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The European Music Council (EMC) is a platform for representatives of National Music Councils and organisations involved in various fields of music from many European countries. As a European umbrella organisation, it gathers the European members of the International Music Council (IMC). The European Music Council contributes to a better mutual understanding among peoples and their different cultures and to the right for all musical cultures to coexist. Therefore it provides exceptional value to its membership by building knowledge; creating networking opportunities as well as supporting and enhancing the visibility of initiatives that help sustain people’s participation in music and cultural life.

)-02).4 %$)4/2 European Music Council Haus der Kultur Weberstr. 59a 53113 Bonn Germany Tel.: +49 228 96699664 Fax: +49 228 96699665 #(!)2-!. Timo Klemettinen

%$)4).' Simone Dudt, Merveille Mubakemeschi 02//&2%!$).' Judith Buschfeld, Isabelle Métrope, Julia Osada ,!9/54 kominform design, Hamburg ( 02).4).' Leppelt Grafik & Druck GmbH, Bonn Photo on front page by Vincent Kenis

6)#% #(!)2 Christian Höppner 42%!352%2 Stef Coninx

Photographers as credited The European Music Council is supported by:

"/!2$-%-"%23 Erling Aksdal, Claire Goddard , Helena Maffli, Frank Stahmer, Kaie Tanner 3%#2%4!29'%.%2!, Simone Dudt (sd) 0%23/.!,!33)34!.44/4(%3%#2%4!29'%.%2!, Julia Osada (jo) 6/,5.4%%2'%2-!.&3*0/,)4)#3  Merveille Mubakemeschi (mm)

© 2010 European Music Council. All rights are reserved. The views expressed in this publication are those of the authors and not necessarily of the publisher or editor. No part of this publication may be reproduced in any format without permission of the European Music Council.

#/.4%.43 %DITORIAL


Made in the Congo Andy Morgan

A Better Conductor Equals A Better Choir! Kaie Tanner

Sound Told Fairy Tales SĂ­lvia Seixas Rodrigues & Jakub Szczypa

A Cultural Europe! A Citizenâ&#x20AC;&#x2122;s Europe! Kathrin Deventer

Institute for Modern Music Jaroslav RauĹĄer, Jana TomĂĄĹĄkovĂĄ, Radek Adamec

Fair Play! Music Against Corruption Kate Declerck

Mixages! Edgar Garcia

The Problem With Good Intentions Erling Aksdal


Music: A Tool for Development and Social Sustainability Andris Piebalgs


Tallinn to Host the Music World â&#x20AC;&#x201C; The IMC World Forum on Music comes to Europe Silja Fischer


Pop Stars and the Aid Revolution Peter Gill

Fair Culture â&#x20AC;&#x201C; Protecting and Promoting Diversity of Cultural Expressions in International Co-operation Federal Coalition for Cultural Diversity Germany

The IMC Music Sector Development Programme Blasko Smilevski

The Millennium Development Goals and Culture


Volcanic Ash Meets Musical Diversity â&#x20AC;&#x201C; The 1st European Forum on Music Jamie Munn

Itâ&#x20AC;&#x2122;s all about Access! â&#x20AC;&#x201C; European Youth Forum on Music Claire Goddard



Setting the Agenda for Cultural Change for the 21st Century Anne Bamford


we are more â&#x20AC;&#x201C; EU Budget Negotiations now underway




2005 UNESCO Convention - Further Steps towards its Implementation Silja Fischer





Good deeds may be born from good intentions, but good intentions never guarantee good deeds, not simply because the intentions are not acted upon, but rather because they are. And deeds arenâ&#x20AC;&#x2122;t necessarily good, even if they are assessed so by clients/customers/participants/students. Unfortunately, doing â&#x20AC;&#x2DC;goodâ&#x20AC;&#x2122; may be a complicated undertaking. This is particularly evident in issues of development. In the cultural ďŹ eld, UNESCO has established multiple platforms to help with such cases: Intercultural Dialogue, The World Commission on Culture and Development (1991), and two conventions: The Convention for the Safeguarding of the Intangible Cultural Heritage (2003) and The Convention on the Protection and Promotion of the Diversity of Cultural Expressions (2005). The EMCâ&#x20AC;&#x2122;s business has in recent years largely been directed towards the latter convention which in practice has served as an ideological platform for much of its work. The problem with conventions and similar documents is that they do not generate automatic actions. They need interpretation. Interpretations are often made with speciďŹ c interests in mind, and we have seen that even commercial interests have been able to make use of these conventions. This is unavoidable. In our globalised world, moving towards free markets and the free ďŹ&#x201A;ow of capital, this is the order of the day. In some special cases this may even serve cultural diversity. But it is not the norm, and very rarely the intention. The furious pace of globalisation is neither controlled by ideology (perhaps by ultra-liberalism?) nor ethics. There are, however, two types of body that have a great potential for doing â&#x20AC;&#x2DC;goodâ&#x20AC;&#x2122;: State governments that have ratiďŹ ed the Convention of 2005, that are committed to its implementation, and many publicly supported NGOs, other civil


Gode gjerninger kan vĂŚre født av gode intensjoner, men gode intensjoner garanterer aldri gode gjerninger, ikke bare fordi intensjonene ikke blir omsatt i handlinger, snarere fordi de blir det. Og gjerninger er ikke nødvendigvis gode selv om de blir vurdert slik av klienter/kunder/deltakere/studenter. En god gjerning kan vĂŚre en problemfylt oppgave. I utviklingsarbeid er dette sĂŚrlig tydelig. I det kulturelle feltet har UNESCO opprettet ďŹ&#x201A;ere plattformer for ĂĽ hjelpe oss: Interkulturell dialog, Verdenskommisjonen for kultur og utvikling (1991), og to konvensjoner: Konvensjonen for vern av den immaterielle kulturarven (2003) og Konvensjonen om vern og fremme av et mangfold av kulturuttrykk (2005). EMCâ&#x20AC;&#x2DC;s virksomhet har i de senere ĂĽrene i stor grad vĂŚrt rettet mot sistnevnte konvensjon, som i praksis har fungert som en ideologisk plattform for mye av arbeidet. Problemet med konvensjoner og liknende dokumenter er at de ikke genererer automatiske handlinger. De trenger tolkning. Tolkninger er ofte gjort med spesiďŹ kke interesser i tankene, og vi har sett at ogsĂĽ kommersielle interesser har vĂŚrt i stand til ĂĽ utnytte konvensjonene. Dette er uunngĂĽelig. I vĂĽr globaliserte verden, som beveger seg mot frie markeder og fri ďŹ&#x201A;yt av kapital, er dette dagsorden. I noen spesielle tilfeller kan dette ogsĂĽ tjene det kulturelle mangfold. Men det er ikke normen, og svĂŚrt sjelden intensjonen. Globaliseringens rasende tempo er verken styrt av ideologi (kanskje av en ultra-liberalisme?) eller etikk. Det er imidlertid to omrĂĽder som har et stort potensial for â&#x20AC;&#x2122;gode gjerningerâ&#x20AC;&#x2122;: Stater som har ratiďŹ sert konvensjonen av 2005, er forpliktet til ĂĽ implementere den, og mange oďŹ&#x20AC;entlig støttede frivillige organisasjoner, andre sivile aksjonsgrupper og utdanningsinstitusjoner skal- om ikke juridisk, sĂĽ i hvert fall moralsk - opptre i samsvar med den.


action groups, and educational institutions which should â&#x20AC;&#x201C; if not legally, at least morally â&#x20AC;&#x201C; act in accordance with it. The economic and political hegemony of the Western World is perhaps surpassed only by its cultural hegemony. In the ďŹ eld of music, we may even claim victory. As basic musical language, in structural terms, our music has reached out to almost all peoples, gained high status, and become more or less assimilated. Equal temperament, major and minor tonality, rhythm and form structures, our musical perception and comprehension are alien to very few. In many cases, regional and local music cultures which in their own music making have been reduced to a magic dust that is sprinkled over Western structures, much as we in the West, in exotic narcissism, sprinkle ethnically borrowed magic dust over our own structures to achieve artistic self-realisation. The point here is that meetings between non-Western and Western music cultures are not meetings on equal terms, whether we choose to think so or not, and that the shortcomings are on our part, especially when these meetings are concrete, physical meetings between representatives of diďŹ&#x20AC;erent music cultures (â&#x20AC;&#x2DC;playing togetherâ&#x20AC;&#x2122;). That is why, to a large extent, most collaborative projects are displays of working on Western terms, in the end reinforcing our musical structures, our musical culture (awareness of this is usually very low, many act in good faith due to shallow thinking). This lack of balance is further enhanced when Western money comes into play, which is usually the case. The poor parts of the world cannot aďŹ&#x20AC;ord to say no to Western generated â&#x20AC;&#x2DC;collaborationsâ&#x20AC;&#x2122;. Moreover, such meetings often oďŹ&#x20AC;er unique individual and collective opportunities that many would otherwise be precluded from. I will be the ďŹ rst to admit that this is a grim perspective, but a perspective seldom drawn. And it is easy to understand why. Who wants to put down projects with happy, smiling children? Or with poor artists inspired by the prospect of gaining new markets and possible aďŹ&#x201E;uence? Or with small communities thriving on attention and external resources? Such put-downs may easily be confused with â&#x20AC;&#x2DC;bad intentionsâ&#x20AC;&#x2122;. What is at stake here is the status of culture in development work. Many Western cultural institutions, organisations, educational institutions and state policies in the cultural ďŹ eld face the risk of merely running welfare projects, if not worse, of primarily being agents for the promotion of their own culture. There is nothing wrong with either. The problem is: If such institutions, organisations, educational institutions and policies do not work for the promotion and protection of a sustainable diversity of cultural expressions, then who does? But there is hope. Although many projects are driven by special interests, just as many are driven by intentions of doing â&#x20AC;&#x2DC;goodâ&#x20AC;&#x2122;. So the obstacle is not necessarily a conďŹ&#x201A;ict of interests. The obstacle is not being clear about what we want to achieve in relation to the convention. First, we must acknowledge and detect the challenges in the implementation of our best intentions by asking the fundamental question: Will my project support the conventionâ&#x20AC;&#x2122;s spirit in the long run? We must then look to best practices in the process. Fortunately they do exist! The neo-colonialist ghost haunts us all whether we are â&#x20AC;&#x2DC;goodâ&#x20AC;&#x2122; or â&#x20AC;&#x2DC;badâ&#x20AC;&#x2122;. It even imbues this very text which you are reading. But as long as we are responsible for judgments on what is good or bad for others as well as the world, we at least have an obligation to try and not nurture this ghost.  %RLING!KSDAL *AZZPIANISTANDCOMPOSER %-#"OARD-EMBER (EADOF*AZZ0ERFORMANCE 0ROGRAMMEOFTHE.ORWEGIAN5NIVERSITYOF3CIENCEAND4ECHNOLOGY .4.5 4RONDHEIM -EMBEROF7ORKING'ROUPFOR4HE0OP*AZZ0LATFORM OFTHE%UROPEAN!SSOCIATIONOF#ONSERVATOIRES!%#

Vestens økonomiske og politiske hegemoni overgĂĽs kanskje bare av dens kulturelle hegemoni. PĂĽ musikkomrĂĽdet kan vi til og med si at vi har vunnet. Som grunnleggende musikalsk sprĂĽk, i strukturell forstand, har vĂĽr musikk nĂĽdd ut til nesten alle folkeslag, vunnet høystatus og blitt mer eller mindre assimilert. Likesvevende temperatur, dur- og molltonalitet, rytme- og formstrukturer, vĂĽr musikalske persepsjon og forstĂĽelse er sjeldent fremmed. I mange tilfeller har regionale og lokale musikkulturer blitt redusert til tryllestøv som man drysser over vestlige strukturer i egen musikkproduksjon, slik som vi i Vesten i ekotistisk narsissisme drysser etnisk lĂĽnt tryllestøv over vĂĽre egne strukturer med sikte pĂĽ kunstnerisk selvrealisering. Poenget her er at møter mellom ulike musikalske kulturer og vestlig musikk ikke er møter pĂĽ like vilkĂĽr, enten vi tror det eller ei, og manglene er pĂĽ vĂĽr side. Spesielt nĂĽr disse møtene er konkrete, fysiske møter mellom representanter for ulike musikk-kulturer (â&#x20AC;&#x2122;spille sammenâ&#x20AC;&#x2122;). Det er derfor de ďŹ&#x201A;este samarbeidsprosjekter i stor grad er pĂĽ vestlige vilkĂĽr, best egnet til ĂĽ styrke vĂĽre musikalske strukturer, vĂĽr musikalske kultur. (Bevisstheten om dette er vanligvis svĂŚrt lav. Mange handler i god tro basert pĂĽ grunn tekning.) Denne mangelen pĂĽ balanse forsterkes ytterligere nĂĽr vestlige penger kommer inn i bildet, noe som vanligvis er tilfelle. I de fattige deler av verden har man ikke rĂĽd til ĂĽ si nei til vestlig genererte â&#x20AC;&#x2122;samarbeidsprosjekterâ&#x20AC;&#x2122;. Dessuten innebĂŚrer slike møter enestĂĽende individuelle og kollektive muligheter som mange ellers ville vĂŚre avskĂĽret fra. Jeg skal vĂŚre den første til ĂĽ innrømme at dette er et lite vakkert perspektiv, men et perspektiv sjelden tegnet. Det er enkelt ĂĽ forstĂĽ hvorfor. Hvem ønsker ĂĽ tale nedsettende om prosjekter omgitt av glade, smilende barn? Eller om fattige kunstnere inspirert av forventning om ĂĽ vinne nye markeder og mulig velstand? Eller om smĂĽ samfunn som blomstrer under oppmerksomhet og tilførsel av eksterne ressurser? Slikt kan lett forveksles med â&#x20AC;&#x2122;negative intensjonerâ&#x20AC;&#x2122;. Det som stĂĽr pĂĽ spill her er kulturens status i utviklingsarbeid. Mange vestlige kulturorganisasjoner, utdanninger og statlig politikk pĂĽ kulturomrĂĽdet stĂĽr i fare for bare ĂĽ drive velferdsprosjekter. Eller som verre er, ĂĽ bare vĂŚre agenter for egen kultur. NĂĽ er det ikke noe galt med dette. Problemet er: Hvis slike organisasjoner, institusjoner og policies ikke fremmer og verner om et bĂŚrekraftig mangfold av kulturuttrykk, hvem gjør det da? Men det er hĂĽp. Selv om mange prosjekter er drevet av spesielle interesser, er nok like mange drevet av intensjoner om gode gjerninger. SĂĽ hinderet er ikke nødvendigvis motstridende interesser. Hinderet er ĂĽ ikke ha klart hva vi ønsker ĂĽ oppnĂĽ i forhold til konvensjonen. Først mĂĽ vi erkjenne og oppdage utfordringene med ĂĽ implementere vĂĽre beste intensjoner ved ĂĽ stille det grunnleggende spørsmĂĽlet: Vil mitt prosjekt støtte konvensjonens ĂĽnd i det lange løp? Deretter vi mĂĽ ďŹ nne gode eksempler pĂĽ de som gjør det. Heldigvis ďŹ nnes de! Det neo-kolonialistiske spøkelset hjemsøker oss alle om vi er snilleâ&#x20AC;&#x2122; eller â&#x20AC;&#x2122;slemmeâ&#x20AC;&#x2122;. Det beĂĽnder til og med den teksten du nĂĽ leser. Men sĂĽ lenge vi er ansvarlige for vurderinger om hva som er bra eller dĂĽrlig for andre og for verden, har vi i det minste en forpliktelse til ĂĽ forsøke ĂĽ ikke gi nĂŚring til dette spøkelset. %RLING!KSDAL *AZZPIANISTOGKOMPONIST PEDAGOG %-# STYREMEDLEM LEDERAV*AZZLINJA VED.ORGESTEKNISK NATURVITENSKAPELIGEUNIVERSITET.4.5 4RONDHEIM MEDLEMIARBEIDSGRUPPENFOR4HE0OP*AZZ0LATFORMI%UROPEAN!SSOCIATION OF#ONSERVATOIRES!%#



-53)#!4//,&/2$%6%,/0-%.4 !.$3/#)!,3534!).!"),)49

I come from a country that illustrates a fascinating example of how the musical heritage has helped to develop and foster a modern state. Over a million of our folk songs, nurtured throughout centuries, have been passed on from generation to generation and they still live today as a unique part of the UNESCO world heritage. This outstanding musical heritage has enabled us to accumulate knowledge that has been a vital element in building national identity and guiding the nationâ&#x20AC;&#x2122;s development. It is important to note that I am not merely talking about the historic value of music. It is a tool in creating dialogue between diďŹ&#x20AC;erent groups within a society as well as between diďŹ&#x20AC;erent nations and cultures. Music is more than a symbol of community or social inclusion and plays an important role of individualsâ&#x20AC;&#x2122; creative and innovative expression. It is an essential part of personality development from a very young age. Education is another crucial area where music brings in enormous value and enhances a cultural identity. Countries that have succeeded in creating strong music industry traditions give us evidence of a correlating impact on their national brand reputation â&#x20AC;&#x201C; it activates international visibility and awareness, contributes to export growth and tourism ďŹ&#x201A;ows. Thus the link between music, development and


social stability is clear. It is for this reason that in recent years the European Commission has engaged in a number of projects providing support to musical education, local music industries and various socially-oriented musical projects. Through programmes launched in the Ivory Coast, Senegal, Burkina Faso and other developing countries, we have encouraged young musicians to develop musical careers, supported the strengthening of music sectors, and fostered access of local musicians to the international music market. I ďŹ rmly believe that culture, and especially music, can be used in support of reaching the Millenium Development Goals (MDGs). I am proud to say that the European Commission and the EU Member States together with UNESCO are at this moment in the lead to increase the importance of culture and cultural industries in development policies. Music will prove to be more than just a soundtrack for this ambitious strategy.  !NDRIS0IEBALGS %UROPEAN#OMMISSIONERFOR$EVELOPMENT






2011 will mark a special year as the European Music Council has decided to join forces with the International and Estonian Music Council for the 4 th IMC World Forum on Music. It is the ďŹ rst time that the IMC World Forum on Music will come to the European continent and the EMC is happy to have the possibility of joining this gathering of the Estonian, European and international music life in Tallinn. After the ďŹ rst European Forum on Music in Vienna in 2010 and before the second European Forum on Music in Istanbul in 2012, the international music sector will exchange and discuss â&#x20AC;&#x153;Music and Social Changeâ&#x20AC;?. The IMC World Forum on Music (WFM) is a global knowledge-building platform on music and society in the 21st century, it explores a variety of topics from diverse perspectives: cultural, political and economical. Topics go beyond the aesthetic aspects of music production and address those mechanisms and incentives that undermine or foster peopleâ&#x20AC;&#x2122;s active participation in cultural experiences. A non-commercial initiative, the Forum provides the opportunity for government oďŹ&#x192;cials, private sector executives, music managers, activists, scholars and practitioners to engage in high-level, crossdisciplinary debates and to design the course of action for the future.

2011. aasta on eriline, sest Euroopa MuusikanĂľukogu (European Music Council â&#x20AC;&#x201C; EMC) on otsustanud Ăźhendada jĂľud Rahvusvahelise MuusikanĂľukogu (International Music Council â&#x20AC;&#x201C; IMC) ning Eesti MuusikanĂľukoguga, et korraldada Ăźheskoos IV IMC Ă&#x153;lemaailmne Muusikafoorumang. Eelmised kolm muusikafoorumit on toimunud Los Angeleses, Pekingis ning Tunises. 2011. aastal koguneb rahvusvaheline muusikamaailm esmakordselt Euroopas â&#x20AC;&#x201C; Tallinnas â&#x20AC;&#x201C; ning arutleb teemal â&#x20AC;&#x17E;Muusika ning sotsiaalsed muutusedâ&#x20AC;&#x153;. Maailma Muusika Foorum on Ăźlemaailmselt mĂľjukas Ăźritus, mis sĂźvendab teadmisi muusika ja Ăźhiskonna vahelistest seostest ning vastastikustest mĂľjudest 21. sajandil. Varieeruvaid teemasid käsitletakse kultuurilisest, poliitilisest ja majanduslikust vaatevinklist. Teemad lähevad kaugemale muusikaga seotud esteetilistest aspektidest ning vaatlevad 4HE#ITY7ALLOF4ALLINN 0HOTOBY4OOMAS4UUL mehhanisme ning ajendeid, mis þþnestavad vĂľi edendavad inimeste vĂľimalust aktiivselt kultuuri kogemises osaleda. Mittetulundusliku algena pakub foorum vĂľimalust ametnikele, erasektori esindajatele, muusikaelu korraldajatele, aktivistidele, teaduritele ja praktiseerijatele osaleda kĂľiki distsipliine hĂľlmavates kĂľrgetasemelistes diskussioonides ning kujundada seeläbi tegevuskava tulevikuks.

The 2011 World Forum on Music will focus on ďŹ ve areas which the IMC and EMC consider of crucial importance to the world of music:

 Music as a tool for social change

 Youth: informal spaces

 Current challenges and opportunities for music education

 Music content, distribution and export

 Music and development

2011. aasta Maailma Muusika Foorum keskendub viiele valdkonnale, mille arengul on otsustav tähtsus muusikamaailmale.

 Muusika kui vahend sotsiaalseks muutuseks

 Noored ja inforuum


 Muusika levik ja eksport

 Muusika ning arendustegevused



By seeking synergies across diďŹ&#x20AC;erent sectors, this high-level forum will provide exceptional opportunities for scholars, government oďŹ&#x192;cials, private sector executives, civil society professionals, artists and students to engage in serious debates on current key issues. The conference sessions will be of a diverse nature; there will be panel discussions, open discussion rounds, project presentations, workshops, live music presentations, presentations of research papers, etc. Poster presentations and an exhibition area will complete the conference programme. The 4th IMC World Forum will again be an outstanding opportunity for representatives of the music world to meet directly with each other and the EMC and IMC leadership, and to engage with expert advisors from the ďŹ elds most relevant to their new endeavours. The Forum will involve a broad audience of music actors and people engaged in and in a position to make decisions regarding the improvement of the conditions under which music is celebrated â&#x20AC;&#x201C; created, performed, disseminated, taught and learnt, preserved, shared, etc. â&#x20AC;&#x201C; in various parts of the world. The Forum participants will consist of

 Invited speakers and presenters (from the world of music, but also from governments, intergovernmental organisations, development agencies, foundations, and the business sector)

 A broad audience of people from all aspects of music, including members of IMC member organisations and those from the broader music community.

 Representatives of Estonian music organisations

 Music students and musicians from Estonia IMC and EMC strongly encourage youth participation in their activities and therefore make a special call to their member organisations to include youth representatives in their delegations. The organisers will also endeavour to support the participation of delegates from developing countries. The outreach of the Forum does not limit itself to the audience present: We can count on an enormous multiplying eďŹ&#x20AC;ect since every participant is an opinion leader and decision maker for his/ her organisational constituency, which can comprise up to millions of people. IMC acts as a switchboard for gathering people and disseminating information and new knowledge production in the ďŹ eld of music. Moreover, the some 30 diďŹ&#x20AC;erent Forum sessions will be made available as live streams and podcasts on the Internet, which will ensure an unprecedented outreach for the Forum with a potential of a web audience of thousands in 150 countries around the world. Thanks to Tallinnâ&#x20AC;&#x2122;s buzzing cultural life, Forum participants will be oďŹ&#x20AC;ered an exciting artistic and social programme which will beneďŹ t from the exceptional atmosphere created as the city celebrates its year as European Culture Capital 2011. Estonian culture will be present throughout the city during concerts, performances, festivals etc. In the framework of the Forum, IMC members will also gather for the 34th General Assembly. Likewise, the EMC will hold its Annual Meeting of members in Tallinn. Both assemblies will consider the programme implementation and formal matters of the two associations.  SD 3ILJA&ISCHER3ECRETARY'ENERAL)-#



Otsides sĂźnergiat erinevate sektorite vahel, pakub see kĂľrgetasemeline foorum kĂľikidele osalejatele erakordset vĂľimalust kaasa rääkida päevakajalisi vĂľtmekĂźsimusi puudutavates aruteludes. Konverentsi sessioonid on erineva loomusega: toimuvad nii avatud paneeldiskussioonid, projektide presentatsioonid, workshopâ&#x20AC;&#x2122;id, elava muusika ettekanded, uuringutulemuste esitlused ja palju muud. Konverentsi kava täiendavad näitused ja väljapanekud. IV Maailma Muusika Foorum on väljapaistev vĂľimalus erinevatel muusikamaailma esindajatel nii Ăźksteisega kui ka EMC ja IMC juhtkonnaga vahetult kohtuda ning saada oma ala ekspertidelt head nĂľu edaspidisteks ettevĂľtmisteks. Foorumi avar publik koosneb nii muusikainimestest kui ka erinevatest maailma nurkadest pärit ekspertidest, kelle igapäevase tÜÜ hulka kuulub muusika loomise, esitamise, levitamise, Ăľpetamise, säilitamise, jagamise jms edendamisega seotud otsuste vastu vĂľtmine. Foorumist vĂľtavad osa:

 lektorid, esinejad (peamiselt muusikavaldkonna esindajad ja arvamusliidrid, aga samuti avaliku ja erasektori esindajad);

 muusikavaldkonna rahvusvahelise avalikkuse esindajad;

 Eesti muusikaorganisatsioonide ja haridusasutuste esindajad;

 Eesti muusikavaldkonna ßliþpilased ja muusikud IMC ja EMC julgustab noori oma tegevustes osalema ja saadab seega välja eraldi kutsed IMC liikmesorganisatsioonidele kaasamaks oma delegatsioonidesse noori muusikuid. IMC pßßab ka leida toetusvþimalusi delegaatidele arengumaadest. Foorumi ulatus ei piirne kaugeltki vaid foorumi publiku ja osalejatega. Konverentsiga kaasneb jþuline multiplikaatorefekt. Kuna enamus osavþtjatest on oma organisatsiooni arvamusliidrid ja otsustajad, siis jþuab info läbi nende isikute ja organisatsioonide veelgi laiema sihtgrupini ßle kogu maailma (70 osalevat riiki ßle kogu maailma). Lisaks sellele tehakse suur osa sessioonidest publikule avatuks interneti-ßlekannetena. See teeb foorumi kättesaadavaks tuhandetesse ulatuvatele veebikasutajatele ßle kogu maailma. Foorumi kßlastajatele pakutakse pþnevat kultuurilist ja meelelahutuslikku programmi. Erakordset atmosfääri lisab kireva kultuurieluga Tallinn, mis kannab 2011. aastal ka Euroopa Kultuuripealinna tiitlit. Linnas toimuvad kontsertid, performance´id, festivalid ja muu pakub vþimalust Eesti kultuuriga lähemalt tutvuda. Paralleelselt foorumiga toimub ka Rahvusvahelise Muusikanþukogu 34. peaassamblee. Samuti peab Euroopa Muusikanþukogu Tallinnas oma iga-aastast kohtumist.  SD 3ILJA&ISCHER2AHVUSVAHELISE-UUSIKANzUKOGUPEASEKRETiR 4RANSLATEDBY4RIIN(ALLAS2AHVUSVAHELISE-UUSIKANzUKOGUPRAKTIKANT


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3 2 ! 4 3 0 0/ $ ) ! % ( 4 !.$ . / ) 4 5 , / 6 2% In October 1984 the Irish pop singer Bob Geldof watched a horrifying BBC Television news story about deaths from starvation in the famine camps of northern Ethiopia. His ďŹ rst thought was to give the proďŹ ts of his next record to charity, but his group was not doing well and he knew it would be only a paltry sum. He set out instead to mobilise friends in the pop world to do something directly for the cause of African hunger. Thus â&#x20AC;&#x2DC;Band Aidâ&#x20AC;&#x2122; and its chart-topping single â&#x20AC;&#x2DC;Do They Know Itâ&#x20AC;&#x2122;s Christmas?â&#x20AC;&#x2122;. What followed in 1985 was the global concert â&#x20AC;&#x2DC;Live Aidâ&#x20AC;&#x2122; and the start of an extraordinary relationship between celebrity singers and aid activists that has sustained the drive for development for the past quarter century. Among the most memorable performances at â&#x20AC;&#x2DC;Live Aidâ&#x20AC;&#x2122; was that of the young singer with U2. Like his fellow Irishman Geldof, Bono too applied his celebrity status to combating world poverty. He took the message to the United States where fame gave him access to the highest reaches of government and where he founded DATA (now ONE) which expanded the pop agenda beyond money-raising to well-grounded campaigns on Third World debt, western aid, trade imbalances and HIV/AIDS. The high point of the concert for emotional content was a pop video which stunned the audience and television viewers into silence. It was the work of a tape editor with CBC, the Canadian Broadcasting


Corporation. Sleepless one night in 1984 over all the terrible images he was editing, he decided to cut pictures to that melancholy hit â&#x20AC;&#x2DC;Driveâ&#x20AC;&#x2122; by The Cars. â&#x20AC;&#x153;Whoâ&#x20AC;&#x2122;s gonna tell you when/ itâ&#x20AC;&#x2122;s too late? Whoâ&#x20AC;&#x2122;s gonna tell you things/ arenâ&#x20AC;&#x2122;t so great?â&#x20AC;?. For a time the editor thought he might have done something in terrible taste. But months later the tape was shown to Geldof and then introduced at â&#x20AC;&#x2DC;Live Aidâ&#x20AC;&#x2122; by David Bowie. One image in the video haunted all those who saw it. It was that of a little girl, emaciated and dehydrated, apparently on the point of death. Her name was Birhan Woldu. But she did not die, thanks to the care of Irish Roman Catholic sisters. She grew up and was supported through her education by the Canadian reporter whose crew had ďŹ lmed her. Twenty years on from the famine at the â&#x20AC;&#x2DC;Live 8â&#x20AC;&#x2122; concert in Londonâ&#x20AC;&#x2122;s Hyde Park â&#x20AC;&#x201C; organised to put pressure on that summerâ&#x20AC;&#x2122;s G8 conference with its focus on African poverty â&#x20AC;&#x201C; Birhan was brought on stage by Bob Geldof in a triumphant illustration of what aid could achieve. The little girl on the point of death in 1984 had been transformed into a beautiful young woman, now a graduate in agriculture from her hometown university. She was photographed in a smiling embrace with Madonna, and one of the press pictures of 2005 was created.


That G8 Africa summit at Gleneagles, in Scotland, in 2005 (Tony oďŹ&#x20AC;ered the only route to salvation until, of course, the free market Blairâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;Year of Africaâ&#x20AC;&#x2122;) was also the summit of the western worldâ&#x20AC;&#x2122;s failed even in the stable West. The cost of this pursuit of fashion has been to downplay the obvious: the imperative of agricultural self-conďŹ dent engagement with the anti-poverty drive in Africa. As development and the poor worldâ&#x20AC;&#x2122;s staggering population increase. our prosperity increased at the end of the last century and into the A faltering conďŹ dence in the West is balanced by growing 21st, there was a feeling that global hunger, like world communism, could be banished by the application of assertive capitalism. assertiveness in the East. China has its own answers to the development Britain took the lead, proud of this deployment of â&#x20AC;&#x2DC;soft powerâ&#x20AC;&#x2122; to conundrum, and has raised many millions of its own people out of balance its participation in US-led â&#x20AC;&#x2DC;hard powerâ&#x20AC;&#x2122; exercises in Iraq poverty, certainly many times the ďŹ gure that western aid has ever and Afghanistan. The Labour governmentâ&#x20AC;&#x2122;s new Department for achieved. The Chinese are messianic about infrastructure and are International Development (DFID) issued a series of policy papers building roads and telecommunications links throughout Africa, as with the grandiose aim of â&#x20AC;&#x2DC;Eliminating World Povertyâ&#x20AC;&#x2122; and when pop they have done at home. That surely helps Chinaâ&#x20AC;&#x2122;s trading ambitions, singers and aid activists needed an arresting brand name for their G8 but it enables poor producers to ďŹ nd new markets as well. Beijingâ&#x20AC;&#x2122;s campaign, they chose â&#x20AC;&#x2DC;Make Poverty History.â&#x20AC;&#x2122; For the whole postlack of commitment to individual rights appals the West, but we also colonial era western statesmen had promised to end extreme poverty need to ask whether it was liberal values that made Europe rich or and the ďŹ nal spurt was to be led by the stars of â&#x20AC;&#x2DC;Celebrity Aid.â&#x20AC;&#x2122; Yet now, whether commerce, statehood and empire gave us the foundation of more than ďŹ ve years on from Gleneagles and with less than ďŹ ve years our prosperity â&#x20AC;&#x201C; and our liberalism. When the history of post-colonial development in to go to the realisation of the United Nations Millennium Africa comes to be written, the role of pop musicians Development Goals, the problem of Africaâ&#x20AC;&#x2122;s desperate will have to be recognised and honoured. They poverty appears as intractable as ever. 4HEN0OP The ďŹ nancial meltdown of 2008 and the did more than either the politicians or the aid FOUNDITSELFPART recession that followed has cast growing doubt professionals to focus the attention of a generation OFANAIDBUSINESS on the shame of world poverty. Without them, on the Westâ&#x20AC;&#x2122;s commitment to sustain, let alone THATCLAIMED certainly in Britain and North America, it is increase, its aid levels to developing countries. Several European countries have cut back on their doubtful that popular interest in the objective of TOHAVEALL overseas assistance, Ireland and Italy in the lead. banishing poverty could have been sustained. But THEANSWERSTO Some major players have trimmed their aid budgets, 25 years on from â&#x20AC;&#x2DC;Live Aidâ&#x20AC;&#x2122; the age of â&#x20AC;&#x2DC;celebrity WORLDPOVERTY including Germany and France. In a continuing aidâ&#x20AC;&#x2122; may be drawing to a close. exercise of â&#x20AC;&#x2DC;soft powerâ&#x20AC;&#x2122; politics, Britainâ&#x20AC;&#x2122;s ConservativeBob Geldof himself sometimes seems disenchanted. led coalition has so far held to its commitment not only to ReďŹ&#x201A;ecting recently on the pop events of the 1980s, he told maintain aid levels, but actually to increase them to the United an interviewer he had been responsible for two of the worst songs in history. One was â&#x20AC;&#x2DC;Do They Know Itâ&#x20AC;&#x2122;s Christmas?â&#x20AC;&#x2122; and the other was Nations target of 0.7 per cent of national income by 2013. At a time of unprecedented cuts in the rest of government spending, this promise â&#x20AC;&#x2DC;We are the Worldâ&#x20AC;&#x2122;, the song composed by Michael Jackson and Lionel is proving increasingly unpopular among British voters and it has yet Richie and recorded by USA for Africa (United Support of Artists for to be seen whether the government will follow through on an aid Africa). Geldof complained that carol singers now came to his house increase of several billion pounds. each Christmas to inďŹ&#x201A;ict the Band Aid song upon him in the same Worse than the Westâ&#x20AC;&#x2122;s disinclination to keep up its aid spending is breath as â&#x20AC;&#x2DC;Silent Nightâ&#x20AC;&#x2122;. its lack of drive in the ďŹ eld of trade reform. It is now almost a decade The schizophrenic British media continues both to ďŹ&#x201A;atter Geldof as a national treasure and take its customary delight in tearing him since the World Trade Organisation held the ministerial meeting that down. In the past year alone, the BBC has devoted a long and launched the Doha Development Round, the trade negotiations that expensive TV drama to the story of â&#x20AC;&#x2DC;Live Aidâ&#x20AC;&#x2122; and produced a radio would level the playing ďŹ eld between the rich West and poor Rest. They were to be concluded within two years. Seven years later they are documentary seeking to prove that much of the money the public still mired in international wrangles, between rich and poor but also originally contributed to Band Aid went astray, in fact to buy weapons for Ethiopian rebels. Then another television channel, Channel Four, within the rich world, with the Europeans and the Americans at odds over the concessions they must make. When the ďŹ nancial hurricane hit screened a tendentious documentary arguing that Band Aid was western economies in 2008-9, the prospects for helping poor countries concerned more with self-promotion than with helping Africa and â&#x20AC;&#x201C; trade their way out of poverty receded further. Initiatives on the table again â&#x20AC;&#x201C; that the funds were misused. would have reduced the rich worldâ&#x20AC;&#x2122;s subsidies to its own farmers so as The simple fact about popular musicâ&#x20AC;&#x2122;s engagement with aid and to beneďŹ t their counterparts in the poor world and taken down some development is that all those years ago individuals with a following wanted to use their fame to respond to an African tragedy. The cause of of Europeâ&#x20AC;&#x2122;s trade barriers so as to aid exporters from the developing life-saving in one emergency was instantly transformed into â&#x20AC;&#x2DC;Feed the world. Neither has happened nor looks like happening. Where, after all, is the western politician ready to risk antagonising powerful groups Worldâ&#x20AC;&#x2122;. Then Pop found itself part of an aid business that claimed to at home in order help the poor in faraway places? have all the answers to world poverty. Such hubris is now exposed and it is apparent that only politicians and the people themselves, not the aid-givers, will ever unlock the problem. Yet the instincts of 25 years Our failure to ďŹ x the relationship between rich and poor or to make ago were still honourable. The need for charity will endure. serious progress in transforming the prospects for the worldâ&#x20AC;&#x2122;s poorest economies is accompanied by a sense that we do not even have the  0ETER'ILL answers any more. For decades we have adopted ever more novel 0ETER'ILLISAJOURNALISTSPECIALISINGINDEVELOPINGWORLDAFFAIRS(IS approaches to the problem of poverty â&#x20AC;&#x201C; the philosopherâ&#x20AC;&#x2122;s stones of LATESTBOOKÂł&AMINEAND&OREIGNERS%THIOPIASINCE,IVE!ID´ISPUBLISHED development â&#x20AC;&#x201C; while often ignoring the basics. Was gender equality the BY/XFORD5NIVERSITY0RESS key to prosperity? If we could only sort out environmental degradation! We must demand democracy and â&#x20AC;&#x2DC;good governanceâ&#x20AC;&#x2122; if there is ever to be progress... and all this time we held to the faith that free markets




A large number of developing countries have pursued initiatives over the past ten years that reďŹ&#x201A;ect a consciousness of the inter-relation of culture and development. These initiatives include Poverty Reduction Strategy Papers for the International Monetary Fund (IMF). Meanwhile, various industrialised nations (including the Nordic countries, the Netherlands, Switzerland, Spain, Great Britain, and Germany) have been working to integrate the sociocultural dimension into their development co-operation policies, partly through sustained political support, partly through exemplary programme commitments. For the ďŹ rst time, the UNESCO Convention is connecting these eďŹ&#x20AC;orts with an agreement under international law, the general principle of which is the â&#x20AC;&#x153;integration of culture in sustainable developmentâ&#x20AC;? (Article 13). The basis for these eďŹ&#x20AC;orts is the Universal Declaration of Human Rights. Co-operation should be the foundation on which a dynamic cultural sector in developing countries is built.

The UNESCO Convention creates a new basis under international law for partner-based international cooperation in culture and development

First initiated as a counterbalance to trade agreements, the Convention represents a corrective for the State Parties and for the European Union since 1 December 2009 that should hinder further liberalisation in the WTO with regard to cultural goods and services. The states thereby maintain broad leeway to shape cultural policy and pursue a new quality of global co-operation. Throughout Germany one ďŹ nds a wealth of examples of private and public co-operation with artists from developing countries and emerging markets. It is worthwhile to grasp the quantity and quality of this â&#x20AC;&#x2DC;invisibleâ&#x20AC;&#x2122; aspect of international cooperation. The practical and logistical frameworks of these initiatives, however, often pose challenges for event organisers and artists that one can hardly fathom. So for example, a ďŹ lm festival invites an Indonesian director to the premiere of her ďŹ lm in Germany, but must in the end make do without


her. Her visit falls through due to diďŹ&#x192;culties related to obtaining her visa. Meanwhile, a composer from Columbia, whose well-loved music is performed in Germany, neither receives GEMA1 royalties nor beneďŹ ts from the KĂźnstlersozialkasse (Artistsâ&#x20AC;&#x2122; Social Welfare Fund). Throughout the world there are worthwhile individual attempts that need a boost. So for example, even if a music conservatory in Malawi can fall back on highly specialised experts, there are no permanent structures that would allow their knowledge to be shared. A mobile library in Bolivia receives start-up help from Germany in the form of ďŹ nancial and in-kind contributions, but no local sponsor to ensure its survival can be found. Arts administrators in developing countries work on contemporary art projects, but they lack connections with counterparts in neighbouring countries, and the network required for international exchange is still in its infancy. The UNESCO Convention creates the conditions to promote international dialogue by way of cultural policy; to improve cultural exchange programmes; and to promote partnerships with civil society, non-governmental organisations and the private sector. It calls for the integration of culture in national development policies with regard to sustainable development and poverty reduction. In particular the cultural industries need to be enhanced in developing countries. (Planning) capacities in the cultural sector have to be improved through exchanges and co-operation, and cultural management knowhow has to be passed on (Articles 12 â&#x20AC;&#x201C; 15). The industrialised nations are called upon to simplify cultural exchange by creating suitable legal frameworks (meaning preferential treatment) for artists and cultural intermediaries, as well as for cultural goods and services from the South; in situations of serious threat to cultural expressions, help is to be granted (Articles 8, 16, 17). An international fund for cultural diversity is being established through voluntary donations to highlight exemplary demonstration projects. This fund currently (March 2010) has an approximate value of $ 2.4 million, contributed by fourteen Parties and one private party. On the occasion of the ďŹ rst Conference of Parties in Paris in June 2007, the German Government held out the prospect of a six-ďŹ gure contribution to the fund.


International cultural exchange is to be shaped sustainably according to the principles of â&#x20AC;&#x2DC;fair cultureâ&#x20AC;&#x2122;.

Cultural policy, like most policy areas, has been internationalised by the global interconnectedness of its players and goods. Internationally agreed upon standards are therefore of fundamental importance â&#x20AC;&#x201C; be it for the cultural industries or the exchange of artists. In order to protect and promote the diversity of cultural expressions at home and abroad, cultural policy know-how regarding the frameworks in Germany and the partner countries is a must. By the same token, cultural policy and cultural exchange are politically sensitive topics, since they touch on questions of identity as well as on power structures and individual freedoms. â&#x20AC;&#x2DC;Fair cultureâ&#x20AC;&#x2122;: â&#x20AC;&#x153;The cultural sector plays an important role in enabling sustainable social and cultural development and in reducing poverty. Fair culture means realising cultural rights and including everyone in cultural signiďŹ cation, irrespective of age, gender, disability, or ethnic, religious and cultural background. These are aspects that should also be guidelines for development co-operationâ&#x20AC;? (â&#x20AC;&#x153;Fair Culture â&#x20AC;&#x201C; Culture for Sustainable Development. Background Paper on Cultural Sector and Development Work in the Nordic Countriesâ&#x20AC;?. Helsinki:

The diversity of cultural expressions must be continuously protected and promoted around the world, irrespective of national interests.

)MPORTANT%UROPEANPARTNERSHAVERECOGNISED THESTRATEGICPOTENTIALOFTHISTASK Thanks to the UNDPâ&#x20AC;&#x2122;s $ 500 million fund for implementation of the UN Millennium Development Goals, Culture and Sustainable Development programmes garnered tremendous visibility since 2007. UNESCO is in charge of its technical implementation. Until now solely a Spanish initiative, starting in 2010 this fund will be increased considerably as a joint fund of Spain, Great Britain, and Norway. The European Agenda for Culture in a Globalised World, adopted in December 2007 by the European Council, includes the UNESCO Convention in the normative foundation of European cultural policy. In November 2008, the Council of Ministers expressly declared the goal of â&#x20AC;&#x153;Enhancement of Cultural Diversityâ&#x20AC;? a part of the political dialogue and of co-operation in EU foreign relations. Initial budgets have been established. Furthermore, the two Directorates-General (Education and Culture, Development Co-operation) continue to jointly move the implementation process forward.

Ministry of Education, 2006).

Three things are of vital importance for successful communication and co-operation: respect for the cultural sovereignty of the partner country; an on-going exchange regarding individual and collective rights to cultural free expression and development; and a general awareness of the particular cultural context in which the partners are situated. German organisations and their partners must be sensitive to these relationships, and to the possibility of tensions arising. In international cultural exchange, it is important to develop a sense of â&#x20AC;&#x2DC;fair playâ&#x20AC;&#x2122; to promote co-operation. Increased mobility of artists and cultural intermediaries is a relatively simple way to promote the diversity of cultural expressions. In civil societies, whether in developing countries and emerging markets or in Germany, there are a number of experiences and innovative approaches that may produce fruitful outcomes. In this regard it is particularly important that on the basis of the UNESCO Convention the Parties expressly acknowledge the participation of civil society when promoting the diversity of cultural expressions (Article 11). The Convention lists a comprehensive catalogue of objectives for international co-operation, â&#x20AC;&#x2DC;next stepsâ&#x20AC;&#x2122;, and areas of responsibility. International co-operation, and global protection and promotion of the diversity of cultural expressions aďŹ&#x20AC;ect a multitude of stakeholders in Germany. In addition to policymaking, the Convention speciďŹ cally encourages the engagement of civil society. This poses a great opportunity, which is at the same time a diďŹ&#x192;culty. The Convention applies just as much to an artist, a religious charitable organisation, or a public or privately run cultural festival, as it does to domestic and foreign development policies of the Federal Republic of Germany or the programme work of intermediary organisations. This places special demands on consultation and co-ordination.

&OR'ERMANFOREIGNANDDEVELOPMENTCO OPERATIONPOLICY ANDPRIVATEINITIATIVES THE5.%3#/#ONVENTIONAFFORDS ATTRACTIVEOPPORTUNITIESTOPROMOTEANDBEINVOLVEDINTHE CREATIONANDIMPLEMENTATIONOFNATIONALCULTURALPOLICIESIN PARTNERCOUNTRIES These include, for instance, artistsâ&#x20AC;&#x2122; professional organisations, cultural networks, and the strengthening of communication and management capacities among artists, curators, organisers, fundraisers, journalists, broadcast managers, technicians and other cultural intermediaries. Nations that want to modernise and further develop their cultural policies can be supported in this strategic planning with the assistance of cultural policy reviews. Measures for capacity development in administration and consulting services â&#x20AC;&#x201C; for example in connection with copyrights â&#x20AC;&#x201C; also help to improve and promote the infrastructure and the general conditions for the exchange of artistic and cultural activities, goods and services. At the same time it is important to ensure that the activities are not limited to only the privileged elites and the higher middle-class in the capitals and metropolises, but that they reach a wider circle of the population across the entire country. Such approaches enhance a more balanced cultural sector in the partner country and ensure the sustainability of cultural policy initiatives. Research, education and training programmes are also important. All the stages of cultural expressions â&#x20AC;&#x201C; the complete cycle from the artistic idea to production, dissemination, distribution, consumption, and enjoyment â&#x20AC;&#x201C; are based in diďŹ&#x20AC;erent contexts, as is the case in the established sectors of development co-operation such as education, local administration or health. The inherent power of culture and its eďŹ&#x20AC;ect on development processes is diďŹ&#x192;cult to measure. It should be veriďŹ ed whether instruments of promotion and forms of co-operation that have been common in development co-operation thus far can be transferred to the sector of cultural expressions without hesitation, even if OďŹ&#x192;cial Development Assistance (ODA) resources are being used. The UNESCO Convention provides a binding legal framework for this purpose.










The key ministries of the German Federal Government have not yet acknowledged â&#x20AC;&#x2DC;Culture and Developmentâ&#x20AC;&#x2122; as an important area for action.

In 2009, the Federal Government looked into the possibility of establishing a special programme for â&#x20AC;&#x2DC;Culture and Developmentâ&#x20AC;&#x2122;. However, the Federal Ministry for Economic Co-operation and Development and the Federal Foreign OďŹ&#x192;ce have yet to take a clear position on a â&#x20AC;&#x2DC;Culture and Developmentâ&#x20AC;&#x2122; focus. This is highly regrettable, given the internationally acknowledged wealth of experience embodied in German cultural policy, and the outstanding global networking of cultural intermediaries and development co-operation organisations. It delays development of a medium and long-term strategy, as well as timely positioning in the co-operation with possible European partners. It is worth revisiting the topic through interministerial co-ordination and sector policy and furthermore to increase German public awareness of culture and development in the ďŹ eld of global learning. Politics can provide a motivating and ďŹ nancial contribution. Germany has committed itself to increase OďŹ&#x192;cial Development Assistance expenditures to 0.7% of GDP by 2015. The Federal Government, the German Bundestag (National Parliament) and the Länder (States) can all give impetus to these eďŹ&#x20AC;orts, notably in co-operation with the other EU Member States that negotiated the Convention and made it possible. In October 2008 the Prime Ministers of the German states voted to actively support the implementation of the UNESCO Convention through international co-operation (cf. Zukunftsfähigkeiten sichern: Entwicklungspolitik in gemeinsamer Verantwortung von Bund, Länder und Kommunen â&#x20AC;&#x201C;Ensuring Sustainability: Shared Federal, State, and Community Responsibility for Development Policy, resolved 22 October 2008). It is essential that the cultural institutions in the Federal Government, the Länder, cities and local governments promote the diversity of cultural expressions in their contexts, strengthen exchange through partner projects and partner groups, and develop creative forms of public awareness-raising.

"ACKINGFROMTHEPUBLICANDFROMWITHININSTITUTIONS ISNEEDED To understand cultural and creative activities as an object of development, and to promote them as a contribution towards the development of a country, backing from the public and from within institutions is needed. The direct contributions towards the implementation of the Convention could be much more signiďŹ cant if both the implementing organisations of development co-operation and the intermediary organisations of foreign cultural and educational policy invested more in the internal training of their executive staďŹ&#x20AC; and employees, as well as in institutional awareness raising and inter-ministerial knowledgesharing. Employees require appropriate training. The â&#x20AC;&#x2DC;Culture and Developmentâ&#x20AC;&#x2122; area of action must be placed on a sturdy footing, both in terms of personnel and ďŹ nances, to ensure that the basis for success goes beyond a handful of engaged individuals.

A solid empirical basis is important.

&OREIGNTRADEANDCULTURALPROTOCOLS Within the context of the new generation of EU Economic Partnership Agreements, the European Commission developed a cultural supplemental protocol at the end of 2007 based on the spirit and text of the UNESCO Convention. This cultural supplemental protocol contains inter-sectorial tasks (development of cultural policies, cultural exchange, mobility of artists, technical co-operation) and sector-speciďŹ c projects (audio-visual services and cinema, performing arts, literature, monument conservation). It is based on principles of cultural co-operation and should not lead to further trade liberalisation. The Commission hereby refers to Article 20 of the UNESCO Convention in its arguments. This article is interpreted to mean that the European Community shall have to consider the objectives of the Convention in all future international agreements, including trade agreements. The ďŹ rst cultural supplemental protocol was agreed on in 2008 between the EU and the Caribbean states (CARIFORUM Agreement, OďŹ&#x192;cial Journal of the European Union, L.289/i/3, 30 October 2008); a second one was signed in October 2009 between the EU and South Korea. The chapter contained in the agreement dealing with culture gave rise to very critical comments arising from both European and South Korean civil society. Further comparable agreements are currently being prepared and negotiated with Canada, India and South Africa.

0ROMOTINGYOUNGPROFESSIONALSISWORTHWHILE Certain universities in Germany have committed themselves to the topic. So far, however, there are no inter-disciplinary research clusters, networks or inter-disciplinary co-operative eďŹ&#x20AC;orts among political, cultural and development experts. It would be worthwhile to create near- and medium-term possibilities for PhD students and partnerships with foundations, and particularly to sound out the creation of a â&#x20AC;&#x2DC;special research ďŹ eldâ&#x20AC;&#x2122; through the Deutsche Forschungsgemeinschaft (German Research Foundation), or comparable programmes. Like any instrument under international law, this UNESCO Convention is primarily a political agreement negotiated by the Parties to lay out their national cultural policies in such a manner that the artistic creation, production, dissemination, distribution and enjoyment is ensured, and a diversity of cultural expressions and international exchange and co-operation is intensiďŹ ed. However, a solid empirical initial basis for the appraisal of the cultural infrastructure does not yet exist in many countries. In October 2009 the UNESCO Institute for Statistics (UIS) published Statistical Framework for Culture, a modern, up-to-date work instrument. In this connection, too, co-operation on the part of German universities could be of service and result in visible outcomes. 






4(%)-#-53)#3%#4/2 $%6%,/0-%.402/'2!--% Having closely followed the discourse surrounding culture and its importance for the overall human development, the ongoing work at the International Music Council (IMC) has actively engaged in understanding culture in the context of international cooperation and development purposes. Our working methods were greatly inďŹ&#x201A;uenced by key cultural instruments such as UNESCOâ&#x20AC;&#x2122;s 2005 Convention and other documents such as the 2009 Brussels declaration of artists or the conclusions of the 2010 EU-Spain conference on culture and development in Girona. The IMC has been strongly advocating the importance of music, cultural and creative industries (CCIs) and their surrounding technical infrastructure in development strategies and international cooperation, focusing on how music can help strengthen the cultural sector and how culture can help to accelerate progress towards achieving the Millennium Development Goals (MDGs). We therefore strive to enhance and further the debate with regards to music and culture


as a catalyst for sustainable, social transformation and economic development of the societies. Addressing the diďŹ&#x20AC;erent approaches necessary for cultural development in both, the Global North and the Global South, the IMC attaches special attention to the importance of international co-operation. The International Music Council launched its Music Sector Development Programme (MSDP) in order to assist countries, in particular developing ones, in their eďŹ&#x20AC;ort to establish integrated and sustainable national music sectors that respond to local needs. Guided by the key principle and right of having access to music for all, the MSDP refers to demand driven, grass rooted and integrated programmes aiming to either develop the national music sectors as a whole or to develop only speciďŹ c aspects of the music sectors like education, promotion and/or researchâ&#x20AC;Ś As such, the MSDP consists of and promotes a full menu of activities that support the music sector development which include, inter alia:


comprehensive general and specialised music education development development of sustainable local music infrastructure socio-economic development of the key actors in the music ďŹ eld with special attention to young people, young musicians and women continuous knowledge development and training of key actors in the music ďŹ eld advocacy actions at the national and international level music policy development music legislation and partnership.

Ongoing activities in the MSDP presently include the Sustainable Futures for Music Traditions: Towards an Ecology of Musical Diversity project. In music, one of the great concerns is the survival and revitalisation of traditional music. The IMC has entered into a partnership to discover and describe projects across the world that are successful in returning traditional music to everyday life. Sustainable Futures for Music Traditions investigates key characteristics of musical sustainability and aims at enabling communities across the world to forge musical futures on their own terms while protecting and promoting our global cultural expressions. The IMC is the senior non-academic partner in this ďŹ ve-year project, led by the Queensland Conservatorium Research Centre, Brisbane, with seven universities on ďŹ ve continents. The project will produce an accessible and user-friendly online interface for disseminating ďŹ ndings to assist communities and governments across the world. Other key activities include capacity building projects in East Africa. Taking into account the speciďŹ c needs of potential beneďŹ ciaries, UNESCO and the IMC launched a pilot project training module in East Africa with the objective of developing capacities for music sector operators to access increasing international development aid funding, and sensitising and involving government oďŹ&#x192;cials and decision makers in the donor community. This ongoing programme aims to turn creative projects into sustainable cultural industries. The training project was carried out under UNESCOâ&#x20AC;&#x2122;s Global Alliance for Cultural Diversity with the ďŹ nancial support of the Spanish Ministry of Foreign AďŹ&#x20AC;airs and Cooperation. The workshop is now being followed by a coaching phase during which the trainees receive individual and collective guidance in formulating their concept notes and applications. Upon completion of the training it is expected that many of these applications will result in successful project and grant proposals, thus making a positive contribution to the musical life and infrastructure of East Africa. It is expected that this project will further contribute to the development of sustainable cultural industries in Tanzania and Uganda as well as fostering cultural partnerships between the two countries. Furthermore, the IMC assisted eďŹ&#x20AC;orts to rebuild music education in Afghanistan and establish the ďŹ rst national institute of music (cf. Sounds in Europe #5, p. 37). IMC was instrumental in connecting the project initiator, Dr. Ahmad Sarmast, a music professor from Afghanistan, with music educators from around the world as well as with NAMM, the International Music Products Association, a nonproďŹ t organisation of music instrument manufacturers. The IMC also provided moral support to Dr. Sarmast with letters to the Ministers of Education and Culture in Afghanistan underlining the importance of the initiative. Throughout this process the IMC has been happy to provide valuable resources and networks that have helped to facilitate education, intercultural dialogue and international co-operation in Afghanistan. The Afghanistan National Institute of Music (ANIM) was formally inaugurated in June 2010 in Kabul, in front of an audience of dignitaries including Ambassadors, oďŹ&#x192;cials from the government


of the Islamic Republic of Afghanistan, and community leaders. The inauguration represented the culmination of several years of planning and hard work overcoming the obstacles that were the legacy of thirty years of war and the Talibanâ&#x20AC;&#x2122;s prohibition of music. The examples given in this article demonstrate the social, economic, and environmental potential provided by music and cultural development programmes as part of a transversal approach to international development.







It was on 9 September 2000, more than ten years ago, that 189 Member States of the United Nations Organisation, both rich and poor countries, decided to join forces to ďŹ ght against the ever-expanding gap between the worldâ&#x20AC;&#x2122;s most prosperous and most poverty stricken nations. â&#x20AC;&#x153;End Poverty 2015â&#x20AC;? was declared the slogan of the U.N.â&#x20AC;&#x2122;s international campaign, created to mobilise not only the governments of the world, but also each and every single person inhabiting the landmasses surrounded by the seven seas, to make a stand against economic inequity. Its target was clear. In adopting the Millennium Development Goals â&#x20AC;&#x201C; a catalogue of explicit, obligatory and highly ambitious aims with clearly set deadlines for improving the lives of the


worldâ&#x20AC;&#x2122;s most deprived â&#x20AC;&#x201C; all U.N. Member States committed to active peace keeping, protection of the environment, and a contribution to combating poverty as their core objectives. This historical pledge was intended to be a signiďŹ cant step towards passing over the threshold to an era of global equality and opportunities for all. However, now, ten years after the Millennium Summit, and with the ďŹ nancial crisis behind us, the ammunition with which the U.N. was ďŹ ghting the cause has proved itself ineďŹ&#x20AC;ective, mostly due to the lack of commitment by wealthy Member States. Today, the situation of the poorest countries is still alarming and it has even become apparent that weâ&#x20AC;&#x2122;ve taken retrograde steps on the path to sustainable development.


Long overdue, the U.N. has now decided to revise its existing strategies to achieve the Millennium Development Goals and to ďŹ nally listen to representatives from the cultural sector, who have been preaching for decades about the importance of culture for development.

universal solution for all our global problems. Alone the engagement of these stakeholders in the realisation of the aims set out in the Millennium Development Goals, and in the United Nations latest resolution respectively, could initiate the necessary change upon which the worldâ&#x20AC;&#x2122;s development can ďŹ nally thrive.

In its Resolution on the Role of Culture for Development which was Nevertheless, it is undeniable that culture is indeed an enormous adopted on 20th December 2010, a physical outcome of the MDG asset, providing massive potential for increasing economic growth Summit in September 2010, the U.N. General Assembly recognises and decreasing poverty. Whereas the long established sectors which â&#x20AC;&#x153;â&#x20AC;Śthat culture is an essential component of human development, represents a source of identity, innovation and creativity for the the U.N. Member States have for too long relied on to achieve individual and the community and an important factor in the ďŹ ght sustainable development are now becoming more and more obsolete, the fast growing innovation-based cultural and creative industries against poverty, providing for economic growth and ownership of are gaining in importance. The estimated global value of the cultural development processâ&#x20AC;Śâ&#x20AC;? industries today is $ 1.3 Trillion3. On top of that, the culture sector By acknowledging international conventions that emphasise the important role of cultural diversity for social represents 2-6 per cent of the GDP of most OECD and economic development such Member Countries4. Moreover, as stated in the UNESCO Concept Note of the MDG as the Universal Declaration Summit High-Level Round Table on on Cultural Diversity1 ¨CULTUREISINDEEDANENORMOUS and the Convention Culture for Development, culture ASSETPROVIDINGMASSIVEPOTENTIALFOR on the Protection is a huge contributor to peace and INCREASINGECONOMICGROWTHANDDECREASING reconciliation. Only through cultural and Promotion of the dialogue, which enhances mutual Diversity of Cultural SYMPTOMATICPOVERTY¨ Expressions2, the document knowledge, understanding and tolerance emphasises that culture is a between nations, can an open discussion be resource for the enrichment of and a held on the areas where interests meet and diverge, contributor to the sustainable development of local counteracting ignorance, prejudices, marginalisation and the communities and nations. Furthermore, the resolution recognises the degradation of people. The potential of culture, however, remains links between cultural and biological variety, stressing the importance mainly unrecognised and unutilised by national and international of including local and indigenous traditional knowledge when dealing stakeholders. with environmental challenges. The UN Resolution on the Role of Culture for Development represents a major breakthrough at international level indicating a sign of change, Striving to achieve the development objectives set in the Millennium and sowing the small but sprouting seed of hope that humanity will Development Goals, the U.N. General Assembly urges all Member States, intergovernmental bodies and organisations to encourage soon be passing over the threshold to a fairer world. international cooperation in the cultural ďŹ eld. Within this context,  5NITED.ATIONS%DUCATIONAL 3CIENTI½CAND#ULTURAL/RGANIZATION 2ECORDSOF the U.N. Resolution on the Role of Culture for Development THE'ENERAL#ONFERENCE 4HIRTY ½RST3ESSION 0ARIS /CTOBERÂŻ.OVEMBER provides a new set of culture-related aims to which all Member States  VOLANDCORRIGENDUM 2ESOLUTIONS CHAP6 RESOLUTION ANNEX) have committed themselves, such as raising public awareness of the  )BID4HIRTY THIRD3ESSION 0ARIS ÂŻ/CTOBER VOL 2ESOLUTIONS importance of cultural diversity for sustainable development, and CHAP6 2ESOLUTION promoting its positive value through education and media tools.  5NITED.ATIONS%DUCATIONAL 3CIENTIFICAND#ULTURAL/RGANIZATION Moreover, political stakeholders should guarantee a more visible and #ONCEPT.OTEÂą#ULTUREFOR$EVELOPMENT² -$'3UMMIT(IGH ,EVEL eďŹ&#x20AC;ective integration and mainstreaming of culture in development 2OUND 4ABLEON#ULTUREFOR$EVELOPMENT 3EPTEMBER 5NITED .ATIONS .EW9ORK policies and strategies at all levels, and also promote capacity-building  )BID. for the development of a dynamic cultural and creative sector. In addition to this, U.N. Member States, intergovernmental bodies and organisations should enhance national legal frameworks and policies

,INKS2EFERENCES for the protection and preservation of cultural heritage and property, as !LLRELEVANTDOCUMENTSONTHE5.2ESOLUTIONONTHE2OLEOF#ULTUREFOR well as support the eďŹ&#x20AC;orts of developing countries in the development $EVELOPMENTSUCHASTHE2ESOLUTION4EXTADOPTEDBYTHE5.!SSEMBLY and consolidation of their cultural industries, by assisting them in THE/UTCOME$OCUMENTONTHE-$'3UMMITOF3EPTEMBERANDTHE acquiring the necessary skills and infrastructure. These new objectives are all extremely ambitious and are somehow reminiscent of the ďŹ rst phase of the Millennium Campaign, when the former U.N. Secretary General, KoďŹ Anan, proudly announced the Development Goals, which ended up in the desk drawers of most leading economy powers for the following ten years. Today, less than ďŹ ve years before the Millennium Campaign is due to end, it is highly questionable whether aďŹ&#x201E;uent U.N. Member States, which ďŹ nd themselves in a key position to change the current economic and social disparity in the world, will truly abide by their promises this time round. For one thing is certain: contrary to what most representatives of culture advocate, culture is the ďŹ rst step but not the






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In May 2010 arts educators, politicians and civil servants from around the world made the journey to Seoul in the Republic of Korea. The reason for this journey was the Second World Conference on Arts Education. This summit served as a â&#x20AC;&#x2DC;checking pointâ&#x20AC;&#x2122; following the launch in Lisbon 2006 of a global focus on the importance of arts and cultural education in the lives of children1. A major output from the meeting in Seoul was The Seoul Agenda: Goals for the Development of Arts Education2. While it could be argued that the Lisbon Road Map (2006)3 gave a renewed energy to the arguments surrounding the value of arts education, the Seoul Agenda proposes three key goals for arts education.


The ďŹ rst of these goals is perhaps the most diďŹ&#x192;cult at both a local and international level. This primary goal is to ensure that high quality arts education is accessible to all. It immediately confronts arts educators with two enormous challenges â&#x20AC;&#x201C; how do you ensure quality while at the same time be as inclusive as possible? European music struggles to accommodate the complexities of delivering on this ďŹ rst goal.4 The ideals of â&#x20AC;&#x2DC;accessibility for allâ&#x20AC;&#x2122; often in practice fall short of the espoused aspirations. If music education is to reach all children, it must be placed solidly within the compulsory school sector. This means that those people teaching music in the compulsory school need to be well-trained and conďŹ dent to deliver high quality musical learning. This aspiration may be well meaning, but in reality it is most likely that music will be oďŹ&#x20AC;ered as a mix of in and out-of-school programmes.


Europe has a strong community sector supporting out-of-school music learning including local brass bands, music and culture schools, amateur societies, religious groups, broad or â&#x20AC;&#x2DC;after schoolâ&#x20AC;&#x2122; programmes and many private providers. These out-of-school provisions are available locally and frequently heavily subsided to represent good value for money. Yet the research5 suggests that pupil attendance is relatively low, with even the most successful models likely to attract less than a quarter of all the possible children in the area. The children who do attend tend not to be representative of the full diversity of learners, with children from diďŹ&#x20AC;erent social or ethnic backgrounds and children with disabilities most likely to miss out. In many countries, particularly for certain ages of pupils or types of instrumental learning, there are long waiting lists for getting a place in out-of-school music provisions. To increase the participation in, and relevance of, out-ofschool programmes, consideration should be given to oďŹ&#x20AC;ering more interdisciplinary programmes (for instance, programmes that combine dance, singing and visual arts or music and digital creation). For programmes to be accessible to a broader range of children, music educators need to develop innovative pedagogies and creative approaches to curricula that will engage a diversity of learners. There is also evidence6 to suggest that the wider use of group, multi-aged and intergenerational teaching and learning approaches may also help to broaden the appeal of music education oďŹ&#x20AC;ers.


The second goal from the Seoul Agenda follows naturally from the ďŹ rst and focuses on the prerequisites that characterise quality. This goal places responsibility upon those who design, deliver and manage arts education to ensure that the activities are of a high quality in terms of conception and delivery. It is recognised for quality to be improved, a particular focus must be given to the importance of enhancing the quality of teaching. The second goal recommends formal qualiďŹ cations


as a prerequisite for all specialist teachers and community facilitators of arts education. Generalist teachers currently may have little or no formal education in the arts. The second goal suggests that both preservice teachers (across all discipline areas) and those already working within schools should be given sustainable professional development to enable them to integrate artistic and creative principles and practices within the broader learning of children. Whether there should be specialist or generalist teachers for music is not the question, but rather high quality programmes need both sorts of teachers. The specialists provide discipline skills and knowledge (education in the arts) while the generalists should receive suďŹ&#x192;cient training to be able to feel conďŹ dent to introduce education in the arts and be sensitive enough to pursue high quality learning through the arts. In line with the arguments many professional associations have been making for the past decade, the second Seoul Agenda goal makes the direct connection between quality in arts education and the provision of appropriate facilities and resources for arts education. Given current budget conditions, music educators are facing challenges to maintain and develop adequate facilities and resources for eďŹ&#x20AC;ective teaching. Newer schools are often built without specialist rooms and facilities for arts education. One way to enhance quality while working with limited resources is to more widely partner with community and cultural industries to deliver arts education. Alternate learning environments can involve parents, family and community members in partnerships within and beyond schools to strengthen the quality of arts education.


Once quality and accessibility have been achieved, goal number three of the Seoul Agenda suggests that the principles and practices of excellent arts can contribute to resolving the social and cultural challenges facing todayâ&#x20AC;&#x2122;s world. This is certainly a grand goal! The problem is that a wide variety of research evidence7 suggests that the arts are capable of making a diďŹ&#x20AC;erence in everything from educational attainment and economic growth to anti-social behaviour and community coherence. The fact that the arts can make a diďŹ&#x20AC;erence across a range of areas does not mean that a single programme should attempt to answer all these goals. A general shortcoming apparent in national evaluations of arts education conducted conclude that arts education programmes often lack a clear focus and the abundance of supposed aims leaves teachers and children bewildered as to the signiďŹ cance of their arts learning. The main focus of music education should be the cultivation of childrenâ&#x20AC;&#x2122;s aesthetic capacity and their full development in music. When this is the unquestioned aim of the programme, then it is likely that music education will enhance cultural awareness in general and contribute to creating and sustaining social cohesion and participation in societal culture. A focused, high quality and accessible music programme oďŹ&#x20AC;ers enormous potential to develop and conserve a childâ&#x20AC;&#x2122;s identity and to promote diversity and dialogue among cultures. In some ways this could be considered as being a wonderful biproduct of the music education process! By examining more deeply

the practices of music education it is possible to understand the role culture plays in shaping childrenâ&#x20AC;&#x2122;s musical learning and thinking. This may require new paradigms for understanding music education and its responsibility within an increasingly globalised community where diversity, hybridity and diďŹ&#x20AC;erence ďŹ&#x201A;ourish. Goal three makes explicit reference to the application of arts education to enhance the creative and innovative capacity of society. Economic success is largely now dependent upon having a creative and adaptive workforce. Research ďŹ ndings8 indicate that musical activities have a positive impact on the development of several key â&#x20AC;&#x2DC;futureâ&#x20AC;&#x2122; competencies within young people. These include capacities such as creative problem solving, social communication and tolerance, ďŹ&#x201A;exibility, concentration and collaboration. Music can therefore have a positive impact on the well-rounded development of learners. The Seoul Agenda presents three explicit and meaningful goals for music education now and into the future. While they provide a vision forward, the goals equally challenge us around the areas of accessibility, quality and relevance of music education. The cultural change occurring in the lives of the children will be only matched by the cultural changes occurring in music education itself.






All so-called â&#x20AC;&#x2DC;culture operatorsâ&#x20AC;&#x2122; are facing cuts in their budgets, especially since the â&#x20AC;&#x2DC;big crisisâ&#x20AC;&#x2122; of 2008, following which a new dimension has come into play when negotiating funding for culture. Whether looking at the UK or the Netherlands, or at the local communities in Germany, culture seems to be paying the price for the gaps in public budgets as it is a sector dependent on public funding. One reaction of some policy makers is that the culture sector should now carry the burden of proving itself: show us that it is worth spending money on culture â&#x20AC;&#x201C; but bear in mind that our assessment is above all based on economics â&#x20AC;&#x201C; so you better ďŹ nd a way of showing us that every Euro invested in culture returns at least double. Sitting at my desk, I was planning to write a comprehensive article on the next EU budget negotiations, presenting the arguments that we could use when negotiating a budget increase and the continuation of the EUâ&#x20AC;&#x2122;s culture programme. However, in the course of my writing, two strange beings suddenly appeared, one on each one of my shoulders. I could not exactly tell whether one was a devil and the other an angel but, past experience of beings on my shoulders taught me that it was good to let them stay there and to argue with one another. As I thought it much more entertaining to listen to the quarrelsome twosome, I have decided to provide you with an excerpt of their dialogue, rather than the dry and comprehensive (well, who knows if it actually would have beenâ&#x20AC;Ś) cultural policy article.

Ah, I see sheâ&#x20AC;&#x2122;s written â&#x20AC;&#x2DC;culture operatorâ&#x20AC;&#x2122;. It looks like sheâ&#x20AC;&#x2122;s too scared to say â&#x20AC;&#x2DC;lobbyistâ&#x20AC;&#x2122;. What a coward!

Oh come on! You know that lobbyists have a rather negative reputation, though it canâ&#x20AC;&#x2122;t be denied that ďŹ nding good arguments for the support of culture is comparable to the work of hard core lobbyists, who, for example, ďŹ ght for CO2 emission restrictions to be relaxed. Engagement in the arts and culture is beneďŹ cial for the whole of society â&#x20AC;&#x201C; it encourages fruitful exchanges, promotes peace, and increases understanding amongst peoples.

Ok, ok, but it doesnâ&#x20AC;&#x2122;t help if politicians donâ&#x20AC;&#x2122;t listen; at least lobbyists know what to do when approaching politicians â&#x20AC;&#x201C; present facts and ďŹ gures! So what point is she trying to make?

She states that the key attributes of the Europe 2020 strategy such as the terms â&#x20AC;&#x2DC;smartâ&#x20AC;&#x2122;, â&#x20AC;&#x2DC;sustainableâ&#x20AC;&#x2122; and â&#x20AC;&#x2DC;inclusiveâ&#x20AC;&#x2122; form the core of culture and artistic processes, and that the Europe 2020 strategy actually has a lesson to learn from the cultural sector.

Still, you will have to ďŹ nd the right arguments, get the relevant facts and ďŹ gures.

Youâ&#x20AC;&#x2122;re funny! Where from? Are we expected to do our own research on top of everything else that we do? Did you know that most European and international cultural networks only have one to three full-time employees? For most of them, advocacy, or if you like lobby work, forms only a fraction of their workload, alongside preparing content based activities, such as a workshop on music education in Europe or the next World Forum on Music.




But there is evidence all around us, plus a lot of research has been conducted which is accessible to everyone. For example, you could refer to the KEA study on The Economy of Culture in Europe which shows that the culture and creative industries contribute 2.6% of Europeâ&#x20AC;&#x2122;s GDP, and employed more than 5.8 million people in 2004. In contrast, the EU budget only allocates 0.04% to the culture programme.

Will this really help the public funding of arts and culture?

DeďŹ nitely! Artistic creation is the centre of the culture and creative industries, without the right framework to support artistic creation, the CCIs will lack artistic input and will not be able to contribute to Europeâ&#x20AC;&#x2122;s growth and economy.


Thatâ&#x20AC;&#x2122;s good. What else?

Well, then thereâ&#x20AC;&#x2122;s the EUâ&#x20AC;&#x2122;s study on the contribution of culture to local and regional development. This is a very good example of how culture can contribute to growth in the regions, and also that other EU programmes may be used for funding culture.

Oh, you mean like â&#x20AC;&#x2DC;cultural mainstreamingâ&#x20AC;&#x2122;?


But donâ&#x20AC;&#x2122;t you think that if we advocate mainstreaming, by trying to convince all other EU departments (DirectoratesGeneral, DGs) such as enterprise, competition, regional policy, employment, internal market, information society and media etc., to incorporate culture, in the end decision makers might say, â&#x20AC;&#x153;Now that you have culture everywhere you donâ&#x20AC;&#x2122;t need your own programmeâ&#x20AC;??

Yes, that is a risk, but have you heard of Culture Action Europeâ&#x20AC;&#x2122;s we are more campaign? It focuses on just two programmes, structural funds and the Culture Programme, and highlights the importance of culture by presenting a clear argument for why the Culture Programme should not be replaced â&#x20AC;&#x201C; It is the only place for risk-taking, innovative, artistic and cross-border cooperation in Europe.

It sounds great â&#x20AC;&#x201C; how can I get involved?

Itâ&#x20AC;&#x2122;s easy. Thereâ&#x20AC;&#x2122;s the manifesto that you can sign online at, and as it is an open source campaign, you can also make use of and re-design posters which are available on the website.

It reads well: â&#x20AC;&#x153;The arts, culture and the humanities engage and inspire us, and stimulate us to challenge the world we live in. Investing in the arts from kindergarten to old age builds societies that are creative, innovative, democratic and diverse. Let us re-imagine long-term public investment that contributes to human, social and environmental progress.â&#x20AC;? â&#x20AC;&#x201C; I am deďŹ nitely subscribing to this one! How many signatures do they need for the EU to support the campaignâ&#x20AC;&#x2122;s demands?

Hmm, itâ&#x20AC;&#x2122;s hard to say, though of course the more the better. However, the decision on the future EU budget will be made by the Member States, thus national governments will determine which EU policy areas they want to strengthen and which EU programmes will then follow. And then of course, thereâ&#x20AC;&#x2122;s the principle of subsidiarityâ&#x20AC;Ś

The principle of what?

Subsidiarity â&#x20AC;&#x201C; this means that culture is an area which remains in the hands of the Member States and therefore the EU does not have any legislative power in this ďŹ eld. But like I said, itâ&#x20AC;&#x2122;s up to the national governments to decide, and they may very well agree that there is much more to the European idea than just economic aspects. Solidarity and cultural diversity are real arguments for stability in Europe, and therefore a thorough Culture Programme at EU level is necessary.

And we can still rely on studies for additional arguments.

Yeah, it seems like the combination of the intrinsic and extrinsic values of the arts and culture will ďŹ nally be acknowledged!

Letâ&#x20AC;&#x2122;s hope so â&#x20AC;&#x201C; we are more! we are more!

(joining in): we are more!

And oďŹ&#x20AC; they wentâ&#x20AC;Ś Once my shoulders were free again and I was able to reďŹ&#x201A;ect on what I had heard, I felt more positive. As was said during the Culture Action Europe conference in October 2010, the â&#x20AC;&#x2DC;time is NOWâ&#x20AC;&#x2122; to act for culture in Europe. The EU budget negotiations are under way and it is important to join forces and lobby for support for culture at local, national and EU level. Only through an active engagement in the arts and culture will the EU be able to achieve its aim of becoming a smart, sustainable and inclusive environment.  SD




State Parties to the Convention continue to engage in the eďŹ&#x20AC;ective implementation of the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions. At its last meeting from 29 November to 1 December 2010 in Paris, the Intergovernmental Committee (IGC) of the Convention adopted further operational guidelines: a)

On information sharing and transparency (Article 9 of the Convention) The guidelines include an extensive framework for the periodic reports on implementation that State Parties are to submit. It is stated clearly that this reporting should be a participatory process also involving civil society. The IMC and EMC urge all members to be prepared to respond to calls for contributions from their national governments. b) On the exchange, analysis and dissemination of information (Article 19 of the Convention) The guidelines deďŹ ne responsibilities of State Parties and the UNESCO Secretariat. They also include a short paragraph about the contribution of civil society. According to the text, civil society organisations from diďŹ&#x20AC;erent regions in the world are encouraged to establish links between them at the international, regional and sub-regional levels and to keep the UNESCO Secretariat informed of their activities. So, regular business for organisations such as the IMC and EMCâ&#x20AC;Ś c) On education and public awareness (Article 10 of the Convention) Measures proposed in the guidelines target both secondary and higher education, as well as training and research institutions. The guidelines advocate for an integrated approach in the design and implementation of educational programmes that promote the objectives and principles of the Convention. Ties between culture and education should be strengthened at the policy, programme and institutional levels. Having invited the UNESCO Secretariat in 2009 to provide a feasibility study and cost analysis for the creation of an emblem for the Convention, the Intergovernmental Committee postponed the decision on this issue to its next session in December 2011. With regards to the pertinence and feasibility appointing public persons to promote the Convention, the IGC decided that â&#x20AC;&#x153;each Party is entitled to choose the mechanism which it deems appropriate to promote the objectives of the Convention, including the possibility to appoint a spokesperson.â&#x20AC;? It seems that no consensus could be found among State Parties on a general mechanism at international level. The main part of the IGC meeting was however dedicated to the implementation of the International Fund for Cultural Diversity. State Parties engaged in extensive discussions on the use of the funds, not


the least due to the fact that the expert group appointed to evaluate the funding applications had not been given suďŹ&#x192;cient guidelines to accomplish their work: their recommendations greatly exceeded the amount of funds available. On the spot, Norway pledged a contribution of $ 1.4 Million but this amount could not be taken into consideration for the 2010 round of applications. It was decided that a second round would be launched in 2011. The lessons learned from the ďŹ rst round translated into the adoption of additional criteria for the next call for projects, including:

a maximum amount of $ 100.000 can be requested from the Fund for programmes/projects

the Panel of Experts and the Committee can adapt the amount of funds attributed to programmes/projects

a Party, a national NGO or an international NGO may present a maximum of two programmes/projects It should be noted that among the programmes/projects that will receive funding from the 2010 budget, there were a good number of applications from national NGOs that had been presented by the government of the State Party. We believe this is a very positive sign. The IMC Secretary General made a statement â&#x20AC;&#x201C; on behalf of the seven NGOs present as observers â&#x20AC;&#x201C; on the Fund and its implementation. Our statement included an appeal to IGC members to formulate better and clearer guidelines for applicants (clear time-frame, rules and criteria, including whatever regional and other balances are needed). Moreover, we launched the idea of an informal market place where State Parties and civil society groups which are considering potential projects can meet together informally to review the concepts and explore whether synergies can be found. This and other NGO statements can be obtained from the IMC Secretariat: Fundraising for the International Fund for Cultural Diversity remains high on the agenda: The UNESCO Secretariat was asked to prepare an information document for the 3rd session of the Conference of Parties (June 2011) that would succinctly outline the terms of reference for a future fundraising strategy for the Fund. Last but not least, the contribution of the IMC and its network to ensure a large ratiďŹ cation of the UNESCO Convention for the Protection and Promotion of the Diversity of Cultural Expressions was highlighted in an information document distributed at the IGC meeting. Only three organisations have found their way into this document. The working papers and decisions of the meeting are available on the UNESCO website:  3ILJA&ISCHER 3ECRETARY'ENERALOFTHE)NTERNATIONAL-USIC#OUNCIL





ArtisanGuitarMakerfromKinshasasupportedbyMusicFund Andy MorgantalkstotheKinshasa-basedguitarmakerSocklo,whomakes thedistinctive,hand-craftedguitarsplayedbyStaffBendaBilili





Last summer, when StaďŹ&#x20AC; Benda Bilili wheeled themselves onto the main stage of the EurockĂŠennes de Belfort Festival in France and unveiled their bittersweet rumba to an exultant European audience, many listeners were intrigued by their extraordinary guitar sound. It was powerful, bright, full-bodied and yet as raw as an uncooked onion, ďŹ zzing with the kind of raunch that many rock guitarists have been searching for in vain since the end of the 60s. On closer examination, curiosity turned to amazement. The guitars were unlike anything seen before in Europe. Their shape and dĂŠcor varied from electric blue sunburst with classical curlicue sound holes to blended black and copper red tiger stripes with round sound holes. The bridges, nuts, frets and other bolt-on mechanisms were all rough-hewn yet functional. The guitars seemed to be the product of the eye and imagination of an artist. StaďŹ&#x20AC; Benda Bilili soon revealed their secret. All their guitars are made by Misoko Nzalagala, universally known as â&#x20AC;&#x2DC;Sockloâ&#x20AC;&#x2122;, a guitar-maker from StaďŹ&#x20AC;â&#x20AC;&#x2122;s home city of Kinshasa, capital of the Democratic Republic of Congo. Once a guitarist himself, Socklo now makes two or three instruments per week in a clapboard shed in the Lembas district of this enormous teeming city. Tools are rudimentary â&#x20AC;&#x201C; just a heap of hammers, chisels, planes, saws and anvils made from recycled ordnance, all lying at the feet of the kind-faced Socklo while he sits and patiently fashions his artisanal wonders on his lap. A hand-cranked turning machine serves to make guitar strings from bicycle brake wire coiled with copper ďŹ lament, which has been recycled from old engines and dynamos. Apart from the plywood used to make the sound boxes of the guitars, all the other raw materials are recycled from bits of wood, old engine parts, refrigerator innards and plastic chairs. Sockloâ&#x20AC;&#x2122;s workshop is a shrine to all the positive things mothered by necessity: ingenuity, skill, artistry, imagination, pride and plenty of invention. Across the city in Bandal, Sockloâ&#x20AC;&#x2122;s rival, Almaz, has a few more mod cons in his workshop. Almaz stands for Atelier Lutherie Mazanza, but the avuncular white-haired patron is also known by that name. He owns a few electric tools, but an 11-month power cut made them inoperable until recently. Their main market has been Kinshasaâ&#x20AC;&#x2122;s own legion of hopeful guitarists. But though a typical Socklo guitar sells for only about $ 25 locally, theyâ&#x20AC;&#x2122;re beyond the reach of most of Kinshasaâ&#x20AC;&#x2122;s wannabe guitar heroes, thanks to the relentless economic crises and general poverty that clings to the DRC like a curse. But help is at hand. A Belgian NGO called Music Fund has decided to support both Socklo and Almaz, initially for a year. Lukas


Pairon of Music Fund travelled to Kinshasa in 2007 and met both guitar-makers. â&#x20AC;&#x153;Theyâ&#x20AC;&#x2122;re struggling to survive, which is hard to see,â&#x20AC;? he tells me over the phone from Ghent in Belgium. â&#x20AC;&#x153;Theyâ&#x20AC;&#x2122;re both very proud of their work, and theyâ&#x20AC;&#x2122;re very well known locally, and supported by musicians like Jupiter and StaďŹ&#x20AC; for Socklo, and others for Almaz. I went back to see them with two expert luthiers from Belgium. They could see a number of problems with the guitars, but they were completely amazed by both Socklo and Almaz.â&#x20AC;? Music Fund imports the guitars to Europe in batches of ten and sells them through its website, paying 50% up front, which allows Socklo and Almaz to buy better materials and support themselves while they fulďŹ ll the orders. Pairon is actively seeking a European guitar distributor to take over the operation and increase the marketing push and invites any interested parties to contact him (email below). Socklo himself has little doubt that his future survival depends on ďŹ nding new markets. â&#x20AC;&#x153;I am VERY happy to work with Lukas,â&#x20AC;? he shouts through a telephone blizzard from Kinshasa. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s important for me to sell guitars in Europe. But to develop, I really need more tools. Theyâ&#x20AC;&#x2122;re hard to ďŹ nd here and very expensive. With tools I could work faster and produce a higher number of guitars.â&#x20AC;? Vincent Kenis, the Belgian producer of many bands to emerge from the Congo, including StaďŹ&#x20AC; Benda Bilili, is a huge fan of Socklo. â&#x20AC;&#x153;Heâ&#x20AC;&#x2122;s very modest and very conscientious. I think he makes the best guitars in Kinshasa. But heâ&#x20AC;&#x2122;s a bit discouraged with the economic situation. Nevertheless he manages to keep going.â&#x20AC;? Kenis helped StaďŹ&#x20AC; Benda Bilili to adapt their guitars for their European tour, adding Western tuning mechanisms and piezo mics for ampliďŹ cation. â&#x20AC;&#x153;These guitars have a real personality. I bought a guitar from Socklo last December and I was pleased to see that following the visit of the Belgian luthiers, many basic problems have been ironed out. They last long too,â&#x20AC;? Kenis reassures me. It seems that StaďŹ&#x20AC; Benda Bililiâ&#x20AC;&#x2122;s musical rallying cry also extends to the amazing artisan guitarmakers of Kinshasa: Très Très Fort!




!"%44%2#/.$5#4/2%15!,3!"%44%2#(/)2 4HE%STONIAN#HORAL!SSOCIATION´S-ENTOR0ROGRAMME

The Estonian Choral Associationâ&#x20AC;&#x2122;s (ECA) Mentor Programme was born from a board meeting, during which possibilities for developing Estonian choral music were discussed. By the end of the discussion a simple formula had been found: Better educated conductor = better conductor = better choir There was a mutual consensus on the importance of lifelong learning and the necessity for adult education, however it soon became apparent that most of the ECAâ&#x20AC;&#x2122;s conductors hadnâ&#x20AC;&#x2122;t attended any new courses or seminars since graduating from their music academies or colleges. The main reason behind this being that conductors are not paid very well for their work, and therefore canâ&#x20AC;&#x2122;t aďŹ&#x20AC;ord to pay for additional courses despite there being a need for it, as well as a great interest in studying! In co-operation with the Estonian Ministry of Culture, a training programme was developed which started out as a pilot project in 2005. It is now functioning as a stable programme with 100 â&#x20AC;&#x201C; 200 courses and workshops taking place every year. The idea is quite simple: The Estonian Choral Association (ECA) announces the Mentor Programme in its newsletters and at its meetings, inviting all good choir and wind orchestra conductors, as well as vocal coaches, to apply to become mentors. The successful applicants are then selected by the ECAâ&#x20AC;&#x2122;s music commission. As of today, there are 33 mentors specialised in choirs and brass bands working throughout Estonia. Each mentorâ&#x20AC;&#x2122;s specialisations are presented on the ECA homepage, allowing conductors and music teachers needing help to select the

most suitable mentors for their needs: work with a mixed choir, vocal problems in childrenâ&#x20AC;&#x2122;s choirs, folk music interpretation, Estonian pronunciation (for Russian choirs) etc. Mentors may also be invited to lead workshops and courses, give lectures, become members of juries, help regional festivals and other events as artistic consultants. The Ministry of Culture annually gives about 30 000 â&#x201A;Ź to the Estonian Choral Association, which acts as co-ordinator for the Mentor Programme. This funding may only be used to pay the mentorsâ&#x20AC;&#x2122; salaries and that of their accompanists, with a small amount also going to the programme co-ordinators. The regions are responsible for organising the venues in which the courses take place themselves, and there is no participation fee for the conductors and music teachers. In the last 6 years the ECA has organised free courses as part of the mentorsâ&#x20AC;&#x2122; programme, and it has proved itself as a ďŹ&#x201A;exible and fast solution to the various problems faced by conductors in Estonia. Thanks to the programme, the ECA has built up good contacts with its regions, and therefore has acquired a thorough knowledge of the choral landscape across the country. Furthermore, this programme has given employment to Estoniaâ&#x20AC;&#x2122;s high-level conductors and supports the Song Celebration festivities.  +AIE4ANNER 'ENERAL3ECRETARYOFTHE%STONIAN#HORAL!SSOCIATION %-#"OARD-EMBER














The cultural sector represents a strong potential for social SetĂşbal or Seixal, districts situated close to either Lisbon or Porto and economic innovation, therefore in times of economic which experience severe social problems. Involving the inhabitants of instability, artistic creation has a special role to play. In the these areas in cultural and art activities is one of the crucial factors in musical sense, development is a process by which musical the process of their regionâ&#x20AC;&#x2122;s development. There are plans to introduce Sound Told Fairy Tales in other materials are altered and elaborated. Therefore music, on both a micro and macro level, is always about countries, with each country presenting stories with accompanying moving forward, changing and developing past structures. What is so music by their own authors and musicians. The projectâ&#x20AC;&#x2122;s pedagogical speciďŹ c about music that qualiďŹ es it as an important vehicle aspects are also worth mentioning, and from experience it of development? How can contemporary art be more has become evident that it has the capacity to reinforce )FFROMTHE eďŹ&#x20AC;ectively integrated into local, national and regional the bond between children and adults (their families development programmes? and teachers). On the one hand the project has a ONEPOINTOFVIEW The Cultural Association Miso Music CONTEMPORARYARTSEEMS strong and beneďŹ cial impact on childrenâ&#x20AC;&#x2122;s creative development but on the other, adults also beneďŹ t Portugal initiates projects which play a key USELESS FROMTHE role in fostering cultural environments and in from the Sound Told Fairy Tales performances. OTHERITCONSTITUTESONE Thanks to the projectâ&#x20AC;&#x2122;s unusual context they learn creating equal opportunities. Sound Told Fairy Tales â&#x20AC;&#x201C; Electroacoustic Theatre for Children is one to appreciate and open themselves up to new OFTHEMOSTPROFOUND musical forms, which in other circumstances they such project. HUMANFEATURES¨ would have perceived as â&#x20AC;&#x153;too demandingâ&#x20AC;?, and to reDesigned for children between four and 12 years old learn how to approach children through storytelling. The and their families, the Sound Told Fairy Tales project is based latter is also beneďŹ cial for music authors as it helps them to around the tradition of storytelling, and includes both Portuguese develop their work by approaching new audiences. and foreign tales, original pieces written especially for the project, as As music has an enormous ability to inďŹ&#x201A;uence and shape our customs, Miso Music Portugal believes that it is high time to concentrate well as modern stories by contemporary authors. The novel character more eďŹ&#x20AC;ectively on how it can help in terms of development. â&#x20AC;&#x153;If from of Sound Told Fairy Tales is the interaction between the written texts the one point of view contemporary art seems useless, from the and the music specially composed for each fairy tale. The original other it constitutes one of the most profound human features, not pieces of music not only complement the meaning of the words but only establishing the identity of immediate circumstances, but also also stimulate the childrenâ&#x20AC;&#x2122;s imagination. forming collective history. Consequently, the possibilities, which an Through the project, the youngest are introduced to new music opening their minds to a world of sound phenomena created by means artist possesses to assert his or her individuality are by deďŹ nition a of modern technology whilst referring to various exemplary works for political actâ&#x20AC;?, says Miguel Azguime, composer, poet and one of the children by composers such as Camille Saint-SaĂŤns, Sergei ProkoďŹ ev co-founders of Miso Music Portugal.1 or Maurice Ravel. The projectâ&#x20AC;&#x2122;s objectives focus on education through  )NTERVIEWWITH-IGUEL!ZGUIMEENTITLEDÂą,IBERTAROAR²BY*OjO5RBANO sound, which is especially signiďŹ cant as children are particularly AND*ORGE,EANDRO2OSA Âą.ADA²-AGAZINE .O /CTOBER ,ISBON receptive to novelty. By presenting new music to children all around 0ORTUGAL Portugal whose exposure to contemporary works is limited, Miso Music Portugal intends to expand their taste and knowledge of the modern  3qLVIA3EIXAS2ODRIGUES*AKUB3ZCZYPA world. Young people shape their individual receptivity, creativity and social awareness through direct contact with contemporary art, &ORMOREINFORMATIONPLEASECONTACT subsequently leading them to become conscious and independent -)3/-53)#0/245'!, citizens, which beneďŹ ts the countryâ&#x20AC;&#x2122;s overall development. 2UADO$OURO 2EBELVA  0AREDE 0ORTUGAL Sound Told Fairy Tales has involved young audiences from less 4EL  &AX  7EBSITEWWWMISOMUSICCOM privileged areas such as Amadora, Aveiro, Monte AbraĂŁo, Montijo,



!#5,452!,%52/0%!#)4):%.3´%52/0% &ESTIVALSANDTHEIR#ONTRIBUTIONTO2EGIONAL$EVELOPMENT 20 years after the fall of the Berlin wall that led to the integration process we are witnessing today, it seems that Europe is still far away from its citizens. Many do not yet share the belief of a citizensâ&#x20AC;&#x2122; Europe â&#x20AC;&#x201C; because they are not involved in the process of shaping it. An institutional Europe has therefore to become a citizensâ&#x20AC;&#x2122; Europe, which is by deďŹ nition a cultural Europe. Music, theatre, dance, literature, visual arts, architecture, ďŹ lm etc. may belong to a speciďŹ c country or region. However, they are all rooted in a mosaic of shared interconnected experiences. Without culture, citizens will not develop an â&#x20AC;&#x2DC;emotionalâ&#x20AC;&#x2122; link to this Europe. 4HE2OLEOF#ULTUREIN2EGIONAL$EVELOPMENT Culture has been introduced as a factor in EU regional development policies recently. Despite very valuable eďŹ&#x20AC;orts such as the creation of the informal EP Intergroup A Soul for Europe (established at the initiative of a group of Members of the European Parliament in 2008) that urges to include culture as a means for sustainable regional development in Europe, the initiation of the European



Capitals of Culture or the Council of the European Unionâ&#x20AC;&#x2122;s adoption of its conclusions supporting the contribution of culture to local and regional development, there is still a lot to be done. A change of mindset is needed at all levels â&#x20AC;&#x201C; starting from the individual person. As stage director Galin Stoev said in an EFA session: â&#x20AC;&#x153;I cannot change the society, but I can reach out to a person!â&#x20AC;? The arts â&#x20AC;&#x201C; including music â&#x20AC;&#x201C; can provoke this change of mindset which will lead to the building of our societies! -USIC&ESTIVALS#ATALYSTFOR3OCIETAL$EVELOPMENTAT 2EGIONAL,EVEL Festivals are in a privileged position to provide the means for everyone to experience culture. They ensure a real encounter between arts/life, artists and audience. They open doors to new artistic forms, new performers, new audiences, unusual venues, unknown cultures, new points of view. They inspire citizens through the arts, challenge and oďŹ&#x20AC;er them occasions to broaden their horizons, bringing people together through inventive and participatory initiatives. In 2010, EFA initiated the Open the Door project. It aims to increase awareness of the power of arts and culture in the process of social transformation and to foster involvement of cultural actors in societal issues through festivals.


/PENTHE$OOR%&!#ONNECTS-USIC&ESTIVALSFROM %UROPE´S2EGIONS In a newly launched format entitled EFA Meets Its Regions, EFA brings together festivals sharing common interests according to their regional context: the international work starts with your next-door neighbour. A meeting in June 2010 in Zagreb that took place in the frame of Open the Door resulted in the launch of a project, that without doubt is a best practice example for feeding into regional development through music: 0HOTOBY,UKASZ2AJCHERT The Belgrade Music Festival (BEMUS) dedicated its 2010 season to Festivals: Open this door NOW! The major project in this respect is and European cultural organisations and further development of an the launch of the NO BORDERS ORCHESTRA, an orchestra independent, artistically driven exchange. that brings together excellent musicians from all former Other examples of music festival projects are MusMA, Yugoslav republics; it will start operating in 2011. Music Masters on Air: European Broadcasting Festival, 7ITHOUT Besides having an artistic importance, the project which is a long-term international collaboration of CULTURE CITIZENS has a strong educational and social signiďŹ cance. The some 10 major European festivals; or Singing Poland!, initiated by International Festival Wratislavia Cantans, overall goal is to emphasise the necessity of cultural WILLNOTDEVELOP involvement in all aspects of social and political which hopes to develop into a European initiative ANÂłEMOTIONAL´LINK life. It aims to suppress a brain drain of young Singing Europe. There are many more examples that TOTHIS%UROPE professionals from the region; to balance cultural EFA â&#x20AC;&#x201C; in its mission â&#x20AC;&#x201C; brings to the attention of consequences of transitional period(s) across the region; political decision-makers at European level. to activate the civil sector through cultural activity; and The European Festivals Association urges actors at all to point out the importance of an active citizenship. Also, levels and from all sectors to recognise the power of arts and the project involves a message to politicians: culture and arts are culture! Letâ&#x20AC;&#x2122;s make use of this force of festivals to bring together fundamental factors of cooperation, better quality of life for everyone individuals and to shape a sense of responsibility in a cultural Europe, and regional development as a whole. a Europe of citizens! To reach out to political decision-makers is a second aim of Open  +ATHRIN$EVENTER the Door. 3ECRETARY'ENERALOF%&! Two â&#x20AC;&#x2DC;commitmentsâ&#x20AC;&#x2122; were signed in order to raise awareness at political level, to deďŹ ne responsibilities and to involve politicians in &ORMOREINFORMATIONPLEASECONTACT the process: one in Zagreb that aims at opening doors to politics, to %UROPEAN&ESTIVALS!SSOCIATION civic debate and to Europe in particular in the South-Eastern European +LEINE'ENTSTRAAT 'ENT "ELGIUM region; and one in Shanghai that calls for collaboration between Asian 4EL  &AX  %MAILINFO EFA AEFEU




The idea of an Institute for Modern Music was born as a reaction to the present state of Czech modern and alternative independent music scene which is isolated from international audiences 20 years after the political changes which swept the country, the Czech Republic has not been able to generate artists who would then follow in the formally strong tradition of Czech music and succeed abroad. Why? The Czech music scene suďŹ&#x20AC;ers as a result of a long lasting and profound negative synergy between the eďŹ&#x20AC;ects of the extreme censorship of the Communist regime and general cultural decline which occurred during the period of normalisation in the 70s (after 1968), where the strive to democracy repressed artistic potential and social progress. A further signiďŹ cant inďŹ&#x201A;uence on the state of Czech music is the focus placed by the mass media on the commercial viability of artists in the music sector. Where does this incompetence originate from? Over the years, key areas of the creative process, such as composition, arrangement and sound formation, were downgraded in the curriculum with music schools instead prioritising only two areas: music theory and musical skills. As a result of this speciďŹ cally Czech approach to teaching music, which prevails throughout the country, graduate students struggle to ďŹ nd their ground in the modern music world, particularly when competing with their foreign counterparts who have been exposed to a multi-faceted approach to music teaching as well as to new technology. The Czech musician cannot survive, as conďŹ rmed by the performances of notable Czech music groups abroad which unfortunately experienced poor interest from the foreign audience. The lack of supportive institutional structures, suďŹ&#x192;cient education, philanthropists, patrons, legal procurement, tax reductions and global industry interest leads to a deterioration of stimulation for the Czech artist on his journey towards originality, quality and professionalism. How can we help? The Institute for Modern Music aims to improve the above mentioned conditions in mutual collaboration with other legal entities. Searching for positive and constructive solutions away from the current troubled situation of music in the Czech Republic, the Institute for Modern Music has proposed a concept focusing on four basic, inter-linked categories that it assumes will vitalise the modern Czech music scene: specialised training , music management and production, mobility and music export, and audiovisual publishing. Central to this concept and forming its initial phase is specialised training. A professional position in the artistic ďŹ eld requires good qualiďŹ cations in management as well as technical skills, and not just musical talent.



The Institute for Modern Music focuses on disciplines which are not oďŹ&#x20AC;ered by the basic Czech music curriculum but which it sees as being necessary for the future development of the sector. Foreign specialists, whose knowledge is highly valued, are invited to become mentors and tutors. Disciplines such as music management, mobility and publication/ distribution training are seen as essential to this process, and receive particular attention in specially organised seminars and workshops providing new and already active musicians with knowledge needed to help them grow and develop in their professional lives. Hosting meetings of professionals and specialists from diďŹ&#x20AC;erent countries in the Czech Republic, will encourage new possibilities for networking and artistic collaboration to emerge, and therefore improve opportunities for Czech artists both at home and abroad. The instituteâ&#x20AC;&#x2122;s aim is not to occupy itself with administration, but to instead focus on the real experience of making music and on active artistic exchange in order to restore the strong Czech music tradition, enriched and updated with the current trends, and strengthen Czechsâ&#x20AC;&#x2122; identity with their music and boost Czech artistsâ&#x20AC;&#x2122; conďŹ dence at international level. Music represents a signiďŹ cant connecting link between all artistic disciplines and aďŹ&#x20AC;ects present social needs. It impacts general awareness, reďŹ&#x201A;ects daily culture, social standards, economical and emotional growth not only in local terms but world-wide. It is today that the Institute for Modern Music tries to shape the music sector of tomorrow.  *AROSLAV2AUSĂ&#x17E;ER CHAIRMANOFTHEBOARD)-(OS *ANA4OMfSĂ&#x17E;KOVf DEPUTYCHAIRMANOFTHEBOARD)-(OS 2ADEK!DAMEC DEPUTYCHAIRMANOFTHEBOARD)-(OS





The abuse of power for private gain is an issue in virtually every country worldwide. Corruption, whether petty, bureaucratic or political, impacts the lives of millions globally and hinders the economic, political, and social development of our communities. To eradicate corruption and move beyond the cycles of poverty and inequality it perpetuates will demand a multi-sectoral approach engaging public institutions, government, private sector, media and civil society in joint dialogue and action. With the aim of probing the role the music sector can play in ďŹ ghting corruption, the JMI Foundation in partnership with the Global Youth Anti-Corruption Network and the World Bank Institute initiated Fair Play Anti-Corruption Youth Voices in 2010, a global competition for music videos by young artists/bands (18â&#x20AC;&#x201C;35) on the theme of anti-corruption. In its ďŹ rst year, the programme resulted in 10 000 YouTube views for videos by Fair Play ambassadors African Destiny (Zimbabwe), Ajob (Bangladesh), Blessed Sons (Sierra Leone), Fareeq el Atrash (Lebanon), Lesen Udar (Macedonia), Profetas (Colombia), The Ryan Cayabyab Singers (Philippines) and Steven Sogo (Burundi); three

million YouTube views for the 50+ video entries by artists from 15 diďŹ&#x20AC;erent countries; 1 000 fans on the Fair Play Anti-Corruption Youth Voices Facebook page; and performances by the three winning bands MaďŹ lika (Malawi), I-VOICE (Lebanon) and Katya Emmanuel (DR Congo) in Brussels at the Global Youth Anti-Corruption Forum and as part of the Brussels Jazz Festival (Brussels Jazz Marathon). Now in its second year, the aims to go further in raising awareness and connecting youth globally that are concerned about this issue, and ultimately â&#x20AC;&#x201C; to empower them to make a change. Fair Play Anti-Corruption Youth Voices music video competition is open 10 Jan â&#x20AC;&#x201C; 20 March 2011. More:  +ATE$ECLERCK *EUNESSES-USICALES)NTERNATIONAL







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What does popular music tell us about the times in which scholarly work on music and history of the area. An exhibit and a we live? How does it travel throughout a territory, and what monograph dedicated to the famous independent French label Vogue, does it tell us about the people who live there? How does which was based in Seine-Saint-Denis, are also being prepared. Furthermore, the recently produced ďŹ lm 93, la belle rebelle, studying it play a part in discovering a common history? These are questions raised by Mixages, a project initiated in the most directed by Jean-Pierre Thorn and broadcast on Arte, is the outcome notorious suburb (banlieue) of Paris â&#x20AC;&#x201C; Seine-Saint-Denis â&#x20AC;&#x201C; by Zebrock, of a proposal made by Zebrock two years ago. Taking the form of a an association devoted to broadcasting and transmitting popular documentary, the ďŹ lm not only presents some of the suburbâ&#x20AC;&#x2122;s most music, mostly in schools. The suburb, which incorporates 40 creative and relevant artists today, but more signiďŹ cantly, cities with a total population of 1 560 000 inhabitants, is through eight musical portraits, underlines the constant predominantly made up of working-class households restless character of the residents, who have found -USICINTHE and migrant communities. As in many French it hard to ďŹ t into the area in which they were SUBURBTHEREFORE suburbs, unemployment in Seine-Saint-Denis is forced to reside. This rebellion causes tension, BECOMESAPOLITICALTOOL

high, aďŹ&#x20AC;ecting approx. 40â&#x20AC;&#x201C;50 % of the youth which can lead to rioting, result in a signiďŹ cant living there. The lack of perspectives, increasing political phenomenon such as creation of the APARTOFTHESOCIAL â&#x20AC;&#x2DC;red suburbâ&#x20AC;&#x2122; or lead to increased levels of union ghettoisation, marginalisation by French society, HUBBUB OFTHECULTURAL membership. However, most of the time it also and a negative image in the media, leaves young EFFERVESCENCE)TPROVIDES gives birth to remarkable creativity, particularly in people frustrated and angry, and leads to social USWITHASOUNDTRACK the musical ďŹ eld. The artists ďŹ lmed and interviewed unrest. For many, music is their only escape from in this outstanding ďŹ lm give accounts of this reality. this depressing reality. OFSOCIETY They express their deep attachment to the area and The Mixages project invites the inhabitants of Seinedeliver a truly comforting message of hope. Mixages is thus Saint-Denis to share with each other their musical passions. Based around municipal archives and work with musicians and music contributing to the development of Seine-Saint-Denis by enlightening professionals, the project calls on history and sociology scholars to help its creativity, the strength of its diversity, and the opportunities it rebuild the territoryâ&#x20AC;&#x2122;s musical history of the past ďŹ fty years. It aims at conceals. understanding how diďŹ&#x20AC;erent musics found in the suburb have aďŹ&#x20AC;ected  %DGARD'ARCIA behaviour and how they inďŹ&#x201A;uence the present. Listening to music is $IRECTOR'ENERALOF:EBROCK the most common and easily accessible form of musical practice there

&ORMOREINFORMATIONPLEASECONTACT is. In Seine-Saint-Denis it shapes diďŹ&#x20AC;erent behaviour, opening new !SSOCIATION#HROMA:EBROCK doors and opportunities for young people who choose a completely ,E4ERMINAL RUE3AINT *UST .OISY LE 3EC &RANCE diďŹ&#x20AC;erent life to what society expects of them. A diversity of genres can 4EL  %MAIL)NFO ZEBROCKNET 7EBSITEWWWZEBROCKNET be found, from rap to rockâ&#x20AC;&#x2122;nâ&#x20AC;&#x2122;roll, from pop to all its variations. All are witnesses of technological mutations; they represent what upsets the society; they are responsible for the evolution of customs; expressions of hope and expectations. Music in the suburb therefore becomes a political tool, a part of the social hubbub, of the cultural eďŹ&#x20AC;ervescence: It provides us with a soundtrack of society. The Mixages project is made up of diďŹ&#x20AC;erent elements. Musical workshops bring young people into contact with the older generations, from which they acquire knowledge, enhancing their creativity. The cafĂŠs musique initiative led to a series of public meetings in many cities, where presentations of archive footage, testimonies and debates (which were all recorded) cast a light on a common culture and experiences shared by the residents of Seine-Saint-Denis. Such a revelation will inevitably strengthen social bonds and mutual understanding amongst residents. An interactive website is currently being developed linking a collection of the localsâ&#x20AC;&#x2122; testimonies, memories and comments to 0HOTOBY7ILLY6AINQUEUR




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The European Forum on Music, held in cooperation by the European Music Council (EMC), the Austrian Music Council and the University of Music and Performing Arts in Vienna, from 15 â&#x20AC;&#x201C; 18 April 2010 in Vienna, was an event that will surely linger in the participantsâ&#x20AC;&#x2122; minds for a long time to come. There was, of course, the plume of volcanic ash that was making its way across Europe, closing most of the continentâ&#x20AC;&#x2122;s airspace and hampering travel plans, but for the people who made it to Vienna (and most people did as the conference started just before the travel chaos began), the discussions, connections, ideas and conclusions that came about in Viennaâ&#x20AC;&#x2122;s University of Music and Performing Arts will be remembered and have repercussions for much longer. As people queued to register for the three day conference, they could peruse the photo exhibition that had been set up especially by mica â&#x20AC;&#x201C; music Austria, entitled â&#x20AC;&#x2DC;15 Years of Austrian Music: 1994 2009â&#x20AC;&#x2122;, and that would form part of the theme of the forum, itself entitled Musical Diversity: Looking back, Looking forward. The delegates,


who came from nearly 30 countries across Europe and beyond, were encouraged to reďŹ&#x201A;ect on how musical diversity had developed (or not) over the past decade in their own countries, and how they and their organisations could help shape the future. In his welcome, Timo Klemettinen, the chairman of the EMC, urged delegates to question their role as NGOs when it comes to â&#x20AC;&#x2DC;developing culturally democratic and open societies with real respect towards diďŹ&#x20AC;erent cultures.â&#x20AC;&#x2122; The opening keynote speech, from Simron Jit Singh of the Institute of Social Ecology in Austria, gave a very enlightening presentation on how work and economy has an impact on culture, with particular reference to the communities of South East Asia who were aďŹ&#x20AC;ected by the tsunami in 2004. He commented on how the inhabitants of the region had much less time to enjoy and develop their culture since the disaster because of new ways in which the markets and economy were being run to suit a more â&#x20AC;&#x2DC;Westernâ&#x20AC;&#x2122; model. Eva Nowotny (President of the Austrian UNESCO Commission) and Yvonne Gimpel (Austrian National UNESCO Commission) then discussed how perspectives of cultural diversity


had changed through the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, and how they would continue to do so over the coming years. These presentations allowed debate and discussion to develop over the rest of the conference. In terms of musical diversity in Europeâ&#x20AC;&#x2122;s urban areas and cities, there was a presentation from Ursula Hemetek (International Council for Traditional Music, Vienna), who showed what inďŹ&#x201A;uence Turkish migrants, in particular, have had on Viennese musical life, and the diďŹ&#x20AC;erent situations in which music making has ďŹ&#x201A;ourished and where it still has some way to go. Katrien Laporte and Wim Wabbes (UNESCO City of Music Ghent), gave a vibrant introduction to the city of Ghent and why it has been singled out by UNESCO as worthy enough to be included in its Creative Cities Network. Peko Baxant (City of Vienna) showed how Vienna has progressed in terms of musical diversity and that whilst it is very proud of its rich musical heritage, it is also trying to look to the future and foster its burgeoning contemporary scene. Unfortunately, Madis Kolk (European Capital of Culture: Tallinn 2011), was unable to join the panel because of the, by now widespread, travel problems, but a short speech was read out on his behalf by Silja Fischer (Secretary General, International Music Council), which stated how Tallinn intends to share the beneďŹ ts that will come with being Capital of Culture 2011 with all its inhabitants, and promote long standing and sustainable projects that will reach people far beyond 2011. Whereas musical diversity seems to be an important factor for the promotion of cities, the participants also requested that musical diversity should have more relevance when it comes to formulating cultural policies and designing funding opportunities. Parallel interactive sessions discussed the past, present and future of â&#x20AC;&#x2DC;Musical Diversity and Educationâ&#x20AC;&#x2122; and â&#x20AC;&#x2DC;Musical Diversity in the Digital Environmentâ&#x20AC;&#x2122;. The invited experts on education, Michael Wimmer (educult), Rineke Smilde (Professor of Lifelong Learning in Music & the Arts â&#x20AC;&#x201C; Prince Claus and Royal conservatoires, the Netherlands) and Franz Niermann (European Association for Music in Schools) all agreed with the delegates attending that music education varied quite widely across Europe, and that whilst some countries seem to have â&#x20AC;&#x2DC;got it rightâ&#x20AC;&#x2122; or are heading in the right direction, others need much more pushing and persuasion to give music education the recognition it deserves as a key part of a personâ&#x20AC;&#x2122;s holistic education. The discussions that followed between the delegates expanded on this, giving examples from their own countries about the present situation and what is planned for the future. The other session, with Patrick Rackow of the European Composers and Songwriter Alliance and Graham Dixon of BBC Radio 3, chaired by Stef Coninx (International Association of Music Information Centres) showed the dichotomy that we face when talking about cultural diversity in a digital environment:

in line with the ďŹ ve musical rights of the International Music Council (IMC), the combination of the right to access culture and the right of artists to receive a fair remuneration might cause conďŹ&#x201A;icting interests in the digital context. The following morning, Harald Huber (Austrian Music Council) and Lisa Leitich (University of Music and Performing Arts, Vienna), gave a very detailed insight into Austriaâ&#x20AC;&#x2122;s present musical diversity, also detailing some plans for the future, and how Austria intends to redress the balance between diďŹ&#x20AC;erent musical forms. The panel discussion on the EU 2020 Strategy saw some changes. Representatives from both the EU Commission and the EU Parliament were unable to beat the volcanic ash, as by now almost all of Europeâ&#x20AC;&#x2122;s airspace was closed. Ivor Davies (Culture Action Europe) chaired the session with Yvonne Gimpel (Austrian Ministry of Education, Arts and Culture), who took the cancellations in their stride, with Mr Davies ensuring a lively debate, collecting examples of national advocacy activities that could serve as models for other NGOs that were represented at the forum. Before the closing sessions of the conference, some member organisations of the EMC were given the chance to give an introduction to particular projects that they had been undertaking over the past year to the audience, and the presentations from Franz Patay (International Music and Media Centre); Ariane Hannus (German Music Council); Franz Niermann and Isolde Malmberg (European Association for Music in Schools); Frank Stahmer (European Composersâ&#x20AC;&#x2122; Forum); GĂĄbor MĂłczĂĄr (Europa Cantat); Edgar Garcia and HĂŠlène Pons (Chroma/Zebrock) and Lenka DohnalovĂĄ (Czech Music Council), really demonstrated music diversity in action. Alongside the forum, the EMC Annual Meeting took place and elections for the EMC Board 2010 â&#x20AC;&#x201C; 2012 were held. The new board consists of Timo Klemettinen (Finland), Christian HĂśppner (Germany), Stef Coninx (Belgium) â&#x20AC;&#x201C; all of whom will reprise their roles as chairman, vice-chairman and treasurer respectively â&#x20AC;&#x201C; Erling Aksdal (Norway), Helena MaďŹ&#x201E;i-Nissinen (Switzerland/Finland), Frank Stahmer (Austria) and Kaie Tanner (Estonia), as well as a coopted member of Claire Goddard (United Kingdom/Germany), who is the chairperson of the EMCâ&#x20AC;&#x2122;s Working Group Youth. Apart from the discussions and presentations, the Austrian Music Council and the University of Music and Performing Arts, Vienna, gave delegates the opportunity to experience Viennaâ&#x20AC;&#x2122;s musical diversity ďŹ rst hand with performances from the universityâ&#x20AC;&#x2122;s students, a concert of new Viennese music at the legendary Porgy and Bess Jazz Club and a stunning performance by the Wiener Symphoniker at the world famous Musikverein. In their extremely observant and concise summaries of the conference, Sonja Greiner (Europa Cantat) and Peter Rantasa (International Music Council) urged delegates to really take time to think about what they had heard and discussed over the past couple of days, and ensure that the conclusions and concrete recommendations that they had come to be acted upon in their respective organisations and countries. With many people now stranded in Vienna, it was the perfect time to reďŹ&#x201A;ect and really â&#x20AC;&#x2DC;take some time to thinkâ&#x20AC;&#x2122;.  *AMIE-UNN %-#INTERN



)4Âł3!,,!"/54!##%33ÂŻ %52/0%!.9/54(&/25-/.-53)# The WGYâ&#x20AC;&#x2122;s dream of bringing together like-minded young people from all over Europe to promote and facilitate a higher level of youth participation in European music life became reality in October 2010 in Turin, Italy. This European Youth Forum on Music was part of a wider project called Access! which is focused around the creation of a European Agenda for Youth and Music. The motto for the weekend forum was â&#x20AC;&#x2DC;create, learn, networkâ&#x20AC;&#x2122; and over 60 participants, mostly under the age of 30, did just that. It was opened by two inspiring young keynote speakers: cellist and pioneer of contemporary music Peter Gregson (23, from the United Kingdom) and Zuhal Sultan music activist and founder of the National Youth Orchestra of Iraq (19, from Iraq). Next up was an introduction to European youth policy and music given by Antoine Mertzeisen








from the European Youth Forum and Kate Declerck from Jeunesses Musicales International. The ďŹ rst day was rounded oďŹ&#x20AC; by a concert presented by hosts Feniarco, the Italian Choral Association, at the Conservatoire Giuseppe Verdi. This featured local young musicians as well as guest Jennifer Port, harpist and singer from Live Music Now Scotland. Another musical highlight was provided by the local youth choir Coro G in a performance during the guided city tour they gave participants on Saturday. A wide range of workshops were oďŹ&#x20AC;ered to participants on the second day covering themes such as cultural policy, music education, arts management, branding and digital strategies, and music and social change. Practical examples were given and developed with the musical results of some of the workshops presented that evening at the European Music CafĂŠ. This was a chance for all participants and speakers to get to know each other and further discuss issues raised in the forum, whilst enjoying a varied musical programme and the beautiful setting of a palazzo! The last morning of the forum was dedicated to the European Agenda for Youth and Music with participants presenting the results of the workshops and addressing the issues which are important for young people involved in music today in further small group discussions. These included employment, training, funding, access to and sharing of information, and music as a social tool. This formed the basis of a ďŹ rst draft of the Agenda which was produced by a working group over several meetings in Bonn, Germany. A wider consultation was then launched, featuring an online forum, and the WGY worked hard to get feedback from as many young people, organisations and institutions from across the continent as possible. The result is a comprehensive document which will be broadly disseminated, together with practical advice and assistance to facilitate its implementation. It is, after all, young people who are the future of the European musical sector. Through its Access! project, the WGY is ensuring that it will no longer be a dream that policy makers, institutions and organisations listen to what young people have to say! More information about the Access! project, the European Agenda for Youth and Music, and the WGY can be found at www.wgy-emc. org.  #LAIRE'ODDARD #HAIR0ERSONOFTHE7ORKING'ROUP9OUTH







Artmusfair 2011 28 April â&#x20AC;&#x201C; 1 May, Weimar, Germany New Audiences for New Music â&#x20AC;&#x201C; Artmusfair in 2011 focuses on contemporary music education. Contact: European Composersâ&#x20AC;&#x2122; Forum, c/o European House for Culture, Place Flagey 18, 1050 Brussels, Belgium T: +43 196 615 45, F: +43 196 615 45 12,

Eurochoir 2011 5 â&#x20AC;&#x201C; 14 August, Trentino, Italy 60 singers (18 â&#x20AC;&#x201C; 30 years old) selected and inscribed by member organisations of the European Choral Association Contact: European Choral Association, WeberstraĂ&#x;e 59a 53113 Bonn, Germany, T: +49 228 912 56 63 F: +49 228 912 56 58,

3EPTEMBER -AY The 13th Athur Rubenstein International Piano Master Competition 10 â&#x20AC;&#x201C; 26 May, Tel-Aviv, Israel Contact: The Athur Rubenstein International Music Society, 12 Huberman Street, 64075 Tel Aviv, Israel, T: +972 3 685 66 84,

*ULY 46th International Choral Days 4 â&#x20AC;&#x201C; 10 July, Barcelona, Spain Singing week with three workshops: Mediterranean music, old melodies and new rhythms. Contact: FederaciĂł Catalana dâ&#x20AC;&#x2DC;Entitats Corals (FCEC) Via Laietana 54, 2n despatx 213, 08003 Barcelona, Spain T: +34 932 680 668, F: +34 933 197 436,

6th International Competition for Young Choral Conductors 14 â&#x20AC;&#x201C; 18 September 2011, Budapest, Hungary Young conductors under 35 years of age â&#x20AC;&#x201C; 18 conductors will be selected Contact: European Choral Association, WeberstraĂ&#x;e 59a 53113 Bonn, Germany, T: +49 228 912 56 63 F: +49 228 912 56 58, Choral Crossroads 2011 22 â&#x20AC;&#x201C; 29 September, Limassol, Cyprus Euro-Mediterranean Choral Fair Choral Crossroads 2011 is a 4-day project aiming to bring together 10 top-level youth choirs from European and Arab countries. Contact: Jeunesses Musicales Cyprus, 35 Dervenion Street 3052 Limassol, Cyprus, T: +357 995 897 74, F: +357 255 842 50,

/CTOBER 8th International Summer Choir Academy on Orchestra Conducting for Choral conductors and Choir Ateliers for Singer 14 â&#x20AC;&#x201C; 24 July, PomĂĄz, Hungary Contact: European Choral Association, WeberstraĂ&#x;e 59a 53113 Bonn, Germany, T: +49 228 912 56 63 F: +49 228 912 56 58,

2011 World Accordion Championships 2 â&#x20AC;&#x201C; 6 October, Shanghai, China Contact: ConfĂŠdĂŠration Internationale des AccordĂŠonistes (CIA), KyrĂśsselänkatu 3, FIN-39500 Ikaalinen, Finland T: +358 3 440 02 21, F: +358 3 458 90 71,




#/.&%2%.#%339-0/3)! -%%4).'33%-).!23 !PRIL Music Fair Frankfurt 6 â&#x20AC;&#x201C; 9 April, Frankfurt, Germany Contact: Messe Frankfurt Exhibition GmbH Ludwig-Erhard-Anlage 1, 60327 Frankfurt a. M., Germany T: +49 69 75 75 0, F: +49 69 75 75 65 41, European Platform for Artistic Research in Music (EPARM) 9 â&#x20AC;&#x201C; 10 April, Belgrade, Serbia Sounds, Searchings, Sharings:Towards a Common Platform for the Development and Dissimination of Artistic Research in Music Contact: European Association of Conservatoires (AEC) Ganzenmarkt 6, NL-3512 GD Utrecht, The Netherlands T: + 31 30 236 12 42, F: + 31 30 236 12 90,,

-AY Arts and Education: Creative ways into languages 6 â&#x20AC;&#x201C; 8 May, Athens, Greece Contact: European Association for Music in Schools Tervuursesteenweg 84, 2800 Mechelen, Belgium T: +32 15 34 66 58,, From Seoul to Bonn: Translating the Goals for the Development of Arts Education for Music in Europe 16 May, Bonn, Germany The EMCâ&#x20AC;&#x2122;s seminar on Music Education will focus on how to adapt the UNESCO Seoul Agenda to the ďŹ eld of music education in Europe Contact: European Music Council (EMC), Weberstr. 59a 53113 Bonn, Germany, T: +49 228 96 69 96 64 F: +49 228 96 69 96 65,, EAS conference 18 â&#x20AC;&#x201C; 21 May, Gdansk, Poland The next EAS conference will be held in partnership with ISME as their European regional conference. The conference will also host the EAS Student Forum for music teacher training students Contact: European Association for Music in Schools Tervuursesteenweg 84, 2800 Mechelen, Belgium T: +32 15 34 66 58,,

European String Teachers Association International Conference 1 â&#x20AC;&#x201C; 5 June, Falun, Sweden Contact: European String Teachers Association (ESTA) Per Helders, Musikkonservatoriet Falun, Daljunkaregatan 11 791 37 Falun, T: +46 70 535 41 26, World Copyright Summit Creating value in the digital economy 7 â&#x20AC;&#x201C; 8 June, The Square, Brussels, Belgium The World Copyright Summit is an international and crossindustry event addressing the future of the creative community and the entertainment business in the digital economy. The summit will be a forum to exchange views on the value of creative works, the future of authorsâ&#x20AC;&#x2122; rights, the role of creators and their collective management organisations.

*ULY 21st Annual IASJ Jazz Meeting 2 â&#x20AC;&#x201C; 8 July, Sao Paulo, Brazil Contact: IASJ International Association of Schools of Jazz from Brazil, Rua JosĂŠ Maria Lisboa, 745, Jardins, SĂŁo Paulo SP - 01423-001, Brazil, T: +55 11 388 491 49 F: +55 11 388 476 11,

!UGUST IFCM General Assembly August 2011, Puerto Madryn, Argentina Contact: International Federation of Choral Music (IFCM), World Symposium on Choral Music 3 â&#x20AC;&#x201C; 10 August, Puerto Madryn, Patagonia Argentina Contact: International Federation of Choral Music (IFCM),

3EPTEMBER European Culture Congress 8 â&#x20AC;&#x201C; 11 September, WrocĹ&#x201A;aw, Poland Contact: National Audiovisual Institute, WaĹ&#x201A;brzyska 3/5, 02-739 Warsaw, Poland T: +48 22 380 49 00, F: +48 22 380 49 01, Europe Jazz Network General Assembly 23 â&#x20AC;&#x201C; 25 September, Tallinn, Estonia Contact: Europe Jazz Network (EJN), 9, rue Gabrielle Josserand 93500 Pantin, France,, 4th IMC World Forum on Music 26 September â&#x20AC;&#x201C; 2 October, Tallinn, Estonia Contact: International Music Council, 1 rue Miollis 75732 Paris cedex 15, France T: +33 1 45 68 48 50, F: +33 1 45 68 48 66,





5th Young Cultural Policy Researchers Forum 11 â&#x20AC;&#x201C; 12 October, Helsinki, Finland Contact: ENCATC , Place Flagey 18, 1050 Brussels, Belgium T: +32 2 201 29 12,,

World Youth Choir Summer Session 13 July â&#x20AC;&#x201C; 10 August, Argentina and Uruguay Contact: International Federation of Choral Music (IFCM),

19th ENCATC Annual Conference and General Assembly 12 â&#x20AC;&#x201C; 14 October, Helsinki, Finland Contact: ENCATC, Place Flagey 18, 1050 Brussels, Belgium T: +32 2 201 29 12,,

38th Festivals Cultures du Monde 21 â&#x20AC;&#x201C; 31 July, Gannat, France Contact: Association Nationale Cultures et Traditions (ANCT) BP58 03800 Gannat, France, T: +33 4 709 012 67 F: +33 4 709 066 36,

European Culture Forum 20 â&#x20AC;&#x201C; 21 October, Brussles, Belgium


WOMEX 26 â&#x20AC;&#x201C; 30 October, Copenhagen, Denmark The World Music Expo Contact: Piranha WOMEX, Bergmannstr. 102, 10961 Berlin Germany, T: +49 30 318 614 30, F: +49 30 318 614 10,

Music Crossroads 2011 1 September, Maputo, Mozambique Contact: Music Crossroads International, Roger de LlĂşria 85 ppal 1ÂŞ, 08009 Barcelona, Spain T: :+34 93 3118204, F: +34 93 4875155,

.OVEMBER European Association of Conservatoires (AEC) Annual Congress 11 â&#x20AC;&#x201C; 12 November, Valencia, Spain Contact: AEC, PO Box 805, 3500 AV Utrecht, The Netherlands T: +31 30 2361242, F: +31 30 2361290,

International Gaudeamus Music Week 5 â&#x20AC;&#x201C; 12 September 2011, Utrecht, the Netherlands Contact: Music Center the Netherlands, Rokin 111 1012 KN Amsterdam, The Netherlands T: +31 20 344 60 00, F: +31 20 673 35 88,


!PRIL ISCM World New Music Days 2011 7 â&#x20AC;&#x201C; 17 April, Zagreb, Croatia Contact: International Society for Contemporary Music (ISCM) c/o Muziek Centrum Nederland, ROKIN 111 1012 KN Amsterdam, The Netherlands T: +31 20 344 60 60,,

*UNE Xth International Festival of University Choirs UNIVERSITAS CANTAT 2011 22 â&#x20AC;&#x201C; 25 June, PoznaĹ&#x201E;, Poland Contact: International Festival of University Choirs, NiepodlegĹ&#x201A;oĹ&#x203A;ci 26, 61-714 PoznaĹ&#x201E;, Poland T: + 48 608 30 70 30, ICV-Choir-Festival at the Unesco World Heritage Site 23 â&#x20AC;&#x201C; 26 June 2011, Koblenz/Bad Ems, Germany Contact: International Conductors Association




&2/-3%/5,4/"/..ÂŻ42!.3,!4).'4(%'/!,3&/24(% $%6%,/0-%.4/&!243%$5#!4)/.&/2-53)#).%52/0% On 16 May 2011, the EMC will host a seminar entitled From Seoul to Bonn - Translating the Goals for the Development of Arts Education for Music in Europe. The UNESCO Seoul Agenda: Goals for the Development of Arts Education, developed in the framework of the UNESCO World Conference on Arts Education in Seoul in 2010 will serve as a basis for the seminar. The Seoul Agenda formulates three goals, on â&#x20AC;&#x2DC;qualityâ&#x20AC;&#x2122;, â&#x20AC;&#x2DC;accessâ&#x20AC;&#x2122; and â&#x20AC;&#x2DC;social and cultural challengesâ&#x20AC;&#x2122;. Hosted in cooperation with the German UNESCO Commission, the seminar will examine formal, non-formal and informal music education strategies and how they can reďŹ&#x201A;ect the Seoul Agenda in a European environment.

The outcome of the seminar will be recommendations on how to implement the Seoul Agenda for music education in Europe. All EMC members and interested organisations in the ďŹ eld of music education are warmly invited to become involved as active participants.

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!24-53&!)2%$5#!4)/. .EW!UDIENCEFOR.EW-USIC!PRILÂŻ-AY 7EIMAR 'ERMANY â&#x20AC;&#x153;via nova - Thuringiaâ&#x20AC;?, the Weimar Spring Festival of Contemporary Music & the European Composersâ&#x20AC;&#x2122; Forum present: artmusfair.EDUCATION, from 28 April until 1 May 2011. The 4th edition of ARTMUSFAIR will focus on the important ďŹ eld of music education and audience development in the area of contemporary music of the 21st century. It will concentrate on how to teach the latest in contemporary music to children & youth, students & young professionals, adults & amateurs by bringing together the creative and the educative minds - the composers and the teachers. The programme includes:


1. 2. 3.

Conference & Round Tables â&#x20AC;&#x201C; Knowledge Transfer Concerts & Best Practice â&#x20AC;&#x201C; from Contemporary Music Education Europe-wide Workshops & Project Stages â&#x20AC;&#x201C; Building Ideas and Networks

artmusfair.EDUCATION invites composers, teachers, students, school classes, representatives from music schools, institutions of education and training, musicians and experts in audience development from Germany and all over Europe. Join us in mid-Spring in the middle of Germany. See you in Weimar! Register Now!







Profile for European Music Council

Sounds in Europe #6  

Music and Development

Sounds in Europe #6  

Music and Development