and that includes minority cultures within Europe.

Similarly, the arts – in their capacity to project a controlled image – can be misused for propaganda. For this reason, it is vital to educate people to detect propaganda and differentiate it from cultural exchange. In heritage as in culture, it is important to highlight the positives of heritage ‘dissonance’ and multiple narratives.

One could maintain that culture as a soft power remains an element of diplomatic strategy, employed to project the fundamental values of the European Union. Underlining the principle of diversity and inclusiveness is in some ways ‘propaganda’ for our values. We need to embrace this fact.

Clearly, distinct strategies need to be elaborated depending on the countries with which the EU wishes to reinforce ties. Sometimes, cultural diplomacy will be the way the EU reaches out to countries with which we have more sensitive relations. But even the most

‘DIPLOMATIC’

classical of all cultural exchange, like the presentation of a European orchestra, will transmit our values of inclusiveness and diversity.

Cultural Civil Society and Networks: Promoting a Bottom-Up Approach While ‘diplomacy’ is often linked to top-down exchanges, Culture Action Europe firmly believes in the key role that organised civil society and cultural networks must play in developing and maintaining exchanges between people. We will therefore advocate extensive participation of cultural civil society and cultural networks in the development of EU external relations, and will promote peerlearning actions between stakeholders.

Audience Engagement In order to ensure that creativity can blossom and that all people can benefit from the potential of culture for peace-building and reconciliation, economic and social development, and communitybuilding, it is mandatory not only to promote the exchange of artists and cultural ‘products’ but to encourage arts education and outreach activities via skills development and exchange in the arts education sector.

Sustainability The mutual development of our culture and creative industries that comes from exchange on creative issues must go hand in hand with an in-depth reflection on sustainable development. Culture as a fourth pillar of sustainability is an issue we must always promote (see our former campaign “The Future We Want Includes Culture”).

Freedom of Expression The development of open exchange in the field of culture goes hand in hand with the freedom of (artistic) expression, a right that must be an integral part of international collaboration.

Co-Creation Also crucial are co-creation processes in which all partners are equal, with funding to ensure translation and intercultural mediation, if required.

Research and Pilot Projects A strategy cannot be implemented blindly. We thus call for research into the situation and needs of partner countries, via collaboration with local research institutions and civil society networks, and the implementation of pilot projects that can be easily evaluated. This research will then allow for the fine-tuning of EU strategy on international relations. // Katherine Heid

Head of Political Development

Culture Action Europe

2017 // SOUNDS IN EUROPE

15

Cultural Policy

N PEA E TIV A EURO PEC PERS On 25th March we celebrated the 60th anniversary of the Treaties of Rome that established what is now the European Union. The objective of the European project according to Jean Monnet, one of its architects, was to “unite people, not form coalitions of states” and to do so “through concrete achievements which first create a de facto solidarity”, as noted in the Schuman declaration of 9th May 1950.

Sixty years on, the concrete achievements are many: free movement of people, European citizenship, consumer protection, regional and agricultural development, the Erasmus programme and – above all – peace on our continent (just to name a few). These successes certainly made a convincing case for a united Europe. However, the difficulties to overcome the economic and migration crises and more recently Brexit, have partially tarnished the picture.

The “de facto solidarity” built through “concrete achievements” since the 1950s is not yet sufficiently resilient to face today’s challenges and more effort is needed in building interpersonal solidarity, which is what makes Erasmus the most successful European programme.

Unfortunately, the number of participants is not high enough to extend the solidarity created among students to the rest of the society.

Culture and intercultural dialogue could play a key role in magnifying the contribution made by free movement and programmes such as Erasmus to build trust and mutual understanding among wider shares of our society. This is fundamental as there cannot be solidarity without empathy, and there cannot be empathy without mutual understanding.

Considering that the European Union is founded on diversity, and in light of the fact that diversity tends to reduce solidarity, we must proactively work to strengthen solidarity at the European level to protect our As individuals, common achievements and advance further. we have never But Europe is not the only continent facing been so intersimilar challenges. connected with As noted in the EU Global Strategy the like-minded world has never been so connected, complex people worldwide. and contested. As individuals, we have never been so interconnected with like-minded people worldwide, often more than with our own neighbours: social media put us in comfortable ‘silos’ of like-minded individuals where we are exposed largely to what we would tend to “like”. These silos

16

2017 // SOUNDS IN EUROPE

undermine our possibility to build a shared understanding and vision as would happen in a ‘forum’. At the same time, the boundaries between what is external and internal are fading away: migration and global inequalities are examples of how global challenges can have a direct effect in our own cities similarly, the electoral process in a third country can become a domestic policy issue, as proved by the recent tensions between Turkey and some EU countries. Moreover, new narratives, increasingly beefed up by fake news, propaganda or alternative facts, are becoming the norm, aiming to weaken our societies’ resilience by discrediting established institutions (e.g., media and international organisations), by questioning the overarching universal principles on which our democracies operate and by highlighting divisions in our societies.

Recent results of the US elections, the political narrative of Russian and Turkish presidents or even the intention of South Africa to leave the International Criminal Court (ICC) seem to suggest that we may be at a ‘reactionary juncture’ in which liberal principles are being challenged worldwide – and with them multilateralism, a bastion of stability whose success is linked to the acceptance of decision-making based on mutual understanding and a shared vision of the common good.

At a time when a diffuse sense of disorientation reigns, the temptation to close ourselves and find reassuring narratives is strong.

In the absence of positive narratives on the horizon, like the ‘American dream’ used to be, our quest for identity can easily fall in the trap of an idealised past, in the rejection of what is foreign and in the supernatural as means to legitimate political action. Requests to “regain control”, calls for a “national preference” or the idea of “making a country great again” through isolationism and protectionism have become increasingly frequent worldwide.

Is such a withdrawal into ourselves a viable solution? Certainly not.

Challenges are increasingly global and interconnected and cannot be dealt with by individual countries both because these are too large (e.g., climate change) and because globalisation has weakened their ability to tackle them (e.g., corporate taxation, security). The need for global solutions can hardly be reconciled with the current identitarian closure, which fosters the creation of cohesive groups of individuals aware of their differences vis-à-vis other groups but unaware of their commonalities. This lack of common ground and the development of

Cultural Policy

‘exclusive identities’ are the biggest barrier to mutual understanding: they undermine the emergence of empathy across distinct groups within our societies and do not allow us to harness the full potential that highly diverse (and cohesive) societies can develop. It is here that the current nationalist tendencies clash most violently with what is necessary: that is, governance structures at local, regional and global levels that are accepted as legitimate by the people. Empathy is the key to legitimise governance that is not legitimated otherwise by other legal, national or economic ties, and it is more necessary the more diverse the society is. Awareness must grow in our societies of the fact that there cannot be peace and prosperity for us if our neighbours are not in peace, and if our neighbours’ neighbours are not in peace.

As EU’s foreign affairs chief Federica Mogherini once noted: “Europe inspired the world because it was itself inspired by the world” (cf. p. 8). Such openness has made Europe successful and also increased the complexity of our societies, which have become mirrors of the world, with its opportunities and challenges. Living together in a society is not easy, and requires investing in it constantly. Like a field, it must be sowed regularly with good seeds if we wish to have a good harvest. To benefit from such diversity and avoid falling into the populists’ trap of the clash of civilisations, we need to give ourselves the tools to understand such complexity. Culture can play the role of a vaccine against simplifications, racism and populism.

The recent joint communication “Towards an EU Strategy for International Cultural Relations” attempts to do so by providing a coherent framework of action based on three strands: supporting culture as an engine for sustainable social and economic development, promoting culture and intercultural dialogue for peaceful intercommunity relations, as was done in Kosovo and between Armenians and Turkish communities, and, finally, reinforcing cooperation on cultural heritage. Our shared cultural heritage, in fact, can reinforce our resilience to destructive narratives, which is arguably why Daesh so vehemently attacked it in Syria. Within the

broader field of cultural relations, a wider understanding of cultural diplomacy is focusing on empowering local actors and facilitating the creation of spaces for intercultural dialogue in order to build trust and mutual understanding. Culture is no longer considered exclusive as the remit of the arts and creative sectors. A more anthropological understanding of culture is best placed to give us the tools to rebuild the social fabric of our societies as well as a sense of empathy as global citizens: intercultural dialogue can provide opportunities for a synthesis to emerge between global vision and local context.

Europe, as a land of emigration and immigration, could play the useful role of a ‘hub’, connecting diasporas from across the globe. Cities could be connectors Culture can between what is global and local. Cities are hubs play the role where people meet, create, innovate and tackle of a vaccine increasingly interrelated global and local challenges, against ranging from climate change and security to health, simplifications, migration and economic growth. Cities are places racism and where people strive to be happy living side by side populism. and sharing common public spaces, and where inclusive identities can flourish on the wealth of cultural heritage and traditions. Cities have also been laboratories for democracy and political evolution throughout history. At a time when the tension between globalisation and localism are increasingly evident, cities could also regain a more prominent role in foreign affairs. At the end of the day, cities are among the most resilient political entities ever invented and, most importantly, they are the closest to the people. // Pietro De Matteis

Programme Manager, European Commission; Vice-President, Stand Up for Europe

The views expressed in this article are those of the writer and do not necessary represent those of the European Commission.

We are all migrants. It depends how far in the past you look!

2017 // SOUNDS IN EUROPE

17

Cultural Policy

THE EUROPEAN AGENDA FOR MUSIC

Interview with Stef Coninx, former Chairman of the European Music Council Sounds: Stef, what exactly is the European Agenda for Music (EAM)?

Stef Coninx (SC): Begun in 2012, the Agenda is a project that aims to raise the profile of the European music sector in a sustainable way.

Based on the Five Music Rights (cf. p. 9), it’s first of all a platform for collaboration and exchange. The idea is that through it, the European music sector will be able to speak with one voice. What do we want the sector to look like in ten to fifteen years from now? Do we want more people making music, going to concerts, fewer people downloading music illegally? What needs to be done to achieve these aims?

It’s important to underline that the Agenda is NOT a list of demands, but rather an invitation to join forces and put forward our priorities in order to improve the situation of music and musical life in Europe.

Obviously the Agenda will not be the answer to all the issues the music sector is facing, but it should create a platform for dialogue within the sector itself.

S: Why do we need an EAM? SC: With the publication of UNESCO’s “Hangzhou Declaration”, culture is taking a more prominent position in politics at the international level. It’s therefore vital for the European music sector to be prepared.

To do so, it’s essential for the music sector to speak as a united voice.

That’s one of the Agenda’s key aims: to reduce fragmentation in the music sector. Too many voices speaking their own truths, in isolation from other players in the sector, will slow down and perhaps obstruct our cause. A common front, in which all parties are in agreement and support one another, will lead to a strong and vital European music sector.

The European Commission has expressed a desire for there to be more cooperation between the various cultural disciplines. That’s a worthy aim, but hand in hand with this cooperation, it’s important that the specific needs of each individual sector be highlighted. This can be done through the Agenda. In the future, should the European Union or national governments seek to make decisions about music, the Agenda will serve as a comprehensive document to which they can refer.

S: Who’s involved in the development of the Agenda?

SC: To ensure that this document is representative, reflecting all elements of the sector, the EMC invited its members as well as other significant nonmember organisations to join the debate on what actions need to be taken to secure a musically thriving Europe in the future. It’s a horizontal approach that brings together the music industry and civil society organisations for music.

S: What’s the process for developing the Agenda? How is fairness and representation being guaranteed?

SC: The EMC conducted a membership survey and a mapping of its members in early 2013. With the results, they identified the various ‘sections’ of the music sector as follows: • Creation (composers, song writers, authors and copyrights) • Production (record companies, publishers, instruments, music publishers, music fairs) • Presentation/Live music (festivals, managers, agents,

musicians, music exporting) • Information/documentation/research/heritage (music

archives, music information centres) • Media (communication/distribution)

18

2017 // SOUNDS IN EUROPE

• Education and career development • Participation (amateur music making – vocal & instrumental) Representatives of all these ‘sections’ will participate in the development of the Agenda through working groups. Transversal topics such as mobility, audience development, social status of the musical artist, legal issues, authors rights and inclusion of minorities/migrants/refugees will be tackled across the different working groups.

In addition, the great support of the Coordinating Committee for International Voluntary Service helped EMC to develop a roadmap and set up an inclusive process for the Agenda.

S: What will be done with the Agenda once it’s written?

SC: Once we have a final, approved document, the EMC, in its representative capacity with the necessary recognition and connections at the EU-level, will present it to the relevant bodies in Brussels (EU Parliament, Commission, individual MEPs, etc.)

But the Agenda has another use: it can inspire people to take it back home and do the same in their own countries or regions. To use it as a tool or as an example of what can be achieved locally. For if the music sector can come together across Europe with all the stakeholders, it should be possible to achieve a similar momentum locally. And this would immeasurably strengthen the sector.

S: What is the EMC’s role in the Agenda?

SC: The EMC initiated the process and will therefore handle coordination, although the Agenda itself is a document owned by everyone involved.

The Agenda will also draw on the EMC’s 2010 and 2011 advocacy papers, the “Manifesto for Youth and Music in Europe” formulated by the Working Group Youth (later Youth Committee) of the EMC and the “Bonn Declaration on Music Education in Europe”.

Having come to be recognised as THE voice of music in Europe and a respected contact on all matters relating to music in Europe, the EMC considers the Agenda to be its flagship project.

S: How do you secure “ownership” of the entire music sector?

SC: Well, it’s a very slow process! But it’s essential to get and keep everyone on board. We don’t want to lose any of the stakeholders along the way. It takes time to build trust and a sense of partnership, but it’s vital. And, of course, it must happen right from the start so that there’s never any ‘cherry-picking’, never anyone who only defends their own agenda. There must be a level playing field and full support for the whole process. If we succeed, then the Agenda will truly be owned by everyone.

S: Let’s say I’m only learning about the Agenda now. Can I get involved?

SC: Definitely. The best way would be to find your local EMC member and go through them. EMC members are present in 31 countries around the globe so it shouldn’t be too hard to find one. The EMC website (emc-imc.org) is the best place to find who’s a member in your country or reach the EMC directly.

S: Thank you for the interview. // Interview with Stef Coninx, former Chairman of the European Music Council; International Relations & Classical Music, Flanders Arts Institute Questions by ij

Cultural Policy

Reflections on the EAM T

he working group on Creation recognised early on the importance of not seeing themselves as an isolated part of the music value

chain. Although creators are at the very core of music creation, music can only prosper, reach others and secure future creativity hand in hand with all the other parts of the music sector. I am convinced that the European Agenda for Music will serve as an important tool in attaining this objective.

In the very complex world of music, the group sees transparency and balance between stakeholders as key elements in obtaining fair and diverse music in the future. Because with transparency and fairness comes freedom of choice, healthy competition and just plain good music! // Alfons Karabuda

President of the European Composer and Songwriter Alliance Chair of the Creation working group

I

T

The urgency of the Unesco Convention on the Protection and Promotion of the Diversity of Cultural Expressions clearly shows that culture must never be taken for granted. Some music is very vulnerable… With music having become so ‘self-evident’, there is a danger that it becomes a victim of its own success.

The European Agenda for Music is here to help us to find a balance between the perception, use and approach of music as an art form, as a tool and as a product. // Stef Coninx

International Relations & Classical Music, Flanders Arts Institute Chair of the working group on Information

L

n the Live/Presentation group it was agreed that live music is now

But access and equality, and more particularly the status of music schools has a fundamentally important role to play in terms of equality

earliest stage and ensuring that there is training and mentoring for

as it is the only place where we can reach all children. One of the key

amateurs and professionals alike.

questions for the future is how we can keep music education in the

Creativity and an understanding of copyright should be introduced

school curriculum and ensure its quality. This means that all the actors

into the European schools curriculum at secondary school level.

in the field of music should reflect on how they can support schools

The value of music culturally and as a language was recognised

through their daily work.

by the working group, along with the inevitable and positive influence

When we consider the work of music educators in relation to

creation and performance can have on the European political agenda.

the needs of our changing societies, the key words are quality, access

// Ian Smith

President of the European Music Council

Chair of the working group on Live/Presentation (Festivals/Managers/Agents/Musicians/Export)

in many European countries, it is increasingly challenging to

stakeholders.

The experts in our working group, all from diverse professional and regional backgrounds, strongly believe that defending the human values in the Agenda, proposing appropriate strategies, working towards musical diversity and developing a more organised musical sector are the best ways to advocate at European level. // Christine Semba

Director of Consultancy and Special Projects, Piranha Arts / WOMEX

Chair of the Production working group

T

he media landscape of today and tomorrow needs to ensure the right of every child and adult to express themselves musically in

all freedom, the right to musical involvement through listening and information, as well as the right of musical artists to develop their artistry and communicate through all media. I envision a Europe where the public broadcasting service continues to be a cultural organisation while fulfilling its function as a cultural mediator. // Silja Fischer

Secretary-General of the International Music Council

Chair of the Media working group

weaknesses. One of its biggest strengths is that we have well-

in primary and secondary schools, are concerns. Music education in

is important. Another goal is having access to music education at the

defend musical diversity and to secure fair income for music sector

ike other music sectors, education has its own strengths and

trained and committed teachers.

the key generator of income for the sector. Sustaining that income

ue to economic challenges, growing nationalism and intolerance

into the cultural sector and make sure that artists receive fair

recognition for themselves and fair remuneration for their work(s).

stream and having a clear value chain from creation to consumption

D

he time has come to introduce the basic principals of fair trade

and social responsibility. // Timo Klemettinen

Managing Director of the European Music School Union (EMU)

Chair of the Education working group

I

n the European amateur music sector, a vast number of people of all ages sing or play instruments in their free time, alone or in

groups. They are eager to learn, to improve and to reach new audiences.

‘Crossing lines’ to and cooperating with other genres, art forms and sectors is becoming increasingly important. While the sector largely relies on volunteering, it needs to be supported and taken seriously. // Sonja Greiner Secretary General of the European Choral Association –

Europa Cantat

Chair of the Participation working group

W

e need to ensure that there are and always will be sustainable

business models for professional musicians of all kinds which

enable them to make a decent living, like other professionals. This includes fair pay for live performance as well as fair remuneration for authors and performers for the use of their recordings on the internet and elsewhere. //

Beat Santschi President of the Swiss Musicians’ Union (SMV-USDAM); Vice-president of the International Federation of Musicians (FIM); Responsible for transversal issues within the Agenda

2017 // SOUNDS IN EUROPE

19

Cultural Policy

THE CHALLENGES OF AN INCREASINGLY In its oft-quoted preamble, the Constitution INTERCONNECTED WORLD of UNESCO proclaims that “since wars begin

in the minds of men, it is in the minds of men that the defences of peace must be constructed”. When UNESCO’s founders penned these words in November 1945, the devastation of World War II was undoubtedly foremost in their thoughts.

After six years of the deadliest conflict in human history, they saw clearly that hard power alone could not maintain peace. What was needed was the soft power of culture.

3

Photo by IFCD GERMINALIA Music

20

2017 // SOUNDS IN EUROPE

Cultural Policy

The mission of UNESCO was therefore to “contribute to peace and security by promoting collaboration among nations through education, science and culture in order to further universal respect for justice, for the rule of law and for the human rights and fundamental freedoms which are affirmed for the peoples of the world, without distinction of race, sex, language or religion, by the Charter of the United Nations”.

Cultural diplomacy lies at the heart of these efforts. It strives to foster the exchange of views and ideas, promote knowledge of other cultures, and build bridges between communities. Ultimately, it seeks to promote a positive vision of cultural diversity, highlighting it as a source of innovation and dialogue, essential for the creation of peaceful, prosperous societies.

For decades, UNESCO’s work in postconflict situations has demonstrated the power of cultural diplomacy. UNESCO’s actions at the contentious border between Thailand and Cambodia saw the reopening of dialogue through the safeguarding of the Temple of Preah Vihear, while the reconstruction of the Mostar bridge in Bosnia in 2004 reconnected communities ravaged by conflict. The conservation of the Bamiyan Valley in Afghanistan, notorious for the destruction of its two monumental Buddha statues by the Taliban in 2001, is another example of the power of culture for dialogue and development.

Yet the world has changed dramatically since the days of UNESCO’s founding. Through globalisation, trade has accelerated and cultures and peoples are moving in ever closer proximity. New technologies and mass migration have opened up new possibilities for cooperation, exchange and dialogue. Yet while this interconnected world offers incredible opportunities, it also presents new challenges, from growing inequality to climate change, to a rejection of diversity and attacks on cultural heritage and minorities. The Director-General of UNESCO has described such acts as ‘cultural cleansing’. In this new world, cultural diplomacy is more vital than ever.

The benefits of cultural exchange are many. Global trade in creative goods more than doubled between 2004 and 2013, and today the cultural and creative industries represent around 3% of global GDP and 30 million jobs, including 7 million jobs in the European Union alone. In developing countries, the cultural and creative industries not only bolster economic growth, but also have the potential to empower marginalised groups, including women, youth and individuals with disabilities. UNESCO’s 2005 “Convention on the Protection and Promotion of the Diversity of Cultural Expressions” is working to ensure that the full diversity of cultural expressions is available to all by promoting the mobility of artists from the Global South, particularly by supporting countries to design policies that promote freedom of movement for artists, such as special visa programmes and preferential treatment.

UNESCO’s experience in cultural diplomacy has shown that we cannot face these challenges alone. We need new forms of cooperation, bringing together actors from civil society and the culture sector, including organisations such as the European Music Council. Indeed, UNESCO has found that musicians are among the world’s most effective ambassadors for dialogue and peace. In November 2011, UNESCO officially designated 30th April as International Jazz Day, seeking to bring together communities, schools, artists, historians, academics and jazz enthusiasts from all over the world to celebrate and learn about jazz, and to highlight the need for intercultural dialogue and mutual understanding. International Jazz Day is chaired by legendary jazz pianist and composer Herbie Hancock, who serves as a

Photo by cameronsprinkle

UNESCO Goodwill Ambassador for Intercultural Dialogue. Speaking about the power of jazz, Hancock has said that “jazz is really about the human experience. It’s about the ability of human beings to take the worst of circumstances and struggles and turn it into something creative and constructive. That’s something that’s built into the fibre of every human being. And I think that’s why people can respond to it.”

This is the hallmark of cultural diplomacy – building on the power of culture to unite people in ways conventional diplomacy cannot – and why it represents, in UNESCO’s view, our greatest hope for tackling the challenges of our increasingly interconnected world. // Francesco Bandarin

Assistant Director-General for Culture,

UNESCO

2017 // SOUNDS IN EUROPE

21

Cultural Policy

NO SUSTAINABLE DEVELOPMENT

WITHOUT CULTURE

The European Alliance for Culture and the Arts calls for the inclusion of culture, arts and creative work in the European Commission’s new strategy for achieving the 2030 Agenda for Sustainable Development of the United Nations (the 2030 Agenda).

The 17 Sustainable Development Goals (SDGs) and associated targets adopted by the United Nations in 2015 set a long-term strategy for building a better and fairer future and eradicating poverty worldwide. The New European Consensus on Development, one of the documents of the Commission’s new sustainability strategy, acknowledges the need for more efficient collaboration at all levels and a new cross-cutting approach to addressing the different dimensions of sustainability. The new plan also highlights that there is a drive towards a decisive transformation of the existing development approaches, which implies a significant cultural shift within institutions and society at large.

Nevertheless, the European Alliance for Culture and the Arts notes with concern that the European Commission has not yet mainstreamed culture in its new sustainability plan. The Commission hints at the role of culture, arts and creative work in relation to various goals, yet there is an apparent gap between the Commission’s plan and the ambitious spirit of the SDG Agenda. We encourage the Commission in its next steps not to miss the opportunity to benefit from culture’s transformative power and its potential for envisaging and shaping a truly different world.

Imagining a different future is as much a challenge as it is a creative task. Culture, arts and creative work have the potential to inspire a critical view, revealing the imperfections of current approaches to sustainability, and to facilitate envisaging a better future. Not only must new legal frameworks be introduced, but a considerable transformation of individual perceptions, values

22

2017 // SOUNDS IN EUROPE

and behavioural patterns is needed. Be it with regard to education, gender or intercultural relations, attitudes towards the environment or consumer habits, culture and the arts have tremendous power as messengers of sustainability concerns.

The European Alliance for Culture and the Arts believes that it will only be possible to achieve the ambitious SDG framework if the EU integrates culture, arts and creative work into its Agenda 2030, including its objectives, definitions, tools and evaluation criteria. The Agenda 2030 must clearly address the role of the arts and heritage in fostering intercultural dialogue and social cohesion, acknowledge the cultural component of the integration of displaced people and highlight the power of culture to promote democracy and to heal social wounds. Culture and creative work must be recognised as key contributors to economic growth and a powerful messenger of all sustainability issues, from gender discrimination to climate change.

In this context the Alliance refers to the campaign “The Future We Want Includes Culture”, of which the Alliance’s member Culture Action Europe is an active partner. The manifesto of the campaign lays out key arguments why culture needs to be included in the SDGs. The European Alliance for Culture and the Arts, currently representing 35 European and international associations, aims to put culture and the arts at the heart of the European project and ensure their inclusion in the EU’s long-term and strategic goals.

3

If you would like to join the group and sign the founding appeal “The Power of Culture and the Arts”, please visit our website: https://allianceforculture.com

Cultural Policy

For inspiration

2017 // SOUNDS IN EUROPE

23

Photo by Morgan Sessions

For Inspiration

Artists for Peace The World Youth Choir

The World Youth Choir (WYC) is a unique project for young singers aged 17 to 26, recruited from all over the world. Artistically, it’s a project for singers who seek to make quality music with internationally recognised conductors. More broadly, it’s an environment where singers can share their own culture while enriching themselves with other members’ cultural and singing traditions. It’s a project that educates global citizens and creates members who advocate global peace.

Over 1000 singers have participated in the choir since its foundation in 1989. In 1996, the choir was named Artists for Peace

by UNESCO, and in 2012 the choir sang at the Nobel Peace Prize Award Ceremony in Oslo. The most recent project took place last year when the choir toured Germany, Switzerland and Belgium and sang with Syrian refugees. This summer the choir, consisting of 60 singers from 34 countries, will tour the Balkan countries.

How do these experiences change you as a singer and how does it affect you as a person? I decided to ask Ken Wakia (KW), who sang in the choir from 1997 to 1999, and who this summer will be returning as a conductor.

VL: What did WYC mean to you as a young singer?

KW: A lot! I had never felt so privileged in my entire life. I got to know about the WYC through Boniface Mganga – the director of Muungano National Choir of Kenya. Coming from a rural Kenyan background, I didn’t believe that I could ever be a part of such a magnanimous project. I took my first flight ever to go to the WYC. I felt on top of the world, literally.

VL: How did WYC change you as a musician?

KW: I owe my musicianship today to the WYC. I’m a visual learner, so I spent a lot of time observing what the conductors and singers did and then imitating it at home. After attending the WYC sessions, I decided that I would never settle for anything less than high quality music, even under the difficult circumstances at home.

24

2017 // SOUNDS IN EUROPE

VL: What are your expectations of the choir?

KW: I expect world-class quality singing and the highest level of musicianship possible. But I must add that I also expect a lot of growth for myself musically, because I’m looking forward to learning from these extremely talented young people.

VL: As a conductor, what’s the best advice you could give young singers?

KW: Aspire to inspire the audience with your singing!

VL: How can the choir be a tool for musical diplomacy?

KW: I work in the diplomatic community in Kenya and I know exactly how beneficial this is. It’s through music that people begin to appreciate each other. A choir has an even more special effect on us.

As a choir member, you learn to listen to those standing next to you and even those in other sections. This is the most powerful tool for diplomacy. When people listen to each other, they begin to appreciate them in ways they wouldn’t just by looking at their names, appearance, etc. It’s in the World Youth Choir that I made friendships that last to this day.

This World Youth Choir session will be held in Pécs, Hungary followed by a tour in the Balkan countries from 13th to 23rd July. The conductors are Zoltán Pad from Hungary and Ken Wakia from Kenya. See www. worldyouthchoir.org for a more detailed concert tour programme.

3 Would you like to be a recruiter? Contact manager@worldyouthchoir.org // Victoria Liedbergius (VL)

Former singer and current president of the WYC // Ken Wakia

Former singer and future conductor of the WYC

For Inspiration

A Matter of Identity Cultural Diplomacy at the Heart of a Cultural Centre

Berlin. August 1987. I am in my early twenties and I am working behind the scenes, contributing to the 17th edition of the World Orchestra of Youth and Music. More than 100 young musicians from over 30 countries are rehearsing Benjamin Britten’s “War Requiem”. They are sharing the stage with renowned soloists, such as baritone Dietrich Fischer-Dieskau.

Performances are held in West and East Berlin.

I felt it back then, at that exceptional spot and during that historical turning-point, I could feel it in my bones: music unites.

Music brings all kinds of people together: on stage, in the concert hall, in public spaces, in town. Creating things together; being engrossed in the same musical experience; sharing one space. It requires a certain openness to new experiences and a willingness to listen. Music is an antidote to the fear of the unknown. Music battles against ignorance by relying on this readiness to not only hear but also to listen. Music enables you to surpass yourself. Those concerts did not, of course, cause the Berlin Wall to fall. Nevertheless, they did lay the foundation for what was about to happen. They tore down the walls inside the hearts and minds of numerous young people. I was one of them.

It was one of my first jobs in the world of classical music. Intense experiences like that have made me who I am today: a cultural diplomat, a European humanist, and an optimist through and through. Many magical concert moments were to follow, on and behind the stage, thanks to the interplay between musicians and audience. An entire week dedicated to the Silk Road under the invigorating supervision of cellist Yo-Yo Ma. Jordi Savall and his musical journeys through a humanist and Renaissance Europe. Daniel Barenboim and his WestEastern Divan Orchestra that unites musicians from Israel and Palestine.

A musical performance in our large concert hall devoted to fifty years of Congolese music involving famous artists such as Papa Wemba and an audience, divided into rivalling clans, that shared a feeling of harmony.

The “Saint Matthew Passion” performed under the supervision of Sir John Eliot Gardiner, just one day after the terrorist attacks in Brussels.

The list of ‘healing’ concerts is long. However, I am not naive. I know that musicians and artists are merely human beings. I know that many composers were rabid anti-Semites. I know that music can invoke violence and sustain a narrowness of mind. I know that music can lead to discord and that it is even used to torture. A medicine, if administered wrongly, can be lethal. Nevertheless, I remain convinced that all in all, music is a positive force: it will make the world more humane over time.

Fundamentally, cultural diplomacy is a matter of identity.

Identity implies difference. You only get to know yourself through communication with others. “We are not like them”. In order to obtain a constructive dialogue, it is better to focus on what we do have in common with that ‘other’ than fixate on our differences. With regards to concerts, which are founded on teamwork and harmony, this is an indispensable prerequisite. What is our common ground? That is how ‘we’ and ‘they’ learn to understand one another. That is how we learn to respect our dissimilarities rather than turning them into a geopolitical image of ‘the enemy’, ‘a clash of civilisations’.

Brussels is a laboratory for the Europe of the future. There is no cultural majority anymore in the capital of Europe. Two-thirds

of the inhabitants of Brussels were not born here or have parents of foreign descent. In 2017, 75% of the children living in Belgium have a mother who was born elsewhere. An identity that is solely based on the past cannot form the foundation for a common metropolitan citizenship. It can only be founded on a common future. Culture is merely a subsidiary competence of the EU – that principle whereby the EU does not take action (except in the areas that fall within its exclusive competence), unless it is more effective than action taken at national, regional or local level. Politically, the subsidiarity principle restricts culture too much to the borders of nation-states or, in the case of federal states, overly confines it to the communities. Culture certainly belongs there, closely connected to the people. But it does not end there. National borders do not historically coincide with the cultural patrimony found in larger regions. Nowadays, musicians and visual and performance artists, constantly on the move, are de facto cultural diplomats. In a hyper-connected community, these mobile citizens’ identities are fundamentally layered. In terms of present-day cultural experience, the European and global dimensions are gaining ground alongside familial, local and national levels. A kind of urban, European and even global cultural citizenship is taking shape. How can we actively contribute to tomorrow’s city, Europe and world?

Culture in itself is not a soft power. Soft power is the art of influence. It is the power to make people want what you want. To be able to do this, you have to be someone people aspire to be like; you have to be credible and to be able to build and maintain trust.

Practice what you preach. The only way for culture to become part of the soft power of a city, country or international institution such as the EU, is by integrating the cultural policy into clear objectives.

A cultural establishment such as the Centre for Fine Arts stimulates cultural diplomacy on three different levels: artistic exchanges (often used as a starting point for exhibitions), civil dialogue (the Centre as meeting place or agora) and strategic advice (given to political authorities of different ranks). The Centre for Fine Arts, together with its partners, tries diligently to advocate the European cause. We are part of a consortium focused on the role of culture in Europe’s external relations. We are one of the inspirers of “A New Narrative for Europe”, a project where European policymakers such as José Manuel Barroso, Chancellor Angela Merkel, and Donald Tusk (former Prime Minister of Poland), artists, scientists and young people can assemble in different places in Europe. Europe is a state of mind, a mental space. Intense images and stories constitute Europe.

Plácido Domingo compared Europe to a large orchestra: “And can we not see Europe as a huge concert hall, and us, Europeans, as a grand orchestra and choir? Are we not an impressive and powerful musical ensemble – with talented players and singers from all backgrounds and cultures – whose voice and timbre resonate across the globe?”

Listen. The concert is about to begin... // Paul Dujardin

CEO & Artistic Director of Bozar, Centre for Fine Arts, Brussels

President of the International Music Council

2017 // SOUNDS IN EUROPE

25

For Inspiration

Photo by M. Zakrzewski

THE FESTIVAL ACADEMY AS A TOOL FOR CULTURAL DIPLOMACY “We all share fundamental human emotions,” says Virkein Dahr, participant in the Atelier Chiang Mai, Thailand, 2016. “These emotions keep us going and connect us through powerful shared experiences. The arts go beyond language and context; they have the ability to touch every heart. Many of us have echoed this conviction over the week. It feels very relevant, especially since we all come from diverse backgrounds and cultures, but share the same concerns.”

That is exactly what The Festival Academy (TFA), an initiative of the European Festivals Association (EFA), is all about. To give some background, the European Festivals Association is the oldest network of festivals in Europe.

For more than 65 years, it has inspired festivals to network, collaborate and advocate for what’s important on a cultural level; this includes the expression of basic EU values, such as freedom of speech, mobility and cultural diversity. The Festival Academy is one of EFA’s main initiatives and combines EFA’s history and heritage with its future-forward vision. The Festival Academy offers various training formats in festival management to young, dynamic and passionate festival makers worldwide. All formats focus on the essence of festivals: art and the artists.

26

2017 // SOUNDS IN EUROPE

For Inspiration

The Festival Academy’s longest-standing training format, the Atelier for Young Festival Managers, was launched in 2006 by EFA. So far 11 sessions have taken place in Europe, Asia and the Arab world. This intense seven-day training programme brings together 45 young festival managers from all over the world. Some 10 renowned and experienced festival directors from top-notch festivals worldwide accompany the participants. The Atelier involves workshops, lectures, dialogues, debates and cultural outings that address the artistic aspects of festival management. Ateliers in 2017 will take place in October in Shanghai (China), in November in Merano (Italy), and for the first time, in Africa in 2018.

Festivals can be expressions of cultural diplomacy. They are places where people engage with ideas, ideological assumptions and values. The Festival Academy and its various training programmes are always connected to the world, bringing together people from all over to discuss and reflect on the role of festivals today. They pool this wealth of wisdom to tackle the issues with which festivals are concerned and examine their role in building communities, empowering citizens and broadening horizons.

Participants of the training programmes are fortunate.

They are given the opportunity to widen their perspectives, challenge their views and learn from each other. The Festival Academy is a small step towards breaking out of established patterns, providing young festival managers with a platform to meet and to connect with diverse, creative minds.

Other programmes offer festival managers training in skills, people management and budgetmaking. That’s not why festival managers participate in our programmes. They participate to reflect on the role of festivals today in a society in transition, and how to deal with this transition. It’s about identifying the right questions and getting inspired and making alliances beyond the seven days, creating a community for the future with the alumni network. After our training, participants take home a sense of empowerment and a new global network now counting 450 festival managers from 67 countries and all continents.

In Brussels, the Commissioner of Education, Culture, Youth and Sport, Tibor Navracsics, and the High Representative of the European Union for Foreign Affairs and Security Policy and Vice-President of the European Commission, Federica Mogherini, have joined forces to put culture at the core, not only of the cultural policy but also of the foreign policy of the EU. This is a recent concept and a very important sign to the EU and the world.

One of The Festival Academy’s future activities is being developed in the framework of this new cultural policy.

The “EU-China High Level People-to-People Dialogue” between the European Commission and the People’s Republic of China offers a backdrop to The Festival Academy’s launch of a new programme, the “Atelier for Young Festival and

Cultural Managers” in China. This programme, which aims to deepen Asia-Europe relations through international cultural exchange, was set up and developed in collaboration with the China Shanghai International Arts Festival. It takes place 17th to 23rd October in Shanghai. For 2017, it is supported by the European Commission through the newly set up Cultural Diplomacy Platform and by the Ministry of Culture of China.

With this initiative, The Festival Academy will establish a new cultural training network bringing China and the EU closer together. These training modules will bridge European and Chinese cultures in a cross-border, cross-generational and transdisciplinary learning and exchange environment. The activity encourages peer-to-peer learning, the sharing of ideas, the understanding and sharing of values, traditions and other aspects of culture or identity to strengthen relationships, enhance sociocultural cooperation and foster a broader community-building between festival makers and culture professionals from China, the EU and the world.

To conclude, networks are more important than ever. Meeting people leads to better understanding and alliances, which can take away fear. Festivals reach out to many people and offer a platform to act and react on basic rights like freedom of speech, freedom of mobility, respect for diversity, global intercultural dialogue, justice, equality, international human rights, peace and stability and the xenophobia that seems to rule the world today. // Inge Ceustermans

Managing Director

The Festival Academy (an initiative of the European Festivals Association) 3

www.TheFestivalAcademy.eu

2017 // SOUNDS IN EUROPE

27

For Inspiration

SINGING FOR SUCCESS THE WORLD VOICE PROGRAMME IN SUB-SAHARAN AFRICA

28

2017 // SOUNDS IN EUROPE

Photo by the British Council

For Inspiration

Photo by the British Council

The British Council’s “World Voice” programme is at first glance a teacher-training programme that seeks to enable all teachers to use singing as a tool for learning in their classrooms. But more than this, it’s a kind of cultural diplomacy that is collaborative, activity-led and participatory. Singing is a universal human skill, and a team of Singing Leaders from the UK have been delivering workshops around the world to give teachers the confidence and techniques to use it.

In many African countries, music and singing are deeply ingrained in the culture. In Sierra Leone, you sing on your way home from school or at lunchtime. Yet inside the classroom, learning generally is more uniform and regimented. While there’s plenty of singing outside of school, it isn’t normally considered a tool for learning. The World Voice programme in Sierra Leone wants to enable teachers to enrich their teaching practice, let their pupils have fun in the classroom, be creative and give children the autonomy to learn by doing.

We have delivered two workshops so far in Freetown with schoolteachers, choir leaders and university students. Arriving fresh off the plane (and boat and taxi), Jane Wheeler meets with a crowd of 50 children from around 10 different schools and 35 teachers. She works with the children in the afternoon to demonstrate how vocal warm-up exercises and rhythm games can build coordination, leadership qualities and collaborative skills. “That first morning there’s always a joyful sigh of relief, that you as the workshop leader do everything yourself first. I demonstrate the model and then invite them in,” Jane tells us.

As the week progresses, participants gain the confidence and knowledge to lead the workshop themselves. They do and learn through activities, and Jane starts to see their natural strengths emerge via group work – one starts off as the leader, another takes the notes, a third comes up with a new way to do something. Once the adults experience this ‘learning by doing’ of working together and the joy of creativity, the penny drops. This is how learning should be for children! “They wouldn’t trust it if we showed a film or read from a written presentation.”

Jane says. “This way of practicing cultural relations is respectful.”

Thanks to the World Voice Songbook, a collection of songs from the countries in which the programme is active, Jane is able to make the most of her blow-up globe to further demonstrate the range of subjects you can teach through song. “We choose a song, throw the globe and land in the country. We imagine the journey and discuss the landscape, the history, the people... Then we sing it! All the while embedding the world map and all kinds of subject material.” During the course of Jane’s week with the teachers, she discovers that most of them have even written their own songs in the past, but never considered empowering the students to collaborate in that process.

“The next step is to add beats and rhythms to the songs. A group of students might together think up a rhythm square that can go under a Senegalese song in Wolof, for example.” Trusting Trusting children to work together independently gives them children to crucial skills for the future – independent thought, work together listening to others, risk-taking, leadership – all the independently while producing something creative for others to gives them enjoy. crucial skills By the end of her week, Jane can feel a renewed for the future. enthusiasm for learning in both children and teachers. “They’re beaming! And hungry for training.”

In fact, she’s asked to cut the lunch break short as the teachers want to learn more. She leaves exhausted yet refuelled for her own classroom, and humbled by the participants’ open-mindedness and willingness to share their ideas and experiences. “This really goes a lot further than the songs. The cultural exchange comes naturally. We go as ambassadors for the UK but arrive excited about their culture.

They see that we want to absorb and learn from them – and that wasn’t what they were expecting!” // Sophie Mepham for the British Council

2017 // SOUNDS IN EUROPE

29

For Inspiration

The Silk Road Symphony Orchestra

What is the mission of the Silk Road Symphony Orchestra? And why does it matter right now? This is the [abridged] opening speech of writer, publisher and Middle East analyst Daniel Gerlach at the orchestra’s kick-off event on 20th January 2017 in Berlin.

On behalf of the Callias Foundation and in the name of all members of the Silk Road Cultural Belt, I would like to welcome you to this enchanting venue. What else would you expect from Berlin in January than tropical temperatures? […]

I am a political analyst, publisher and journalist. I’m interested in all things concerning Middle Eastern and Oriental, so I naturally and proudly consider myself a supporter of the first hour to the Silk Road Symphony Orchestra and the idea of the Silk Road Cultural Belt.

Gold, jade, chinaware, spices and silk, of course – those were the goods that fearless traders used to transport along routes of nearly 6000 kilometres, across the Eurasian continent and the Mediterranean to Europe. Each trading enterprise covered a limited section of the Silk Road. Many drew rich benefits from it. Most undertook great risks to achieve their goals.

30

Now the Silk Road Cultural Belt not only connects people along the path, it seeks to build up a chain of cultural interaction, of mutual inspiration. And it wants to redefine, from the bottom up, the following question: what is the cultural heritage we share?

How would you compose a Silk Road? This was a question the Silk Road Cultural Belt Initiative asked hundreds of thousands of Internet users in 2016, thanks to a Google grant of almost 100,000 euro that helped the initiative reach out to world.

People from all around the globe posted their musical references, their all-time favourite music, to inspire the initiative […]. This swarm-like, crowd-sourced inspiration is what Jan Moritz Onken, the conductor and artistic director, called the “Conference of the Birds”.

The countries along the ancient Silk Road are moving closer, at least in terms of travelling hours. And new Silk Roads, such as the Maritime Silk Road across the Indian Ocean, are opening up.

The announcement of billions in investment, mainly from China, across the Eurasian landmass raises great expectations. But without a cultural answer to this project, without a cultural dialogue, these ambitions might [have limited effectiveness].

Photos by Gèraldine Schwarz 2017 // SOUNDS IN EUROPE

For Inspiration

Countries and states that used to be [pivotal] points of intercultural trade and exchange, such as Syria, are shattered. Brutality prevails, and with the disdain for human lives comes the sovereign contempt for cultural heritage.

Today, international media received evidence that one of the marvels of antiquity, a site called Tadmor, or Palmyra, one of the most stunning fruits of cultural interaction and an ancient hub for Silk Road traders, was devastated once again.

The so-called ‘Islamic State’, fancying itself the nemesis of civilisation, seems to have blown up parts of Palmyra’s Roman tetrapylon and Roman theatre after retaking it from Russian forces and the Syrian regime.

What a bitter irony, what a demonstration of the vanity of power, what a repelling show of how culture and music are instrumentalised if we consider that, less than eight months ago, one of the world’s most famous conductors brought a symphony orchestra to Palmyra in order to celebrate victory over this same terrorist organisation.

Well, it seems that after a worldwide broadcast of this victory parade, priorities went elsewhere. And Palmyra was left to its own fate, and eventually doomed.

Dear friends, the kind of cultural alliance that the Silk Road Cultural Belt proposes is not going to change the world. It is not going to calm the rage of jihadists; it is not, at least not imminently, going to bring down bigotry and brutal regimes.

But it is joyful, it enriches our identities – and, frankly, it is the only thing we have. Art and music of the kind we witness today […] command our admiration, and can give solace to thousands along this new Silk Road.

If the silk stands as a metaphor for everyone’s creative contributions, then the Silk Road remains a chain of far-off, longedfor places: “Sehnsuchtsorte”, as we say in German.

The Silk Road Symphony Orchestra, an independent project committed to this idea, was founded by the Callias Foundation and made its debut in June 2016 in Berlin, performing Strauss, Stravinsky and Chinese composer Qigang.

It shall soon embark on a journey and play with like-minded musicians in Istanbul, Tehran, Tashkent and many other places. //

Daniel Gerlach Writer, publisher and Middle East analyst Callias Foundation 20th January, 2017, Berlin Botanical Garden

2017 // SOUNDS IN EUROPE

31

1st African Music Forum The first Regional Forum of the African Music Council took place from 29th September to 1st October, 2016 in Ségou, Mali. Well known as a cultural city, Ségou is also the location of the Festival sur le Niger (“Festival on the Niger”), a combination of art festival, trade fair and cultural market.

3 32

2017 // SOUNDS IN EUROPE

EMC/IMC Review

Origin The idea for the Forum was born in June 2013 at an African Music Council (AMC) executive meeting in Cotonou, Benin. It started out as the continuation of a tradition launched by the AMC’s ancestor, the African Regional Secretariat of the International Music Council (IMC), which organised, in 1983, the first International Symposium of African Music (SIMAF) in Kinshasa, followed

by SIMAF 2 in Nairobi two years later.

The new Regional Forum took on the vision of the IMC and extended the tradition while addressing new challenges with its partners, who included the host country’s government, the “Festival sur le Niger”, the IMC through its African Music Development Programme and an important AMC member and partner, CERDOTOLA (International Centre for Research and Documentation on African Traditions and Languages).

Development The Forum began with a keynote speech delivered by CERDOTOLA‘s Executive Secretary, followed by four panels on the role and place of musicians in society, preparation for musical careers, current evolutions in the music profession and lifelong learning for professionals. To further explore the topics raised in the panels, professional workshops were organised on the themes of networking, musical practice, the organisation of music festivals and music markets in Africa, and the integration of African heritage into education and training processes.

Presentations and debate were rounded off by exhibitions of musical instruments, presentations of books and student research as well as by audiovisual field recordings from the International Library of African Music of the Rhodes University in Grahamstown, South Africa and the National Institute of Arts in Kinshasa, Democratic Republic of the Congo. Live music sustained the intellectual exchange, with great performances from Benin, Guinea, Côte d’Ivoire and Mali that showcased instruments such as the kora, balafong, flute, guitar and saxophone.

Conclusions The Forum’s final report underlines the responsibility of public authorities to improve the curricula, equipment and legal framework of music academies. It also notes the AMC’s decision to examine the possibility of providing a label for a selected group of cultural events in order to encourage initiatives, promote excellence and support the publication of research and the production of periodical reports on the state of music in Africa.

The “Ségou Declaration” was adopted by participants. It highlights the challenges of a lack of professionalism on the continent, the need to take current evolutions into account and adapt the education system accordingly, and the importance of addressing networking and cohesion issues in relation to music markets.

The Forum led to concrete initiatives including the regionalisation of education and training programmes and a mapping of the sector to facilitate local cooperation among festivals and events.

Photo by Salif Traoré

Follow up A meeting has been organised in Brazzaville, Republic of the Congo, for July 2017 at the next Pan African Music Festival for Music Festival Directors. The idea is to examine methods of harmonisation and to develop a handbook. An inventory of significant training and education structures is currently underway and a mapping of the sector should be ready for the 2nd African Music Forum in 2018.

Lessons learned The 1st African The first requirement for a forum of this Music Forum nature is to select subjects of common interest and opened the way to identify presenters who go beyond a theoretical to demonstrate understanding of issues and demonstrate an the importance expertise born of experience. A second requirement of “music as is to avoid isolating a particular region and to culture” in the maintain universal objectives: within the dialogue African Union’s of musical traditions, the focus must remain on “Agenda 2063: regional promotion as an overall priority. A third The Africa We requirement is to involve partners who commit to Want”. the project and contribute technically, logistically and financially.

The 1st African Music Forum opened the way to demonstrate the importance of “music as culture” in the African Union’s “Agenda 2063: The Africa We Want”. The Forum offered an opportunity to illustrate the role of culture and the need for its clear and formal integration into the strategy of the UN’s 2030 Agenda for Sustainable Development. // Lupwishi Mbuyamba

President

African Music Council

2017 // SOUNDS IN EUROPE

33

OUR

ONISING L O C DE

MUSI C

EMC/IMC Review

The essay below was presented, in a slightly different form, as the final keynote address at the “Decolonising Music” conference presented by the Music Council of the Three Americas (Consejo de la Música de las Tres Américas – COMTA) at the Conservatorio de Música de Puerto Rico in San Juan, Puerto Rico.

Colonisation rears its ugly head whenever there is ‘globalisation’. In the 1500s, several European nations were aggressively globalising, especially Spain, and especially in the Americas. At the time of Christopher Columbus’s westward wanderings, the Americas already had strong indigenous cultures. There was a great fondness for music and dancing, especially for rituals and celebrations.

Alongside the arrival of the Spanish conquistadors came the arrival of Catholic missionaries. The militaries with their governments and the churches with their faith began the process of colonisation and, with it, they brought Western music and culture. While indigenous music and Western music have coexisted, Western music became preeminent as the government and the church often imposed a rigid adoption of Western ways, much to the detriment of indigenous music.

The same is true today with digital colonisation. The companies with the financial The companies with resources and political clout often impose the financial resources a uniformity on the consumption of the and political clout music they believe is popular and therefore often impose a profitable. Given the ubiquity of their total uniformity on the command of the internet, the ‘world’ becomes consumption of the their colony and ‘popular’ tastes rule, again to music they believe is the detriment of indigenous music, but also popular and therefore to art music and to any other music with a profitable. limited audience and appeal.

The common thread of colonisation, whether it’s the old kind of colonisation or the new, is an ‘either/or’ mentality. One music reigns supreme, while the other is neglected at best or dies away at worst. The either/or colonial approach is not healthy or even desirable for a flourishing culture. Thus, the necessity to ‘decolonise’ our music.

Decolonising music involves a conscious decision to move away from an ‘either/or’, ‘colonial’ mentality to a ‘both/and’, ‘decolonised’ mentality.

Decolonising music, however, is not about replacing one style or genre with another. Replacing colonial music with indigenous music only perpetuates the either/or mentality that has always been destructive to music, just with a different style becoming preeminent. We must be open and accepting of new music as well as old, of classical music as well as popular, improvised as well as notated, and on it goes.

In order to adequately and effectively ‘decolonise’ music, we must become ‘reconcilers’ or, to use a musical term, ‘harmonisers.’ We must reconcile the new with the traditional, affirming the ‘both/and’ and dismissing the ‘either/or.’ We should not let our traditions swallow up the new, but we should not allow the new to swallow up our traditions. Both the new and the traditional are vital to a healthy state of musical and cultural affairs. We must maintain a creative tension between our traditions on the one hand, and the new on the other.

Our greatest and most immediate challenge will be how we deal with technology. As we all know, the digital age is upon us, utterly transforming all of society with a new cyber-reality.

One of the gurus of contemporary thought is Nicholas Negroponte, a professor and co-founder of the Media Lab at the Massachusetts Institute of Technology. Negroponte describes the technological revolution in terms of a shift from atoms to bits; that is, a shift from the importance of material objects to the supremacy of digital information. All of life, music included, is in the process of digital transformation. Hence, the description by Swedish composer and acting CEO of the Swedish Performing Rights Society Alfons

Karabuda of the newest form of conquering ‘space’. Not the kind of ‘space’ associated with Star Trek and its motto “To boldly go where no man has gone before,” but the infinite space of the Internet The conquering and, as Alfons described it, “digital colonisation.” The of digital space conquering of digital space has shifted colonisation has shifted from countries to companies. In the past, it was colonisation countries like Britain, France and Spain that amassed from countries land colonies across the world. Today it is companies to companies. like Apple, Google and YouTube (which is owned by Google) that act as great colonisers of digital space, especially in music.

Yes, technology is the driving force today. Technological innovations have changed the way we work and live and think. We cannot imagine our lives without computers or the Internet. But neither can we imagine life, especially musical life, without personal interactions, human conversation – or, for that matter and very important for me – music studios without a living, breathing teacher.

I know this was a long diversion into technology. But I believe it is central to our ability to be reconcilers. Technology and the Internet open up all sorts of possibilities for ‘decolonised’ indigenous music to be heard, experienced and enjoyed by more people than ever thought possible. But at the same time, it presents a potent tool for ‘digital colonisation’ by the companies that control who and what gets heard and whose only motive is profit.

So, what is the point of all of this talk of decolonisation and reconciliation? The point is that it is up to each of us individually and all of us collectively to ensure that both indigenous music as well as popular music flourishes. As individuals, we must adopt the decolonised reconciler mindset. More importantly, we must unify our message through the music organisations that represent us in each of our own countries, as well as around the world.

The central reason for all of our associations, societies and councils is empowerment. As members of groups like these, we are able to exert an influence on these companies that control who and what gets heard in the media. This is not possible by individuals acting alone. To use a musical metaphor, organisations like the Music Council of the Three Americas and the International Music Council represent a unified voice, rather than several voices singing their own tunes. Individuals who act independently can become just noise that can be dismissed or played against each other by companies and policymakers. A unified voice gets heard. And good things happen when groups of people are empowered to speak with one voice.

This article is condensed from a previous publication in NewMusicBox, the web magazine from New Music USA and is reprinted here with permission. To read the full article, go to: www.newmusicbox.org/articles/decolonizing-our-music // Gary Ingle

Executive Director and CEO of the Music Teachers National Association in the United States

President of the National Music Council of the United States

Vice-President of Consejo de la Música de las Tres Américas (COMTA)

2017 // SOUNDS IN EUROPE

35

EMC/IMC Review

The Year in Review

The European Music Council in 2016 This past year, the European Music Council (EMC) once again discovered the plethora of activities that can spring from a particular theme, from workshops to conferences to magazines! It was a fulfilling year during which we had the pleasure of working with many experts in a variety of ‘musical’ settings.

The year started off with the European Forum on Music Education (EFME) in Leiden, the Netherlands. Under the umbrella of the EMC, the forum was organised in partnership with the European Association of Conservatoires (AEC), the European Association for Music in Schools (EAS) and the European Music School Union (EMU). Teachers, artists and arts and cultural educators came together to explore, among other topics, transcultural work formats for young people in all arts disciplines. Creative forms of cooperation from local to international levels are vital for improving the reach and quality of creative and cultural education in Europe. Not only did participants learn from their international colleagues through panel discussions, they also experienced for themselves new learning methods, such as vocal workshops.

The EFME was followed by a workshop in Cologne, Germany, on another challenging yet promising topic: “New Business and Communication Models”. Led by experts in the field, participants were given a broad introduction to the topic and the opportunity to explore various approaches that might fit the needs of their specific organisations. From “Fuzzynomics” to “Pricing pandemonium” or “Playsumers”, the new communication tools are manifold.

In 2015 as well as 2016, Europe experienced the arrival of many people. Shining a light onto the opportunities rather than the challenges of this development was the aim of the 6th European Forum on Music

(EFM) held in Wrocław, Poland. EFM participants were given a wide range of perspectives by learning about musical projects that work with people in the diaspora, exploring the interplay of music and movement, discussing implications for policymakers and more. Thanks to EMC’s partnership with IMC’s EU co-funded “Rostrum+” project, the EFM showcased selected activities from the 63rd International Rostrum of Composers. This international forum brings together representatives from some 30 national public radios for the purpose of exchanging and broadcasting contemporary art music. For the first time ever, EMC documented the conference with a video team. The results can be admired on YouTube.

A very special experience was our music reception at the European Parliament, not least because of the security procedures – which did not stop us from being, apparently, one of the most punctual delegations in the history of time!

Kindly hosted by MEP Julie Ward, the Photo by Slawek Przerwa reception was a great success, with smooth organisation and a relaxed atmosphere. High-level EU representatives, EMC and IMC staff and delegates all came together for a friendly cocktail dinner and concert, enjoying conversation in an informal environment. In an impassioned speech, Julie Ward underlined the importance of direct exchange between people in intercultural dialogue. She was joined by European Commission’s Director-General for Education and Culture, Martine Reicherts, who shared her own stories demonstrating the value of personal exchange in this area.

In terms of policy work, most of EMC’s efforts in 2016 focused on the European Agenda for Music. All the working groups involved have now met, lively discussions have taken place and everyone went home with a more complete picture of the music sector and its needs.

2016 ended with the kick-off meeting of the Erasmus+ project “STAMP – Shared Training Activities for Music Professionals” in late November. The meeting in Bonn, Germany, marked the beginning of a promising project full of training and learning for all involved.

With a fulfilling year behind us, we look forward to a busy 2017 in which we continue to serve the music sector through an array of events and activities, with the presentation of the European Agenda for Music as a milestone in the future of musical life on our continent. // ij

36

2017 // SOUNDS IN EUROPE

EMC/IMC Review

FIVE MUSIC RIGHTS IN ACTION International Music Council Review 2016

IMC started 2016 at full speed by implementing “The Five Music Rights in Action”, a programme that was adopted by the 2015 General Assembly as a roadmap leading up to the organisation’s 70th anniversary in 2019.

The programme comprises ten strategic objectives to be realised under three major action lines: mapping, operationalising and promoting the Five AMDP Highlights in 2016 Music Rights. IMC’s focus in 2016 was on the last two 3 Training workshops for young action lines. professionals in Abidjan, Côte 2016 was the third and d’Ivoire (April) last year of the “African Music 3 Festival sound engineering Development Programme” workshop in Kampala, Uganda (AMDP), which brought (September) together some 15 official, 3 The 2nd IMPACT Music Conference associate and other partners during the Urban Music Festival, in Africa and Europe to help FEMUA, in Abidjan (April) build a sustainable music sector in Africa with a focus 3 3rd phase of music management on increased employability training at the Music Crossroads of its actors. AMDP academies in Malawi and was primarily funded by Mozambique (June/September) the ACP-EU Support 3 Sound engineering workshop for Programme to ACP Cultural students of the Music Crossroads Sectors (ACPCultures+) Academy in Mozambique connected with additional financial with practical work at the Azgo input from IMC and its Festival (May) project partners. In 2016, AMDP saw its activities 3 Student exchange between the reinforced by a grant from Technical University of Kenya and the International Fund for Makerere University in Uganda Cultural Diversity (under (July/August), involving 20 students the 2005 UNESCO 3 Long-term work placements for Convention).

4 young music professionals at The 1st African Forum festivals in Morocco and Swaziland on Music in Ségou, Mali, 3 Long-term and short-term offered a privileged space for internships for 17 students from partners to come together for Kenya, Côte d’Ivoire, DRC and an exchange of experiences Uganda at festivals in Côte d’Ivoire, about their respective action Morocco and Zimbabwe strand of AMDP. (cf. p. 32) An external evaluation 3 Acquisition of books for the music of this major cooperation departments of INSAAC (Côte programme is currently d’Ivoire), INA (DRC), Technical underway and IMC will share University of Kenya, Makerere the conclusions on www.

University (Uganda) amdpmusic.net or www. st 3 1 African Forum on Music in Ségou, facebook.com/amdpmusic.

Mali (September) In 2016, the EU-funded and IMC-led Rostrum+ cooperation project entered its second year of operation. The highlight of the year was the intertwining, for the first time ever, of the International Rostrum of Composers and the European Forum on Music, which took place concurrently in May

in Wrocław, Poland. All partners involved were delighted with this truly successful collaboration! More on Rostrum+ in the article by Davide Grosso in this issue. (cf. p. 6) In Sounds #11 (2016), Deborah Parker wrote about the very first steps of the project “Music and Resilience Support” – or MARS as we like to call it – underlining its aim “to equip community musicians, music therapists and other health/education workers with the skills and competencies to work in problematic multicultural contexts, between hosting and hosted communities, in order to plan and carry out wellmatched interventions for the protection in particular of youth, exploiting the well-documented power of music to bridge cultural gaps and stimulate empowerment and resilience.” Coordinated by the IMC, the six partner organisations from France, Italy, Lebanon, Spain and the UK worked hard to achieve this aim. We started with a needs analysis and the development of a specialisation profile. This led to the elaboration of a specialised psycho-social and music intervention training programme that will primarily be used with asylumseekers and refugees. This pilot training programme, involving 15 students from 4 partner countries, began with a 10-day intensive seminar in Italy on the premises of MARS partner Associazione Prima Materia. Since then, the students have been following a ten-module online training course, which will conclude in August 2017 with field work experience in a refugee camp in Lebanon, where they will be coached by trainers from Prima Materia and Beit Atfal Assumoud (which means ‘the house of the resilient children’), our Lebanese project partner.

In addition to this operational approach to the Five Music Rights, IMC has been busy promoting them at every possible occasion: in conferences, debates and meetings organised by members, partners, other networks, intergovernmental organisations and public authorities across the world. Let me seize this occasion to call on your personal support, dear Sounds reader, to help us promote these basic music rights wherever you are. Your voice will join that of our Five Music Rights Champions about whom you will have read in this present issue. (cf. p. 9) We will continue our operational activities and advocacy work in 2017 and begin the mapping of projects that illustrate the values embedded in the Five Music Rights.

We will also seek funding to pursue the work started with the AMDP. We have already secured a grant from the UNESCO Participation Programme for a 3rd IMPACT Music Conference late April 2017 in Accra, Ghana, which will address the role and place of women in the African music industry.

Together with our cooperation partners, we will make sure that Rostrum+ and MARS reach their objectives and produce the expected impact.

An exciting year lies ahead of us.

Further ahead and even more exciting, we hope to see you at the 6th IMC World Forum on Music in Paris, France, September 27th – October 1st, 2019. Mark your calendars! // Silja Fischer

Secretary General

International Music Council

2017 // SOUNDS IN EUROPE

37

Coming Next

coming next

EMC Staff Exchange Programme – Don’t Reinvent the Wheel!

Make sure to apply for a new round of the EMC Staff Exchange Programme that offers staff or board members from within the EMC network the opportunity to get insight into the work of likeminded music organisations across Europe.

This programme is an opportunity to: 3 get insight into how similar organisations to yours are run 3 which tools can be used for communication, management and organisation 3 promote the work of your organisation abroad 3 develop mutual projects or policy activities 3 establish new contacts and make new friends! // Please find testimonials of previous exchanges and further information on the EMC website www.emc-imc.org/projects/ staff-exchange-programme

The Future of Music Schools – Today´s Challenges and Tomorrow´s Solutions

6th – 7th October 2017, Vienna, Austria

With this symposium the University of Music and Performing Arts Vienna wants to start a discussion between European experts, scholars and academics on the positioning, environment, missions and impact of music schools in Europe. //

www.mdw.ac.at/ikm

EMC European Forum on Music 2018 7th – 10th June 2018, Oslo, Norway

In 2018 the European Forum on Music (EFM) will take place in Oslo, Norway. The EFM is the meeting place for the European music sector to exchange about latest developments in cultural policy, music industry, music education, participation, access and creation. The forum will provide the opportunity to exchange, discuss, present projects and get to know your fellow music practitioners from all over Europe.

2017 IASJ Jazz Meeting 9th – 14th July 2017, Siena, Italy

Over 120 jazz students, jazz educators and directors of jazz departments convene to play music, network, teach, exchange ideas and shape the future of jazz. //

http://www.iasj.com

Starting Your Cooperation Project!

3rd – 8th September 2017, Cesis, Latvia

The European Music Council (EMC) and Live DMA (European Network for Music Venues and Festivals), in cooperation with the Latvian Music Council, are proposing a 5-day seminar to help you develop your own cooperation project and network of music professionals.

38

2017 // SOUNDS IN EUROPE

33rd World Conference of the International Society for Music Education 15th – 20th July 2018, Baku, Azerbaijan

This is the 33rd biennial world conference focusing on music education. It brings together people from across the world with an interest in music education and provides presentations, workshops and performances. //

www.isme.org

Webinar on Entrepreneurship September 2017 – February 2018

Participate in 10 Webinars about “Entrepreneurship in the music sector”. A wide range of topics will be coped with. The participants will benefit from the interactive Webinar tool, learn from experienced entrepreneurs from the field and be acknowledged with a certificate.

Photo by Markus Izzo

coming next

Acknowledgements We would like to thank all writers for their valuable input to the magazine and all who have provided us with texts, images, editorial advice or any other help.

Without their co-operation and extensive work, the publication of this magazine would not have been possible: Federal Government Commissioner for Culture and the Media, Germany Creative Europe Programme of the European Union City of Bonn, Germany

Alfons Karabuda Beat Santschi Christine Semba Daniel Gerlach Davide Grosso Elena Theodoulou-Charalambous Federica Mogherini Francesco Bandarin Frans de Ruiter FrĂŠdĂŠric Ramel Gary Ingle Ian Smith Inge Ceustermans Katherine Heid Katharina Weinert Ken Wakia Lupwishi Mbuyamba Michalis Karakatsanis Ole Reitov Paul Dujardin Pietro De Matteis Silja Fischer Sonja Greiner Sophie Mepham Stef Coninx Timo Klemettinen Victoria Liedbergius

The Elbphilharmonie, Hamburg.

Photo by Markus Izzo

Photo by Christoph Konietzko 2017 // SOUNDS IN EUROPE

39

Photo by Joe Watts

We have members in: Australia // Austria // Azerbaijan // Belgium // Croatia // Cyprus // Czech Republic // Estonia // Finland // France // Georgia // Germany // Greece // Hungary // Ireland // Israel // Italy // Latvia // Luxembourg // Norway // Poland // Portugal // Russia // Spain // Sweden // Switzerland // The Netherlands // Turkey // Ukraine // United Kingdom // USA Our Members: Aarya Foundation // All-Russian Federation of Arts // Association Nationale Cultures et Traditions // Austrian Music Council // Azerbaijanian Music Council // Borusan Culture and Arts // Callias Foundation // CHROMA/Zebrock // Cyprus Symphony Orchestra Foundation // Czech Music Council // Estonian Music Council // Euro-Mediterranian Music Academy for Peace // Europe Jazz Network // European Association for Music in Schools // European Association of Conservatoires // European Broadcasting Union // European Chamber Music Teachers Association // European Choral Association-Europa Cantat // European Composer and Songwriter Alliance // European Conference of Promoters of New Music // European Early Music Network // European Federation of National Youth Orchestras // European Festivals Association // European Music Schools Union // European Orchestra Federation // European Society for Ethnomusicology // European String Teachers Association // European Union of Music Competitions for Youth // European Voice Teachers Association e.V. // Federació Catalana d’Éntitats Corals // Federation of Women Artists and Patrons of the Arts (GEDOK e.V.) // Finnish Music Council // Flemish Music Council // Fondazione Adkins Chiti: Donne in Musica // German Music Council // Hispania Música Foundation // Hungarian Music Council // Institute for Research on Music and Acoustics // International Association of Music Information Centres // International Association of Music Libraries // International Association of Schools of Jazz // International Confederation of Accordionists // International Confederation of Electroacoustic Music // International Council of Organizations and Festivals of Folklore and Traditional Arts // International Federation for Choral Music // International Federation of Chopin Societies // International Federation of Musicians // International Music and Media Centre // International Music Managers Forum // International Music Products Association // International Society for Contemporary Music // International Society for Music Education // Israel National Music Committee and Department // Italian Music Council // Jeunesses Musicales International // Latvian Music Council // Live DMA – European Network for Music Venues and Festivals // Live Music Now! Scotland // Miso Music Portugal // Moviment Coral Català // Music Austria // Music Council of the French Community of Belgium // National Centre of Expertise for Cultural Education and Amateur Arts // National Music Center of Georgia // Norwegian Music Council // Plate-forme Interrégionale // Polish Music Council // Russian Music Union // Scottish Music Centre // Swiss Music Council // Ukrainian Music Council // Unison – Croatian Music Alliance // World Federation of International Music Competitions