International Music Council
activity REPORT 2010-2012
Including project report MUSIC EMPOWERS GLOBAL YOUTH
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Key statements
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Organisational structure
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Regional Music Councils
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General overview
I
IMC at a glance
II
Membership
13 National Music Councils 15 International Music Organisations 16
Regional Music Organisations
17 National and Specialised Organisations 20 The 4th IMC World Forum on Music - Music and Social Change
Activities
22 IMC Music Sector Development Programme (MSDP) 24
III
Empowering musicians to claim their rights
26 IMC Musical Rights Awards 27 IMC Music World News 28 International Rostrum of Composers 29 Activities of Regional Music Councils 34
MEGY presentation
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MEGY partners
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MEGY activities
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From the IMC youth advisory group to IMC Youth
46 Advocacy 46 IMC Contributions to UNESCO’s programme
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Music Empowers Global Youth
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UNESCO – IMC: A longstanding partnership
Part I IMC at a glance
1. KEY statements The International Music Council (IMC) is the world’s leading membership-based professional organisation dedicated to the promotion of the value of music in the lives of all peoples. IMC’s members are present in 150 countries on all continents, with national music councils and international, regional and national music organisations as well as specialised organisations in the field of arts and culture, creating a network of knowledge and experience that touches on every aspect of music. Through its members, IMC has access to over 1000 organisations and 200 million persons eager to develop and share knowledge and experience on diverse aspects of musical life. Our mission is to > develop sustainable music sectors worldwide > create awareness about the value of music > be the voice for music > make music matter in society as a whole > uphold basic music rights in all countries
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Music Rights The International Music Council has proclaimed and works towards the advancement of five music rights: > The right for or all children and adults - to express themselves musically in all freedom - to learn musical languages and skills - to have access to musical involvement through participation, listening, creation, and information > The right for all musical artists - to develop their artistry and communicate through all media, with proper facilities at their disposal - to obtain just recognition and remuneration for their work
Principles: In devising its actions, IMC gives equal value and respect to all musical cultures of the world. IMC’s international cooperation is based on tolerance, mutual respect and dialogue. As a non-governmental, non-profit organisation, IMC goes beyond economic and governmental concerns and considerations, supporting the vibrancy of music and musical life in all its aspects. Objectives On music rights: > To promote access to music for all. > To ensure the provision of opportunities for all persons, and with special regard to children and youth, to exercise rights to learn musical languages and to listen to, understand, perform, create and express themselves through music. > To empower musical artists to develop their artistry and communicate through all media, with proper facilities at their disposal. > To empower musical artists to obtain just recognition of and fair remuneration for their work. On capacity-building: > To build the capacity of IMC and its members to fulfil their respective missions. > To support and connect the work of its members. > To mobilise and deploy adequate resources for institutional capacity building and high impact initiatives that help secure musical rights for all. > To enhance networking opportunities for IMC, its members and partners. On visibility > To amplify the authoritative voices of IMC and its membership. > To create opportunities for international recognition of individuals that serve music well and to musicians of exceptional achievement.
2. Organisational structure
2.2. IMC Head Office
2.1. Governing Bodies
The IMC Head Office is located in the NGO House on the premises of the UNESCO Headquarters in Paris. It is headed by Secretary General Silja Fischer (Germany).
The General Assembly has supreme authority in all matters regarding the actions of IMC and the accomplishment of its objectives. It considers programme implementation and discusses the reports presented to it by the Executive Board and Commissions as well as motions put forward by the members. The General Assembly meets every two years in the framework of the IMC World Forum on Music. Between General Assemblies, the Executive Board takes all decisions necessary on behalf of the IMC and ensures the implementation of all other decisions of the General Assembly. Moreover, the Executive Board admits members and submits to the General Assembly a report of the IMC’s work and its financial position.
Executive Board 2011-13 Frans de Ruiter (Netherlands), President Gary Ingle (USA), Executive Vice-President Liane Hentschke (Brazil), Vice-President Hisham Sharaf (Iraq), Vice-President Sonja Greiner (Germany), Treasurer Maria del Carmen Gil (Puerto Rico) Timo Klemettinen (Finland) Gary McPherson (Australia) Hugues Gervais Ondaye (Republic of Congo)
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IMC Board with the Secretaries General of IMC and EMC
3. Regional Music Councils The Regional Music Councils are an important part of the organisational structure of the IMC. As regional groups, they gather all IMC members that are based or active in a given region. When an organisation joins the IMC, it becomes automatically also a member of a regional group. International music organisations can be members of several regional groups, according to the geographical scope of their members and activities. IMC is today represented by a Regional Music Council in each of the following regions: Africa, the Americas (North, Central and South America as well as the Caribbean), Asia-Oceania and Europe. In the Arab world, a regional coordinator helps the IMC to identify regional needs. What are Regional Music Councils for? > They help developing a regional agenda. > They carry out activities in direct response to the needs, opportunities and aspirations of members and partners of the IMC within their own region. What has IMC done to support its regional groups? 8
Over the past two years, IMC has > improved its relations with Regional Music Councils and their secretariats: attendance of respective board meetings; IMC Executive Board appointed “ambassadors” for specific regions, notably for the Arab region and the Americas, to enhance mutual understanding and cooperation. > been regularly associated in projects and present at conferences organised by Regional Music Councils, such as the European Forum on Music, the African Music Rostrum, the Latin-American music education conference. > supported the African Music Council and the Music Council of the Three Americas in the preparation of their respective legal establishment, in defining roles and responsibilities, communication lines etc.
> cooperated with representatives of the Asia-Oceania region to review the regional structure with regards to relevance, practicality and effectiveness. > carried out a mapping of music organisations in Africa, Asia-Oceania and Latin America for the purpose of assisting membership development efforts in these regions. > given support to the regional secretariat in the Arab region for the development of membership in the region and for the preparation of the establishment of a regional music council. 3.1. African Music Council (AMC) The African Music Council (Conseil Africain de la Musique) was founded as an informal group at a meeting of IMC members based in Africa, which took place in Brazzaville in July 2007. It is currently in the process of incorporating as an NGO in the Republic of Congo. President Lupwishi Mbuyamba Secretary General Jolie Odia Mbuyi Headquarters: Brazzaville, Republic of Congo Its Mission… > It coordinates the participation and functioning of IMC in Africa; > It provides support to young artists through its African Music Rostrum; > It supports structures and actions implemented in Africa dealing with music education, training, information, documentation, research and publication; > It supports structures and actions in favour of music composition and for the areas of electro-acoustic/ folk/traditional music; > It promotes activities aiming at protecting the musicians and their rights.
Its Structure…
3.3. Music Council for Asia and Oceania (MCAO)
The African Music Council is currently composed of 16 IMC members:
Discussions for the establishment of the Music Council for Asia and Oceania were started in 2010. Its inaugural meeting was held on the occasion of the 4th IMC World Forum on Music in September 2011 where an executive committee was elected. Its first regional assembly is scheduled for October 2012. The MCAO is currently under legal constitution.
- 10 National Music Councils - 1 Regional music organisation - 5 National/specialised organisations 3.2. Music Council of the Three Americas (COMTA)
President Helen Lancaster (Australia) Vice-President Wang Yaohua (China) Secretary Julie Sperring (New Zealand)
The Music Council of the Three Americas (Consejo de la música de las Tres Americas - COMTA) was established as an informal regional group in 1995. It is currently in the process of being legalised.
Its Mission…
Chairpersons Valentina Frenot Diaz (Paraguay) Alejandro Iglesias Rossi (Argentina) Gary Ingle (USA) Secretary Alejandro Lavanderos (Chile)
Its Mission… > To coordinate the participation and functioning of IMC in North, Central and South America, as well as in the Caribbean. Its Structure… COMTA is currently composed of 17 IMC members: - 6 National Music Councils - 1 International music organisation - 1 Regional music organisation - 9 National/specialised organisations
> To coordinate the participation and functioning of IMC in the Asian and Oceanian countries. Its Structure… MCAO is currently composed of 11 IMC members: 4 National Music Councils 1 International music organisation 1 Regional music organisation 5 National and specialised organisations
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3.4. European Music Council (EMC) The umbrella organisation for musical life in Europe!
> In line with the International Music Council’s principles, its strategies and actions honour human and cultural rights, as well as musical integrity. Its Structure…
Founded in 1972 as a regional group of the International Music Council (IMC), the European Music Council is a network for representatives of both national music councils and European organisations, as well as national and specialised organisations involved in the fields of music education, creation, performance and heritage. Chairman: Stef Coninx (Belgium) since April 2012 Timo Klemettinen (Finland) until April 2012 Secretary General: Simone Dudt (Germany) Headquarters: Bonn (Germany) Its Mission… 10
> It contributes to a better mutual understanding amongst people and their different cultures, and promotes the right for their musical cultures to coexist; > It advocates on local, national and European levels for an appropriate framework, respecting equal rights and opportunities for music, music professionals and access to music; > It serves its members by advocating for the societal and political significance of musical diversity in Europe and, hence, plays a key role in supporting the European communities that want to celebrate their music. > It provides exceptional value to its membership by: - building knowledge; - creating networking opportunities; - supporting and enhancing the visibility of projects that help sustain people’s participation in music and cultural life
EMC is currently composed of 76 IMC members based in 29 European countries and Israel. - 20 National Music Councils - 14 International music organisations - 14 European music organisations - 28 National and specialised organisations 3.5. Arab Music Council First steps towards the foundation of an Arab Music Council have been taken. In September 2011, the General Assembly of the Arab Academy of Music (Arab League) adopted a resolution in favour of the creation of such a regional music council. Ministries of culture of the concerned countries have been contacted to ensure their support. In the meantime, the Arab Regional Secretariat of the IMC functions on the premises of the secretariat of the Arab Academy of Music in Jordan, Amman.
Part II Membership
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The membership of IMC is mainly composed of organisations; these are divided into four membership categories according to their geographical and thematic scope:
> Why do IMC members care about IMC?
a) National Music Councils b) International Music Organisations c) Regional Music Organisations d) National and Specialised Organisations
offers a worldwide perspective, credibility and legitimacy
The first three categories are composed exclusively of networks, whereas the fourth includes also individual institutions and foundations. Moreover, IMC’s Members of Honour are chosen among the world’s outstanding music professionals, educators, performers and composers. > What motivates an organisation to be a member of IMC?
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- be part of the peak body of music in the world - networking opportunities with IMC members - opportunity to participate in initiatives of IMC and regional music councils - priority for contracts for cooperation projects with IMC and regional music councils - visibility on the website of IMC and regional music councils - voting rights - legitimacy, respectability and credibility, even prestige - possibility to share ideas and concerns
is an important network that raises important issues in music is by far the most important effort to coordinate music organisations in the world
is unique
IMC…
represents the interests of music making around the world
has a great reputation and is linked with UNESCO
has a high position in the international cultural life
IMC’s five musical rights are a cause worth fighting for!
1. National music councils
A National Music Council must also have members in at least 3 out of the 5 following sectors of music life:
What defines a national music council?
1. Music education
To be accepted as a national music council, an organisation must… > represent the musical life of its country in a broad way; > subscribe to IMC’s five musical rights; > develop policy positions to advance the musical life of its country; > advocate for those positions to decision-makers, notably governments; > be governed according to democratic principles. What does “broad representation of the musical life of a country” mean? The members and activities of a National Music Council must cover at least two main music genres present in the country (e.g. traditional/indigenous music, art music, popular music).
E.g. in formal music education: early childhood, primary and secondary school, music schools (parallel to regular schools), training of musicians and music professionals e.g. in the non-formal sector: music education activities (such as workshops, summer camps, training courses, masterclasses) organised outside the circle of the above-mentioned institutions
2. Live music
E.g. Performing artists, performance venues, producers and presents of concerts, Managers, agents
3. Mediated music E.g. recordings, broadcasting, internet dissemination
4. Music creation E.g. composers, song-writers
5. Music sector infrastructure / others
E.g. Community music development, Music therapy, music and health, Copyright experts, collecting agencies, Research and policy development, Music instruments, equipment, technology, music publishing (scores, music magazines etc.), Entertainment lawyers, Organisers of conventions, showcases, Foundations and trusts, Government funding or policy bodies, (Trade) unions
Countries and national music councils (June 2012) Councils \ Regions
Africa
Americas
Arab States
Asia & Oceania
Albanian Music Council Conseil Algérien de la Musique
Algeria Argentina
Music Council of Australia
Australia
Österreichischer Musikrat
Austria
National Music Council of Azerbaijan
Azerbaijan Benin
Union des musiciens et danseurs bulgares Conseil Camerounais de la Musique Conseil de la musique de la République Centrafricaine Consejo chileno de la musica Chinese Musicians’ Association
Europe Albania
Consejo Argentino de la Música
Conseil Béninois de la Musique
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Bulgaria Cameroon Central African Republic Chile China
Councils \ Regions
Africa
Comité colombiano de la Música Conseil Congolais de la Musique
Americas
Arab States
Asia & Oceania
Republic of Congo
Cyprus Music Council
Cyprus
Czech Music Council
Czech Republic
Danish Music Committee
Denmark
Music Committee of Egypt
Egypt
Estonian Music Council
Estonia
Finnish Music Council
Finland
Deutscher Musikrat e.V. Music Council of Ghana
Germany Ghana
Consejo de la Música de Guatemala
Guatemala
Hungarian Music Council
Hungary
National Music Council of Iraq
Iraq
IMC-Israel
Israel
Italian Music Committee CIDIM
Italy
National Music Council of Jordan Kenyan Music Council
Jordan Kenya
Latvian Music Council
Latvia
Conseil supérieur de la musique
Luxemburg
Music Council of Malaysia
Malaysia
Comité Marocain de la Musique 14
Europe
Colombia
Comite malien de la musique
Morocco Mali
Sous-commission pour la musique
Monaco
IMC - Norway
Norway
Palestine National Music Committee
Palestine
National Music Council of the Philippines
Philippines
Polish Music Council National Music Council of Somalia National Music Council of Sudan
Poland Somalia
Somalia
Sudan
Sudan
Conseil Suisse de la Musique Togolese Music Council
Switzerland Togo
Comité tunisien de la musique
Tunisia
All-Ukrainian Music Union
Ukraine
National Music Council of the United States of America
United States of America
Consejo General de la Música del Uruguay National Music Council of Zimbabwe
Uruguay Zimbabwe
2. International music organisations What defines an international music organisation? To be accepted as an international music organisation, it must… > have members or musical activities in a minimum of ten countries with more than three voting members outside the region where it is based; > demonstrate that it subscribes to the IMC’s five musical rights; > develop policy positions to advance the welfare of its area or musical activity; > advocate for these positions to decision-makers, notably to governments; > be governed according to democratic principles; > offer services to its members and/or to the community at large.
International music organisations (June 2012) European Festivals Association – EFA (Headquarters: Gent, Belgium) Fondazione Adkins Chiti: Donne in Musica (Headquarters: Rome, Italy) International Association of Music Centers – IAMIC (Headquarters: Brussels, Belgium) International Association of Music Libraries – IAML (Headquarters: Gothenburg, Sweden) International Association of Schools of Jazz – IASJ (Headquarters: The Hague, The Netherlands) International Confederation of Electroaccoustic Music – CIME (Headquarters: Bourges, France) Confédération Internationale des Accordéonistes – CIA (Headquarters: Ikaalinen, Finland) International Council of Organisations and Festivals of Folklore and Traditional Arts – CIOFF (Headquarters: Confolens, France) International Federation for Choral Music – IFCM (Headquarters: Chicago, USA) International Federation of Chopin Societies (Headquarters: Vienna, Austria) International Federation of Musicians – FIM (Headquarters: Paris, France) International Music Managers’ Forum (Headquarters: London, United Kingdom) IMZ - International Music + Media Centre (Headquarters: Vienna, Austria) International Society for Contemporary Music – ISCM (Headquarters: Amsterdam, The Netherlands) International Society for Music Education – ISME (Headquarters: Nedlands WA, Australia) Jeunesses Musicales International – JMI (Headquarters: Brussels, Belgium) NAMM, International Music Products Association (Headquarters: Carlsbad, USA) World Federation of International Music Competitions – WFIMC (Headquarters: Geneva, Switzerland)
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3. Regional music organisations
Regional music organisations (June 2012)
What defines a regional music organisation? To be accepted as a regional music organisation, it must… > mainly operate in one region only; > have members or musical activities in a minimum of 20% of the amount of countries in that specific region; > have no more than 3 voting members from outside the region; > demonstrate that it subscribes to the positions of IMC position on cultural rights; > develop policy positions to advance the welfare of its area or musical activity; > advocate for these positions to decision-makers, notably governments; > be governed according to democratic principles; > offer services to its members and/or to the community at large.
AFRICA Pan African Society for Musical Arts Education (PASMAE) (Headquarters: Pretoria, South Africa) Americas Asociación Latinoamericana de Conservatorios y Escuelas de Música (ALCEM) (Headquarters: San Juan, Puerto Rico) ARAB STATES Arab Academy of Music (Headquarters: Amman, Jordan) asia & oceania Asia Pacific Society for Ethnomusicology (APSE) (Headquarters: Fujian, China) EUROPE European Composer and Songwriter Alliance (ECSA) (Headquarters: Brussels, Belgium) Europe Jazz Network (Headquarters: Pantin, France) European Association for Music in Schools (Headquarters: Vienna, Austria) European Association of Conservatories Académies de musique and Musikhochschulen (Headquarters: Utrecht, The Netherlands) European Music School Union (EMU) (Headquarters: Utrecht, The Netherlands)
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European Union of Music Competitions for Youth (EMCY) (Headquarters: Munich, Germany) European Modern Music Education Network (Headquarters: Antwerpen, Belgium) European Broadcasting Union (Headquarters: Geneva, Switzerland) European Conference of Promoters of New Music (ECPNM) (Headquarters: Utrecht, The Netherlands) European Early Music Network (REMA) (Headquarters: Paris, France) European String Teacher Association (ESTA) (Headquarters: Basel, Switzerland) European Choral Association - Europa Cantat (Headquarters: Bonn, Germany) European Federation of National Youth Orchestras (Headquarters: Klosterneuburg - Weidling, Austria) European Orchestra Foundation (Headquarters: Truebbach, Switzerland)
4. National and specialised organisations in the field of arts and culture What defines a national and specialised organisation? Any legally constituted organisation, association, society, company, foundation, corporation or NGO that is working in the field of arts and culture can join the IMC, on condition that it: > supports the mission and objectives of the IMC; > commits to fulfil the duties of a member; > has members; > conducts musical activities; > demonstrates that it subscribes to IMC’s five musical rights; > is governed according to democratic principles.
Current IMC members in this category are presented below per region according to the location of their headquarters: National and specialised organisation in the field of arts and culture (June 2012) AFRICA EMAK Music Services (Headquarters: Kenya) Musique pour Tous (Headquarters: Democratic Republic of Congo) Musicians’ Union of Ghana (Headquarters: Ghana) Makerere University Music, Dance and Drama Department (Headquarters: Uganda) Uganda Musicians’ Union (Headquarters: Uganda) Americas America International Artists Union & Arts Institute (Headquarters: USA) COTT Foundation (Headquarters: Trinidad and Tobago) Cultural Engineering (Headquarters: USA) Sindicato de Musicos, Compositores y Cantantes del Peru (Headquarters: Peru) Fil-Armonia (Headquarters: Dominican Republic) Consejo Venezolano de la música (Headquarters: Venezuela) Music Teachers National Association (Headquarters: USA) Paraguay Music Council (Headquarters: Paraguay) Puerto Rico Conservatory of Music (Headquarters: Puerto Rico) ARAB STATES Al-Quds University Music Department (Headquarters: Palestine) Oman Centre for Traditional Music (Headquarters: Oman) National Higher Conservatoire of Music (Headquarters: Lebanon)
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asia & oceania Korean Music Information Centre (Headquarters: PDR of Korea)
Music Managers’ Forum Australia (Headquarters: Australia)
National Centre for the Performing Arts (Headquarters: India)
SOUNZ (Headquarters: New Zealand)
Iranian Music Committee (Headquarters: Iran)
europe
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The International Holland Music Sessions (Headquarters: The Netherlands)
Conseil de la musique de la Communauté française de Belgique (Headquarters: Belgium)
Association pour le développement de la chanson, du rock et des musiques actuelles en Seine-Saint-Denis (CHROMA/Zebrock) (Headquarters: France)
CNV Kunstenbond (Headquarters: The Netherlands)
Association for fostering of Academic Music “New Sound” (Headquarters: Bosnia-Herzegovina)
Federació Catalana d´Entitats Corals (Headquarters: Spain)
Union of composers and musicologists of Armenia (Headquarters: Armenia)
Flemish Music Council (Headquarters: Belgium)
Association nationale cultures et traditions (Headquarters: France)
GEDOK (Headquarters: Germany)
Borusan Culture and Arts (Headquarters: Turkey)
Institute for Music Theatre Research (Headquarters: Italy)
Catalan Music Council (Headquarters: Spain)
Institute for Research on Music & Acoustics-Greek Music Documentation Centre (Headquarters: Greece)
Cité de la Musique (Headquarters: France)
The Aarya Foundation (Headquarters: United Kingdom)
Kunstfactor (Headquarters: The Netherlands)
Miso Music Portugal (Headquarters: Portugal)
Live Music Now (Headquarters: Scotland)
Movimento Coral Català (Headquarters: Spain)
Scottish Music Centre (Headquarters: Scotland)
Music Austria (Headquarters: Austria)
Selam (Headquarters: Sweden)
Music and Friends (Headquarters: Luxembourg)
Superact (Headquarters: United Kingdom)
Melody for Dialogue among civilizations (Headquarters: France)
Association for the Promotion of the Music of the Mediterranean (Headquarters: Germany)
Association “Le Concert de Monsieur de Saint-George” (Headquarters : France)
Plateforme inter-régionale (Headquarters : France)
European Society for Ethnomusicology (Headquarters : Belgium)
Part III Activities
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1. THE 4th IMC World Forum on Music Music and Social Change (26 September - 1 October 2011, Tallinn, Estonia) A lot of knowledge and experience can be shared when motivated individuals and representatives of music organisations meet to discuss music and social change, and this is precisely what happened with tremendous success at the 4th IMC World Forum on Music. Planning and organising this free celebration of music in the world was a challenge requesting a maximum investment of time, energy and attention from the IMC and its partners, the European Music Council, the Estonian Music Council and the Estonian Academy of Music and Theatre. But the results and achievements were worth the effort!
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Nearly 300 people from various musical fields and genres from Asia and Africa, the Arab world and the American continent, Europe and Oceania, joined by world renowned personalities such as the Senegalese singer Youssou N’Dour and the president and CEO of the International Music Products Association NAMM, Joe Lamond, gathered in Tallinn – the Forum was for the 1st time organised in Europe! – the European Capital of Culture 2011, to together explore the issue of music and social change. Changes in society change music, but music can also change society, or at least encourage or enhance change; or inhibit and prevent change. Music and Social Change is not a simple theme, it has many layers. (Frans de Ruiter, President of the IMC)
It was furthermore particularly important to deal with the issue in a relevant and efficient way, in those times of changes in international and European cultural policies.
How are music and social change related? How does music affect social change? How does social change affect music, music lovers and music makers? What lyrics and what musical words are needed to convince governments and donors to take action for music and development in complete and vigorous harmony? (Henrik Melius, IMC Forum programme coordinator)
Thanks to the exceptional synergies across different sectors created during this high level forum, all layers of the issue could be tackled from an impressive variety of different theoretical and practical approaches and from perspectives ranging from cultural, political and psychological to economical and sociological, all having a different definition of what social change means. The forum then made it clear that music is a most powerful tool to bring people together and to bring about positive social change in all its meanings; it all just depends on the social sensitivity and activity of musicians to jointly make efforts supporting this powerful concept locally and around the world, and also on the willingness and readiness of societies to use this possibility. With the help of music we can bring people together, and when people are together there is more communication; When there is communication, there is a better understanding and more respect; And once there is better understanding and more respect we can realistically aim for more humane societies in which we can coexist peacefully. (Timo Klemettinen, Chairman of the European Music Council)
The six days of the Forum were filled with 25 sessions of a variety of formats – keynotes, panel sessions, workshops, round table discussions and project presentations – allowing for 56 speakers to partake in this global knowledge-building platform on music and society in the 21st century. www.worldforumonmusic.org
Session topics: > Fair Culture: Preconditions for Music as a Tool for Social Change? > Music as a Tool for Social Change – Good Intentions What Outcomes? On Quality and Evaluation of Music Projects with a Socio-Cultural Impetus. > Music and Development: New Markets, Emerging Talents > Rehearsing for Change: How Conservatoires Globally Seek to prepare Musicians for their Vision of Tomorrow > Wade in the Water – Singing for Social Change > An Introduction to Participatory Evaluation Ideas and Methods > Music and Development: High-Level Donor Panel > Music and Development: Social Inclusion and Cohesion > Music and Development: Poverty Reduction > Formal and Informal Music Learning Contexts in Schools and Communities Internationally > Make Some Noise with the Manifesto for Youth and Music in Europe > Workshop on Intellectual Property Rights > Hip Hop as a Tool for Social Change > Implementing The Seoul Agenda: Goals for the Development of Arts Education > Composition and Performance: Blurring Borders > Ever Evolving Music Education, Information and Communication Technologies Engaging Music Educators > Music Exports: Technology – the Great Leveller > Music on Troubled Grounds Project presentations Three sessions gave the opportunity to IMC members and their affiliates to present projects illustrating one or the other of the topics discussed in the Forum. These projects came from all continents, from Australia to Latvia, from Lebanon to Argentina, from Uganda to the United Kingdom. The 4th IMC World Forum on Music was organised with the support of: Other funders: Official sponsor:
The closing event of the 4th IMC World Forum on Music was an exciting performance showcasing traditional and modern Estonian music. Final keynote speaker Youssou N’Dour resumed the key issues and problems, as well as the main needs for future actions that were mentioned during the entire Forum. He drew a clear picture of Africa’s problems related to the empowerment of the creative economy, while highlighting the power of creative industries for addressing social problems. “In many African countries they have not yet understood that music, dance, visual arts, handicraft and fashion are pillars of the creative economy. (…) Africa has invaluable potential. What is lacking is the political will for growth, and the will to secure the creative capacities of its artists in general and its musicians in particular. (…) We are suffering, not only from piracy, but also from interior and exterior constraints connected to investments and commercialisation”. “[W]e have to defend and explain the importance of the arts. It is necessary to involve governments. They must understand that it is paramount to support national producers. They also have to stabilize the arts sector in order to protect musicians and artists in general, as well as artistic creation. The governments must make sure that their citizens get the chance to play a role in the world music market. Also, after what we have heard today, governments should back the travels of artists and we should negotiate with governments for the support for the free circulation of artists and works of art”.
As music is a strong tool for social change and inclusion, and also a great facilitator of growth, Youssou developed the idea of a fund for the promotion and dissemination and creation of African music, which should allow it to contribute to the efforts of development. He appealed to the IMC to support this undertaking, as African governments have not yet understood the importance of structured cultural support, even more since there is a lack of knowledge about the tools of development.
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2. IMC Music Sector Programme (MSDP)
Development
> For sustainable development and economic prosperity through music This programme was developed based on IMC’s vision of the value of music in society, contributing to the overall stability and development of society, as well as to human and economic development. IMC believes that music must be mainstreamed into overall development policies. For assisting countries, in particular developing ones, in establishing their own integrated and sustainable music sectors that respond to local needs, IMC designed its Music Sector Development Programme.
Music Sector Development Programme
A project of the International Music Council
Objectives of MSDP‌ Personal development
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- Provide wide access to music - Develop formal and non-formal music education and learning - Allow for building of personal and societal awareness - Reasserting cultural identities & diversities - Develop critical thinking - Foster social cohesion and inclusion - Develop intercultural learning - Foster citizenship building Socio-cultural development - Offer equal opportunities for music genres - Develop creative industries - Increase worth of aesthetic values & excellence - Develop participatory programmes & social impact - Develop audience
Economic development and reduction of poverty - Invest in human capital - Develop sustainable music industries - Develop cultural tourism - Protect and promote music heritage - Develop intellectual property and copyright laws - Increase mobility of artists and products and increase income on music exports - Increase income for artists and create tangible jobs in the music sector - Enable community development through culture (music) - Allow socio-economic and socio-cultural empowerment of the population This programme is initiated based on requests coming from countries. It is implemented in an integrated way at grass root level through partnerships with local stakeholders. The exact nature of the development is decided by the developing countries themselves after an extended process of analysis and discussion.
> MSDP in action: Training programme for East African music operators to access international funding The IMC was contracted by UNESCO to prepare and organise in Dar es Salaam, Tanzania, a training session for music professionals from Tanzania and Kenya, which included enterprises and associations. Taking into account the needs of specific beneficiaries, this project aimed to develop the capacities of cultural practitioners to capture international funding for creative projects. The final purpose was to turn creative projects into sustainable cultural industries.
This activity formed part of the project “Creating capacities towards securing international funding for creative industry projects: A music pilot training module in East Africa�, developed under the Global Alliance for Cultural Diversity with the objective of developing capacities for music sector operators to access increasing international development aid funding, and sensitising and involving government officials and decision makers in the donor community. IMC carried out a detailed research on the current situation of international cooperation in the field of music as a creative industry in East Africa. In light of the decision to recruit trainees from Tanzania and Uganda, a special research focus was put on these two countries. The research covered bilateral and multilateral organisations as well as foundations that are increasingly including creative industries within their funding portfolio and/or policy. This project was carried out under UNESCO’s Global Alliance for Cultural Diversity with the financial support of the Spanish Ministry of Foreign Affairs and Cooperation.
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The 5-day training course on resource mobilisation and grant management was followed by a coaching phase during which the trainees received individual and collective guidance in formulating their concept notes and applications. Upon completion of the training it was 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.
3. Empowering musicians to claim their rights The rights of musicians are a fundamental issue for any organisation that claims to promote and protect them. But it is also a challenge to take in consideration all interests and deal with possible conflicts. 3.1 World Intellectual Property Rights (IPR) reports IMC decided to focus on providing information and guidance to its members. This is what IMC has been doing since 2005 through its weekly e-bulletin IMC MUSIC WORLD NEWS. (see page 27) To be even more active with regards to those rights, the IMC has decided to issue twice a year the World Intellectual Property Report: - It provides members with a summary on the hot topics discussed in the field of IPR over the preceding months - It gives an idea of points of views defended by different stakeholder groups. Two issues of this report entitled A Closer Look at Latest Developments in Music and Copyright Industries were produced in 2011. April 2011 Issue - Summary
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I. Digital Registry of Global Music Repertoire The present situation of technological progress, ubiquity of internet and evolution of copyright and competition rules calls for transparent and efficient multi-territory licensing schemes. Two different initiatives have emerged in this respect: the Global Repertoire Database (GRD) developed under the auspices of the European Commission, and the International Music Registry (IMR) carried out by the World Intellectual Property Organisation (WIPO). II. Private Copying Levies – A source of income for artists that is gradually disappearing as copying is rampantly increasing Many countries have Copyright Laws that allow unauthorised copying of copyright works, provided that the copying is for private use and that there is “fair compensation” to copyright owners (paid through charges levied on copy material). Laws of different countries with respect to the application of private copying levies are reviewed in this article.
III. African Music Industry – A wide source of content but yet to be realised The development and enforcement of copyright laws in Africa is facing the obstacles posed by the rapid growth of the mobile industry, and more broadly from the wide range of piracy and infrastructure challenges. IV. Is Online Piracy Really Good for Indies and Bad for Majors? Recent data shows that the uncontrollable and borderless power of internet is not having as much of a positive impact for performing artists as was said. VI. Examples of referred articles in IMC Music World News US Court of Appeal says that promotion CDs can be sold - Musicians fear ‘chaos’ as Brussels gets set to regulate royalties. September 2011 Issue - Summary I. The duration of protection for performers’ rights has been extended in Europe One of the widest controversies in the field of copyright law was the adoption of the European law to extend the term of protection for the performers of music and the producers of sound recordings from 50 years to 70 years. While record companies and well known artists have welcomed this decision, opponents argued that the term extension proposed to support performers in old age would not extend for producers and record companies. II. Fair Contracts for a Fair Music Industry One of the core problems in terms of rights of musicians is the inequity of their contractual relations with the companies that commercialise their works. The Fair Music Initiative (see next page) aims to develop common international standards for the music industry in order to create more fairness and equality for musicians in their relations with labels, media companies and live venues. III. European Union’s Intellectual Property Rights Strategy After presenting the IPR Strategy document recently published by the European Commission, this article reviews the initiatives planned by the Commission in the field of
music and copyright. IV. Exclusivity or Non-Exclusivity: That is the question? Online usages such as peer-to-peer file sharing slowly cause a paradigm shift in copyright law from prior authorisation to subsequent action: for more and more services permission or monetisation of rights is only possible when right holders find out about those usages. VII. Examples of referred articles in IMC Music World News Authors’ and Composers’ rights once again at stake in India - Dakar Meeting establishes framework for the West African Music Network - New Zealand passes ‘three-strikes’ law. The author of these World IP reports, Burak Özgen, also held a workshop on intellectual property rights at the 4th IMC World Forum on Music in Tallinn in Septembr 2011. 3.2 Participation in the Fair Music Initiative BECAUSE musical artists have the right to obtain just recognition and remuneration for their services! > To make music business more fair and just, simply better! > So that people will pay for music they love knowing its creators get a fair pay for their work!
Inspired by the idea and empirical knowledge of the Fair Trade Organisations, the First Global Initiative for Fairness and Justice in the Music Business was launched in 2006 by the Music Information Centre Austria (mica, now music Austria). It was then taken to a higher level through the Pan-European Fair Music project in 2009: an example of
designation of innovative business models, which make the contours of a fair and future world of music visible even today. The Fair Music Campaign wants to bridge the gap and offer a trusted label for both – artists and audiences – to match their needs: > musical diversity > recognition > remuneration From the beginning, the International Music Council has been a partner in this initiative: it raised awareness among its wide network about the issues of fairness in the music business and participated in stakeholders meetings regarding the development of the fair music code of conduct and standards. What is yearned for? - Protection of artistic freedom; - Well balanced contracts for musicians; - Fair remuneration for composers and musicians; - Fair distribution of opportunities for smaller producers worldwide, especially for musicians from non-Western countries and from the Global South. How is this going to be done? - By raising awareness of industry, policy makers and audiences; - By developing and setting standards for contracts in the music business; - By setting up a Fair Music Agency certifying companies that are fulfilling these standards in their countries; - By branding certified companies with the Fair Music logo; - By developing dedicated distribution channels and a catalogue of a certified fair music repertoire. The partner organisations of the fair music project consortium: > Mica – music Austria (Austria), project leader > International Music Council (France) > Popbüro Region Stuttgart (Germany) > International Association of Schools of Jazz (Netherlands) > ZTMD (Slovenia)
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4. IMC Musical Rights Awards Launched in 2009, the IMC Musical Rights Awards are a symbolic and active recognition given to programmes or projects that support in an exemplary way one or more of the five musical rights enunciated by the IMC. (see page 6)
> Hearts in Harmony in Barcelona (Secretariat de Corals infantils de Catalunya)
The awards offer strong recognition and reward to those programmes and projects, while encouraging IMC members and other organisations to give active support to the musical rights.
This programme intends to include people with various handicaps and disabilities in choral music making. It builds on two very important principles:
The 2011 award-giving ceremony was held in the framework of the 4th World Forum on Music in Tallinn (Estonia). It offered the stage for an inspiring exchange of knowledge and experience when the winning projects and programmes were presented to the audience.
- Those with defined disabilities should be integrated with musicians and other music making people with no defined possible disabilities;
Overall winner of the 2011 IMC Musical Rights Award:
- The leaders and conductors for the integrated ensembles should be prepared through specialised studies to create a natural unity of those making music.
Music - Play for Life (Music Council of Australia/Australian Music Association/ Australian Society for Music Education/Australian Music Therapy Association)
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The 2011 IMC Musical Rights Awards were furthermore presented to:
This programme focuses in a unique and comprehensive manner on promoting and enhancing school music education in Australia. It supports the right for all to learn musical languages and skills, as well as the right for all to express oneself through music and have access to musical involvement through participation, listening, creation and information.
The programme therefore rather focuses on abilities and not on disabilities. > Teaching Cantonese Opera (Hong Kong Institute of Education) This programme focuses on the unique and endangered form of music of the Cantonese Opera and allows young people to discover a demanding and expressive musical language. This requires collaboration on a high level between highly specialised performers, music educators, researchers, and students. The programme stands out as a strong source of inspiration for those who have the courage to embark upon more complex and demanding musical journeys.
Three projects received a special commendation:
5. IMC Music World News
> Espace Akto (African Academy of Choral Music, Democratic Republic of Congo)
The IMC Music World News is a free email service offered by IMC to the general public, informing about latest developments in the music world. News are presented in the following categories:
This programme offers excellent opportunities to a large population to make choral music and to continuously develop their artistic quality and enhance their choral ambitions. > The National Youth Orchestra (Iraq) This programme shows inventive and forward-looking ways to enable boys and girls to participate in collective music making under exceptionally difficult circumstances. > The Polifonia Network for Music (European Association of Conservatoires) This programme has an invaluable impact in Europe and beyond in the field of higher music education.
- Music - the Art form and Artists - Music - the Industry - Music Education - Policy, Research & Politics - Technology and Media - The Pointy End (“the rest”) The stories are selected from those available already online and/or written by IMC members themselves: the news bulletin thus includes music news from around the world that otherwise would never have been seen. The IMC Music World News benefits from the participation of IMC members in a double sense: - As content writers: members are considered in best position to write and analyse their own countries’ current events with regards to music - the news are thus written by and for the public; - As multipliers: subscribers forwarded single articles or entire issues to people they thought would be interested.
From left to right: Meritxell Montserrat Mestres (Secretariat de Corals Infantils de Catalunya), Tina Broad (Music Play for Life), Gretchen Amussen (European Association of Conservatoires), Bo-Wah Leung (The Hong Kong Institute of Education), Gudrun Euler & Wilhelm Frank (Friends of the National Youth Orchestra of Iraq), Gervais Hugues Ondaye (African Music Council)
The ceremony was accompanied by music performances by the Flemish jazz trio De Beren Gieren from Ghent – UNESCO City of Music, in collaboration with the renowned Estonian jazz guitarist Jaak Sooäär.
Thanks to this participation, IMC Music World News was able to broadly cover issues concerning a wide variety of music styles and from many countries of the world, and to be spread in the entire world through its own subscribers (approx. 3000 in September 2011). What subscribers like most about the IMC Music World News: - Very useful source of information - International perspective - Diversity and interest of subjects - Information about music making; global music industry; technology; music education - Up to date information - Concise format
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6. International Rostrum of Composers What is the International Rostrum of Composers? The International Rostrum of Composers is one of the most important projects for the promotion of contemporary music and creations. Initiated in 1954 and organised by IMC, it is an international forum of representatives of broadcasting organisations who come together for the purpose of exchanging and broadcasting contemporary Western art music. It is one of the most important “rendez-vous” for professional exchange between radio producers. The Rostrum was held at UNESCO Headquarters until 2002. From 2003 onwards, a rotation system was put in place having it travelling around Europe. Who is selecting the works for the Rostrum? Only broadcasting organisations may enter works for the Rostrum. Over 30 national radio networks from four continents are currently participating in the Rostrum. They yearly present some 60 works composed within the five years preceding the Rostrum. How are the winning works selected?
After the listening sessions, the assembly of delegates selects and recommends the most important works in two categories: > General > Young composers under 30 What are the composers gaining through the Rostrum? Participating radios undertake to broadcast the selected and recommended works after the Rostrum. Some works are even presented in concerts. Moreover, all works proposed at the Rostrum are made available by the European Broadcasting Union (EBU) to its wide The International Rostrum of Composers network of members offered their first international success to and associate members. some of today's world famous artists: These dissemination - Luciano Berio – Italy (IRC 1955) Dutilleux – France (IRC 1955) schemes ensure excellent -- Henri Hans Werner Hanze – Germany (IRC 1956) international coverage - Witold Lutoslawski – Poland (IRC 1959) Britten – UK (IRC 1961) for the composers. The -- Benjamin Krzysztof Penderecki – Poland (IRC 1961) composer selected in - Luigi Nono – Italy (1962) - Toru Takemitsu – Japan (IRC 1965) the “under 30” category - Magnus Lindberg - Finland (IRC 1982) receives a commission by It also revealed emerging young artists: Radio France combined with IMC’s Guy Huot - Alejandro Iglesias Rossi – Argentina (IRC 1985) - Chris Paul Harman – Canada (IRC 1991) Bursary. - Thomas Ades – UK (IRC 1994) - Pawel Mykietyn – Poland (IRC 1995)
Results 2010 – 2012 28
Number of works presented
Selected work in general category
Selected work in category “young composers under 30”
Year
City, Date
2010
Lisbon, 31 May – 4 June
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Ouvertures (Part 1) by Simon SteenAndersen (Denmark) This prize winning work for gu-zheng and orchestra was premiered at the Shanghai Spring International Music Festival in 2008.
Twilight chants by Kristaps Pétersons (Latvia) This work was composed for two choir groups and double bass.
2011
Vienna, 7 – 10 June
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Macchina per scoppiare Pagliacci by Francesco Filidei (Italy) This work was composed in memory of a Sardinian anarchist.
Abismo al Abismo by Juan Pablo Nicoletti (Argentina) This work was composed using three elements: waterfalls/rivers and storms; the Mohoceño (South American Indian instrument) and the human voice
2012
Stockholm, 22-25 May
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Tierra Viva by Pedro Ochoa (Argentina). Composed for piano and tape and inspired by the sounds of nature, Tierra Viva means “Living Land” and consists of two parts: “Cry of Sky and Stone” and “Axe”.
Attempt at Screaming by Peter Kerkelov (Bulgaria) This work refers to the inner screams which can bring a certain level of purification but for many reasons never become a real, actual scream.
7. Activities of Regional Music Councils 7.1 African Music Council Feux de Brazza – Festival populaire et international des musiques traditionnelles Brazzaville, August 2010 This 4th Edition of the festival was co-organised by the African Music Council and was composed of: - Music and dance performances showcasing the cultural richness of participating African countries; - An international symposium on traditional music entitled «Musique (s) traditionnelle (s) d’Afrique, lien entre générations», organised in partnership with CERDOTOLA (pan-African research and documentation centre on oral traditions and development of African languages). It gathered scholars and culture actors around the main issues surrounding African traditional music. The aim was to agree on a set of recommendations to make a relevant use of Africa’s incredible musical richness. Le Kolatier – African Music Market Douala, Cameroon, 17-20 November 2010 The AMC was a partner in this session of Le Kolatier, which ambitioned to be at the crossroads of African arts and music. After the inaugural session presided over by the Minister of Culture, various activities involving participants from 24 countries were simultaneously held: > Show cases 14 music groups from Central African Republic, Cameroon, Republic of Congo, Democratic Republic of Congo, Benin and Chad offered live high quality performances.
> Exhibitions about musical products and services > International Symposium – Regional music market, implementation of the plan for creative industries This symposium was organised by CERDOTOLA in cooperation with OCPA (Observatory of Cultural Policies in Africa). Its mission was to examine strategies to be applied for the creation of a regional music market in Africa. The sessions dealt with the music profession; piracy and the protection of music; technology; financing; festivals, competitions and music markets; and the organisation of a central African music market. > African Music Rostrum This competition of African music groups in different music styles intends to help promoting the values of the African continent’s music via the radio: instead of money, winners are rewarded with written recommendations and broadcasting of their songs through local and international radios. The winners are selected for their originality, artistic level of creation and interpretation, and production quality. The winners of the 2010 Rostrum were as follows: - in the Traditional music category: Petit Génie from Benin for the song “Julie” - in the Experimental music category: Fo Jean from Benin for the song “Ougbe” - in the Popular music category: Cheuwack Y. Alain Barrière from Cameroon for the song “Tong Ning” - Jury’s special price (for encouragement): Nathalis R. Mbumba from Congo for the title “Fe Mwen Reve”
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> Workshop for choir directors
7.2 COMTA – Music Council of the Three Americas Regional Meeting “A regional space for music education” Puerto Madryn & Buenos Aires, Argentina, August 2011
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23 choir directors from Cameroon attended this workshop organised in cooperation with IMC member European Choral Association – Europa Cantat. The activity aimed to provide the choir directors with a better knowledge of choir activity in Africa and in the world. The trainees became also acquainted with different aspects of the organisation of choirs and more generally of cultural groups and events. The workshop offered practical exercises and discussions where all participants could exchange about their experiences and productions.
Organised within the framework of the 9th World Symposium on Choral Music and in collaboration with IMC and the Argentinean Music Council, this regional meeting was devoted to the presentation of local initiatives and to view the possibilities of regional collaboration. Delegates from Argentina, Colombia, France, the Netherlands, Paraguay, Puerto Rico, USA and Venezuela shared their experiences and ideas for cooperation. The initiatives presented ranked from an international cooperation entity for the support of Iberoamerican music in Latin America, the work conducted by the Bolivarian University of Venezuela for the recovery, research and use of popular and traditional music instruments of the Americas, to a platform for institutions dedicated to music education within universities, music schools or conservatories from Latin America. Special attention was also given to projects directed to youth and children from disadvantaged communities, which are trying to respond to the ongoing concern of being able to provide access to music education to the community at large. Participants agreed on the need of a common set of standards and system of accreditation for music education in Latin America; the US delegate emphasised the need for countries of the American continent to work together in horizontal partnerships.
7.3 European Music Council
The Bonn Declaration
Its work
What is it? It is a policy paper adapting UNESCO's Seoul Agenda for the Development of Arts Education to the music sector in Europe. It embraces the three closely related goals of the Seoul Agenda: - Access to Music Education - High quality music education - Social and Cultural Challenges
As an advocacy and consultancy body for music in Europe, the EMC maintains relationships with key players in the field of cultural policy at local, national and European level. The EMC speaks out for its members, and the music sector as a whole, with its main position reflecting IMC’s five musical rights. > EMC works closely with IMC in implementing the 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions. > EMC offers its expertise on the music sector within the three EU Culture Sector Platforms of which it is a member:
- Access to Culture (EMC is a member of the working group on audience participation and the newly created working group on arts, human rights and social justice) - Potential of Culture and Creative Industries (EMC co-organised a workshop on Education, Skills and Professional Training) - Intercultural Europe
> EMC regularly takes part in consultations conducted by the European Commission, for example on the new Creative Europe programme. > EMC is a member of Culture Action Europe and an influential actor of the we are more campaign. Focus At present, EMC’s work centres around two main themes: E Culture Digitisation has had a significant impact on the music sector and therefore it is important for the EMC to provide information and advice to its members on this theme. A policy paper offering guidelines and reflecting IMC's five musical rights is currently being prepared. Music Education EMC works closely with UNESCO's Seoul Agenda: Goals for the Development of Arts Education and in May 2011 organised a highly successful seminar on music education which resulted in the drafting of the Bonn Declaration.
What is it for? It contains a set of recommendations to decision makers on how to make music education in Europe fairer, more accessible, of a higher quality, and how music education can overcome societal challenges. It should pave the way for recognition of the value of music education in the 21st century for Europe. How will it work? EMC is focused on disseminating this document throughout Europe and take it to politicians at local and national levels in order to improve the situation of music education across Europe in general.
Thanks to its diverse membership and its engagement in structured dialogue at various policy levels, EMC maintains the capacity to provide strategic information to interested parties on a wide range of topics concerning music, as well as facilitate the exchange of knowledge and ideas. Along with its regular methods of communication such as quarterly newsletter, newsflashes and website, EMC has been increasingly turning to social media to raise awareness of its activities and increase the visibility of its members. In 2011 it published the 7th edition of its annual magazine Sounds in Europe which focussed on the 4th IMC World Forum on Music.
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Working Group Youth With the Working Group Youth (WGY), EMC seeks to enhance youth participation in decision making processes within the EMC’s membership organisations and throughout the European Cultural Sector. The WGY is a network of young people aged 18 to 30 who are involved in music throughout Europe. It strives to spread the idea of the necessity of co-operation between different generations with a focus on acceptance and involvement and of young participants becoming a serious issue for all music organisations. To this end, over the last 2 years the WGY has been busy working on its Access! project through which it produced the Manifesto for Youth and Music in Europe. Manifesto for Youth and Music in Europe What is it? Young people involved in music in Europe today have much to offer society, however their concerns and needs are often overlooked and the Manifesto seeks to address this.
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What for? The Manifesto calls upon policy and decision makers at all levels to rethink their existing strategies, to address the specific situation of young people in the music sector, and to act upon key requirements, concerning: lifelong learning, professional training, mobility and dialogue, employment, resources and youth as a resource. How will it work? The Manifesto calls upon people of all ages, active in the music sector, to take action and to spread, implement and share the Manifesto. The Manifesto provides practical examples demonstrating how to implement it in the work or study environment or within organisations. The Manifesto is a useful tool to aid young people’s professional development and enhance their music future! Though the Manifesto initially targeted the European area, it aspires to foster changes on an international level: IMC Youth is currently analysing its relevance outside of this area.
European Forum on Music: Transcending Boundaries – Building Bridges 19-22 April 2012, Istanbul, Turkey The successful 2nd European Forum on Music was held by the European Music Council (EMC) and the Borusan Arts and Culture. The Forum was opened by UNESCO's Director General, Irina Bokova, who recalled the importance of musical diversity for societies in a globalised world. The Forum’s packed programme offered highly interesting and interactive panel discussions, workshops, as well as project and paper presentations and performances by outstanding Turkish musicians. The keynote speeches challenged the title chosen for this forum by explaining that the bridge is an overworked metaphor, especially in the Istanbul context in which bridges have also been built for wrong purposes. Discussions in the frame of the forum concluded that: music education should be seen as an ecological system that is permeable; that there is a need for co-operation between the culture sector and the administration in order to resolve the on-going visa issues experienced by oversees artists; that public and private funding models can promote freedom of artistic expression as well as hinder it; that the digital revolution affects the economic, social and legal framework but also the use of muic; and that the difficulties experienced by young people at the start of their careers should be addressed by innovative and proactive practices. For more information about the Forum, visit the website and view the presentations and speeches: www.emc-imc.org/efm
Part IV Music Empowers Global Youth
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Since its creation, IMC has given particular attention to the issue of music empowering youth. The Council believes that enhancing participation of young people in all aspects of the music sector will give them the necessary confidence, strength and voice to build the future in which they wish to live in. Driven by this belief, the Council has as much as possible tried to involve young people in the conception, implementation and evaluation of its programmes. Music Empowers Global Youth - MEGY, a cooperation project funded by the ‘Youth in Action’ Programme of the European Union, was launched during the 4th IMC World Forum on Music in September 2011. What is the MEGY project for? It is intended to enhance active youth participation in all aspects of the music sector worldwide, and through this to empower young people to take on a more active role in shaping their future as citizens of Europe and the world. The project activities and the resulting structures and network are meant to offer young people from across the globe the opportunity to gain experience, competence and empowerment to enhance their mobility and employability in the music sector and society as a whole. 34
They are also aimed at promoting efficient networking, partnerships and exchanges between young people, youth workers and cultural organisations worldwide, and to advocate in favour of their specific needs and wishes. In order to achieve its aims, the MEGY project has received financial support from the Youth in Action Programme of the European Union, and has gathered cooperation partners in different fields of expertise from all over the world. Several activities were set up or partly conducted within the framework of the MEGY project to try to overcome generational borders and give youth a voice. They were specifically intending to reach the following objectives: > Enhance increased mobility of young people > Facilitate partnerships between youth and cultural organisations > Strengthen and support the IMC Youth group
1. MEGY Partners Argentinean Music Council (CAMU) Founded in 1968, CAMU is composed of various Argentinean entities which deploy their activities in different disciplines of the music life at national level, including music education, music therapy, contemporary music, oral music traditions, popular music, concert and event management, youth and music, composers associations, musicological research institutes, national universities, documentation centres, folk and traditional arts festivals, publishing houses, musicians societies etc.. Among others, CAMU aims to preserve and protect the cultural musical heritage of the country; disseminate and promote creators and performers as well as the entire musical activity in Argentina in all its forms and expressions; promote the development of research in the field of music education and musicology at all levels; disseminate and promote the work of young musicians of Argentina; invite national and international collaborations and cooperation among diverse music institutions and organisations. CAMU implements projects in the field of social inclusion, monitors and disseminates music education programmes, develops distribution networks and promotes music creation through national competitions, whilst including in all its activities the youth sector of the society. http://camu.org.ar/ Borusan Kocabiyik Vakfi Kultur Sanat Iktisadi Isletmesi (Borusan Foundation) Borusan established a dynamic contemporary Arts and Culture Centre in Istanbul which has a special emphasis on music and provides the local community with a gallery, a music library, a concert hall, a philharmonic orchestra, and other ensembles including a children’s choir. The foundation strives to involve as many young people in its activities as possible and actively seeks international links to promote cultural exchange. As one of the main organisers of the European Forum on Music in April 2012, the Borusan Foundation ensured that this event was successfully prepared and implemented and that local young people were involved in this process. The foundation also supported
the participation of young Turkish people in the other project activities, in particular the World Forum on Music in Tallinn and the Paris meetings in December and January. http:// www.borusansanat.com China Conservatory of Music (CCM) The China Conservatory is the only higher education music institution in China that specializes in Chinese traditional music education and research, and which cultivates advanced specialised talents through engaging in traditional music theory, composition, performance, education as well as the promoting of the heritage and development of traditional music culture. The over 5000 students who have graduated from the China Conservatory since its establishment are outstanding singers, scholars and performers, and are making great contributions to the heritage, development and promotion of Chinese traditional music. The academy successfully hosted the 29th World Conference of the International Society for Music Education in 2010. Through participating in this project, the China Conservatory aimed to encourage youth participation in international exchange and cooperation, to broaden their international views, to improve their influence and competitiveness, and to strengthen cultural exchange and friendship between China and Europe. www.ccmusic.edu.cn/ccmusic/mainweb Estonian National Folklore Council / CIOFF® Estonia (ENFC) ENFC was set up on an interdisciplinary basis and is a network of all institutions which are practically, organisationally and scientifically engaged in folk culture, folk art and the cultural heritage, and functions to safeguard, transmit and diffuse traditional culture. One of the main objectives of ENFC is to transmit cultural heritage to children and youth. ENFC is a member of CIOFF® (International Council of Organisations for Folklore Festivals and Folk Art), of the Estonian Non-formal Adult Education Association and the NPO Fenno-Ugria. Youth are involved in the everyday work of ENCF (office worker, member of the board, youth commission – CIOFF® Youth Estonia) and its members (mostly folklore groups) involve youth as well. CIOFF® Youth Estonia carries out the project “Folklore
days” for elementary school children, organises lessons and study days of traditional culture in kindergartens, schools and organisations in Estonia (including minorities and children and youth with disabilities), works with leisure –time managers on how to celebrate traditional events / holidays in schools and assists folklore festivals in the organisation of activities for children. http://www.folkloorinoukogu.ee/ Estonian Choral Association / Eesti Kooriühing (ECA) Estonian Choral Association (ECA) was founded in 1982 as the umbrella organisation for all choirs and wind orchestras in Estonia. ECA is the successor in title of the Estonian Singers’ Union that was founded in 1921 and reestablished in 1993. The goals of the ECA are to foster the choral and wind music tradition, to find and distribute repertoire, to establish contacts, to organise international choral festivals, concerts, educational programmes, seminars and other events for choirs, singers and conductors. ECA pays great attention to involve young people into its activities, for instance through a special price to attend to any events, a youth committee, and special events for children and youth. Estonian Choral Association is a member of the European Choral Association - Europa Cantat, and of the International Federation for Choral Music (IFCM). www.kooriyhing.ee European Music Council (EMC) The European Music Council (EMC) is a non-profit organisation dedicated to the development and promotion of all kinds of music in Europe. It is a network for representatives of both national music councils and European organisations involved in the fields of music education, creation, performance and heritage. With its Working Group Youth (WGY), the EMC strongly supports youth participation in its decision making processes. The WGY is a network of young people aged 18-30 who are actively involved in all kinds of music throughout Europe. In 2010, the WGY launched the Youth in Action funded Access! European Agenda for Youth and Music project. This included a European Youth Forum on Music in Turin October
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2010 and resulted in a policy document, the Manifesto for Youth and Music in Europe which is currently being widely disseminated. www.emc-imc.org European Union of Music Competitions for Youth (EMCY) EMCY is a network of over 50 national and international music competitions for young people in 23 European countries. A particular priority of EMCY’s work is the promotion of the prize winners of its members after their competition success. A current priority of EMCY is the expansion of its network beyond the European Union. As an increasingly large number of prize winners of international competitions now come from China in particular, EMCY is looking for ways to support these young musicians and further dialogue and understanding between them and young Europeans. It is supporting the Menuhin Competition in its current work in China and is building contacts with Chinese musical institutions and international organisations working in this region. www. emcy.org International Yehudi Menuhin Competition
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The Menuhin Competition, founded in 1983 by Yehudi Menuhin, is one of the world’s leading violin competitions for young musicians under the age of 22. The competition attracts outstanding talent from all over the world and many prize winners have gone on to become internationally renowned performers. The competition is held in Spring every two years in different locations internationally. The competition was particularly interested to cooperate in this project given its focus on China and the possibility to foster further cooperation possibilities to promote and support its prize winners. This partner was responsible for the realisation of the 2012 competition and accompanying festival. http://www.menuhincompetition.org Jeunesses Musicales International (JMI) Jeunesses Musicales International (JMI) is the largest youth music NGO in the world, created in Brussels, Belgium in
1945 with the mission to “enable young people to develop through music across all boundaries”. With a vast array of activities, JMI has established four priority activity fields: Young Musicians, Young Audiences, Youth Empowerment and Youth Orchestras & Ensembles. JMI places empowerment, with its emphasis on social inclusion and cohesion, at its core. For over 60 years, JMI has been ‘Making a Difference through Music’, using the power of music to bridge across social, geographical, racial and economic divides and creating a platform for intercultural dialogue. www.jmi.net Music Council of Australia (MCA) / Australian Youth Music Council (AYMC) The Australian Youth Music Council (AYMC), formed in 2009, is committed to the development of young Australians in music across a diverse range of genres and fields. Working in tandem with the Music Council of Australia, AYMC members will form a common platform for any musical venture in which young people are active. The Council aims to enrich music education nationwide, and to support artists as well as organisers from every field in their pursuit of a career and in their enjoyment of music in all its forms. The Council comprises 10 Councillors all aged under 30, and committed to the activities of youth in Australia, and supporting our international partners. www.mca.org.au Spiritus Mundi (SM) Spiritus Mundi works with culture to create new and unique meeting grounds between people with different social, cultural and geographical background. Spiritus Mundi uses music, imagery, text and other creative expressions to create dialogue, participation and understanding. Since the foundation of the organisation in August 2003 Spiritus Mundi has produced several projects and initiatives on the local, regional and international level. The organisation aims to create meeting grounds for intercultural dialogue for children/young people and adults, increase the awareness and knowledge of different identities and cultures, seek out
new models for how to work practically with intercultural dialogue, models that can be duplicated and used in other cities/countries, create long-term culture bridging processes in cooperation with teachers and students – locally, nationally and internationally, tie culture, education and trade & industry closer together, and to act as an advisor in issues regarding culture diplomacy. http://spiritusmundi.nu/
2. MEGY Activities 2.1. Youth-led sessions at the 4th IMC World Forum on Music The Forum was organised in Tallinn (Estonia) from 26 September to 1st of October 2011 and gathered over 300 cultural operators from all regions of the world, including 67 under the age of 30. Furthermore, many young musicians performed during the concerts and the coffee breaks, all together bringing a very youthful flair to the whole event.
The IMC youth advisory group was actively involved in shaping the programme of the forum and has also organised the following interactive sessions: > Hip Hop as a Tool for social change > Make some noise for the Manifesto and Youth in Europe! > Music on troubled grounds > Wade in water – singing for social change Hip Hop as a Tool for Social Change This session was actually an interactive workshop animated by the Hip Hop artist and indigenous Australian James Alberts. After checking about the basic knowledge and thoughts about this style of music among the audience, James explained the present situation within his community: a minority within the Australian population held back by
poverty, criminality, drug abuse and suicide among youth. To support children who have to grow up facing this situation, James uses Hip Hop, “which has always been about giving power to the oppressed, about having a voice and being proud of where you come from”. With volunteers from the audience, he then demonstrated the strength of collectiveness and of acting as a group; this is what Hip Hop is all about. He then performed acapella a rap song telling about his own story, his “dream” as conceived among indigenous Australians. James explained that Hip Hop gave him the space to channel and manage aggression and tension, and to develop positive skills and feel like someone who had something to say. As he got involved with youth from his community, organizing Hip Hop workshops, he enjoyed teaching them self expression, creativity, perseverance and confidence in their own abilities. Workshops were also meant to convey them the importance of education as a means to empower themselves. Participants recalled the negative aspects associated with Hip Hop and Rap music: rude language, violence, bad dressing style, supporting macho and aggressive attitudes, glorification of sexuality and disrespect of women. These “gangster” aspects, which are highlighted by the media, are expressions of deep anger and violence within today’s youth, which need to be seen as rebellion but not generalized to all Hip Hop and Rap. A discussion with the audience raised issues such as the difference between conscious and unconscious rap, the link between US and indigenous Hip Hop using indigenous instruments and traditional aspects. The audience was then invited to participate in the same type of work James does with children in his community: select their Hip Hop nicknames in connection with their personal story and interests, list things they like that represent themselves, and use all these to write a short Hip Hop song to be performed in front of everyone. James concluded the workshop performing a capella one of his own compositions.
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Make Some Noise with the Manifesto for Youth and Music in Europe
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During this session, the Working Group Youth of the European Music Council presented the Manifesto for Youth and Music in Europe, developed as part of the Access! Project, which aims to give young people in Europe who are involved in music a voice in their future. The Manifesto attempts to highlight the issues surrounding youth in the field of music and tries to make positive changes throughout Europe and beyond. During the presentation, the youth members, who moderated the session together, used colored cubes with sides representing each priorities of the manifesto – Lifelong Learning, Professional Training, Mobility and Dialogue, Employment, Resources and Youth as Resource; each of these priorities were highlighted through the participant’s personal life and work environment. It is thus in a playful way that participants were asked to share their views on the Manifesto, to share examples of good and bad practice in their countries and to suggest ideas on how to implement the Manifesto. The young organisers of this session hoped to be able to see whether this manifesto could be relevant outside of the European area: they believe the young generation worldwide shares a common stance and wishes, irrespective of their religion, geographical location or political view. Exchanges during the session showed that many of the concerns and needs raised in the Manifesto do exist, and also in other music areas of the globe. They also highlighted the fact that the engagement for access to music and music education, in particular for young people, is a process ongoing on all continents in one way or another. As means to spread the information meant to encourage interactivity and active participation, participants were among other things invited to a speed-dating session and a session of body percussion “to get everyone’s creative juice flowing”.
Music on Troubled Grounds This very touching session was dedicated to the Music on Troubled Grounds (MOTG) platform set up by Spiritus Mundi to create a dialogue between young musicians from Sweden, Israel and Palestine. It was explained that the musicians, who were invited to participate in the Forum by the Youth Advisory Group of IMC, are no politicians and that the platform has no other aim than to give them the opportunity to know about each other’s lives. After a short introduction, the musicians were invited to perform traditional songs in Arabic and Hebrew. They were then asked to tell about their personal stories in a panel conversation. They expressed their pride of being part of the project that for some of them changed their perception of music from a mere entertainment into a powerful tool in conflict situations. Some expressed their difficulty of talking about their participation in the project back home with friends and family who don’t understand its use. The Scandinavians within the band talked about their role in the project: to try to make something else with music and inform other people about a conflict they are not affected by and that is happening far from home. For them, the project has opened their eyes about other people’s difficult lives – “the conflict is not a movie!”. The musicians were asked how its feels to have someone “from the other side” playing their traditional songs for this project. The Israeli performer expressed her pride to teach her home songs to Palestinians, and her amazing feeling about performing songs from Palestinians she would never have listened to before. The Palestinian performer said the project and recordings will give him something to be proud of, to show to his family back home and talk to them about other people. The Scandinavian performer talked about his great feeling when performing, as if “the entire stage was flowing with world peace”. He added that musicians have a responsibility to make “music that matters”, not just music for entertainment and money.
The last question they were invited to answer was if they thought that especially young people can make a difference for changing things. The answer was of course: yes. And since the participants are musicians, they were asked to perform some more of their songs which literally blew away everyone in the room with the sincerity and beauty of the music performed. Two Israeli female singers and two Palestinian male singers singing together a song, in each others’ language, was certainly the most effective live demonstration of the power of music for social change. Wade in the Water – Singing for Social Change This session was arranged by Kristel Pedak, Mothomoni Mapela-Mphatja, Victoria Liedbergius and Kate Declerck, who all come from different backgrounds but have in common impressive experiences of the social power of choir music. In their presentation, they all tackled the issue of the sustainability of the experience of unity resulting from joint singing: Does unity last when the music stops? How can this unity be translated into civic action? Kristel Pedak, from Estonia, highlighted the nonviolent power of choral singing and gave a historic overview of the Estonian tradition of singing for social change. This tradition reached its peak at the end of the 1980’s when Estonia freed itself from the Soviet occupation through the Singing Revolution without a single shot being fired. Mothomoni Mapela-Mphatja (South Africa) explained how Africans are united by singing even though they have to face big cultural differences. As a result of the past and present political instability, Africa developed a strong tradition of joint singing for protest, proclaiming social and educational problems, poverty and the constancy of the HIV/AIDS difficulty, and also tackling issues such as climate change or women. In relation to this, Mothomoni underlined that joint singing provides a strong support for the individual, a source of power and hope driving towards social change.
Based on her experience of the World Youth Choir, Victora Liedbergius (Sweden) explained that unity does not necessarily result from a common fight against social problems, but that it can also simply be celebrated for itself and for the pleasure of sharing great joint experience. Without any speeches or banners, this choir can, according to her, support messages of international peace, brotherhood and vitality of life. And to prove the success of this undertaking, the choir was selected for UNESCO’s program “Artists for Peace”. Kate Declerck (Canada) highlighted another aspect of change as a result of music and singing based on the example of the Fair Play Anti-Corruption Youth Voices, a project successfully organised by the World Bank Institute, JMI Foundation and the Global Youth Anti-Corruption Network. The project aims at mobilizing youth to fight against corruption by participating in contests for songs dealing with corruption or by participating in anti-corruption conferences. 2.2. Cultural and Youth Policy Workshop at UNESCO From 4-7 December 2011, seven young people from Estonia, Germany, Sweden, Turkey and UK participated in a highly interesting workshop mixing theory and practice on cultural and youth policies. It was co-organised by the MEGY partners IMC, European Music Council (EMC) and European Union of Music Competitions for Youth in close collaboration with the IMC youth advisory group. The workshop was intended to enable those youth representatives to build knowledge regarding youth and culture policy. Among other presentations, the members of the WGY Working Group Youth of the EMC (WGY) introduced the “Manifesto”. As part of the workshop, participants were offered the opportunity to attend two different sets of meetings at UNESCO as observers:
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> A formal meeting of the Intergovernmental Committee on the Protection and Promotion of the Diversity of Cultural Expressions, including an exchange session between State Parties to the 2005 Convention and civil society – participants previously received adequate information on the Convention. > International NGO Day
2.4. MEGY activities at the 2012 Menuhin Competition The Menuhin Competition is a British charity founded by Yehudi Menuhin in 1983 with the intention of bringing together exceptionally talented young violinists from across the globe in an enriching, stimulating and friendly environment where the focus is on education and cultural exchange rather than winning prizes. In April 2012 the event was held for the first time outside of Europe in Beijing. It was a truly international event with competitors plus their “entourage” of parents and teachers from all over the world. The competition is open to violinists under the age of 22 and over 230 applied for the 2012 event. 42 were chosen to travel to Beijing: from China, Germany, Japan, Poland, Singapore, South Korea and USA.
Further interviews and personal meetings with other NGO representatives and UNESCO staff members made the formal meetings a lively experience for the participants. Questions-and-answers sessions led by Silja Fischer and Ruth Jakobi (project coordinator) also allowed participants to better understand the ongoing discussions and formal decision making.
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2.3. Work-shadowing in International Music Organisations (December 2011) 4 young people from Turkey, Sweden, Brazil and Germany were selected to participate in the work-shadowing activity. This allowed them to get an insight in working methods and daily youth and voluntary work of the hosting organisations: - International Music Council (IMC) (Paris, France) - European Music Council (EMC) (Bonn, Germany) - European Union of Music Competition for Youth (EMCY) (Munich, Germany) The aim was for the young people to learn about the benefits of volunteering and particular attention was given to the enhancement of the non-formal learning experience of each part of the programme.
The competition was a British-Chinese cooperation project and part of the UK Now Festival of British arts in China 2012. The local team featured a large number of student volunteers who contributed a great deal to the friendly and young atmosphere of the competition. As part of the MEGY project, a youth chamber orchestra was created bringing together pupils from the Menuhin School in the United Kingdom (coming from UK, Germany, Spain, Turkey, South Africa, South Korea, Taiwan) and pupils of the Middle School of the Central Conservatory in Beijing. The musicians (around twenty in total, aged roughly 12-18) spent five days rehearsing together. They performed at the Forbidden City Concert Hall and accompanied the junior finalists in their renditions of Vivaldi’s Four Seasons. At the end of the first day, a special exchange session helped break the ice between the musicians and get them to reflect upon the cultural exchange that was taking place. All participants had the chance to talk (in Chinese or English with translation) and together they created a big mind-map on the wall with the participants writing the best things about their music education on big post-it notes, presenting them to the group, and grouping them with similar ideas from the others. Whilst there were many differences between the experiences and opinions of the young people, the similarities were more striking and continued to be discussed through
the week in a more informal setting. Through the “formal� training the musicians were receiving in their rehearsals, there was much opportunity for informal learning as the musicians had to work very closely together and could learn from and about each other.
A joint discussion with all project partners enabled to decide of the best ways to disseminate and build on the achieved results and to tackle the issue of possible follow-up projects and methods to ensure the sustainability of the partnerships, networks and projects put up as a consequence of the joint youth effort. One session was organised and chaired by EMC’s Working Group Youth as part of the MEGY project: Bridging Generations in Employment: How to get young feet on the Music working Ladder? What are the challenges of youth unemployment for the music labor market? What efforts can individuals and organisations do to overcome these challenges?
Through rehearsing, performing and talking together, these young people used the common medium of music to foster intercultural dialogue and mutual understanding, and to ensure the future development of these ties. It offered a unique meeting point for European and Chinese musicians to share not only high level musical events, but also to engage in an intercultural dialogue and sharing of their different cultural heritage.
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2.5. Youth-led activities at the European Forum on Music As it was the case the World Forum on Music, young people from the IMC Youth Committee and the WGY were involved in the planning, realisation and follow-up to the sessions of this Forum, and were particularly in charge of planning the youth oriented sessions.
Taking into account various aspects of the music sector, this interactive session attempted to discover successful approaches for young people taking their first steps in the professional world. Options of self-employment were for example checked for their viability.
The members of the IMC Youth Committee were also invited to present the main outcomes of the MEGY project to a wide audience of more than 150 participants from all over the world, among which at least 35 were aged below 30.
Speakers with diverse backgrounds, Nienke van der Peet, Karen Freyer, Dirk van Welden and Joachim Wemel, explained their work in encouraging fair employment of young people in the music sector and their personal path to success.
3. From the IMC youth advisory group to IMC Youth Back in 2009 a special call for delegates under 30 years of age was launched by the International Music Council (IMC) to involve young people in the conception, implementation and evaluation of its programmes. All IMC members were encouraged to include young representatives in their delegation to the 3rd IMC World Forum on Music, which took place in October 2009 in Tunisia. Many organisations responded to this invitation and a group of about 30 young delegates came to Tunis. After several special youth meetings, the group declared the wish to continue collaborating after the Forum and to enrich various IMC activities with a youth perspective. The initiative was welcomed by the IMC General Assembly. Since then, the group of people who gathered in Tunis has been extremely enthusiastic and productive. To pursue more and more activities with increasing complexity, the need for a clear set of aims and a transparent structure for the group became apparent. This is why the IMC – inspired by several youth initiatives within its network – decided to provide a framework for the IMC Youth Advisory Group (YAG), today called IMC Youth.
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The group has been at the same time one of the main achievements and one of the main pillars of IMC’s MEGY project. The youth group held several meetings on various occasions, which were instrumental in the setting up and strengthening of its structure and targets: > Youth Delegates Meetings During the World Forum on Music, two sessions, prepared and lead by the delegates from the Youth Advisory Group and the Working Group Youth of the European Music Council, were specifically organised for youth delegates to get to know each other and work together on the future of the YAG. The first was an informal get together around a performance by the Estonian Vocal Group Chillin, the best vocal ensemble at the International Choir Festival Tallinn 2011. The second more formal meeting was attended by around 25 youth delegates who shared their experiences
of youth participation (or lack of it!) in their work and studies and exchanged ideas on the future aims and activities of the YAG. The group’s further expansion and development of its network was also discussed. At another impromptu meeting held later in the week an interim committee was elected with a chairperson, vice-chairperson and secretary to bring the YAG forward and prepare for the next meeting of the YAG in January 2012. > Capacity-building workshop for young music professionals & Meeting of the IMC Youth Advisory Group (YAG) (26 to 28 January 2012) The Youth Advisory Group and other young people involved in music came together in Paris for a capacity building workshop intended to define the future structure, strategy and activities of YAG as well as to give young participants from various countries the opportunity to learn from and with experienced professionals about international networking, communication and cultural policy. The point of departure for the threeday programme was to provide participants with the tools needed to establish a formal structure. The presentation of the MEGY project as well as of the general aims and objectives of the IMC provided the basis for a round-table discussion on the role of an IMC youth group in regards to IMC. The following session focused on cultural policy issues with respect to youth and the rights of musicians. The next sessions saw the participants working on the definition of the objectives of the youth group as well its vision and aims. The presentation by an expert from the International Council of Museums (ICOM) led to the discussion of different themes such as cultural diversity, the mobility of young professionals and strategic locations for physical meetings. This informed the discussion of the youth group’s structure and activities, with central issues being the name of “YAG” as well as the membership structure and the working methods of the group. The last day included an expert presentation on developing effective communication strategies including social media.
At the end of the workshop, the youth group had defined its aims and objectives, established a draft work programme and defined its structure. Moreover, a committee was elected including young people from all five regions of the world. > Meeting of the IMC Youth Committee, Istanbul, April 23-24 2012 IMC Youth held an internal meeting during the European Forum on Music. Each opportunity for physical meetings is highly appreciated by the young people, who usually work through online meetings, video conferences as well as per email and online data sharing. The main discussion points of this meeting referred to internal communication (improvement of skype meetings, availability via email), to the structure of IMC Youth and to future activities. In addition to ongoing measures for awareness raising and for increasing the number of people involved, IMC Youth decided to concentrate on the following concrete activities: 1. Formulate guidelines for IMC member organisations for increasing youth participation 2. Have representations on the Working Groups of the IMC 3. Propose an extra award targeted on Youth during the IMC’s Musical Rights Award 4. Plan a satellite meeting before or after the 5th WFM for young people within the IMC network and beyond. 5. Create an engaging web environment mapping (young) musicians from all over the world Further to this internal meeting, many formal and informal gatherings between IMC Youth, the IMC Board, IMC members’ delegates and other conference participants took place during the Istanbul Forum.
IMC Youth represents youth from within the network of the International Music Council (IMC). Vision: IMC Youth envisions a world where youth contribute to drive freedom, access, development, recognition and innovation in regards to music. Aims: IMC Youth aims to actively promote and encourage youth participation in decision-making processes through the IMC network and beyond. IMC Youth aims to give young people involved in the IMC network a voice, which is valuable for the future of the music sector and can be key for the recognition and solution of problems next generations are facing. Outreach: IMC Youth aims to have a diversity of contributors across gender, geography and genre. IMC Youth recognises that what it means to be ‘Youth’ is culturally diverse. However, for general purposes, we are defining Youth to be someone at the age of 30 and younger. Objectives: - Promote the youth perspective in all aspects of the IMC. - Strive to ensure a youth presence in all regional music councils of the IMC, and work co-operatively with existing youth-music advocacy groups within the IMC network. - Raise awareness about youth issues in the advocacy work of IMC members. - Work with IMC members to create opportunities for advocacy on a national/local level, particularly the promotion of youth participation and inclusion of youth perspectives. - Facilitate information sharing, dialogue, networking, and other resources relevant to young people involved in the IMC network. - Develop innovative approaches and partnerships to strengthen the work of the IMC and its members.
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IMC Youth Committee 2012-2013 Michael Sollis (Chair) - Australian Youth Music Council Olga Novik (Vice-Chair) - International Music Council internship programme Jesse Boere (Secretary) - Dutch Student Chamber Choir Roula Abou Baker - Fayha Choir Maiju Kopra - Finnish Music Council Victoria Liedbergius - European Choral Association Europa Cantat Mothomoni Mapela Mphatja - International Federation for Choral Music Juan Pablo Nicoletti - Argentinean Music Council Lisandra Roosioja - Estonian Academy of Music and Theatre Ronald Vitzthum - Austrian Music Council
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Looking forward‌
MEGY has strengthened sustainable partnerships and networks of young people worldwide. The project offered youth from across the globe the opportunity to gain experience, competence and empowerment, to enhance their mobility and employability in the music sector and society as a whole. As one of the outcomes of MEGY, IMC Youth is now established to represent youth from within the network of the IMC and committed to achieve the objectives which it has defined in cooperation with the IMC Board. Youth has a lot to contribute to the music world. In the months to come the IMC and its members will continue to invite music professionals from all over the world to join the efforts to overcome generational borders and to give youth a voice. First steps have been taken in view of a youth component in the next IMC World Forum on Music which will take place in Brisbane, Australia, in November 2013. Funding from UNESCO has been secured for further youth empowerment initiatives of the IMC.
Part V UNESCO – IMC: A longstanding partnership
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IMC was founded in 1949 at the request of the DirectorGeneral of UNESCO as a non-governmental advisory body to the agency on musical matters. Over the years, it continued to maintain a formal relationship with UNESCO and is recognised today as an NGO official partner of UNESCO (associate status). The major lines of the partnership between UNESCO - IMC are determined in a framework agreement signed between the two bodies for a period of six years; the current agreement covers the period 2008-2013. With this document, UNESCO recognises IMC as its main partner in the field of music. In the course of its existence, IMC has developed into a highly influential network advocating for appropriate policies and practices aimed at strengthening the work of its members and partners worldwide. As such, IMC was able to contribute to the UNESCO Observatory on the status of the artist and was notably commissioned to organise a training session for music operators in East Africa and to write a study on musical diversity worldwide. With its large network of members and partners, IMC is a precious channel through which UNESCO increases the impact and visibility of its activities, in particular within the civil society.
Advocacy 46
UNESCO with its 195 Member States offers an important arena for IMC’s advocacy work. IMC representatives are regularly invited to participate in relevant UNESCO meetings and make their presentations in front of representatives of Member States. UNESCO meetings are thus the major arena on which to make IMC’s activities visible and to advocate for the five music rights. The most pressing issues addressed in this context are the mainstreaming of culture in the development agenda, the free circulation of artists, the value of the diversity of musical expressions, the importance of taking into account the voice of civil society, the need to safeguard intangible cultural heritage, the importance of arts education, intercultural dialogue, youth empowerment and participation. For example, with regard to the 2005 Convention on Protection and Promotion of Diversity of Cultural Expressions, IMC has developed advocacy initiatives which involve using its
membership to relay information in all the countries where it is represented. In this context, the IMC has undertaken a number of activities to inform its members and make them better advocates (dissemination of materials prepared by the UNESCO Secretariat, preparation and dissemination of promotional materials for its members, introducing the theme of ratification in IMC World Forum on Music, etc.). Most of its members are now able to undertake education and communication initiatives at the national level, including advocacy work with the National Commissions of countries that are likely to ratify the Convention, or by participating in the programmes of national coalitions for cultural diversity.
Imc Contributions to UNESCO’s programme Intercultural Dialogue The “Young Artist for Intercultural Dialogue between Arab and Western World” Award is part of the joint UNESCO/ UNAOC/IMC project, inspired by UNESCO’s “Artists for Peace” project. It aims at positioning the arts at the heart of true intercultural dialogue: it gives recognition to young artists for their exceptional contribution – through the media of music, dance, writing, theatre, cinema and photography – to the dialogue between the Arab and the Western countries. This award is meant to advertise the achievements of those young artists, the aim being… > to encourage other young people to adopt a similar approach, > to spark similar initiatives from other artists. On April 13th 2011, UNESCO Director-General Irina Bokova awarded 20 young artists under the age of 35 with the title of “Young Artist for Intercultural Dialogue between Arab and Western Worlds” at a ceremony held at the Organisation’s headquarters, in Paris. Eleven of these 20 laureates were nominated by the IMC: pianist Zuhal Sultan from Iraq, composer and musician Merlijn Twaalfhoven from the Netherlands and nine young musicians from the „Talent 2008“ project.
Zuhal Sultan, a pianist from Iraq. At the age of 17 she founded the National Youth Orchestra of Iraq, which works with several Western artists. She has been particularly remarked for her remarkable use of social media both in founding and organizing the orchestra. She has been nominated by IMC on behalf of the European Federation of National Youth Orchestras. Merlijn Twaalfhoven, a composer and musician from the Netherlands. He started some exceptional projects in Jordan, the Palestinian Territories, Syria and the Netherlands, using music to create draw attention of the international news media to the richness of the Arab culture, and more broadly to create links and thus serving as a symbol of peace. He has been nominated by IMC on behalf of the European Conference of Promoters of New Music. The young musicians who participated in the international project “Talent 2008” and jointly created a programme based on musical tunes and melodies from each other’s countries: From Palestine: Suhail Nassar, Mira Azar, Majd Shanin From Egypt: Hind Ali, Ahmed Amer, Rami Mohammed Shamrokh From Norway: Julie Alapnes Normann, Ingrid Stuhaug, Ingebjørg Bratland By working across musical, linguistic and cultural divides, these young people have developed both as musicians and human beings. The group was nominated by IMC on behalf of Rikskonsertene from IMC-Norway.
Creative City of Music label The Creative Cities Network was launched by UNESCO in 2004 in the framework of its initiative for a Global Alliance for Cultural Diversity. This label is meant to connect creative cities that wish to share experiences, ideas and best practices for cultural, social and economic development, and to work for a common mission: cultural diversity and sustainable urban development. Currently there are 30 cities part of this network. These are subdivided into seven creative industry fields: literature, film, crafts and folk art, design, media arts, gastronomy and music. Cities of Music are... > recognised centres of musical creation and activity; > experienced in hosting musical festivals and events at a national or international level; > promoting music industry in all its forms; > having music schools, conservatories, academies and higher education institutions specialised in music; > having informal structures for music education, including amateur choirs and orchestras; > holding domestic or international platforms dedicated to particular genres of music and/or music from other countries; > having cultural spaces suited for practicing and listening to music, e.g. open-air auditoriums. The International Music Council is regularly solicited by UNESCO to evaluate applications for the label City of Music. IMC is successfully cooperating with UNESCO Cities of Music, for example, the City of Ghent sponsored the jazz trio which offered the musical frame to the 2011 IMC Musical Rights Awards ceremony. City of Music Network Seville (Spain) Bologna (Italy) Glasgow (UK) Ghent (Belgium) Bogota (Colombia)
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Arts education World Conferences on Arts Education UNESCO is giving high priority to mainstreaming art, creativity and culture in educational system throughout the world. The campaigns “Education For All” and “Quality Education”, as well as support strategies to safeguard cultural diversity are notably working in this direction. IMC representatives were invited to take part in the First World Conference on Arts Education held in Lisbon (Portugal) in 2006, and to participate in the elaboration of a “Road Map for Arts Education” to promote and reinforce the value of quality arts education for all. This Road Map was then largely circulated among IMC members.
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Two IMC Board members and delegates from IMC member networks represented the interests of the music field at various panels of the Second World Conference on Arts Education held in 2010 in Seoul, Korea. This second session was intended to re-evaluate and encourage the implementation of the 2006 Road Map and to raise further awareness of the role arts education can play in favour of people from all countries and social backgrounds, in the spirit of peace and in respect of cultural diversity. It was also the occasion for a global encounter between the different actors of arts education: national authorities, local governments, teachers, artists, researchers, associations and NGOs. IMC took up the appeal to all stakeholders to jointly elaborate and strengthen collaboration between them for developing new practices and strategies and for reinforcing the position of arts education in schools as well as within societies. IMC considers the “Seoul Agenda: Goals for the Development of Arts Education” as an important advocacy tool and encourages its members to make wide use of this tool in their own work. International Arts Education Week The 2011 General Conference of UNESCO proclaimed the fourth week of May as International Arts Education Week, to highlight the importance and usefulness of arts education. This week was for the first time celebrated at UNESCO
Headquarters, in Paris, on 23 May 2012. IMC offered its consultancy services to UNESCO in the preparation of the event, which included a symposium on “Arts Education, from diversity to sustainability”, arts exhibitions and a performance of Korean traditional music. From the IMC network, Simone Dudt (Secretary General of the European Music Council) and Emily Achieng’ Akuno (Director of the Centre for Creative and Cultural Industries at Kenya Polytechnic University College) participated as panelists whereas some more IMC members could be found in the audience. International Jazz Day After its proclamation by the 2011 UNESCO General Conference, the International Jazz Day was celebrated worldwide for the first time on April 30, 2012. IMC mobilized its members to join the global celebrations by local activities, such as interviews, exhibition, concerts and book presentation in Italy; a concert dedicated to the International Jazz Day in Malaysia; lecture, jazz film clips and live performances in Nigeria; a CD launch in Paraguay; a special radio broadcast of live performances by Polish Radio. UNESCO organised a special daylong event on April 27th at its headquarters, in partnership among others with the IMC and its jazz networks. The event included open master classes by famous international jazz musicians, scat improvisational classes for young students, musical performances, conferences, debates, and a magic evening concert. IMC values and jazz-related activities of its network were promoted by means of a dedicated stand. IMC joined UNESCO in celebrating the International Jazz Day as an important step to promote the values of jazz: it is an important historical art form which has contributed to promote intercultural dialogue, eradicate discrimination, promote respect for human rights and dignity, foster gender equality and reinforce the role of youth for social change.
Highlights 2012-2013 - September 2012: Empower Music - Music Empowers, capacity-building workshop for music organisations in the Mediterranean, Limassol, Cyprus - October 2012: Regional Assembly of the Music Council of AsiaOceania, Jinan, China - November 2012: Launch of the IMC Music Sector Development Programme’s project database - December 2012: Participation in meeting of the UNESCO Intergovernmental Committee on the Protection and Promotion of the Diversity of Cultural Expressions, Paris, France - February 2013: Launch of advocacy campaign for pre-school music education - April 2013: 3rd European Forum on Music, Glasgow, United Kingdom - May 2013: 60th anniversary of the International Rostrum of Composers, Prague, Czech Republic - November 2013: 5th IMC World Forum on Music, Brisbane, Australia - November 2013: IMC Musical Rights Awards, Brisbane, Australia
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IMPRINT Editor: International Music Council Maison de l’UNESCO 1 rue Miollis 75015 Paris France Tel. +33 1 45 68 48 50 Fax +33 1 45 68 48 66 www.imc-cim.org info@imc-cim.org www.facebook.com/International.Music.Council 50
Edited by: Silja Fischer Author: Marianne Pasty-Abdul Wahid Proofreading: Ruth Jakobi Photo credits: Vahur Lốhmus (p. 20-21, 26-27, 36-39) Özge Balkan from BIG TIME’S PHOTOGRAPHY (pages 32 and 41) All other photos are from the IMC archive. The MEGY project is supported by
© International Music Council. All rights reserved. This publication reflects the views of the editor, and the European Commission cannot be held responsible for any use made of the information contained therein. Design and layout by 234lab / Wouter Dons Printed by Kiige RB OÜ, Estonia
offers a worldwide perspective, credibility and legitimacy
is an important network that raises important issues in music is by far the most important effort to coordinate music organisations in the world
is unique
has a high position in the international cultural life 51
IMC‌
represents the interests of music making around the world
has a great reputation and is linked with UNESCO
IMC’s five musical rights are a cause worth fighting for!
International Music Council Conseil international de la musique 1 rue Miollis 75732 Paris cedex 15 France T +33 1 45 68 48 50 F +33 1 45 68 48 66 www.imc-cim.org www.facebook.com/International.Music.Council info@imc-cim.org IMC is an NGO official partner of UNESCO (associate status)