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X X X P P P P P P P P P A A A A A A C C C C C C C C C C C C E E E E E E E E X X X X X X P P P P P P P P P A A A A A A C C C C C C C C C C C C E E E E E E E E XX X X X X P P P P P P P P P A A A A A A C C C C C C C C C C C C E E E E E E

E CHANGE, E HIBITION, E AMPLES, E ERCISES, E PECTATION, E PERIENCE, ERFORMANCES, EOPLE, RESENTING, RODUCING, RODUCTION, UBLICATION, LATFORM, ARTAKING, ARTNERSHIP, UDIENCES, RT, RTISTS, DAPT ABLE, LLOCATION, LLIANCE, IRCUS, ULTURE, ONFEREN CE, ONTEMPORARY, ITIZENS, OLLABORATION, O-PRODU CTION, OOPERATION, OMMUNICATION, ROSS-BORDERS, URRENT, ONTINUING, UROPEAN, DUCATION, NVIRON MENTALLY AWARE, NDURING, FFICIENT, MPOWERMENT, NABLING, DUCATION, E CHANGE, E HIBITION, E AMPLES, E ERCISES, E PECTATION, E PERIENCE, ERFORMANCES, EOPLE, RESENTING, RODUCING, RODUCTION, UBLICATION, LATFORM, ARTAKING, ARTNERSHIP, UD IENCES, RT, RTISTS, DAPTABLE, LLOCATION, LLIANCE, IRCUS, ULTURE, ONFERENCE, ONTEMPORARY, ITIZEN S, OLLABORATION, O-PRODUCTION, OOPERATION, OMMUNICATION, ROSS-BORDERS, URRENT, ONTINUING, U ROPEAN, DUCATION, NVIRONMENTALLY AWARE, NDURING , FFICIENT, MPOWERMENT, NABLING, DUCATION, E CHANGE, E HIBITION, E AMPLES, E ERCISES, E PECTATION, E PERIENCE, ERFORMANCES, EOPLE, RESENTING, RODUCING, RODUCTION, UBLICATION, LATFORM, AR TAKING, ARTNERSHIP, UDIENCES, RT, RTISTS, DAPTAB LE, LLOCATION, LLIANCE, IRCUS, ULTURE, ONFERENC E, ONTEMPORARY, ITIZENS, OLLABORATION, O-PRODUCTION, OOPERATION, OMMUNICATION, ROSS-BORDERS, URRENT, ONTINUING, UROPEAN, DUCATION, NVIRON MENTALLY AWARE, NDURING, FFICIENT, MPOWERMENT,

INDEX

03 07 15 17 21

SUMMARY CONTEXT GENERAL BACKGROUND PARTNERS AIMS PARTNERS OF THE PROJECT ACTIVITIES: DEFINITIONS AND STRUCTURES

35 41 47 51 53 55

AUDIENCE INCLUSION AND DEVELOPEMENT TRANSNATIONAL MOBILITY CAPACITY BUILDING : TRAINING AND EDUCATION SUSTAINABILITY AND LONG TERM PROJECT MANAGEMENT AND BUDGET COMMUNICATION

03 SUMMARY

WE AIM FOR NOTHING LESS THAN TO SPREAD MORE CONTEMPORARY CIRCUS IN EUROPE.

SUMMARY XPACE project will provide circus artists and their creative, administrative, technical collaborators and European audiences with new skills, tools and experiences by following the creational process of at least 20 contemporary circus productions and by sharing the impact of creation and results across Europe and internationally.

The focus of all the activities is primarily on audience development and inclusion; secondary on the transnational mobility of all the collaborative partners and thirdly on capacity building in terms of meeting, knowledge sharing and inspiration for partners, audiences, artists and civil society.

The project created between the different organizations is conceived and planned to be sustainable, both in terms of knowledge sharing to improve circus infrastructure on a national level and to guarantee a continuing collaboration between the organizations once XPACE will come to an end.

The activities consist of: research, residences and laboratories for artistic and technical/administrative collaborators and production. Conferences, workshops, open public presentations, audience involvement´s activities focused on the inclusion and engagement of old and new audiences in the art form, site-specific happenings, meetings of international and local artists and a major exhibition.

.

We aim to: Strengthen Contemporary Circus as an art form; inspire individuals and institutions to include and develop contemporary Circus; exchange knowledge, skills, information and competences to enhance infrastructure for the development of a relatively small and young artistic sector.

We aim to be sustainable through the practice of sharing. During XPACE we will share resources, funding, knowledge, capacities and practical abilities through the working circus practice of LABS (both for artists, tech-

nicians and administrative personnel).

Throughout the project, creative artists and presenting partners will be in constant exchange with the goal to develop collaboration models to create, present, distribute, market and fund their activities. The project will create a platform for artists and presenters to expand their audience reach and in turn, for audience to participate in and engage with the works created.

We aim for nothing less than to spread more contemporary circus in Europe

07 GENERAL CONTEXT

THE FOCUS ON THE KNOWLEDGE SHARING AMONG THE ARTISTS, PRODUCERS AND PRESENTERS HELPS TO BUILD THE ART FORM, COMMUNICATE IT AND INCLUDE THE AUDIENCES.

Circus is a young art form that first established itself in Europe in the 1970s.

Many projects in the contemporary circus field are often run by administrators, programmers or schools.

These are needed as well but even though these have sometimes included artists, they have not included contemporary circus companies, directors or an audience perspective as main goal. We believe it is important to create encounters and activity that build upon the actual artistic work – the art form that is the very lifeblood of the entire cultural system of circus.

Across the continent, there are currently a large number of artistic training and support facilities for emerging artists. But further educational possibilities; infrastructure; performance venues; exchange of experience between seasoned artists, directors, set designers, choreographers, playwrights and professionals in the circus arts are still lacking in many of the European countries.

We are working and growing in a field where the artistic movement of contemporary circus in many places has been recognised as an art form in itself, but national organisations all over Europe lack national and international support to develop their opportunities and to enlarge the art form across Europe. .

GENERAL CONTEXT

Contemporary Circus is a truly international art form, as it mainly consists of individual artists from many different countries who are freelancers based in different countries. We experience how circus artists are missing models for production structures in addition to formats for sharing their competence regarding research and pedagogy. We also see a lack in the information, communication and inclusion of audiences so they can meet contemporary circus.

The four-year project XPACE addresses these gaps in the contemporary circus field, maximizing the impact of productions and creating more work opportunities for the artists and companies. Which will enhance collaborations between the partners and in the long term include more audiences. This will also create more productions that will be accessible for the presenters to bring to their local audiences. The project will bring also more resources to the present-

ers both in the productions available and in sharing, evaluating and testing models for communication and marketing.

The partner’s knowledge and diversity will be fundamental to share communication strategies, audience development and to advocate for the art form on national and regional levels. By collaborating and sharing, communication around the art form will develop and grow, which will enable the presenters to introduce more artists and productions, which will reach more audiences and make the art form stronger both locally and on a European level.

XPACE strives to enable European artists and companies to collectively – through interdisciplinary meetings and collaborations – raise and work with issues that will deepen and strengthen artistic endeavours within the field of contemporary circus. It supports the sharing of experiences and expertise as well the development of the art form itself, taking into account the different conditions in each country.

The focus on the knowledge sharing among the artists, producers and presenters helps to build the art form, communicate it and include the audiences.

CONTEXT BACKGROUND

Several of the partners were part of CARE (Circus Art Research Exchange), a unique artistic interdisciplinary research network built with the support of European Culture Programme. This network was created and coordinated by the international contemporary circus companies:

France: Cahin-Caha and Un Loup pour l’homme Sweden: Cirkus CirkÜr (administrator) Norway: Circus Xanti Iceland: Nordic House Czech Republic: Cirk la Putyka Finland: Circo Aereo.

CARE has, from 2013 to 2015, gathered artists, creations, venues and festivals around research and innovative creation.

CARE was: 7 interdisciplinary laboratories in the 6 participating countries, bringing together dozens of artists in research situations based on creation.

3 large residencies 4 meetings & artistic meetings and 2 seminars, to open up and expand the network

following its success, the partners and collaborators in CARE discussed the future. We are now aiming to move forward with a new EU application built on the experiences of CARE but with the aim to spread the results to the audience and expand the art form of circus further in Europe.

EU-project CARE (2013 – 2015) https://www.facebook.com/CircusArtResearchExchange?ref=ts&fref=ts

PARTNERS CONTEXT

Most of the partners in the project have in one way or another been pioneers of the art form in their respective countries and contributed greatly to building the practice and infrastructure of contemporary circus. Therefore it is important to share their experiences with new partners, as well as with the presenters bringing circus to their countries. The art form and its diverse components are at different stages of development in each of these countries, and through cooperation we will be able to support and help one another in areas where reinforcement is needed, both artistically, structurally and in including the audiences in this growing art form.

The project’s participants feel a responsibility for the development of contemporary circus as Art and believe that art evolves when we dare to take creative risks in innovative, cross-border processes. Creating time and space for artistic research and ground-breaking approaches is not something that fits neatly into the current financial realties governing contemporary circus in Europe.

Creating joint, transnational research labs, residencies, presentations, tours, seminars and workshops are some of the ways in which we will explore how we might share common processes. Thereby also allowing us to share resources and make the artistic work accessible to the circus field as well as the audiences. The “payoff” of these transnational collaborations will be far greater than isolated activities on a national level.

The partners’ main objective is to push the boundaries of the circus arts by linking artists in concrete working processes. The involvement, at the deepest level, of practicing artists, presenters, companies and audiences is our priority in establishing direct bonds between artists and institutions from different countries.

15 AIMS WITH OUR DIVERSE BACKGROUNDS IN MIND WE HAVE IDENTIFIED 8 MAIN AIMS OF THE PROJECT.

FOR AUDIENCES

• to let more audiences meet the art form of contemporary circus • that every activity in the project will have an audience perspective and facilitate an audience inclusion

ALL OF THEM CAN BE APPLIED TO THREE PROGRAMME PRIORITIES, AUDIENCE DEVELOPMENT, T R A N S N AT I O NAL MOBILITY, CAPACITY BUILDING. THEY ARE:

FOR ARTISTS AND CREATIVES

FOR ORGANIZATIONS

• to bring more resources to production and to tour in more countries by collaboration

• through collaboration share resources, information and support each other and the art forms development in the different Countries

• to create formats for sharing competence regarding circus education and pedagogy • to create models for research and collaboration and to spread the results in the art field of contemporary circus • to build competences and enlarge networks for freelancers artists, to enhance their versatility and inspire to development and to future artistic collaborations

•to support presenters and festivals to develop their national infrastructure and enable them to present more circus

17 PARTNERS OF THE PROJECT HVITSTEN Cirkus Xanti Cirkus Village

REYKJAVÍK Nordic House

GÖTEBORG Stora Teatern

BERLIN Berlin Circus production,

ROTTERDAM Rotterdam Circusstad, CARDIFF No Fit State

MARSEILLE Cahin-Caha ANCONA Inteatro

STOCKHOLM Cirkus Cirkor The Museum of Performing Arts, University of Dance and Circus (DOCH) / UniArts, Kista Public Library V채stmanlands Teater

HELSINKI Circo Aereo

TALLIN Circus Tree festival, RIGA ReRiga

VILNIUS Arts Printing House

TRUTNOV UFFO

PRAGUE Circ La Putyka Jatka

PARTNERS OF THE PROJECT

The project organizations represent contemporary circus companies, performance venues festivals and others that present or develop circus.

Additionally associated partners, a large number of established as well as young and up-and-coming artists, students, mentors, designer, musicians, visual artists, researchers, audiences and the general public will be part of the project’s various activities.

XPACE aims to include as many diverse organizations as possible to enlarge the networking and the knowledge sharing of different national situations and organizations.

Partners are divided into the categories producing-, presenting-, key competences- and associated partners

EXCHANGE, EXHIBITION, EXAMPLES, EXERCISES, EXPECTATION, EXPERIENCE, PERFORMANCES, PEOPLE, PRESENTING, PRODUCING, PRODUCTION, PUBLICATION, PLATFORM, PARTAKING ,PARTNERSHIP,AUDIENCES,ART,ARTISTS, ADAPTABLE,ALLOCATION,ALLIANCE,CI RCUS,CULTURE,CONFERENCE,CONTEMP ORARY,CITIZENS,COLLABORATION,COPRODUCTION, COOPERATION, COMMUNICATION, CROSS-BORDERS, CURRENT, CONTINUING,EUROPEAN,EDUCATION,E NVIRONMENTALLY AWARE,ENDURING,E FFICIENT,EMPOWERMENT,ENABLING, EDUCATION, EXCHANGE, EXHIBITION,

PRODUCING PARTNERS. The producing companies of the project have been collaborating since 2013 as they were part of the CARE project. They represent a variety of organizations, creative directions and experience of artistic research, with a common focus on contemporary circus.

1. Cirkus Cirkor, Sweden, adminis tration. www.cirkor.se 2. Circo Aereo, Finland 3. Cahin-Caha, France 4. Circ La Putyka (company) in cludes Jatka 78 (venue), Czhec Republic 5. Cirkus Xanti (company) and Cirkus village (6 tents), Norway PRESENTING PARTNERS The Presenters are venues and festivals with different sizes, missions, programs and objectives. The diversity of the partner organizations will bring added value and knowledge sharing to the project 6. Arts Printing House, LIT 7. Inteatro, Italy 8. ReRiga, Latvia 9. UFFO, Czech Republic 10. Stora Teatern, Sweden 11. Cirkus village, Norway 12. Nordic House, Island

PARTNERS WITH VENUES AS WELL AS KEY COMPETENCES 13. The Museum of Performing Arts, Sweden 14. Kista Public Library, Sweden 15. University of Dance and Circus (DOCH) / UniArts, Sweden The Swedish Museum of Contemporary Arts, the University of Dance and Circus in Stockholm (DOCH) and Kista Public Library are partners with strong competences from the field of audience inclusion, education, documentation, research, writing, dissemination, tangible culture. They represent both the outside eye in the project, the possibility to open the art form to their visitors and to learn from their models in how to describe and communicate art to civil society and audiences.

The fact that these three institutions are all based in Sweden are because the equivalent to them does not exist anywhere else in Europe today. Due to the fact that Cirkus Cirkör and other Swedish companies have existed and lobbied for the art form during 20 years it is now included in other institutions. We want to use the diverse Swedish partners to inspire and spread good examples in how Sweden has established national support to circus.

ASSOCIATED PARTNERS The following partners have been part of the project development process but due to the fact that they have not been registered organizations for two years lack of time or lack of guaranteed funding until 2020, they are unable to be full partners. We are aware the term associated partner is no longer formally in use and that they will be unable to declare any project costs themselves. They will be included in meetings, knowledge sharing and spreading of good practice models.

16. Berlin Circus production, Germany www.berlin-circus-festival.de 17. Circus Tree festival, Estonia www.circustree.ee/en/home-2 18. Rotterdam Circusstad, Netherlands http://circusstad.nl/en 19. Västmanlands Teater, Sweden http://vastmanlandsteater.se 20. No Fit State, Great Britain http://www.nofitstate.org Mentors/experts involved so far Rolf Hughes, Research Leader, Stockholm University of the Arts. www.uniarts.se/english Francesc Casadesús, Mercat de les Flors Barcelona, Spain. http://mercatflors.cat/en

21 ACTIVITIES: DEFINITIONS AND STRUCTURES

LINKING EUROPE BRIDGING CULTURE

The partners’ main objective is to push the boundaries of circus by linking artists in concrete working processes. The involvement, at the deepest level, of practicing artists, presenters, companies and audiences is our priority in establishing direct bonds between artists and institutions from different countries.

In the project we have limited the amount of producing partners and we have also decided that to be a partner everyone will need to arrange/own or be part of at least 3 activities. These 3 can be big or small depending on the partner, its mission and its situation.

It is important to make it possible for small organizations with limited funds to be part in the project. All types of activities have to involve or meet audiences, local artists or local communities.

ACTIVITIES: DEFINITIONS AND STRUCTURES GANTT CHART OF THE 4 YEARS ACTIVITIES summer 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 37 38 39 40 41

autumn meeting 0

2016 winter

spring

summer

autumn

2017 winter

spring

summer

PRESENT PRODUCTION & PRESENTATION: SMALL Westeros ART HAPPENING/CABARET

PRESENTATION: SMA PRODUCTION & PRESENTATION: LARGE Cirkus Rwanda meeting 1

PRODUCTION & PRESE

ART HAPPENING/CABARET

ARTISTIC HAPPENING/CABARET ARTISTIC HAPPENING/CABARET Conference/ Seminar

ARTISTIC H

autumn

2018 winter

spring

summer

autumn

2019 winter

spring

summer

2020 autumn

TATION: LARGE Limits

ALL, Black Black woods

PRESENTATION: MICRO - Bottom PRODUCTION & PRESENTATION: 2 MICROS Both Untitled PRODUCTION & PRESENTATION: SMALL Saga

ENTATION: MICRO CA1 PRODUCTION & PRESENTATION: MEDIUM #3 PRODUCTION & PRESENTATION: SMALL Red Fever Tree PRODUCTION & PRESENTATION: LARGE Under PRODUCTION &PRESENTATION: MICRO CA2

PRODUCTION & PRESENTATION: MEDIUM - Broken Hearts meeting 2 PRODUCTION & PRESENTATION: LARGE xxx PRODUCTION & PRESENTATION: LARGE No name koncept PRODUCTION & PRESENTATION: MEDIUM Cirkus on wheels PRODUCTION & PRESENTATION: SMALL New PRODUCTION & PRESENTATION: MICRO CA3 HAPPENING/CABARET PRODUCTION & PRESENTATION: MICRO Ducha ARTISTIC HAPPENING/CABARET meeting 3 PRODUCTION & PRESENTATION: LARGE, Big Name LARGE, Solos Conference:Exhibition

exhibition, creating and presenting it staff exchange, partner meetings create communication strategies/activities, webpage, media and report meeting 4 audience development and educational formats

ACTIVITIES: DEFINITIONS AND STRUCTURES 1) Research These types of activities could include anything connected to the PRELIMINARY artistic process or art form. An expert visit, a pre-production investigation, journalistic, work on dramaturgy etc.

The main aim is for the research to take place at another partners or partner’s collaborators space. The goal is to give time for: work/ visit/ reflection/ networking/ education/ marketing/ audience inclusion. The producer and the host will make their own agreement for the research visit. It is important that research is flexible as all partners are different and have different circumstances – which means the meeting will increase knowledge sharing.

The template is based on the following type of costs for producer and host but will be decided in the agreement and will also depend on which country is hosting and the normal costs there.

2 persons for 5 days

Producer: fee/salary for the participants, per-diems and travel.

Costs up to 2.500 Euro Host: accommodation, working space, public transport, audience activity.

Costs up to 1.500 Euro.

2) Residencies&LABS Residencies Residencies are one of the central activities of XPACE. They offer contemporary circus companies or artists the chance to spend time in another space or country, to experience and learn from a new organization, environment, civil society, artistic and individual encounters. Working intensively and undisturbed in a fresh setting for a specific period of time, gives rise to possibilities and influences that shed a different light on a project in progress. The most important goal of a residency is to provide a working environment that is conducive to a company’s realizing its artistic visions, to interact with the local community and meet local audiences.

Artistic LABS Artistic LABS are platforms for the exploration and innovation of contemporary circus forms through cross-creative collaborations between artists, cultural workers, directors etc. Each LAB will have a specific theme and focus in the research protocols, giving a clear direction to every study and to participating artists’ preparations both before and during the sessions. Each LAB will have a leader and/or director/ mentors, with special knowledge of the theme. The LABS also provide a mean for participants to share their different approaches to the theme based on their personal experiences and cultural backgrounds.

The LABs will all feature a public presentation, where an audience will have the chance to see the physical work, meet the performers and discuss the theme with the participants. Also, all the LABs will be documented, could be by blog/ film/ photographs/ diaries etc.

4 persons for 3 days

Producer: fee/salary for the participants, per-diems, travel, and director/ mentor.

Costs up to 3.000 Euro can be declared.

Host: accommodation, working space, public transport, technical costs, administration, local artist inclusion, audience activity. 35 %, of costs up to 2.500 Euro can be declared.

ACTIVITIES: DEFINITIONS AND STRUCUTRES Administrative/technical/content development LABS The LAB format is a very challenging and rewarding collaborative and inclusive process that could be spread, used and developed more. This kind of LAB should be focused on the development of content not specifically connected to the circus artists but including them through participation. It could be the development of set-design, composing of original music, film making, technical development of equipment or digital tools and media, directors research, marketing strategies etc.

Any partner could apply to host this kind of LAB, define the subject, invite the mentor/director and the others to participate.

10-15 persons 2-3 days depending on theme and focus, amount of local participants etc.

Producer & Host: fee/salary for the experts, accommodation, working space, technical costs, administration, audience activity, per-diem (or food) and director/mentor.

Costs up to 5.000 Euro can be declared.

Participants: salary/fee, travel and local transport for the ones they send.

Costs up to 700 Euro/ participant can be declared.

3) PRODUCTION - we have defined the productions in 5 different categories based on size and type: Rehearsing periods could last about 25 days/each production.

Marketing costs separated.

3.1 Micro performance 1-2 persons on stage 2 persons tech/admin

Producer: fee/salary for the staff, rehearsal space/venue, administration, set and technical costs, local students, director/expert, other.

Costs up to 15.000 Euro can be declared.

Audience development and communication materials: Costs up to 3.000 Euro can be declared.

3.2 Small/school performance 2-3 persons on stage 2 persons tech/admin.

Producer: fee/salary for the staff, administration, rehearsal space/venue, set and technical costs, local students, director/expert, other.

Costs up to 22.000 Euro can be declared.

Audience development and communication materials: Costs up to 3.000 Euro can be declared.

ACTIVITIES: DEFINITIONS AND STRUCTURES

3.3 Medium performance 5-6 persons on stage and 2-3 persons tech/admin.

Research and residencies/labs are arranged as separate activities (see above).

Producer: fee/salary for the staff, administration, rehearsal space/venue, set and technical costs, local students, director/expert, other.

Costs up to 22.000 Euro can be declared.

Audience development and communication materials: Costs up to 3.000 Euro can be declared.

3.4 Large performance 8-9 persons on stage 2-3 persons tech/admin.

Producer: fee/salary for the staff, rehearsal space/venue, administration, set and technical costs, local students, director/expert , other.

Costs up to 60.000 Euro can be declared.

Audience development and communication materials: Costs up to 5.000 Euro can be declared.

3.5 Artistic Happening/Cabaret The format of the artistic happening is based on the fact that it should be hosted and produced by a venue and can be co-produced by partners sending people by covering their travel.

The important part is that artists from several art-fields are working together within the venue/site-specific and technicians to investigate, improvise and create in 4-5 working days.

The result is presented to a general audience as a performance, but with the communication that it is created at this specific time. It should include artists or experts from several partners as well as local artists. The cabaret should have one or several directors in collaboration and there should be a theme/framework set by the director.

These costs only pertain to the production part. There will be a presentation/ performance fee (to pay fees to participants), accommodation, per-diem, local transport etc. described in the Presentation texts (where tickets income goes to the presenter). This to clarify that it is possible for a presenter to present an Artistic happening/ Cabaret that has been produced and performed somewhere else before.

5-8 persons on stage and 3-4 persons tech/admin.

Can be combined with research and/or residency/lab also.

Producer & Host: fee/salary for the staff, rehearsal space/venue, administration, set and technical costs, local students, director/experts, other.

Costs up to 11.000 Euro can be declared.

Audience development and communication material: Costs up to 2000 Euro can be declared

ACTIVITIES: DEFINITIONS AND STRUCTURES 4) PRESENTATION AND TOURING This is the description of the programming and the template describes the norm in negotiations between a presenter and producer. As the economic circumstances are very different between the different countries and companies it is important to make the format of presentation as flexible as possible. This means that the negotiation between producer and presenter will be as in any regular situation with a normal agreement but there will be a maximum sum for the costs that are allowed to be declared by the Presenter. It is up to the Presenter and the Company to decide how many performances they want to program and if there should be workshops and/or school performances included in the contract.

Audience inclusion and marketing costs are separate.

4.1 Micro production 3 persons traveling 2-3 nights

For the Presenter, the costs to be declared should/could be: Fee to the company, accommodation, and travel costs, per-diem, Rights, transport costs, workshops for audience or professionals, technical costs, extra staff. As well as some administration, communication, audience inclusion.

Costs up to 4.500 Euro can be declared.

Marketing/advertising costs: up to 1.000 Euro can be declared.

4.2 Small/school production 4-5 persons traveling 2-3 hotel nights

For the Presenter, the costs to be declared should/could be: Fee to the company, accommodation, travel costs, per-diem, Rights, transport costs, workshops for audience or professionals, technical costs, extra staff. As well as some administration, communication, audience inclusion.

Costs up to 7.000 Euro can be declared.

Marketing/advertising costs: up to 1.000 Euro can be declared.

4.3 Medium size production 6-8 persons traveling 2-4 hotel nights

For the Presenter, the costs to be declared should/could be: Fee to the company, accommodation, and travel costs, per-diem, Rights, transport costs, workshops for audience or professionals, technical costs, extra staff. As well as some administration, communication, audience inclusion.

Costs up to 17.000 Euro can be declared.

Marketing/advertising costs: up to 2.000 Euro can be declar

ACTIVITIES: DEFINITIONS AND STRUCTURES

4.4 Large production: 9-12 persons traveling, 2-4 hotel nights

For the Presenter, the costs to be declared should/could be: Fee to the company, accommodation, and travel costs, per-diem, Rights, transport costs, workshops for audience or professionals, technical costs, extra staff. As well as some administration, communication, audience inclusion.

Costs up to 30.000 Euro can be declared.

Marketing/advertising costs: up to 3.000 Euro can be declared.

4.5 Artistic happening (Cabaret) 5-6 persons traveling + locals 3-4 hotel nights

Costs to be declared should/could be: Performance Fee to the artists, accommodation, travel costs, per-diem, Rights, transport costs, workshops for audience or professionals, technical costs, extra staff. As well as some administration, communication, audience inclusion.

Costs up to 10.000 Euro can be declared.

Marketing/advertising costs: up to 1000 Euro can be declared

EXHIBITION The Swedish Museum of Performing Arts will create a temporary exhibition about contemporary circus in Stockholm 2019. The exhibition will be curated by the museum and they will have access to the material created during the XPACE productions. It will include material and co-production with several established international institutions. Digital exhibition material will be shown c/o at Nordic House Iceland and Kista Public Library’s exhibition spaces.

CONFERENCE Two conferences are planned during XPACE. One lifting the question of quality of pedagogy and art connected to the always current discussion about artistic quality. This will be arranged by Cirkus Cirkör’s pedagogic department.

The other will take place during the exhibition at the performing arts museum on the subject of contemporary circus and its growth and development.

35

AUDIENCE INCLUSION AND DEVELOPEMENT

ALL TYPES OF ACTIVITIES IN XPACE WILL HAVE AN AUDIENCE PERSPECTIVE AS OUR MISSION DURING THE 4 YEARS IS TO PRODUCE KEYS OF INCLUSION TO THE CIRCUS ART AND TO SPREAD THE ART FORM THROUGH EUROPE.

XPACE want to create and spread circus with the aspect of FOR, WITH and BY the audience which is why we mainly use the term audience inclusion. All types of activities in XPACE will have an audience perspective as our mission during the 4 years is to produce keys of inclusion to the circus art and to spread the art form through Europe.

Circus is in its core accessible, an entertaining and a truly international, cross-border, non-verbal art form.

Circus has varied audiences in different countries including families and youths. But we aim to reach more and new audiences as the performances become more contemporary and cross disciplinary. For an audience unused to contemporary arts circus can be non-threatening and has a low first-visitor threshold. We believe that the form of circus is the perfect way in which to discuss subjects connected to the society we live in and encourage audiences to meet contemporary art.

To open up the space of a circus rehearsal is not new, as the art form itself includes and invites artists from many other art sectors to the creation processes (musicians, choreographers, filmmakers, set designers, technicians, etc.). And circus often share the partial results with a target audience, ex. writers, cultural operators but also small groups such as disadvantaged audience groups, students, and/or the local community.

Something new that XPACE aims to provide is the inclusion of the audience from the beginning of the creation until the presentation moment.

This would be possible as the artists and partners will be communicating and documenting the work through all the phases, meeting some type of audience from the first steps of the researches, through the residencies and LABS, seminars and up to the moment when they buy a ticket for the finished performance. In XPACE we will build, refine and describe models for how one can work with reaching the audience earlier and giving them access to the artistic processes taking place.

We will discus what audience development means to XPACE and in society today. It is important to be aware of and discuss the challenge of inclusion. Research shows that inclusion without an aim and a plan can cause frustration instead of involvement and empowerment. If we invite the audiences to contribute it is vital that we communicate that we value their contribution and have an aim with the results. All audience development activities cannot be the same and to be relevant we will discuss best-practice goals and share the result.

Cirkus Cirkรถr plan to hire staff with competence in communication and audience inclusion to ensure that the different partners have competent structured support throughout XPACE. Audience development is relevant to XPACE because:

AUDIENCE INCLUSION AND DEVELOPEMENT

FOR AUDIENCES

• More audiences will meet the art form of contemporary circus as we within XPACE can create more productions and also make circus assessable through the research and LABs that take place in different places • Every activity in the project will have an audience perspective and facilitate an audience inclusion part. So far the formats that have been discussed among the partners are such as: open rehearsals during a residency; inclusion of the audience/ local community during research; audience

talks; meet the artist after or before a performance; the inclusion of reference groups; audience members travelling to the show on a regional or national level; an exhibition travelling on tour with the productions; a work in progress invitation during a LAB; artistic happenings, workshops or “test circus!”.

• Since several productions will be part of XPACE the audience will meet more circus and also new artists.

FOR PARTNERS

• The different countries and partners have very different circumstances and all have specific competence or experience to bring to the project.

This is an asset as we will share, think, analyse and define what the relevant questions for the audiences is today and what they need to feel included and curios. For instance: Cirkus Cirkör has long experience in developing working models in education and production. During 2014 Cirkus Cirkör had an audience of approx. 97 000 in 11 different productions with 3 performances made for old people’s homes, 4 made by the teen age students in 2ndary education, 1 school performance, as well as meeting 47 500 persons in event activities and approx. 15 000 children and youths in circus training. The museum of Performing Arts bring expertise in accessibility and interpretation of art as well as a staff of pedagogues.

Kista Public Library recently received the Public Library of the Year Award 2015 and they meet approx. 50 000

persons, of all age groups, in their spaces every month. The variety will facilitate learning.

• The network and partner meetings and the possibility to share ideas of audience work during a 4 year period will give all partners a chance to test communication, document, confer with the other partners and test again.

• The art form’s accessibility through performances, circus in public space and circus training, together with the examples and resources shared with larger partners will support the smaller – and associated partners in their national work to create infrastructure and bring circus to their audiences. In some countries contemporary circus is not considered an art form which means that there are no national or regional funding structures or permanent venues for it. XPACE will empower all partners through inspiration.

AUDIENCE INCLUSION AND DEVELOPEMENT

FOR THE ARTISTS

• Through XPACE they will meet new audiences. There are as many ways to meet an audience as there are audiences and for artists in circus it is often imperative to include and get feedback from others in the development of works.

• The variety of partners and locations will open up to new working spaces in research, locations and audiences.

knitting peace example Example of a project that is successful in audience engagement and will be analyzed as an example in creating “best of practice” models to spread further.

Cirkus Cirkör’s production Knitting Peace, touring since 2012. During 2014 it played 116 performances for an audience of 53 733.

The subject of peace and the knitted set design gave the opportunity to make an OPEN CALL to audiences to reflect on the following questions: Why do you knit? What are you striving for when you knit? Is it possible to knit peace?

Today Cirkör has received more than 1000 knitted objects and letters with answers. Venues around the world have exhibited this growing peace project.

In some places whole towns have been involved in knitting, in the theatre or urban knitting in the public space. Schools have been working with knitting during the semester as well as day centers for mentally challenged. Passionate knitting communities have created big installations. The project is still growing and during 2015 the audience’s contributions of letters and knittings will be part of Europe’s largest knitting festival (on the island of Fanø, Denmark).

The Swedish Army Museum are curating and producing a large temporary exhibition, Knitting Peace (Dec 2015- April 2016). This is a valuable collaboration, as Cirkörs competence is in circus and not in exhibiting a collection.

The exhibition will discuss the question of peace and war in an audience interactive and inclusive way, using circus pedagogues and seminars on the themes of Peace and National borders. It will span 11 rooms and several organizations are participating, such as Clowns without Borders. Yoko Ono has contributed with the rights to show the film Bed Peace and also some unpublished photos where she knits. The FB-page Knitting Peace is alive and a medium where people upload examples of citizen activism, photos and links.

We are of the opinion that art can change society and relevant art will inspire and live on. Knitting Peace shows that it can create involvement and expand in unplanned for venues.

https://www.facebook.com/KnittingPeaceCirkus?fref=ts

41 TRANSNATIONAL MOBILITY

DURING XPACE ALL PARTNERS WILL BE INVOLVED IN A LOT OF MEETINGS AS WE CONSIDER PERSONAL INTERACTION AND TRUST BUILDING THE 2 KEYS IN A PROJECT'S SUSTAINABILITY

The art form is already international and has a history of traveling to audiences, in tents or in wagons. The artists come from many nationalities and most productions are created as projects by companies hiring individual artist or by artist’s collaborating in collectives. As the art form is mainly non-verbal and being original is an asset in circus, diversity is a true outcome. This also opens up for trustbuilt collaboration, something many organizations can learn from.

To be able to utilize the partners variety XPACE will have a lot of meetings, as we consider personal interaction and trust building keys in a

projects sustainability. The meetings will also make sure to mix occupations so that all backgrounds gets a chance to contribute and learn. The XPACE partners and the artists engaged by them will travel, and an aim is for each partner to host at least 1 kind of meeting during the project.

To visit another country, its everyday life, venue and working conditions will create bonds among the partners but also create understanding of our relatively small differences and large similarities on a European level. In a time where protectionism grows in Europe and the world we need to celebrate the similarities and circus is a truly international context to do it in.

TRANSNATIONAL MOBILITY

PARTNERS

• A possibility to create productions in new collaborator formats, such as Artistic Happening/Cabaret, where different artists and artistic directors meet to create a performance together and with other art forms • The meetings will have topics to set a framework for focused discussions, shared knowledge and to create sustainability for future collaborations • By developing the possibility of coproduction, enlargement of touring

possibilities and to support infrastructure for circus in several countries the market for circus performances will grow. Which in turn will generate more audiences and more work opportunities for companies and artists. A performance can take months or years to create. It is environmentally and artistically sound if the performance can meet more audiences and live for a longer time. This also gives the possibility for work security for the freelance artists

ARTISTS

• Almost all artists are freelancers and work alone or in a duo. They come from all over the world and are either hired in a short term production, create their own work or work in the event/commercial shows sector. But mostly in all three categories at the same time. XPACE will make it possible for the artists to meet in a research context, to develop their skills and art in a space made for reflection and experimenting with other artists • By offering time and resources to individual artists they will get competence building and time to develop their skills. This will make them more

attractive on the work market • In a small sector contacts and networks is the most important tool to find work and collaborations. The evaluations from the CARE project show that meeting other artists and Artistic Directors in research and LABs gave both inspiration and contacts for future employment • The individual artists meetings with each other and the partners in collaborative settings will develop the competence of the participants and also of contemporary circus.

TRANSNATIONAL MOBILITY

AUDIENCES

• as the artists and works travel they reach more audiences

• If national infrastructure grows the art form will grow. This should lead to the development of more performance venues or festivals and in turn lead to a growth of local practitioners and training

knitting peace example Example of a typical cast in contemporary circus. As Cirkus Cirkรถr has become more established they are able to offer casts longer contracts with Swedish social security. 2014 the cast were hired on a monthly salary for a total of 10, 5 months with paid vacation, insurance, rehab and sick leave. Stability and longer contracts are valuable for freelancers. To get a mortgage or rent a flat a long term employment can be necessary.

PARTECIPANT

NATIONALITY

GENDER

BASED IN

ARTIST Finnish Female Finland ARTIST Spain+US Male Sweden ARTIST French Female France ARTIST Italian Female France ARTIST Norwegian Male Sweden COMPOSER/MUSICIAN Swedish Male Sweden RIGGER Swedish Female Sweden

47 CAPACITY BUILDING : TRAINING AND EDUCATION

SEVERAL PARTNERS IN XPACE HAVE EXTENSIVE EXPERIENCE IN RUNNING AND DEVELOPING EDUCATION IN CIRCUS:

Several partners in XPACE have extensive experience in running and developing education in circus: DOCH (university of Dance and Circus) has a well-known Bachelor programme as well as a Master Programme, New Performative Practices (aimed at experienced, practicing performers from diverse fields). www. doch.se/in-english/education/all-educational-programmes-and-courses/ educational-programmes-circus Cirkus Cirkör Secondary school is a recognized part of the Sweden’s school program, a three year orientation within the aesthetic program gives a base for further artistic studies as well as University qualification. http://cirkör.se/content/secondaryschool?language=en Cirkus Cirkör‘s Pedagogical & Training department (P&T), employing approx. 90 free-lance circus pedagogues/artists and meets approx.30 000 children, youths and adults per year. The educational formats include circus training for people with or without functional differences. Training and workshops for children, elderly in caring institutions, social circus in target groups that lack social inclusion as well as in international locations through Clowns without Borders.

Cirkus Cirkör P&T is a member of the European organization Caravan.

Caravan’s aims are to promote circus

training and education for young people all over Europe, to support their development through tangible measures, such as youth exchanges and teacher training.

The project ”Circus trans Formation” 2012 - 2014 was part of EU:s ”lifelong learning Programme” and included circus schools from eight countries and 1 university. Cirkus +,”Research on Youth and social circus Pedagogy” 2014 - 2016, will analyze the need for circus pedagogy in socially vulnerable environments. The goal is to give circus organizations with great social commitment and strong ties to operations for children and young people tools for the long term development of educators. Cirkus+ is funded by EU: s educational support programme Erasmus +. h t t p : / / c i r k ö r. s e / c o n t e n t / c i r c u s training?language=en

Capacity building in a sector dependant on mainly small companies and freelance artists all time and resources for research, artistic development, individual competence building and networking will enlarge the participant’s professional and artistic competence. XPACE activities fulfils capacity building both for the sector and the artists. For artists learning, networking and collaborating will lead to greater work

opportunities in all of Europe as well as internationally. For partners and administrative staff, in or outside the partner institutions, the network meetings, communication strategies and the audience development will contribute to competence building. The freelancers engaged by the different partners will gain international experience and knowledge of an expanding art field.

DOCH‘s roll in XPACE is to link their students to the artistic research activities wich will give them a personalnetwork as well as inspiration and professional possibilites. The studenst willbe able to take part in LABs and artistic production processes.

Through collaboration the aspects

of social circus and social inclusion, as well as circus for children and young will become an important factor in the audience development work within the project. CirkĂśr‘s Secondary school students will be invited to partake of all activities takingplace in stockholm.

51 SUSTAINABILITY AND LONG TERM

TRUST BUILDING AND COLLABORATION IS A LONG TERM OUTCOME OF THIS TYPE OF PROJECT.

• Some countries face the challenge that circus is not even considered an art form. By getting support from the other partners, gathering good examples and by hosting research, residences or meetings in these places they can start to enlarge the audiences. Which in turn will make the partners activities grow, which in turn will mean more presentations, artists and audiences, then more local funding and in the long term the development of the art form locally, which hopefully will lead to more audiences and after a few years national funding structures and more presentations for the future national circus companies. In a growing art form long term, consistence and quality of art is the key. As the impact might not be seen until several years later more qualitative evaluation methods and not only quantitative are needed.

• Trust building and collaboration is a long term outcome of this type of project. If we look to the example of how contemporary dance has developed the last 20 years we hope to make the same transgression in circus.

Presenting venues and Artistic Directors have created touring networks (ex. Nordic Baltic touring Network) and collaborate in programming international tours to bring them to Europe (ex. Korea Moves). Venues and residency centers have exchange programs for artists, and artistic Direc-

tors and choreographers co-produce and collaborate in sharing resources, rehearsal spaces and in marketing of contemporary dance (European Dance house Network). Circus can make the same development if given support and as the audiences see circus as accessible, more venues in more countries will result in more companies and more professional employment for professional artists.

• The artistic productions that are created will tour in Europe and internationally, some for several years. The inclusive material and audience development activities created for the performances will travel with it and be available for all venues that program it. It can be a small exhibition, workshops or written guides for teachers to talk with their student about the performance and it will reach outside XPACE. As the marketing and audience inclusion strategies will follow the productions where ever they are presented the knowledge sharing (around each specific performance) will be spread to the institutions that program and their pedagogic and communication staff.

• All personal networks that have developed will exist after the project is finished and the best practice models will live on in, and hopefully, outside the partner organizations.’

53 PROJECT MANAGEMENT AND BUDGET

CIRKUS CIRKÖR AS ADMINISTRATOR AND PROJECT LEADER

Cirkus Cirkör will take the role of administrator and project manager, both because we are a partner with office staff and resources and because of our long experience in the field of developing artistic- and pedagogic formats. Circus Cirkör was the administrative partner in a small cooperation project, CARE (Circus Art Research Excange), 2013-2015.

Cirkus Cirkör will hire the relevant staff to administrate XPACE. The project leader will have experience

from EU projects and the communication staff needs to have experience in audience development and audience inclusion. Part time economical staff will also work with the project.

As several partners don’t have a lot of administration staff it is important that they receive support regarding communication strategies and the continuous evaluation and feedback.

Extra staff will be hired to work with the project, to ensure that we have the right competences

55 COMMUNICATION

TO COMMUNICATE= TO ENSURE; TO INFORM; TO DEVELOP; TO SPREAD; TO PRIORITIZE; TO USE

The role of communication is varied in this project:

- To ensure collaboration and cooperation between the project partners - To inform audiences about and invite them to take part in the artistic encounters taking place in the research, residences and LABs - To develop tools for how to describe, write about and market contemporary circus, to the circus field, to the audiences and to cultural administrators and funding bodies.

- To spread the results and impact of XPACE to the circus field in an interesting and inspiring way - To priorotize many physical and digital partner meetings to ensure engagement and support from each other and the administrator - To use the working models of LABs to let the different professions in the partner structures meet, share and build their competence regarding both communication and audience development

COMMUNICATION

Tools: Website An open website will be a hub for gathering, publishing and storing the information and knowledge gathered during the project and beyond.

It will also administrate a blogg and technically support a newsletter. All activities will be presented and communicated on the web page as they progress. The web page will not be technically advanced and will be created with focus on easy administration. We want to avoid that a lot of the project team’s time goes to maintaining a web page.

Open Facebook page In previous projects we have experienced that an open FB page is a flexible and low maintenance way to communicate both externally and internally. Facebook is also well known

enough internationally to encourage participation and questions from the general public.

Closed Facebook group Closed FB pages have successfully been used in previous artistic projects. It is an easy way to share articles, link information, inspire, ask advice and test the impact of photos or films. It is also a good tool for direct evaluation and storage of material in a way accessible for the other partners.

Newsletters Will be distributed via email and made publicly available on the project website. The main targets of the newsletter are professional communities as well as cultural policymakers and media.

Marketing activities All artistic activities will be announced, communicated and spread with the use of the media appropriate for the production. All partners will use their own web pages to present XPACE to the general public, the circus sector, their collaborators and cultural administrators. The artists involved will communicate the artistic activity through their own competences and channels such as: social media, blogs, websites, film and photo / graphic design. The larger presenters will use posters and advertising as well as work with the press.

The network and partner meetings will be prioritized the first years to ensure the equality between the partners even if they are so varied. Open seminars will be held at many meetings and the documentation should be produced in a way to make it accessible for future evaluation. The aim is knowledge sharing through the international network, in order to improve the skills and inspire the participants and their organizations. We´ll reach good results only if we build trust and share good practices and mistakes.

Conferences, seminars and presentation of XPACE at different festivals, markets and events The project management, mentors or partners will represent XPACE at international performing arts markets

and other events where professionals, producers and policy makers are.

Printed publications With an aim of sustainability we will print as little as possible. All the materials will be available online and only some will be in print, such as leaflets to introduce the project at circus festivals. A project report will be produced and the expertise from DOCH, the Museum if Performing Arts and Kista Public Library, as well as InTeatros research experience will be invaluable when it comes to define Medias, formats, target groups and accessibility of the final report.

The EU logo, its support and XPACE will be present in all communication tools, channels and materials, as well as in public events and performances. In ways appropriate to the chosen media.

Among the social media channels we will communicate our activities through Facebook, Instagram, Twitter and YouTube

CREDITS IMAGES CARE Circus Art Research Exchange https://www.facebook.com/CircusArtResearchExchange/photos_stream p. 5, 6, 7, 8, 9, 10, 11, 12, 22, 49, 50, 53, 54, 55 cirkor.se p.21, 34, 35, 37, 39, 43, 47, 49, 51 http://www.rimini-protokoll.de/website/media/hausbesucheuropa/logos/EU_flag_ cult_EN-01.jpg p. 11:3 http://core0.staticworld.net/images/article/2013/04/facebook_home_logo_580100034106-large.jpg p. 12:2, 58:1 http://circoaereo.net/img/kuva_ropu.jpg p. 13:1 http://sparebankstiftelsen.no/var/sparebankstiftelsen/storage/images/media/ bilder/2013-artikkelbilder/cirkus-xanti5-1000/104758-1-nor-NO/Cirkus-Xanti5-1000_ full.jpg p. 13:2 http://www.laputyka.cz/upImgs/Foto_predstaveni_800X500px_PUTYKA_02_hr_0001. jpg p. 14:1 http://www.cahin-caha.com/IMG/jpg/labo_o_lit_c_cahin_caha.jpg p. 14:2 https://d120fd3cr6hk64.cloudfront.net/blogs/blogs.dir/5/files/2012/10/Around-theWorld-Travel-Insurance.jpg p. 41 https://katekavs.files.wordpress.com/2015/01/knitt_mb-4221_100.jpg p. 42 http://cdn.barrett-jackson.com/staging/carlist/items/Fullsize/Cars/158193/158193_ Front_3-4_Web.jpg p.44 http://www.arthurlloyd.co.uk/BlackpoolTheatres/2012Images/Circus2.jpg p. 45 http://lnko.gr/wp-content/uploads/2014/02/instagram-logo-transparent.png p. 58: 2 http://icons.iconarchive.com/icons/limav/flat-gradient-social/512/Twitter-icon.png p. 58: 3 http://www.youtube.com/yt/brand/media/image/YouTube-logo-full_color.png p. 58: 4

PRODUCING PARTNERS

PRESENTING PARTNERS

PARTNERS WITH VENUES AS WELL KEY COMPETENCES

ASSOCIATED PARTNERS

Project curated by

Project Manager: Amy Fee Project Consultants Project Developer: Irene Ramilli Project Layout: Alessandro Comoli

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X X X P P P P P P P P P A A A A A A C C C C C C C C C C C C E E E E E E E E X X X X X X P P P P P P P P P A A A A A A C C C C C C C C C C C C E E E E E E E E XX X X X X P P P P P P P P P A A A A A A C C C C C C C C C C C C E E E E E E

E CHANGE, E HIBITION, E AMPLES, E ERCISES, E PECTATION, E PERIENCE, ERFORMANCES, EOPLE, RESENTING, RODUCING, RODUCTION, UBLICATION, LATFORM, ARTAKING, ARTNERSHIP, UDIENCES, RT, RTISTS, DAPT ABLE, LLOCATION, LLIANCE, IRCUS, ULTURE, ONFEREN CE, ONTEMPORARY, ITIZENS, OLLABORATION, O-PRODU CTION, OOPERATION, OMMUNICATION, ROSS-BORDERS, URRENT, ONTINUING, UROPEAN, DUCATION, NVIRON MENTALLY AWARE, NDURING, FFICIENT, MPOWERMENT, NABLING, DUCATION, E CHANGE, E HIBITION, E AMPLES, E ERCISES, E PECTATION, E PERIENCE, ERFORMANCES, EOPLE, RESENTING, RODUCING, RODUCTION, UBLICATION, LATFORM, ARTAKING, ARTNERSHIP, UD IENCES, RT, RTISTS, DAPTABLE, LLOCATION, LLIANCE, IRCUS, ULTURE, ONFERENCE, ONTEMPORARY, ITIZEN S, OLLABORATION, O-PRODUCTION, OOPERATION, OMMUNICATION, ROSS-BORDERS, URRENT, ONTINUING, U ROPEAN, DUCATION, NVIRONMENTALLY AWARE, NDURING , FFICIENT, MPOWERMENT, NABLING, DUCATION, E CHANGE, E HIBITION, E AMPLES, E ERCISES, E PECTATION, E PERIENCE, ERFORMANCES, EOPLE, RESENTING, RODUCING, RODUCTION, UBLICATION, LATFORM, AR TAKING, ARTNERSHIP, UDIENCES, RT, RTISTS, DAPTAB LE, LLOCATION, LLIANCE, IRCUS, ULTURE, ONFERENC E, ONTEMPORARY, ITIZENS, OLLABORATION, O-PRODUCTION, OOPERATION, OMMUNICATION, ROSS-BORDERS, URRENT, ONTINUING, UROPEAN, DUCATION, NVIRON MENTALLY AWARE, NDURING, FFICIENT, MPOWERMENT,