Page 1


culture in motion

The Culture Programme 2007-2013

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

How to obtain EU publications

Europe Direct is a service to help you find answers to your questions about the European Union. Freephone number (*):

00 800 6 7 8 9 10 11 (*) Certain mobile telephone operators do not allow access to 00 800 numbers or these calls may be billed.

Free publications: • via EU Bookshop (; • at the European Commission’s representations or delegations. You can obtain their contact details on the Internet ( or by sending a fax to +352 2929-42758. Priced publications: • via EU Bookshop (; Priced subscriptions (e.g. annual series of the Official Journal of the European Union and reports of cases before the Court of Justice of the European Union): • via one of the sales agents of the Publications Office of the European Union (

More information on the European Union is available on the Internet ( Cataloguing data can be found at the end of this publication. Luxembourg: Publications Office of the European Union, 2010 ISBN 978-92-79-16425-5 doi:10.2766/69887 © European Union, 2010 Reproduction is authorised provided the source is acknowledged. Printed in Belgium Printed on white chlorine-free paper

culture in motion

The Culture Programme 2007-2013

_ 3 _ c u l t u r e

Androulla Vassiliou European Commissioner for Education, Culture, Multilingualism and Youth

i n m o t i o n

Culture in Motion Every year the Culture Programme 2007-2013 helps finance an array of initiatives which help to enhance the vitality of Europe’s cultural sector. By enabling hundreds of organisations and thousands of artists and cultural professionals to meet, to exchange practice, to learn from each other, to create together and to tour and perform in other European countries, the Programme is helping the sector to develop its capacities, to operate in an international context and to foster Europe’s cultural and linguistic diversity. Through performances, websites and other tools, the projects reach millions of individuals across the continent. The programme also allows hundreds of books to be translated each year into other European languages and celebrates excellence through its prizes for contemporary architecture, cultural heritage, literature and pop music. Furthermore, every year the European Capitals of Culture put the spotlight on a couple of European

cities, giving them, their artists and citizens a chance to shine on the European stage for 12 months. The title is a formal European Union designation and the cities get a contribution to their programmes from the Culture Programme. As well as enhancing the cultural vibrancy of these cities, the title can help them to permanently transform their long-term social and economic prospects. I am happy to be able to share with you in this brochure the outcomes and results of a selection of initiatives that the European Union helps realise in the field of culture. You will meet dedicated individuals offering revealing and tantalising stories about what European cultural cooperation is all about and the determi­nation that goes into finding common ground and pushing issues important to Europeans. Now that the European Union has adopted its 2020 strategy – a policy approach that will help Europe find innovative solutions to current challenges – I am especially happy to highlight the importance of culture to the European Union’s

objective of smart, sustainable and inclusive growth. At a time when many of our industries are facing difficulties, the cultural and creative industries have experienced unprecedented growth and offer the prospect of sustainable, future-oriented and fulfilling jobs. Culture based creativity can also spill over into many other sectors, supporting innovation in businesses, public services and responses to social needs. It is the impact of the projects you will learn more about here that reminds me just how crucial it is that in difficult times we come together to learn how we all play a role in making our shared European project a great one. The projects presented here offer just such lessons. Let’s set culture in motion.

5 6 7

Fundació Centre Internacional de Musica Antiga European Concert Hall Organisation Backlight 2008 Virtual Library HALMA Beyond the Stage European Media Art Network Wiener Tanzwochen Borrowed Light European Regions of Culture House for Open Mobility Exchange (H.O.M.E.) Network of European Museum Organisations (NEMO) Diversidad Urban Forum BelBoBru  Festival d’Avignon Festival d’Aix-en-Provence IMAGINE 2020 Cooperation and Mediation in the Digital Arts ENPARTS

11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47

European Capitals of Culture Cultural prizes List of web links to help you submit an application and stay updated on culture policy developments

48 50 55

The Culture Programme plays a valuable role in supporting the European Union’s policy agenda in the field of culture. This brochure therefore seeks to highlight projects which are relevant to its priorities. You will find examples of projects promoting the European Union’s cultural and linguistic diversity and heritage by increasing the circulation of works and access to them both within Europe and beyond. Several projects show how the programme helps to strengthen the development of the  sector and the careers of the individuals working within it, while others show how it helps cultural

m o t i o n

Setting culture in motion Linking practice and policy: the European Agenda for Culture The Culture Programme 2007-2013

Setting culture in motion

i n


_ 5 _ c u l t u r e

Photo provided by Festival d’Aix-en-Provence

Photo provided by IMAGINE 2020 © Pascale Marthine Tayou

_ 4 _

operators to experiment and innovate, and generally boosts the sector’s capacity to operate internationally. Most of the projects are multidimensional, with multiple aims and encompassing a range of activities. They cover a range of sub-sectors and some adopt an inter-disciplinary approach. Some of the projects were cofunded by the previous Culture programme, which ran from 2000 to 2006, and others are supported by the current Programme running from 2007 to 2013. Some have already been completed, while others are ongoing. In the space available here, it is only possible to provide a snapshot of the vast array of work being

undertaken on the ground by cultural operators thanks to the Programme. Many other worthy projects are currently under way, and fortunately we will have the opportunity to present these in subsequent years. We hope that this brochure will help raise awareness of the activities co-financed by the European Union in the field of culture across Europe. We also trust that it will provide ideas for project promoters as well as information for policymakers about concrete activities at grass-roots level which could contribute to their policy priorities.

The Agenda also introduced new working methods based on a partnership approach. With Member States it introduced an ‘Open Method of Coordination’ (OMC) for closer cooperation on the priorities outlined above, and with civil society it brought in a more structured dialogue through various platforms for discussion and exchange. These provided an opportunity to exchange knowledge and to propose recommendations to policy-makers at different levels. The Commission took stock of the first three years of progress in a report published in July 2010. Several months later Member States adopted a new work plan for the post 2010 period. The programme will continue to support projects relevant to these political priorities.

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

The Culture Programme 2007-2013 The European Commission provides support for European cultural operators through both its policies and programmes. The Culture Programme makes available 400 million euros over the period 2007-2013 for cultural cooperation, literary translation, festivals and the running costs of organisations with a general European interest.

What’s the general aim of the Programme? In spite of Europe’s diversity, Europeans share a common cultural heritage and certain values. The general aim of the Culture Programme is therefore to enhance this cultural area shared by Europe’s citizens through the

development of cross-border cultural cooperation between creators, cultural actors and cultural institutions from the countries taking part in the Programme, with a view to encouraging the emergence of European citizenship. This aim is reflected in the Programme’s three specific objectives: • promoting the transnational mobility of people working in the cultural sector; • encouraging the transnational circulation of works and cultural and artistic products; • encouraging intercultural dialogue in Europe.

Support for cultural activities in other European Union programmes Certain cultural activities can also be funded by other European Union programmes, including the Lifelong Learning, Youth in Action, Europe

m o t i o n

The projects and activities funded by the Culture Programme should be seen against the backdrop of the European Commission’s ‘European Agenda for culture in a globalising world’ (May 2007). The adoption of the agenda opened a new chapter of cooperation on culture policy at European level. For the first time, all partners – European institutions, Member States and civil society – were invited to pool their efforts around explicitly defined shared goals: the promotion of cultural diversity and intercultural dialogue; the promotion of culture as a catalyst for creativity; and the promotion of culture as a vital element in the EU’s international relations.

National governments have endorsed the Agenda, and in May 2008 agreed on a three-year work plan for 2008-2010 with five main priority areas: improving the conditions for the mobility for the mobility of artists/cultural professional; promoting access to culture, especially through the promotion of cultural heritage, cultural tourism, multilingualism, digitisation, synergies with education (in particular arts education) and greater mobility of collections; developing data, statistics and methodologies; maximising the potential of cultural and creative industries, in particular that of SMEs; and promoting and implementing the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions.

i n

Linking practice and policy: the European Agenda for Culture

_ 7 _ c u l t u r e

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

Photo provided by Borrowed Light – choreography: Tero Saarinen © Jonas Lundqvist

_ 6 _

for Citizens programmes, and the MEDIA programme in the audio­ visual field. Funding for cultural projects is also possible through the structural funds, which are managed nationally. Further information is available on the website below: • eu-funding/doc2886_en.htm • eu-funding/doc2756_en.htm

Who is it for? The Programme supports cooperation projects, organisations, promotional activities and research in all cultural sectors, except the audiovisual sector, for which there is a separate programme (MEDIA). Cultural operators, including cultural enterprises, can participate in the Programme as long as they are acting in a non-profitmaking capacity.

_ 9 _ c u l t u r e i n

Prize for Cultural Heritage – Bacchus Room © photo HiRes

Photo provided by Festival d’Avignon

_ 8 _

m o t i o n

Which countries? Organisations based in the following countries are eligible for the Programme: • EU Member States; • EEA countries: Iceland (which is also a candidate country), Liechtenstein, Norway; • candidate countries: Croatia, Turkey and Former Yugoslav Republic of Macedonia; • potential candidate countries: Serbia and Montenegro. For more information about countries that may become eligible in the future, and about cooperation with cultural operators from third countries (countries not included in the list of eligible countries) please consult the Programme Guide at the link below http://ec.europa. eu/culture/calls-for-proposals/ call2061_en.htm

What can be funded? The Programme has a flexible, interdisciplinary approach and focuses on the needs expressed

by cultural operators during the public consultations leading up to its design in 2006. This has led to a more user-friendly application procedure and the development of a Programme Guide containing essential information. There are three main types of activity supported under the Programme. Support is thus grouped under the three following strands: Strand one: Support for cultural projects (approximately 77 % of the budget). This strand seeks to support cultural organisations for projects to work together across borders and to create and implement cultural and artistic activities. The thrust of this strand is to help organisations, such as theatres, museums, professional associations, research centres, universities, cultural institutes and public authorities from different countries participating in the Programme to cooperate so that different sectors can work together and extend their cultural and artistic reach across borders.

• Multi-annual cooperation projects: 6 partners from 6 different eligible countries – Duration: 3-5 years. • Cooperation projects: 3 partners from 3 different eligible countries – Duration: up to 2 years. • Literary translation projects: Duration: up to 2 years. • Cooperation projects with third countries: 3 partners from 3 different eligible countries, plus cooperation with 1 organi­ sation from the selected third. country – Duration: up to 2 years. • Support for European cultural festivals: The support can be granted for one edition of the festival or for three editions. • Special measures such as cultural prizes (contemporary architecture, cultural heritage, pop music and contemporary literature) and the European Capitals of Culture are also covered under Strand 1. Strand two: Support for organisations active at European level in the field of Culture (approximately 10 % of the Programme budget). This strand aims to co-finance the

operating costs of cultural organisations working, or wanting to work, at European level in the field of culture. The grant awarded under this strand is designed to assist with operating costs incurred by these beneficiary organisations in implementing their work programmes. Strand three: Support for analyses and for the collection and dissemination of information and for maximising the impact of projects in the field of cultural cooperation (approximately 5 % of the Programme budget). This strand aims to promote analysis in the cultural field, raise awareness of the Programme, and to promote its results.

How can you participate? If you are interested in developing a project and receiving financial support from the Culture Programme, please consult the Programme Guide, where you will find all the necessary information.

Cultural Contact Points have been established in the countries taking part in the programme. Their purpose is to promote the Programme, provide information, and assist cultural operators with their applications. You are strongly advised to contact your local Cultural Contact Point at an early stage of the preparation phase and to make use of its expertise.

What is the procedure? The European Commission’s Direc­ torate General for Education and Culture (DG EAC) is responsible for the Culture Programme and directly manages some of its activities. However, most of the grants are administered by the Education, Audiovisual and Culture Executive Agency (EACEA), which operates under DG EAC’s control and is also based in Brussels. Applications for projects are assessed on the basis of the criteria set out in the Programme Guide.

Applicants are advised to take careful note of these criteria when preparing their proposals.

Web links You can find more information on the Programme, the Programme Guide and the Cultural Contact Points at: • index_en.htm • index_en.htm Programme Guide: • calls-for-proposals/call2061_ en.htm Cultural Contact Points: • annexes-culture/doc1232_ en.htm

_ 1 0 _

_ 1 1 _ c u l t u r e i n m o t i o n

Fundació Centre Internacional de Musica Antiga Keeping traditional music traditional

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

Jordi Savall and his orchestra are already widely known and highly respected in the world of ancient music. The approximately 160 concerts given across the world every year act as ambassadors for European culture, and the foundation also promotes ancient music through research, training and recordings.

Jordi Savall gives an indication of what it has been possible to do with the current funds from the Culture Programme: ‘The EU financing was crucial in allowing us to prepare very complex projects that were not automatically commercial – where a long process of research and interpretation was necessary, such as our CD book (containing three CDs) about the Tragedia Cátara “Le Royaume Oublié”, the programme on Dimitrie Cantemir and the Sephardite and Armenian musicians of Istanbul in 1710. In the spring of 2010 we were able to prepare and present the Mass in B minor by J. S. Bach with a selection of 26 singers from across Europe, chosen from around 100 candidates. Currently we are working on a range of projects, including the music for the MARE NOSTRUM compilations of Mediterranean cultures and intercultural dialogue. And in 2011 and 2012 we will prepare a new project on THE SUBLIME PORTE 1453-1790, and the first part of another very complex project on the theme of war and peace, covering 713-1713. Thanks to the EU support we will be able towards the end of this year to make a start with the first Academy of professional training, research and interpretation, with period instruments, that our foundation, the Centre Internacional de Música Antiga Fundación, has conducted on the music of J. Ph. Rameau and the orchestra of Louis XV, in collaboration with the Escuela Superior de Música de Cataluña, which is open to young professional musicians everywhere in Europe.’

The funding covers the period from January 2010 to December 2010 with a grant of 149 700 euros. The organiser is the Fundació Centre Internacional de Musica Antiga. Website:

_ 1 2 _

_ 1 3 _ c u l t u r e i n m o t i o n

European Concert Hall Organisation Spreading new sounds round Europe New music in new forms is echoing around Europe as a result of this collaboration between major concert halls. Works are commissioned from composers who work with artists in other fields – video, cinema, choreography, literature and visual art. Then the works are presented in concert halls in the ECHO network, often with new young performers, and often with other significant new contemporary works.

According to project leader Gerd Van Looy, performing arts manager at the Paleis voor Schone Kunsten/Palais des Beaux-Arts in Brussels, the project is giving talented young artists new opportunities to develop, and audiences new chances to hear new music: ‘Western classical music is a continuing and present tradition. The ECHO grant has helped to ensure its vitality, by sponsoring the brightest young musicians, by presenting large-scale contemporary works to mainstream audiences so as to overcome prejudices about contemporary music being remote and inaccessible, and by exploring new links between music and other performance arts. Through its Rising Stars concert series, ECHO gave 20 exceptional young musicians the chance to perform a total of 142 recitals in some of the most prestigious concert halls in Europe. They included violinist Nemanja Radulovic, the Pavel Haas Quartet and jazz trumpeter Matthias Schriefl. Pianist Di Xiao, one of the chosen artists, gave her thanks “to everyone who attended my Rising Star concerts, to the ECHO representatives that made the tour happen and to the staff of all the fabulous halls that I have played in for making it such a wonderful experience; collectively you have helped me fulfil my dream”.

Images courtesy Robin Rhode © Robin Rhode, 2009-2010

In 2006-2009, some of the most accomplished ensembles and instrumentalists gave more than 30 concerts of contemporary works by the most influential contemporary composers, including Berio, Stockhausen, Birtwistle, Kagel, Ligeti and Benjamin. At the same time, newly commissioned productions included Pictures Reframed (which included an original work composed by Thomas Larcher, performed by Leif Ove Andsnes and with a video by Robin Rhode) and a 2007 tour of the production I am a Mistake (with original music by Wolfgang Rihm, text and choreography by Jan Fabre and a film by Chantal Akerman). Now, with a new grant in 2010, we are continuing the successful Rising Stars programme. We are training staff of EU concert halls in arts education and marketing. And we are developing the shared ECHO artistic platform for exchanging new programmes and productions.’

The initial project ran from September 2006 to August 2009, with a grant of 900 000 euros. The organiser was the European Concert Hall Organisation and the co-organisers were the Paleis voor Schone Kunsten/Palais des Beaux-Arts in Brussels, Cité de la Musique in France, Kölner Philharmonie in Germany, the Concertgebouw in the Netherlands, Stockholm Concert Hall in Sweden, Birmingham Town Hall and Symphony Hall in the UK, Athens Concert Hall in Greece, and Wiener Konzerthaus in Austria. A new multiannual grant of 1 600 000 euros was awarded for 2010, and this project additionally involves l’Auditori in Spain, Hamburg Elbphilharmonie in Germany, The Sage Gateshead in the UK, and the Philharmonie in Luxembourg. Website:

_ 1 4 _

_ 1 5 _ c u l t u r e i n m o t i o n

Backlight 2008 A new way of illuminating Europe Backlight is an international photo­ graphy festival that has widened and deepened its cooperation with the support of EU funding, so that it now attracts entries from across Europe, and has acquired an audience and a reputation in Europe and beyond. From its Finnish origins it has developed a dynamic network of co-organisers.

Ulrich Haas-Pursiainen, the project leader, explains how the project has helped build understanding among photographers – and people who look at photographs – about the diversity of the European Union: ‘ “Backlight” focuses on issues that are hidden in history and culture, away from the bright lights of the media industry. The exhibition is open to everyone. Via the internet, we invite everyone and anyone to contribute photographs that reflect different European aspects of a chosen theme. The theme in 2008 was humour, laughter, irony – and the 600 responses we received demonstrated how widely these concepts differ from country to country. We chose sixty for the final show, and although our budget allowed us to invite only a few of the artists to attend, many more came themselves on their own money – from 28 countries. The festival has grown gradually, and it wasn’t until 1999 that we sought real international engagement and EU funding – which was an unfamiliar idea in Finland in those days. But the new opportunities this brought, in what were difficult times for the cultural sector, excited people about the possibilities of closer links across the EU. There was a real sense of exploration, of artists going abroad, discovering countries that had been littleknown for decades, seeing other traditions in the Baltics and Poland – and finding partners for the festival.

Photos provided by Backlight 2008

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

‘Backlight 2008’ ran from September 2007 to August 2009, and received EU grants of 199 745 euros. The lead organiser was the Photographic Centre Nykyaika in Tampere, Finland and co-organisers were FLUSS NÖ Fotoinitiative in Austria, Fondazione Studio Marangoni in Italy, Stiftung für visuelle Erziehung in Lodz, Poland, and the Northern Photographic Centre in Oulu, Finland. Website:

_ 1 6 _

_ 1 7 _ c u l t u r e i n m o t i o n Virtual Library Books beyond borders combines the traditions of literary culture with the freedom of the internet to build an inter­ national community around books. Readers share their choices through comments and photographs, resulting in a library of online bookshelves. By inspiring literary encounters across borders, the project demonstrates that individualism and community building are not mutually exclusive.

Walter Grund, the project leader, emphasises that promoting Europe’s diverse cultural heritage has simultaneously widened awareness of literary works and promoted new forms of contact via the internet: ‘In 2004 a writer, a literary critic and a media producer discussed an artistic experiment – an internet project combining literary expertise with internet democracy, where readers and writers would network and collaborate in a virtual library, composed initially of personal book recommendations. Since then it has grown – with financial support from the European Commission – into a European platform for literature, and is tackling one of the biggest challenges for Europe: its many languages. Coping with multilingualism is at the heart of our vision to contribute to the formation of a European public literature. In 2009, we went further, with an actual meeting of our community of authors and readers, in the first European Literature Day, where everyone had to display patience and compromise in debates across languages and across borders about technical questions – like finding via an English search engine an author who is entered only in Hebrew or Arabic – and cultural issues – such as the balance of relations between countries with unbroken traditions like France or Britain and smaller countries with more fractured histories, or how the diverse literary canons and customs across Europe can be brought together in a European portal without reducing them to a mere list.

Photos provided by Virtual Library

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

In 2005 the project received funding for a year from the Culture 2000 programme, followed by a three-year grant in 2006 of 179 562 euros up until October 2009. The lead organiser was Pilgern & Surfen of Melk, in Austria and co-organisers were Petöfi Irodalmi Múzeum in Budapest, Sorbonne Nouvelle in Paris, Literaturhaus in Hamburg, STRED Central European Dialogue in the Czech Republic, and the Translation Center at the University of Copenhagen. Website:

_ 1 8 _

_ 1 9 _ c u l t u r e i n m o t i o n

HALMA Helping writers to move around Europe

Photos provided by HALMA – Larissa Boehning © Robert Kruh

Authors, translators and publishers were given the opportunity to enrich their work through experiencing the variety of cultures across the regions of Europe. Hosted by participating literary centres, they could carry out research, produce new work, and take part in readings, workshops or lectures with a strongly local flavour. Halma is the Greek word for ‘jump’ – and the game of the same name – and the network provided a frame in which European writers could move across Europe like players of board games or kids enjoying hopscotch.

Laura Seifert, the project leader, gives some examples of how widely the benefits have been shared: ‘The writers have got a lot out of it individually, of course, because they travelled abroad and discovered places in Europe they would have never seen – and wrote things they might never have otherwise written. Anna Kim from Austria wrote: “... and it’s in strange places that we notice how strange we are ourselves, not only for those around us but for ourselves as well, how little we actually knew about ourselves and how surprised we are at our own reactions”. But there were other results. They connected among themselves too, creating a network of writers, intellectuals and translators – which is something I hadn’t expected. Other spin-offs came in terms of publishing and performance. Some of the HALMA members are also publishing houses, and GOGA in Slovenia discovered writers that it found very interesting: as a result, the novel “Este e o meu corpo” by Portuguese writer Filipa Melo appeared in Slovenia. Similarly, the plays “Strand line” and “Pump girl” by Irish playwright Abbie Spallen were staged in Finland in the framework of HALMA. And many of the sample translations of works produced within the project have been published in literary magazines. Exchanging and hosting writers from across Europe has also intensified links between HALMA members, and increased their own international profile – particularly giving organisations on the periphery of Europe, in Romania or Finland, for example, new opportunities to boost their engagement in trans-national cultural cooperation. As Vesa Lahti, a translator from Jyväskylä, Finland, said of the HALMA members meeting, “You could actually feel the HALMA spirit. There was something warm and touching to have this feeling of doing something important and remarkable together.” ’

The programme ran from November 2009 to November 2010 and was supported under a special call for action ‘Support to mobility of artists (EAC/09/2009)’ with a grant of 108 500 euros. The lead organiser was HALMA, the European network of literary centres, in Berlin and the co-organisers were Alte Schmiede in Austria, the Elias Canetti Center in Bulgaria, LCB in Germany, Ventspils House in Lithuania, kunst.raum SyltQuelle in Germany, Het Beschrijf @ Passa Porta in Belgium, Maison des écrivains étrangers et des traducteurs in France, Villa Decius in Poland, The Literature House Schleswig Holstein, Denmark, and Writers’ House Jyväskylä in Finland. Website:

_ 2 0 _

_ 2 1 _ c u l t u r e i n m o t i o n

Beyond the Stage New trends in European theatre

Photos provided by Beyond the Stage © Wieslaw Czerniawsk

What value can film, video, electronic music, modern dance and other forms of media add to classic theatre? That was the focus of this project. It brought together experts in stage theory with experts in stage practice. It confronted different European countries and traditions. And it provided a framework of festivals, workshops and conferences. It combined high quality artistic events – such as the widely acclaimed ‘Hamlet’ by New Yorkbased Wooster Group, and a ‘Richard III’ co-produced by the Cluj Theatre from Romania and the Gyula Castle Theatre in Hungary – with a major conference of academic research, and an educational programme to introduce the idea of theatre that spreads beyond the stage.

Anna Szynkaruk-Zgirska, the project leader, recounts how it bridged cultures and promoted international cooperation among artists, while entertaining a wide public: ‘We organised 15 innovative theatre productions in four European countries, with six theatre groups (involving some 200 people) touring abroad, frequent exchanges between participating countries. Artists, theatre practitioners, instructors and academics had the chance to travel and meet their counterparts from other countries and cultures. Workshops, lectures and exhibitions explored new ways of thinking about theatre and its role in the world of developing modern communication technologies, and a conference brought together 50 academics from seven countries and led to the publication of a book. The success of the project as a whole was that all this intercultural cooperation helped achieve a mutual sense of understanding. In addition, the general public and tourists could enjoy the Shakespeare Festivals held in Gdansk, Gyula, and Craiova, and the meetings and discussions with guest artists held after the performances, as well as associated educational events involving the populations of the host towns. We promoted shared European values by bringing the best theatre productions, artists, and directors together, and fostering learning and dialogue through the diversity of modern trends in European theatre. And it was hugely enjoyable to work on!’

The programme ran from May 2009 to April 2010, and received grants of 196 510 euros. The lead organiser was Theatrum Gedanense Foundation in Poland and the co-organisers were Gyulai Vrsznhz in Hungary, the London Metropolitan University in the UK, and Parrabbola, also in the UK. Website:

_ 2 2 _

c u l t u r e i n m o t i o n

Photos provided by European Media Art Network: p.22 © Don Ritter Vested, interactive Rauminstallation 2008 / p. 23 © Kurt D'Haesseler Archaic Smile Videoinstallation 2008, Nika Oblak & Primoz Novak, recommended by Curators Worldwide Billboard 2009

_ 2 3 _

European Media Art Network Giving new insights through artists’ mobility The ‘move – new european media art’ exhibition in Halle in October 2009 was the culmination of the European Media Art Network project, showcasing the output of 16 leading figures working in experimental film, sound and computer based art in Europe. The artists had each spent two months abroad under the residence exchange programme run by the project.

Peter Zorn, the project leader, spells out how enthusiasm drives the network in promoting Innovation and exchange in the production, presentation and distribution of media art in Europe: ‘All the participants in our network began as artist-run – grass root organisations – not the ones you expect to run European wide networks and projects. But we can! Our big asset is our enthusiasm towards the artists working with media to create something different from what we are used to seeing on television. And these approaches need skills and knowledge that often go beyond what many TV professionals have. They also need access to completely different audiences and markets. So we combined our knowledge and contacts. With the funding we received, each of us hosted four European artists and groups while they produced new work. We set up presentations and marketed the works to curators, festivals, museums and galleries. One of the works PERFECT SOUND, a video installation on voice training by Katarina Zdjelar from Serbia, entered the Venice Biennale in 2009. And VESTED, a huge and complex interactive video installation by Don Ritter, a Canadian artist based in Berlin, won gold at the Winter Olympics in Vancouver in 2010. We were able to promote a sensitive, reflective, critical and experimental approach towards moving images and the technologies that are an inseparable part of today’s world. The contacts and cooperations that artists make during their residence are a major part of the results. When British artists Karen Mirza and Brad Butler included ten young students from Saxony-Anhalt in their MUSEUM OF NON PARTICIPATION project, many of them became so keen that they started experimental film-making afterwards. And the show in Halle received more than 11 000 visitors over 14 weeks – not just professionals from across Europe, but local kids and pensioners who had never seen media art before, and who responded actively to the artists bringing these new perspectives from other parts of Europe to their hometown.’

The project ran from November 2007 to November 2009, with a grant of 158 000 euros. The lead organiser was Werkleitz Gesellschaft e.V. of Halle in Germany and co-organisers were InterSpace Association of Bulgaria, the Birmingham Centre for Media Arts/VIVID of the UK, and Stichting Impakt of the Netherlands. Website:

_ 2 4 _

_ 2 5 _ c u l t u r e i n m o t i o n

Wiener Tanzwochen Advancing dance in leaps and bounds Contemporary dance is opened up to new artists and wider audiences across Europe through the Wiener Tanzwochen initiative ImPulsTanz Vienna International Dance Festival. This large-scale project includes performances, workshops, exchange programmes, and research and education, as well as touring, and cooperation with the Biennale of Venice, the Festival d’Avignon, and Tanz im August.

As Rio Rutzinger, the artistic director of the workshop programme, explains, the project provides a rare combination of professionalism and personal contact, and of intensity and informality: ‘The EU money widens the scope of what we do. It allows us to pay leading artists to develop the skills of dancers of all levels. We can explore new types of performance that reach audiences who have not had the habit of experiencing dance – including visitors, tourists, people from all types of background. And we are able to mount summits of professionals who can mingle with one another and with audiences in a more relaxed context than the hectic life of touring ever permits. At the same time as the performances, we organise 185 workshops attended by more than 3 000 dancers, professionals and amateurs, which helps exchange between the performers, teachers, students and audiences. The quantity of activities is an important aspect of the quality of the project. We are trying to make high art a little less high up by providing and engaging in as many opportunities as possible to share work and experiences. And for our setting this actually seems to be far more effective than any formal symposium. This is what the participants tell us too.

Photos provided by Wiener Tanzwochen

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

The project, with an operational grant of 99 999 euros from the Culture Programme for a cultural festival on a European level, ran from January 1 to December 31, 2010, with its peak from July 15 to August 15. The organizer was Wiener Tanzwochen, Vienna. Website:

_ 2 6 _

_ 2 7 _ c u l t u r e i n m o t i o n

Photos provided by Borrowed Light choreography: Tero Saarinen – p.26 © Laurent Philippe / p.27 © Tanja Ahola, Laurent Philippe, Jonas Lundqvist

Borrowed Light Reflecting Europe through the language of dance Borrowed Light is a large-scale live dance and music performance that was supported by Culture 2000 in 2004-2005. It has been seen in major venues in France, Sweden, Finland, Italy, Germany, the UK, the US, New Zealand and Australia. Audiences now total 50 000 people, and further international tours are scheduled for 2011 and 2012. It was produced by the Tero Saarinen Company in cooperation with dance organisations in France, Sweden and Finland.

Iiris Autio, managing director of the Tero Saarinen Company, spells out what it meant for the company, and for the audiences the show has reached: ‘This was an ambitious project for us. Although our work is nowadays regarded as one of Finland’s leading cultural exports, we were at the time a small, non-institutionalised dance company with little public funding. The EU grant allowed us to hire top professional people world-wide and collaborate with leading international institutions. This funding was crucial. It meant that our company could create such a large-scale work without any artistic compromises. It was also ambitious artistically. It combined the theme of community – inspired by the ideology and aesthetics of the Shakers – with contemporary dance, vocal music and state-of-the-art lighting and sound technology. It used the language of dance to investigate, promote and communicate a humane worldview, and basic human values. And we toured, with live music and twenty four people, including the eight dancers and eight singers on stage. The work received rave reviews (“This production is richly original, and scrupulously intelligent.” The Guardian, Judith Mackrell, April 8, 2005; “Here the dance becomes a strange, violent and complex conduit for the struggle of will over flesh. I’ve not seen, or experienced, anything like it.” The Independent, Jenny Gilbert, April 10, 2005). It provoked discussion among its audiences, both about the history of the Shaker movement and concepts of community, and about the ritual essence of dance. And a seminar we organised on the eve of the production’s première brought together leading European company managers, promoters, agents and festival directors, to discuss European co-production practices and funding, collaboration between dance and TV, touring, and collaboration with dance agencies. We demonstrated that a work of art can be produced as a European or inter­national co-production, using complicated funding tools – such as EU programmes – without any loss of creativity or artistic integrity. We reached new audiences with a new production. And the success of the project also strengthened our organisation’s infrastructure significantly.’

The project ran from July 2004 to June 2005, with an EU grant of 150 000 euros. The lead organiser was Tero Saarinen Company of Finland and co-organisers were Festival Octobre en Normandie in France, Kuopio Tanssii ja Soi (Kuopio Dance Festival) in Finland, and Stiftelsen Dansens Hus (The House of Dance) in Sweden. Website:

_ 2 8 _

_ 2 9 _ c u l t u r e i n m o t i o n

European regions of culture Building a better future

Photos provided by European Regions of Culture: p.28 © Shutterstock / p.29 © Rae Chapman

How can culture build a better future for Europe’s rural regions? That is the question behind this network, and its celebration of culture as central to regional life and identity. Through three cultural exchange events, it stimulated dialogue and exchange between people working in culture at regional level in the UK, Poland and Finland.

Carolyn Rule, Cornwall Council cabinet member for Economy and Regeneration, explains what the network achieved: ‘Our three regions all believed that rural culture is worth celebrating, and we had all looked enviously at cities that are famous for their culture, and that are expert at making culture work hard for them. We wanted to do the same for our own locations – all rural, isolated and peripheral. Because even though rural regions can be rich in culture, they rarely acquire a wide reputation, and this makes it difficult to develop their cultural sectors. It’s harder for a visual artist or film-maker in Cornwall or Kujawsko Pomorskie or South Ostrobothnia to gain the same fame as someone working in Liverpool, Warsaw or Helsinki. So we set out to create an equivalent of European Capitals of Culture that would honour and promote rural culture. Our first step was to experiment with ways of improving the cultural situation in our regions, so we worked with policy makers, young people and artists from all three regions, in a series of visits that showcased the best – and the worst! Policy makers then produced advocacy material and agreements, young people communicated through a publication, and artists through an exhibition in each region. Joan Symons, Cornwall Council cabinet member for Culture adds: “The closer links between the partners gave us better understanding of common issues – like tackling Structural Funds, devising local cultural strategies, and working with young people – and a clearer view of what were European issues and what were purely local. Artists and young people learnt about the diversity of Europe from their visits – everything from how different galleries operate to how to function within a residency setting. And the concept of European Regions of Culture also attracted interest from local investors and politicians, who saw many advantages to be gained from winning such recognition. Now the concept has been taken up by more than 30 other regions.” ’

The project ran from November 2008 to September 2009, with a grant of 179 562 euros. The lead organiser was Cornwall Council in the UK and co-organisers were the Regional Council of South Ostrobothnia in Finland, and the Department of culture and national heritage of Kujawsko-Pomorskie Voivodship in Poland. Website:

_ 3 0 _

_ 3 1 _ c u l t u r e i n m o t i o n

House for Open Mobility Exchange (H.O.M.E.) Personal contact in public spaces Artists from across Europe are getting the chance to share their experiences and to bring their creations to new audiences in the aptly-named HOME project that the EU is supporting. But this is an artist residency programme with a difference: spare beds and inflatable mattresses provide the accommodation, and any public space is taken over spontaneously as the location for exhibitions and activities.

Project coordinator Jasa Jenull describes it as ‘artistic couchsurfing’ – informal, low-maintenance, self-organized artistic mobility: ‘The essence of the project is the development of close engagement, with one another, and with our audiences. Each event – musical performances, street theatre or multimedia installations – involves visits between the participating countries, with the accent on getting to know the other artists there informally, for instance by cooking and living and working together. And the end product each time is an action in a public space, with maximum involvement of local people, getting their stories and opinions, inciting curiosity, provoking new perceptions, and building acceptance. Personal contact is more important in the long term than getting 10 000 people interested for ten seconds. Using public spaces keeps it informal and ensures wider access. Finding a public space and deciding how to use it is part of the creative exploration central to each project. An event in a small village in northern Sweden created a sculpture park as a starting point for the villagers to complete. A five-day photography and film workshop in an old market in Oporto helped stall-holders combat municipal plans to replace them with a shopping centre. An “open house” in Ljubljana invited partners to contribute to an open air gallery, using and naming objects already in public spaces à la duchamps, then offering tours to local people, who could see how people from another country perceive their town.

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

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

The project is running from November 2009 to April 2011 and was supported under a special call for action ‘Support to mobility of artists (EAC/09/2009)’, with a grant of 50 000 euros. The lead organiser is Kulturno-umetnisko drustvo Ljud – Kud Ljud, in Slovenia and co-organisers are NEC, also in Slovenia, Lomomania in Portugal, YEPCE in France, OFA in Sweden, and Sacred Places in Belgium. Website:

_ 3 2 _

_ 3 3 _ c u l t u r e i n

Photos provided by Network of European Museum Organisations (NEMO): p.32 and 33 © German Museums Association, Christian Burkert / p.33 © Jens Gyarmaty and Markus Reichmann

m o t i o n

Network of European Museum Organisations (NEMO) Connecting past, present and future The European museum landscape is being constantly reviewed and remodelled by professionals and volunteers working in museums associations and similar bodies of Europe, that have come together in the Network of European Museum Organisations. This platform for cooperation, representing museums across Europe that receive over 500 million visitors each year, helps to give the cultural heritage sector a stronger voice at European level. And through pooling expertise, it allows its members to assist one another with guidance and new insights.

Elizabeta Petrusa-Štrukelj, the chairperson, and a member of the Slovenian Museums Association’s board, highlights the role of the network for professionals – and for the public: ‘Our principal effect comes from the information we spread among museums. There are many differences across Europe, influenced by history and culture, in the way that museums are structured, or in the way they relate to one another and to local or national authorities. Approaches to history and to links with education vary widely, and have gone through rapid changes in parts of Europe that have experienced major upheaval in the last thirty years. We help to ensure that information flows freely, among the European museum community itself, and between museums and policy makers. We keep our members up to date on standards and laws, digitisation, or creativity and innovation in museums. And we help them learn from each other and find partners for lending and borrowing objects for exhibitions and for European projects. There are differences too in attitudes between larger and smaller countries in Europe. We help to develop cooperation, particularly in the face of the new challenges of increased cross-border activity, and we aim to give people and institutions with less formal experience a wider range of opportunities to develop their capacities and to show what they can do. Many museums and their associations work with slender finances, and depend heavily on volunteers – but it is the smaller museums that make up the majority of museums in Europe, and often have the closest connection to their visitors. Above all, we promote the role of museum collections in allowing European citizens to trace their history, and identify their differences and similarities. Museums provide citizens with a sense of place, and promote lifelong learning. Greater knowledge of the history of Europe helps widen understanding of our origins, and makes us more understanding and respectful of our own history – and of other people’s too.’

NEMO has been in existence since 1992. Under the Culture Programme 2007-2013 it has received a grant of 60 000 euros. Its office is based at the German Museums Association, Deutscher Museumsbund. More than 30 000 museums across 32 European countries are represented. Website:

_ 3 4 _

_ 3 5 _ c u l t u r e i n m o t i o n

Diversidad Urban Forum Music across borders

Photos provided by Diversidad Urban Forum

Crossing frontiers – geographic and linguistic – with music is the central activity of Diversidad, which of course means diversity. Musicians and visual artists with a link to urban culture are working together in a series of events, workshops, and open forums. The output to date has been a four-day hiphop festival in 2009, with more than 200 performances and artists, which attracted an audience of more than 60 000, and a collaborative album. Still to come are a digital platform for musical exchanges, the Diversidad Tour, and a graffiti exhibition. The project brings together artists and people working in culture in an exploration of cultural diversity and mobility that connects to the life of citizens.

Project manager Jean-Marc Leclerc underlines the importance of urban culture for young people in Europe: ‘As urban culture has developed over the last thirty years in every country in Europe, it has given new means of expression to European youth, and offered the chance of success and recognition to many underground artists. But neither the occasional graffiti artists nor the main hip-hop acts had much opportunity to meet up and exchange experiences – and still less to work together. The Diversidad project is now bringing all these talents together for the first time. 20 hiphop artists from 14 European countries worked together for ten days to compose and record the “Diversidad” album, with everyone singing in their own language but cooperating closely, helping one another out to complete the album on time. For many of the artists, it was a rare chance to work together in such collaborative intensity. The album has received real international promotion and is the soundtrack of the exhibition, video documentary and film that also form part of the project. Equally original is the experience that the project is to provide in 2011 for a crew of musicians, rappers, dancers, choreographers and DJs from different countries and backgrounds, who will tour across Europe with the Diversidad show. And a “rebel” graphic art exhibition will appear on advertising boards in the cities they visit. As Thomas Brödl of co-organiser HipHopConnection put it: “HipHop culture is a wonderful way to express unity and cultural diversity at the same time”, adding that he saw Diversidad helping to raise the cultural awareness of European youth and convey a sense of togetherness. And Peter Smidt of Buma Cultuur highlighted merits “both for cultural and economic reasons” of widening the circulation across Europe of the European repertoire.’

The project is running from May 2009 to April 2012 with a grant of 931 000 euros. The lead organiser is European Music Office, Belgium and the co-organisers are Fondazione Arezzo Wave in Italy, Stichting Buma Cultuur in the Netherlands, Hiphopconnection in Austria, Cultura Urbana Festival in Spain, Kulturarena Veranstaltung in Germany, and Associations Diversités in France. Website:

_ 3 6 _

_ 3 7 _ c u l t u r e i n m o t i o n

BelBoBru An urban parade laboratory

Photos provided by BelBoBru: p.36 © Luc Calis / p.37 © Luc Calis – Katleen Kuppens

Cultural organisations in the cities of Belfast, Bologna, and Brussels worked together during two years to share and develop their reflections and skills in carnival and festival parades. Each of them obtained new understanding of how their engagement with the public was influenced by their different backgrounds – and of how to make use of that understanding. The project also enhanced the skills of the local artists involved, particularly in their work with puppets, with mime, with theatre and with drums. The project culminated in a large-scale interdisciplinary and intercultural performance and parade, rehearsed in the three cities, and performed in Bologna, with 70 artist participants from all three cities.

Myriam Stoffen, the lead organiser, who works with Zinneke in Bussels, explains how the project brought new visions to the participants: ‘For all of us, organisations, artists, participants, this was a fascinating and enriching project, full of passion. Three cities embarked on this adventure, with different social and economic realities, and different missions and working methods. But we shared a commitment to participation, active citizenship and social inclusion through art, culture and action in public spaces – with the unpredictability and richness of the street. We were challenging accepted views of what parades could be – views held by audiences and views held by the artists involved in the parades, too. The project allowed artists not only to travel and to share skills across the different disciplines, but also to confront social and cultural frameworks on public space. How to make musicians move in the street? How to integrate the puppeteers’ and theatre play? How to interact with the public? How to use the street and urban environment? How to make a large group of performers suddenly appear and disappear? We also learnt how to question social reality. How far can we go in confronting local inhibitions? Should we avoid showing violence in a street performance in Belfast? Can we help persuade Bologna’s authorities to support bottom-up art forms and allow more professionalisation? Can artistic cross-fertilisation contribute to a broader international awareness for the citizens of Brussels? Workshops that brought together different professionals working in carnival arts provided the opportunity to see how things were done in different environments and how to use new techniques. The invitation to collaborate across borders widened cultural references – leading to the creation, for instance, of a marionette capable of travelling across Europe – called “Maurice in a suitcase”.’

The project ran from November 2007 to November 2009 with a grant of 100 000 euros. The lead organiser was Zinneke, in Belgium and the co-organisers were Associazione culturale Oltre, in Italy, and The Beat Initiative, in the UK. Website:

_ 3 8 _

_ 3 9 _ c u l t u r e i n m o t i o n

Festival d’Avignon A contemporary artistic adventure Created in 1947, The Festival d’Avignon has acquired worldwide fame for its presentations of French and international contemporary theatre, dance and performing arts, and for providing a platform for wide personal and cultural exchange. Each year it offers some 40 spectacles, often in collaboration with other European theatres, and most of which are new creations by renowned European artists. The Festival is also a place of discovery, where young artists have the chance to display the most innovative contemporary developments.

Philippe Le Moine, director of external relations, says the EU Culture Programme has benefited the professionals, practitioners and public that are part of the festival: ‘One of the important results of the EU funding has been to make the festival even more international and multilingual. The presence of artists and profes­sionals from around Europe and beyond leads directly to wider circulation of works: the success of Romeo Castellucci’s “Inferno” at the 2008 Festival (it was hailed by Le Monde as the most important theatre event of the first decade of the century) allowed the piece to travel across the world for the next three years, reaching audiences way beyond the walls of Avignon. It also means deeper and more diverse multicultural conversations, ideas and opinions. The festival is now a leading platform for discussions on European culture and on how professionals both in France and across Europe can approach culture at a European level. “Les Rencontres Euro­péennes” gather artists, politicians, academics, European institutions and civil society in debates that range from intercultural dialogue to the fight against poverty and social exclusion – providing moments such as European Culture Commissioner Ján Figel discussing the European Agenda for Culture with a young director from Bulgaria and a major French sociologist, in front of a large crowd of artists, arts professionals and the general public.

Photos provided by Festival d’Avignon © Christophe Raynaud de Lage

EU support has helped guarantee the festival’s role in promoting links between disciplines and generations – notably with the involvement of young practitioners. The international reach of the festival has also been extended through, for instance, financing for translation of festival documents or subtitles and interpretation of works, so as to reach more nonFrench speakers. Overall, the EU support allowed the festival to reach wider audiences with a wider range of works and promote the widest possible discussion of European culture.’

The EU supplied grants of 200 000 euros per year in the period 2008/2010 to support these projects and activities. The organiser is the Festival d’Avignon. Website:

_ 4 0 _

_ 4 1 _ c u l t u r e i n m o t i o n

Festival d’Aix-en-Provence The Midi in the middle of Europe Europe’s best lyrical and musical performances are the focus of the Festival International d’Art Lyrique d’Aix-en-Provence. Artists and compositions of local and regional character are blended with national and international stars and shows. The festival also incorporates the European academy of music, which provides training and professional guidance to young European artists.

As festival director general Bernard Foccroulle underlines, the focus is on opera, dialogue between different musical cultures, development of young artists, and attracting the widest possible audiences: ‘For centuries, the circulation through Europe of opera artists and operas has contributed to the construction of a common identity and a particular view of the world. The Festival d’Aix-en-Provence celebrates this heritage with the participation of artists from across Europe. We host the most renowned orchestras, singers, conductors and directors. We also welcome the most promising young talents, who bring a dynamism which is an essential facet of the festival’s character. Our European Music Academy supports the transmission of these traditions to young singers, musicians and composers, and helps in their training and development. And the festival also promotes productions and – particularly – new compositions. We don’t want opera to be seen as a “museum” – an art-form with only a past. We aim to make it a place of creation, exchange and sharing. No less than 20 living composers found their place in the 2010 festival, and we presented several world premières.

Photos provided by Festival d’Aix-en-Provence © Elisabeth Carecchio

Renewal and reaching wider audiences are essential to the economic sustainability of opera, and to a continual increase in artistic quality and creativity. Making opera accessible to spectators of every type is part of our mission – an inclusive agenda that imposes no conditions in respect of income levels or cultural affinity. We work with groups of young people or adults from many different backgrounds, encouraging their self-expression, and establishing the conditions for rich intercultural dialogue. The support from the European Commission in 2009 and 2010 is an indication that our priorities coincide with some of the goals of the Culture Pro­gramme. This encourages us to continue building links and reinforcing synergies – such as through the European Network of Opera Academies – so as to benefit from the best that each of us is doing, and to ensure the vitality of opera in the 21st century.’

The festival takes place every year, and has received an operating grant of 95 066 euros in 2010. Website:

_ 4 2 _

_ 4 3 _ c u l t u r e i n m o t i o n

IMAGINE 2020 Seeing climate change through art European artists and arts organisations can be catalysts for new ways of thinking – and, in light of climate change, new ways of thinking have never been so necessary! Through Imagine 2020, a group of per­ formance arts organisations across Europe are exploring ways of supporting artists who tackle the issue through their art, and of presenting their shows that are environmentally sustainable.

Theresa von Wuthenau, the coordinator, and Guy Gypens, artistic director of the Kaaitheater in Brussels, underline how the project is in tune with the concept of a resource-efficient Europe, without limiting the possibility for artists and their works to travel and tour: ‘Climate change is the greatest challenges of the 21st century. So eleven arts organisations across Europe have got together, harnessing the power of the imagination to bring about a re-invention of modern society. We are building on the experiences from a 24-month project called “Thin Ice: Art and Climate Change” that created unexpected opportunities for dialogue between arts, science, and civil society, and that raised awareness and involving the public both as audiences and as participants. The network started out from a chance meeting of like-minded individuals at an event on the arts and climate change. We decided we would explore how artists can help the shift towards a low carbon economy, by engaging a generation of artists in Europe with climate issues and by promoting creative exchanges with the world of science, philosophy and history, to provoke new and unexpected ways of looking at the issues.

Photos provided by IMAGINE 2020 © Michel François

Partners in the project are commissioning and producing several works that address climate change. French writer and director Frederic Ferrer says the network made it possible for him to get expert input into his play “Kyoto Forever” at the Theatre Le Quai in Angers. In Brussels, the Kaaitheater’s Burning Ice festivals included a mock documentary depicting a future Netherlands submerged under water. In London and Ljubljana, art took to the streets and occupied public spaces, bringing the message to the people. The artistic directors were able to travel to the different venues and observe the work being done. We learned an enormous amount in a very short time, with the exchange of ideas and exposure to different approaches. The foundations laid by the Thin Ice pilot programme are being continued and extended under the IMAGINE 2020 Network, with additional partners and a novel training dimension through the organisation of summer academies for artists and mentoring programmes.’

The project is running from 2010 to 2015, with a grant of 2 200 000 euros. The lead-organiser is Kaaiteater in Brussels and co-organisers are Artsadmin in London, Bunker in Ljubljana, Domaine d’O in Montpellier, Domino in Croatia, Théâtre Le Quai in Angers, Kampnagel Internationale Kulturfabrik of Germany, the London International Festival of Theatre, the New Theatre Institute of Latvia, Rotterdamse Schouwburg of the Netherlands, and Transforma of Portugal. Website:

_ 4 4 _

_ 4 5 _ c u l t u r e i n m o t i o n

Cooperation and Mediation in the Digital Arts A flight of song CO-ME-DI-A – Cooperation and Mediation in the Digital Arts – aims to use media art and digital technologies in public events, workshops and residencies to assist learning, particularly in real-time computer music for network performance. It has created a common platform for communication and expression, and its residencies developed technical and artistic content.

Andrew Gerzso, the project coordinator, outlines the achievements: ‘As high speed internet spreads ever wider, it opens up new artistic possibilities – and particularly in musical composition and performance. Today’s technology means that a student can take part in an instrumental master class or a composer lesson even when thousands of kilometres from the teacher. New networks allow streaming of seminars on musical research, live videoconferencing, and on-line artistic and musical events. CO-ME-DI-A has seized this potential, and is realising it in line with the European sprit of combining cultural heritage and innovation. This three year project has organized residencies with international artists (Andrea Cera, Bernhard Lang, David Moss...) and ensembles (European Bridges Ensemble… ). The results include novel works that explore distributed performances (Disparate Bodies…), and different approaches to live musical composition (, NetCities…). And twin-site interactive installations, concerts and rehearsals (An Invisible Line, NetTrike…) have further broadened its scope.

Photos provided by Cooperation and Mediation in the Digital Arts

Reaching a wide audience in order to make people aware of the new possibilities offered by high-speed networks in the artistic domain is also a priority. Workshops and demonstrations were organized within the International Computer Music Conference, New Interfaces for Musical Expression, Sound and Music Computing, and EyesWeb Week. Artistic works were presented in the Agora Festival in Paris, Klangwerktage Festival in Hamburg, Making New Waves Festival in Budapest and ENTER4 in Prague. And three “showcase” events highlighted the technological, artistic and conceptual issues of the project. CO-ME-DI-A has had a major impact on all the partners, promoting increasing day-to-day use of networking, and has also attracted interest at the European and international level. Most recently, the Trans-European Research and Education Networking Association and the Internet2 consortium in the USA invited the CO-ME-DI-A project to host their annual Network Performing Arts Production Workshop in 2010 in Paris.’

The project is running from November 2007 to March 2011 with a grant of 1 343 669,20 euros. The lead-organiser is Institut de Recherche et Coordination Acoustique Musique at the Centre Pompidou, Paris and the co-organisers are Università degli Studi di Genova in Italy, the Center for Art and New Technologies in Prague, Queen’s University in Belfast, the University of Music and Dramatic Arts in Graz, Hochschule für Musik und Theater in Hamburg, and the Hungarian Computer Music Foundation. Website:

_ 4 6 _

_ 4 7 _ c u l t u r e i n m o t i o n

ENPARTS A European network of performing arts

Photos provided by ENPARTS © Jake Walters

Six internationally renowned European festivals and institutions, coordinated by the Venice Biennale, are constructing a common programme for innovation and experimentation in the performing arts. The network commissions three new works every year. In 2010, three experimental works were selected: two dance co-productions and a music co-production of three short chamber operas. These new productions are being presented on the European circuit through a network set up by the participating institutions and festivals, and backed up by internet links and accompanying audio-visual works documenting how they were created.

Paolo Bartolani, the project leader, summarises what the ENPARTS project is doing: ‘ “A place that concentrates creativity and makes it explode, that opens up the energy of people to others. A suspended time and space for two weeks in the most image-filled and mysterious city in the world: Venice. Ideas, fantasy, technology, experimentation. Challenge, collaboration, risk, invention, freedom.” This is how Luca Francesconi, the Artistic Director of Music Biennial, presented the first ENPARTS campus, called “The Body Electric”, in Venice in 2009. A selection of young artists that ENPARTS brought from around the world worked in small groups to produce short works using music, theatre and dance that were then showcased at the 53rd International Festival of Contemporary Music of La Biennale, in the Teatro Piccolo Arsenale. The ENPARTS network has three campuses programmed in 2008-2012, providing young artists with the space and resources to create inter-disciplinary projects together. Creating a fertile group of artists with new artistic partnerships formed from their involvement is a perfect embodiment of the ENPARTS vision. Some of these young partnerships are chosen to create new works for a mixed bill that will play on the European circuit through an exchange network of the participating institutions and festivals. ENPARTS promotes professional expertise and transmits innovation through ambitious combinations of artistic ideas and technical and financial resources. People working in the sector are constantly acquiring skills and sensitivity for managing intercultural relations in increasingly complex contexts. Its dual role not only provides supports for European creativity, but also offers an artistic platform at the intercultural crossroads that Europeans must increasingly negotiate.’

The project is running from 2007 to 2012 with a grant of 2 500 000 euros. The lead-organiser is Fondazione la Biennale di Venezia and the co-organisers are Dance Umbrella in London, Dansens Hus in Stockholm, Musicadhoy in Madrid, Musik der Jahrhunderte in Stuttgart, Berliner Festspiele-spielzeit europa in Berlin, and Bitef Teatar in Belgrade. Website:

Many cities which have held the title experienced impressive immediate results. For example, on average they experience an increase of some 12 % in tourists compared to the previous year; 10 million people attended a cultural event in Liverpool during

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

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

Why is it such a success? The secret is two-fold: international visibility, and citizen involvement.

European Capitals of Culture are proof that culture makes a major contribution to the European Union’s aim of smart, sustainable and inclusive growth, because they are part of the long-term development of European cities and their regions, as well as a stimulus for dynamism, crea­ tivity, and social inclusion.

2008 and all the children of all the schools of the city participated in at least one activity; the 200 cultural projects which took place in Linz in 2009 generated 7 700 events, involved 5 000 artists and led to additional regional GDP of 8.4 million euro; nearly 60 % of the residents of the city of Luxembourg visited a European Capital of Culture event in 2007 and 139 crossborder projects were implemented with partners from the Grande Région; during Stavanger 2008, collaborations, co-productions and exchanges took place with 54 countries; 73 official international delegations were received in Sibiu 2007. But many have also

experience of long-term benefits. Indeed the most successful Capitals are those which have embedded the event as part of a long-term strategy and commitment by the city to culture-led development. The European Capitals of Culture are quite simply an amazing opportunity for change and transformation for a city, its image, its infrastructure, its cultural sector and its citizens. Like Europe itself, the project still has plenty of experiments in artistic, urban, and communal living ahead of it.

m o t i o n

25 years and more than 40 cities later, the European Capitals of Culture stands out as one of the European Union’s must recognised cultural initiatives. Its primary objective is to highlight the richness and diversity of European cultures and the features they share, and to encourage a sense of belonging to Europeans of all ages and lifestyles. Over the years this event has evolved and its social and economic benefits have also become increasingly apparent and recognised.

i n

European capitals of culture

_ 4 9 _ c u l t u r e

Photo provided by European Capitals of Culture 2010 – City of Essen for the Ruhr (Germany) © media Zollverein Feuerwerk

_ 4 8 _

The EBBAs were launched 10 years ago and Carla Bruni, Gabriel Rios, Dolores O’Riordan, Adele, Milow and Peter Fox are just some of the European artists who have been awarded an EBBA for their international debut album. The winners are selected on the sales results of their international debut album in the previous year in countries taking part in the Culture Programme (outside the country of production), airplay on public radio stations (part of the European Broadcasting Union) and their ability to perform live.

More about this prize: http://www.europeanborderbreakers­

Since 2010 the event is organised by Eurosonic/Noorderslag in Groningen and the show is hosted by music and television legend Jools Holland. The 2010 award ceremony was attended by 1 200 people in the presence of HRH Princess Máxima of the Netherlands and the show was broadcast on television in 12 countries, features from it were played on 24 radio stations and it is estimated that more than 45 million people were reached. The first ever public choice EBBA went to Milow, from Belgium.

m o t i o n

In addition to the projects proposed by cultural operators, the Culture Programme also seeks to showcase current successes in the cultural sector that otherwise may not be easily noticed across Europe, by the granting of prizes for contemporary architecture, cultural heritage, literature and pop music. These prizes recognise and reward excellence in these fields, seeking to promote best practice and the circulation of European works beyond national borders.

The EU Prize for pop music (European Border Breakers Awards – EBBA)

i n

Cultural prizes Spotlighting excellence

_ 5 1 _ c u l t u r e

The European Border Breakers Awards – EBBA 2010

The EU Prize for Architecture Prize: The Norwegian Opera & Ballet – Snohetta © Gerald Zugmann

_ 5 0 _

The EU Prize for contemporary architecture (Mies van der Rohe Award) The EU Prize for contemporary architecture/Mies van der Rohe Award and the emerging architect Special Mention are biennial awards that are granted to the European author(s) of architectural works recently built in Europe. The Prize and the Special Mention highlight the achievements of European professionals in the progress of new architectural concepts and technologies and it offers European citizens as well as those responsible for urban development the chance to gain a better understanding of the crucial role played by architecture and urban planning in the shaping of cities and communities and their influence on the quality of life and the environment.

The winners are selected by a jury from a short list based on nominations submitted by the member associations. The selection of works is based on their excellence in conceptual, technical and construction terms. Material on the shortlisted works is used for an exhibition which travels throughout the EU and beyond and is accompanied by a catalogue giving detailed information on the selection process and the submitted works. Some of the previous winners were: the Norwegian National Opera and Ballet Theatre in Oslo (Snøhetta architects); Stanstead Airport, United Kingdom (Sir Norman Foster); Municipal Sports Stadium Barcelona, Spain (Esteve Bonell, Francesc Ruis); Kunsthaus Breganz, Austria (Peter Zumthor);

More about this prize:

Car Park and Terminus Hoenheim North, Strasbourg, France (Zaha Hadid); the Netherlands Embassy, Berlin, Germany (Rem Koolhaas, Ellen van Loon). Some Special Mention winners were Sharnhausere Park Town Hall, Ostfildern, Germany (Jürgen Mayer); and the Faculty of Mathematics, Ljubljana, Slovenia (Matija Bevk, Vasa J. Perovi΄c). The winners of the 2011 Prize and Special Mention will be announced and presented in May 2011.

_ 5 3 _ c u l t u r e i n m o t i o n

The EU Prize for Cultural Heritage © Treppenhalle HiRes

The EU Prize for literature: The 2010 Award Ceremony

_ 5 2 _

The EU Prize for cultural heritage (Europa Nostra Awards)

heritage also generates jobs, attracts tourists and contributes to sustainable development.

European cultural heritage is very much alive and kicking: it plays a vibrant role in communities across Europe, it brings people together to share their heritage and learn from each other and it can help to economically revive areas. Great work is taking place across Europe to protect our heritage, to conserve our industrial heritage, to regenerate the cities and areas we live in, to research how digital developments can provide a greater access to heritage and how it should be protected from climate change, as well as to educate and train people about our heritage. All this work not only helps to make Europe a beautiful place to live, well-maintained

This prize is granted jointly by the Commission and Europa Nostra to celebrate exemplary initiatives showing the many facets of Europe’s cultural heritage. During the awards ceremony in Istanbul in June 2010 European Commissioner Androulla Vassiliou presented 6 Grand Prizes for conser­ vation, research, dedicated service and education and 23 awards. The six Grand Prize winners in 2010 were: the conservation of Le Collège des Bernadins (restored 13 century Cistercian college, Paris, France); the conservation and restoration of the Neues Museum, Berlin, Germany; the restoration

More about this prize:

and conservation of the Roman Theatre, Cartagena, Spain; the research for the digitisation of Van Gogh’s letters, Van Gogh Museum, Amsterdam, the Netherlands; dedicated service by the documentary film maker Nils Vest, Copenhagen, Denmark; and awareness-raising and training: the Baerwaldbad, Berlin, Germany. The 2011 awards will be presented in Amsterdam in June in the presence of Commissioner Androulla Vassiliou and Europa Nostra’s President, Plácido Domingo.

The EU Prize for contemporary literature

countries will be rewarded for their achievements.

Fiction engages. It revives and rouses, it enriches and enhances, opening up a world of different experiences and circumstances. The aim of the prize which was launched in 2009 is to celebrate the diversity of European fiction, to promote the chosen authors outside their own country including translation of their work, and to contribute to boosting the international circulation of literature more generally.

The prize is organised for the Commission by a consortium comprised of the Federation of European Publishers (FEP), the European Booksellers Federation (EBF), the European Writers Council (EWC). They are responsible for organising the national selections in each country, for organising the award ceremony and other promotional activities.

The prize is unique, being the only award to reward authors from so many different European countries writing in such an array of languages. Indeed, over a three year period (2009, 2010, 2011), emerging authors from 35 different

In 2010, Belgium, Cyprus, Denmark, Estonia, Germany, Finland, Luxembourg, Former Yugoslav Republic of Macedonia, Romania, Slovenia and Spain participated. The 11 winners of the prize were Peter Terrin (Belgium), Myrto Azina Chronides (Cyprus), Adda Djørup (Danemark), Tiit Aleksejev

More about this prize:

(Estonia), Riku Korhonen (Finland), Iris Hanika (Germany), Jean Back (Luxembourg), R˘azvan R˘adulescu (Romania), Nataˇsa Kramberger (Slovenia), Raquel Martínez-Gómez (Spain) and Goce Smilevski (Former Yugoslav Republic of Macedonia). They were presented during a ceremony in Brussels in November 2010.

_ 5 4 _

_ 5 5 _ c u l t u r e

European Commission DG Education and Culture Education, Audiovisual and Culture Executive Agency Culture Contact Points in your country Funding opportunities 2011 Results of application selection

CULTURE POLICY European Agenda for Culture Commission Report on the implementation of the European Agenda for Culture library/acte_EN.pdf


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

‘Study on the contribution of culture to local and regional economic development as part of European regional policy’ ‘Towards a Strategy for culture in the Mediterranean Region: A needs and opportunities assessment report in the field of culture policy and dialogue in the Mediterranean Region’ ‘Study on the entrepreneurial dimension of cultural and creative industries’

m o t i o n


i n

List of web links to help you submit an application and stay updated on culture policy developments

Culture in motion 2010  

EU Culture brochure 2010