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Pr i n t e d o n w h i t e c h l o r i n e -f r e e p a p e r The Culture Programme • Culture in motion • 2007-2013 Foreword

Culture in motion

The European Union (EU) is often unfairly accused of only being concerned with the market and with economics. Unfortunately all too little is known about the many other things the EU does, including its contribution to making Europe a fairer, more equal and more creative place to live and work.

Ján Figel' This is why we are presenting this brochure, which presents a snapshot of the

Member of the Euro- projects funded by the EU’s Culture Programme. The Programme has a budget pean Commission in of 400 million euros for the 2007-2013 period. It will enable hundreds of cultural charge of education, operators and many thousands of individuals to take part in trans-national cultural training, culture and cooperation projects, and to reach people throughout Europe. youth You will find examples of projects promoting the mobility of artists and their works, increasing access to our common cultural heritage, promoting the creativity of young people through innovative cultural education initiatives, and developing the capacities of cultural professionals. You will also find initiatives promoting intercultural dialogue, a topic of key importance in our increasingly diverse socie- ties. It is one of the main objectives of the programme, and will help to ensure that it remains a priority beyond 2008, the European Year of Intercultural Dialogue.

We are currently witnessing an exciting time, as in May 2007 the Commis- sion proposed its first real strategy for culture at the European level. This was endorsed by the Council and has resulted in the Commission, Member States and stakeholders in the cultural sector agreeing on a common set of objectives to be achieved in partnership. The projects showcased here have been selected with a view to showing how the Culture Programme contributes to this new European agenda.

One of the priorities of the new Agenda is promoting creativity, now acknowledged to be the essential prerequisite of any knowledge-based, modern society. In recognition of this, 2009 will be the European Year of Creativity and Innovation. Many of the projects shown here help foster this process.

I believe that this is more than just another brochure. I hope that the projects presented here may have a long-lasting effect by inspiring you to work with others in projects opening up our cultural life to audiences beyond national borders. I hope you enjoy reading it.

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1 Contents

Introduction 4 The Culture Programme 2007-2013 5

Enhanced danceWEB-Europe 9 DÉPARTS: Investing in a new dance generation 10 MAP XXL Creative mobility 11 European Jazz Orchestra—Swinging Europe 12 Chain of Dance events: keðja — dance encounters 2008-2010 13 The Chamber Orchestra of Europe 14 Cultural Intersections, Mobility, Education and Tradition (CIMET) 15 European Festivals Association — Giving festivals a voice! 16 Circostrada Network 17 Mobile Lab for Theatre and Communication 18 Dream Factories 19 Revealing culture between sound and silence: Cultural mobility of deaf artists of Europe 21 Small size, the net 22 Creative ways to Mozart 23 gau:di (Governance, and Urbanism: a Democratic Interaction) 24 The Great Dragons Parade — European Myths and Legends 25 Revitalising built heritage 27 Repairing Armenia’s musical instrument heritage 28 A syncretic heritage 29 Showing changes 30 Taking a look at Mediterranean (GOTHICMED) 31 URME — Tracing Our Tracks 32 An oppoRtunity to lEArn by LivIng our past (REALITY) 33 Promotion of a Cultural Area Common to European Rural Communities 35

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The International Yehudi Menuhin Foundation 36 History after the fall: The Indeterminacy of the Short Twentieth Century 37 Land of human rights: Artistic analyses and visions of the human rights situation in Europe 38 The power to elect: 100 years of women’s suffrage 39 Theatre reflecting world citizens 40 The future from a different perspective: Rencontres théâtres quartiers d’EUROPE 41 Cultural Diversity in Action-Banlieues d'Europe 43 TEMPS D’IMAGES 44 Inside installations: Preservation and presentation of installation art 45 European mobile lab for interactive media artists 46 European Network of Cultural Administration Training 47

Awarding excellence 48 European Capitals of Culture 52 Facts and figures 54

3 Introduction

The Culture Programme has a valuable role to play in before the new policy agenda was conceived. However, as supporting Europe’s new policy agenda for the field of the objectives of the agenda were determined following culture. The aim of this brochure is therefore to present extensive consultation in order to reflect the priorities of some of the projects funded by the Programme which are the cultural sector, the majority of projects naturally have relevant to the priorities of this agenda. close affinities with the agenda.

You will find examples of projects promoting the mobility In the space available here, it is of course only possible to of artists, the mobility of works, access by young people provide a very partial snapshot of the vast array of work to culture and synergies with education, access to our undertaken on the ground by cultural operators under common cultural heritage, digitisation, intercultural the Programme. Many other worthy projects are currently dialogue, and creativity and innovation. These themes under way, and we will fortunately have the opportunity are of course closely related and most of the projects are to highlight these in subsequent years. therefore multi-dimensional, addressing more than one of these topics. The projects cover a range of sub-sectors We hope that this brochure will help raise awareness of the and some adopt an inter-disciplinary approach. activities co-financed by the European Union in the field of culture across the Member States. We also trust that it will Some of the projects were co-funded by the previous provide ideas for project promoters as well as information programme, which ran from 2000 to 2006, and others are for policy-makers about concrete activities at grass-roots supported by the current programme running from 2007 to level which could contribute to their policy priorities. 2013. Some have already been completed, while others are still ongoing. Many of the projects were therefore designed

Linking practice and policy: the European Agenda for Culture

The projects and activities funded by the Culture Member States have endorsed the Agenda in the Council, Programme should be seen against the backdrop of the and in May 2008 agreed on a three-year work plan for European Commission’s ‘European Agenda for culture in 2008-2010 with five main priority areas: improving the a globalising world’ (May 2007). This policy document conditions for the mobility of artists and other profes- proposed three strategic objectives: the promotion of sionals in the field of culture; promoting access to culture cultural diversity and intercultural dialogue; culture as (the mobility of collections, synergies with education — a catalyst for creativity under the strategy for especially art education, digitisation, multilingualism, growth and jobs; and culture as a vital element in inter- intercultural dialogue, cultural tourism/cultural heritage, national relations. The agenda proposes achieving these multilingualism, access of young people to culture); objectives through a partnership approach. New working developing data, statistics and methodologies; maxim- methods have therefore been developed with the Member ising the potential of cultural and creative industries, in States through a new ‘Open Method of Coordination’ and particular SMEs; and promoting and implementing the structured dialogue with cultural stakeholders. UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions. Policy meetings will be held in European cultural fora in mid-2009 and at the end of 2010, when the first 3-year cycle will be assessed.

4 The Culture Programme • Culture in motion • 2007-2013 The Culture Programme 2007-2013

The European Commission encourages cooperation Cultural operators, including cultural enterprises, can between cultural operators within Europe through both participate in the Programme as long as they are acting its policies and programmes. A total amount of 400 in a non-profit-making capacity. million euros is available for the Culture Programme over the period 2007-2013. Cultural projects can also Eligible applicants must: be funded by other Community programmes, including the Lifelong Learning, Youth-in-Action and Europe for •be a public or private organisation with legal Citizens programmes, and the MEDIA programme in personality, whose principal activity is in the cultural the audiovisual field. Funding for cultural projects is sphere (cultural and creative sectors); also possible through the structural funds, which are •have their registered legal seat in one of the eligible managed nationally. countries.

What’s the general aim of the Programme?

In spite of Europe’s diversity, Europeans nevertheless share a common cultural heritage and certain values. The general aim of the Programme is therefore to enhance this cultural area shared by Europe’s citizens through the development of cross-border cultural cooperation between creators, cultural players and cultural institutions of the countries taking part in the Programme, with a view to encouraging the emergence of European citizenship.

This aim is reflected in the Programme’s three specific objectives:

• promoting the transnational mobility of people working in the cultural sector; • encouraging the transnational circulation of works and cultural and artistic products; •encouraging intercultural dialogue in Europe.

Who is it for?

The Programme supports cooperation projects, organisations, promotional activities and in all cultural sectors, except the audiovisual sector, for which there is a separate programme (MEDIA).

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Which countries? •Cooperation with third countries: 3 partners from 3 different eligible countries, plus cooperation with 1 Organisations based in the following countries are organisation from the selected third country — Dura- eligible for the Programme: tion: up to 2 years (grants between 50 000 and 200 000 euros) •EU Member States; •Special measures such as cultural prizes (contemporary •EEA countries (, Liechtenstein, ); architecture, cultural heritage, pop music and contem- •Countries applying to become an EU member (Croatia, porary literature) and the European Capitals of Culture. and Former Yugoslav Republic of Macedonia) and Serbia. Strand two: Support for cultural organisations and networks of European interest Organisations based in the countries of the western (approximately 10% of the Programme budget). This Balkans (Albania, Bosnia-Herzegovina and Montenegro) strand aims to co-finance the operating costs of the long- could become eligible in future, if a Memorandum of term work programmes of organisations pursuing an aim Understanding is agreed. of general European interest in the field of culture or an objective forming part of the EU policy in this area. Countries not included in the list of eligible coun- tries are referred to as third countries. Cooperation Strand three: Support for activities maximising the with cultural operators from third countries is also impact of projects, analysis, statistics, studies on cultural supported through the Programme. Each year, the focus cooperation and cultural policy development is on specific third countries. (approximately 5% of the Programme budget). This support aims to promote analysis in the cultural field, raise aware- ness of the Programme, and promote its results. What can be funded? Please be aware that an EU grant cannot finance the full The Programme has a flexible, interdisciplinary costs of an action. Applicants are required to show their approach and focuses on the needs expressed by commitment to the action by finding additional resources cultural operators during the public consultations other than the EU grant, for example through fund- leading up to its design in 2006. This has led to a more raising activities, own resources, or grants from other user-friendly application procedure and the development organisations (e.g. local, regional or national authorities, of a Programme Guide containing essential information foundations, etc.). on the Programme.

There are three main types of activity supported under the Programme. Support is thus grouped under the three following strands:

Strand one: Support for cultural actions (approximately 77% of the Programme budget)

It is divided into three sub-categories:

•Multi-annual cooperation projects: 6 partners from 6 different eligible countries — Duration: 3-5 years (grants between 200 000 and 500 000 euros) •Cooperation projects: 3 partners from 3 different eligible countries — Duration: up to 2 years (grants between 50 000 and 200 000 euros) •Literary translation projects — Duration: up to 2 years (grants between 2 000 and 60 000 euros)

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How can you participate? Cultural Contact Points have been established in the countries taking part in the programme. If you are interested in developing a project and receiving Their purpose is to promote the Programme, provide financial support from the Culture Programme, please information, and assist cultural operators with their consult the European Commission’s Programme Guide, applications. They should also be able to inform you of where you will find all the necessary information. You can other funding possibilities for cultural projects. If you consult the Guide online on the website mentioned below. are interested in the Programme or would like to prepare an application for a grant under the Programme, you are strongly advised to contact your local Cultural Contact What’s the procedure? Point at an early stage and to make use of its expertise.

The European Commission’s Directorate General for Education and Culture (DG EAC) is responsible for the Web links Culture Programme and directly manages some of its activities. However, most of the grants are administered You can find more information on the Programme, the by the Education, Audiovisual and Culture Executive Programme Guide and the Cultural Contact Points at: Agency (EACEA), which operates under DG EAC’s control http://ec.europa.eu/culture/index_en.htm and is also based in . http://eacea.ec.europa.eu/index.htm Further information on the various application procedures is available in the Programme Guide. Programme Guide: http://ec.europa.eu/culture/calls-for-proposals/call98_ Applications for projects are assessed on the basis of en.htm the criteria set out in the Programme Guide. Applicants are advised to take careful note of these criteria when Cultural Contact Point: preparing their applications. http://ec.europa.eu/culture/annexes-culture/doc1232_ en.htm

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Enhanced danceWEB- European Contemporary Dance Europe Co-production has co-produced 30 dance productions by emerging European Enhanced danceWEB-Europe (2005-2008) choreographers involving artists from 32 is a project-oriented network seeking different European countries. Its aim is to promote the artistic development of to foster creative processes in the field of young dancers and choreographers from contemporary dance. different European countries. It focuses on further education and training and on The touring programme has supported co-production and distribution in insti- different forms for the distribution of tutes, festivals and the media. choreographic works at a time when considerable changes are occurring both The project has covered four actions over in the production and the distribution three years. For example, the danceWEB of dance works. Consequently, in addi- European Scholarship Programme was tion to promoting the touring of choreo- a further training programme for young graphic works, the project has supported professional dancers and choreogra- residencies, choreographic projects phers, which took place over a five-week on the net and experimental dance period as part of ImPulsTanz, the projects aimed at reaching audiences International Dance Festival. and increasing their understanding. Moreover, the touring programme has During its three years, the project has provided a valuable European platform supported 175 young professional for young dance artists, for example dancers drawn from every part of Europe. the Young Choreographers’ Series It has focused on artistic and intercul- [8:tension] organised by the festival tural exchange between young artists ImPulsTanz, the Austrian partner of from different backgrounds and on Enhanced danceWEB-Europe. the development of common projects. The training programme in dance with An interactive homepage European relevance has benefited 545 www.danceWEBeurope.net has extended dancers since its creation in 1996 and networking possibilities and has helped has become a reference for many artists to promote high-quality work. Services and dance institutions in Europe. developed in this area include: online applications, a forum for online exchanges between artists, producers and dance institutions, and a newsletter.

Practical Information Co-Organisers: Centre chorégraphique national de Montpellier; France TITLE: Enhanced danceWEB-Europe Ultima Vez, Brussels, Belgium Main theme: mobility of artists/circulation of Southbank Centre , works ccap , Other themes: intercultural dialogue, crea- Duration: 2005-2008 tivity and innovation, access to culture EU multi-annual grant: EUR 900 000.00 Sector: performing arts Website: http://www.dancewebeurope.net Lead Organiser: danceWEB,

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DÉPARTS: Investing DÉPARTS #3 co-produces works by in a new dance choreographers who have participated in training projects and provides profes- generation sional and highly acclaimed facilities. DÉPARTS seeks to invest in the future This makes it possible for the choreogra- of European contemporary dance by phers to develop their skills and gives helping young artists with their careers. them an opportunity to reach an interna- It does this by providing access to tional audience and build relationships high-quality training facilities outside in the world of professional dance. traditional education structures and supporting the transition to becoming a In terms of impact, more than 200 professional performing artist. young choreographers and dancers from Europe and abroad will participate The DÉPARTS network organises three in contemporary dance training and types of activities. DÉPARTS#1 offers coaching. This will contribute to the advanced training, coaching and resi- spread of know-how and skills. Scholar- dency programmes for young dancers ships enable talented individuals from and choreographers. The network socially and regionally disadvantaged provides a professional dance infrastruc- backgrounds to take part. Every year, ture, daily training facilities, artistic some 45 young choreographers will be feedback and the possibility to perform offered free working facilities, dance selected projects. classes, and logistical and artistic upport. Bringing artists together within DÉPARTS #2 aims to develop access this infrastructure stimulates partner- to high-level professional training for ships between artists and helps them to talented young dancers. It seeks to elimi- develop new projects. nate existing international barriers for young European dancers and choreogra- More than 60 young choreographers who phers. It informs local dance communi- participated in the DÉPARTS programmes ties, sets up auditions across Europe will be given the opportunity to develop and has set up a student grant system to and perform their creative work profes- support the training of participants. sionally on well-known stages. This will help them establish a professional career as young artists working in the competitive international contemporary dance scene.

Practical Information PACT Zollverein - Choreographisches Zentrum NRW, TITLE: DÉPARTS: investing in a new dance Alkantara, generation Trafo, Main theme: mobility of artists Springdance, the Other themes: circulation of works Hebbel am Ufer, Germany Sector: performing arts Duration: 01/05/2006-30/04/2009 Lead Organiser: P.A.R.T.S., Belgium EU multi-annual grant: EUR 900 000 Co-Organisers: Kunstencentrum Vooruit, Website: www.parts.be Belgium

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MAP XXL (European forum for emerging creation, Creative mobility ‘Park in progress’, etc.). These events are a genuine platform for dialogue and the The aim of MAP XXL is to promote the starting point of new co-productions. The mobility of artists and cultural workers project also seeks to develop new media from all disciplines with a view to stimu- partnerships and new media (interactive lating new creative processes. It will database, written publications). enable more than one hundred artists from across Europe to work together. It MAP XXL’s third activity is a programme was awarded a multi-annual EU-grant to promote co-production, produce in order to broaden the organisation’s training tools to develop both the artistic scope to encompass the whole of and professional skills of young artists, Europe. 7 co-organisers and 104 part- and provide professional and financial ners in 26 countries are involved. support for new partnerships.

Three areas of activity are covered. The Approximately 70 000 people are first is a mobility programme aimed expected to be reached by the various at stimulating new forms of expres- activities. Other expected results include sion through fresh encounters and increased mobility for over 100 young exchanges, resulting in the production of artists in 26 partner countries, the produc- art within a culturally diverse context. tion of around ten events reaching a broad audience, the growth of the network, The second set of activities is communica- greater circulation of co-productions tion-based. They seek to promote audi- developed within the programme, ongoing ences’ understanding and awareness of partnerships, and enhanced professional new approaches and productions, through skills through the workshops. the organisation of various events

Co-Organisers: City of Huesca – Cultural Practical Information Department, Spain Finnish Artists’ Studio Foundation, Finlan- TITLE: MAP XXL – Creative mobility Centre culturel de rencontre – Abbaye de Main themes: mobility of artists/ circulation Neumünster, Luxemburg of works Crawford Municipal Art Gallery, Other themes: creativity and innovation, CIANT, intercultural dialogue, access to culture UNITER, Sector: performing arts, visual arts Duration: 01/05/2005-30/04/2008 Lead Organiser: Pépinières européennes EU multi-annual grant: EUR 870 000 pour jeunes artistes, France Web site: www.art4eu.net

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European Jazz Playing in a big band continues to attract Orchestra—Swinging discerning musicians. A workshop and the tour itself help the individual musi- Europe cians to further develop their personal The European Jazz Orchestra is a big band and professional networks across of young musicians from across Europe, borders, and hence their future inter- touring the continent for three weeks and national carriers. Furthermore, the presenting a series of concerts coordi- orchestra offers a highly stimulating nated by the Danish-based organisation environment that can provide the musi- ‘Swinging Europe’ in close cooperation cians with inspiration for new works. with the European Broadcasting Union (EBU). Each year the band has a completely The tour emphasises intercultural new line-up, with new musicians, new dialogue in the concerts given across composers and a new conductor. Europe and internationally. Musicians from a variety of cultural backgrounds Since 1998, Swinging Europe has taken guarantee that the orchestra reflects to the road every year touring with Europe’s rich cultural diversity, but also the European Youth Jazz Orchestra. It its shared values and how music can works in partnership with the worldwide serve as a unifying bond, thereby serving network of jazz producers from national as an ambassador for the European Union. public radio stations — organised within the EBU. The EBU jazz producers choose 45 European countries are represented in a new conductor, new composers and the project. 45 000 people have attended a new line-up of musicians drawn from the 175 concerts. 226 young musicians, 13 different cultural backgrounds, who conductors and 46 composers have taken come together for a three-week concert part. 10 CDs have been released and 2 tour. The musicians, aged 18-30, already documentary films produced. The project have blooming careers behind them has helped develop a huge network of within the world of jazz, rock, pop and young musicians, forging international electronic music. They make time in links within Europe. Furthermore, 136 new their regular tour schedules to grasp the compositions and arrangements have opportunity to ‘sit in the section.’ been created by European composers for larger jazz ensembles.

Practical Information Lead Organiser: Foreningen Kulturremisen, TITLE: European Jazz Orchestra – Swinging Co-Organiser: European Broadcasting Union Europe (EBU) Main themes: mobility of artists/ circulation Duration: 01/01/2008-31/12/2008 of works EU multi-annual grant: EUR 208 495.00 Other themes: intercultural dialogue Website: www.swinging-europe.dk Sector: performing arts

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Chain of Dance and young people to meet and explore events: keðja — dance important issues in contemporary dance encounters 2008-2010 within the Nordic/Baltic region. keðja is the Icelandic word for chain and Over a period of 3 years, 6 encounters is associated with the old Nordic chain with different dance-related themes dances that are still being danced today. will be arranged in 6 countries. Artistic The name keðja symbolises the aim of events, workshops, seminars and other the project, which is to connect, attach, kinds of exchange will be organised, encircle and move outwards as well as to addressing the future of contemporary strengthen the already existing networks dance and its role in society, raising in the field of contemporary dance. awareness of dance, revealing potential new areas, and facilitating development keðja comprises 6 international dance in all sectors of dance. encounters. Its aim is to improve under- standing of how contemporary dance is keðja’s vision is to make a long-term organised and operates in the Nordic- impact on the environment for dance in Baltic countries, exploring current , including the possi- developments in dance, and to promote bilities for mobility, working condi- cooperation across borders, thereby tions within the area, its status as an stimulating and developing the practice art form and expanding the network to of contemporary dance. more countries. The project also seeks to reach out to the European public by The keðja project is a rapidly growing showing the best that dance has to offer. platform for dancers and choreographers as well as educators, producers, scholars and academics, artists from other sectors

Practical Information Co-Organisers: Lithuanian Dance Information Centre TITLE: keðja – dance encounters 2008-2010 Dance Info Main theme: mobility of artists Dance Information Norway Other themes: access to culture, creativity Moderna Dansteatern, Sweden and innovation Iceland Dance Company Sector: performing arts Duration: 01/10/2007-31/12/2010 Lead Organiser: Dansens Hus, Denmark EU multi-annual grant: EUR 600 000 Website: : http://www.kedja.net

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The Chamber Orchestra as a COE member back with them, which of Europe benefits their future work and careers.

The Chamber Orchestra of Europe was The COE has given over 1200 concerts in founded in 1981. It comprises fifty 450 concert halls as part of 300 orches- musicians from fifteen countries. They tral tours organised throughout Europe perform together mainly in continental as well as in America and Asia since Europe, where the orchestra has devel- 1981. It has formed a European Part- oped strong links with a wide range of nership Scheme with a group of major concert halls and festivals. The COE is European concert halls, which ensures an ambassador for European culture and greater financial and artistic stability. a role model for European integration, intercultural dialogue and mobility. The COE has recorded over 250 works, for which it has won many international Many of the musicians graduated from awards, including three Gramophone the European Union Youth Orchestra. ‘Record of the Year’ awards (in 1986, They have parallel careers as interna- 1988 and 1992), the ‘Best Classical Vocal tional soloists, members of eminent Performance’ category in the Annual chamber groups, and music teachers. Grammy Awards in 2004 and the MIDEM Over 20 members of the COE are leaders 2008 ‘Classical Download’ award. and principals of other nationally based orchestras. The musicians bring their In tandem with the orchestra’s concerts, varied experiences as key members of COE musicians are actively involved in a national and local music ensembles to wide range of educational projects. the COE and then take their experience

Practical Information Sector: performing arts Organiser: Chamber Orchestra of Europe, UK TITLE: The Chamber Orchestra of Europe Duration: 01/01/2008-31/12/2010 (COE) EU Operating Grant: EUR 303 980 Main theme: mobility of artists Website: www.coeurope.org Other themes: intercultural dialogue

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Cultural Intersections, In the year that this project ran, over Mobility, Education and 100 international young dancers and performing artists participated in more Tradition (CIMET) than 20 workshops, classes, research This project aimed to enhance the projects, productions and performances. creative experiences of participating Five new works were completed and artists in the field of performing arts performed in at least two of the following and contemporary dance in particular. It cities: Salzburg (Austria) (Slov- supported mobility, training, education, enia) Jesi () Milano (Italy) Novi Sad partnerships and production in the field (Serbia) Pula (Croatia) and Polverigi (Italy). of contemporary dance and related disci- plines, in particular for young dancers The training and education needs of and performing artists under the age of dancers were explored, as well as the 35. The focus was on finding new forms question of how to improve the quality of cooperation among co-organisers of training programmes and access to and partners in Austria, Italy, , them. The project provided a sound Croatia and Serbia. The mobility of testing ground for new education and trainers and dancers was a key element training initiatives developed between in this project, giving their work greater the participating organisations. international exposure and strength- Several productions were devised for ening each of the participating organisa- this purpose. tions in complementary ways. The project also sought to strengthen ongoing sustainable initiatives within central Europe by participating in activi- ties it had directly or indirectly prompted.

Practical Information Lead Organiser: Zavod En-Knap, Slovenia Co-Organisers: Ineatro, Polverigi, Italy TITLE: Cultural Intersections, Mobility, SEAD, Salzburg Experimental Academy of Education and Tradition (CIMET) Dance, Austria Main theme: mobility of artists Duration: 15/07/2004-14/07/2005 Other themes: circulation of works, intercul- EU annual grant: EUR 96 790 tural dialogue Website: www.en-knap.com/en/index.php Sector: performing arts

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European services, coordinating contacts and facili- Festivals tating cooperation and co-productions between members and with partners. Association — It shares expertise by encouraging Giving festivals a voice! research on festivals and disseminating this information. Little by little, the EFA Art produces meaning and brings is developing into a festival resource different people together. In its more and expertise centre. It provides training than 50 years of existence, the European and education for new festival program- Festivals Association (EFA) has grown mers through the European Atelier for into a dynamic cultural network. Today Young Festival Directors. Finally; it invites it represents 87 individual festivals, festival promoters to engage in broader 12 national festival associations and 4 reflection on culture and arts in society cultural networks. They are active not and plays an advocacy role on behalf only in Europe but also in the southern of festivals in the international cultural Mediterranean countries, the Balkans, policy debate. Asia and South America. Some flagship projects within the EFA’s The EFA offers support to festivals in their work programme include the EFA BOOKS mission of working together, exchanging series launched in 2006. EFA BOOKS look ideas, stimulating creativity, extending at the role of arts, culture and festivals in horizons, and creating new dynamics and society from a variety of perspectives. At synergies. Over the last 4 years in partic- policy level, the EFA has been behind the ular, since it moved its office to Belgium, Arts Festivals’ Declaration on Intercul- the EFA has focused mainly on spreading tural Dialogue. information about festivals, providing

Practical Information Sector: performing arts Organiser: European Festivals Association, TITLE: European Festivals – Belgium Giving festivals a voice! Duration: 01/01/2008-31/12/2008 Main themes: circulation of works, mobility EU Operating grant: EUR 102 335 of artists Website: www.efa-aef.eu Other themes: intercultural dialogue, access to culture

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Circostrada Network Finally, the Network organises profes- sional encounters and meetings between The Network seeks to develop and struc- cultural operators in street and circus ture street and circus arts on a European arts (producers, artists, programmers, scale. These sectors demonstrate a high European institutions and networks) in level of artistic dynamism throughout order to examine the problems in these Europe, and there is a need for a space sectors, to contribute to the develop- for exchanges, cooperation, reflection ment of trans-national projects and to and professional representation at Euro- exchange views on current European pean level. policy debates.

The Circostrada Network has three main In 2007, the Network’s main actions activities. First, the project aims to collect included: and pool available information on street - ‘Street Artists in Europe’, a report and circus arts (artists, companies, and recommendations to the European festivals, production centres, program- Parliament; ming venues including the festivals, - a Colloquium ‘Diversity of Street Arts in professional news, specialised articles Europe’ in Tárrega (Spain); and works, etc.). This is used to update - 3 professional encounters: in Tournai a European database, to publish useful (Belgium) for the 20th anniversary of the resources for use in the field, to maintain festival La Piste aux Espoirs, in Tárrega the www.circostrada.org internet site and (Spain) for the 27th Fira Tárrega festival to produce digital newsletters. and in Liempde (Netherlands) for the very first Circo Circolo festival; Secondly, the Network coordinates - www.circostrada.org: Internet site research and reflection in the field with online directories, current news, of street and circus arts. It does this bibliographies, studies and publications through studies and colloquia and by accessible free of charge, all in at least maintaining relations with researchers two languages (French, English);- 10 who work in the field. digital newsletters sent to around 14 000 people throughout Europe.

Practical Information Sector: performing arts Organiser: HorsLesMurs, France TITLE: Circostrada Network Duration: 01/01/2007-31/12/2007 Main themes: circulation of works, mobility EU annual grant: EUR 95.43.00 of artists Website: www.circostrada.org Other themes: access to culture

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Mobile Lab for Theatre 10 European theatre festivals, 27 young and Communication theatre critics and journalists, and a range of performing artists participate in This project promotes understanding the Mobile Lab project, which is held at of contemporary theatre in Europe by all participating festivals. Young critics developing a dialogue between artists, travel to different festivals, watch a programmers and audiences on contem- specially selected artistic programme, porary artistic expression and the meet festival artists and audiences and complex world in which we live. It has develop their writing and communication developed a set of activities ranging skills under the guidance of experienced from performing, watching; evaluating, theatre and arts critics. Their reviews of writing and reading to mutual discussion the festival’s performances are trans- among artists, critics and spectators. lated into the local language, published in the local media and thus become Contemporary art, and more specifically accessible to the broader public. In order contemporary theatre and performance, to be read by international patrons as is not usually part of public discourse well, all the articles written during the within European and local cultures. Mobile Lab sessions are published on the On the one hand, the audience often project website. has pre-conceptions about the elitist character of contemporary theatre and This project establishes an informal is apprehensive of ‘not understanding network of young theatre critics and jour- anything.’ On the other hand, there is the nalists with knowledge and experience of question of how to communicate contem- the European performing arts. Not only porary theatre practice to a wider audi- does it contribute to the mobility of Euro- ence. Journalists and theatre critics do pean artists, it also stimulates reflection not always have the necessary tools and on cultural identity and in doing so helps are frequently unable to follow and adapt develop better mutual understanding to the speed with which new theatre within Europe. forms develop.

Practical Information Q-teatteri r.y., festival Baltic Circle, Finland Spielmotor Munchen e.V., festival Spielart, TITLE: Mobile Lab for Theatre and Communi- Germany cation Stowarzyszenie Rotunda, festival Cracow Main theme: access to culture/ circulation of Theatrical Reminiscences, works Foundation Rakvere Theatre House, festival Other themes: mobility of artists, intercul- Baltoscandal, Estonia tural dialogue Zavod Exodos Ljubljana, festival Exodos, Sector: performing arts Slovenia Lead Organiser: New Theatre Institute of Duration: 15/09/2007-15/05/2009 Latvia, festival Homo Alibi, Latvia EU Annual grant: EUR 196 770.00 Co-Organisers: Association Divadelna Nitra, Website: www.theatre-fit.org festival Divadelna Nitra,

18 projects The Culture Programme • Culture in motion • 2007-2013

Dream Factories: The exhibition encourages debate A Travelling Exhibition through a number of events and semi- nars looking at how we cope with our on Industry and recent industrial past. An e-learning Modernism in the programme on Industry and Modernism Baltic Sea Region 1945- and an international students’ seminar, 1990 marking the year of intercultural dialogue (October 2008), have been Industry and modernism in the Baltic specifically designed for younger Sea Region in the period 1945-1990 is students with no prior experience of the the main theme of this travelling exhibi- industrial era. tion, which was launched at the Workers’ Museum in in October 2007 The travelling exhibition acts as an and will run until 31 August 2010. The eye-opener for the general public: it exhibition is now travelling through the offers a view of neighbouring countries’ countries involved in the project: Sweden, industrial heritage, highlighting produc- Finland, Estonia, Latvia, and tion forms, living conditions and the Norway. Each participating museum will built environment. This can help develop host the exhibition for three months. mutual understanding by comparing modern production methods in the Our industrial cultural heritage is a key to Nordic welfare states and the Baltic a better understanding of the societies in Soviet republics across the former cold which we live. The exhibition on industry war borders. and modernism is centred around seven post-war case stories or ‘dream factories’, The cooperation between the partners one from each county. These stories are in this project has forged links leading based on research, documentation and to the Industry and Modernism Museum material provided by researchers from Network and to close institutional coop- museums, universities and national eration between universities, European heritage agencies. The exhibition depicts Museums and national heritage agencies. the political, technological and aesthetic ideologies and dreams behind these factories, but also features their less positive aspects.

Practical Information Co-Organisers: Museum of Science and Tech- nologies, Norway TITLE: Dream factories? A travelling Exhibi- Museum of Work, Sweden tion on Industry and Modernism in the Baltic Museum of Science and Technology, Sweden Sea Region 1945-1990 Museum Centre Vapriikki, Finland Main theme: circulation of works Helsinki City Museum, Finland Other themes: intercultural dialogue, access Estonian National Museum, Estonia to cultural heritage, culture and education Duration: 01/09/2007-01/09/2009 Sector: cultural heritage EU multi-annual grant: EUR 200.000 Lead Organiser: The Workers’ Museum, Website: : www.dreamfactories.eu Denmark

19 projects The Culture Programme • Culture in motion • 2007-2013

Creative ways to Mozart. © Lead organiser: RESEO - European20 Network for Opera and Dance Education, Belgium projects The Culture Programme • Culture in motion • 2007-2013

Revealing culture and fine arts workshops, exhibitions, between sound and seminars and theatre performances.

silence: Cultural The development of an international mobility of deaf artists network of European Deaf Culture and Arts of Europe is important to support active cooperation in the visual and performing arts within This project opens up cultural activities and between cultural bodies in the field to the hearing-impaired by developing a of deaf art. It also encourages common European network and exchanges on art artistic projects between people and diversity, and reveals deaf culture and organisations with different artistic visions art to new audiences. It also develops from a variety of cultural backgrounds. training activities in order to provide deaf people with professional artistic Through the sharing of experience, the skills and offers capacity building assist- project raises awareness of the impor- ance to organisations for deaf artists. tance of education in the field of culture for the hearing-impaired and supports This current project builds on the experi- the development of specific education ence of the International Culture Festival methods in the cultural sector to help of the Deaf. It encourages the mobility of work with them. Working together on deaf artists, cultural operators and their common projects helps to develop skills works of art across Europe. It promotes and tools that deaf artists or producers creativity and contributes to a new can use to develop their creativity. intercultural dimension in deaf culture and art. The project’s main activity is A database of deaf artists and cultural the ‘Deaf Culture Days’. This event to topics relating to hearing-impaired art promote deaf culture and arts takes place will be developed. This is expected to in each partner country. It focuses on greatly improve access to information on deaf visual and performing arts in drama art in this field.

Practical Information Lead Organiser: FFETA – Centre of St. Francis of Sales, Slovakia TITLE: Revealing culture between sound and Co-organisers: Janáčkova akademie silence: Cultural mobility of deaf artists of muzických umění v Brně, Czech Republic, Europe Conte Sur Tes Doigts, France Main themes: access to culture, culture and Association CinéSourds, France education Stichting onderwijs Effatha, the Netherlands Other themes: mobility of artists/ circulation Duration: 01/09/2007-31/08/2009 of works, intercultural dialogue, creativity EU multi-annual grant: EUR 100 000 Sectors: performing arts, visual arts

21 projects The Culture Programme • Culture in motion • 2007-2013

Small size, the net— held in Italy, Belgium, Spain, Slovenia, Development of a Romania and Germany, and platforms have been organised in England and Scotland. European network to A website (www.smallsize.org) and a data- promote performing base have been established. arts for early childhood The Small Size International Artistic Small size, the net is a three-year project Association has been formed and the that seeks to further the development Small Size seeding fund created to of a European network to promote support the development of eight new performing arts among young children, productions by theatre companies and in particular within the 0-3 age range. artistic producers from several European countries for children aged between 0-4 The network was first created in 2005 years. The co-organising companies have and aims to promote awareness of produced 14 new productions for chil- the importance of the performing dren 0-6 years (8 of which for children arts in early childhood. It addresses aged 0-3 years). producers and artists as well as educa- tors, researchers, pre-school teachers Small Size Workshops have been devel- and child carers supporting the cultural oped for young artists and playwrights development of children in early educa- and for nursery staff and teachers from tion and childcare. The network provides several European and non-European an opportunity to meet, to share experi- countries. These contribute to the ences and to exchange information and sharing of common artistic experiences. research results, also with a view to setting up cooperation projects. The network stimulates research and highlights approaches and opportunities During the first two years of Small size, the for maintaining and enriching cultural net, nine ‘Small Size’ festivals have been involvement through the performing arts in early childhood.

Practical Information Lead Organiser: La Baracca, Italy Co-organisers : Acción educativa , Spain TITLE: Small size, the net - Development of GOML, Slovenia the European Network for the diffusion of Théâtre de la Guimbarde, Belgium performing arts for early childhood Helios Theater, Germany Main theme: access to culture/ culture and Teatrul Ion Creanga, Romania education Polka Theatre, UK Other themes: mobility of artists, circulation Duration: 01/09/2006-31/08/2009 of works EU multi-annual grant: EUR 752.499.32 Sector: performing arts Website: www.smallsize.org

22 projects The Culture Programme • Culture in motion • 2007-2013

Creative ways to Mozart young people to Don Giovanni’s themes and music. In Belgium and the Nether- The Creative Ways to Mozart Project lands, artists and education managers (CWM) emerged from cooperation worked together to make a short film and between opera houses and youth a series of workshops for schoolchildren culture organisations. Working with and their families with the aim of looking artists, teachers and young people from at Mozart from a contemporary perspec- across the continent, the co-organisers tive by examining his travels, his letters exchanged, compared, brainstormed, and his music. documented and, above all, produced ways to revitalise Mozart for young A partnership between four opera people and at the same time to celebrate houses in Estonia, Germany, Finland and his 250th anniversary. the United Kingdom developed a hip-hop version of Così fan tutte. A rap opera Creative Ways to Mozart was developed called Hip h’opera was produced. by the European Network for Opera and Interactive workshops on the composer’s Dance Education (RESEO): it explored best-known works were developed. the question of how to creatively engage young people — from pre-school to young As regards results, 24 opera houses adulthood — with Mozart’s operas. (co-organisers and partners) presented This project uses the diversity Mozart’s work to 136 000 young people of RESEO members’ education (under 26) in twelve countries. Crea- programmes and objectives, which are tive Ways to Mozart was documented shaped by local education systems and in a highly praised bilingual (English/ cultural priorities, to reflect the central French) publication, covering all aspects role played by diversity. of the project. The project raised the public profile of opera education thanks One way of triggering creativity is gath- to sustained media interest. The Hip ering people to work together. During h’opera co-production has encouraged a weekend of intensive workshops in lasting cooperation between Europe’s Como, Northern Italy, opera education opera houses, a number of which are managers and artists from across Europe involved in RESEO’s current Creative and a group of Italian primary school Residencies Project. teachers explored ways of introducing

Practical Information Co-organisers: As.Li.Co., Italy Estonian National Opera, Estonia TITLE: Creative Ways to Mozart Finnish National Opera Main theme: access to culture/ culture and Glyndebourne Festival, UK education Komische Oper, Germany Other themes: mobility of artists, creativity Latvian National Opera Sector: performing arts, community arts La Monnaie, Belgium Lead Organiser: RESEO - European Network Het Muziektheater, the Netherlands for Opera and Dance Education Duration: 01/09/2005-31/08/2006 EU operating grant: EUR 142 298.66 Website: www.reseo.org

23 projects The Culture Programme • Culture in motion • 2007-2013

gau:di (Governance, The project includes the following activi- Architecture and ties: ‘gau:di Kids’ consists of interactive Urbanism: a Democratic games for young children presented Interaction) at the project site as well as electronic guide books to help show how to set up gau:di is a cooperation programme workshops for children; for cultural organisations dedicated Travelling exhibitions and workshops; to contemporary architecture and its Architecture competitions for students in promotion among different target architecture, urban studies and design; groups, including children, cultural An ‘Architectural Records’ colloquium centres, culture professionals, and on the preservation and management of urban settings. The programme aims to digital archives; facilitate the circulation of initiatives, The creation of a contemporary architec- ideas and players, to stimulate creativity ture observatory; and experimentation, and to integrate An internet site: an interactive plat- sustainable development within the form for information, coordination and concept of contemporary architecture. exchange; The publication of a critical review of The programme is coordinated by six contemporary architecture; partners with considerable experi- ‘Stock exchange’: a platform for sharing ence in European cooperation. These and exchanging architectural products; organisations all have similar missions: Annual meetings between the to promote contemporary architecture co-organisers. (exhibitions), to develop an inventory of museum collections, to disseminate research, and to focus on development (archives, research, education).

Practical Information Co-organisers: The Architecure Foundation, UK Cité de l’Architecture et du Patrimoine, TITLE: gau:di (Governance, Architecture and France Urbanism: a Democratic Interaction) Fundació Mies van der Rohe, Spain Main theme: access to culture The Lighthouse, UK Other themes: mobility of works, creativity Museum of Finnish Architecture, Finland and innovation The Royal Institute of British Architects, UK Sector: architecture, cultural heritage Duration: 01/10/2005-30/09/2005 Lead Organiser: CIVA - Centre International EU multi-annual grant: EUR 1 801 900 pour la Ville, l’Architecture et le Paysage, Website: www.gaudi-programme.eu Belgium

24 projects The Culture Programme • Culture in motion • 2007-2013

The Great Dragons countries, were developed for a wide Parade — European audience. The project included work- shops for artists, teachers and children, Myths and Legends which brought people from different The main theme of the project ‘The Great cultural backgrounds to work together Dragons Parade — European Myths and on familiar themes. It opened up the Legends’ was the common European mythical history of the continent for heritage of myths and legends about people to share. People participated dragons across Europe. By working in in the project in an active and creative partnership and exchanging experi- way. The performances involved children ences, the project sought to develop working with professional artists. a methodology to involve children and young artists in projects showing The project resulted in the production Europe’s shared myths and legends. of three shows presenting European legends in the Czech Republic, Ireland The main aim of the project was to bridge and Poland. different cultures by working together There were approximately 600 000 to experience mutual cultural heritage. participants in 6 countries, and an even Stage performances were organised broader audience was reached through an using dragons as a leading theme. Street Internet broadcast of the event in Krakow. parades and plays on water, based on myths and legends of the participating

Practical Information Co-organisers: St. Patrick’s Festival/ Feilte Dhuibh Linne TITLE: The Great Dragons Parade - European Teoranra Ltd., Ireland Myths and Legends Divadlo Maškaron, Czech Republic Main theme: access to culture/ culture and Heart of the Dragon, Wales education Teatro do Elefante, Portugal Other themes: intercultural dialogue Arlekin Theatre, Poland Sector: performing arts, cultural heritage Duration: 18/09/2006-17/09/2007 Lead Organiser: Groteska Theatre, Poland EU annual grant: EUR 150 000 Website: www.dragonsparade.eu

25 projects The Culture Programme • Culture in motion • 2007-2013

Tour & Taxis, Brussels, Belgium. 26 Awarded Prize for Cultural Heritage 2008, Category for Conservation © projects The Culture Programme • Culture in motion • 2007-2013

Revitalising built In 2006 a new project was launched heritage with the aim of sharing knowledge at European level in order to stimulate The International Built Heritage Conser- intercultural dialogue and mutual under- vation Training Centre (BHCT) aims to standing. The purpose of this project promote excellence in conserving Europe’s was to develop a format for the transfer heritage. It seeks to uphold traditional of know-how, based on the experience building skills and to promote them acquired at Banffy, on the role heritage among a wider audience. The project conservation plays for social integration breathes new life into local communi- within communities. ties and regions by tapping into existing potential and giving it a central place in Both projects have led to sustainable society. The 2 projects funded through the results. They have continued beyond Culture Programme have helped rebuild the duration of the EU grants. More than part of Banffy Castle, a major but seriously 800 students have been trained under damaged historic building in Bontida, the BHCT programme, from Romania, Romania, while at the same time training Hungary, Slovakia, Slovenia, the Czech craftsmen from across Europe in conserva- Republic, Estonia, Sweden, France, tion building skills. In 2008, the quality of Brazil, Australia, Belgium, USA, and the work resulted in the restoration project UK. New links are being developed with winning one of the European Union’s other European countries. Awards for Cultural Heritage. Based on these projects, guidelines have been drawn up to demonstrate the The BHCT follows a holistic approach role of heritage as a vector for greater to preservation, offering workshops to social cohesion, rural regeneration and people who play an important role in citizenship. Good practices are being safeguarding Europe’s cultural heritage. shared throughout central and , workshops are organised in The first project to be funded trained different locations and an exhibition of people in restoration techniques while the Centre’s work has been developed. working on Banffy Castle’s restoration. Cultural Days take place at Banffy Castle Craftsmen, university students and post- every year in August, attracting people graduates developed their skills on site. from a variety of cultural backgrounds.

Practical Information Co-organisers: Institute of Historic Building Conservation, UK TITLE: Revitalising built heritage National office of Cultural Heritage, Hungary Main theme: access to cultural heritage Duration: 20/06/2004-20/06/2005 Other themes: intercultural dialogue, EU annual grant: EUR 85 000 mobility of cultural workers Duration: 01/06/2006-31/07/2007 Sector: cultural heritage EU annual grant: EUR 124 350 Lead Organiser: Transylvania Trust, Romania Website: www.heritagetraining-banffy- castle.org

27 projects The Culture Programme • Culture in motion • 2007-2013

Repairing Armenia’s of Brussels, Royal Academy of Music — musical instrument Museum of Instruments, Institut Tech- nologique Européen des Métiers de la heritage Musique, Gliga Instruments). The project The aim of the project was to sustain also had partners with strong experience and strengthen the music profession in in Armenia as well as local support, such Armenia by restoring its musical instru- as the French Cultural Institute. Within ment heritage and revitalising the profes- Armenia, all the music organisations sion of instrument maker and repairer. were involved as partners. The exercise involved musicians and restorers from several European coun- The project achieved the following tries, thereby helping to raise a broader results: awareness of this aspect of Europe’s •All professional music bodies in cultural heritage. Armenia were involved as partners of the programme Armenia has a strong musical tradi- •200 professional musicians had their tion. In the recent past, however, instruments repaired traditional music instruments were not •950 students of the National Conserva- well cared for, resulting in a situation tory can now practice on serviced where although the professional music instruments level was extremely high, there was a •200 musicians received training in how shortage of not only instruments but also to care for their instruments instrument makers, dealers and repairers •2 apprentices were fully trained in the field of classical music. There was •Concerts were given to an audience of in general a great need for training in 1500 people the field. The project aimed to revitalise •The project is estimated to have music in Armenia in its entirety. reached a total of 55 000 people (audience of the season’s concerts in To do so, the project brought together Yerevan) partners who were experts in the field of •A group of European experts worked restoring, repairing and making instru- together with Armenian musicians, in a ments, and in teaching the appropriate professional cultural sector where there techniques (Musical Instruments Museum is usually little European cooperation.

Practical Information Lead Organiser: Culture & Cooperation, France TITLE: Repairing Armenia’s musical instru- Co organisers: Musée des Instruments de ments heritage Musique, Belgium Main theme: access to cultural heritage Royal Academy of Music, UK Other themes: mobility of cultural workers, Gliga instruments, Romania intercultural dialogue Duration: 01/09/2005- 01/09/2006 Sector: cultural heritage, performing arts, EU annual grant: EUR 91 000 museum Duration: 31/07/2006 -31/07/2007 EU annual grant: EUR 120 000

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A syncretic heritage the general public in Europe, Syria and other Euro-Mediterranean countries. In The project A syncretic heritage revealed addition, the project sought to sum up the links between different medieval and consolidate existing research and to civilisations during the crusades (1098 identify the further research required in to 1291). It highlighted the results of the order to protect this heritage and to raise exchanges between various cultures, awareness. A further aim was to work which can be seen in the many impres- towards placing this type of heritage, sive fortifications throughout the as a common good of particular signifi- Mediterranean area. These construc- cance, on the World Heritage List. tions, fortresses, castles, city walls and harbour defence structures are often An international seminar was held aesthetically remarkable and innova- in Damascus, bringing together the tive for their time. Cross-influences co-organisers and all the members of the during this period led to amazingly rapid network to evaluate the project and to transformations in architecture, warfare propose future activities. techniques and culture. During the project, promotional material was produced — a website, publication In the light of recent historical research, and travelling exhibition. This opened up this project aimed to develop a new the project to a broader public and high- interpretation of such monuments and lighted the fact that intercultural dialogue to underline that they are the result of a had already been taking place centuries shared syncretic culture and architecture ago in this important period in history. over many centuries. One of the goals was to develop a network to exchange information between scientists and

Practical Information Université de Liège, service d’Assyriologie et d’Archéologie de l’Asie antérieure, Belgium TITLE: A syncretic heritage Hellenic Society, Main theme: access to cultural heritage Ecole d’Avignon, France Other themes: intercultural dialogue, circula- Direction des Antiquités et des Musées tion of works de la République Arabe Syrienne, Syria Sector: cultural heritage Centre des monuments nationaux, France Lead Organiser: Section française de Duration: 01/10/2006-30/11/2007 l’Icomos, France EU annual grant: EUR 150 000 Co-organisers: Soprintendenza per i Beni Website: www.patrimoinecommun.org Architettonici e Paesaggistici della Provincia di Bari, Italy

29 projects The Culture Programme • Culture in motion • 2007-2013

constructions representing neo-plasti- Showing changes: Jiří cism in Czechoslovakia. Kroha (1893–1974)– Through a series of activities, the Architect, Artist, project mapped this Czech artist’s rich Designer, Theoretician and varied works, which encompassed – a 20th-Century various different mediums and reflected Metamorphosis the stylistic changes that took place during the first half of the 20th century. This project centred on Jiří Kroha, a An exhibition about Jiří Kroha and his versatile artist, architect, designer and lifetime achievements was developed a leading protagonist of the inter-war and shown in Brno and Wroclaw. The Czech avant-garde. It examined his publication of an accompanying book on personal development and the role he his work ensured that this information played after the Second World War, when reached people beyond national and he placed his talent and creativity at the regional borders. The activities shed service of the Czech state. This project light on the and not only looked at Kroha’s role in cultural art in Czechoslovakia and Eastern Europe developments during this period, but during the 20th century. also contributed to a better mutual understanding of post-war cultural devel- The critical processing, assessment and opments among a broader public. publishing of Jiří Kroha’s work by an international team of art historians has Kroha was an extraordinarily gifted artist made it possible to link together different who responded to the cubist initiatives views on his work and place it in the of the pre-war Group of Visual Artists in context of cultural developments within . He was active in Czech stage Europe in the previous century. Further- design before he took up architecture more, the exchange of knowledge and and designed several remarkable build- experiences has opened up new perspec- ings in the town of Mladá Boleslav. His tives for further specialist partnerships design of the Provincial Technical School betweenz European cultural institutes. is reckoned to be one of the most original

Practical Information Lead Organiser: Brno City Museum, Czech Republic TITLE: Jiří Kroha (1893–1974) – Archi- Co-organisers: Architekturzentrum Wien, tect, Artist, Designer, Theoretician – a Austria 20th-Century Metamorphosis Museum of Architecture, Poland Main theme: access to cultural heritage Duration: 01/11/2006-31/10/2007 Other themes: mobility of artists/ circulation EU annual grant: EUR 51 369.97 of works Website: www.spilberk.cz Sector: architecture, museum

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Taking a look at from the five countries involved. The ten Mediterranean models travelled to each of the cities taking part in the project: Valencia (ES), Gothic architecture Evora (PT), (Italy), Ljubljana (SI) (GOTHICMED) and (GR). Supporting leaflets and books in local languages were distributed The organisers of this project wanted to to the public in each city, together with open up Mediterranean Gothic archi- promotional material produced by Slov- tecture to as many people as possible. enia’s International Institute of Tourism. They did this by developing a travelling exhibition of scale models of Gothic Providing access to information and monuments and by setting up a website maintaining the dialogue between including a virtual museum. cultures after the project ended were two of the project’s major concerns. Before The aim of the virtual museum is to the grant expired, the coordination team provide visual access to a number of looked for new funding to ensure that the gothic monuments that are in a very poor virtual museum and the exhibition could state and in dire need of repair or cannot continue. The Valencia Regional Govern- be easily visited. Monuments that no ment agreed to sponsor the virtual longer exist have been reconstructed by museum, and the , digitising the little that remains. Each of one of the co-organisers, has offered to the project’s co-organisers has produced take the exhibition to its centres on the panoramic photographs that can be seen other side of the Mediterranean, from on the website’s virtual gallery. Morocco to Jordan, in 2008 and 2009. The project wants to broaden its scope For the touring exhibition, the partici- by involving organisers from other coun- pants produced wooden models of their tries such as France, Croatia, and Gothic monuments on a scale of 1 to 50. , which all have significant exam- This was a time-consuming activity, as ples of Mediterranean Gothic architec- it required the combined efforts of an ture. This could consolidate and improve interdisciplinary team of professionals the virtual museum.

Practical Information Co-Organisers: Arsenale di Palermo, Italy International Tourism Institute, Slovenia TITLE: Take a look at Mediterranean gothic Hipocausto, Gabinete Prestaçao de Serviços, architecture (GOTHICMED) Portugal Main theme: access to cultural heritage Greek Ministry of Culture, Greece Other themes: mobility of works, intercul- Instituto Cervantes, Spain tural dialogue Duration: 04/11/2004- 03/11/2007 Sector: architecture, cultural heritage EU multi-annual grant: EUR 505 020.52 Lead Organiser: Generalitat Valenciana, Website: www.gothicmed.com Spain

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URME — Tracing Our anthology of the final papers and travel Tracks journals on the Internet. The project also encouraged interdisciplinary research. URME is the Romanian word for footprints or tracks. The project delved into the URME highlighted the evidence of a past of seven European cities and sought common urban cultural heritage and to promote knowledge of this aspect of its European significance. It promoted Europe’s cultural heritage. Multidiscipli- intercultural dialogue and the sharing nary studies re-created the cultural atmos- of knowledge about the culture and phere at different moments during the history of seven European cities. Mobility, historical development of these cities. workshops, cooperation between 42 researchers and multidisciplinary studies A large number of voluntary students and drawn from different European countries researchers of urban anthropology were helped to recreate the cultural and literary involved in this project. Their research atmosphere of different moments in the covered various areas and was based on history of the selected cities. Through its a variety of resources ranging from frag- Internet portal the project is accessible to ments of novels that take place in city a broader public throughout Europe. areas, correspondence between artists, travel journals, memoirs and archives on URME would like to prepare the ground literary trends to newspaper clippings, for the development of a European photographs, documentaries, movies etc. Network of Centres for Urban Research They are now accessible to the broader and Creativity, which could help continue public, for example in the shape of seven and extend the cooperation developed by maps of urban literary routes, an this project to other European cities and increase the number of people reached.

Practical Information Co-organisers: Lanterna Magica Cultural Deposit Company S.L., Hungary TITLE: U.R.M.E. – Tracing Our Tracks Associazione EURO-NET, Italy Main theme: access to cultural heritage Academy of Management, Poland Other themes: intercultural dialogue, MT Servicios de Formación S.L., Spain mobility of cultural workers Prefecture Enterprise of Athens, Greece Sector: cultural heritage, museum CCL – Centre de Conservation du Livre, France Lead Organiser: National Romanian Literature Duration: 01/11/2006-31/10/2007 Museum, Romania EU annual grant: EUR 129 550.50 Website: www.urme.info

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An oppoRtunity to In these three areas, the settlement lEArn by LivIng our past of farming communities triggered new dynamics and events that influenced (REALITY) developments in this crucial period: Experimental archaeology is a powerful new ways of cultivating food led to educational tool. REALITY explored the an economy of buying and selling use of experimental archaeology in throughout the continent, which gave order to open up Europe’s archaeological rise to a new era of contacts and heritage to a broader public. Carrying exchanges. The experiments carried out out activities as they were carried out in the project were able to confirm new in the past, such as stone chipping, and hypotheses regarding the extraordinary experiencing unknown scents, noises and scale of the distances covered, up to 1 tactile sensations, visitors were given the 800 km. The lake villages of the French chance to come into direct contact with Jura, the Ligurian caves and the rocky objects, materials and ideas from the sanctuary of Pla de Petracos constitute distant past. three typical representatives of Euro- pean archaeological sites, and one of the The Reality Project workshops offered goals was to provide the public with an people in several European countries integrated knowledge of these sites. (Italy, France and Spain) the possibility of experiencing activities that characterised The project explored the difficulties and our ancestors’ daily lives. The purpose benefits of using experimental archae- of these workshops was to encourage ology within European museums with the curiosity about and knowledge of the way aim of attracting a non-specialised public. of life within Neolithic communities in It also followed an inclusive approach three European areas: the coast of Liguria, to involve people not easily reached by the region of Alicante and the lakes of the traditional cultural programmes. French Jura.

Practical Information Museums Department – Museum of Ligurian Archaeology, Italy TITLE: An oppoRtunity to lEArn by LivIng our Co-Organisers: Laboratoire de Chrono past (REALITY) écologie, France Main theme: access to cultural heritage MARQ – Diputaciòn de Alicante, Spain Other themes: mobility of artists, culture and European Museum Forum, UK education Duration: 16/8/2006-15/8/2007 Sector: archaeology, cultural heritage, EU multi-annual grant: EUR 146 880 museum Website: www.realityproject.info Lead Organiser: City of Genoa – Culture and Promotion of the City Department –

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34 Theatre reflecting world citizens: Lead organiser: Image Aiguë Compagnie Christiane Véricel, France © projects The Culture Programme • Culture in motion • 2007-2013

Promotion of a During the second part of the project Cultural Area Common short practical courses will be carried out and lectures and cultural events will be to European Rural offered by the co-organisers attached to Communities the exhibitions and their themes. These will raise awareness of the value and Cult-Rural aims to document and show- significance of rural heritage and its role case the importance of cultural heritage in rural development amongst the widest and traditional skills in rural areas as possible public, including the young. vital factors for a sustainable econom- ical, social, ecological and cultural devel- The project will enable networking opment in these areas. between individuals and organisations which have an active interest in rural Through the organisation of 3 thematic heritage and sustainable development. exhibitions on the interaction between The aim is to establish an on-going Euro- rural communities and natural environ- pean rural heritage network which will ment, on the rural perspective and the stimulate exchanges through a summer global pressures, and on the social- academy and a conference on the theme of cultural notions of rural society – from the project, as well as a website to publi- material to symbolism, the project seeks cise activities and disseminate results. to promote cooperation and networking between rural heritage museums and The European rural heritage network other cultural operators in rural areas, will work to stimulate the mobility of encourage rural heritage museums to professionals in the field of folk and rural “open their doors” to transnational culture and open new horizons at a Euro- joint activities and improve the skills pean level. Moreover, it will seek to bring of professionals and their capacity to together knowledge on rural European identify, preserve and promote the their heritage and make it available to a wider rural heritage. European audience.

Practical Information

TITLE: Promotion of a Cultural Area Common Hungarian Open Air Museum, Szentendre, to European Rural Communities Hungary Main theme: access to cultural heritage Consiglio Nazionale delle Ricerche (CNR Other themes: mobility of artists, intercul- IBIMET), Italy tural dialogue National Historical Museum of Sector: cultural heritage, museum The European Academy for Sustainable Rural Lead-Organisation: Swedish Local Heritage Development (Euracademy), Greece Federation, Sweden Association française des Musées Co-Organisers: Prisma Centre for Develop- d’Agriculture et du Patrimoine Rural, France ment Studies based in Athens, Greece Duration: 01/10/2006-30/09/2009 Muzeum Kreso´w based in Lubaczów, Poland EU multi-annual grant: EUR 762 402 Website: www.cultrural.net

35 Theatre reflecting world citizens: Lead organiser: Image Aiguë Compagnie Christiane Véricel, France © projects The Culture Programme • Culture in motion • 2007-2013

The International The programme seeks to reach out to Yehudi Menuhin as many children as possible. Since its inception, MUS-E has mainly focused on Foundation children living in areas with a high risk of exclusion and where schools have Yehudi Menuhin, one of the greatest to provide for pupils with acute social violinists of the 20th century, created problems. Through tailor-made projects, the International Yehudi Menuhin which are integrated into the curriculum, Foundation in Brussels in 1991. Its MUS-E helps these children to tap into mission is to remind political, cultural their culturally diverse resources, thereby and educational bodies that art and breaking down stereotypes. The aim is creativity have a central position in the to introduce all children to various forms personal development of individuals of art: music, singing, dance, plastic and in the development of their socie- arts, drama, etc, by professional artists ties. Taking Yehudi Menuhin’s humanist belonging to different cultures and in the legacy as an inspiration, the Foundation presence of the children’s teachers. stimulates artistic initiatives that give voice to Europe’s many cultures, such II) “iyouwe SHARE THE WORLD” as the MUS-E programme, for which the proposes interactive work to children foundation works as the central network from several primary schools in Europe coordinator of 12 national operators of (Hungary, France, Belgium, United its programmes. The “iyouwe SHARE THE Kingdom, Portugal, Germany and Italy) WORLD” project, part of the European with storytelling artists, visual artists, Year of Intercultural Dialogue 2008, is dancers and/or musicians, in order to an example of how the foundation works recapture a common imaginary world with associated partners to further and share it artistically as widely as activities in the field. possible. The unifying theme of the tales is the Cosmogony of the World. This I) Art at School: the MUS-E programme first stage will be followed by a sharing brings arts into the school environment of experiences, which will take place in in order to stimulate the creativity of Hungary in the form of artists’ residen- children and release their potential. The tial sessions. Pedagogical material will artists involved in the project introduce be produced, while the artistic practices new ways of thinking, creating and developed in the seven participating moving to stimulate children’s harmo- countries will be disseminated with the nious development. support of world-renowned musicians during a multicultural closing event to be held at the Cirque Royal in Brussels on 3 December 2008.

Practical Information Sector: performing arts, literature, cultural heritage, community arts TITLE: The International Yehudi Menuhin Organiser: International Yehudi Menuhin Foundation Foundation, Belgium Main theme: intercultural dialogue Duration: 01/01/2008-31/12/2008 Other themes: access to culture/ culture and EU Operating grant: EUR 355 756 education Website: www.menuhin-foundation.com

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History after the fall: As these topics are extremely sensitive, The Indeterminacy of they are rarely researched. The project dealt with these delicate topics by the Short Twentieth comparing facts in an objective way. The Century project did not aim to reach a uniform conclusion on the way different themes History after the fall promoted inter- and aspects of the history of the twen- cultural dialogue by opening up new tieth century were rewritten, reinter- approaches to the sensitive issues of the preted and represented by a variety of 20th century, while emphasising features means in different media. It did not seek of the recent past that allow new percep- a single way of dealing with the events of tions of the common history of Europe. the recent past, but looked at different opinions in debate. The project’s aim was not to down- play ethical and moral issues, but to At the end of the project, the partici- try to find a framework in which moral pants were proud and pleased to see concerns could be presented in a struc- that they succeeded in stimulating tural narrative. Three parallel seminars, substantial, interesting and highly four workshops and three virtual and/ professional debates, with room for or touring exhibitions were developed divergent opinions. The results of this around a novel view of the two World three-year collaborative project can Wars: a new interpretation of the tradi- be seen in the number of permanently tional and radical right wing during the accessible virtual and paper-based inter-war years; the anti-Communist publications, ten of them altogether, resistance movement; the theme of including two hardback volumes on this collaboration; nationalism and the historical era. It has therefore made an national questions; foreign occupation; important contribution to understanding poverty and welfare measures; and the our common history. historical record left behind by over- centralised, authoritarian, totalitarian and anti-democratic regimes.

Practical Information The Institute for Contemporary History at the TITLE: History after the fall: The indetermi- Czech Academy of Science, Czech Republic nacy of the Short Twentieth Century Hannah Arendt Insitut fur Totalitariusmusfor- Main theme: intercultural dialogue schung e.V., Germany Other themes: circulation of works Fundatia Academia Civica, Hungary Sector: cultural heritage, universities Duration: 01/09/2004-28/02/2007 Lead Organiser: Central European University EU multi-annual grant: EUR 186.093.67 Foundation, Hungary Website: www.osaarchivum.org/updates/2004/ Co-organisers: The Romanian Institute for projects/culture2000/index.html Recent History, Hungary The KARTA Centre, Poland

37 projects The Culture Programme • Culture in motion • 2007-2013

ible’ concept of work, privatisation of Land of human rights: state functions, the clash of environ- Artistic analyses and mental and economic interests, corrup- visions of the human tion and freedom of speech. rights situation in The 30 Articles of the Universal Declara- Europe tion of Human Rights can also be viewed in terms of individual cultural back- The observance of human rights needs grounds. In a period of enlargement of continual monitoring. Land of human the European Union, these topics are of rights therefore brought people together public interest, and public debate can to look at how things stand in human help to reinforce mutual understanding rights in Europe from the perspec- and intercultural dialogue. This multina- tive of visual art. Starting at the end tional project works towards this end by of 2007, over a period of 18 months, bringing artists, people concerned with artistic analyses of different visions human rights and researchers together of human rights in Europe have been to raise local and national issues in this developed and shared with the general field at European level. public. Forthcoming activities (exhibi- tions inside and outside gallery spaces, Land of human rights aims to create a poster campaigns, media projects, film long-term awareness of human rights programmes, publications and debates) through an interdisciplinary approach. will raise awareness of the European The artistic and cultural reflection foundations of human rights. during the project will have an effect on people’s direct surroundings, on civil This project is co-organised by art institu- society, artists and their work. tions from 6 countries (Austria, Czech Republic, Germany, Hungary, Slovenia, The project will ensure close working rela- and Croatia) and targets the public in tions between the associated partners, central and south-eastern Europe. Taking which is an essential step towards further the European basis of human rights as a institutional cooperation. Around 140 starting point for reflection, artists deal artists from all over Europe and more than with current topics such as housing, 50 experts are expected to be involved in migration, access to education, a ‘flex- the project’s various activities.

Practical Information Lead Organiser: Verein für zeitgenössiche Kunst, Austria TITLE: Land of human rights: Artistic anal- Co-organisers: UJEP, Usti nad Labem, Czech yses and visions of the human rights situa- Republic tion in Europe riesa efau, Germany Main theme: intercultural dialogue Trafó, Budapest, Hungary Other themes: mobility of artists/ circula- Društvo ŠKUC, Slovenia tion of works, access to culture/ culture and KUD-INA /G-MK, Croatia education Duration: 01/10/2007-31/03/2009 Sector: visual arts EU annual grant: EUR 200 000 Website: www.landofhumanrights.eu

38 projects The Culture Programme • Culture in motion • 2007-2013

The power to elect: The exhibition was a great success, 100 years of women’s especially in March 2007, the month of International Women’s Day. The Women’s suffrage Museum (Frauenmuseum) in Bonn An exhibition aiming to raise awareness received 2400 visitors and 75 guided of the importance of political partici- groups. Guided tours, lectures, theatre pation presents the development of performances and films provided visitors women’s suffrage in European countries with background information they could between 1906 and 1984. It describes use to debate the political situation of the specific political background in the women in society today and the impor- different countries and looks at the tance of the right to vote. The cultural methods and strategies pursued by the exchange was an inspiring experience suffragettes to gain the right to vote. for all participants. The exhibition was It explains why some countries were designed to be shown in many countries. pioneers (Scandinavia) and why others lagged behind (Switzerland, Lichten- The exhibition contributes to intercul- stein). Although circumstances differed tural dialogue. After its run in Denmark from country to country, women had to and Poland, it will travel on tour to struggle against more or less the same Germany and then to Liechtenstein, for prejudices, fears and legal obstacles. the 25th anniversary of female suffrage there. The exhibition is attracting An interdisciplinary approach was used interest from women’s representatives for this exhibition. Information panels and is expected to lead to further exhibi- with photos and texts in German and tions in other venues. English were developed and combined with material used by suffragettes, their slogans and contemporary art from many European countries.

Practical Information Lead Organiser: Frauenmuseum Bonn, Germany TITLE: With power to elect: 100 years of Co-organisers: Women’s Museum in Aarhus, women’s suffrage Denmark eFKa in Krakov, Poland Main theme: access to cultural heritage Duration: 01/11/2006-31/10/2007 Other themes: intercultural dialogue EU annual grant: EUR 33 280 Sector: visual arts

39 projects The Culture Programme • Culture in motion • 2007-2013

Theatre reflecting world The partnerships in the project helped citizens ensure strong coordination on the main themes while leaving as much scope as This project was based on a common possible for locally designed initiatives. philosophy that considers theatre as Innovative partnerships were developed a key factor in individual and social with schools, cultural and social centres, development and a tool that can help public authorities, etc. The project was promote tolerance and harmonious organised around a set of 6 types of co-existence as world citizens. It aimed actions and events. Nine workshops to raise awareness of European cultural in and outside schools were held in diversity through an innovative theatrical Germany, Bulgaria and Italy. Four inter- approach bringing together people of national workshops brought together various ages and cultures to participate young actors. Fifteen rehearsals and in local activities and form partnerships. performances of a show ‘Addio mamma’ (in France, Germany, Italy, Bulgaria, the The project was launched by a French Netherlands) were held. Training activi- theatre company, Image Aiguë. Specific ties for young people and teachers were educational and artistic activities organised and multilingual communica- meeting local needs were developed in tion and teaching tools were developed the partner countries in order to increase (with the publication and distribution of their impact. The project aimed to raise three brochures — 5000 copies — and awareness of cultural diversity among a a website). Seminars and two colloquia large and diverse audience, promoting were held to debate developments. theatrical practice as a factor in social integration as well as the mobility of The project reached audiences in 5 artists. The project focused on migrant countries (7 cities). 2 000 children populations and minorities and on participated in the workshops and 6 subjects such as European integration 400 people attended the public work- and multilingualism. Activities were shops/shows. 15 000 people read the staged at popular cultural venues in brochures and visited the website. 63 order to reach a broader public. press articles were published in the local and national press and there was television and radio coverage.

Practical Information Co-Organisers: Espace des Arts, France Senator für Kultur, Germany TITLE: Theatre reflecting world citizens Alliance Française, Bulgaria Main theme: intercultural dialogue Villanella, Belgium Other themes: mobility of artists, access to Teatro Garibaldi, Italy culture Duration: 01/08/2003-31/01/2006 Sector: performing arts EU multi-annual grant: EUR 658 807.07 Lead Organiser: Image Aiguë Compagnie Website: www.image-aigue.org Christiane Véricel, France

40 projects The Culture Programme • Culture in motion • 2007-2013

The future from a Each group worked on its own before different perspective: they met for workshops at the third Rencontres d’Ateliers in Brussels and Rencontres théâtres later on during Les Périphériques in quartiers d’EUROPE Avignon. At the end of the project they presented their plays at the Warsaw Theatre workshops and festivals were festival, Letnia Akcja Teatralna. Each organised in three suburbs of Brussels, group performed their play at least twice Avignon and Warsaw in order to involve at each local festival to enthusiastic young people from different cultural back- local audiences. grounds in creative projects. Young people This approach meant that those partici- from these suburbs met three times, in pating in the performances, those each city, to develop and perform their working on them and the audiences own creations at three festivals. could share their experiences. For people without a background in This exciting project developed from work theatre, developing a performance carried out in three different cities in requires new skills, new ways of commu- Europe. The Theatre Océan Nord in Brus- nicating and a certain discipline in order sels was organising theatre workshops to achieve an end product. Theatre is a for local young people, who were directed magnificent tool for developing commu- by professional artists. In Avignon, nication skills. However, this project not France, the Mises en Scène Company only offered the added benefit of commu- was carrying out similar work with young nicating with audiences in other countries, Maghreb immigrants. In Warsaw, the but also gave participants a chance to Theatr Druga Strefa invited producers discover the cities they were performing from Poland and other East European in. They shared experiences, expectations countries to run theatre and dance work- and histories together. The exchanging shops for the city’s young people. of ideas was something they found A European project was born when these enriching: working together helped to three approaches were linked. develop new perspectives for the future.

Practical Information Lead Organiser: Théâtre Océan Nord, Belgium TITLE: The future from a different perspec- Co-organisers: Compagnie Mises en Scène, tive: Rencontres théâtres quartiers d’EUROPE France Main theme: intercultural dialogue Teatr Druga Strefa, Poland Other theme: access to culture/ culture and Duration: 01/09/2004-30/08/2005 education, mobility of artists EU annual grant: EUR 130 000 Sector: performing arts

41 projects The Culture Programme • Culture in motion • 2007-2013

42 Temps d'images, France. Lead organiser: La Ferme du Buisson, France and ARTE France © projects The Culture Programme • Culture in motion • 2007-2013

Cultural Diversity on artistically and culturally innovative in Action - Banlieues projects. These workshops involved many communities living in Europe and d'Europe were structured along different themes: The Banlieues d’Europe network was ‘Cultures, Memories and Cultural Institu- launched in 1990 in Lorraine (French tions’; ‘Multi-Cultural or Inter-Cultural region). It brings together cultural actors, Projects’; ‘The Meeting of Cultures’; artists, social workers, public officials ‘Cultures and Re-Creations’. The main and researchers to exchange experiences objective of the project was to give a in order to evaluate, rethink and promote cultural dimension to the debate on the awareness of cultural activities in the situation of immigrants and their integra- suburbs of European cities. Based in Lyon tion within Europe. since 2007, Banlieues d’Europe contrib- Concrete artistic experiences were utes to intercultural dialogue in a creative analysed in order to determine their and innovative way by developing new impact and characterise different types forms of cooperation in Europe. of participatory action. There was also reflection on new ways of living together The 12th meeting of the Banlieues harmoniously in Europe and on how d’Europe network on ‘Cultural Diversity culture can contribute to building a sense in Action’ was held in 2007 in , of European identity despite Europe’s Belgium. It brought together cultural cultural diversity. operators from different European countries to debate ‘cultural diversity’. At the meeting, 24 projects were Different issues were raised, including presented to 130 participants (artists, respect for diversity, the willingness to cultural actors, social workers, cultural enter into dialogue, the role of artists and and artistic institutions, local council- cultural projects within communities, etc. lors, journalists, and researchers) from The idea behind this meeting was to help 10 countries (France, Belgium, Germany, promote cultural renewal and creativity. Italy, Romania, Northern Ireland, Great Britain, Netherlands, Switzerland, Visits to several Flemish projects and Canada). The project mobilised and thematic workshops were arranged in expanded a network of partners from order to develop reflection and debate different backgrounds.

Practical Information Co-Organiser: Banlieues d’Europ’est, Romania TITLE: Cultural Diversity in Action Duration: 01/05/2005-31/04/2006 Main theme: intercultural dialogue EU annual grant: EUR 26 708 Other themes: creativity and innovation Website: www.banlieues-europe.com Sector: cultural heritage, community arts Lead Organiser: Banlieues d’Europe, France Jean Hurstel ©

43 Temps d'images, France. Lead organiser: La Ferme du Buisson, France and ARTE France © projects The Culture Programme • Culture in motion • 2007-2013

TEMPS D’IMAGES ment phase and is expected to make its mark in the future. TEMPS D’IMAGES is a European network that brings cultural players from the The underpinning principles of this new world of live performing arts together programme are pro-active engagement with the European cultural television in interdisciplinary arts development station ARTE. Originally based around a and research, significantly enhanced festival of interdisciplinary art, TEMPS mobility, skills and profiles for artists D’IMAGES has evolved from an observer and their work, and a common, egali- to a pro-active producer, combining tarian and unified governance. performing arts and film. Eleven co-organisers, representing a Created by ARTE and La Ferme du Buisson wide range of cultural organisations and to support the growing performing contexts, but sharing a common purpose arts and moving images scene, TEMPS and a clearly defined set of values, are D’IMAGES has prompted organisers committed to this new programme. and producers to work together on Over three years, TEMPS D’IMAGES will new projects. Each national organiser work alongside artists and establish develops its own programme based on the network as an innovative hub for the festival’s theme. The festival has research into inter-disciplinary arts. In become a means to support artists. doing so, it aims to raise the profile and aspirations of young artists. In terms of As the number of partnerships and expected impact, it also aims to be repre- geographical scope of the festival have sented at European festivals across ten grown, TEMPS D’IMAGES has developed different countries, organising tours and into a network to present works and to exchanges to promote mobility within exchange experiences, ideas, artistic and outside the network and including discoveries and cultural perspectives. communities who otherwise would not This innovative and unique European be easily reached. project is now entering a new develop

Practical Information Trafo, Hungary Romaeuropa, Italy TITLE: TEMPS D’IMAGES CSW Zamek Ujazdowski, Poland Main theme: creativity and innovation Duplacena, Portugal Other themes: mobility of artists/ circulation Artlink, Rumania of works Garajinstanbul, Turkey Sector: interdisciplinary, performing arts Duration: 24/09/2008-31/08/2011 Lead Organiser: La Ferme du Buisson and EU multi-annual grant: EUR 1 400 000 ARTE France Website: www.tempsdimages.org Co-Organisers: Tanzhaus NRW, Germany Halles de Schaerbeek, Belgium Von Krahli Teater, Estonia

44 projects The Culture Programme • Culture in motion • 2007-2013

Inside tion and collection management and one installations: that is ideally suited to a collaborative approach in the development of guide- Preservation and lines and models of good practice. presentation of installation art The project was initiated by members of the International Network for the Conser- Over the past ten years, installation art vation of Contemporary Art — INCCA. In has become a mainstream art form show- total, more than 50 researchers (conser- casing some of the most important and vators, curators, technicians, archivists, exciting artistic developments of our time. IT specialists), working in 25 museums Contemporary artists are producing instal- and institutes in 6 European countries, lation works, and these are being added participated in the project. to the collections of European museums at an increasing rate. The nature of these Innovative research covered important installations is distinct from traditional art aspects such as the preservation of objects. Works incorporating time-based complex installations, partnerships with media, such as audio-visual and electronic artists and the documentation of instal- media, net art or performance, call for new lation art. Other activities addressed a ways of dealing with this art, because of shared vocabulary to describe installa- the (interactive) relationships with the tion art and applications so as to share public and the often limited time frame in knowledge and information throughout which the installation is presented. the professional network.

This project looked at how we can safe- Project partners worked with the artists guard these expressions of our contem- to develop good practices and practical porary visual culture so that they can be instruments for urgent research topics. experienced by future generations. For The results were published in a unique contemporary art museums, this is a key digital repository. Knowledge and informa- question as they struggle to address their tion were shared over the course of 6 semi- responsibilities in relation to art that nars. The insights this project has brought differs significantly in nature from earlier will have a long-lasting impact on the care forms. This is a new area for conserva- and conservation of artists’ installations.

Practical Information Restaurierungszentrum der Landeshauptstadt, Germany TITLE: Inside Installations. Preservation and Museo Nacional Centro de Arte Presentation of Installation Art Reina , Spain Main theme: creativity and innovation Foundation for the Conservation of Contem- Other themes: access to cultural heritage porary Art, the Netherlands Sector: visual art Duration: 01/06/2004-31/05/2007 Lead Organiser: Netherlands Institute for EU multi-annual grant: EUR 864 782 Cultural Heritage, the Netherlands Website: www.inside-installations.org Co-Organisers: Tate, United Kingdom Stedelijk Museum voor Actuele Kunst, Belgium

45 projects The Culture Programme • Culture in motion • 2007-2013

European mobile lab workshops provide tuition through a for interactive media series of theoretical, practical and tech- nical presentations, lectures and group artists activities. The European Mobile Lab for Interactive Media Artists (e-MobiLArt) offers artists The technical side of the workshops will from different countries a multicultural focus on the use of appropriate software and interdisciplinary context to share (intensive courses in MAX/MSP, etc.) and artistic practice. Three interdisciplinary hardware (sensors, devices, boards, i.e. and intercultural workshops will be held I-CubeX hardware) in interactive envi- in Greece, Finland and Austria, where ronments. Artists will be offered advice artists will work together to create throughout all phases of the creative interactive media art works. E-MobiLArt process (conception, design and imple- supports their partnerships and exhibi- mentation of their interactive installation tions of their interactive installations in artworks). two museums in Greece and Poland. In addition, the workshops will include lectures on specific topics related to the The 33 selected artists are experienced current debate on the interface between in creating interactive media art and/or art, technology, science and society. actively involved in innovative interdis- These will be given by an interna- ciplinary research. They work in groups tional team of experts (professionals, to develop projects that may involve the academics, researchers, artists, museum use of communication networks and curators) active in this field. mobile or locative media technologies. Each artist has to work with at least one Each of the works created by the artists artist from another country. will be exhibited in at least one of the two final exhibitions to be held at the Artists will attend 3 workshops: in State Museum of Contemporary Art in Greece (Athens, 2-6 June 2008), Finland Thessaloniki (Greece) and the Academy (Rovaniemi, 4-8 August 2008) and of Fine Arts in Katowice (Poland). Austria (Vienna, February 2009). These

Practical Information University of Lapland, Finland Thessaloniki State Modern Art Museum, Greece TITLE: European mobile lab for interactive Academy of Fine Arts - Gallery, Katowice, media artists Poland Main theme: Creativity and innovation Haute Ecole Groupe ICHEC-ISC St Louis-ISFSC, Other themes: mobility of artists/ circulation Belgium of works, intercultural dialogue Cycling 74 (Software company) Sector: interdisciplinary, interactive I-CubeX (Hardware company) media art Leonardo/OLATS Lead Organiser: National and Kapodistrian Duration: 14/11/2007-13/11/2009 University of Athens, Greece EU multi-annual grant: EUR 197 589.35 Co-Organisers: University of Applied Arts Website: www.media.uoa.gr/emobilart Vienna, Austria

46 projects The Culture Programme • Culture in motion • 2007-2013

European Network of Lobbying — Developing and influencing Cultural policies It can exercise influence by actively Administration Training contributing to the shaping, develop- The European Network of Cultural ment and implementation of European Administration Training (ENCATC) has and national policies and legislation. received an operating grant as a Euro- pean network of higher educational Networking — Sharing and improving institutes and training organisations knowledge devoted to cultural management By taking part in joint working groups education and training. It encourages and projects, the members of the the exchange of knowledge, methods, network have the opportunity to share experiences, comparative research knowledge on training issues and chal- programmes and regular assessments lenges in the field of cultural policy of the sector’s training needs in the field –and management. of cultural management on a European scale through a wide range of working Capacity building — Training profes- groups, projects, activities and events. sionals and students In so doing, it seeks to capitalise upon To promote capacity building in the and promote Europe’s creative potential. cultural sector, it supports training activities for trainers and for students. The network has 129 members in 36 countries across Europe and beyond. Stimulating researchers — Creating a It aims to bridge existing divisions European competitive research area between education, training, research It administers the Cultural Policy and professional practice in cultural Research Award and the European Young management and to create a favour- Cultural Policy Researchers Forum as able environment for those in this field part of its commitment to cultural policy willing to share experience, exchange research and education. good practice and set up partnerships at transnational level. Raising awareness — Building of knowl- As an independent umbrella organisa- edge societies through information and tion, ENCATC supports its members communication through: ENCATC provides the professional arts management constituency and students interested in the sector with updated and detailed information on European policy developments.

Practical Information Sector: culture and education Organiser: European Network of Cultural TITLE: European Network of Cultural Adminis- Administration Training Centres (ENCATC), tration Training Belgium Main theme: creativity and innovation Duration: 01/01/2008-31/12/2008 Other themes: access to culture/ culture and EU operating grant: EUR 66 000 education, intercultural dialogue Website: www.encatc.org

47 EU CULTURE PROGRAMME Awarding Excellence

48 "Awarding excellence:" Temps d'images, France. Lead organiser: La Ferme du Buisson, France and ARTE France © The Culture Programme • Culture in motion • 2007-2013 EU CULTURE PROGRAMME The European Commission awards various cultural prizes •Original debut album of an artist or group from an EU annually or every two years to highlight European excel- Member State; lence in the field of contemporary architecture, cultural •Sales in EU Member States outside the country of Awarding heritage, popular music and (from 2009) contemporary production; literature. These prizes recognise European creative •Sales during the previous year; talent and the success of European artists and cultural •Touring capacity outside the country where the artists/ organisations. They stimulate the mobility of artists, group is based; Excellence authors and their works, and help to raise their visibility •The artist/group’s capacity to give live performances. among the public. The prizes are awarded for works in the countries participating in the Culture Programme. In 2008, ten European artists/groups received an EBBA at an award ceremony with live performances in Cannes.

The European Border The European Commission published a call for proposals to select the organising body for both the Breakers Awards selection of the award winners and the preparation of the award ceremony as from 2010. The 2009 awards (EBBA) will be presented at Eurosonic in Groningen, the Neth- erlands. The EBBA rewards artists who succeed in reaching a broad audience with their debut album outside the country where their album was produced. European artists (or groups) are selected for an award based on the following criteria:

49 "Awarding excellence:" Temps d'images, France. Lead organiser: La Ferme du Buisson, France and ARTE France © The EU Prize for Contemporary Architecture

The EU Prize for contemporary architecture and the tion as the body to select the prize winners and organise Special Mention for an Emerging Architect are awarded the award ceremony for the 2009 European Union Prize every two years to highlight recent, excellent examples for Contemporary Architecture. of architectural creativity for built works less than two The Mies van der Rohe Foundation is based in Barcelona years old. They demonstrate that modern architecture and is supported by a network of 15 architecture insti- is socially and culturally rooted in European cities and tutes and a committee of experts from 31 countries. The is important to people’s everyday lives. Based on the Foundation organises a touring exhibition of projects outcome of an open call for proposals, the European considered for the award. Commission appointed the Mies van der Rohe Founda- 50 The Culture Programme • Culture in motion • 2007-2013

The European Union The European Prize for Prize for Cultural Contemporary Heritage Literature

This prize was jointly launched in 2002 by the European Books and literature play a special role in culture and in Commission and Europa Nostra, as part of the Commis- helping people to learn about others. In addition to the sion’s Culture Programme, to celebrate exemplary support provided for the translation of literary works initiatives showing the many facets of Europe’s cultural under the Culture Programme, this prize aims to highlight heritage, in categories ranging from the restoration of the wealth of contemporary literature (fiction) produced buildings and their adaptation to new uses, to urban in Europe. and rural landscape rehabilitation, archaeological site The Commission published a call for proposals in 2008 to interpretation, care of art collections, research, and dedi- select a body to organise the award of a European Union cated service to cultural heritage. Since 2008, education prize for literature in 2009. projects concerned with cultural heritage have also been The body in charge of the prize will select new European eligible. The aims of this award scheme are to promote talents in the field of contemporary literature (fiction) high standards and quality in conservation practice and from all the countries participating in the Culture to stimulate cross-border exchanges in the heritage Programme and promote them in participating countries field. Through the ‘power of example’, the prize also outside their own. aims to encourage further efforts and projects relating It will also appoint a well-known personality from the field to heritage throughout Europe. In 2008, 6 awards and 21 of European literature to take on the role of Ambassador medals were given to outstanding projects. for this prize. This person’s role will be to support and The selection of the projects and the award ceremony is promote the new talents. Furthermore, the selected body organised by Europa Nostra, the pan-European Federa- will organise an award ceremony for the prize to put the tion for Cultural Heritage, representing over 250 heritage spotlight on this initiative and its European dimension. NGOs active in 45 countries across Europe. More information on the various EU prizes can be found at: http://ec.europa.eu/culture/our-programmes-and- actions/doc511_en.htm

51 projects The Culture Programme • Culture in motion • 2007-2013 European Capitals of Culture

52 "Capitals of Culture:" Liverpool, European Capital of Culture 2008 © European European Capitals of Culture

This event, which is partly funded through the Culture The cultural programme planned by an aspiring Euro- Capitals Programme, is one of Europe’s major annual cultural pean Capital of Culture should have a strong European events, showcasing Europe’s rich cultural wealth. The dimension. This means that it should foster coopera- European Commission is convinced that culture has tion between those working in the cultural field from all of Culture a major role to play at the very heart of its policies. relevant Member States and beyond. It should high- Culture helps to bring the people of Europe closer light Europe’s cultural diversity and give prominence together, but, as a catalyst for creativity, also makes a to common aspects. The programme should also seek substantial contribution to the EU’s economy, growth to encourage the participation of citizens, both those and employment, in line with the Lisbon strategy for living in the city and its surrounding area, as well as growth and jobs. from abroad. Furthermore, the programme should be sustainable and have a long-term impact on the city’s In this respect, the ‘European Capital of Culture’ cultural as well as social and economic development. title is certainly one of the European Union’s most successful actions. Its primary objective is to highlight A study of the results achieved by the European the richness and diversity of European cultures and Capitals of Culture up to 2004 shows that the event the features they share, and to encourage a sense of attracts significant media attention, has helped the belonging to the same ‘European’ community. Over the development of culture and tourism, and has boosted years, however, this event has evolved and its socio- civic pride among the citizens of the selected cities. economic benefits have become increasingly apparent Building on this success, the EU intends future events and recognised. to take particular account of the long-term effect on the cultural development of the city and region concerned.

53 The Culture Programme • Culture in motion • 2007-2013

Facts and figures

Total number of projects submitted and selected in 2008 (for each action)

Action Submitted projects Selected projects

Multi-annual cooperation 72 11

Annual cooperation 420 92

Literary translation 191 93

Third countries 32 7 (Brazil in 2008)

Operating grants 103 59

54 Culture Programme 2007-2013 (including strands 1.1, 1.2.1, 2, 1.2.2, 1.3) Number of selected proposals by applicant country (total: 263)

35 33

30

25 25 22

20 19 18

15 15 15 14

11 10 10 9 9 7 7 7 6 5 5 5 4 4 3 3 2 2 2 2 Total number of selectedTotal proposals (263) 1 1 1 1 0 0 0 0

AT BE BG CY CZ DE DK EE ES FI FR GR HR HU IE IS IT LT LU LV MK MT NL NO PL PT RO RS SE SI SK TR UK

Applicant countries

Culture Programme 2007-2013 (including Strands 1.2, 1.2.1, 2, 1.2.2, 1.3) - Keywords Selected projects by Objective

250

228 200

150 147

100 116

50 Total number of selectedTotal proposals (263) 0

Transnational mobility of people working in cultural sector Circulation of works of art Intercultural dialogue

55 Additional information

Homepage http://ec.europa.eu/culture/index_en.htm

Policy development European Agenda for Culture http://ec.europa.eu/culture/our-policy-development/doc399_en.htm

Studies Economy of Culture in Europe http://ec.europa.eu/culture/key-documents/doc873_en.htm

Culture and Education http://ec.europa.eu/culture/key-documents/doc898_en.htm

Statistics Pocketbook on Cultural Statistics http://ec.europa.eu/culture/key-documents/doc975_en.htm

Photo: "Breakdancing" 56 Cultural diversity in action: Banlieues d'Europe. Lead organiser: Banlieues d’Europe, France Copy right: lez arts urbains © European Commission

The culture programme-CULTURE IN MOTION

Luxembourg: Office for Official Publications of the European Communities

2008 — 56 pp. — 21 x 29.7 cm

ISBN 978-92-79-09513-9 NC3008545ENC