Cultural Relations in the New Normal

Handbook of Project Models1 ALTERATION—a programme that consisted of a series of online events for THE UKRAINIAN INSTITUTE professionals in the cultural field running from April to July 2021. It was aimed at The Ukrainian Institute is a public institution affiliated with the Ministry of Foreign defining new, efficient approaches to establishing, building, and developing inter- Affairs of Ukraine. The mission of the Ukrainian Institute is to strengthen Ukraine’s cultural relations and connections between EU and Ukrainian cultural and civil international standing through the means of cultural diplomacy. As such, this insti- society actors in conditions of pandemic-induced uncertainty, changes, and in- tute facilitates international connections between people and institutions, thereby stability. Alteration was the result of a mutual initiative of the EU Delegation to creating opportunities for Ukraine to interact and cooperate with the world. Ukraine and the Ukrainian Institute, supported via the EU-funded Cultural Rela- tions Platform. The strategic goals of the Ukrainian Institute are to: → Improve understanding and the visibility of Ukraine among foreign The programme covered such questions as: how should international cultural audiences; relations adapt to this “new reality?” How should digital tools be used for better Ensure a stable demand for professional interaction with Ukraine; efficiency? What best case practices exist in international cultural relations and → among cultural institutions in the EU and in Ukraine that can be of use to other in- → Build the capacity of Ukrainian actors in the cultural, educational, stitutions? And, lastly, how can cultural initiatives and products be promoted using and scientific spheres—as well as civil society—for international digital tools? cooperation; → Increase Ukraine’s involvement in current global cultural processes; This handbook is also part of the Alteration programme, drawing on key les- → Nurture and expand the usage of the Ukrainian language in the world. sons and cases related to the programme’s topics. The Ukrainian Institute implements programme-based activities in the fol- THE CULTURAL RELATIONS PLATFORM (CRP) is a project funded by the lowing areas: arts (film, theatre, visual art, music, and literature), cross-sectoral Partnership Instrument (Service for Foreign Policy Instruments) launched in April projects and campaigns, academic programmes, civil society initiatives, the pro- 2020 to support the European Union regarding engagement in international cul- motion of the Ukrainian language, capacity building for cultural diplomacy, and tural relations within the framework of the EU strategy for international cultural research and analytics. relations. The CRP follows up on the previous Cultural Diplomacy Platform, CDP (2016-2020), providing a renewed approach based on a set of shared principles Some of the Institute’s flagship projects are: the first online course about and new activities, thereby aiming to promote and facilitate sustainable cultural Ukrainian history and culture on Udemy; a gift book about Ukrainian cuisine exchanges, people-to-people activities, and co-creation processes between Euro- UKRAINE. Food & History; Extra Sound, a long-term programme to showcase peans and citizens from all over the world. Ukrainian musicians at the main events of the global music industry, such as confer- ences and trade meetings; proMOTION, a programme aimed to market Ukrainian The overall objective of the CRP is to strengthen the European Union’s ability films abroad; Ukraine Everywhere, a programme for the online presentation of the to engage meaningfully with different audiences and stakeholders in third visual culture of Ukraine; and transmission.ua: drama on the move, a long-term countries through cultural relations activities. It: programme to facilitate and support translation, promotion, and production of → Provides policy support on international cultural relations in modern Ukrainian drama in European theatres. conducting research, studies, mappings, and in organising local www.ui.org.ua/en meetings, conferences, workshops, and trainings; → Supports cooperation among the cultural and creative sectors in THE DELEGATION OF THE EUROPEAN UNION TO UKRAINE facilitating contacts and networking among various EU and third The Delegation of the European Union to Ukraine is one of over 130 Europe- country cultural actors, including cultural institutes, private an Union Delegations around the world. The delegation’s mandate includes foundations, civil society, and other organisations; the following: → Strengthens communities and networks of cultural practitioners → To promote political and economic relations between Ukraine and the in developing training programmes for cultural managers in- and European Union by maintaining extensive relations with governmental insti- outside Europe. tutions and by increasing awareness of the EU, its institutions, and its pro- grammes; The CRP has a global geographical mandate and is implemented by a consortium → Monitor the implementation of the Association Agreement between the of four organisations, including the Goethe-Institut Brussels (consortium leader, European Union and Ukraine; BE), the European Cultural Foundation (NL), IETM—the International Network for → To inform the public of the EU’s development and to explain and defend Contemporary Performing Arts (BE), and the Università degli Studi di Siena (IT). individual EU policies; To participate in the implementation of the European Union’s assistance www.cultureinexternalrelations.eu → programmes.

Since 2014, the EU and the European Financial Institutions have mobilised more than €15 billion to support the processes of reform in Ukraine, in crucial areas like decentralisation, civil society, education, culture, healthcare, the fight against cor- ruption, amongst others.

2 www.eeas.europa.eu/delegations/ukraine_en 3 6-7 Introduction Table of contents 8-15 Key Lessons Learned and Recommendations 16-21 Key Lessons Learned and Recommendations (in Ukranian)

22-53 Engaging Audiences in the New Normal — Project Models Case Studies

54-81 Capacity Building in the New Normal — Project Models Case Studies

82-95 Professional Connections in the New Normal — Project Models Case Studies

96-97 More Projects To Explore

98-99 Tools for Digital and Hybrid Projects

100-110 Cultural and Creative Sector and Civil Society Networks Mapping

111 List of Projects Featured in the Handbook

112 Resources

4 5 The concept of a “new normal” is relative— neither we exactly know when it started or it would start, nor how to define it. In the context of this handbook, we suggest treating this new normal as a fluctuating timeframe, wherein there is a feeling that the peak of the COVID-19 crisis is gone, and one can combine successful approaches from the pre-pandemic times with the lessons learned Introduction and new models discovered during it.

The cultural and creative sector (CCS) ended up being one of the sectors 17 selected projects have been most negatively affected globally by the COVID-19 pandemic. There were nu- divided into three groups according to their primary focus: merous factors for this: the significant venue- and visitors-dependency of sev- • engaging with a wider audience; eral sub-sectors, especially the performing arts, cultural heritage and music, • capacity building; a high proportion of small organisations and freelance professionals, as well • professional connections as a rather insignificant level of digitisation, outside of the IT and audiovisual development. sub-sectors, etc. The pandemic also had a negative impact on international cultural re- Among the featured projects, the majority use online delivery models, a di- lations between countries. This is because quarantines and travel restrictions rect result of the processes occurring within the CCS during the pandemic. When made the most common types of cooperation—like the mobility of profession- the lockdowns and quarantine measures forced organisations and artists to als and offline collaborative projects—practically impossible. Following one of stop their normal activities, many of them swiftly moved to adapt to new digital the major trends of the pandemic era—„going local”—some organisations that distribution tools and experiments to reach audiences online. This seemed to be previously collaborated internationally, suspended their international collabo- a relatively simple, fast and effective solution to stay afloat. rations and instead shifted their priorities towards local audiences and projects. At the same time, we aimed to showcase some portion of the hybrid proj- Some had to cancel all of their activities whatsoever. ect models, even though they have been less presented in the international cul- Yet there were those that continued the pursuit of cross-border cultural tural relations scene… for now. We tend to observe that hybrid project models collaborations, and even launching new international projects. Digital tools, combining online and offline forms, take more time and effort to develop. Usu- which sweepingly entered the lives of numerous households and organisations ally, they are tailored solutions reflecting the specifics of delivery organisations, worldwide at the onset of the pandemic, have also stormed into the cultural their audiences and partners. Hybrid models are more complex to put in place, relations domain allowing projects to be transformed, for activities to carry on, they are less described compared to online ones, and they are exactly the area and for new forms of collaboration to be launched. However, the overall ten- wherein a lot of innovation is expected to happen soon. dency to “slow down” has been predominant in international relations as well. The new normal is a time of discovering new, relevant models and adopt- ing already existing ones. This Handbook was designed as a tool to help those This handbook offers a glimpse at several case studies in order to shed searching for references. light on how exactly international cultural relations were made possible in 2020 and 2021. Being part of a wider Alteration programme from the Cultural Apart from the project model cases studies, this handbook contains Relations Platform, the Ukrainian Institute and the Delegation of the Europe- the following sections: an Union to Ukraine, this publication focuses on projects delivered by mainly Ukrainian and European organisations. • Key lessons learned and recommendations from all Alteration The cases selected to be featured in this handbook were nominated by programme events. This section is also available in Ukrainian; CCS stakeholders in the EU and Ukraine, including European CCS networks, • A list of digital tools that could be used while designing a hybrid or digital Creative Europe desk Ukraine, EUNIC cluster members in Ukraine, the House of international collaboration project; Europe programme, the Ukrainian Cultural Foundation, etc. Additionally, nom- • A mapping of the CCS and civil society networks for those inations were put through by the Alteration programme partners, participants looking for new connections and more specific sectoral information. and speakers of the sectoral networking events taking place online in April - June 2021. In addition to the nominations process, the methods used to prepare this Rather than selecting the best international cultural relations projects to handbook included: desk research, surveys, interviews, and observation. Key les- be featured, which we now recognise would hardly be possible, this handbook sons learned and recommendations section is the summary of the Alteration instead presents those that demonstrate typical models of how exactly interna- programme events discussions. tional cultural and civil society collaboration projects could be delivered in the We hope this handbook will be a useful resource for those in international new normal. As well, the international element of the featured projects may be cultural relations and for those soon to join. of different scales and follows different models, yet the common element is that in every case study the organisations managed to build bridges for international Enjoy reading! collaboration between two or more countries. We believe these projects and certain useful tips from their delivery teams could become a source of inspira- tion and new ideas for other actors in the CCS and civil society sector. 6 7 Key Lessons The Impact Learned of COVID-19 and

Even before the COVID-19 crisis, the CCS was fragmented and Recommendations fragile, both in the EU and Ukraine. Some of the reasons for this were a high percentage of freelancers and non-standard workers in the sec- tors, including substantial numbers of non-registered workers in cer- tain countries, as well as limited access to funding.

The COVID-19 pandemic catalysed the processes within these sectors and hard hit it, yet the impact on separate sub-sectors was of different scale. The most heavily affected were those with a high venue- and audience-dependency: performing arts, cultural heritage, visual arts, etc. In some countries, including Ukraine, the CCS lacked the data to estimate the full scale of the pandemic’s impact within these sectors, partially as it had to do with these numerous aforementioned non-registered actors.

Civil society was also strongly affected by the pandemic. The level of populism in all countries was raised, with socially unprotected and marginalised groups becoming even more vulnerable, alongside an im- balance between freedom and security, which were just several of the major challenges the pandemic made even more pointed within society. The Alteration programme took place in April-July 2021 and con- sisted of five sectoral online events in music, literature festivals, visual As a direct result of COVID-19 and its disruption of operational arts, performing arts and civil society, bringing together professionals and financial models numerous organisations scaled down their activ- from Ukraine, the EU and beyond. Additionally, the programme in- ities or were even forced to halt operations altogether. cluded included two cross-sectoral conferences on how international cultural relations should adapt to the new normal. Overall, over 250 International cultural relations were also immediately affected cultural and creative sector (CCS) and civil society professionals from from the very onset of COVID-19. The usual methods by which organi- the EU and Ukraine were engaged into the programme. Herewith, we sations have collaborated were typically offline joint projects and pro- are presenting the key lessons learned and recommendations we noted fessional mobility. Travelling restrictions and social distancing made and recorded during the presentations and discussions. both much more difficult to achieve, if at all.

8 9 Observing audiences and their behaviour while interacting with a cultural project has become much more significantly important for organisations seek- ing to employ digital ways of interaction. In particular, suitable dates and the timing of events play decisive roles in the success of a project.

The Participants in the Alteration programme emphasized that a digital for- mat should not be treated solely as a means to transmit offline events to online audiences. It should be regarded as an instrument to deliver content to audi- ences in the structure of a programme or project. New Digital With the increasing number of digital projects, even though they have reached new and broader audiences, it has become even clearer that the digital space is not an inclusive space at all. In fact, some people do not even have access to digital tools or an internet connection, while others do not possess the digital literacy to engage with content. and Hybrid Models Another aspect to bear in mind in relation to hosting events online are the various age groups present within society and the possibility of connection limitations, of which elderly people and children should be taken into account in particular. Elderly people are less familiar with digital tools than other age Organisations ventured to experiment with new ways to reach out to au- groups, and thus are more likely not to engage with digital CCS projects. As well, diences and collaborate at the national level and across countries. In line with parents have voiced a great deal of concern about the number of hours children this, there were two processes occurring at the same time: the launch of new have to spend in front of screens, especially in times of schooling taking place at projects, mostly online-based, and the transformation and adaptation of the home, over the internet. One of the ways to tackle this challenge was the coop- already existing ones, also mainly accomplished via digital means. eration of CCS organisations with broadcasters to develop special TV content for these age groups. Digital project models in the CCS started to emerge and were discussed even before the COVID-19 pandemic, in particular in light of the impact that Another aspect is the accessibility of digital projects for people with dis- human activities, including travelling for collaborations, have had within the abilities. This is because of the content produced online does not take into ac- ecological boundaries of the planet. count people with hearing and visual impairments. This is an area of further exploration, especially how to make new cultural products more inclusive and During the first months of the pandemic, organisations and projects were fully accessible. experimenting a great deal with digital outlets and platforms, including stream- ing over social media, and other tools that allowed for spontaneous interactions The Alteration programme’s sectoral networking events have demonstrat- with audiences. With time, it became clear that potential audiences were being ed that even though a number of organisations have managed to establish oversaturated and, thus, becoming more selective and demanding towards the their projects online to a certain extent, the majority of CCS and civil society quality of content and productions. In the new normal, digital cultural projects, representatives were looking forward to the resumption of offline activities, es- including those resulting from international collaborations, are competing for pecially when engaging with an audience. At the same time, digital tools have audiences not only with each other, but with other entertainment platforms proven their efficiency and efficacy during the last year and a half, and there like Netflix. is no way one can outright refuse any digital adaption, especially where ever it makes perfect sense to apply it. A number of digital CCS projects are free of charge—there is a feeling among organisations that free content may lead audiences to undervalue their Pandemic compelled many cultural and civil society organisations to initi- offer. Therefore, switching to a pay what you can scheme for an online event ate, or at least start looking in the direction of, closer collaborations with IT and could be a solution, given that it alters the audience’s perception. Digital sub- to integrate digital solutions experts in their teams as advisors or in freelance scriptions are another possible instrument to consider. roles. Irreversibly, hybrid project models should become more and more visible.

Online-based projects, especially those focused on wide audiences, have Hybrid project models have been significantly less present in the local and started to explore the notion of meaningful engagement—for how long does the international cultural relations scenes compared to digital, but that is only the audience need to stay connected and how tuned in should it be in order to be case for now. We tend to observe that hybrid project models that combining considered engaged enough in a project? It has been clear that high quality cul- online and offline aspects, take more time and experience to develop. Usually, tural content has the capacity to capture audiences following the event itself, they are tailored solutions reflecting the specifics of their delivery organisations, and also subsequent views over different platforms. their audiences, and partners. Hybrid models are harder to put in place, are less

10 11 With the increasing number of digital projects it has become Key themes

even clearer that the digital During 2020, the mental health and well-being of people has become an important topic in projects and within CCS organisations themselves, given that a great deal of people have been faced with an overload of information, stress, space is not an inclusive uncertainty, and burnout. In line with this, many people mentioned that they had a feeling that this matter would continue to grow in relevance further.

Another major topic raised numerous times at the Alteration programme’s space at all events was ecology and sustainability. CCS and civic projects are a perfect me- dium to raise these questions with audiences and society overall. Important is also the ecologically mindful approach of CCS and civic organisations them- described compared to fully online ones, and they are exactly the area wherein selves in all aspects of their work. However, in the new normal, it would not a lot of innovation are expected soon. be always justified to substitute travel for a project with 10 Zoom meetings; it would be better to have a mindful and strategic outlook on every arranged trip. CCS and civil society organisations should adopt the attitude of start-ups in regards to digital and hybrid models—experimentation and trial and error The notion of community gained vital focus during the times of COVID-19, should become the key approaches. as both individuals and organisations across the world recognised the high im- portance of deep, mutual connections between people that are rooted in any The participants of the Alteration programme also stressed that there was of these following factors: their joint territory, social status or consequences, a need for cultural actors to exchange good practices and experience on new professional interests, joint social causes, hobbies, etc. Communities help to project models such as the digital, and especially hybrid models. Knowledge create meaningful connections between people where they are able to provide sharing fosters trust and creates space for possible collaborations in still new support and resources to each other, and where they feel a sense of belonging areas of tools and models. and share similar values with others. CCS and civil society organisations real- ised their critical role in community building, both on- and offline, equally while The digital skills of teams and the capacity of organisations to roll out engaging with professionals and a wide audience. The community building role new models is a big question. In many cases, the number of people in teams and projects will gain further importance for CCS and civil society organisations remained the same, if not decreased, while at the same time integrating digital in the new normal. elements into projects or developing fully new digital models for projects takes time and resources to accomplish. During the pandemic we witnessed numerous examples of outstanding cross-sectoral collaborations within the CCS and civil society—for example, us- While digital tools may seem easy to apply, in reality delivering high quali- ing the arts in medical institutions and education, or collaborations between ty digital projects or events requires equal amounts of time and team capacity, teachers and cultural heritage professionals. Such partnerships need to further if not more. Oftentimes, high quality digital projects cost more to develop and grow in type and scale, as they help to expand audiences and promote social deliver than those taking place offline. As such, digital projects need to be prop- cohesion. erly planned well in advance and properly budgeted.

Another factor is the time spent on- and offline. A person cannot engage with online content effectively for a long period of time, so there is a need for regular breaks for physical activity and also for relaxation and restoring atten- During the pandemic we witnessed tion. Therefore, the duration of events in online and offline would differ. Many times, the Alteration programme’s participants mentioned Zoom fatigue on their teams, among partners and audiences. numerous examples of outstand- ing cross-sectoral collaborations within the CCS and civil society 12 What’s next? Recommendations After most organisations put their physical, venue work on hold for some time, little by little the resumption of activities has begun to take place in cer- tain countries. Nevertheless, the scale of this return to offline activities heavily depends on the vaccination process, yet we must admit that the habits and preferences of audiences have changed during these pandemic times. Yet, one for Stakeholders must ask, to which extent? Only time will tell if audiences will be ready to return to a pre-COVID-19 state of affairs when it comes to physical venues.

Furthermore, hybrid cultural and civil society projects will be more visible and described. We expect that such project models will become spaces for inno- vation and collaboration between actors.

After the COVID-19 pandemic started, at different moments in time na- tional governments and other actors (such as international organisations or pri- vate initiatives, for instance) launched their pandemic-response support mech- anisms. Most of the time, those took the form of recovery grants, yet, like the next stage, it is recommended to develop additional support mechanisms that would be aimed to stimulate the level of innovation present in the sector and make it more prepared for future collaborations, including international ones, and for developing new project models.

Both the digital and hybrid models for projects will most likely to remain with us in the new normal. Therefore, it is recommended that initiatives on im- proving the accessibility and inclusivity of digital projects be developed. Another aspect is the digital transformation of organisations and upskilling of teams on digital matters. Support for all of these aspects would help to harmonise the digital ecosystem of CCS projects.

Leadership for organisations and teams that undergo transformations and adapt to a new normal has become as important as ever. Tailor-made pro- grammes for leaders of organisations would help the sector withstand the crisis Only time will tell if while fostering resilient teams and collaborations. CCS organisations are willing to further explore more systemic methods for (and their role in) community development, audience development, main- audiences will be ready to streaming inclusion, improving the wellbeing of people and promoting ecologi- cal mindfulness. Support and programmes in these areas to increase the capac- ity of actors and promote experience sharing were regarded as both important return to a pre-COVID-19 and necessary.

Overall, peer-to-peer learning and exchanges regarding new project mod- state of affairs when it els, experiences with the digital transformation, and adaptation strategies for the new normal were mentioned by the Alteration participants as vital mecha- nisms of the post-pandemic recovery process. These could take on the form of comes to physical venues platforms or programmes. 14 15 Як прямий наслідок COVID-19 та порушення операційних і фінансо- вих моделей, численні організації зменшили кількість активностей та навіть були змушені взагалі призупинити діяльність.

Міжнародні культурні відносини були також уражені від початку пан- Основні висновки демії COVID-19. Звичні формати колаборацій між організаціями включали спільні офлайн проєкти та професійну мобільність. Обмеження на поїздки та фізична дистанція значно ускладнили реалізацію обох —якщо не зава- та рекомендації дили повністю.

Програма «Alteration» відбувалася з квітня до липня 2021 року та скла- далася із п’яти онлайн подій у секторах музики, літературних фестивалів, візуального та перформативних мистецтв і громадянського суспільства, покликаних об’єднати фахівців з України, Європейського Союзу та інших країн. Окрім того, передбачала дві онлайн кроссекторальні конференції на тему, як міжнародні культурні відносини повинні адаптуватися до «нової нормальності». Загалом понад 250 представників культурного та креатив- Нові цифрові ного сектору (ККС), а також громадянського суспільства з ЄС та України були залучені до програми.

У цьому посібнику ми представляємо ключові висновки та рекоменда- ції, які ми занотували під час презентацій і дискусій. та гібридні моделі Організації ККС наважилися експериментувати з новими способами охоплення аудиторії та співпраці на національному рівні та між країнами. У зв’язку з цим відбувалося два паралельні процеси: запуск нових – переваж- но онлайн–проєктів і трансформація та адаптація вже наявних колабора- цій за допомогою цифрових інструментів.

Вплив COVID-19 Моделі цифрових проєктів у ККС почали з’являтися та обговорюва- Навіть до початку кризи COVID-19 культурний і креативний сектор як в тися ще до пандемії COVID-19, особливо на тлі впливу діяльності людини, Україні, так і у країнах ЄС був розрізненим та крихким. Такий стан спричи- зокрема робочих подорожей, на екологічний стан планети. нили, зокрема, високий відсоток залучених у секторі фрилансерів і нетипо- вих працівників, включаючи значну частку незареєстрованих працівників у Протягом перших місяців пандемії організації та проєкти багато деяких країнах, та обмежений доступ до фінансування. експериментували з цифровими ресурсами та платформами, включаючи трансляції у соціальних мережах, та іншими інструментами, які уможлив- Пандемія COVID-19 каталізувала наявні процеси у секторі та значно лювали спонтанні взаємодії з аудиторією. З плином часу стало зрозуміло, його послабила, хоча вплив на окремі підсектори був різним. Найсильнішо- що потенційна аудиторія перенасичувалася і ставала більш перебірливою го ураження зазнали ті із них, що найбільше залежать від подій у закритих та вимогливою щодо якості контенту та виробництва. У час «нової нор- просторах і відвідувачів: перформативні мистецтва, культурна спадщина, мальності» цифрові культурні проєкти, включаючи ті, що стали результатом візуальне мистецтво тощо. У деяких країнах, включаючи Україну, культур- міжнародної співпраці, конкурують за аудиторії не лише один з одним, але ному та креативному сектору бракувало даних для того, щоб визначити також з іншими розважальними платформами такими, як Netflix. реальний масштаб впливу пандемії, частково через присутність значної кількості раніше згаданих незареєстрованих працівників. Ряд цифрових проєктів у культурному та креативному секторі не пе- редбачають платні. Представники деяких організацій переймаються, що Громадянське суспільство зазнало значного впливу пандемії. У всіх безплатний контент може знецінити їхню роботу для аудиторії. Перехід на країнах зріс рівень популізму, що призвело до більшої вразливості соціаль- модель «плати, скільки можеш» міг би стати рішенням для онлайн подій змі- но незахищених і маргіналізованих верств населення, також порушився ба- нити ставлення аудиторії. Цифрові підписки – ще один можливий інстру- ланс між свободою і безпекою — це лише декілька з основних викликів, які мент вартий уваги. пандемія ще більше загострила у суспільстві. Цифрові проєкти, зокрема ті, що спрямовані на широку аудиторію, почали досліджувати поняття змістовного залучення – як довго аудиторія 16 повинна залишатися на зв’язку та наскільки активною вона мусить бути для 17 того, щоб вважати її залученою у проєкт? Стало зрозуміло, що високоякіс- адаптації, особливо коли її застосування доцільне. ний мистецький контент здатний приваблювати увагу аудиторії не лише у момент онлайн події, але й генерувати подальші перегляди записів, розмі- Пандемія змусила багато інституцій культури та громадянського су- щених на різних платформах. спільства розпочати або принаймні поглянути у бік тіснішої співпраці з ін- формаційними технологіями та долучити фахівців із цифровою експерти- Спостереження за аудиторією та її поведінкою під час взаємодії з куль- зою як консультантів або позаштатних працівників до своїх команд. Годі це турним проєктом набуло більшого значення для організацій, зацікавлених обернути назад — гібридні проєктні моделі ставатимуть все видимішими. у застосовуванні цифрових способів залучення. Зокрема для успіху проєкту вирішальну роль відіграє зручний розклад проведення події. Гібридні проєкти значно менш присутні у локальних і міжнародних культурних відносинах у порівнянні з цифровими, однак це лише поточна Учасники програми «Alteration» наголосили, що цифровий формат не ситуація. Ми бачимо, що створення гібридних проєктних моделей, які поєд- повинен розглядатися виключно як засіб донесення живих подій до онлайн нують онлайн та живі компоненти, потребують більше часу та досвіду. За- аудиторії. На нього слід дивитися як на інструмент, що допомагає аудиторі- звичай це індивідуальні рішення, які відображають особливості організато- ям сприйняти контент у структурі програми чи проєкту. рів проєктів, їхніх аудиторій і партнерів. Гібридні моделі важче застосувати, Попри зростання кількості цифрових проєктів, що досягають усе біль- вони менше описані у порівнянні з онлайн проєктами, однак вони точно ших і ширших аудиторій, стало ще ясніше, що цифровий простір зовсім не формують простір для виникнення багатьох інновацій у найближчому май- тотожний інклюзивному простору. Насправді частина людей навіть не має бутньому. доступу до цифрових інструментів або інтернету у той самий час, як інші не володіють навичками цифрової грамотності, необхідних для взаємодії з Організації ККС і громадянського суспільства повинні перейняти під- контентом. хід стартапів до втілення цифрових і гібридних моделей: експерименти, ви- пробовування та усунення помилок повинні стати їхніми ключовими прин- Інший аспект, на який слід зважати під час проведення онлайн по- ципами. дій, — це присутність різних вікових груп у суспільстві та потенційно об- межений зв’язок; зокрема слід враховувати старших людей і дітей. Старші Учасники програми «Alteration» також наголосили на тому, що куль- люди, як правило, менш обізнані з цифровими інструментами, ніж інші вікові турні актори мають потребу в обміні успішними практиками та досвідом групи, тому менш схильні брати участь у цифрових проєктах ККС. Крім того, у сфері створення нових проєктних моделей, цифрових та особливо – гі- батьки висловлюють серйозну занепокоєність через кількість годин, які діти бридних моделей. Обмін знаннями посилює довіру та створює простір для змушені проводити перед екранами, особливо під час домашнього навчан- потенційних партнерств у ще нових областях інструментів та моделей. ня онлайн. Одним зі шляхів розв’язання цієї проблеми стала кооперація між організаціями ККС та телерадіокомпаніями, які разом розробляли спеці- Великим питанням залишаються цифрові навички команд і спромож- альний телеконтент для цих вікових груп. ність організацій розробляти нові моделі. У багатьох випадках команди не розширюються, навіть навпаки — зменшуються у той час, коли інтегруван- Наступний аспект — це доступність цифрових проєктів для людей з ін- ня цифрових компонентів у проєкти або створення цілком нових цифрових валідністю. Контент, створений онлайн, часто не враховує потреби людей моделей потребують часу та ресурсів. із порушеннями слуху та зору. Цю тему слід далі досліджувати, зокрема в ній — питання, як зробити нові культурні продукти більш інклюзивними та Хоч може здаватися, що цифрові інструменти легко застосовувати, на повністю доступними. ділі реалізація високоякісних цифрових проєктів або заходів вимагає не менше часу та ресурсів команди, якщо не більше. Часто розробка та втілен- Секторальні події мережуван- ня дійсно якісних цифрових проєктів коштують більше, ніж живі події. Таким ня, які відбулися в межах програми Попри зростання кількості чином цифрові проєкти потрібно планувати заздалегідь, забезпечуючи на- «Alteration», продемонстрували, що лежний бюджет. попри те, що ряду організацій вда- лося вибудувати до певної міри свої цифрових проєктів, стало Ще один фактор — час, проведений онлайн та поза ним. Особа не проєкти онлайн, більшість пред- може ефективно взаємодіяти з онлайн контентом протягом тривалого часу, ставників ККС і громадянського тож необхідно передбачити регулярні перерви на фізичну активність, пе- суспільства чекали на відновлення репочинок та відновлення уваги. Отже, тривалість подій онлайн та наживо живих заходів, зокрема якщо йшла ще ясніше, що цифровий відрізнятиметься. Неодноразово учасники програми «Alteration» посила- мова про взаємодію з аудиторією. лися на втому від Zoom серед колег, партнерів та аудиторій. Водночас цифрові інструменти до- вели свою практичність та ефектив- простір зовсім не тотожний ність протягом останніх вісімнад- цяти місяців, і навряд хтось може повністю відмовитися від цифрової інклюзивному простору 18 19 питати, наскільки вони змінилися? Якщо говорити про фізичні майданчики, то лише з часом стане зрозуміло, чи аудиторія готова повернутися до стану речей, що передували COVID-19.

Ключові теми Крім того, гібридні проєкти у сфері культури та громадянського су- Протягом 2020 року психологічне здоров’я та добробут людей став спільства ставатимуть дедалі більше видимими та описаними. Ми очікує- важливою темою для проєктів та всередині організацій ККС, зважаючи на мо, що такі проєктні моделі стануть простором для творення інновацій та те, що велика кількість людей зіштовхнулася з інформаційним перенаван- співпраці між акторами. таженням, стресом, непевністю та вигоранням. У зв’язку з цим багато людей відзначили, що, за їхніми відчуттями, ця тема ставатиме дедалі релевантні- шою.

Інша велика тема, якої неодноразово торкалися під час подій про- грами «Alteration», – екологія та сталість. Проєкти ККС та громадянського Рекомендації суспільства – чудовий посередник для того, щоб актуалізувати ці питання для аудиторій та суспільства у цілому. Ще один ключовий фактор, який потрібно взяти до уваги, – екологічно свідомий підхід організацій ККС та громадянського суспільства до всіх аспектів їхньої роботи. В епоху «нової нормальності» однак не завжди виправдано заміняти робочу поїздку на де- для зацікавлених сторін сять зустрічей у Zoom; доцільніше мати усвідомлений і стратегічний підхід до планування поїздок. Після початку пандемії COVID-19, у різний час національні уряди та інші актори (такі, як міжнародні організації або приватні ініціативи) ініці- Поняття спільноти опинилося у центрі уваги під час пандемії COVID-19, ювали свої програми підтримки у відповідь на наслідки пандемії. Здебіль- оскільки як окремі люди, так і організації у всьому світі визнали важливість шого, вони передбачали гранти для відновлення організацій, проте для на- глибоких взаємних зв’язків між людьми, для яких спільною є одна з наступ- ступного етапу рекомендується розробити додаткові механізми підтримки, них ознак: спільна територія, соціальний статус або спільні cоціальні об- які мали б на меті стимулювати рівень інновацій у секторах і підготувати їх ставини, професійні інтереси, участь у соціальних кампаніях, хобі тощо. до майбутніх колаборацій, включно з міжнародними, та до розробки нових Спільноти допомагають розбудувати значущі зв’язки між людьми, у яких проєктних моделей. вони можуть надавати одне одному підтримку або ресурси та де вони від- чувають приналежність і поділяють схожі цінності з іншими. Організації ККС Дуже ймовірно, що і цифрові, і гібридні моделі проєктів залишаться з і громадянського суспільства усвідомили їхню вирішальну роль у розбудові нами у «новій нормальності». Тому рекомендуються ініціативи, що будуть спільнот як онлайн, так і в реальному житті, рівноцінно залучаючи фахівців покликані покращити доступність та інклюзивність онлайн проєктів. Інший та широку аудиторію. Тематичні проєкти та роль розбудови спільнот на- аспект, на який слід звернути увагу, – це цифрова трансформація організа- буватимуть ще більшого значення для організацій ККС і громадянського цій і підвищення цифрових компетенцій команд. Підтримка усіх цих аспек- суспільства у «новій нормальності». тів допоможе впорядкувати цифрову екосистему проєктів ККС. Протягом пандемії ми стали свідками численних прикладів неймо- Як ніколи важливим стало лідерство для організацій і команд, що за- вірної кроссекторальної співпраці у ККС і громадянському суспільстві: знають змін та адаптуються до «нової нормальності». Спеціальні програми приміром, використання мистецтва у медичних установах й освіті або з урахуванням індивідуальних потреб керівників і керівниць організацій до- колаборації між викладачами та фахівцями у сфері культурної спадщини. помогли б сектору протистояти кризі та водночас сприяти розвитку стійких Такі партнерства потребують подальшого росту за типом та масштабом, команд і партнерств. оскільки вони допомагають розширити аудиторії та сприяють соціальній Організації ККС готові надалі досліджувати свою роль і більш системні згуртованості. методи для розбудови спільнот, розвитку аудиторій, впровадження інклю- зивного підходу, покращення добробуту людей та промотування екологіч- ної свідомості. Підтримка та програми у цих cферах, спрямовані на збіль- шення спроможності акторів і на сприяння обміну досвідом, були зазначені Що далі? як важливі та необхідні. У цілому учасники програми «Alteration» визначили такі важливі ме- ханізми для процесу відновлення після пандемії: навчання «від людини до Після того, як більшість організацій на певний час призупинили свою людини» та обміни у питаннях нових проєктних моделей, досвіду цифрової фізичну роботу на майданчиках, у деяких країнах діяльність почала пово- трансформації та стратегій адаптації до «нової нормальності». Вони мо- лі відновлюватися. Заразом масштаби повернення до живих подій значно жуть бути втілені у формі платформ або програм. залежать від процесу щеплення, хоча ми також мусимо визнати, що звички та уподобання аудиторії змінилися за час пандемії. І все-таки потрібно за- 21 Engaging Audiences in the New Normal

Project Models 22 23 Project model: www.reconnectfestival.com online performance festival

FOUNDED IN MARCH 2020 AS AN IMMEDIATE RESPONSE TO COVID-19 RESTRICTIONS, THE RE-CONNECT ONLINE PERFORMANCE FESTIVAL IS A COLLECTIVE PERFORMANCE ARTS PROJECT THAT HAS MADE USE OF DIGITAL MEDIA TECHNOLOGIES TO RECONNECT ARTISTS, Delivered by: SCHOLARS, AND AUDIENCES Re-Connect Online Performance DURING THE SOCIAL DISTANCING Festival ERA AND BEYOND. THE FESTIVAL CLOSES THAT DISTANCE BY Project Dates: PROVIDING AN INCLUSIVE March 2020 and March 2021 DIGITAL PLATFORM FOR CREATIVE Launched as a result of COVID-19 LUMINARIES TO SHARE NEW, CHALLENGING PERFORMANCE Funding: ART. THE FESTIVAL FEATURES crowdfunding and self-funding A DIVERSE REPRESENTATION OF LIVE PERFORMANCES, International partner organisations: LECTURES, DEMOS, AND PANEL Ctrl+Z Theater Group (Iran), Work DISCUSSIONS THAT FOCUS ON It Out (Switzerland), Espace Croisé AN INVENTIVE REIMAGINING OF (France), Platforma LODO (Argen- ACCESSIBLE ARTISTIC SPACES AND tina), University of Maryland (USA), COMMUNITIES. TWO EDITIONS IndieCade (USA), MYStudio (USA) OF THE FESTIVAL HAVE ALREADY Re-Connect Online Re-Connect Online Performance Festival TAKEN PLACE. 24 25 students to help market specific (and hopefully lasting) global this event was first organized in HOW IT WAS DONE events and the festival as a whole connections—during perfor- March 2020, the team did not to different international organi- mances, artists would engage expect such enthusiasm — there → The first step was to organize sations; with audiences and one another, were over 130 applications for the festival programme and de- as well as in the virtual “festival participation, with 76 confirmed cide what would be their audi- For the second edition of the backyard” space on ohyay, where events. This challenge prompted ence. As such, they began with → festival, “Borderless”, the team guests could pour themselves a quickly adaptation, collaboration, an open call using a Google Form sought to explore this theme in digital drink and get to know one and learning about and discover- through which they requested terms of both global and techno- another. ing new technologies and pro- the proposal of submissions of 15 logical representation. Alongside grams: online spreadsheets, task minutes to an hour in length that the arts organisations, Work it lists, multi-time zone calendars, would be included in the festi- Out (Switzerland), Espace Croisé AUDIENCE and other tools to keep track of val. The first edition featured 76 (France), and Platforma LODO things during an incredibly rushed events over a three-week festival (Argentina), curated, managed, → The number of simultaneous timeline; programme. Both festival editions and advised a virtual artist resi- livestream viewers ranged from were entirely free; dency programme called YET TO 30-370 people, with an average → It was important to work .COM(E). This residency featured of 50 viewers per broadcast. As efficiently, but also to collabo- → In the first festival edition, the artists from Switzerland, Argen- well, the festival currently has rate with patience and empathy. team used Instagram Live as a tina, Iran, France, Germany, and over 7,500 Instagram followers. At times a simple nod of appre- main platform, as this technology the USA, all of whom worked The Re-Connect team is happy to ciation or a simple outburst of was free and accessible in most together virtually in three distinc- see vibrant, multilingual commu- enthusiasm for an artist’s project countries. In the second iteration, tive pairings over a three-month nication from people across the can go a long way for everyone. the team allowed artists to select period to create three original globe at its events. The team worked hard to estab- their preferred platforms; as a re- performance pieces using cre- lish a sense of mutual respect sult, there was a list of platforms ative digital technologies. for their artists — even in a pro- used, including Zoom, ohyay, LESSONS LEARNED gramme of nearly 76 events, they Twitch, Mozilla Hubs, YouTube, treated each participant as an WhatsApp, Facebook, Instagram, RESULT → It was challenging for a small integral part of the community. Discord, and Fortnite. Different team of volunteer staff across members of the Re-Connect → In its two editions the Re-Connect numerous time zones to curate, Festival team were assigned as Online Performance Festival has programme, and provide techni- experts for each platform and managed to cultivate diverse cal support for all events. When assisted the artists with test runs and live performances on these different platforms;

→ In 2021, the festival established partnerships with international universities, such as the University Re-Connect Online of Maryland (USA) and the Uni- versity of Bristol (UK). The team facilitated a virtual global intern- ship programme that allowed Performance Festival 26 27 Project model: online festival to showcase emerging musicians

AT THE TIME OF THE INITIAL OUTBREAK OF THE PANDEMIC, SEVEN COMPANIES INVOLVED IN MUSIC PROMOTION FROM SEVEN CITIES ACROSS UKRAINE UNITED www.facebook.com/intercitylivefestival TO CREATE A NEW ONLINE FESTIVAL THAT WOULD SHOWCASE THEIR Delivered by: LOCAL MUSIC SCENES. IMAGINE Kontrabass Promo, Module, YOU ARE TAKING AN INTERCITY Liniya Vtechi, Shytal Records, Plai, TRAIN AND AT EACH STATION YOU Respublica Fest, Lyuk HAVE A CHANCE TO VISIT A MUSIC (all from Ukraine) VENUE WITH LOCAL BANDS ON STAGE: THIS WAS THE IDEA BEHIND Project Dates: THIS NEW PROJECT. USING ONLINE April, May, June, August 2020 STREAMING TECHNOLOGY, THE Appeared as a result of COVID-19 FESTIVAL QUICKLY ATTRACTED ATTENTION NOT ONLY IN Funding: UKRAINE, BUT OVERSEAS AS WELL. self-funding, donations, FOUR EDITIONS OF THE INTERCITY House of Europe LIVE (TWO OF WHICH WERE INTERNATIONAL) HAVE PRESENTED Countries involved: OVER 150 ARTISTS FROM 15 15 COUNTRIES WORLDWIDE. Intercity Intercity Live Festival 28 29 HOW IT WAS DONE RESULT LESSONS LEARNED

→ The core project team was → With concerts being cancelled in → Even though online streaming composed of ten people: local 2020, the local musicians and technology may seem like an easy music promoters from seven cities artists from 15 countries featured tool, in reality producing an online in Ukraine, some of which had at the festival had the chance concert takes more time and ef- never met before in real life, so to engage with new audiences fort than is the case offline; videoconferencing was a way to worldwide, audiences who other- meet their team members for the wise would most likely have never → While streaming music acts online, first time. Soon, the core team discovered their work. At times, it is important to remember that started to collaborate with other the number of live views was ten audiences are also attracted local and international partners. times higher than the number of by the overall image and video First, international partners joined people attending the live shows material, not just sound. As such, as a result of the pre-existing con- of a band. In fact, “wow, I discov- musical content online should be nections and networks of the core ered five new acts today, updat- interactive and engaging; team members; ing my playlist now” was a regular comment being shared via social → At numerous times, the festival → Each organiser was responsible media channels. became a chance for musicians for setting up a stream in/for to have their first high-quality their city or town; video content made available on AUDIENCE YouTube; → The festival’s broadcast was hosted by the YouTube channel → The four editions of the festival → Having a team of organisers of a well-known in Ukraine show resulted in 64 hours of live broad- spread across seven cities with Toronto TV; casts, with the footage of the a horizontal structure required festival that had been posted to discipline and a commitment to → While watching the live streams, YouTube having received more the use of online tools for task audiences could support the than 200,000 views so far from management. festival with their donations. This 28 countries worldwide. was a way to cover technical expenses; WHAT’S NEXT → Soon, aside from the bands, the organisers decided to give room → The Intercity Live team plans to on stage to digital theatre, au- deliver online festivals regularly, diovisual performances, painters even after pandemic restric- and muralists as well. tions loosen and then ultimately disappear. At the same time, the curation of the online festival gave people a chance to meet and start collaborating already on new offline projects to come

in 2021. Intercity Live Festival 30 31 Project model: online film festival

www.docudays.ua www.docuspace.org

Delivered by: Docudays NGO THE DOCUDAYS UA (Ukraine) INTERNATIONAL HUMAN RIGHTS DOCUMENTARY FILM FESTIVAL IS A Project Dates: REGULAR EVENT, USUALLY TAKING April 2020, PLACE IN MARCH, WITH A PRE- March 2021 COVID-19 ANNUAL ATTENDANCE Transformed in 2020 OF 25,000 IN KYIV AND 100,000 as a result of COVID-19 IN OTHER REGIONS IN UKRAINE VIA A NETWORK OF FILM CLUBS. IT Funding: IS ONE OF THE LARGEST HUMAN support from the festival partners RIGHTS FILM FESTIVALS IN EASTERN (Embassy of Sweden, the European EUROPE, AND IS A MEMBER OF THE Commission, US Embassy, Ukrainian IHRFN AND DAE. IN 2020, AT THE State Film Agency, etc.) combined VERY ONSET OF THE COVID-19 with ticket and merchandise sales PANDEMIC, THE DOCUDAYS UA TEAM FACED THE CHALLENGE OF International partner organisations: HAVING TO RAPIDLY TRANSFORM every year, the Docudays UA has, THIS FILM FESTIVAL INTO AN on average, around 60 national and ONLINE EVENT, AND WOULD international partners, representing HAVE TO DO SO IN JUST 30 DAYS. Sweden, the USA, Canada, the UK, IN MARCH 2021, THE SECOND France, Germany, Poland, etc. ONLINE EDITION TOOK PLACE AT International International Human Rights Documentary Film Festival Docudays UA WWW.DOCUSPACE.ORG 32 33 HOW IT WAS DONE up a studio in the festival office → In 2021, Docudays UA moved to dustry accredited participants, a and broadcast online streams. paymode. After creating a mini- DOCU/CAMP workshop on film At the same time, the film pro- mum viable product (MVP) and → In 2020, quarantine was officially production for children, etc.). gramme team had to renegotiate bug testing in 2020, this time the announced in Ukraine just a week film rights with producers and festival team aimed to monetize before the start of the planned The online model was further agents, create new online formats the project and as such launch festival. Everything, including film adopted by other projects of the instead of the already planned paid access to the festival films copies, had been prepared. The Docudays NGO. For example, in offline discussions and talks, and via the docuspace.org cinema festival programme was almost June 2020, they introduced the reschedule all the events once platform. Moving to paymode, sent for printing, so the team had online film clubs model via Zoom again. The human rights team the team introduced a system of to cancel it at the last minute. Ev- for those DOCU/CLUBs across brainstormed on how to rear- discounts, offering festival passes erything that happened next was Ukraine which could not hold range their offline public discus- to students and free passes to occurred in order to rescue the offline screenings. sions to follow an online format; healthcare professionals (which programme, money and resourc- was also intended to demon- es that had already been invest- An online format allowed for the After the conclusion of the festival strate respect for their hard ed into the offline festival; → festival to broaden its approach in 2020, the team decided to work). to inclusivity—it was the first film distribute films on docuspace.org → There were only 30 days to figure festival in Ukraine with a compre- throughout the following year. In both 2020 and 2021, festival out how to transform the offline → hensive inclusive film programme, From August to December 2020, events and online cinema were festival to an online one. As such, offering open captions for five documentaries were released adapted for the English-speak- the main challenge facing the hearing impaired people, audio on a paid basis, while fifteen free ing audience. Over 200 foreign organisers was to forget, for a description for visually impaired online talks and discussions were participants and visitors attended while, about perfectionism—the people and sign language inter- also organised; the festival events. team was aware they would not pretation of live events. manage to prepare everything After the conclusion of the 2020 The team cooperated with an in time, so they decided that all → → edition, the festival team contin- IT company specializing in ac- the festival events in 2020 would AUDIENCE ued to work on the docuspace. cessibility to create a welcoming be free of charge and that they org platform, improving its user and inclusive environment on the → In 2020, the Docudays UA festival would be constantly communi- interface and inclusive access docuspace.org platform. reached 55,844 film views and cating to their audience what approach to be well-prepared for 217,122 views of online events, was going on and what difficulties the next festival edition in 2021; which cumulatively amounted they were facing; RESULT to 272,966 views of the festival → Initially, for the 2021 edition, the events and films. This is an abso- → The first online edition of the plan was to develop a hybrid → The Docudays UA, in fact, lute record for the Docudays UA festival was a pure prototype. model that encompassed a became a genuine online media festival. While preparing it, the team combination of offline and online festival with the live broadcast- created a concept board gather- events. Less than a week before ing of 45 events featuring fes- As well, audience coverage of the ing all the ideas on how to adapt the festival would start, the news tival participants (film authors, Docudays UA in 2021 was the fol- different parts of the festival to of another lockdown in Ukraine experts, human rights activists lowing: 78,930 reached by festival an online format. The IT team was announced, meaning the and many others), a 24/7 vid- events and 19,749 film views, for was adjusting the online cinema team again had to cancel the eo-on-demand platform, and a a total of 98,679 visits to festival Docuspace, while the technical offline part of the festival and platform for online side events events. team was researching how to set adapt it to an online only format; (DOCU/PRO workshops for in- 34 35 write to a director, telling him or LESSONS LEARNED her how the screening went or was received; → There is this idea that any work-in-progress should stay If you have a large event where behind the scenes, and people → people register or buy tickets, should only see a great final technical issues are inevitable— result. The Docudays UA team the number of inquiries will grow thought this was an outdated rapidly from day to day. That is concept, believing it is very im- why it is important to appoint portant to involve the audience team members who would keep throughout the process, to ex- in touch with your audience. In plain the principles and mecha- the case of Docudays UA, these nisms underlying a festival work, were experienced volunteers who with the result being that the worked in shifts during the festival audience would then become days. the best advocates for a project. Honest and clear communication was what actually saved the proj- WHAT’S NEXT ect in any situation; → The main focus for the Docudays → A team’s digital skills are key when UA team now is to find a perfect transforming a delivery model: balance of the hybrid format the Docudays UA team organ- wherein you allow your audience ised a series of training webinars to both experience a live pres- with over 15 individual consulta- ence and face-to-face contact tions on digital technologies and in a cinema hall, while at the techniques to help local festival same time offering access online partners organize online film club to those people who cannot be sessions; at this cinema hall at that very moment. Another important de- → While researching, the festival velopmental path is constructing team found out that the biggest a sustainable financial model for problem for participants and the online cinema Docuspace, guests when it comes to online which can potentially function as events is a lack of feedback. For a creative and social enterprise. example, for film directors it was extremely important to know how the audience received their films. Communication is key and there should be tools integrated into the online system to ensure that it happens. Another way is to simply International International Human Rights Documentary Film Festival Docudays UA 36 37 Project model: www.austriaukraine.com/en/culturalcafe HOW IT WAS DONE REACH → There were several strands within → At the moment of this handbook’s digital platform the KulturCafé “menu” to allow publication, the most popular multi-dimensional cultural rela- KulturCafé broadcast (featuring facilitating tions; apart from arts and culture, the Vienna Boys Choir) has been it also included KulturCafé Gour- watched by over 10,000 people. met, allowing for the exploration bilateral cultural of Austrian cuisine, KulturPortrait, a series of videos about famous LESSONS LEARNED relations Austrian women, and KulturKol- leg, educational programmes → Due to a vast offer of online- Delivered by: about Austrian culture; initiatives, audiences become Austrian Cultural Forum Kyiv, saturated and therefore are Austrian Cooperation Office Lviv → Major formats within more demanding. It is important (Ukraine) KulturCafé were online interviews, to continuously innovate with online-readings, concerts, ex- models and stay open to creative Project Dates: cursions and streams from both ideas regarding how to adapt May 2020–July 2021 Austria and Ukraine; your project further. Even if you Launched as a result of COVID-19 think you have found a great → The team wished to ensure the model, be ready to adapt it. Funding: high-quality of its online content, Austrian Cultural Forum so for major streams they hired professionally-equipped produc- WHAT’S NEXT International partner organisations: tion studios. → KulturCafé generated content multiple partners from Austria that would be relevant beyond and Ukraine.IndieCade (USA), RESULT the pandemic era, with the plat- MYStudio (USA) form itself being a sustainable → KulturCafé managed model that the project team to concretely deliver online cultur- plans to develop further. WHEN COVID-19 STARTED, THE al initiatives for more than a year. AUSTRIAN CULTURAL FORUM IN With more than 40 broadcasts, KYIV STILL AIMED TO SUSTAIN the project team experimented CULTURAL RELATIONS WITH with various formats, and man- UKRAINE FURTHER, DESPITE aging to keep the Austrian and TRAVEL LIMITATIONS. THIS IS HOW Ukrainian cultural scenes per- KULTURCAFÉ WAS LAUNCHED: sistently connected in a challeng- A DIGITAL PLATFORM HOSTING ing year due to COVID-19. REPRESENTATIVES OF THE ARTS AND THE WIDER SCENE FROM UKRAINE, AUSTRIA AND OTHER EUROPEAN COUNTRIES. KulturCafé 38 39 Project model: hybrid visual arts exhibition artarsenal.in.ua/en/vystavka/evere-day-art-solidarity-resistance

BEING A GESTURE OF SOLIDARITY WITH THE REVOLUTIONARY Delivered by: PROTESTS IN BELARUS, “EVERY Mystetskyi Arsenal National Art and DAY. ART. SOLIDARITY. RESISTANCE” Culture Museum Complex (Ukraine) EXHIBITION IN KYIV, OPENED IN MARCH 2021, PRESENTED A CROSS- Project Dates: SECTION OF CONTEMPORARY March–June 2021 ART THAT CONSTRUCTS AND Launched during COVID-19 MANIFESTS PULSATING FORMS OF INTERACTION, RESISTANCE AND Funding: COLLECTIVENESS. THE EXHIBITION International Renaissance WAS CURATED BY A TEAM OF Foundation and other partners BELARUSIAN CURATORS REMOTELY AND LAUNCHED AMID THE International partner organisations: COVID-19 PANDEMIC. LOCKDOWN International Renaissance RESTRICTIONS FORCED THE TEAM Foundation (Ukraine), TO TRANSFORM THEIR DELIVERY Konrad-Adenauer-Stiftung Ukraine MODEL, WHILE THE DIGITAL (Germany), Heinrich Boell SPACE ALLOWED FOR THIS NEW Foundation Kyiv (Germany), DIMENSION TO BE ADDED TO THE Belarusian Culture Solidarity PROJECT, MAKING IT A HYBRID Foundation (Belarus) and others MODEL. Art. Every Day. Solidarity. Resistance Exhibition 40 41 hibition was ready to be opened and the works of art that they to 2,600 times. During the month HOW IT WAS DONE on 25 March 2021, but eventually created at the installation stage. it was open to visitors (May–June had to be postponed due to the 2021), the offline exhibition was → Overall, the pandemic did not lockdown. However, while oper- visited by 4,100 people significantly impact the exhibi- ating in a closed mode, the team RESULT tion’s preparation, which was produced recordings of a limited conducted remotely. However, number of representatives of the → Despite the short period of time LESSONS LEARNED the final step in its preparation— Ukrainian cultural community to to prepare the exhibition, a re- the installation of the exhibit support the Belarusian people, mote work with almost a hundred → It is important to think over the and the project’s opening—was ensuring widespread coverage in artist participants, complex logis- specific online formats you plan at risk, since Belarusian curators both the Ukrainian and foreign tics, all amidst a lockdown, never- to develop from the very begin- and artists would have to travel media; theless a large-scale international ning of the planning stage, as this in order to personally participate exhibition took place. will allow for proper budget plan- in the installation process. With The team had been planning to ning and enough time to develop thorough planning, eventually 20 → create a 3D tour of the exhibition the format; participants from different coun- since the very beginning; when REACH tries were able to gather in March another lockdown was intro- → Evaluate the ratio between 2021 to set up the exhibition; duced, for almost a month the 3D → At least 80 representatives of spontaneous live sessions and tour became the only option to the Belarusian art and intellec- high-quality, pre-recorded videos → Just five days before the experience the exhibition. When tual scene were engaged in the with curators that you offer to exhibition’s planned opening, an- the quarantine restrictions were preparation of the exhibition, your audience. other lockdown was introduced lifted, the exhibition resumed its with the exhibition becoming an in Kyiv. The team was ready to work offline; opportunity to talk about the redesign the opening format and protests in Belarus not only with WHAT’S NEXT begin with the online activities, as Also, a 3D model became Ukrainian audiences, but interna- from the very beginning of plan- → a helpful tool for curators to give tionally and with people in Belar- → The next stage of this project is ning they had been prepared for online tours of the exhibition, in- us itself. the publication of the exhibition the format to change. The online cluding in the English language; catalogue. Videos and a 3D tour opening programme included Exhibition-related video materials will be available as an online pre-recorded conversations with The project team decided to limit on different platforms gathered archive. the curators, discussions around → the number of Zoom sessions, over 26,000 views, while online the exhibition’s themes, and an opting instead for high-quality 3D tours attracted 800 viewers, online DJ set; pre-recorded videos with curators and audio guides were listened → The project was planned to be open at Mystetskyi Arsenal on 25 March 2021—Freedom Day in Belarus. The date of the opening was important since the whole Every Day. Art. Solidarity. idea behind the entire exhibition was to express significant and meaningful support to Belarus in the fight for democracy. The ex- Resistance Exhibition 42 43 Project model: www.ednetwork.eu HOW IT WAS DONE AUDIENCE AND REACH → The project model was developed → 17 online classes led by associated online arts activity campaign in close co-operation with EDN artists from 12 EDN members were members reflecting the follow- attended live by 602 people. Delivered by: ing main principles: the project European Dance Network (Spain) needs to be accessible and has to involve artists with different LESSONS LEARNED Project Dates: backgrounds; November 2020–February 2021 → The best projects result from the Launched as a result of COVID-19 → Over 17 weeks starting from bottom-up co-operation, involv- November 2020, EDN members ing different opinions; Funding: and associated artists hosted Creative Europe and led online dance classes tak- → When communicating the ing place on Zoom; campaign as a joint project of the International partners: numerous organisations involved, members of the EDN from Slovenia, → People wishing to join could follow it helps to widen audience Italy, Germany, Denmark, Luxem- a published roster of classes and bourg, the UK, the Netherlands, select classes in advance. France, and North Macedonia WHAT’S NEXT AS A RESPONSE TO THE NUMEROUS RESULT → As a result of the project, EDN is RESTRICTIONS IMPOSED DURING currently preparing a publication COVID-19 AND THE DISASTROUS → The project served as a on Dance and Wellbeing, to be IMPACT OF THE VIRUS ON PEOPLE’S stepping stone for publishing an published in summer 2021. LIVES, THE EUROPEAN DANCE available roster of online dance NETWORK (EDN), TOGETHER classes organized by or at EDN WITH ITS MEMBERS, INITIATED members. In addition, EDN start- THE #DANCEANDWELLBEING ed to collect sectoral data on the CAMPAIGN IN REACTION TO THE contribution of dance to good RESTRICTIONS ON PRACTICING, health and well-being and identi- REHEARSING AND PRESENTING fied key resources focusing on the DANCE ACROSS EUROPE. WISHING role of the arts in addressing the TO HIGHLIGHT THE IMPACT DANCE relevant UN Sustainable Goals. HAS ON THE GENERAL WELL- BEING OF PEOPLE, ESPECIALLY IN TIMES OF CRISIS, THE PROJECT TEAM DEVELOPED A CAMPAIGN TO SHARE THEIR WORK WITH A WIDER AUDIENCE FREE OF CHARGE, ONE IN WHICH NO PRIOR DANCING SKILLS WERE REQUIRED. Dance And Dance And Campaign Wellbeing 44 45 Project model: www.bilderbuchfestival.de hybrid book festival

Delivered by: KulTuS e.V. (Germany)

Project Dates: THE INTERNATIONAL PICTURE THE LOCKDOWN IN GERMANY October–November 2020 BOOK FESTIVAL WAS FOUNDED WAS ANNOUNCED RIGHT Transformed as a result of COVID-19 IN 2013 IN THE ODERLAND BEFORE THE FESTIVAL STARTED REGION OF GERMANY AND HAS IN 2020, MEANING ALL INVITED Funding: SINCE BEEN HELD ANNUALLY INTERNATIONAL ARTISTS county of Brandenburg, several IN AUTUMN AT NUMEROUS COULD NOT JOIN. ENCOUNTERS smaller private and public sponsors VENUES. THE FOCUS OF THE BETWEEN ILLUSTRATORS AND FESTIVAL IS THE PRESENTATION THEIR AUDIENCE HAD TO BE International partner organisations: OF CONTEMPORARY WORKS MOVED ONLINE, YET THE FESTIVAL Czech Literary Center (Czech OF ILLUSTRATED CHILDREN’S TEAM WAS ALSO DETERMINED TO Republic), Regional Library Gorzów AND YOUTH LITERATURE FROM CONTINUE ENGAGING WITH THE Wlkp. (Poland), Latvian CENTRAL AND EASTERN EUROPE LOCAL COMMUNITY OFFLINE. Literature Platform (Latvia), BY THEIR ILLUSTRATORS. THIS Izdatelstvo Samokat (Russia), etc. IS MOSTLY DONE THROUGH READINGS AND WORKSHOPS FOR Countries involved: CHILDREN’S AND YOUTH GROUPS, Czech Republic, Poland, Germany, BUT ALSO THROUGH OTHER EVENT Latvia, Ukraine, Georgia, Belarus, FORMATS SUCH AS LECTURES, and Russia. DISCUSSIONS AND EXHIBITIONS. International International Picture Book Festival 46 47 HOW IT WAS DONE REACH

→ The festival team introduced → The live window drawing session the live window drawing format— was attended by 50 children and an illustrator would sit inside a 35 adults, while the on demand cafe, drawing live, while at the offline exhibition hosted a total of same time his/her work was pro- 85 visitors. jected onto a screen that could be seen from the street. People outside could express their wishes LESSONS LEARNED or desire for which next image they wanted to be drawn. This → There are always creative ways to approach allowed the Interna- engage with your community, tional Picture Book Festival to even in times of restrictions. observe quarantine restrictions Most probably, you would need and still engage with the local to compromise when it comes to community; numbers/attendance, yet the importance and value of that → Also, the team set up an offline offline contact would be even exhibition which was accessible higher than in “normal” times. on demand by small groups only;

→ Meanwhile the international WHAT’S NEXT component of the festival was running online—the flagship → After the 2020 festival, the team continued to explore small-scale format of the illustrators’ slam International Picture Book Festival allowed the involvement of in- formats allowing for offline events ternational artists from various even during times of quaran- European regions. tine restrictions. In June 2021, a bus tour visiting the villages of the Oderland area was organ- RESULT ised. Two illustrators went with a special “encounter bus” to remote → Despite the cultural lockdown, areas, offering workshops and the International Picture Book readings for children and young Festival succeeded in being people from the region. present and “alive” for its audi- ence and partners. In challeng- ing times, the festival was not completely cancelled, only some portions of the programme, and managed to keep engaging with the local community in the city. 48 49 Project model: www.exhibitions.britishcouncil.org digital visual arts exhibition

MUSEUM WITHOUT WALLS IS AN CONSTRAINTS, DISABLED PEOPLE INCLUSIVE DIGITAL EXHIBITION WHO ARE PREVENTED FROM PLATFORM. IT WAS DEVELOPED TO TAKING PART IN SOCIAL LIFE DUE SHOWCASE THE BRITISH COUNCIL TO A LACK OF INFRASTRUCTURE, COLLECTION’S ARTWORK AND ALSO PEOPLE WHO LIVE IN ALONGSIDE THE WORKS OF CITIES WITH NO ARTS SCENES. Delivered by: INTERNATIONAL ARTISTS AND DEVELOPED BEFORE COVID-19, British Council in Turkey TO CREATE A PLATFORM FOR THIS PROJECT REPRESENTS A EMERGING CURATORS TO SHARE MODEL OF HOW TO WORK WITH Project Dates: THEIR WORK INTERNATIONALLY, VISUAL ARTS ONLINE AND TO happens annually since 2017 THUS EXTENDING AND POTENTIALLY SCALE TO OTHER Launched before COVID-19 EXPANDING THEIR NETWORKS SECTORS, WITH INCLUSIVITY AS AND EXPERIENCES. ITS EFFECTIVE CORNERSTONE. Funding: WHILE DEVELOPING THE PROJECT, British Council ITS TEAM AIMED TO CREATE AN OFFER FOR PEOPLE WHO DO NOT Countries involved: HAVE ACCESS TO THE ARTS DUE TO Ukraine, the UK, Turkey, Georgia SOCIAL, ECONOMIC OR PHYSICAL Museum Museum Without Walls 50 51 reflecting on a year of pandemic unique visitors from 125 countries → It is important to take time. Being HOW IT WAS DONE life; as of July 2021. The project team digital or online does not mean expects this number to have that things will happen quicker. It → The project was initially conceived The project team involved an increased by 350.000 by October will just as much time, if not more, as being international—the team → accessibility advisor who has a 2021. as devising and implementing an wanted to create an opportunity track record in delivering digital offline project. for a curator from Turkey to ex- arts projects to ensure the plat- plore the British Council Collection form was accessible for people and curate an exhibition from with disabilities. LESSONS LEARNED it. Over the years, the project WHAT’S NEXT grew into exploring diverse col- → Digital does not mean accessible— laborations with an intercultural RESULT that is a very common miscon- → Museum Without Walls for now is dialogue aspect: curators from ception. Having a digital online focused on visual arts. The proj- Ukraine, Georgia and the UK were → Each year, the Museum Without product does not mean that the ect team wants to explore meth- involved in different editions of Walls team runs a survey along- whole world will see it and/or will ods of incorporating this same the Museum Without Walls; side the exhibition to understand have access to it. While deliver- approach and digital outcome who their audience is and to ing a digital project, one needs to: for live arts such as theatre and → Even though the project’s result is gather their feedback on their dance, music, readings, etc. 100 percent digital and this digital project experience. In 2020, for a → → design inclusively: follow approach was used since the question of ‘Have you ever visited the technology, partner with beginning, the project team had an arts exhibition?’ 5 percent of accessibility professionals, en- face-to-face meetings on several the surveyed audience stated gage disabled partners; occasions. The curators would that it was their first time visiting spend time at the British Council an arts exhibition ever. → → define, understand and Collection in the UK, meet with target an audience: the au- their counterparts, sector profes- dience cannot be the whole sionals and artists. While support- REACH world; ing the professional development of curators, these meetings would → The project offers an inclusive → → plan inclusive marketing: also foster dialogue within the experience, meaning one can use clear messaging, address project team and would help to enjoy the exhibition anytime, the audience directly, use speed up the creativity and im- anywhere. That also means that proper tools. plementation processes; there are no physical boundaries: the organisers provide an accessi- → Digital production is an ongoing → Each year there is a change in the ble design for people using screen research and development pro- creative team delivering a proj- readers, an inclusive edition for cess. Each year, the technology ect, given that the curators, non-arts audience of all the texts, evolves, develops, adjusts, and designers, and partners change, sign language interpretation of all changes as new digital trends are especially as they are selected the texts, and other tools. presented. One has to adapt not through open calls. Each year, the only technology, but also your curators work with a new proj- Museum Without Walls hosted approach; ect theme—in 2021 the selected five different exhibitions and theme was Does It Feel Cosy? was visited by almost one million Museum Museum Without Walls 52 53 Capacity Building in the New Normal

Project Models 54 55 Project model: www.houseofeurope.org.ua online laboratory focused on capacity building and connecting peers

THE HOUSE OF EUROPE IN 2020, THE IMPLEMENTATION PROGRAMME WAS ORGANISING OF MOBILITY-RELATED Delivered by: A SERIES OF STUDY TOURS TO PROGRAMMES HAS BECOME House of Europe (Goethe-Institut EU COUNTRIES AND THE UK FOR IMPOSSIBLE. THE HOUSE OF and British Council in Ukraine) in UKRAINIAN PROFESSIONALS IN THE EUROPE PROGRAMME TEAM partnership with Insha Osvita and FIELDS OF CULTURE, THE CREATIVE REALISED THAT INTERNATIONAL Digitizing Space INDUSTRIES, EDUCATION, AND TRAVEL MIGHT BE AT RISK OR SOCIAL ENTREPRENEURSHIP SO ON HOLD FOR A WHILE; AT THE Project Dates: THAT THEY COULD ACCESS AND SAME TIME THEY WERE EAGER each edition runs approximately ENCOUNTER THE LATEST TRENDS TO CONTINUE INTRODUCING from nine days to four weeks, first IN THEIR FIELDS, CONNECT WITH UKRAINIAN PROFESSIONALS TO launched in October 2020 THEIR INTERNATIONAL PEERS, EUROPEAN KNOWLEDGE AND Launched as a result of COVID-19 EXCHANGE EXPERIENCE, AND PRACTICES, OFFERING THEM ESTABLISH LINKS FOR FURTHER OPPORTUNITIES TO CONNECT Funding: House of Europe COLLABORATIONS. ONCE COVID-19 LOCALLY AND ALSO SHARE THEIR STARTED, ALL UPCOMING STUDY PRACTICAL EXPERIENCES WITH International partner organisations: TOURS WERE CANCELLED. TRANSFORMATIONAL SOLUTIONS each Digital Lab has EU and WITH THEIR EUROPEAN PEERS. UK-based organisations as partners THIS IS HOW DIGITAL LAB EMERGED. Digital Labs 56 57 and workshops, personal mentor- would discuss in groups at a next curators of art residencies are HOW IT WAS DONE ing sessions and presentations of session; currently replacing the Interna- final ideas; tional Residence programme. → The first edition of the Digital Lab Digital Lab is always supported edition was a pilot, with the team → As an additional motivation, and by a programme manager/coor- using the opportunity to deter- → to enable follow-up activities, dinator, facilitators, and a techni- REACH mine whether the programme prizes or seed-funding/mi- cal support team; was effective and engaging for cro-grants can be awarded for → The first Digital Lab for creative participants; the presented solutions or project → All sessions were conducted over hub managers that took place pitches; Zoom. Participants also used Miro in October 2020 was attended → It was decided to design a new boards for idea generation and by 25 participants from 14 cities format that would allow partici- Often, Digital Labs take on a very Telegram/Viber chats to stay in Ukraine, and there were four pants, first of all, to devise prac- → dynamic, interactive form, rep- connected; European hub managers working tical solutions to take back home licating elements of an online with each group. to their organisations, either as hackathon or ideathon; The Zoom platform can offer a group, partnering up in teams, → simultaneous translation into The number of applications for and/or working with the input The main themes of the first English, German, and Polish. This further Digital Labs in the field of and individual support of interna- → editions of the Digital Lab were approach allowed for working culture and education numbered tional experts and mentors; related to digital transformation. with participants whose foreign more than 200 altogether. Start- This is because such topics were language skills were limited. ing from October 2020, five Digital → The maximum group capacity relevant for hub managers, edu- Labs were held in the field of the of a group was fixed from seven cators, as well for book publish- culture and creative industries, to 25 participants. This is because ers; RESULT and two labs for educators. a higher number would not allow for meaningful online engage- Digital Lab speakers/mentors → The first editions of the Digital ment with everyone; → are experts with relevant knowl- Labs demonstrated they were an LESSONS LEARNED edge and practical experience effective format: more than 74% → Each Digital Lab is different and from Ukraine, the EU and the UK; of participants reported that they → The online model allowed for can be flexibly adjusted to the gained a better understanding of a broadening of the programme’s needs of the sector and the The main blocks of a session can the professional topics, with also targeted audience and to en- target group it is being tailored → include: input presentations, more than 95% mentioning that gage representatives from smaller to. For example, the Digital Lab Q&A sessions, group discussions, the Digital Lab was a valuable ex- scale organisations from across for creative hub managers con- workshops, and solution genera- perience for their work. Following Ukraine; sisted of six weekly sessions, each tion, optionally in groups or newly the successful pilots, it was decid- lasting near three hours. These formed teams, individual mentor- ed to continue developing them → An online lab, during which sessions included: one introduc- ing through experts, checkpoints, into a more regular offer. participants start to collaborate, tory session, to set the scene and presentations or the pitching of could become a tool to form local introduce participants, four main results, the awarding of prizes The model has become so suc- sectoral networks or working thematic sessions with European and seed-funding/micro-grants; cessful that it has been able to groups; peer experts, and one gradua- successfully replace study tour tion event; Digital Lab for cultur- Some sessions included home programmes and other mobil- → A facilitated networking session al professionals and educators → assignments that participants ity-related ones. For example, at the beginning is key in order to consist of 9-14 days of lectures Digital Labs for managers and allow enough time for people to 58 59 get to know each other; WHAT’S NEXT → A combination of European and → The Digital Lab was selected as local experts proved to be the a “bread and butter” format to most efficient, ensuring that be adopted by the House of Ukrainian, EU and UK contexts Europe for capacity building in were reflected in the content; further sectors, such as for art residency managers and curators Labs In order to ensure maximum → and for health professionals. Even engagement by participants in when offline study tours to Eu- the process, the facilitation team Digital rope resume, the team is planning was constantly switching activities to keep the Digital Lab as an between different online tools. accompanying, complementary The only permanent precondition format. would always be a switched on camera for everyone; Throughout 2021, at least seven new editions of the Digital Lab For some Digital Labs, a professional → have already been planned, and visual transcriber would record open calls are constantly taking the key points discussed at every place. thematic session and transform them into visual boards. They were further used by participants as a diary of things that were discussed. Also, these visuals were used to communicate the pro- gramme’s results to a wider audi- ence from the creative sector;

→ The online format was no less successful at fostering new pro- fessional links and connections than offline formats. The main condition was the search for appropriate tools for communi- cation and the constant involve- ment of participants and speak- ers in the process.

60 61 Project model: Online academy for music professionals https://www.musicexportukraine.com/eema-2020

Delivered by: Music Export Ukraine (Ukraine)

Project Dates: June–December 2020 Launched as a result of COVID-19

Funding: House of Europe INDEPENDENT MUSICIANS International partner organisations: AND MUSIC MANAGERS FROM 34 multimedia magazine EIGHT COUNTRIES IN EASTERN (Belarus), Enea Spring Break festival EUROPE GATHERED TOGETHER and conference (Poland), the FOR AN ONLINE CAPACITY Budapest Showcase Hub festival BUILDING PROGRAMME TO and conference (Hungary), Music BOOST THEIR CAREERS, EXPAND Export Latvia (Latvia), Mastering INTERNATIONAL NETWORKS, AND the Music Business (Romania), FOSTER ADAPTATION OF INCOME Music Estonia (Estonia), STREAMS IN COVID-19 TIMES AND and Monokey (Lithuania) BEYOND. Eastern European Eastern European Music Academy 62 63 duced and promoted by musi- → Delivery times online and offline HOW IT WAS DONE cians and managers from eight differ: i.e. a two day-long offline countries, who have never met training session would require → The Academy gathered 50 each other live, was released; more time if it was delivered independent music managers online. Learning sessions online and musicians from eight coun- The programme also included also need to be shorter, usual- tries and 14 mentors from 10 → numerous fun parts despite the ly not exceeding a maximum of countries; apparent limitations of the online three hours in duration. As well, format, including the ice-break- there should be at least one good → The project was held solely ing sessions and the graduation break of 15 minutes in between online and focused on the possi- party. to allow people to drink water, to bilities for music representatives stretch, walk a bit, answer their to work, collaborate and earn phone, etc.; money digitally. The project team RESULT created a 12-week study and An online learning programme mentorship programme, focusing → → A combination of theoretical would need to encompass a on the following topics: copyright parts and practical group assign- longer period of time than what registration, royalties, the basics ments led to links being formed would be envisaged offline; of music licensing, synchronisa- between participants. As well, tion and the sale of music for participants had the chance to Some participants might quit advertising and films, work with → learn about specifics and the mu- the online activity shortly after its commercial brands, storytelling, sic market of the various Eastern start; the organisers should not music creation with the help of European countries directly from take it personally, as there may digital instruments, international their peers. be a number of reasons for this cooperation and networking, and to occur. Additionally intensive music marketing; online work may not be suitable LESSONS LEARNED for everyone. A good idea would → Weekly classes of the academy be to survey those people who were held online in real time using → An online format requires more left or quit and get to know their Zoom; time and effort to build connec- reasons why. It can help you to tions among project participants; plan the next edition better. → Along with the theoretical portion, practical knowledge implementa- → Online capacity building is more tion was a crucial component of pragmatic compared to the WHAT’S NEXT the Academy. Participants re- offline iteration; even the most ceived hands-on experience pro- minor element of the digital → The project team works on ducing music in peer groups and learning process should make developing the next edition of the together developing promotional clear and abundant sense to Academy. strategies from scratch; participants and organisers, and as such should be well-planned in → At the end of the project, an advance; extended play (EP) album with five original tracks written, pro- Eastern European Eastern European Music Academy 64 65 Project model: online theatre residency programme www.britishcouncil.org.ua/en/taking-the-stage

TAKING THE STAGE IS A IN EARLY 2020, THE BRITISH THEATRICAL PROGRAMME OF THE COUNCIL RE-LAUNCHED THE BRITISH COUNCIL, IMPLEMENTED PROGRAMME INTO TAKING IN UKRAINE IN 2015-2018. THE STAGE 2.0, A SERIES OF DELIVERED OFFLINE, ITS MAIN THEATRICAL RESIDENCIES FOR AIM WAS TO SUPPORT UKRAINIAN THE NEW GENERATION OF UK THEATRES AND DIRECTORS IN STAGE DIRECTORIAL TALENT Delivered by: THE PRODUCTION OF ORIGINAL TO BE HOSTED BY UKRAINIAN British Council in Ukraine and AND SOCIALLY RELEVANT THEATRICAL COMPANIES. INITIALLY Gogol Fest (Ukraine) PERFORMANCES BY ALLOWING PLANNED AS AN OFFLINE ACTIVITY, ONSITE GUIDANCE FROM THE THE PROGRAMME UNDERWENT A Project Dates: LEADING UK PERFORMING ARTS CONCEPTUAL TRANSFORMATION February 2020– July 2021 PRACTITIONERS. DUE TO THE COVID-19 OUTBREAK, Adopted as a result of COVID-19 MOVING FROM AN OFFLINE FORMAT TO AN ONLINE RESIDENCY

Funding: British Council the Stage Taking 2.0 MODEL. 66 67 tors, it was a new, ground-break- the teams of five theatrical com- → Building a spirit of community HOW IT WAS DONE ing experience; panies. between theatrical companies started to appear in a project’s → The British Council launched an Theatres were not technically undertaking, which may lead to open call for five UK-based → equipped for a new way of LESSONS LEARNED other collaboration-based proj- theatre directors to work online working, each theatre compa- ects; with five pre-selected Ukrainian ny received a grant which could → It would be advised to run open theatre companies, including cover the purchase of necessary calls not only for directors but While rehearsing, the online both state-run and independent → equipment, like cameras, large TV also for hosting theatre compa- format made people more at- companies; screens, etc.; nies; tentive to what was happening around them; → The focus of the new residency Every month a project team → In spring 2020, the programme was placed not on the develop- → organised joint online meetings team invested significant time A stable internet connection is ment of new productions, but on → for all theatre directors and the- hoping that travel would resume; critical for such collaborative research and development work, atre teams; during this period, the project projects; learning how to work together by was literally frozen. Being ready combining different systems and Out of the five teams, four to accept a change and a timely Joint lessons-learned sessions approaches to theatre making. In → → finalised their project concepts need for transformation is vitally between all five involved theatres the end, each team had to come only online, while for one pair important; have been planned. These could up with a concept for a future the online working format trans- prove useful to shaping the struc- joint project; formed into a hybrid one—even- → Due to online transformation, ture of future online or hybrid tually a theatre director travelled some residents found it challeng- projects. → Each residency lasted for five to Ivano-Frankivsk for the final ing to find a common ground weeks. The first week was allo- stage of the residency. with their hosting theatres. This cated for joint conceptual devel- process required more time and WHAT’S NEXT opment between a theatre team effort than offline. This would be and a director; with the remain- RESULT essential to reflect in the planning → Two out of the five best projects ing four weeks spent on casting, of similar models; will receive financial and advi- rehearsals, and creative work. → The COVID-19 pandemic pushed sory support for the next stage, Each team had a residency plan, forward digital innovation for → The internet, as part of the which could be the production or which outlined their schedule an activity that in the past had working process, disturbs the tra- further shaping of the material. of meetings and rehearsals and been completely physical, requir- ditional theatrical process; The project team is committed to their expected final results; ing people to be in one space. further discovering possible online The pilot demonstrated that the → All theatres were focused on a and hybrid models in its perform- → Some of the hosting theatres had internet has the potential to be final result, an intentional work- ing arts programmes. prepared videos of their premis- used for theatre making projects, in-progress work mode was chal- es so that directors could have a at least in a hybrid format. lenging to perceive; better image of the space they would be working with; → It is clear that not every pair of REACH theatres/directors would collabo- → Zoom became the main rate further outside of the resi- platform to host all meetings, in- → The programme was not intended dency, but still it was a valuable cluding rehearsals. For many ac- to reach a wider audience than experience for everyone involved; 68 69 Project model: www.artefact.live virtual media art exhibition at an international festival

ARTEFACT:CHORNOBYL IS THE FIRST VIRTUAL EXHIBITION DEDICATED TO THE CHORNOBYL ACCIDENT, CREATED FOR AN ONLINE EXPERIENCE IN VIRTUAL SPACES AND VIA VR HEADSETS. A UKRAINIAN PROJECT, IT WAS INVITED TO BE SHOWCASED AT THE NEW MEDIA ART, VIDEO ART Delivered by: AND AUDIOVISUAL TECHNOLOGY- Anotherland LLC (Ukraine) FOCUSED FESTIVAL MADATAC XI IN SPAIN. AS A PREPARATORY Project Dates: STAGE, MORE THAN A HUNDRED May–October 2020 UKRAINIAN ARTISTS ATTENDED Transformed due to COVID-19 AN ONLINE RESIDENCY, WHEREIN THEY RECEIVED TRAINING ON Funding: HOW TO USE VR AND MEDIA Ukrainian Cultural Foundation TECHNOLOGIES AND ADAPT ARTEFACT:CHORNOBYL’S EXHIBITS International partner: TOWARDS AN ONLINE SHOWCASE

Artefact: Chornobyl x Madatac Transfera Media Arts LLC (Spain) AT MADATAC. 70 71 → The project team created HOW IT WAS DONE designated spaces for the pre- REACH sentation of exhibits on the Ma- → Accepting the challenge of the → The communications/marketing datac XI festival platform. Mozilla pandemic and the necessity of campaign surrounding the proj- Hubs was chosen as the main presenting the exhibits at the Ma- ect reached more than 3 million platform for the presentation of datac Festival in an online format people in the EU. Artefact: Chornobyl; only, the first part of the project was devoted to an educational The works created with VR and programme for artists to prepare → LESSONS LEARNED AR technologies, laser and vid- digital products for the exhibition; eo installations, neuro-interface 100 Ukrainian artists were trained → Audiences are not ready technology and parametric archi- over three stages: a theoretical for a completely virtual consump- tecture were seemingly transport- portion, practical workshops, and tion of art. For now, one must go ed in their entirety to cyberspace. individual work with international through familiar communication On the Madatac XI platform experts; channels and explain why people anyone could visit an exhibit should experience augmented using their PC or smartphone, but → The important part of the project and virtual reality; maximum immersion could be was the collaboration with the obtained only with VR headsets; representatives of the Madatac → Working together with the artists, festival. The founder of the the project team realized that the Parallel to the Madatac XI festival has been involved as an → modern technology available on showcase, a separate VR project international curator throughout the market offers limited func- was also created with the VR hel- all of the project’s stages, provid- tionality for creating media art. mets available at an offline space ing international expertise to the The project team even contacted in Kyiv. This was a way to attract Ukrainian participants, as well as a software companies with a re- the audience and media to get inviting international lecturers to quest to expand its technological to know better this collaborative introduce artists to the interna- opportunities. project with a Spanish festival. tional cultural context; WHAT’S NEXT → As a result of the residence, RESULT 50 artists created their exhibits, which were physically digitized → After the showcase, the project → 100 artists went through the team developed a completely using the following applications: capacity building programme, Mozilla Hubs, Blender and Unre- new format for the presentation with 50 new exhibits created and of digital art to a wide audience: al. The common theme of all the presented in a virtual format exhibits was the contemporary an interactive exhibition based at an established international on a mobile application and Ukrainian media art and new festival. meanings of modern Ukraine in printed posters. the world, through a rethinking of Chornobyl; Artefact: Chornobyl x Madatac 72 73 Project model: www.wovenart.works online visual arts residency

Delivered by: Platform Tu (Ukraine)

Project Dates: July–December 2020 Launched as a result of COVID-19

Funding: House of Europe programme FOR HALF A YEAR, SEVEN FEMALE (EU-funded) ARTISTS FROM FOUR COUNTRIES COLLABORATED IN AN ONLINE International partner organisations: ART RESIDENCY, EXPLORING NEW Intercult (Sweden), Fablevision WAYS OF ARTISTIC EXPRESSION Studios (UK) AND DISTANCE COLLABORATION USING DIGITAL TOOLS. THE Countries involved: RESIDENCY RESULTED IN AN Poland, Sweden, Ukraine, ONLINE EXHIBITION SHOWCASING

and the UK Network/ Woven Network Women’s THE RESULTS OF THE PROJECT. 74 75 was something the project team HOW IT WAS DONE was prepared to accept; LESSONS LEARNED → The residency was based around → International collaborations that The culmination of the Woven the website www.wovenart.works → include artists from various back- Network was the exhibition show- which had been specifically grounds can provide different casing the joint projects by artists created to host the project. The and unique viewpoints on the from different countries. During sections of the resource replicat- same local problems; the “opening week” they were ed traditional residency spaces made available in the exhibition and elements, such as a creative → An online format requires more space on the website twice each workshop, studio, library, collec- time and effort to build connec- day. tion, and catalogue. By doing tions among project participants; so, it helped to bridge the gap between traditional offline ex- RESULT → Simple and commonplace digital perience and a new, less familiar tools such as Google Documents format; and Whatsapp can prove effec- → A new, international, horizontal, digital artistic network for female tive for exploring reality through → During the residency, all artists artists was established, becoming an artistic lense; collaborated with each other a safe space for support, solidar- at least once: they met online ity, and collaboration during the → The opening of an exhibition in groups and shared materials, times of COVID-19. or a final event of a residency can i.e. photographs, texts, etc. Also, become a special moment online together they hosted “Woven as well: sharing a glass of cham- Sessions,” online meet ups with AUDIENCES AND REACH pagne or engaging in a festive audiences and workshops, which activity with an audience or par- replaced traditional offline talks → The website hosting the exhibition ticipants could ensure a special with artists. Regular project com- attracted over 5,000 unique atmosphere, even over Zoom. munication between artists took visitors, while the online sessions place via Zoom calls, Whatsapp that took place during the resi- and Google Documents; dency acquired over 6,500 views WHAT’S NEXT in total. Overall, approx. 25,000 → Ensuring the horizontal network people in Ukraine and Europe en- → The Woven Network/Women’s of the residency was key, as the gaged with the project via differ- Network residency gave a “jump- project had an artist-led model ent means of communication. start” to several follow-up proj- without any curation. The artists ects among its participants, which themselves defined the formats are currently in development. their work and collaboration would follow. This spontaneous spirit of collaboration was reflect- ed in the name of the project: Woven Network. At times, this horizontal structure resulted in a less coordinated process, yet this Woven Network/ Woven Network Women’s 76 77 Project model: www.dki.lv online youth camp

WHEN ALL TRADITIONAL ACTIVITIES WERE POSTPONED OR Delivered by: CANCELLED DUE TO COVID-19, Danish Cultural Institute THE DANISH CULTURAL INSTITUTE (collaboration of the branches in (DCI) TEAM CAME UP WITH NEW Riga, Latvia and Copenhagen, WAYS OF ACTION, ORGANIZING Denmark) AND REACHING OUT. THE ONLINE CULTURE CAMP FOR Project Dates: YOUTH WAS ONE OF THE NEW June–July 2020 PROJECTS THEY DEVELOPED AS A RESULT. IT AIMED TO ENCOURAGE Funding: YOUNG CULTURAL ACTIVISTS The Wisti Foundation for FROM UKRAINE TO FOCUS ON International Understanding CULTIVATING SUSTAINABLE LOCAL COMMUNITIES. APART FROM International partner organisations: ONLINE SESSIONS WITH DANISH NGO Cultural Geographies EXPERTS, PARTICIPANTS RECEIVED (Ukraine), Kaospilots (Denmark), A SET OF TASKS FOR OFFLINE

Online Culture Online Culture Camp for Youth and Liva Kreislere (Latvia) ACTIVITIES. 78 79 and trying to work out a proto- HOW IT WAS DONE type of the participatory/commu- LESSONS LEARNED nity initiative that can be imple- → The project’s structure included: → It is important to be mindful of mented in the area they live in; a three week-long format, with the two sides of the online for- two online sessions per week and mat. It can be seen as both a very In the end, an online presentation of homework in-between. The online → inclusive space, for example to the prototypes where each par- session consisted of expert pre- gather participants from small ticipant could receive detailed sentations, explanations of tools, towns and the major cities of a feedback from the project team and exercises to understand how country. Yet on the other hand, it was organized. to use these tools. There were can be a very exclusive space as both group and individual tasks. well—not everyone has an equally As a result, the participants had RESULT good internet connection, which to come up with prototypes for can affect their participation; the cultural activities for the local participants also may have differ- → An online format allowed for communities. For this, they had to engagement with a group from all ent levels of digital skills; go for a walk and make some ob- across the country, and to offer servations, note down the context them capacity building even in → It is important to define the clear or people they talked to, etc.; times of travel restrictions. During balance between theory and the feedback session, many of practice before the activity starts. → The first week was focused on the participants stated that they There needs to be a regular alter- giving tools on preparation, were proud to have found the nation to keep people focused. As planning and research, while confidence to step out of their such, the common challenge is to the second week had its focus comfort zone, and that they identify methods for ensuring an on sense-making, creation and gained skills and inspiration for adequate and ideal online space testing, with the final week about contributing to change in their for discussion as people can often evaluation, learning, sharing and communities. be more reserved in the online harvesting. All these tools were space than is the case during live rooted in the topics of cultural events. leadership, cultural planning and REACH participation; → 18 youth representatives from → Three main tools were used: different parts of Ukraine took WHAT’S NEXT Zoom for online sessions, Mural part in a camp. people in Ukraine for the collective work and Tele- and Europe engaged with the → Having received positive feedback gram chat for the off-session project via different means of on the programme, the DCI would conversations; communication. be interested in trialing a longer duration of the camp, as it would → Participants were divided into allow for the incorporation of “research clusters,” although they mentorship and full-scale proto- had the freedom to choose to typing stages. work alone. In these clusters, they were researching a specific topic Online Culture Online Culture Camp for Youth 80 81 Professional Connections in the New Normal

Project Models 82 83 Project model: www.hatathon.houseofeurope.org.ua online ideathon

AS AN OFFER IN RESPONSE TO THIS TIME AN ONLINE Delivered by: COVID-19, THE HOUSE OF EUROPE IDEATHON WAS ORGANISED House of Europe and PROGRAMME LAUNCHED A FOR REPRESENTATIVES OF THE Goethe-Institut Ukraine (Ukraine) BRAND NEW PROJECT MODEL: ARTS AND CREATIVE INDUSTRIES THE “HATATHON”. THIS TERM SECTOR FROM UKRAINE AND Project Dates: IS THE RESULT OF A BLEND OF THE EU TO GET TOGETHER IN April 2020 THE UKRAINIAN WORD “HATA” TEAMS AND COME UP WITH NEW Launched as a result of COVID-19 (MEANING “HOME”) WITH IDEAS REGARDING HOW TO “IDEATHON,” ENCOMPASSING ADAPT PROJECTS TO PANDEMIC- Funding: A 48-HOUR SPRINT WHEREIN A RELATED CHALLENGES AND THE Embassy of the Federal Republic PROJECT TEAM CAN DEVELOP AN POST-PANDEMIC TIMES. THIS of Germany in Ukraine, IDEA, RECEIVE FEEDBACK FROM HATATHON TURNED OUT TO BE A House of Europe PROFESSIONAL EXPERTS, AND CATALYST FOR NEW, UNEXPECTED LATER PITCH THEIR SOLUTION TO COLLABORATIONS AND ANTI- International partner organisations: A JURY. CRISIS PROJECTS, BRINGING Embassy of the Federal Republic TOGETHER 1,300+ PARTICIPANTS

Hatathon: Hatathon: Hack the Culture of Germany in Ukraine WITH 210 IDEAS. 84 85 → Mentors had the opportunity HOW IT WAS DONE to evaluate project ideas in a sep- REACH arate platform, Guaana. The top → The aim of the Hatathon was to → Eight projects developed at eight teams went on to the final mix together groups of profes- Hatathon were supported by where they were invited to pitch sionals online that do not neces- the House of Europe grant pro- to a jury for three prizes of EUR sarily always cooperate as part of gramme following the event. 3,000; one team: cultural professionals, Numerous partnerships and peo- creative entrepreneurs, PR and ple-to-people links were estab- The criteria to evaluate team marketing experts, IT specialists, → lished which have continued to pitches were: the team itself NGO representatives and journal- develop since the event. (activity, motivation and progress ists. This combination of brains, during Hatathon), potential for experience, and approaches future implementation (feasibil- within a team could result in new LESSONS LEARNED ity and potential of active work creative solutions and unexpected after Hatathon), impact (to which prototypes and concepts for the → In order to deliver such a large-scale extent the project will help the creative sector; online project, the team request- cultural sector in crisis and how ed support from experienced many people can benefit from → Participants could already register partners specialising in organising it), pitch presentation (quality of with their team, or they could form online mass events. the presentation of the idea), and a team directly at the Hatathon prototype (did the team take ac- with other registered participants tion and what did it create during they met there; WHAT’S NEXT Hatathon); The Hatathon proved to be a → All teams had to work on a → The pitching event was streamed solution to one of the following → great model for bringing people on Facebook and YouTube; after areas: online events, online inter- to collaborate; its next edition is three winners were selected, the action, and new business models planned for July 2021. Hatathon concluded with an on- for sustainable cultural products; line concert. → 130 local and international experts joined the Hatathon as RESULT mentors—over 48 hours, they had pre-arranged meetings with → 63 new projects teams joined the teams to share their feedback on event. The Hatathon’s final pitch- ideas and advice in their area of ing event attracted 8.000 views expertise. The number of experts to its Facebook page.the par- present at this ideathon was an ticipants stated that they were absolute record for Ukraine; proud to have found the confi- dence to step out of their comfort → The Slack platform was used zone, and that they gained skills to coordinate participating teams; and inspiration for contributing to

change in their communities. Hatathon: Hack the Culture 86 87 Project model: online B2B programme for publishers and literary agents www.export.chytomo.com/en/about-program

ACCORDING TO THE RESEARCH THE AIM OF UKRAINIAN CONDUCTED BY THE UKRAINIAN LITERATURE: RIGHTS ON! IS TO BOOK INSTITUTE, THE EXPORT INSPIRE FOREIGNERS’ INTEREST POTENTIAL OF UKRAINIAN BOOK IN UKRAINIAN LITERATURE AND PUBLISHING IS 80-100 MILLION ENABLE UKRAINIAN PUBLISHERS US DOLLARS, WHILE THE LACK OF TO START EXPORTING OR PROFESSIONAL INTERNATIONAL INCREASE THEIR EXPORTS BY CONNECTIONS AND LIMITED ESTABLISHING DIRECT CONTACTS INTERNALIZATION OF THIS THROUGH B2B MEETINGS WITH Delivered by: SECTOR HAS BECOME ONE OF ITS FOREIGN PARTNERS. Book Arsenal BOTTLENECKS. IN 2020, THE BOOK ARSENAL FESTIVAL LAUNCHED Project Dates: UNDER ITS ROOF A BUSINESS- February–July 2020 TO-BUSINESS (B2B) PROGRAMME Transformed as a result of COVID-19 TO ENHANCE INTERACTION BETWEEN UKRAINIAN AND Funding: FOREIGN PUBLISHERS. INITIALLY EU4Business DESIGNED AS AN OFFLINE OFFER, THE PROGRAMME WAS ADOPTED Countries involved: AN ONLINE FORMAT DUE TO

24 countries Ukrainian Literature: Rights On! COVID-19. 88 89 → B2B meetings were arranged by Ukrainian Literature: Rights On! HOW IT WAS DONE the programme team and con- team managed to engage rep- ducted via Zoom resentatives of some of the best → The programme consisted of literature agencies in the world four main components: in the programme, so that they RESULT would share their knowledge and → → educational activities: expertise with their Ukrainian interactive online lectures and → As the outcome of the programme colleagues; workshops from leading inter- in 2020, the Ukrainian book national experts on new rights publishing sector was able to Every country has its own context markets, with which Ukrainian → enter new markets: North Mace- and interests; therefore it is ab- publishers have not had much donia, Romania, Mexico, Greece, solutely possible that different experience or cooperation; Finland, Denmark, etc. 10 agree- books can turn out to be inter- ments for the translation of esting and attractive to different → → video content: a series of Ukrainian books were signed as a markets. lectures on Ukrainian literature direct result. and the book publishing sector specifically produced for foreign WHAT’S NEXT audiences; REACH → In 2021, the programme was → → B2B meetings: encounters confirmed to take place in a hy- between Ukrainian and foreign → 147 online meetings between brid format in June-July 2021 at the publishers aimed at establishing Ukrainian and foreign publish- Book Arsenal 2021, having received cooperation and buying rights ers and agents were held, with support from the House of Europe for Ukrainian books; 37 foreign participants from 24 and Creative Europe programmes. countries participating in the While some of the B2B meetings → → case studies: a media meetings. This is a record for the will remain online, others have project dedicated to 10 stories amount of sectoral connections been moved to the offline event in of successful literary agencies the Ukrainian publishing sector Kyiv. The number of registrations around the world and their has ever made. from international participants behind-the-scenes operations, exceeded 2020’s results. aimed at inspiring the Ukrainian sector to set up literary agen- LESSONS LEARNED cies of its own. → Hosting an event or programme → Due to the shift to online-based online facilitates professional programming. Ukrainian Litera- connections that would be less ture: Rights On! became the only possible offline due to the dis- delivered programme of the Book tances involved and participants’ Arsenal 2020, all other activities differing work schedules; were cancelled; → During the pandemic, people became more empathetic, Ukrainian Ukrainian Literature: Rights On! 90 91 Project model: www.ietm.org/en/node/11836/all hybrid sectoral meeting

Delivered by: IETM—International Network for Contemporary Performing Arts (Belgium) GIVEN THE RESTRICTIONS

IETM IETM Multi-location 2020 DURING THE TIME OF THE Project Dates: PANDEMIC, THE BI-ANNUAL October 2020 IETM PLENARY MEETING, WHICH Launched as a result of COVID-19 TYPICALLY GATHERS AROUND 500 PARTICIPANTS IN ONE GIVEN Funding: LOCATION, WAS REPLACED BY A Creative Europe and local partners MULTITUDE OF SIMULTANEOUS, SMALLER EVENTS TAKING PLACE More than 20 international partner IN VARIOUS LOCATIONS IN 20 organisations involved COUNTRIES WORLDWIDE. 92 93 project, as well as the local condi- → Going online does not necessarily HOW IT WAS DONE tions and needs; RESULT make things easier, as sessions still need to be choreographed → The meeting’s core programme → A new meeting model was tested All partners had the freedom to and scripted, time zones compli- consisted of three online sessions → which offered a great deal of op- select different modalities for their cating scheduling, and privacy aimed at gathering together all portunities to meet international sessions, the only requirement laws in certain countries also participants and locations at the peers during constricted times of being that partner locations had having the potential to make same time and in the same online quarantine restrictions. to join the three plenary online freedom of speech more difficult, space. In parallel, each location sessions and that all communica- etc. All of these aspects need to had to develop their own online or tions and registrations had to be be factored for by the organising offline programme, but were given centralised on the IETM website; team; complete freedom regarding the REACH format, time, capacity and con- Some locations chose to host Even though summer may seem tent of their events; → → The plenary meeting targeted → online-only local sessions, while professionals in the performing to be a perfect time for such a others focused on gathering peo- arts, and more broadly, in the cul- project, try to avoid a summer pe- → The project team defined the ple together offline. Some opted riod for such a large-scale initia- topic, format and the dynamics tural sector. In total, the meeting for only a one-hour session on top tive with many partners involved, between the core online sessions was visited by 824 participants, of the core online programme, as holiday arrangements may and the locally organised ses- 338 of which were IETM members while some others opted for a full diminish or limit the availability of sions (a minimum of 20 locations). with the rest being non-mem- two-days-long programme. Having locations and last minute ar- Then a budget for each potential bers. 431 participants attended the different locations simultane- rangements. location as well as for the online the meeting only online, while 393 ously connected to the core online sessions was developed; attended a physical gathering. sessions gave the feeling of global 62 countries were represented participation—one could choose with a total of 25 EU countries WHAT’S NEXT → The next stage was to write short to attend a session organised by guidelines to support local part- among them. the Melbourne-based partner at → IETM is looking to scale up the ners in the administration, plan- one point, and then move on to a model and involve a larger ning and implementation of the session organised by a partner in LESSONS LEARNED number of partners and locations, meeting; Ljubljana, for instance; although they plan to spread the → Creating the programme in a next meeting out over a longer → The project team subsequently After the event, the project team collaborative manner adds value time period instead of creating collected all practical informa- → collected feedback from partic- to the content. Having a mul- tion regarding all locations and ipants and partners in order to titude of partners to work with opened registration to the partic- evaluate the project, especially definitely requires more coordi- ipants, with the possibility to join its international and networking nation, but overall it proved to be any of them; dimensions, alongside overall a very fulfilling experience for all satisfaction with the hybrid expe- parties; → It was crucial that several briefings rience. were held with each location IETM partner in the process. Addition- ally, a joint preparatory meeting was held, focusing on the partner’s motivations for being part of the Multi-location 2020 94 95 Apart from the featured case professionals. This project has had a demon- stateofconcept.org strable, lasting impact: it is an example of the studies we would like to draw decentralization of culture, which has allowed readers’ attention to sever- The Bureau of Care gathered together artists, not only the residents of the multi-apartment More activists, writers and social workers to script buildings to see the live shows in their own en- al other projects that could and visualise the foundations for a post-pan- vironment, but also for the performers to get demic politics of care. A series of meetings better acquainted with different, unexplored become a source of inspira- (both on- and offline), a handbook, and a spaces, and to adapt different performance tion while developing a proj- physical bureau to define the post-pandemic formats. Projects politics of care were made under the auspices ect model. All of them were of the project. As a result, various actionable Project: part of the nomination pro- propositions gathered in the handbook will WAVES VIENNA 2020 be translated into a mapping of a “how to” of Project model: cess initiated as part of the care, as an on- and offline exhibition of ideas international hybrid music festival To Explore handbook preparation stage. and imaginaries. and showcase Delivered by: Project: Wien macht Kultur, Comrades GmbH, MICA REBOOT BOOKS (Austria) Project model: Project: cultural platform and streaming initiative in a platform set up to bring together industry wavesvienna.com NO TRAVEL: SUSTAINABLE THEATRE the digital space. Cross-genre and interdis- leaders from the publishing sector Project model: ciplinary streams offer low-threshold access Delivered by: Vienna’s first music showcase festival with International programme for theatre and connect local cultural spaces, artists, Wischenbart Consulting (Austria) international alternative, electronic, pop, and production with zero travel cultural workers, companies and institutions rock artists among others, and its motto is Delivered by: with a global audience. rebootbooks.org “East meets West”. With the COVID-19 pan- Théâtre Vidy-Lausanne (Switzerland) demic, the festival adopted a hybrid model. Project: ReBoot is a series of events that focuses on Every year, the Waves Festival welcomes two vidy.ch/sustainable-theatre RADIO GAMEC the immediate future of the publishing indus- countries as special guests. Project model: try. It was designed to be a moment of reflec- Is it possible to make an international theatre a series of podcasts tion on the latest happenings in the industry Project: project with zero carbon emissions? A theatre Delivered by: in order to establish the business mind set WORLD JAZZ CONFERENCE 2020 experiment for sustainability with artists Katie GAMeC (Italy) and strategy for the next months and beyond, Project model: Mitchell and Jérôme Bel. The aim of the project and to discuss publishing trends and how they online sectoral conference is to address ecological issues not only in the gamec.it/en/radio-gamec were affected by COVID-19. Delivered by: content of the shows, but also in the way Stichting Amersfoort Jazz / Foundation JazzNL these shows would be produced, performed A series of podcasts on news, art, literature Project: (Netherlands) and toured—involving zero travel. and society were launched by this arts institu- CULTURE TO COURTYARDS tion in Bergamo, an area heavily affected by Project model: jazznl.com Project: COVID-19. The initiative featured both Italian engaging local communities with arts UNITED WE STREAM and international voices and allowed for en- Delivered by: The aim of the World Jazz Conference is to Project model: gagement with the local community in a new Kaunas—European Capital of Culture 2022 host an ecosystem of strong players from all International streaming initiative way using digital tools. (Lithuania) over the globe, to share visions and to en- Delivered by: hance collaboration on an international level. Partnership Initiative (Germany) Project: kaunas2022.eu Traditionally, the conference takes place par- STATE OF CONCEPT: allel to the annual Rabobank Amersfoort Jazz unitedwestream.org THE BUREAU OF CARE This local project was launched in Kaunas— festival in the Netherlands, yet like elsewhere, Project model: the European Capital of Culture for 2022. the pandemic year led to large changes in its This project was a solidarity-based response a series of online and offline activities devoted Surprised audiences on balconies or in front format: for the first time, the global conference to COVID-19 and the worldwide shutdown to empathy and care in post-pandemic times of their windows watched performances by moved fully online. Determining a vision for the of club culture. This successful fundraising Delivered by: well-known Lithuanian and international the- future of jazz was a key theme for the confer- campaign for Berlin clubs evolved into a global State of Concept (Greece) atre, dance, contemporary circus and music ence’s programme. 96 97 New project models—be they Hopin TO GET SUPPORT a virtual venue with multiple interactive online or hybrid in nature—re- areas that are optimized for fostering con- Patreon Tools for quire innovative tools to make nections and engagement; a membership platform that makes it easy things happen. Here, you will Microsoft Teams for artists and creators to get paid a platform to meet, chat, call, and collabo- YoKu find a list of digital outlets to rate in one place; a platform to donate to and support cul- use while designing your next Zoom tural projects. Digital and video platform, to meet, chat, make phone initiative. calls, conduct webinars, and online events. TO MANAGE

TO CREATE Airfocus a tool to prioritize projects and initiatives Hybrid Projects AhaSlides to build effective roadmaps; an easy tool to add polls, live charts, fun Asana quizzes, and engaging Q&A sessions to a an application designed to help teams presentation; organize, track, and manage their work; Stormboard TO COLLABORATE AutoDraw Backlog a shared workspace to devise more ideas, a drawing tool, with a range of “traditional” a platform for project management and then prioritize, organize, and refine BigBlueButton features such as the ability to draw, fill in process; those ideas. a global teaching platform, a software for colors/paint, resize, add text, and more; Canvas virtual classrooms; Blender a tool to develop a curriculum and organ- Concept board TO CONNECT FOR MEETINGS a free and open source 3D creation suite ise the learning; an infinite canvas for a whole team to that supports the entirety of the 3D pipe- MindManager work together. AND EVENTS line; powerful visualization tools and mind Miro KRITA mapping software; an online collaborative whiteboard plat- BlueJeans a free, open-source digital painting soft- Monday.com form that brings teams together, anytime, a tool for cloud video conferencing, to hold ware with a focus on illustration, concept a platform for planning, executing, and anywhere; live video calls, webinars, conference calls, art, matte paintings, textures, comics, and tracking the projects; Mural and online meetings; animations; Trello a digital workspace for visual collabora- Circuit by Unify Mentimeter a place where tasks can be managed, tion, to post thoughts and ideas; a platform teams need to communicate, an online platform to organize interactive tracked, and shared with teammates. Pibox including voice, video, screen share, chat, presentations & meetings, and measure one place to review, discuss and share and file sharing; audience reactions; creative content, a tool for collaboration Clubhouse Mozilla Hubs TO STREAM on musical production; a social network based on voice, wherein a platform to share virtual spaces with Slack people around the world come together to friends, co-workers, and communities; StreamYard a platform to coordinate participating talk, listen and learn from one another in Unreal Engine a live streaming studio available in a teams within different types of projects; real-time; open and advanced real-time 3D creation browser that can stream directly to Slido Discord platform for photo-real visuals and immer- Facebook, YouTube, LinkedIn, and other an easy-to-use Q&A and polling app a tool to talk, chat, hang out, and stay sive experiences. platforms; that will help organize more inclusive and close with friends and communities; Twitch engaging meetings, whether they be live, Geneva Chat the streaming platform for gamers, to online or of the hybrid format; a free all-in-one communication app for watch and chat immediately with fans groups, clubs, and communities; from around the world.

98 99 Eurodesk Eurodesk is a European youth information network. As a support organisation to Eras- eurodesk.eu mus+, Eurodesk makes information on learning Cultural and mobility comprehensive and accessible to young people and those who work with them.

The Eastern Partnership EaP CSF is a unique multi-layered regional civil Civil Society Forum society platform aimed at promoting European Creative Sector integration, facilitating reforms and democratic eap-csf.eu transformations in the six Eastern Partnership countries: Armenia, Azerbaijan, Belarus, Georgia, Moldova and Ukraine. It strives to strengthen civil society in the region, and boost pluralism in public discourse and policy making by promot- and Civil Society ing participatory democracy and fundamental freedoms. CREATIVE HUBS AND CULTURAL CENTRES European Creative The European Creative Hubs Network is a Networks Mapping peer-led network with a mission to enhance the Hubs Network For those looking for new connections, creative, economic and social impact of hubs creativehubs.net around Europe and neighbouring countries. potential partnerships or more specific As focal points for creative professionals and sectoral information below we are of- businesses, hubs offer the most effective way fering a mapping of the cultural and to support the growth and development of the creative sector (CCS) and civil society cultural and creative industries. networks. Trans Europe Halles Trans Europe Halles is aimed at repurposing abandoned buildings for arts, culture and teh.net activism. In doing so, it transforms communities, neighbourhoods and cities.

CIVIL SOCIETY European Network ENCC is a “network of networks” aimed at promoting dialogue and cooperation between Civil Society Europe CSE brings together 28 European networks of Cultural Centres social-oriented cultural centres in Europe. of civil society organisations (CSO) working The ENCC’s main means of action are capacity civilsocietyeurope.eu towards regenerating the European project encc.eu building, networking and advocacy. around the shared values of Equality, Solidarity, Inclusiveness and Democracy. Its main objec- tives: to facilitate and enable horizontal and vertical dialogue between European civil society CROSS-SECTORAL organisations and policy-makers and to help Creatives Unite Creatives Unite focuses on supporting the creative community by providing a platform creativesunite.eu for exchange, fuelled by information from the European Youth Forum The European Youth Forum is the platform sector itself. It was ‘born’ in response to the for youth organisations in Europe. It works to pandemic and the pressing need to gather, in www.youthforum.org empower young people to participate actively in one place, pertinent initiatives and information society to improve their own lives by represent- related to the creative and cultural sector in the ing and advocating for their needs and interests EU in response to the COVID crisis. and those of their organisations.

100 101 Culture Action Europe CAE aims to maintain continuous dialogue DutchCulture|TransArtists DutchCulture|TransArtists combines and shares and the exchange of knowledge between the knowledge and experience on artist-in-resi- cultureactioneurope.org cultural sector in Europe and EU policymakers. www.transartists.org dence programmes and other international It brings together all practices in culture, from opportunities for creative professionals to the performing arts to literature, the visual arts, temporarily stay and work elsewhere. Its aims design and cross-arts initiatives, to community at making the enormous worldwide residential centres and activist groups. art labyrinth accessible and usable to artists through its website, workshops, AiR collection, European Network Amateo serves and promotes people’s participa- research and projects. for Active Participation tion in the voluntary and amateur arts. Amateo in Cultural Activities sees active participation in the arts as a core European Route ERIH is a network of important and interesting value of a free and open society. of Industrial Heritage industrial heritage sites in Europe. It is the com- amateo.org mon link between disused production plants www.erih.net to industrial landscape parks and inter-active European Festival EFA is a platform for arts festivals, which con- technology museums. Association nects about 100 festivals and festival associa- tions in 40 countries. Its’ mission is to unite and Future for Religious FRH works to ensure the promotion and safe- www.efa-aef.eu/en/home represent its member festivals across Europe Heritage guarding of Europe’s religious heritage by bring- and the world by contributing to the artistic life ing together organisations and individuals in a of Europe. www.frh-europe.org Europe-wide network through which they may participate in forums and advocacy networks in Eurocities Eurocities is a network of more than 190 cities order to bring the voice of religious heritage to in 38 countries. Through joint work, knowl- relevant stakeholders and policymakers. eurocities.eu edge-sharing and coordinated Europe-wide activity, it ensures that cities and their people are heard in Europe. Interpret Europe Interpret Europe acts as a European platform for cooperation and exchange, especially International Music + The IMZ International Music + Media Centre is a interpret-europe.net regarding research and education. Interpret Eu- rope’s mission is to serve all who use first-hand Media Centre non-profit organisation that was founded under the aegis of UNESCO to preserve the performing experiences to give natural and cultural heritage a deeper meaning. www.imz.at arts as a cultural asset. Its mission is to promote the performing arts in and through audiovisual media in order to make music and dance perfor- mances available to future generations but also CULTURAL HERITAGE AND MUSEUMS to reach and engage new audiences through the Europeana Network ENA is a strong, democratic community of more easily accessible medium of film. Association experts working in the field of digital cultural heritage. It aims at expanding and improving European Grouping GESAC comprises 32 authors’ societies from all pro.europeana.eu/network-association access to Europe’s digital cultural heritage. of Societies of Authors over Europe. Together, It represents over one and Composers million creators and rights-holders—from mu- sicians to writers, visual artists to film directors The Network of European NEMO is an independent network of national museum organisations representing the mu- authorsocieties.eu and many more, in the areas of music, audiovi- Museum Organisations sual arts, visual arts, and literary and dramatic seum community of the member states of the works. www.ne-mo.org Council of Europe. Together, NEMO’s members speak for more than 30,000 museums in 40 OntheMove OTM is a cultural mobility information network countries across Europe. with 50+ members in over 20 countries across on-the-move.org Europe and the globe. The mission of OTM is to Europa Nostra Europa Nostra is a heritage organisation in encourage and facilitate cross-border mobility Europe with members from over 40 countries. It and cooperation, contributing to the develop- www.europanostra.org campaigns to save Europe’s endangered monu- ment of a vibrant and shared European cultural ments, sites and landscapes space that is strongly connected worldwide.

102 103 European Children’s ECFA is the organisation for all who are in- CULTURAL POLICY AND MANAGEMENT Film Association terested in high quality films for children and European Network ENCATC represents, advocates, and promotes young people: film-makers, producers, promot- on Cultural Management cultural management and cultural policy edu- www.ecfaweb.org ers, distributors, exhibitors, TV-programmers, and Policy cation, professionalizes the cultural sector to festival organisers and film educators etc. ECFA make it sustainable, and creates a platform for is one such ambassador, assisting in providing www.encatc.org discussion and exchange at the European and access to a wider variety of European cinema international levels. It represents all disciplines for children worldwide. in the arts and culture. Europa Distribution Europa Distribution is the European Network of European Union National EUNIC is the European network of organisations Independent Film Publishers and Distributors. engaging in cultural relations. EUNIC advocates Institutes for Culture www.europa-distribution.org Through dedicated brainstorming and training for a prominent role for culture in international sessions, open panels, and informal gatherings, www.eunicglobal.eu relations and is a strategic partner of the EU, the Association’s aim is enhancing the circula- and as such is actively involved in the further tion of information and ideas to improve the definition of European cultural policy. curation, promotion and distribution of inde- pendent films. The International IFACCA is the global network of arts councils, Federation of Arts Councils ministries of culture and government agencies The Association The Association des Cinémathèques Eu- and Culture Agencies that advance arts and culture, with member institutions representing over 70 countries. It of European Cinematheques ropéennes–ACE is an affiliation of European national and regional film archives. Its role is to ifacca.org creates opportunities for collaboration and exchange and provides trusted leadership and www.ace-film.eu safeguard European film heritage and to make intelligence on arts and culture in public life. these rich audiovisual records that have been collected and preserved by the various film archives accessible to the public. FILM European Film Promotion EFP is an international network of film promo- LITERATURE AND PUBLISHING tion institutes from throughout Europe, each Association Of European LIBER supports and speaks up on behalf of uni- www.efp-online.com/en representing their national films and talent Research Libraries versity, national and special libraries (including abroad. These organisations team up to jointly their institutions and users) across Europe. It promote the diversity and spirit of European libereurope.eu aims to provide information-based infrastruc- cinema and talent at key film festivals and mar- ture to enable the research being conducted in kets, in particular outside of Europe. LIBER Institutions to be world class, as well as promote and advocate for European libraries in all European and national fora where the voice Federation of European FERA is the European organisation representing of LIBER needs to be heard. Screen Directors film and TV directors. It speaks for more than 20,000 European screen directors, representing European Literature Open to writers, translators, publishers, agents, screendirectors.eu their cultural, creative and economic interests at Network festival directors, arts managers and journalists, the national and European levels. ELNet is a free, collaborative hub for sharing www.eurolitnetwork.com news, events, videos, blogs, poetry, prose, trans- Europa Cinemas Europa Cinemas is the first network of cinemas lations and reviews. focusing on European films. Its main objec- www.europa-cinemas.org/en tives are to provide operational and financial FEP is an independent, non-commercial umbrel- support to cinemas that are willing to devote Federation la association of book publisher associations in a significant portion of their screenings to of the European Publishers the European Union. FEP deals with European non-national European films, and to put in legislation and advises publishers’ associations place activities for young audiences. fep-fee.eu on copyright and other legislative issues.

104 105 Eurozine Eurozine is a network of European cultural jour- European Early REMA is the only representative network for nals, connecting more than 90 partner journals Music Network Early Music in Europe. Its main aim is to act as www.eurozine.com and associated magazines and institutions a network for its members, encouraging the from nearly all European countries. Eurozine is www.rema-eemn.net exchange of knowledge, information and co-op- also an online magazine which publishes out- erations in the early music field. standing articles from its partner journals with additional translations into one of the major Sounds Now Sounds Now is a network of 9 European music European languages. festivals and cultural/music centres that pro- www.sounds-now.eu mote contemporary music, experimental music The European and EIBF represents national bookseller associations and sound art. IT aims to actively stimulate International Booksellers in the European Union and beyond. EIBF mem- inclusion in professional field and thus open up Federation bers in turn have members of all kinds: brick and the capacity and possibility for different expe- mortar bookshops, online bookshops, indepen- riences, conditions and perspectives in shaping europeanbooksellers.eu dents, chains, etc. the sonic art that reaches audiences today.

Live DMA is a European non-governmental The official aims of EWC are to represent European Network European Writers’ Council network working to support and to promote the the professional interests of the creators of for Live Music Associations conditions of the live music sector. Live DMA is literature, poetry, fiction and non-fiction, young europeanwriterscouncil.eu by nature an international collaboration net- adult and children’s literature, dramas, screen- www.live-dma.eu work based on shared visions and values. Ever plays, core texts for audiovisual works and the since its foundation, exchange of best practices translation of all forms of literary works, while and experiences have been the pivot of the contributing to the debate on the role of au- network’s existence. thors, culture and cultural policy in Europe and the world; to facilitate trans-European cultural & literary co-operation. The European Choral ECA is a network of organisations, choirs and Association – individuals in the field of collective singing in Europa Cantat Europe. Through the membership, it represents MUSIC more than 2,5 million singers, vocal leaders/ conductors, creators/composers, educators/ European Music Council EMC is a non-profit organisation dedicated to www.europeanchoralassociation.org teachers and managers in over 40 European the development and promotion of all genres countries. www.emc-imc.org and types of music in Europe. It is a network that promotes and supports mu- sic-related activities for representatives of both national music councils and European networks Jeunesses Musicales JMI is a global network of NGOs that provide involved in the fields of music education, cre- International opportunities for young people and children to ation, performance, participation, production develop through music across all boundaries. and heritage. www.composeralliance.org Open to all styles of music, it works for and with youth, harnessing the power of music to bridge social, geographical and cultural divides, creat- Europe Jazz Network EJN is a nonprofit Europe-wide association of ing an international platform for intercultural producers, presenters and supporting organisa- dialogue and acceptance. www.europejazz.net tions who specialise in creative music, contem- porary jazz and improvised music created from Independent Music IMPALA is a non-profit pan-European organ- a distinctly European perspective. It exists to Companies Association isation with a scientific and artistic purpose, support the identity and diversity of jazz in Eu- dedicated to small-, micro- and medium-sized rope and broaden awareness of this vital area www.impalamusic.org music companies and self-releasing artists. Its of music as a cultural and educational force. mission is to grow the independent music sector sustainably, return more value to artists, pro- European Composer ECSA is a European network whose main mote diversity and entrepreneurship, improve & Songwriter Alliance objective is to defend and promote the rights of music authors on a national, European, and www.composeralliance.org international level. It advocates for equitable commercial conditions for composers and songwriters and strives to improve the social and economic development of music creation 106 in Europe. 107 The International Music IMMF is an umbrella organisation for a collab- European Dancehouse EDN is a network for trust and cooperation Managers Forum orative network of regional and national mem- Network between European dancehouses sharing a bership associations of self-managed artists common vision regarding the development of www.immf.com and managers. It connects artists and managers www.ednetwork.eu dance art across borders. EDN’s key mission is to globally to share experiences, opportunities, cooperate in securing a sustainable future for information and resources. the dance sector and to improve relevance for diverse dance among society. The Association Européenne AEC is a European cultural and educational des Conservatoires, network with around 300 member institutions The Federation FEST is an international network of organisa- Académies de Musique for professional music training in 57 countries. of European Storytelling tions, networks and associations active in the et Musikhochschulen It understands and supports music and arts education, together with cultural participation, field of oral storytelling. FEST has 87 members in as central contributors to quality in human life, www.fest-network.eu 25 different countries, who represent national, www.aec-music.eu and inclusive societies founded on democratic regional or local organisations like professional values. storytelling associations, festival organisers, storytelling training centres, local authorities,

OTHER European Theatre ETC promotes European theatre as a vital More Europe—external More Europe—external cultural relations is an Convention platform for dialogue, democracy and inter- cultural relations independent initiative which unites cultural action that responds to, reflects and engages institutes and independent private actors of sig- www.europeantheatre.eu with today’s diverse audiences and changing www.moreeurope.org nificance and therefore proposes a singular ap- societies. ETC fosters an inclusive notion of proach towards EU external cultural relations, theatre that brings Europe’s social, linguistic and based on the promotion of fundamental values, cultural heritage to audiences and communities intercultural dialogue, and the recognition of in Europe and beyond. the role of civil society. The Union des Théâtres UTE is an alliance of European theatres, legally de l’Europe headquartered in France. It combines artis- PERFORMING ARTS tic and political goals, using existing artistic IETM is a network of over 500 performing arts International network for www.union-theatres-europe.eu platforms in order to strengthen professional contemporary performing organisations and individual members working exchange and to promote an open Europe of arts in the contemporary performing arts worldwide: culture. theatre, dance, circus, performance, interdis- ciplinary live art forms, new media. It includes www.ietm.org festivals, companies, producers, theatres, VISUAL ARTS AND DESIGN research and resource centres, universities and institutional bodies. European Visual Artists EVA represents the interests of authors’ collec- tive management societies for the visual arts. International Association ASSITEJ unites theatres, organisations and indi- www.evartists.org It includes fine art, illustration, photography, of Theatre for Children viduals throughout the world who make theatre design, architecture and other visual works. and Young People for children and young people. ASSITEJ brings people together so that they can share knowl- edge and practice within the field of theatre for www.assitej-international.org/en children and young people in order to deepen understandings, develop practice, create new Architects’ Council of Europe The Architects’ Council of Europe represents opportunities and strengthen the global sector. the interests of over 600,000 architects from www.ace-cae.eu 31 countries in Europe. It is aimed at promoting architecture in Europe; advancing architectural Circostrada is the European Network for Circus Circostrada quality in the built environment; supporting sus- and Street Arts. It is a European community of tainable development of the built environment; circus and street arts professionals, linked by www.circostrada.org/en and fostering cross-border cooperation. common values and aspirations and working towards achieving better recognition of the sectors. 108 109 The Bureau BEDA includes design promotion centres and of European other publicly-funded organisations that Design Associations promote design nationally or regionally as well as professional and trade associations for de- List of Projects www.beda.org signers from across Europe. BEDA’s vision is for design to be embraced in Europe as a driver of Here is the full list of projects that are sustainable growth and prosperity. featured in the handbook as a case study: Biennale des jeunes créateurs BJCEM is a network with 47 members, ranging Featured de l’Europe et de la Méditerranée from cultural institutions to independent orga- nizations, with partnerships throughout Europe, www.bjcem.org the Middle East and Africa, along with organi- zations and projects focused on the Mediterra- nean Diaspora. BJCEM aims at fostering mutual in the understanding, intercultural dialogue and collaboration in the arts among young creators around the Mediterranean. The Art Directors ADCE represents the best in local European Handbook Club of Europe advertising and design in an increasingly glo- balised market. Internationally recognised as ENGAGING AUDIENCES www.adceurope.org an authoritative voice, ADCE is the platform for CAPACITY BUILDING the creative community to unite, interact, foster, IN THE NEW NORMAL IN THE NEW NORMAL explore, promote and celebrate creativity as a multi-solution approach. 24-27 Re-Connect Online 56-61 Digital Labs Performance Festival Federation of European The FEP is an internationally respected, 62-65 Eastern European Professional Photographers non-profit organisation for photographers, 28-31 Intercity Live Music Academy supporting and networking with photographers 32-37 International Human Rights 66-69 Taking the Stage 2.0 www.europeanphotographers.eu and governments worldwide. The FEP delivers distinctions/awards, education, and profes- Documentary Film Festival sional development, together with a code of Docudays UA 70-73 Artefact: ethics/conduct and a demanding qualification Chornobyl x Madatac structure, together with a programme of events 38-39 Kulturcafe and a number of special promotions on certain 74-77 Woven Network/ products and services. 40-43 Every Day. Art. Women’s Network Solidarity. Resistance 78-81 Online Culture Camp 44-45 Dance and Wellbeing for Youth Campaign PROFESSIONAL CONNECTIONS 46-49 International Picture Book Festival IN THE NEW NORMAL

50-53 Museum Without Walls 84-87 Hatathon: Hack the Culture

Thank you to all project teams for provid- 88-91 Ukrainian Literature: ing information on their activities and for Rights On! contributing to the international cultural relations taking place in 2020 and 2021. 92-95 IETM Multi-location 2020 110 111 Herein we gathered useful The handbook development was initiated by the resources on the Cultural Delegation of the European Union to Ukraine as part and Creative Sector (CCS): of the Alteration programme and led by the Cultural Relations Platform of the Service for Foreign Policy Resources Instruments and the Ukrainian Institute Herein we gathered useful resources on the Idea: Cultural Relations Platform, Ukrainian Institute, TOCultural APPLY and FOR Creative FUNDING Sector (CCS): the Delegation of the European Union to Ukraine Experts team: EU Funding for Culture Guide Anna Karnaukh, Daryna Zhyvohliadova Catalogue of EU grants for CCS in 2021-2027 Editor: Justin Willems GALA Guide Catalogue of funding schemes and Designer: grants for CCS Lera Guevskaya

Translation to Ukrainian: Daria Stokoz TO LEARN MORE ON COVID-19 IMPACT All photos and images were provided The Assessment of the Impact of by the project teams. COVID‐19 on the Cultural and Cre- ative Sectors in the EU’s Partner Handbook completed in July 2021 Countries, Policy Responses and Disclaimer: their Implications for International This publication was produced with Cultural Relations the financial support of the European Union. Cultural Relations Platform study on overall analysis of the policy The content of this publication does not reflect the responses put in place by state and official opinion of the European Union. Responsibility non-state actors for the information and views expressed therein lies entirely with the author(s) and the Cultural Relations Cultural and Creative Sectors in Platform post-COVID-19 Europe Report on crisis effects and policy recommendations Cultural Relations Platform: The Art of Reopening www.cultureinexternalrelations.eu A guide to current practices among arts organizations during COVID-19 Ukrainian Institute: www.ui.org.ua/en The Moment for Change is Now The Delegation of the European Union to Ukraine: Handbook of best cases in www.eeas.europa.eu/delegations/ukraine_en performative sector in 2020 112 113 Cultural Relations in the New Normal

Handbook114 of Project Models